نشریه پژوهش ادبیات معاصر جهان
سال بیستم شماره 2 (پیاپی 73، پاییز و زمستان 1394)

One of the importants questions in the discourse of Valery, French author of XXth century is the question of another who achieves in the knowledge. Another is treated with a new way. Indeed, another is defines in touch with the Me of the author. That is the reflection of Me and a dialectic becomes established between both: Me and another. In his discourse, the enonciataire is in front of two instances of the enonciateur: ipseity and samely, one-idem and one-ipse Indeed, Paul Valery defines another in oneself who speak. He tries to show the relationship between Me and another; We benefit to semiotics of school of Paris, the work of Jacques Fontanille and also the analyze of Paul Ricoeur. Specially his work: oneself as another. The objective in this research is to show how another defines itself compared with me and how the author achieve the knowledge and know itself.

The present study is an analysis of the art of tragedy in the original tragedy of the eighteenth-century Germany. The reasons for the glory of tragedy among other genres of drama definitely lie in its tragic structure and content. For this reason, Die Jungfrau von Orleans, Schiller's famous play, is analyzed to illustrate his views on the structure and art of tragedy with many examples. Along with familiarizing the reader with the features of a real tragedy, this study aims at introducing the various perspectives German writers, especially Schiller, hold on the art of tragedy so that we will be at a better position to analyze and interpret a real tragedy. The focus of this paper is on Schiller's world view concerning physical and spiritual identity and his opinion on the art of tragedy, for which he assumes two conditions.

At the dawn of the modern period, the English society was a patriarchal one. In other words, men dominated the society and the family. Patriarchal standards of Elizabethan age introduced women as figures that should be dominated and controlled. In most of Shakespeare's plays the conflict between women and the patriarchal ideology has been shown. Women's resistance is the point of disagreement between Stephen Greenblatt who founded new historicism and Alan Sinfield who is one of cultural materialists in Britain. Greenblatt has a negative understanding of the mechanisms of power relations in which he states that resistances are contained within the standards of the dominant while Sinfield believes in the faultlines of the texts in which the dominant cannot hold the ground. Paulina can be seen as a clear manifestation of the text's gap. This study focuses on this disagreement with special references to the Winter's Tale by W. Shakespeare. It also tries to analyze the how female voices tried to gain power and space to be articulated.

Emphasizing on the structural aspects of theatre of the absurd as a modern form of drama development, the present paper studies some of the principles of this dramatic school in Bahman Farsi's plays of 1340s. One of these principles is Farsi's new understanding of dramatic action which is the most important element in conveying the author's intended concepts. Affected by theatre of the absurd, Farsi has removed outside realities and events and the cause and effect plot in the traditional drama and has reinforced the intellectual and doctrinal aspects. The circular pattern of the plays, the complexity and oblique presentation of the characters and their philosophical and doctrinal beliefs, poetic pictures, development and domination of verbal aspect on action in the play and the open-ending with no relief are the innovative visions of Farsi's plays which proves the influence of artistic and dramatic school of theatre of the absurd on him.

Oliver Goldsmith’s literary reputation was boosted by the publication of his comedy, She Stoops to Conquer, Or, the Mistakes of a Night. The frequent references to the events and literary works of the eighteenth century England have enriched the play as they attest the presence of profound meanings behind the characters’ live dialogues. This paper is an attempt to investigate the literary and social meanings of the play in the light of Mikhail Bakhtin’s concepts of “carnival,” “dialogism,” and “chronotope” to examine the existing dialogues and the temporal and spatial elements of the text in order to elucidate how Goldsmith, through creation of a carnivalesque situation, illustrates a society in which the voices of the servants, women, and those who are subordinated to higher authorities attain significance and are heard while the imposed social norms and ideologies of the authorities who marginalize the voice of the lower classes are questioned.

