CRITICAL LANGUAGE & LITERARY STUDIES
Year:2019 | Volume:15 | Issue:21|Papers Count:18

In this study, based on a work being fun and useful in language learning, so popular not only in the world but also in Iran., we analyze the translation of illustrated books of Tin tin. Our subject is twelve volumes of the collections "The Adventures of Tin tin and Snowy", also known as Comic Strip. The author of this twenty-two-volume series, Georges Prosper Remy, was renowned for Hergé , a Belgian writer and cartoonist, whose reputation is due to the adventures of Tin tin. The translator of these books is Khosrow Samiyi. In Iran, the permission of publication of this collection was given to Universal Publishing, which has printed only twelve volumes. In this study, we have reviewed the translation of this series of stories and put forward a few fundamental questions: Has the translator observed the author's points of view? Has the translator correctly interpreted cultural concepts and factors in an illustrated book? How did the translator translate the style of the author? In fact, our goal is to examine the important factors in translating an illustrated book. To this end, we have used semantic theory of viewpoints; and based on this theory, we have reviewed the translation of books. It is a new theory already used in linguistic studies but also in the field of translation studies, thanks to which the result will be more in-depth.

The nineteenth century is known as the age of imperialism and colonialism and the contemporary British power discourse is characterized by imperialist and colonialist ambitions: thus, imperialism can be an indispensible part of reading and evaluating the 19th-century British literature. Looking for the silenced ethnologic voices, we undertake, in the present essay, to examine Charlotte Brontё ’ s Jane Eyre (1847) through the prism of New Historicism. We actually endeavor to detect and reveal the ways in which and the extent to which the Victorian dominant power operations implicitly wrote and established itself into the text of Jane Eyre as a typical mid-nineteenth century English novel despite the novel’ s blatant resistances to racism and racial oppressions. The novel introduces the foreign characters or those who are physically and mentally attributed to the non-English identity as threats to the middle-class, domestic, English identity of its heroine, Jane. The present essay closely studies the representation, in Jane Eyre, of three non-English races namely the Creole, the Irish, and the French. Presenting its socio-historical and textual evidences, the essay concludes in the conviction that possessing a dialectical texture, Jane Eyre is, at the same time, explicitly an anti-racist and implicitly a racist novel.

This paper examines Kamila Shamsie’ s Home Fire (2017) as a faithful transposition of Sophocles’ s Antigone into a contemporary novel that addresses the diasporic subject’ s encounter with sovereign politics of life and death in the post-9/11 backlash against Muslims. A survey of the notion of the embodied subject as set in the complex network of power relations and biopolitics in the diaspora space where new forms of bio-and necro-power (as expounded by Postcolonial thinker Achille Mbembe) are at work towards enforcing subjugation of diasporic bodies forcefully synthesises with the question of belonging, the right to soil, and post-mortem identity in Shamsie’ s Home Fire. For Aneeka Pasha and other British diasporics, burial of British citizens by birth in the British soil is a natural and legal right, whereas to the representatives of the Islamophobic State, the diasporic subject’ s rights to soil is as evanescent as their liminal identities. Just like Polyneices in Antigone, the dead body of Parvaiz – a remorseful ISIS member seeking a way back home to rest in peace – functions beyond the biological borders of his body and proves to challenge the body politic of the state and question their necropolitical decisions.

Emmanuel Levinas, the lesser known twentieth century philosopher, had been influenced by art in his philosophizing before he proposed his new ideas in 1961. Not only was he influenced by art, but paradoxically by literature and a number of great literary figures. Thinkers like Dostoevsky, Gogol, Cervantes and other universally-acclaimed figures, consciously or unconsciously, had their hands in his philosophy and he himself pointed to this fact in an interview with Philippe Nemo. But Shakespeare is the one to whom he alluded with specificity. Especially at the outset of his philosophical career from 1947 to 1961, he referred to Shakespeare and his Hamlet, Macbeth, King Lear and Romeo and Juliet in such a way as if they serve as a direct impact on his philosophical thoughts. Thus, the inspiration he receives from literature seems to be worthy of a further study and analysis. Therefore, this article aims at studying the impact of literature and especially Shakespeare on Levinas. After a brief introduction, the study considers Levinas’ s allusions to Shakespeare in various parts of his oeuvre, with an emphasis on Time and the Other. Through such a dialogue, Shakespeare’ s position for Levinas will be discussed and his significance for him will be exposed.

