فهرست مطالب azine hossein-zadeh

Bakhtin, first in Problems of Dostoevsky's Poetics then in François Rabelais and popular culture in the Middle Ages and the Renaissance refers to Don Quixote as a great example of carnival laughter. Carnival for him means the reversal of laws and traditions. Burlesque trick that allows this laughter to emerge. The author while mocking the traditions also falls into the literary tradition. He turns the eloquent style into a ridiculous one. Pezeshkzad works in the novel In My Uncle Napoleon relying on Burlesque's abilities to make carnival laughter. This results in a novel in which through inversion, the effects of traditions and beliefs become the subject of laughter. In Iran using burlesque to create traditional laughter is old. The resemblance between Don Qiuxote and My Uncle Napoleon should not be seen only from the point of view of sociological critique, but attributed to a tradition that has a long history in Iran. That is where the glorious and serious aspect of literature and beliefs is ridiculed.

This article is the result of Mahmoud Dowlatabadi's collaboration with us as a literary researcher about The past of old people. The main topic is the investigation of time’s poetic in relation to space.It rarely happens that an article criticizing a work is written with the participation of the author of the same work. If the reader of this novel is familiar with Dowlatabadi's life, he will easily understand that his book is an autofiction. The difference between autofiction and autobiography is that the author's imagination in the first type, compared to the second, more easily affects the process of defining the narrator's life. According to Freud, by using his phantasmagoric activity, a person recreates the events of his life and his relatives and in this way, he represents a reality that has been transformed. In many autobiographies, the author assumes childhood as the starting point of his story, then, he narrates events that bring him to adulthood, sometimes to old age. But in The past of old people, unlike autobiographical writing, the author refers to the early death of the main character's grandfather to show the starting point of the story. In other words, the beginning of this autofiction is the story of an unexpected death, the consequences of which will affect the lives of the descendants of the main character. The fact that the author chose death as the starting point of the story causes the entire poetic of novel changed and childhood is mixed with death. At the same time, to show this transformation and the threat of death, the author uses elements that make the novel distance itself from the realistic time and turn into autofiction. Identifying and analyzing these elements is the main foundation of our research. Consulting with Dowlatabadi and including his opinions in this article has created a good opportunity to improve the content of our research, and he can discover his work with hidden effects

De tous les romans de Flaubert parus en persan, Madame Bovary est sans doute le plus traduit. Nous pouvons en compter plus de 10 versions, dont les publications s’étalent sur une période de près de soixante ans. L’étude de nombreux épitextes de ces traductions, bien qu’historiquement très espacées, révèle une situation commune : aucune vraie compétence extralinguistique ne vient compléter la supposée compétence linguistique requise pour la traduction. Cette incompétence agit directement sur les paratraductions et, abstraction faite du titre dont la traduction ne semble pas problématique, la page de couverture et les préfaces de traducteurs en portent la trace. Elle donne naissance à des péritextes iconiques inadaptés et fait que les préfaces des traducteurs se doublent d’un discours moralisant, voire idéologique dont l’étude s’avère intéressante sur le plan de l’histoire de la réception de l’œuvre en Iran. L’objet de cet article sera donc l’étude des éléments paratextuels de cinq traductions de Madame Bovary, la préface du traducteur et la page de couverture, afin de montrer comment, au fil des années, l’incompétence extralinguistique et l’immixtion de l’idéologique peuvent être sources d’informations erronées sur l’auteur, son esthétique romanesque et sur le courant littéraire dont il est issu et conduire à créer une image iranisée et idéologisée de Flaubert dans le paysage littéraire iranien.

Tantôt hommage à la grandeur et à l’intemporalité de la littérature antique, tantôt revêtement symbolique de l’expression des problèmes d’ordre historique ou personnel, la réécriture et la reprise des mythes ont, de tout temps, séduit de nombreux auteurs à travers le monde entier. Mythe de l’amour impossible et de la lutte contre le destin, l’histoire d’Orphée a fait l’objet de multiples réadaptations, depuis l’Antiquité jusqu’à nos jours. En France, dans la première moitié du XXème siècle, Cocteau et Anouilh ont repris ce mythe dans deux pièces de théâtre, le premier pour exorciser un mal être profond suivant un point de vue philosophico-mystique et le second pour mettre en relief le pessimisme dominant durant les années de la seconde guerre mondiale. Or, si ces deux auteurs ont préservé la trame générale de l’histoire, l’auteur iranien Réza Barahéni convoque quant à lui l’histoire d’Orphée et en donne une version fragmentée, n’utilisant que certains éléments du mythe, dans le Livre V de Shéhérazade et son romancier (2ème éd.) ou l’Aushwitz privé du docteur Charifi et ce, pour étoffer et enrichir un épisode autofictionnel.

