PLUME
Year:2006 | Volume:1 | Issue:2|Papers Count:7

The present article has for objective to figure out the techniques and the strategies by means of which the writer’s ideology and also his subjective position are transmitted at the level of enunciation; we have resorted hence to the linguistic tools and used the most recent narrative methods developed by Jaap Lintvelt.The main question which forms the basis of this research may be formulated in this way: “how and in which respect the narrative structure of this novel manage to cast the author's ideology as well as to rebuild its emotional and subjective universe? What are the procedures and strategies used in this novel so that the reader may assimilate and adopt, eventually, the subjectivity of creator of this novel? And finally, what is the ultimate impact of these narrative techniques on the receptivity of the readers”.

The desert is at first, a geographic space characterized by the aridity of its climate. This is why it represents an ideal place for the blooming of literary creativity. Objective and subjective at once, the desert constitutes an ideal field for the deployment of the imaginary. The subjectivity projects itself in here, in its own manner, all over this vacant space, which is though less constraining. Besides, it is necessary to reckon with anguish arisen from the immensity of the desert. The compensatory dynamics of the imaginary replies to this oppressing feeling, while bringing consolation and relief to the adventurers capable of challenging with the concrete crossing of the desert lands. Such association is apparent in the book of the Iranian writer Ali Shariâti called The Deserts which is exposed to the thematic of desert with the acuity of a literary look, indeed the poet’s one. In this article we attempted to figure out certain signs that allow supporting the modalities of the relation between the human imaginary and the desert in Shariâti’s work.

This paper deals with the difficulties found by most of the teachers and the students of literature when trying to search for a subject on the web. The 140 Plume author aims to avoid these difficulties by presenting some websites specialized in French literature and criticism: database of numerated classical texts, electronic journals from all over the world, free-access papers (OAI).

At the first glance, it is clear that the notions of humanism and mysticism are contradictory. Briefly explained, the respective definitions of these two terms result in an impassable (and especially imperfect) symmetry. Defined according to occidental canons, humanism principally valorizes the horizontal relation of man to its kind, meanwhile mysticism make sacred the vertical communion of man and God. The present article proposes to elaborate on, and then go partially beyond, the limits of this apparent dichotomy’ indicating in passage to the ambiguity resulted by the same synthesis. An important part of the article is devoted to the synthetic report (critical in some parts) of our problem. For the rest, there would be a question of extending and completing our synthesis by focusing on the Iranian poet, Sohrab Sepehry, whose collection of poems, Hasht Ketab (Eight Books) present an ideal basis of application for illustrating our hypothesis.

Witnesses of the insufficiency and limits of the language, Sohrab Sepehry and Arthur Rimbaud evoke the silence which imposes its rhythm and even seems to control the words. They establish in their poems some significant blanks: pauses, three points, dashes and ellipses which mark the absence of poets’ speech. In fact, these poets are two alchemists of silence who did not stop seeking for silence throughout their work; a silence on the basis of which releases itself all words and to which it seems as if the poets want to give a voice. Silence vitalizes the poets’ style by means of a discontinuity of words, a non- achievement of images and the elliptic character of versus.

This article has as vocation to offer a pedagogic cogitation about the concept of error, so as to help both the teacher and the learner, find their proper situation in the process of teaching / learning. We will show, amongst others, that the teacher can use the error of the learner as pretext; it is up to him “to unbind the language " and to encourage the learner to speak by creating real situations of communication. This article considers the results 142 Plume of a basic study related to the practices of auto-correction, which is applied as part of the three series of French lessons taught in Iran, as a foreign language. We will also observe how this alternative of treating the error leads the learners to have a sense of responsibility with regard to his own apprenticeship.

Self is a concept which simultaneously includes the conscious, the personal unconscious, the collective unconscious, and has a role in individuation process. Self is also an archetype who performs “me”. Merging of the opposites is the main concept of Jung, and the formation of shadow is result of the separation of the opposites. As soon as we reach awareness, the goodness and the purity appear, while wickedness and darkness are preserved- as much as possible- in the unconscious, and are projected over others as soon as they have a chance to do so. In this paper the concept of collective shadow about the three mysterious characters in literature will be discussed.