فهرست مطالب ایلمیرا دادور

The Il fallait inventer la mer (We had to discover the sea) play from Jean-Pierre Spilmont is one of the most successful adaptations from The Language of the birds of Attar Neyshaboori. Spilmont has tried to make some adjustments to the work of Attar, given the theatrical requirements of his adaptation, while staying true to the main storyline of birds’ travel toward Simorg. The most prominent changes made to the story line in this adaptation are as follows: the number of the valleys of love has been reduced to four, some of the birds’ character have been omitted, and finally the manifestations of Simorg’s character have been altered . In other words, given his worldly view point, Spilmont has presented a unique work adapted to the expectations of contemporary audience. This article attempts to answer the following questions while employing the intertextuality theory of Gerard Genette: Has Spilmont been successful in conveying Attar’s universal message in form of a contemporary play? and can contemporary audience relate to this work?

Reception theory, places a premium on and holds the role of reader in interpreting the text in high regard. Wolfgang Iser is one of the founders of this theory, which believes a text has two artistic and aesthetic poles and relegates the role of meaning creator to the reader. The texts classified as War literature have always had their audiences in the Persian contemporary literature. By having a critical approach to the Iran-Iraq war, different content and a new structure, "Haras (The Pruning)"of NasimMar’ashi, has managed to change the horizon of expectation of Iranian readers concerning War literature. In this paper, the two artistic and aesthetic poles of this novel will be analyzed based on Iser’s views on the reception theory and then we will refer to the elements that have influenced the interaction between readers and the text, leading to a new perception of war. Furthermore, this article attempts to analyze how this text has managed to satisfy the curiosity of contemporary readers by using modern and original elements.

The objective of the present study is the psychological analysis of fictional characters in Majid's Tales by Houshang Moradi Kermani and Little Nicholas by René Goscinny. Relying on the psychoanalytical theories of the structure of the mind: "Id", "Ego", "Superego", "Ego ideal ", "Ideal ego" and Identification, we achieve a deeper understanding of the characters in these stories. The Id", "Ego", "Superego" form the human personality and are always in conflict. "Id" seeks pleasure and "Superego" seeks to suppress the requirements of the "Id". The "Ego" controls the conflicts between "Id" and "Superego". "Ideal ego" means the conscious evaluation of the individual, but "Ego ideal" is the part of the person's being that he wants to achieve. Identification is a defense mechanism to deal with internal and external stresses. The main characters of these stories correspond to these parts and can represent the functions of the components of the structure of the mind. This research is dedicated to the analysis of these two sets of narratives from this approach.

History is written by a historian and will be confirmed or rejected it in the future. The historian writes it from his own point of view and it can be correct or distorted. It will be more believable when history is told by a writer in a novel or a poem. Therefore, the contribution of committed writers who portrayed resistance and stability in their works should be considerate. One of the most referenced writings on war is the correspondence of soldiers written in the trenches to be a document of the reality of history. In this article, with a descriptive-analytical look at the war and its representation in the art and literature on the one hand, and on the other hand, considering the genre of memoir in the notes of Iranian soldiers in the imposed war and it will be compared with letters from French soldiers in World War I. The result of this comparison is the emergence of two views and two perspectives on the issue of war.

In the last decade, we face a number of feminine discourses, and each female writer poses a new thinkable character in her novel; one of the most striking examples is the depiction of a housewife who is plagued from her absurd conjugal life, and she plans to be born again and achieve all her dreams. The presence of “other” in the life of a traditional woman becomes a complete pattern for her in order that she can abandon the stereotypes and grow increasingly, while her mother's feelings and a sense of being loved by a man is still alive with her and she uses a feminine language to make her femininities more prominent. This structure can be seen in “Those mothers, these girls” by Belqeis Soleimani. Anna become a mirror of her mother, Sorayya, and brings her to self-awareness, thus Sorayya will move gradually from tradition to modernity and she shows different thoughts. Irigaray and Cixous’s theory, based on the “self in other mirror”, is a frame which shows us that this work is in the category of post-feminist works and explains new subjects that the Iranian woman writer has not addressed before. Therefore, it can be introduced as a discourse text.

