نشریه پژوهش های زبان و ترجمه فرانسه
سال پنجم شماره 2 (پیاپی 9، پاییز و زمستان 1401)

Rafael Du Mans is one of the first Frenchmen who traveled to Iran during the Safavid era and wrote the results of his long-term stay in Isfahan in his work entitled Iran's Situation in 1660 by French language. This work became the source of many images of Iranians in other French travelogues, so it is necessary to analyze and study the images of Iranians from various points of view. In this research, we have identified and classified the Persian proverbs and idioms mentioned by Du Mans in his work, and based on the knowledge of imagology and by referring to historical sources and examining intertextual signs, we have explained the reasons for emergence and spread among Iranians in order to to gain information about the people and society of Safavid Iran, on the one hand, and to clarify the reasons for Du Mans 's attitude towards Iranians on the other hand. Based on this, a total number of 6 proverbs and 11 idioms in Persian were identified in Du Mans’ Travelogue consisting of 12 direct and 5 indirect imaging. Among these 17 proverbs and idioms, 12 are negative which expresses Du Mans’ negative view of Iranians. The reasons for this view can first be traced to the purpose of Du Man's trip and his European arrogance. Also, after classifying the genesis of proverbs and idioms, it was found that most of them have a cultural background that expresses the priority of this issue for the author.

The beginning section of the novel,"incipit", is the basis of the text. The incipit is where the narrative voice appears in the imaginary world of the story. This relationship, created between the reader and the text, is condemned to be discontinued in the final section of the text, thus, the closure has also strategic significance because it involves time-space where the reader is separated from the text. In this study, we are going to study the incipit and the closure of the novel All those things we never said, by Marc Levy. We would like to know what mechanisms have been used by the author to process these two positions? The structure of this novel is like a cycle, that is why it is interesting to study how the story takes shape and how it comes to an end. The links between these two positions reveal secrets about the presence of the characters in the formation of the story. We present, first of all, methodological bases and explanations on the notion of incipit and closure and then we proceed to an analysis of the text. The results of this research show that the author, using techniques such as in medias res, brought the reader directly into the story, then used the technique of enigma of text to encourage the reader to continue reading. The similarities between the incipit and the closure show the author's skill in using the language techniques in the treatment of the incipit and the closure.

Architecture specificities of Khâneh Mašrouteh (Constitution House) by Geopoetics approach of Kenneth WhiteAbstract:Scottish writer, poet and philosopher Kenneth White, noticed during one of his travels, the energy hidden in places and the theory of geopoetics came to his mind. In Le Plateau de l’Albatros, he explores this hypothesis, examines the delicate relationship between man and the earth and arrives at a new visison of the world. Geopoetics being an interdisciplinary approach will help researchers in the development of human sciences and more particularly of literature. In this research, by referring to the whit’s geopoetic indicators, we want to know how, we could apply this theory to understand the architecture of Khâneh Mašrouteh (House of the Constitution), belonging to Hâj Aghâ Nourollah Najafi Esfahani. Then, by referring to the major works of White, more particularly to Le Plateau de l’Albatros, the main source of study of this theory, we will closely examine the architectural specificities of Khâneh Mašrouteh (House of the Constitution), in order to understand this new approach in detail. Our goal is understand this new theory, with a view to a new way of adaptation of the human sciences.

Legal texts _by their heterogeneous and protean nature _ are difficult to understand and a fortiori _to be translated intralinguistically or extralinguistically. This question leads us to emphasize the need to produce translated texts that would be assimilable by the receiver. The question that would then arise is that, abstracting from the various challenges of the translation of the legal texts _ principally those associated with terminological, pragmatic and above all interpretative issues(…) _ what are the challenges and solutions that a specialized translator may encounter while his simplifying operation? It is hypothesized that in addition to the multiple diversified nature of legal texts which make the reception of these texts difficult to grasp, the difficulty of understanding these texts stems mainly from the inextricable overlaying of manifold interpretative layers that are innate to them. It is therefore suggested that the interpretative-philosophical approach on which the Steinerian hermeneutics is based could serve as a precious aid during the process of simplification and clarification of interpretative elements _ especially for what aligns with the interpretative side of the specialized translator.The results of this research indicate that the Steinerian cyclic structure _composed of the four stages of "the surge of confidence", "aggression", "incorporation" and "restitution", would prove to be an incomparable tool for a clearer understanding of these texts and that thanks to it, the translator achieves a simpler, more precise and successful transposition of the desired concepts

Martin Heidegger is one of the contemporary philosophers who has played a key role in the emergence of important philosophical currents. He believed that the right way to think is to discover the horizon of the fundamental question of existence, which means "the existence" of a being. To interpret it, one must question the existence of Dasein (man). From his point of view, “Dasein” is the only being who is aware of death, and this awareness, by finding meaning in life, becomes a force to break with the everyday and the absurd. In this research, with the method of textual-descriptive analysis, we intend to examine some unpublished and internal aspects of the fictional characters of the works of Jean Echenoz through the ontological theories of Heidegger and to reflect the characteristics of Dasein in the novels of Echenoz. Furthermore, we examine the role of confusion, wandering and its effect on human identity, in line with philosophical concepts formed beyond the writings of this author, and we will conclude that by receiving this knowledge of "being and existence"; this Dasein (human or Echenozian personality) if his way of being in the world is considered, in the position of a being among all beings, he is not limited to time and space.This Dasien may never be perfect but his existence is the path he travels and this is how the loneliness, the wandering, the fear, the fall of the Echenozian characters all contribute to a greater grip of consciousness, recognition and self-awareness.

