جستجوی مقالات مرتبط با کلیدواژه « شازده کوچولو » در نشریات گروه « ادبیات و زبان ها »

Comparative literature studies with two American and French approaches have grown more and more in the last decade. Poems, stories, novels, etc. of different nations have been examined both in terms of comparing similarities (American) and in terms of influence (French); but comparative studies in the field of literature for children and adolescents have deficiencies and inadequacies. By understanding this shortcoming, the present research provides the basis for comparative studies in children's and adolescent literature. In this research, with the approach of French comparative literature and descriptive and analytical method, we have compared the same elements in “The Little Prince “and Kashigar's “When Mina Woke Up”. Kashigar is one of the translators who translated” The Little Prince” from French to Persian. In addition, in examining the story elements and the concepts and content of these two stories, on the one hand, there are similarities in elements such as: character and characterization, setting, dialogue, place, etc., and on the other hand, there are similarities in the philosophical foundations of these stories. Two works, with philosophical themes such as: death, loneliness, returning to oneself, surprise, freedom and captivity, proof of philosophical existence... It strengthens the assertion that Kashigar in the creation of Mina's story “when she wakes up”. She was influenced by “ Little Prince”. This article shows this effect in detail.

The Little Prince, a work by Antoine de Saint-Exupéry, was an allegorical report of a journey into the inner world that begins with an emergency landing in a desert in Africa; it ended with its repair and return to the homeland. The pilot’s meeting with the little prince was a mystery of meeting the conscious with the phenomena of the unconscious world. Mrs. Pearson, who is the author of the single-legendary theory of Joseph Campbell, believes that during the three steps of preparation, journey and return of the hero, twelve heroes were activated in his soul. Accordingly, the defect of the aircraft engine reflected the problems inside the hero which inevitably led him to descend into the unconscious desert and to meet the animation inside which was symbolized by the little prince. The fox which was a symbol of the nature cleverness, gave him love tips. In this story, instead of the conscious, the unconscious met the shadow, and the results of this visit back to the conscious. Eventually, Anima died with yellow marijuana through drinking immortality liquor from the unconscious well and thus the conscious and unconscious became united. Unconscious returned to his world and conscious got able to repair the aircraft that was a mystery for our material existence. In this narrative, you can see all allegorists described by Pearson.

 In contemporary literature, allegorical language is used to convey concepts and simplify complex social, moral, and political issues that cannot be presented in a direct and explicit manner. Among these allegorical works are the two novels The Little Prince and Animal Farm, which, despite having seemingly different themes (respectively, psychological and political), are socially comparable. The question that arises is that, considering the difference between the personality and environment of the two authors, and most importantly between the two reference societies and two seemingly different substructures, can we arrive at a correspondence between two works and thus two seemingly different superstructures? Therefore, relying on the sociocritique of Claude Duchet and in the form of a comparative study, this research intends to find possible correlations in the individual as well as socio-historical contexts in which these novels were written in order to discover the traces of the author and the history in the formation of these two works; in other words, to study "hors-texte" of these two novels, the reference society from which the story was born, and the "sociotexte" created by the authors of these two works. The results of the analysis show that "sociality of the text" in the two stories reflects the sociocritical concerns of the two authors, and the "metatextual references" of the two works to substructure -that means "the reference society" the two authors experienced and lived in their own way- is achieved through the superstructure (plot, theme, characterization, ending).

