PLUME
Year:2010 | Volume:5 | Issue:11|Papers Count:9

The Three Blood Drops among the Sadeq Hedayat’s short stories is the most complicated and at the same time the most harmonious one, from the view of format, context and theme. In such a way the Blind Owl serves as a preparatory plot for this one. The narrator of the Three Blood Drops like the Blind Owl’s narrator behold no similarity correlation between himself and his own around people and sphere, so that he strongly feels to resort to soliloquy and meets this feeling with writing. Among this scribbles he has engraved on the paper, only one phrase could be distinguished: «Three Blood Drops».The entire story and all the characters have formed around the same axis and have formed a network of communications and changes. The Three Blood Drops is really symbolic and far reaching work; therefore in this essay which is titled Three Blood Drops or the Triple Aspects of a Pain we have tried to analyze the symbols of the story to show the factors as well as the affairs which have distorted the spiritual and social life of the narrator and have developed him towards insanity.

It is natural to become seriously entangled with the inherent darkness of L.F. Céline’s universe and style, while studying his Journey to the end of the Night (Voyage au bout de la nuit).Fertile work, appealing to different approaches, the Journey … still remains fully attractive by the richness of its “formal” features and qualities and also by the multiple analytical perspectives that constantly encourage the critics to take a deliberate plunge into the novel. The following article is supposed to take the ideological darkness of its author-narrator from the ‟ formal” point of view while it puts the bases of its formal study specifically upon the temporal apparatus of the diegesis. We are about to verify if the formal architecture of the diegesis is capable to transfer the ideology of the author-narrator via its special way of temporalisation, and also by taking a full account of the notion of the “time” conceived in its phenomenological & ontological acceptation.We will see how the treatment of issues such as ‟ order” and the “duration”, permanently discussed in narratology, may lead us, admittedly in an indirect way, to discover the feelings of renunciation or refuge that the narrator of the Journey … who is exposed to the temporality and who is experiencing the passing of the time has entirely known.

The literary space between the two centuries is marked by the explosion of poetical activity. The creativity has become “industrial” and the literary texts have been artistic. The authors like Proust are interested in their contemporary paintings particularly the painters who are impressionist like: Monet, Manet and Turner. Monet’s paintings, especially his two series of Nymphéas and his works with Backgrounds of water have influenced the masterpiece of the novelist.Proust has become an artistic critic by “Monet” and “Monet.” He reminds the protectors of artists like Charles Ephrussi in his book. The author substitutes the real characters like Chardin, the French painter, by other imaginary characters like Elstir. Therefore Proust’s masterpiece is Barthes’s third-form between the essay and the novel, this is a new draft of the literature.

This lecture was given on the occasion of the annual meeting of AILLF (Iranian Association for French Language and Literature). The author deals with the relation between Gracq and surrealism, that Gracq likes to emphasize, although the style and structure of his books may look quite classical. Surrealism, as interpreted by Gracq, which considers inessential its apparent display of “avant-garde”, is almost synonymous of this artistic modernity which, at the beginning of twentieth century, rose up against “bourgeois” notion of culture. This interpretation of surrealism by Gracq is also a key to read his works, not only his novels but also his essays in literary criticism.

Labeling Iranian writers under a western literary school is a well-known method with our critics. A notorious example of this trend is labeling Sadeq Tchubak a "naturalist" because of the similarities between his works and the works of naturalists. The similarities include the use of low-class characters and dialing with such concepts as poverty, corruption and the use of colloquial language. The question is whether an writer having these features can be considered as "naturalist". In the meanwhile we see other critics who consider Tchubak as innovator. The present study aims to making a comparative study between Emile Zola, as the founder and the theoriticium of French naturalism and Sadeq Tchubak in a limited framework, using the novels of L'Assommoir, Nana, Germinal by the French novelist et Tangsir, Sange saboor et the short history named The Monkey whose master was dead by the Iranian writer. The present study includes the similarities and differences that exist in the characters, themes and styles of the selected works. This method will enables us to conclude that Tchubak behaves as a "naturalist" in some cases and remains an innovator in others and the label of naturalist is not a proper title for him. He is beyond any borrowed "ism".

Before the publication of La Porte étroite in 1909 was rewarded by success and popular recognition, André Gide published all his works with his own money. Les Cahiers and Les poésies d'André Walter belong to those early works which were read only by small literary circles. Published before Les nourritures terrestres, which were, in 1997, a true hymn to life and desire, they were conceived as experiments and reflexion subjects, allowing Gide's personality to consider and understand itself and choose its own ways. With these pieces, Gide gives a literary representation of Schopenhauer's puritan moral and philosophy that envisions lust for life as a curse. But he also gives room to the conviction that a work of art allows the artist to develop his personality in a confrontation with himself.

Many factors are involved in the process of teaching and learning a language. Of all these factors, cognitive elements will be considered in two parts. One refers to know-how and the other one goes with know-how to be. Know-how is a kind of cognition which refers to how to do things. Otherwise, know-how to be belongs to the humanistic and sensational field, and it is an evidence to the subject existence in the world. Recognizing these cognitions provides the access of one didactic pattern in which we have the possibility of co-existance of humanistic and technical aspects.In this article, we try to present which cognition proceeds other factors in the process of teaching and learning a foreign language. This statement is an aid to the teachers who are concerned to select an appropriate educational method.

Antonin Artaud was a revolting artist who criticized strongly his contemporary society. He tried to uproot the thought systems of the old European and French culture. In the introduction of Theâtre et son double he represents to us his age as the age of "confusion" who sees this issue as a fundamental gap between the things, sayings, ideas and signs that represent them. Throughout this work he shows his deep disbelief in Latin and Western culture which was built in utter need in using words for obvious and clear expression of ideas, because in his view, determined ideas through words are useless and idle which spontaneously disrupts and ruins the thought. In preference to Western culture by words Antonin Artaud is inclined to Eastern culture by signs and gestures which translates ideas ambiguously.This article intends to take into consideration the strong points of ritual and magical Eastern theatre which have inspired this greatest modern theatre theorist. Meanwhile the article tries to illuminate our understanding of complex and abstract notions of Antonin Artaud doctrine through simple and palpable examples.