Extended abstract:1. Introduction:Gustave Flaubert, the leader of realism and the modern novel, is an influential French novelist. It should be noted that the careful attention in choosing the words distinguishes his style from other writers. His biggest concern in life is social problems. His masterpiece Madame Bovary is a novel which influences many famous romans. Although some of his works have been translated into Persian, these works have been translated again and again which means his works have the important place in Persian literature. This article will attempt to examine the position of the author, his work, and his influence on Persian writers and their styles.

Gustave Flaubert, for what he represents in the world of literature, remains "a man of history" meaning one, who does not just contented simply having been thrown into the world by the adventure of  birth,  rises above the "herd", that he may contest the ideas of the "natural"  community and break with what is happening around him.But beyond all the Flaubertien works and wide exegesis devoted to them since their publication, the Correspondence of Gustave Flaubert, is a true treasure of observations and comments (often critical) on any subject encourage us to undertake a study on the art of epistolary in his Correspondence. We were surprised to read letters of such incredible sincerity, combined, unlike his novels, with a complete lack of concern for the standards of the literary art. The letters of Flaubert are incredible by their density of idea, beyond the usual frameworks of the daily ratings. It is a dialogue with a wide variety of recipients as in the case of Voltaire, who is the congener spirit of Flaubert a century apart.Flaubert did not want to explain nor demonstrate anything. He has brought neither intelligence nor any solutions and learned posterity to appreciate his abilities.

Many French and non-French writers have been influenced by Gustave Flaubert's writings. Several english writers, especially Joyce was immensely influenced by Flaubert. The latter's influence was felt more on Joyce's literary masterpiece, Dubliners rather than his other works. Its style, the creation of anti-heroic characters together with scrutiny, deep observation and meticulousness of the writer are all, based on the model of Madame Bovary which reflects the specific method of Flaubert's use of imagery. In a certain sense, the reader confronts a series of images that collectively reflect the mystery of the story. As a result, what is closely to be observed is how this imagery of Flaubert's novel is transferred to the scattered stories of Joyce and how Bovarism reveals its existence in the separate stories of Dubliners.

1. Introduction: Definitions of Romanticism found in academic books on this movement indicate a specific duration and area. That is, at a certain period, it has developed in a well-defined geographical area, it has peaked, then lost its purpose. Concepts such as pre-romantic or post-romantic are evidence of the validity of this claim. In romantic stories, the structure of space-time, as described by Mikhail Bakhtin, is similar to that of other structures, which are subject to the requirements of the school of romanticism. To be more specific, and considering themes such as loneliness, hesitation, disorientation, the discomfort caused by the time or space in which the person lives, as well as daydreaming. a comparative study of the chronotopic structure of Mahan's story in The Seven Beauties by Nezami, a mystical story, with one of the most prominent works of the school of French Romanticism, Gustav Flaubert's Temptation of Saint Anthony, which also traces the process of salvation of the personality, shows that there is a great resemblance between the requirements of romanticism in the history of Flaubert and the themes used in the work of Nezami. . 2. Methodology: The chronotope, or space structure, is the basis of our research. But in addition to this structure, we will use other factors, the most important of which are: Search for elements of romanticism such as loneliness, fantasy, travel desire, hesitation and ambiguity in understanding the situation. All of these elements come together to create self-knowledge. Thus, the methods of narrative analysis are the most important tools that we will use in this article. Examining the structure of space-time in the context of narratology is a way to show that there are many similarities between Iranian and French stories. 3. Discussion: The first story belongs to Flaubert. In one of his books, Temptation of Saint Anthony, he used romantic elements to create the face of the protagonist. From the point of view of space-time, Saint Anthony embarks on a journey in the desert, alone, in the fantasy world, ending in self-knowledge. The story space is a humble cottage, with the most basic living things, in a dry desert with a terrible silence. But it is this space that keeps him immersed in the dream world. Saint Anthony travels in the fantasy world without moving. He goes through time and space, and each time he encounters imaginary and scary creatures. Each of these temptations becomes an obstacle so that he does not become self-aware; temptations like woman, lust, money, possessions, power, cruelty and even the devil himself. But that doesn't stop him from continuing. Each time Saint Anthony sleeps and wakes up, he takes a step forward and gets closer to his goal, knowledge. At the end of the story, it is true that seeing Christ shows that he has reached self-knowledge, but from a chronotopic point of view, despite the repetition of travels, there has been no change of place. Every time Saint Anthony wakes up, he sees that he is in the same desert, in the same humble hut. Mahan's story in The Seven Beauties shows that what we said about Flaubert also applies to the Nezami; That is to say, all three elements that we saw in the previous book can be seen in this story as well; Mahan, just like Saint Anthony, goes to a dry desert, finds himself alone there, falls asleep from the intensity of fatigue, and, in the imaginary world, he embarks on a journey that ends in self-knowledge. Like Saint Anthony, he encounters amazing creatures. His senses mislead him, every time he thinks what he sees is true. But when he wakes up, he sees that he has made a mistake; he finally wins this fight and sees Khidr. Mahan achieves self-awareness, but despite his many travels, he is still in the first place. 4. Conclusion: Travel, withdrawal from solitude, loneliness, dissatisfaction with space and time, and fantasy are among the main forms of romanticism. An examination of the chronotopic structure of the Temptation of Saint Anthony, as a romantic work, illustrates this point: Saint Anthony is an ascetic and lonely man who expresses his feelings and doubts in the desert, away from the people, dissatisfied with the time he lives in. He does not trust what he sees, he looks back and fights all the temptations by taking refuge in the imaginary world. Saint Anthony finally sees Jesus and finds the way to happiness. These traits are also seen in Mahan's story in The Seven Beauties. An examination of the structure of the space-time story shows that Saint Anthony withdraws from the crowd, is afraid of the other, cannot trust what he sees, is dissatisfied with the space and time in which he finds himself, expresses his doubts and regrets the past. In the fantasy world, he encounters amazing creatures, each representing one of the manifestations of lust. He finally sees Khidr and is saved. The space in both stories is divided into real and imaginary parts. The main character of the story is constantly thinking about returning to the previous intimate atmosphere. Both heroes in both stories realize that their perception of the past is wrong; time is divided into present and past. The protagonist constantly regrets the past. Thus, there are striking similarities between Mahan's story in The Seven Beauties and the Temptation of Saint Anthony. Both authors have identified daydreaming as the first step to salvation. Thus, the dream world turns out to be superior to the world of reality and it becomes impossible to achieve happiness without going through the dream.

