نشریه قلم
پیاپی 8 (پاییز - زمستان 1387)

In all narrative texts, a lack reveals itself as the start of the action; the continuation would be an effort to liquidate that lack. This continuation in which the initial stat transforms itself to a second one, is the narrative procedure which could not have any sense without the presence of the actors, i.e. the ones to which a role is attributed, including objects. After Propp, who first presented the narrative text sketch, Greimas took the project and charged the actors with different functions.Making out the actors’ roles and the narrative procedure of the novel The bitter taste of persimmon, will be followed in this present article, leaded by a structural approach of the same novel.

Today, the name of Nietzsche recalls us that he is the greatest professor in the field of hesitation and ambiguity. So, he makes question about Philosophy and other branch of it simultaneously. Like philosophy which always chases “Truth”, Nietzsche has regarded the principals of his own field and other related and also opposing branches. He considered Science as an academic field and a method for the recognition and understanding of the Universe, especially. The aim of this study, derivation, timing, and interpreting Nietzsche’s some of the meaningful epigrams about scientific approach of experimentalism.

During the second republic (1848-1851), Victor Hugo was often regarded as a living ideal in politic and also for democracy. In fact, his political figure can be considered as revolutionary as his in literature. Nevertheless, it is necessary to be noted that Hugo was profoundly influenced by this eventful period of time. His political point of view radically changed over the course of the revolution inasmuch as he gradually gave up his interests to the right wing and began to oppose his old friends. In 1875, Hugo decided to collect and publish all his speeches and lectures as a book which he named it Deeds and Words (original title in French: Actes et Paroles). However, he changed some part of the old lectures and also made some corrections in order to legitimize his past political interests in his favour. In this paper, the author will discuss these changes and reasons behind them.

The first meeting of the principal persons exercises generally a particular role in the stories. Inspired by the method suggested by J. Rousset, we intend to study in this article, the first meeting in three Persian literary works: Bijan and Manije, Vayss and Ramin, and Leyli and Madjnoun. We examine two categories of elements in the above mentioned works: first of all the spatiotemporal indications and then the ‘dynamics’ elements e.g. effect, exchange and union. Our study reveals the richness and the originality of the above mentioned works as well as the spiritual and mystic aspects of the affection in the Persian classic poem.

Without any doubt, Barrès is one of the most distinguished French authors who is acquainted with the music of the word.On the whole, his literary works show and analyze the importance and value of the music, but of course a value which is by no means similar to the music itself.In other words, though according to Barrès himself, he is not much familiar with the musical techniques, his prose, like music, is bursting with symmetry, equivalence, zeal, and motion.In addition, we notice a number of references, and allusions to musicians in his works.In fact, these excitements, and melodious feelings inspire him more than the music itself, and in most cases, he seeks the fervour, and the enthusiasm in the musician.In this article, I endeavour to peruse some of Barrès’s references to various musicians, and to study his tuneful and rhythmic prose. This article will also analyse all human feelings that emerge while listening to a musical piece, how this precious art opens the doors of another world to the listener, how it draws him to a world of memory, and reminiscence, and even in some cases, it results in the creation of a new literary work.

The commitment and the action constitute a principle for a majority of the literature all along the twentieth century. Obviously these themes disappeared gradually from the french literary scene if not from western literature. Yet as an impassioned word, the committed poetry of the Resistance during the war years have impressed a good many people. A variety of research has been done on the poets of this period, but its topicality and the beauty of such poems, at least for other regions, ask for a new consideration. In this paper we try to see the pragmatic side of such poetic text, studying briefly a number of poets of the forties génération. So we discuss successively the poetry and its function, the Resistance and the poets, and finally the particularities of the resistance poems.

Foreign language training methods are developed and prevailed on the basis of the recent breakthroughs in the arena of linguistics. One can claim that learning the French has a direct correlation with its grammatical norms, because teaching a spoken language through grammar learning process to elder persons in an academic environment is easier. Teaching grammar in French leaning process has a long history, and the instructors of language learning methods can not simply avoid it. Iranian students have learned foreign languages (i.e. English language) through Direct Method, and since they are used to explain the grammatical norms of the language they have learned, thus as a consequence, it would be very difficult to avoid it in language training process. Teaching a written foreign language seems to be mandatory, not only due to its grammatical nature, but also because of the apparent difference between the spoken and written language, and inevitable application of the grammatical norms in learning of a written language. It is noteworthy to mention that, the present essay—teaching grammar in learning process of French—is aiming to study the new methods of teaching grammar carefully, in order to help French language instructors to adopt a selective approach with regard to the individual characteristics of a foreign language learner, and thus they will be feeling free to stick to the grammar teaching in the learning process, or avoid it deliberately.

Emily Dickinson is hardly in need of critics to come to her defense among the French-speaking public. Since the fifties, various translators have drawn a wide audience which appreciates her work. The first translators did, however, have a fairly modest ambition, namely to enable readers to penetrate the meaning of her poems. It was only with the translations of Claire Malroux that French readers began to understand the organic significance of the movement and sound-patterning of Dickinson’s poems. Malroux adopts Ezra Pound’s translation project to offer a poem in place of a poem. In doing so, she does, nevertheless, abandon the meter of Dickinson’s poems, a four-beat meter which gives a hymn-like quality to the movement of her meaning. In contrast, Gertrud Liepe maintains the meter in her translations into German. As a result her extremely sensitive translations enable the reader to hear the way Dickinson harnessed the movement of the poetry of her period and fashioned her own voice from a traditional versification. Though this article concerns a woman poet translated by two women, in analyzing the success of the translations, it is not a question of defending a “feminist translation” of an écriture feminine: the aim of the article is to compare and contrast the constraints of three languages, English, French and German, as well those of their metrical traditions, in order to investigate the way a poet adapts her language and her tradition and the way a translator must seek to do the same.