نشریه نقد زبان و ادبیات خارجی
سال یکم شماره 1 (پاییز و زمستان 1387)

The comment of Paul Valéry, writer and critic of the XX century, on Alloro Cristoforo's picture" the Head of a Page" is indeed a speech which tries to evoke the sense of an artistic picture for the initiator. What is more important, is the effects of the light in this picture which creates an “axiologie.” In this article, we do not analyze the picture, but the speech of Valéry as initiator is discussed to show how at first sight the sense of the beauty for the initiator betrays itself and then does so to the audience in a second phase. The method for the analysis of Valéry's speech, is semiotics of the vision with which the effects of the light in an artistic work is expressed.

I seek to achieve two goals in this paper. The first or the main goal is to consider the English poet Basil Bunting’s (1900-1985) translations of Persian classical poetry into English. The second goal، which naturally emerges from the first one، is to offer an oblique introduction to the work and poetic theory of this important but on the whole underappreciated modernist poet. This introduction is absolutely necessary taking into consideration the fact that there is still a great deal that we do not know about literary modernism in general and modern poetry in particular. Bunting is among the great modernists (he was a close friend of Ezra Pound and many other celebrated figures associated with modernism) who have not been given their due or properly studied. An understanding of his work will help us understand modernism more. It will also provide us with a rare opportunity to appreciate modernism’s poetic and aesthetic varieties much better. This paper will take up Bunting’s obsessive poetics of sound and will place him next to those British and American poets to whom poetry is sound and music before anything else. Reference will also be made to opponents who put sight and visuality over and above everything else in man’s effort to acquire knowledge of this world in general.

Although Romanticism’s philosophical view of Literary Genres has lead to some categorizations of works which overlap with the previous literary and non-philosophical views، this theory tries to focus on the creation of these categorizations as a natural result of history and the evolution of human''s soul، not as the production of the analytic interpretations of literary critics who، according to «Form-based» or «Content-based» criterion، isolate the works in order to put them in their own proper category. Although all of the followers of this theory believe that the existence of «Difference» in literary works and their place in different genres is the result of the tension in humans internal powers، every one of these followers looks at these powers، based on his own interpretation which results in different categorizations. In this article، by moving away from the literary categorization of works to the philosophical «Typology» of the Romantics، we would like to justify this philosophical view via pointing to the tendency of the creators of the contemporary works for genre mixture.

Robert Browning possessed a very powerful dramatic sensibility، but his interest was in depicting the internal conflicts of a character—what he called “Action in character، rather than Character in Action”. Unfortunately internal conflict is not suitable for the stage، and Browning’s plays failed because of too many speeches and not enough action. He found his ideal form in the dramatic monologue which allowed him to create powerful and intricate character studies. After having created the best dramatic monologues in literature، he improved on the psychological and dramatic characteristics of the form by devising a monologue in which the speaker is not in a real situation، as in previous dramatic monologues، but imagines himself in a situation in which he is speaking. Whereas previously character revealment depended on the spontaneous reactions of the speaker to a real interlocutor، now the reader has the added advantages of analysis and judgment based on the speaker’s words when alone، speaking real thoughts، as in a soliloquy; the speaker’s choices of setting، “dialogue”، and interlocutor for his imaginary situation; and the arguments presented within the framework of that imaginary situation.

Both writing and speaking language are made of a group of characters which will be used in order to make phrases based on syntax structure. This fact may not have an important role in speaking language but، it will be very important to observe it in writing characters. The basis of phraseology in German language is a normal one. But one should not say that a phrase is merely made of some characters. Because in German language a phrase at first is made of some functional components which is named „Satzglieder“. This research attempts to prove that we need a substitude test to find functional components. A writer should emphasze those components as well as syntactic structure in order to write properly.

The present research data was gathered from the speeches of thirty native informants in Harsin، that is located in Kermanshah Province، studies the verbal suffixes of Harsini Laki dialect. The verbal suffixes of this dialect are categorized into eight categories: inflectional endings، the present tense base suffixes، the past tense base suffixes، the infinitive base suffixes، the auxiliary suffixes، the passive suffixes، causative suffixes and verb suffixes. The suffixal verbs of Harsini Laki dialect، are translated (have equivalents) as prefix verbs in Farsi. In order to make the active verbs into the passive ones in the mentioned dialect، only three ways are used. No auxiliary verb is used in passive structure in these ways. Some of the mentioned suffixes have various and different functions. The auxiliary suffixes appeare before and after the main verb inflectional endings. They have no independent nature، at all.

The concept of commitment for French writers routed in political and social movement in 19th century of France. Like many other writers and poets of the Romantic period، Victor Hugo was a committed writer، but this commitment was shown in his special way، It is because Hugo as a writer– beside creating literary works – was involved in social and political struggles of his society. Hugo was called «Pair de France»، moreover from 1845 to 1885، up to the last moment of his life، he was an active member of national parliament and senate of France. It was in those meeting''s tribune that Hugo presented his political lectures and appeared in the role of a passionate lecturer and a brave thinker. This outstanding writer demonstrated his exciting lectures in the political assembling of France which marked his commitment in literary and political arena. The purpose of this article is to study the dramatic modes of his figure derived from his political lectures. We would like to know if there is any connection or similarity between Hugo''s political lectures and heroes’ speeches in his novels and dramas? In this artcle we attempt to show how much Hugo has been inspired by the heroes of his stories and dramas، in the making of his political lectures? And how much this way of deilivering dramatic political lectures has beenappreciated by the audience?

Mallarme is undoubtedly one of the most influential poets and thinker of 19th century. However، his significance goes beyond his major contribution in developing the tradition of “pure poetry”. Indeed، his train of thought becomes a vessel for the main routes of philosophy and critical theory for 20th century and beyond. He took a life time effort in establishing the ground work of “pure poetry “by concentrating on language. Using techniques such as conceptualization and dematerialization، Mallarme tried to reach the essence of entities striped away from the appearance of things. Having borrowed from Hegel’s dialectics reflected between the reality and understanding on the one hand and the world of essence and nothingness on the other، he formed a new type of aesthetics. Henceforth، his poetry should be termed the poetry of nothingness and absence. It is absolutely difficult، if not impossible، to find a predecessor who has paid systematic attention to the concept of negation and the element of absence in the process of signification. In this study، the researcher moves towards Mallarme’s aesthetics، labeling it the “aesthetics of negation.” He also attempts to explore Mallarme’s high poetic pedestal for word as a transcendental entity and finally the poet’s impact on the late 20th century critical theory and literary studies will be presented

Many of the avid readers and artists have read Lover، the outstanding work of Marguerite Duras، the French writer، journalist، playwright and director، and have expressed their views through critiques and commentaries. Among other things، they consider this work as Marguerite Duras''s auto biography; while there are those who call it the new novel (nouveau roman). What Duras has written، in fact، which sheds light on her previous pieces of writing، does not fit into any kind of literary genres and emphatically manifests its writer''s freethinkingness. Considering A barrier against Pacific Ocean as the basic inspiration of Lover and Duras''s style of writing and the changes betrayed after several years of writing gaining experience، it can be concluded that Duras''s writing in bespeaking her life has created a recollection-like trend to the extend of transcending the limits and intermingling the reality and myth. The result is projecting and visualizing the buried memories of dark recesses of her mind