PLUME
Year:2005 | Volume:1 | Issue:1|Papers Count:10

The main theme of all Mowlana's works is Love. Love is the true essence and key to his collected works on Shams and the only fountainhead of light, conscience, and understanding. All his life Mowlana yearned for unity with God and considered love to be the only road to salvation. If for centuries, reason and thought were considered as essentials to discoveries, for Mowlana this essential was love. Thus in his collection on Shams, there are approximately 5000 stanzas on Love. Mowlana explains that this secret of God has no definition, unless defined with Love. From the view point of Mowlana, Reason is secondary to love, since reason is limited, and after death nothing remains but love in death means unity with the lover-God.However, this does not mean that Mowlana denies reason. But where is the stance of Reason, specifically Love in the works of Mowlana? In order to find an answer to this question the present paper searches for Mowlana's mystical thoughts through his poetry.

Among those concepts that transform the physically present characters of Genet as absent, light, as one of those concepts has two specific values. When the projection of light accentuates on the characters, it changes them into pure appearances, as light is a purifying element that helps them to achieve their ideal image. When light is proposed as a necessary element such as in scene decoration, by simultaneously drowning the audience and the scene in light, it shows itself as a vacum in Genet's theater. Therefore vacum creating light in plays helps the characters to find their nature in purified appearances, and thus change their non-spiritual life into a word whose discipline rises against the discipline of the real world.

In the 20th century, France showed an outstanding out put and creativity in the field of novel. In this century, a variety of novels was above kinds came into existence at one particular time, some showed an inclination towards aestheticism. This new phenomena took place in the 1980's when the novel had innumerable branches. As a result, there emerged the minimalistic novel. Amongst its writers are those who consider narratology as their greatest talent. Two such writers are: Jean Phillipe Toussaint and Patrick Deville. Both use narratology as their dominant style to give a new form to the stores, a novel with a dimension, conflict between narration and discourse which readers shall witness, and know that it abviously been pre-set by the writer.

Remembrance of Times Past, Marcel Proust's amazing work, is the story of the blooming of God given talent. Since childhood Marcel, the hero of the story, feels the talent and wit for writing in himself and hopes that one day he may succeed in writing a novel about deep philosophical concepts. But disappointment, despair and doubt and also various temptations of youth deviated him from the main direction of his life, and the admiration and support of his artist and art-lover friends and acquaintances did not good. After all, the ending of the novel indicates that his old standing desire will come true. Finally, Marcel finds out that he can write and the events ups and downs of his own life can be the main theme of his novel.

In earlier literary texts, the main purpose of historians or writers of travelogues was to familiarize readers to unknown or faraway places. But when famous writers used the travelogue as a style, it look on a personal form and its concept changed, as writers began to write of familiar places, however , presenting the contents in a way that readers felt they were witnessing a new place. In 20th century Persian literature, two contemporary writers, Ale Ahmad and Doulat Abadi published two travelogues the former wrote about Hajj, and the letter wrote of a journey to Sistan Baluchestan. Although the two works are quite different, yet they have certain similarities. In both works, one confronts narrators who are disappointed and disillusioned with what they see. The aim of the writer of this article is the approach the notion of journey from aesthetic point of view or as an expression of criticism.

There has always been and still are discussions and study about different concepts and clarification of their meanings. Among these topics, we come across topics which are indicative of various interpretations and sometimes pose an incongruity in definition of speech forms like humor, joke, fun, satire. These terms are used together and sometimes replaced in such a way that it seems they have the same meaning and are equivalents, while each one has its own manifestation of speech, and they are indicative of the writer's viewpoints, toughts and purposes.In the present article we shall study the application of humor in Marcel Proust's immortal work, Remembrance of Times Past, and mark this delicate, favorable and perhaps unknown characteristic of his novel. In order to display this, various examples will be presented. On the one hand we will set about the role of the narrator's feelings and sympathy for few characters of the story, which are influential in the creation of humor, and on the other hand, we will show the reflections of this favored speech form on Proust's writing style. Analysis of the sweet, delicate and attractive form of the writer's humor is the main axis of the article, in order to exhibit how this skilful writer with his artistic talent and clever nature, covers his novel with beautiful and suitable jewels for expressing his delicate thoughts.

Each poet with due regards to culture, civilization traditions and other factors upon which a society rests, as well as ego, the unconscious, creativity and language envisages his own horizon. Thus a new approach in criticism has been presented, using the concept of horizon which not only gives significance to external environment but also the inner consciousness of poetics. In this writing the main structure is thought or hermenotic and language than becomes a tool. As a result, phenomenology and linguistics gain common visions which literary critics can use as ground to find a connection between the effect of the invisible and the imagination. For the first time, Jean Pierre Richard has spoken about the relation between imagination and the structure of language. One of his followers Michele Colot shows through his methodology that the vision of horizon within each artist is based upon 3 factors. Theme, psychonalysis, and poetics.

In his novel, Bend Sinister, written in 1947, Nabakov questions authority and its tyrannical manipulations. In the guise of a metaphoric interpretation, he criticizes authoritative and dictatorial governments that exploit and manipulate translators and thereby control translations. Thus, Shakespeare's famous work Hamlet in order to gain acceptance, undergoes 168 Plume severe transformations. Nabakov, through his use of words shows that translation is not a mere means to establish relationship with people but an aesthetic work that re-creates the work of a writer.

In earlier literary texts, the main purpose of historians or writers of travelogues was to familiarize readers to unknown or faraway places. But when famous writers used the travelogue as a style, it look on a personal form and its concept changed, as writers began to write of familiar places, however, presenting the contents in a way that readers felt they were witnessing a new place. In 20th century Persian literature, two contemporary writers, Ale Ahmad and Doulat Abadi published two travelogues the former wrote about Hajj, and the letter wrote of a journey to Sistan Baluchestan. Although the two works are quite different, yet they have certain similarities. In both works, one confronts narrators who are disappointed and disillusioned with what they see. The aim of the writer of this article is the approach the notion of journey from aesthetic point of view or as an expression of criticism.

Language teaching today, more than ever, needs to be oriented in a different way through a new approach: the esthetics. As it touches directly the human sensibility and because of its presence, the esthetics would transform the teaching/learning activity to a pleasure, a moment of relaxation a good opportunity for interaction in the class. It would also increase the class dynamism.In fact the esthetics is to be taken in consideration in teaching because it helps the teacher a strategy based on the existence and the sensibility of the learners rather than their linguistic knowledge and the mechanical aspects of the language.That's why, as this paper tries to show, the language teaching should lean on the development of the knowledge in relation to the being. This is what will guaranty the access to the "presence" of the students and their sensibility in the language classes: therefore, the learners will not only study the language, but also treat it as a something what which they live.