PLUME
Year:2008 | Volume:4 | Issue:7|Papers Count:8

The search of the treasure is necessary as an essential component of many stories; this attests the abundance of the studies undertaken on the mythical or mystical contents of literary works. The striking set of themes on treasure, whether by its presence or its coverage in discrete allusions, constitutes a paramount benchmark which would be hard to be ignored. Moreover, it always provides a rich source of analyses. The present article tries to express a certain predilection for this mythical research which gives the mystical dimensions to the story.The analysis of the extension of the idea of chasing the treasure in the Gold Digger of Jean Marie Gustave Le Clézio and the Researcher of Treasure in Egypt by Mawlana is thus explained in this article through a comparative approach. As one of the principal main myths, the search of the treasure implies not only a perilous itinerary but also a desire of return to the source, to the nature, to the origin.

Under the tyranny of his father, Franz Kafka uses writing as an escape. Nevertheless, this writing only asserts itself as a substitution self underlining, paradoxically, the father's superpower.The failure of this revolt leads not only to a psychological void but to a spatial, temporal and specially an existential one which put the writer and his characters in a state of suspension in void, failing forever to assume their life and bearing for good the shame of being born.

The weblog, considered originally for the general public, can be integrated in the process of teaching/learning of languages (like French) as a communication tool between the protagonists of this process, namely the teacher and his/her students. It can be used as a support for the prolongation of the course and make it possible for the teacher to present various types of activities in connection with his/her course within the weblog. This article is the result of an experiment which we undertook, since January 2005, on the usage of the weblog in our French courses in two Iranian universities. The weblog has enabled us to go beyond the classroom and to carry out teaching tasks that the majority of the students find useful for learning a foreign language.

Since culture is an integral part of the language, teaching and learning of any existing language, require familiarization with its culture. Indeed, words, behaviors, gestures and mimicry as well as customs and habits of each nation find their origins in its culture; from which derives the diversity of the societies since the unmemorable times.It is by learning a foreign language that one discovers a new world whose values and principles differ from those of his/her own milieu. The new world is first presented to the learner through language teaching methods and, then, progressively, he/she becomes familiarized, with the foreign culture. In this article, the study of the term “culture" and its sub-groups is briefly reviewed from the anthropological, sociological and language teaching point of view. After a short outline on the role of the culture in human being’s life, the importance of this topic is examined in language methods, without forgetting to underline the key function of teaching with regard to the transfer of the foreign culture to its public. Also the article emphasizes the sensitive and key role of the teacher in transferring the foreign culture to the learners, as his/her main duty is to create a relationship between foreign and national culture, a relationship which advocates neither xenophilism nor xenophobia but offers a logical and moderate view point to the learner.

The presence of three themes of violence, revenge and the sorcery in the novels of François de Rosset called Memorable and Tragic Stories of This Era, written on the 17th century, encouraged us to undertake a study on the origin of these themes in the literature of this era which is partly a Baroque literature. A great number of works, with a Baroque tendency, show that in the Baroque literature, there is not only question of metamorphosis, of disguise but also that of a poetic of violence, of an esthetics of revenge and a perpetual presence of the ominous powers, agents of Satan, that threaten the social, religious and politic system. But why these themes fascinate so much certain authors of 16th and 17th centuries and always continue to fascinate the authors and the readers nowadays? This article tries to find the answers for these questions.

This article is interested in the problems of the translation of the figurative language; we develop and explain these problems through examples drawn from Persians literature books translated into French. Generally, the goal of translation of the literary texts goes beyond the simple transfer of the meaning. It is necessary to also transmit the style of the writer and to reflect on words, phrases, metaphors and irony expressed in the text. Thus it is impossible to translate Djamalzadeh or DowlatAbadi without considering proverbs, images or irony which determine also their style.

The present article intends to trace the images through which the imaginary universe of Leopold Sédar Sénghor is formed; a universe which draws its root in the moderating ideology of the poet. With this intention, we resorted to the imaginary method of Gilbert Durand and the imaginary principles of Gaston Bachelard. The fundamental questions which constitute the bases of this research are the followings: does the notion of time provoke Senghor’s concerns? Besides and based on our assumption, he, also, like all the others, aspires to be immortal, not to become the victim of the devouring stopwatches. Therefore, this assumption will involve two questions: does Senghor, prove fears vis-a-vis the escape of time? If so, why? and finally, how will he manage to control the escape of time?