Translation of Poetry and its DifficultiesIlmira DadvarProfessor in Comparative literature studiesUniversity of [email protected] has always been a bridge between two languages, two cultures, and two kinds of literature. For this reason, translation is one of the main pillars of comparative literature for all scholars of the subject. What is especially important in translation is knowing at least two languages other than one's own. In addition, the translator must be aware of grammar and cultural terms, semantic and implicit implications of his or her language, and that of another language; because translation must be essentially a re-creation of the work. Undoubtedly, one of the most challenging translations is the translation of poetry. For many, poetry is untranslatable. Poetry translation always carries the essential question: Was the translated poem trustworthy? Keep the same rythm? Did it equate the same concepts correctly or not? To this end, in this article, the translation of a lyric by Hafez into French by two translators, Charles-Henri de Fouchécour and Vincent-Mansour Monteil, will be studied and analyzed to determine whether the translations have been responsive to the comprehension of the specific French audience or not? Moreover, to what extent can the audience correctly understand the meaning of Hafez's sonnet? Expert opinions will pave the way for this study.Keywords: Translation, Comparative Literature, Hafez, Sonnet (Ghazal), Charles-Henri de Fouchécour, Vincent-Mansour Monteil

La migration est incontestablement, depuis longtemps, une réalité complexe variant selon l'époque et relève toujours d’une actualité brûlante. Présente, de longue date, dans les études sociales, elle a aussi trouvé une place privilégiée dans les études littéraires. Le thème de la migration apparaît sous différentes formes dans la littérature (l’écriture de l’exil, la diaspora, les situations postcoloniales, etc.). Mais parmi toutes ces formes, la plus importante est celle qui se concentre sur la question de dualité de l’identité. La présente étude essaiera d'apporter des précisions sur cette problématique, tout en approfondissant le problème de la migration. Sarzamin-e Noutch de Keyvân Arzâghi constituant le contexte de cette étude, nous permet d’étudier le phénomène de la migration dans une optique extrême-contemporaine. Une méthode incontournable pour l’analyse de ce phénomène est la sociologie qui dévoile ses réalités cachées. Cette étude sera ainsi basée sur la théorie de l’ambivalence carnavalesque de Mikhaïl Bakhtine, qui est selon Pierre. V. Zima à l’origine de la sociologie du texte romanesque, et sur les idées d’Abdelmalek Sayad, sociologue de l’immigration. Et elle étudiera aussi l’effet psychologique de ce phénomène grâce aux stratégies identitaires proposées par Carmel Camilleri.

The conference of the birds of Jean-Claude Carrière is one of the great theater plays inspired from Mantiq- ut-Tair. Carrière has tried to maintain the principal form of Attar’s work and by considering the constraints of theater, he has made some changes in the source text. One of the main changes is the transformation of Simorgh’s notion. In fact, by relying on the criterias of his worldview, which tends to be like a quasi-mysticism terrestrial, he has supposed another meaning for Simorgh, being in contrast with Attar’s celestial mysticism. In this analysis, we try to verify the notion of Simorgh, by profiting from the analytical theories of Genette in intertextuality. In addition, we attempt to answer the questions about how the mystical character of Simorgh was presented, from an intertextual viewpoint, and by which changes? And how a non- Persian contemporary text, like The conference of the birds, has succeded to transfer the message of Attar in a different form?

Marguerite Yourcenar turns to self-making in all her works and regards it as the result of an evolutionary process. Marguerite Yourcenar designs the basis of this self-making by creating the characters in her novels so that the process of an independent viewpoint about identity in the effects taken from historical contents and myths. According to such viewpoint, the humans' interpretation about their essence and the relationship with their environment is reflected in the myths. From this viewpoint, explaining myth in literature and the author's historical ideas are expressed with a close relationship between the author and her artistic work as a model in self-making. This article tries to study analogically Marguerite Yourcenar's route in drawing individual identity and understanding self-making through the layout of characters in her novels. Self-making combines with the expression for individual identity. She has analyzed the human

Comparative literature has always had a close relation with history and fine arts. In addition, studies show that literature and arts, especially painting, in a wide range, had influenced each other throughout the history, and we can significantly see it in postcolonial studies. Postcolonial studies are the most important new fields of studies concerning the culture of developing countries. This field focuses on the relation between culture and imperialism in these countries after the end of the domination of West’s colonization. In this article we talk about the presence of postcolonial school in literature and fine arts in 1960-1970. In this period, the colonized intellectuals, all around the world, demanded justice for human beings by profiting from literature and arts in order to change the biased viewpoints of the West toward them. This means that they tried to rewrite the history for discovering why and how they have been omitted unfairly from it or why the reality of their existence was altered and where their place in the modern world is. This article tries to analyze the Basquiat’s painting, King of the Zulus, by benefiting from the history and also the analytical theories of Homi Bhabha for answering the aforementioned questions.

