saber mohseni

Cette étude examine les transformations des pratiques pédagogiques dans l'enseignement du FLE en Iran, en se concentrant spécifiquement sur les modalités hybrides post-pandémie. L'apprentissage hybride, combinant des sessions en présentiel et en ligne, a été essentiel pour maintenir l'engagement des étudiants face aux défis induits par la pandémie de COVID-19, qui a précipité la transition vers l'intégration des technologies numériques.À travers des entretiens semi-structurés avec 11 enseignants et une enquête quantitative impliquant 55 enseignants, cette recherche met en lumière comment les enseignants de FLE ont adapté leurs méthodes pédagogiques aux nouvelles exigences. Les résultats indiquent que, malgré une prédominance de l'enseignement en ligne synchrone , des défis tels que des problèmes de connectivité Internet et des difficultés à maîtriser les outils numériques persistent. En réponse, des stratégies innovantes incluant l'utilisation accrue de ressources multimédias interactives ont été cruciales pour surmonter ces obstacles et améliorer l'engagement des étudiants.L'étude révèle également la nécessité d'un soutien institutionnel accru pour améliorer les ressources technologiques et les compétences numériques des enseignants. Elle offre des recommandations concrètes pour les décideurs et les praticiens, visant à renforcer l'efficacité de l'enseignement hybride et à préparer les systèmes éducatifs pour des crises futures. Ces insights contribuent à une meilleure compréhension des dynamiques d'enseignement du FLE en Iran.

Charles Le Blanc is professor at the University of Ottawa where he teaches translation and philosophy. In his recent book titled Histoire naturelle de la traduction, he uses folk tales to develop his ideas on translation. He places the translator at the heart of his thinking and presents translation as reading. According to him the translated text is not an original otherwise, but it is an original reading of a text and testifies to a particular relationship between the author and the translator as a particular reader. Different elements influence this reading and renew the need to retranslate over time.

AbstractSince every translation is a reading product of the original text, it is considered a paratext for the primary text. However, translation is also considered a text and is accompanied by paratexts. It is expected that by examining these paratexts, helpful information and evidence be obtained to find out the priorities and reasons behind the translator's decisions and his translation method. In this article, relying on Gérard Genette's opinion about paratext and its types and using Antoine Berman's translation criticism method, the paratexts of the first full translation of the Divan of Hafez into French are scrutinized (de Fouchécour, 2006). After examining the epitexts of the mentioned translation, its peritexts are analyzed. Using these paratexts, de Fouchécour's view on Persian literature and Hafez's poetry, in particular, are realized. In this way, it is revealed that he considered translation an incomplete tool for recognizing and introducing Hafez to French-speaking readers. Moreover, it is comprehended that de Fouchécour's standpoint toward Persian literature, Hafez's poetry, and the act of translation affected his project to translate the Divan of Hafez, and as a result, he presented a non-versified translation of all of Hafez's Ghazals and provided notes for the translation of each Ghazal.

The purpose of this article is to study the question of rhythm in the Persian translations of the work of Christian Bobin, presented by Mahvash Ghavimi. In Bobin’s writings, we meet people who seek happiness, but instead of fighting problems and changing conditions, they accept life as it is. After presenting the thought that Bobin confides to his readers in a simple and fluid style, we approach the question of rhythm as it is treated in the writings of Henri Meschonnic, a French translator. According to him, every text has its own rhythm which plays a crucial role in its significance. The translator must discover the factors involved in the significance of the text and recreate them in the translated text. We are then interested in studying the translation of two books of Bobin, entitled Geai and Isabelle Bruges, to see how the translator overcame the problems of recreating the rhythm.

This article presents and reviews the book titled L’Autotraduction littéraire: Perspectives théoriques. It includes 10 articles presented in an international seminar by the same name, which took place at the Udine University in Italy in 2012. Auto-translation is defined as “The translation that an author presents of his own work in another language”. This book is divided into two parts that address the different aspects of auto-translation by considering external factors (historical, cultural and social contexts) and internal factors (which treats the text and the author as the focus of the studies).