The present article seeks to study the concept of "attentiveness" in translation studies. This concept was introduced for the first time in psychology, then in second language teaching. In the field of translation studies, we will talk about "the attentiveness of the translator. " Firstly, we refer to the explanation of the concept from the point of view of its exponent, Eric Berne, and then we will use this version in the translation studies. From the importance of translation in the present era, we will find the importance of the translator and we will see that the interpreter, through translating, needs to be seen and filled with gratitude. In another part of this article, we will examine the causes of the attentiveness of the translator's paradoxical branches, the death and survival and contribution of the translator in power. A part of the forthcoming article is devoted to translators and interpreters will to take the form that we will explain.

Colonialism and its literary reflections have been long interrogated in literary studies. With the advent of the 21st century, studying racial identities and how they are socio-politically otherised in the United States would reveal the rubric of identity politics that stand as an emblem of the present century politics. The present article is a sociopolitical analysis of racialized characters in Lorrie Moore’ s A Gate at the Stairs (2009) and Claire Messud’ s The Woman Upstairs (2013). Applying Chantal Mouffe’ s ideas on democratic paradox and agonistic pluralism, the present study suggests that in the aftermath of the September 11th attacks, due to the feelings of anxiety and tension aroused by the 9/11 attacks, the American identities consider the racialized identities as sources of probable threats; however, those of other cultures and races are neocolonially tolerated rather than being eliminated. Hence, the hidden truth in the postmodern America, as reflected in the selected novels, is an antagonism toward those of other races or religions that is neocolonially controlled under the name of agonism.

In this research, 440 EFL students studying in Islamic Azad University-East Tehran Branch participated. They were asked to complete the Big Five Personality Inventory by John and Soto (2017) and Self-Regulated Learning Strategies Questionnaire by Tseng, Dornyei, and Schmitt (2006). The students’ scores on vocabulary and structure parts were obtained through their final exam marks on General English lesson. Confirmatory Factor Analysis (CFA) using Structural Equation Modeling (SEM) was applied for data analysis. The findings indicated a significant relationship between the students’ personality traits, self-regulated learning strategies and their vocabulary and structure scores. Among personality traits, open-mindedness and extraversion and among self-regulated learning strategies, goal-setting and procrastination control had the greatest impacts on students’ vocabulary and structure scores. Focusing on students’ personality traits and raising awareness toward them along with the reinforcement of the self-regulated learning strategies seem necessary in improving their academic success and are thus recommended.

This study aims at investigating the production of space in Zero K (2016) in terms of Henri Lefebvre’ s spatiology. Lefebvre conceptualized space as being comprised of three moments: the spatial practices, the representations of space and spaces of representation; on the one hand, and the conceived-the perceived-the lived, on the other hand. The analysis demonstrates that the characters create their own spaces individually or collectively, each in their own way. On a broader scale, the novel divides into two kinds of space: the abstract and the differential. But on a closer analysis, the character-narrator, on the one hand, uses a set of literary practices such as climax, anticlimax, register shifts, description, humor, iron, incongruity, word coinages and plays, and, on the other hand, everyday practices such as love, walking, bodily activities to defend himself against the rampant growth of the abstract space. In addition, the very act of novel writing could be taken as producing spaces of representation against the representations of space in the society. In the light of lefebvrean spatiology, some of the literary techniques could be redefined as space-producing ideological practices, too.

Contemporary literature is constantly searching for its own identity. It is this return to oneself that encourages the "broken down" form of the early twentieth century and gives it a certain freshness. From then on, the novelist questions the reader about his novelistic writing and his fabrication within fiction. This process of self-referentiality in Roubaud's novel or lipian trilogy (La Belle Hortense, L'Enlè vement d'Hortense, L'Exil d'Hortense) leads us to the constraint of "Theoria in fabula" which consists in inserting the typical oulipian processes. in fictional fiction. One wonders how this metatextual process develops in Baraheni's novel titled Azade Khanom and His Novelist (second edition). The characteristics of "Theoria in fabula" studied in this article offer an original aspect of the metatextual in Baraheni; This allows us to implement a new readability of the Iranian novel and to draw parallels between the latter and the Oulipian novel.