The translation allows us to transmit and exchange ideas, reflections, and the vision of the world. But among the various literary texts, the translation of the poetry has been declared as impossible or difficult by several specialists of the field. The major difficulty is to recreate the union of the meaning and sound which characterizes the poetry and is a part of the meaning of poems. Among various poetic genres, the poetry of Verlaine has a special place, because this poet is very sensitive with respect the form, musicality, rhythm, and sonority. The translator of a poem imposes on himself a compromise between the fidelity to the text, which is not strictly exact, and the research for the aesthetic effect. Our research work aims to criticize the translation of Verlainian poems into Persian to see if each poet's form, rhythm, and sound have transmitted well in the translation. For our analysis, we will follow the classification made by Etkind. In this research, we will study the divergence and the convergence between Verlaine’s poems and the texts translated by Parsayar on different levels, such as the meaning, form, musicality, rhythm, sound, etc. Apart from the lexical field, the poems of Verlaine strictly follow the fixed rules of the French versification, therefore a first hypothesis makes us think to the importance and the necessity of the poetic form transmission and the rhythm of these poems to the fixed form in the target language.

A Comparative Analysis of Two Translations of The Play Dirty Hands Based on Antoine Berman’s Theory of Deforming TendenciesDrama has been one of the most important subcategories in the field of literary and this genre presents a special case because play translation is different from other types of translation in that it involves paying attention to both verbal and non-verbal aspects of the texts in their translations. Antoine Berman (1942-1991), a prominent theorist in the field of Translation Studies, claims that translators are prone to 13 deforming tendencies in the process of translation, particularly in literary translation, which results in textual deformation. The present descriptive-analytical research aims at analyzing two translations of the first act of the play Dirty Hands by Jalal Al-e-Ahmad and Qasem Son’avi, employing Berman’s deformation theory. In translation assessment two factors are of significance: conveying the meaning and conveying the mood. The mere fluency in source and target language and a touch of literary creativity will not result in a translation of high quality. In this case, both of the translators have conveyed the meaning successfully. However, Jalal Al-e-Ahmad seems to be successful in capturing the mood and establishing hypertextual relations, thus; the context of the original was also translated successfully. In the present research, we will try to introduce the theory of deforming tendencies, criticize the translation of Dirty Hands, and analysis the extent of its applicability on the stage.

The question of the translation of sacred text and the appropriate approaches in this regard has always remained interesting subjects. Given the difficulties of translating sacred texts and the importance of maintaining the sacredness of the divine word, the translatability of the sacred text remains the most important question for theologians and translators of biblical and Quranic texts. In translation studies, the analysis of translations of sacred texts, based essentially on exegesis and tafsïr (explanations), constitute a relevant approach. Thus, in this research, from a comparative and semantic perspective, we will examine the possibility and suitability of French and Persian translations of the Quran concerning the terms “Al-mavali” and “vali” in verse 5 of Surah Maryam. Indeed, we will base our analyzes essentially on the sources dealing with the meaning of Quranic terms and expressions, with regard to the sacredness of the divine word, and compare the equivalents proposed by the translators. While taking into account religious, historical and cultural parameters, we will study the lexical and contextual meanings of the terms in question and shed light on the reasons for the semantic impropriety of the equivalents and the untranslatability, in a general sense, of the said terms. In this study, we analyze seventy Persian translations and forty French translations of the Quran. For the sake of a good understanding of the different meanings of the verse, apart from the existing translations, we take advantage of the tafsïrs and the comments of certain reputed Shiite exegetes of the Quran.

AbstractThe analysis of the criticisms made on Sadegh Chubak's works shows a kind of disagreement in his attribution to naturalism. Some consider him a naturalist writer, while others consider him original and innovative. A noteworthy point in the analyzes of these critics is the lack of a precise and documented definition of naturalism and its principles. Due to the existence of many and different opinions, the reader of his reviews not only will not get a correct understanding of naturalism, but will have doubts about the correctness of using the naturalist etiquette for Chubak. In order to resolve the mentioned ambiguities, the principles of this literary school and its influence on Sadegh Chubak were investigated based on the theories of Emile Zola in the manifest of Naturalism of the Experimental novel. First, the concepts of "experimental novel", "experimental method", "novelist", "determinism" and "style" were explained. Then the working methods, subjects, characters and style of Zola and Chubak were compared. According to the results of this research, apparently, the statement of french naturalism has not received much attention and use by Iranian critics. Maybe this is the reason for the diverse and sometimes insufficient perceptions of this school. The obvious differences between the two writers can be seen in things such as work methods, subjects, characters and even style. Based on the principles presented in the experimental novel, Sadegh Chubak is not a naturalist writer.