Biological fictions are among the most prevalent writing genres in contemporary European literature. Being based on the life of a real person, these writings try to reproduce it through various forms. Although very few books of this kind have been published in Iran, studying them can help us comprehend the special subtleties and capacities of the genre. A good example in this regard is a fictional trilogy by Jalaleddin Kazzazi: Iran’s Son (2013), Iran’s Father (2013) and Iran’s Prophet (2014) which have been respectively inspired by the life and adventures of Ferdowsi, Cyrus, and Zoroaster. A close examination of this trilogy can make us have a better understanding of some features of biological fictions and what distinguishes it from historical biographies. With this view and in order to acquire a better understanding of this literary genre, the present article tries to establish a categorization of some of the known features of this literary genre based on generic studies done in France.

An in-time vision of literary works in their widespread spectrum is what always leads to the enrichment of literature and is also what helps transform it from a static state to a dynamic one. In the meantime، since the myths evolve and proceed with the passage of time and are always present in the course of history، they cannot be held an exception to this fact. The myths، among the different topics addressed in comparative literature، which، in the most widespread meaning constitute an approach towards the universe، and are presented through different literary vehicles including allegories، anecdotes and narratives، should be not interpreted as ancient، fictional stories but studied with regard to the human being’s existential struggles throughout history. Hence، this article tries to analyze، in a new way and based on the contemporary mythological theories، two stories from the ancient Greek and Persian mythologies، Ikarus and Kavus، respectively، in terms of their high ambitions.

Les Soleils des Indépendances, est considéré par beaucoup de critiques comme le livre fondateur de la littérature africaine de la langue française. Ce roman a représenté une rupture radicale, par sa forme et son contenu, avec des règles courantes chez les écrivains africains francophones qui depuis longtemps étaient restés fidèles aux modèles anciens. Ahmadou Kourouma a transgressé la structure de la langue française pour y mêler sa langue maternelle. Par cet acte il a inventé une nouvelle forme de roman africain. Avec ce roman, Kourouma a critiqué le règne despotique de ses compatriotes parvenues à la richesse et au pouvoir politique après la colonisation. Dans cette étude, en nous inspirant de lOrientalisme dEdward Saïd, penseur palestinien et Littérature francophone et Théorie postcoloniale de Jean Marc Moura, nous avons essayé de trouver une réponse à ces questions: Comment peut-on trouver les caractéristiques de la littérature postcoloniale dans Les Soleils des Indépendances dAhmadou Kourouma? Comment Kourouma a représenté sa société africaine? De quelle manière il a fait un mélange de ces deux langues dans son roman?

Marguerite Yourcenar turns to self-making in all her works and regards it as the result of an evolutionary process. Marguerite Yourcenar designs the basis of this self-making by creating the characters in her novels so that the process of an independent viewpoint about self-making combines with the expression for individual identity. She has analyzed human identity in the effects taken from historical contents and myths. According to such viewpoint, the human's interpretation about their essence and the relationship with their environment is reflected in myths. From this viewpoint, explaining myths in literature and the author's historical ideas are expressed with a close relationship between the author and her artistic work as a model in self-making. This article tries to study analogically Marguerite Yourcenar's route in drawing individual identity and understanding self-making through the layout of characters in her novels.

Literature has been the perpetual site of myths. Myths have penetrated from among the ancient national cultures into texts and have resumed their lives in different forms. Out of these texts, "children's literature" that originally included stories and legends for kids has always been, due to its intrinsic characteristics, the proper form for the mythic content. From this point of view, the story of "Little Red Ridinghood "—which, far beyond a simple story for children, is an embodiment of the European myth of the "werewolf"— can be a proper subject for a cultural and comparative study. The reappearance of this story and myth (the myth of the werewolf) in a contemporary cinematic work is good cause for the researchers to take a second look at it in this article. The approach adopted in this article is a comparative analysis of two different waysof artistic expression-- the literary and the cinematic-- considered to be one of the often debated subjects in comparative literature today. The basic question is what thematic and conceptual changes the story has undergone during its evolutionary journey from an ancient tale to a cinematic product. What is the origin of these changes and how can they be understood? In order to find a response to these questions, the psychoanalytic concepts of Jung and Freud, and also the theories of some comparatists have been helpful to us; the reader can hence reach a more comprehensive understanding of modern man's complicated way of thinking.

The relation of literature with other arts is very old; however, comparatists have become interested in interdisciplinary studies specially since the last decades of the 20th century. In this article, the author has chosen a literary opus and a painting artwork to reveal the commonalities between them. For this purpose, there is a discussion from the viewpoint of French theorists between a naturalistic novel of the19th century, Assommoir by Zola, and a painting of the same time, "Women Ironing", by the impressionist artist, Edgar Degas.

