نشریه قلم
پیاپی 12 (پاییز و زمستان 1389)

PH.D student in French literature – University of Shahid Beheshti Irony, since its first usages by Socrates, cover a great variety of forms that have been at the service of this kind of writing called “oblique”. This figure of speech has a particular importance in Gide’s works who thinks that “he had never written anything but irony” in his books and stories. The comprehension of the notion of the irony and the meaning that emerges ofsuch a figure of speech makes sometimes a few problems for those who are not so familiar with this kind of sense-making. Some the act of the production of the irony looks like a dialogue that needs an active participation of the both sides and solicits an appropriate response from the target. As a study on this notion, we should consider a double categorization: verbal irony and irony of situation; we will see that Gide has largely used the both forms in his story Paludes.

The paper studies the relationship between translating and writing in the particular context of Jean Giono translating Moby-Dick in collaboration with Lucien Jacques and Joan Smith. The way a translator-writer translates can significantly be transformed when the desire is both to translate and to write. Do translators-writers translate to reach out to the other, to welcome that other within their own creative horizon or do they desire to substitute their own voice for the other’s, thus erasing it from the reader’s horizon? Theparatext Giono left suggests that he was deeply affected by his reading of Moby-Dick which he then decided to translate. However the writing of the translation itself, the rewriting into French of this “Livre des monstres et des merveilles de la mer” (Book about the monsters and marvels of the sea) did not easily find its place in the creative horizon of Giono, so obsessed by his work as a writer that he eventually neglected the project which was kept afloat mostly through Lucien Jacques’s enthusiasm. The complexrelationships between the Self and the other which are usually at play in the translating process take on other forms in Giono’s case with thematic influence in the novels, and particularly in Batailles dans la montagne, the fusion and confusion of authorial identities in Pour Saluer Melville and creative reappropriation in Fragments d’un paradis.

PH.D student in French literature – University of Shahid Beheshti The abundant production of the Travel Literature in the recent years has encouraged us to undertake the study of the genre of Travel Literature based on the work of Jean Marie Schaeffer, entitled What is a genre? In this study we bring up the problem to propose a clear definition for this genre which possesses multiple forms. We will study also the descriptionand narration and their evolution in this genre.

Zola's Work, which has usually been read as a narrative about the author's friendship with Cezanne, is really a description of the artistic atmosphere during the second half of the 19th Century and portrays the struggle between the Avant-garde and Academicism. This novel also provides the reader with a complete description of the kitsch phenomenon, even if this is not openly expressed and doesnt take a central role in the plot. Zola, who undoubtedly was a meticulous observer of society, was able to decipher the traits of thisphenomen, thanks to his talents at lucid observation.

Albert Camus’ ideas and works enjoy eligible features which can be generally attributed to Realism. But, in addition to the mining realism has in the world of art and literature, it has a special meaning in Camus’s thought consisting of the author’s effort to maintain a kind of balance in the relation between human and the world. The relation is certainly problematic and stressful. However it is the acceptance of inconsistent nature of this relation which gives meaning to the realism of Camus and allows us to call him amodern and realist author. In fact, it can be said that Camus knows the limitations of his existence and accepts them consciously. The whole art and life of the author is affected by such attitude. Thus, Albert Camus’ thinking enjoys a kind of delicate art which protects him from wallowing in the trap of extremist reasoning and abstraction and keeps him in the realities arena.

The purpose of this paper is to investigate the time frame of the autobiography and the stylistics of the author to analyze those present moments which are twisted to the past processes allowing the author to move between the two different moments, and to externalize her internal emotions and various sensations and make it realize in reader.

Effort will be made in this paper to study the methodology of Racine in developing his preludes in the four tragedies of Andromach, Britannicus, Berenice and Phedra. The purpose is to evaluate the remarkable and precise approach of this playwright to prepare his audience believes and accepts “this glorious melancholy that lies beneath the entire pleasure of tragedy”.