The critique of translation in Iran, as a country where translation is a long tradition, focuses primarily on content of the text (Kamali, 2017, pp. 21-32). Thus, several questions, all based on the content of the text arise: Are the equivalents correct? Do they have the correct terminology and counterparts? Does the translator understand the meaning of some complex expressions? Is the translator successful in translating the author's style? In other words, the criticism of a translation becomes a means of assessing the linguistic knowledge of a translator. What we have just said is valid for translations done from all languages (Kamali, 2017, pp. 21-32). From a methodological point of view, the main tool we used in this article was the traductology. We can say that the critique of translations in Iran is usually confined to the verbal aspect. Contemporary research in the field of translation studies also concerns metalinguistics, that is, anything beyond language (Genette, 1987). Translation studies or traductology, as a new scientific approach, teaches us that translators’ activity is not limited to language translation, for the simple reason that translation is tinged with creativity. Contrary to popular belief, not everyone who speaks a second language is necessarily a good translator; one can very well master a foreign language without being able to translate from that second language. anguage conveys a culture and not just a linguistic message; we must keep it in mind that the translator translates the text, not the language. However, the book is not limited to a text that is exposed to the reader; the book is a compilation of text and everything around it, the title of the book, the cover design, the preface, the footnotes and descriptions of the text have a significant role in readers comprehension. The aforementioned elements, the paratext, are the ones that convert the text into a book. These are the elements that surround the text or, literally, those that lie on the margins of the text, those that accompany it, extend it, offer it and, finally, send the text to the market, so that the reader establishes a personal relationship with this whole that we call a book. Gérard Genette (1930-2018), French literary theorist and critic proposed new approaches and strategies for reading literary texts. In the 1980s, he developed other concepts in two of his key works, Palimpsestes (1982) and Seuils (1987) and chose the concept of paratext for literary tex , but he also reminded that his discussion on paratext is more of an introduction. After him, in 2004, a traductologist named José Yuste Frias spoke of the concept of paratext in translation and he introduced a new approach and called it paratranslation, to show that the reader also had to pass a threshold to enter the world of translated text. Therefore, paratranslation means the translation of the paratext from the source language to the target language (Frias, 2010: p. 67). We believe that the loyalty of the translator to the author's text, which is one of the main criteria for a good translation, is different in paratranslation. Since the submission of a translated book into the market requires the development of a paratext adapted to the target culture, the translator should not and cannot translate the original paratext as it was and would rather create a new paratext for the sake of book's better presentation and reception. In 2002, a translator named Michèle Brognetti published a number of short stories by Mahmoud Dolatabadi in France which introduced this author for the first time to French readers. Dolatabadi (1940) is a well-known writer in Iran and Iranian readers have followed the evolution of his writing over the years. Brognetti (1962) chose from a set of novels, those that seemed to be the representative of a certain image of the Iranian culture. This image conformed to what the media in the West had constructed of contemporary Iran, a country of cruelty, violence and barbarities. The significant changes made in the paratext of this new book have encouraged us to examine and analyze the magnitude and nature of these changes and, based on the ideas of Gérard Genette and José Yuste Frias (1972), see how these changes lead the new readers and inspire them with data that is not necessarily true, nor is it the same as the Persian reader’s conception of the original paratext. By studying paratextual elements that are translated, we will find that the representation of the translated paratext is in accordance with the mentality fixed by the target culture. We will see that these strategies reflect the attitude of the target culture towards the original culture.

Autobiographical narrative in which only a first-person audio and written, whow the author explains in his life. Made a contract with the reader, he recounts the facts of his life, or parts of it. But, the famous french writer Georges Perec and Nathalie Sarraute that the two are, in their books are narrated duet. Sarraute, in a book called Childhood, forced to use the first-person narrator's inner dialogue, dark spots and delusions that recounting every memory with its integrated. But Georges Perec, in his autobiography, apparently, from his childhood, the two narrations: first real and second, all of it is fiction. First, we think that in the second story the narrator does not have anything to do with child, But then we see that as an analogy of his life. In addition, both authors refer to the lies that are included in their story. This process is incompatible with the truth implicit contract. This article will provide a comparative analysis of the two works show an autobiography, which should in principle be monophony is why duet, what is the function of sound or narration second as metatext, and what's the role of imagination in the difficult process of recovery.

In the contemporary world, how to speak a foreign language has become the most controversial category, and many theorists have used various tools to stress on it. Recitation is one of those tools that has been used in past decades in our country. Especially in international bilingual schools there have been frequently used. And at the academic record of students, these grades were inserted for that course. However after the victory of Revolution and the following of abolition of such schools recitation was out and gradually was forgotten. In this essay by the use of free research we have tried by the citing statics and experiences of some of the students that have studied at that schools and now are teaching foreign languages at colleges or institutes, and also with utilization of this method in French classes of Hakim Sabzevari university, between two groups of students, one by recitation and the other without it, show the undeniable contribution of this tool and emphasize on using this method again as before.

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.