L’ambiguïté, la principale caractéristique du Nouveau Roman, occupe une place prépondérante dans la littérature moderne. Les études sur Robbe-Grillet étant innombrables, cet article essaie d’aborder la question du fonctionnement narratif et les traces de l’ambigüité chez cet auteur. Pour ce faire, nous avons choisi d’analyser Le Miroir qui revient (1984), la Nouvelle Autobiographie de Robbe-Grillet, qui est un exemple de choix pour l’étude de l’ambiguïté en s’articulant autour de deux axes rendant compte du discours autofictionnel. Dans un premier temps, l’autobiographe est appréhendé dans cette pente à «faire sa propre statue». Dans un second temps, l’autofictionnaliste y oppose cette volonté à «se projeter hors de soi», à travers le rapport établi entre la fiction et la réalité. Cette analyse nous a permis de distinguer l’ambiguïté narrative du texte robbe-grilletien. Il va sans dire que l’autofiction contient diverses difficultés d’analyses que nous essayons de mettre à jour ici, grâce à une analyse textuelle. Cette initiative théorique sera appuyée par l’étude de la production littéraire de Robbe-Grillet, tout en relevant les particularités de son écriture. Cette étude, loin d’être exhaustive, peut cependant contribuer à mieux comprendre la Nouvelle Autobiographie puisqu’elle permet de mettre au jour la difficulté à cerner l’authenticité, comme un procédé de l’ambiguïté.

In the XXe, translation is changing. Slowly, we go from language to speech, with text as unity. We are discovering the oral of literature, not like in theatre only. Intuitively, the greatest translators have ever known it. We discover that the translation of a literal text must do what a literal text do through its prosody, its rhythm, its significance, such as o kind of individualization, a kind of form-topic that radically move the precepts oftransparency and faithfulness of the traditional theory. As part of our doctorate thesis Reception of the quatrains of Omar Khayyam in France (XIX-XXIe centuries), because of failure to analyze all the quatrains, we propose to compare the translations of one of the high frequently translated robâ’ï or quatrain in most of the French translations of the Quatrains. There is no essential difference between Omar Khayyam read by a French or an English person of the XXIe century and Omar Khayyam read in French by Théophile Gautier. Neither one, nor the other, is Omar Khayyam. In both cases, it is question of translating a linguistic, ideological and esthetic system in intelligible terms in order to step inside the universe maybe a strange universe, of a stranger and to communicate with him.So, every literature is an interpretation with its musical terms. And in interpretation lies interpreter. First of all, literature translates the real, the life, the nature, as do other arts. Then, it is the public’s turn to translate it, over and over. And that is the reason why, from the innumerable types of gaps between a work and its reader, the comparative literature becomes attached to the work. Therefore, this approach is constructive of the constant objectives of the comparatives researches and helps us to have a betterunderstanding of the stake of translation.

The short story of Dash Akol, is one of the most brilliant stories of Persian literature in the twentieth century, which has been mostly known by the name of its author, Sadeq Hedāyat. This story was first published in 1932 in a collection including 11 short stories. Years later, during 1970’s, a film was made based on this story which earned a highly distinguished position in the world of Iranian cinema. In the writer’s view, the story was written definitely with the support of other texts. Hedāyat has written an Iranian story; however, having complete mastery of other national literatures, especially French literature, he created this magnificent work and stepped towards a concept which is called today “intertextuality”. Since any literary text is created according to the reception of its audiences, a different reading of this story will help us to understand the genesis of another localized story at the level of Iranian reader’s horizon of expectation.

In all cultures, any big place which contains streets, alleys, houses, shops and inhabitants is called a city, whether it is oriental or occidental. But how can we find the spirit of a city among its walls and shops? Isn’t it true that the inhabitants of a city create its civilization, its culture and its liveliness? The city and its residence correlate. That is why we say, “These people are like this” and “Those are like that”. Critics believe that the new inhabitants of every city try to acquire its popular culture and to become one with the rest. Therefore, finding one’s true self and identity would be, in fact, very difficult. Moreover, the modern city destroys part of its inhabitants’ identity, or gives them, at the same time, a new one. This new identity can be found in the audio, visual and verbal images of the city. Paris, the capital of France, is a beautiful occidental city which is depicted in many works of French and non-French writers, poets and film makers. This paper examines the presence of Paris, from the perspective of imagology, in the works of three Iranian novelists, Goli Taraghi, Reza Ghassemi and Reza Gheysariyeh, all of whom resided in Paris, to discover the similarities among these writers’ outlook towards Paris and compare and contrast it with that of the French-speaking writers.