مجله مطالعات زبان فرانسه
پیاپی 1 (Autumn-Winter 2009)

To Molana Jalaleddin Rumi, the foremost poet of the seventh century, who is not only the blossom of the Persian literature but also a mysterious and a renowned gnostic of all time, passion is the essence of life. He, who is regarded as scared, conveys a strong message of passion to his readers by his definitive works and represents his worldwide- human thoughts as well. Reading his works produces significant effects on its readers. To his way of thinking, life means passion. Love, which is the most important reason of life, is the principal reason of life. One may sacrifice his/her life to love. Passion for others is many and varied; either for the whole universe including all humankind and creatures in general or for the others or the divine love in particular. Given the fact that divine love is the most superior type of love, and when high value is placed on the human characteristics, expression of this love. i.e., falling in love with others, contributes to a better demonstration of God in all creatures because they are all God's creatures. That is why it is said when one is attracted to someone;in fact s/he is in love with God. In his works, Rumi points out to a great natural capacity which is, in fact, the power of love and has been entrusted with human beings by God.

Stendhal, along with Balzac, Flaubert, and Zola, is undoubtedly one of the greatest writers in the 19 th C, France. La Chartreuse de Parme as well as the LeRouge et Le oir the elements of story in the novel perspective, because there are strong traces of mythology in this novel. In this regard and in order to pin point the mythical elements in this novel, such elements as time, place, and story figures have been studied. Following a brief survey of myths and mythology, and based on ancient Greek and Roman myths as well as the extant myths in French literature, we have tried to demonstrate that places mentioned in the story, as well as the historical time fame, are mythical. And the novel’s hero has also mythical characteristics.

Lucien Goldmann called his research the “genetic structuralism”. By using the principles of this method, in human sciences generally, and in critic literature particularly, Goldmann has discovered the similarities and differences between the big complementary schools of critic literature that attached themselves to his method. For him, the genetic structuralism, by hypothesis, is that human behavior is a try to give an answer significant to a particular situation. In fact, for him, the harmony between the mental structure and the external world leads to a situation by which the human behavior can change the world. But can this social research be the most certain instrument for literal phenomenology? Has Goldmann not forgotten the literary text? When someone is nothing but an element of a social class, doesn’t his individual personality disappear totally in the aspirations of his society? What differences distinguish between the tragedy writer Racine and the comic writer Molière? Didn’t they live both during the reign of Louis XIV in the seventeenth century? Is the social identity really beyond the individual identity?

French great writers have tried to revive myths. The famous authors of 20 the century use the Greek myths. Cocteau in his Orphé, Sartre in Giraudoux in example of such great writers. What was the goal of Anouilh by writing Antigone and using Greek myths? Did he use the myths for hiding his political beliefs in the time of occupation? How has this been reflected in French textbooks? Which part/s has been emphasized? What are the goals of textbooks by presenting some parts of such plays? We know that this play on the surface is a mythological play but actually tries to depict resistance and war. In this paper, an attempt is made to show that while in the past tragedy was used to depict the struggle between man and his destiny today modern tragedy depicts a kind of individual struggle between man and an authority by accepting death.This is a point which seems to have been ignored in French textbooks.

There are many works today about religion on the one hand, and language on the other hand, about their meaning and evolution in different ages. However,there are few works on the religious language. This paper discusses the problem of religious language, based on the works of an author who tries to go out of ordinary way of communication. It is about Maurice Bellet whose rich works consist of diverse discourses announcing the lack of a divine Word, a Word able to bring to an end the catastrophes if not the misery of human being all over the world. There is no critical book on this author, yet there are many papers on his different books. This paper consists of three parts dealing with elucidation of author’s diverse discourses that aim at transferring the message of the religious language by a language within the reach of every one.

Passage de Milan philosopher and critic. and New Roman, an audacious art which can be read and understood by a reader typically used to realistic novels; however, differences and distinctions gradually reveal themselves and a new novel with its own distinctive characteristics emerges, the most important being the way reality is presented. This article intends to make a comparison and contrast between this novel and traditional realistic novels. In this research, it has been shown that unlike realistic works, this novel does not refer to a reality digested and interpreted by the novelist himself; the novel is also depleted with symbols and fragments. It is the reader who relates these pieces and fragments together so that he can perceive and understand the complexity of the reality. The author just suggests a number of gestures, words and ideas.

Jean Giono’s works before the Second World War (especially his first three novels) are full of violence and cruelty. There are, however, differences among novels in terms of quantity and quality of violence in his novels. The mythical beliefs of the writer bring things into his stories similar to human elements. The human being and natural elements come into competition with each other and even sometimes take revenge. The present paper aims at investigating violence and its religious features. We firstly emonstrate the interdependence, interaction and catastrophic confusion between "sacred" and "non-sacred" forces. Then we consider the moderate approach of the primitive community to tackle the problem and to survive through sacrifice.