Antoine de Saint-Exupéry (1990-1994), writer of The Little Prince is one the world's most famous writers in the fictional literature, who published a masterpiece called Little Prince in 1943. Little prince's story is based on the real incident that occurred in the sandy desert of Mauritania for Saint-Exupéry, and it includes a collection of notes that Saint-Exupéry has left behind in his experiences and thoughts of his life. The methodology is based on Genette’s narratives theory. Narrative is the sequence of events in the center of time. In the narrative, the distinction is between what actually happened (the narrative content) and how it translated what happened (narrative form). The narrator is the main character of the story, and according to Genette, the narrative quality is identical in the narrative world, because the is on the narrator's personality. The narrative is in the form of "coherence". The entire knowledgeable narrator is aware of the ideas hold in the story. Each story is expressed through one or more narrators, which, according to Gerard Genette, can be interpreted in the terms of narration and the sequence of events in the order of time, continuity, and frequency. The story of Little Prince is the order and sequence or the dimension of the time back and forth that has an aesthetic and artistic side, and the painting event has the highest frequency, and the stability of the dynamics or the speed of the story has a positive momentum and, in some cases, a negative momentum. The main characters of the story are the pilot and the little prince whose events are viewed from the perspective of the first person and the events from the perspective of the narrator. The Little Prince's story is an allegory story, composed of pyrotechnic stones from the crustal and decaying layers.

The present study aims to investigate the potentials of two significant translation paradigms in children’s literature: 1) Skopos paradigm; and 2) equivalence paradigm. The former seeks equivalence in the source text while the latter seeks it in the target text. To this end, three translations of “The Little Prince” by Mohammad Ghazi, Ahmad Shamlou, and Abolhassan Najafi were analyzed. The results showed that the translation by Shamloo, unlike the two other translators, was target-oriented and is based on the Skopos paradigm which fully considersthe children as its specific audience. The two other translators adopted a text-based approach in their translations and sometimes used words and phrases that were complex for children to understand. These two translations might conveniently fall under the equivalence paradigm. The findings indicate that Skopos is a more exhaustive paradigm when dealing with children’s literature as compared with the equivalence paradigm.
Adopting a qualitative approach, this study analyses three translations of the Little Prince's story. to do so, the excerpts of the original text and three of its translations (i.e Abolhassan Najafi, Mohammad Ghazi, and Ahmad Shamlou) were analyzed. The theoretical frameworks used in this study are two important paradigms in translation studies, namely the equivalence and Skopos paradigms. In fact, the selected translations were analyzed from the perspective of these two paradigms.
Based on the analysis of the three mentioned translations of the story, it can be concluded that the extent to which a chlidlren literature story might be successful is highly related to its particular audience, namely the children. The language should be simple and understandable and avoid any kinds of complexities. In this regard, Nida (1969) believes that “the differences between the translations can usually be attributed to three main factors: 1) the nature of the message; 2) the aim(s) of the author and by proxy, the translator; 3) thetype of audience” (as cited in Hatim &Munday, 2004, p. 164)
In children's literature, the nature of the message, the purpose of the author (translator), and the audience is very clear. Nida (1969) also believes that the decoding ability in any language includes four following levels
“1)the capacity of children, whose vocabulary and cultural experience are limited;
2) the double-standard capacity of new literates, who can decode oral messages with facility but whose ability to decode written messages is limited;
3)the capacity of the average literate adult, who can handle both oral and written messages with relative ease;
4) the unusually high capacity of specialists (doctors, theologians, philosophers, scientists, etc.), when they are decoding messages within their own area of specialization. Obviously a translation designed for children cannot be the same as one prepared for specialists, nor can a translation for children be the same as one for a newly literate adult” (as cited in Hatim &Munday, 2004, p. 166).
According to Nida , children have the least ability to decode the message than the other three groups. Thus, in translations for children this essential point should be taken into account. The three analyzed translations revealed that the translation by Shamlou paid more attention to the children as compared with the two others translations. Using simple words, dynamic, and fluent language, he provides a fluent translation which is devoid of complexity and easier to understand for children. But the two other translations by Najafi and Ghazi have taken a different approach as compared with Shamloo and have more complex words and a language that makes it difficult for children to understand. Based on the analysis, Shamlou’ stranslation can be considered under Skopos paradigm, whereas the two other translations have an equivalence-based approach and are classified under the equivalence paradigm.
The present study analyzed three translations of “the Little Prince” story under the equivalence and Skopos paradigms. In the end, it was revealed that the translation by Shamlou is more fluent and reader-oriented. Using words such as “Akhtarak”, “Kavir”, “Sahra”, and so forth, Shamlou has provided a more understandable translation for his specific audience (i.e. children) and adolescents who have limited vocabulary and cultural experience.
Shamlou has also attempted to translate the text in a colloquial style; therefore, decoding the messages is simpler for children with low literacy levels. Thus, Shamloo, categorized under the Skopos paradigm while taking into account his specific audience (i.e. the children who have little cultural experience), has provided a more fluent translation. The other two translators adopted a text-based approach in their translations and sometimes used words and phrases which complicated the text for children to understand and follow. The translations provided by these two translators should be considered under the equivalence paradigm.