Turgenev was born in a respected and wealthy family that had piled up great wealth in feudalism system.He witnessed how his mother treated their workers and gradually developed deep enmity with the system. Ivan Sergeyevich Turgenev published “A Sportsman’s Notebook” in 1852.
He did not see the peasant as properties of the landlords and pictured their characteristics as key elements with realistic and objective destiny. In light of this, he started a new era in Russian Literature.
A Sportsman’s Notebook was created in the literal movement of naturalism, which mainly tries to picture Russian’s life (mainly the poor) with lots of details.
The present study is an attempt to survey the picture of social classes system (feudalism) in Russian literal works from Russian literature critics’ viewpoint with focus on Turgenev’s work “A Sportsman’s Notebook.”
Critics such as Blinsky as founder of literal criticism of Russia, Maxim Georgy the symbol and defender of proletarian art and pioneer of socialist realist style, and Berdieve the existentialist literature critic are some of the critics to name but a few. In this regard, academic works of the renown Turgenev expert Nicolai Ivenovich Yakoshin is notable as well.

The seventh art has stabilized its proper place in the social and cultural level in different societies of the world. Although, in this art, the picture, sound, music and movement are very important but the role of speech in the transmission of sense is undeniable. Development and presentation of this art to the audience depends greatly on translation of the speech from the original language to the target language.
In this present study, first the standard features of audiovisual translation are introduced and the practical steps of this kind of translation in Iran are compared to them. Then an attempt is made to develop some criteria for evaluating audiovisual translation quality.
To this end, André Dussart assessment model which had been developed for literary translation and which is based on “omission, addition and transfer of meaning”, is examined in terms of its function and validity for evaluating audiovisual translation.
In order to illustrate the model, some examples are provided from two French movies, A Very long engagement and The Chorus, whose dubbed versions have been shown several times by IRIB.

Shahriyar Mandanipour is one of the talented and distinguished writers of the twentieth century in Iran. With his magnificent ability in handling the language, he has marked a new era in Iran’s short story writing. By challenging and breaking the common norms and conventions of storytelling as well as using novel narrative technics, Mandanipour has made a new language which distinguishes him from his contemporary writers. This study is an attempt to find and analyze these technics and manifest their role and significance in one of his short stories, “Senoubar va Zan-e-Khofteh.” This study rests on the four narrative technics of "Imagery", "Polyphony", "Dramatic Irony" and "Flash back" that are discussed based on a Barthesian structuralist framework in "Senoubar va Zan-e-Khofteh" from Mandanipour’s short story collection Abi-e-Mavara- ye- Behar (2003) written after the September-eleventh event that influenced, in many aspects, the personal and social lives of different groups of people.

Among French writers, Pierre Loti was a of rare ones who, because of his position as a navigation officer, traveled around the world and visited many countries and enjoyed other peoples’ customs. Mixing his fine and detailed observations of these real travels to his poetic imagination, he wrote unique stories in an agreeable prose. Loti is not unknown in Iran. Though he is generally considered as an Orientalist, but his knowledge about Iran and some other countries was limited to a superficial and quick glance. In fact, the reputation of Loti is, above all, for his lyrical works, especially the description of landscapes and characters. Given the very few Persian sources -except the introduction of Mohammad Mehryar in the second edition of the book Towards Ispahan- and sometimes superficial and incomplete information in some articles in a number of publications and websites in Persian language, this article attempts to give a better understanding of this famous writer and more comprehensive information about topics and sources of inspiration on his fictional characters.

In his collection North, Heaney mythologizes the contemporary history of the people of Northern Ireland through conflating the mythological history of the people of Ireland, with the 1960s Troubles in Northern Ireland. Used by the modernist poets, the method of representing the contemporary history through recourse to mythology have been also favored by poets who have experienced colonial and postcolonial conditions. Though this method helps the people who live in postcolonial conditions to re-construct their ruined history through recourse to the past and national myths, it problematizes their understanding of the contemporary times, as the identification of the past and myth with the present undermines the distinctions which exist between the causes of murder and violence in the past and in the present. Hence, Not only Heaney’s mythologizing the present which conflates modernism with postcolonial historiography cannot resolve the socio-political problems in Northern Ireland, it reinforces violence in the society.