PLUME
Year:2007 | Volume:2 | Issue:4|Papers Count:8

Press translation (French to Persian and vice versa) is one of the technical courses for French Language students in Iranian universities. Since journalists regularly use their own specific terms, phrases and structures and students are not much familiar with such expressions in a foreign language, therefore they face certain problems in their relevant translations. The present article has an overall view of these problems from a personal perspective by someone who has been teaching these courses in different universities and different fields for a long time. Moreover, the writer of the present article, as an instructor who is familiar with learners’ difficulties, makes some suggestions with this regard.

In the contemporary literature, the return to the past is a frequent theme. Especially among the women writers, in the works of whom, the happiness is rarely seen on the scene of everyday life: it is a nostalgic theme, born from the association of faces and places representing the past, where dreams had not yet been lost.This paper aims to study the association of the themes of paternity and childhood’s house – or any other ancient construction that evokes the father and the lost happiness – in three works of Zoya Pirzad,, in witch the every day conjugal life – is drown in forgetting herself for the comfort of those in the eyes whom she passes unnoticed; her identity is graven on places that make survive the memories of the father and the time when she was loved and supported by him.

Relations between Iran and France began under Safavid dynasty. The catholic missions, travelers and the traders always played an important role for familiarizing the inhabitants of their countries with Persian culture and literature. Ferdowsi, one of the greatest epic poets of Iran has influence the French literature for a long period of time. The celebrity of his epic work Shâh-Nâme (the Book of the Kings) has exceeded the Iranian borders and penetrated into the European countries. In 1888, Adolphe Avril highlighted affinities between certain stories of Shâh-Nâme and those of the chivalry tales of the Middle Ages. He made a parallel between heroines of Shâh-Nâme and those of the Chansons de Geste. After a study on dozens of Shâh-Nâme heroines, he showed that women in the epic work of Ferdowsi have rare features: “intelligence, discretion, convenient energy, initiative, eloquence, as well as the spirit of a natural devotion to their gender but with a heroic degree and with an Arian manner (sic)” (Adolphe Avril, 1888, p. 11). In his master dramatic piece, Pélléas and Mélisande, Maurice Maeterlinck has chosen one of these women and made a heroine out of her. In this article we try to put in parallel the common points between the above mentioned book and Shâh-Nâme.

Christian Bobin, who is very famous in his reader's view, opens a new horizon for the reader which is between presence and absence.He makes the human's view to world to peace and quietness. This approach is not a kind of ignorance from the social realities, because Bobin knows the problems of lower class better than anyone else. He wishes to reduce the depression and unhopefulness by the use of the pretty dimension of reality.

The educational software’s for learning French as a foreign language (FLE) available on the market are more American, British or French products. Like any other production, the software’s are reflections of the cultural and educational systems from which they derive. Can these educational software’s meet the needs of Iranian learners? In this article, we will analyze Learning French Language by taking into consideration the criteria such as the teaching manner, the style of teaching and characteristics of the target public in order to raise the weak points and strengths of this software. The analysis of this software allows us to conclude that these educational software’s hardly meet the needs for Iranian learners due to some lacks such as the learning culture of the learners and the teaching environment in which this software is used.

The aspect, as one of the properties of the verb has been always ignored by linguists, instructors, and students and has been influenced by the "tense". What is not astonishing is that the aspect, as a grammatical category exists neither in French nor in Persian languages. The accomplished and unaccomplished aspects are the only grammatical aspects of French language expressed by the oppositions of the simple and compound forms: the simple form expresses the unaccomplished aspect and the compound form indicates the accomplished aspect. The aspect, in general, and the accomplished and unaccomplished aspects, in particular, are always ignored in Persian language. After the contrastive study of the accomplished and unaccomplished aspects in a French/Persian corpus, one can notice that the accomplished and unaccomplished aspects in Persian as in French language, are grammatical aspects, regardless of the role that these characteristics play in the divisions of the forms into simple and compound ones. Each form of the Persian verb indicates a particular aspect whose aspectual distinction is extremely related to the context. Several reasons are raised in this article with this regard, such as involving the erroneous choice of the verbal forms by the Iranians who speak French.

This article proposes to study the presence of the Stranger/the Other in the cultural designators and deals with the problem of translating culture-bound elements, since a translator not only has to translate words but culture as well, which is a sign of Otherness and is part and parcel of a text. Our study, based on a corpus of 20th-century English and American short-stories and novels, will try to examine the solutions used by translators to convey cultural Otherness, bearing in mind the fact that culture is often implicit and can be likened to the concept of connotations. Emphasis will be laid on the problems posed by the translation of English cultural connotations into French as well as the strategies used by translators. Specific attention will be devoted to the factors that make the translator choose between keeping foreign elements and domesticating the text, which will in turn throw light on the dialogical process at work between the two languages/cultures that come into contact.