The linguistic approaches to translation based on translation units, are today a new challenge in the study of cultural elements in translation. By changing the unit of translation from text to culture, the "loyalty" of the target text to the source text acquired a new meaning, and translation was considered as a means of creating a cultural connection between the ethnicities. In other words, translation studies were used as a tool to examine the role of translated text, as an autonomous text, in cultural interactions. This paper based on Michel Ballard methods, analyses the strategies used in the translation of cultural elements in Je voudrais que quelqu’ un m’ attende quelque part (I wish someone were waiting for me somewhere) written by Anna Gavalda and translated by Nahid Foroughan, to present the relationship between these strategies and the autonomy of the translated text.

In its Deleuzian context of Possibilism truth emerges as an event that is at once impossible and inevitable. Moreover, in its Aristotelian frame, truth is divided in two symbolic forms: speech and written, each including 'noun' and 'verbs' as they subcategories. By examining Samuel Beckett's Murphy (1938), this article explores a rather unknown facade of truth, being hidden underneath a radical narratorial voice: the unreliable narrator. To this end, this article will examine the fundamental exigencies and manifestation of unreliable narrator in modern literature, introducing it as not only the locus of Deleuzian incompossibility but also a point of departure for the transformation of this concept; then by examining the available definitions of truth in light of Leibniz, Deleuze and Aristotelian Square of Opposition the article will read Beckett’ s Murphy as an exemplar of modern, radical transmutation of truth, defying any previous, structured perception of narratorial truth that suggests a structureless and fluid framework.

One of the most important concerns of postcolonial studies and colonial discourse analysis is, doubtless, geographical imperialism whether imaginative or worldly. In interdisciplinary fields, the relationship between postcolonial studies and geography or space has set an arena for showing the conflict on geography that is sometimes even more important than actual wars. Thus the critic or intellectual should shoulder the responsibility of uncovering the bonds between literary texts and geographical politics. Literary space here could be the most important element to connect the imaginary world of literature to the worldly realities. Space could be studied at different levels and on different layers of the text. This study is an attempt to excavate the space of the Marabar Caves in E. M. Forster’ s A Passage to India and informs the air of Orientalist uncertainty in the novel in light of Edward Said’ s Orientalism. This reveals the connection between the text under study and the ones preceding it to reveal the social, cultural and political contexts. The present study concludes that Forster merely shows sympathy towards the natives and falls short of a maturity to awaken him for a native unity to resist the British colonialists.

The nostalgia for the past is one of the most influential concepts in the life of writers and poets, which occurs due to spatial and temporal distances and has an effect on their poems and stories. This research seeks to distinguish between the types of this missing, divided into nostalgia and melancholia, and each one can be individually interpreted, and for this purpose we used Walter Moser’ s theory who is an Ottawa university professor. We first read the definition of this thinker of what nostalgia is and examine its difference with another complication, which is also caused by sadness and neglect. Moser has introduced a set of conditions for the recognition of these two concepts, and we try to find these conditions among Nizar Qabbani’ s poems to find examples based on which our argument will hold. Finally, we conclude two things. First of all, what kind of nostalgia is in his work and second, what is the use of this distinction to better understand his poems, because there is a sense of nostalgia in many poets’ and perhaps most poets’ works; it can even be a natural consequence of aging. This broad concept should be typified and used to understand each artist's poems more precisely.

This article analyzes and seeks to explain the relationship between human and their animal companion in Dickens’ s novels. Dickens’ s main objective, throughout his novels, was to find an answer to the vital question of how to live especially in that moment of crisis. This answer will not be found unless; one is able to define the characteristic of a good citizen. Almost in all of his novels, this consistent message emerges that creating a community becomes an essential virtue in achieving equilibrium. To divulge Dickens’ s worldview, the Liberal Humanism as a critical approach is used. Dickens was a major and widely read novelist of his own era. Dickens’ s popularity is chiefly due to his intense human sympathy; his unique emotional and dramatic power; and his aggressive humanitarian aspiration for the reform of all evils and abuses, whether they weigh upon the oppressed classes or helpless individuals. Based on his personal familiarity with the life of the poor and apparently of sufferers in all ranks, in his novels, he gave voice to them. Through his works, readers come to perceive the virtues of love and the pleasures of home in a defected, flawed, and indifferent world. Despite the bleakness of his view of society and the fierceness of his criticism of it, his novels always end with a sentimental assertion of the virtues of heart and home.