On a beaucoup parlé du Petit Prince de Saint-Exupéry. On l’a commenté et l’a traduit. En Iran, les critiques écrites sur cet ouvrage ne sont pas nombreuses, mais les paratextes du Petit Prince paraissent être, à ce titre, particulièrement significatifs. Loin d’essayer de commenter, certains de nos écrivains ont écrit une continuation à l’histoire du Petit Prince. Nous pouvons parler dhypertextualité à propos de chacun de ces livres. Dans cet article, nous nous sommes proposés d’évoquer cinq de ces hypertextes parus en Iran au cours de 10 ans, en les comparant à leur hypotexte: Le Petit Prince de Saint-Exupéry. Pour ce faire, nous nous sommes référés aux conceptions de Gérard Genette de la transtextualité définie comme transcendance textuelle du texte, ou «tout ce qui le met en relation, manifeste ou secrète avec d’autres textes». A traves des exemples pertinents puisés dans ces ouvrages, cet article a montré comment les éléments hypertextuels ont été concrétisés dans ces livres et pourquoi nos écrivains ont écrit une suite au Petit Prince.

It is through language and translation as the important elements which animate the lives of different human societies that we come to know our culture and know the world. We can never neglect the exchange and cultural development as the result of the translation. We try to do a search about the translation in the field of the interjections. An interjection is a word category invariable، allowing the speaking subject، express spontaneous emotion (joy، anger، surprise، sadness، admiration، pain، etc.). If the interjection does not deserve a specific treatment of grammar، it plays a very clear role in the transmission of meaning. That is why translation is difficult and important. As corpus، we chose The Little Prince and the translations made by Shamlou and Nadjafi Ghazi. We also try to analyze the examples to compare and find the qualities of each translation.

One important aspect of The Little Prince by Antoine de Saint-Exupery 1900 -1944) is a phenomenological approach on the story that needs to be analyzed for a clear understanding of the text. According to many searches in valid English and Persian data bases it seems that this aspect of The Little Prince hasn’t been of interest to domestic and foreign researchers. This descriptive- analytical study demonstrates that the personality of the little prince is indeed the philosophical inner child of the author (the narrator) which at first proves himself through a philosophical action. Analysis of the behavior، speech، mind and characteristic of the little prince and other positive characters of the story and also the portrayal of the little prince proves that this story has been written under the influence of phenomenological theory. Emphasize on the natural power of child recognition، disregarding the appearance of every concept and emphasizing of the little prince on its origin، non-compliance of the images of hat and box with their true signified، criticizing consciousness and diverting the reader’s attention to genuine recognition of phenomena and values and social norms are all some evidence-based signs of phenomenological approach in The Little Prince. Also some concepts such as domestication action، symbolic places like the planets and stars، Africa، natural forest، desert and oasis and so on can be analyzed in terms of phenomenological theory.

In this article, an attempt is made to answer the extent to which the Persian translations of The Little Prince of Antoine de Saint-Exupéry, are in conformity with the texture of the original text. Making a comparison without analysis and only involving error correction and editing do not lead to a useful task. To make a constructive criticism, we need to refer to various theories. Such a theory calls for a complementary relationship between the text and the context based on which we can put forth a logical criticism, and that the semantic aspects depend on texture. Also, by defining the context, the cotext, the texture, the microstructure and the macrostructure of the text, we seek to study the translations of this work into Persian by taking into consideration the texture and, if necessary, the context of the original text. It is noticed that if the texture of the original text is not taken into account, there will be gaps in the translation at the word and sentence level, and cohesion and semantic coherence will be disturbed.