Apres une longue carriere d’ecrivain, Houchang Moradi Kermani, l’auteur illustre des contes pour enfants se met a consigner sa propre vie dans un livre intitule Soma Keh Gharibeh nistid (Vous a qui je peux tout dire). Cette autobiographie represente d’une maniere manifeste et intelligible, le "devenir" d'un auteur iranien, des son enfance problematique jusqu’a une sagesse remplie d’honneur et de succes. La presence constante de la notion de la souffrance et de l'evolution dans ce roman nous a encourage a presenter une comparaison quoique breve du passe de cet auteur avec la vie de Gustave Flaubert connu de sa famille comme un paralyse mental. En effet, tout comme Flaubert, confrontant a des prejuges et a des souffrances, Houchou se refugie dans la lecture et trouve dans l’art un abri a ses refoulements, et determine son destin contre ce que son milieu lui a envisage, et cela en s’appuyant sur un choix conscient. Dans cette etude, nous traiterons des traits caracteristiques de l’histoire de devenir a travers cette autobiographie, en nous appuyant sur quelques notions analytiques sartriennes touchant le devenir chez les figures artistiques. English: Moradi Kermani's Believe it or Not: Autobiography as Exposition of BecomingAfter a long career as a writer, Houshang Moradi Kermani, the author of children's stories records his own life in a book titled Believe it or not. This autobiography represents, in a clear and understandable way, the "becoming" of an Iranian author, from his childhood to his wisdom filled with honor and success. The constant presence of the notion of suffering and evolution in this novel encouraged us to present a brief comparison of the past of this author with the life of Gustave Flaubert, known to his family as a mental paralysis. Indeed, like Flaubert, Houchou confronting prejudice and suffering, took refuge in reading and found a safe shelter in the Art, and determines consciously his destiny against what his environment considered for him. In this study, based on some conceptions of Sartre and his existentialism, we discuss the characteristic features of the story of becoming in Believe it or not.Keywords: Moradi Kermani, Believe it or not, autobiography, becoming, Sartre, Flaubert, Iran

De tous les romans de Flaubert parus en persan, Madame Bovary est sans doute le plus traduit. Nous pouvons en compter plus de 10 versions, dont les publications s’étalent sur une période de près de soixante ans. L’étude de nombreux épitextes de ces traductions, bien qu’historiquement très espacées, révèle une situation commune: aucune vraie compétence extralinguistique ne vient compléter la supposée compétence linguistique requise pour la traduction. Cette incompétence agit directement sur les paratraductions et, abstraction faite du titre dont la traduction ne semble pas problématique, la page de couverture et les préfaces de traducteurs en portent la trace. Elle donne naissance à des péritextes iconiques inadaptés et fait que les préfaces des traducteurs se doublent d’un discours moralisant, voire idéologique dont l’étude s’avère intéressante sur le plan de l’histoire de la réception de l’œuvre en Iran. L’objet de cet article sera donc l’étude des éléments paratextuels de cinq traductions de Madame Bovary, la préface du traducteur et la page de couverture, afin de montrer comment, au fil des années, l’incompétence extralinguistique et l’immixtion de l’idéologique peuvent être sources d’informations erronées sur l’auteur, son esthétique romanesque et sur le courant littéraire dont il est issu et conduire à créer une image iranisée et idéologisée de Flaubert dans le paysage littéraire iranien.

Dans cet article nous analysons les procé, dé, s stylistiques et les artifices romanesques employé, s par Flaubert dans Madame Bovary afin de ré, soudre le problè, me de l’, inadé, quation du langage et du ré, el. Nous é, tudions ces techniques d’, é, criture dans la parole d’, Homais. L’, apport de cette é, tude ré, side dans l’, application de la mé, thode gé, né, tique qui permet de suivre l’, é, volution de l’, é, criture de Flaubert à,travers les diffé, rents é, tats ré, dactionnels des manuscrits. En é, tudiant le style de cet é, crivain à,l’, é, tat naissant, nous essayons de puiser dans les brouillons comment il repré, sente cette parole et avec quels procé, dé, s stylistiques. Homais est un personnage trè, s important dans le roman car il incarne la parole dé, fectueuse, celle qui trouble l’, é, crivain dans sa quê, te du style parfait et dans sa lutte contre le problè, me du « chaudron fê, lé,». C’, est un homme qui parle non pour communiquer mais pour é, mouvoir et quoique redondante et incomplè, te, sa parole cherche à,tout dire. A travers le personnage d’, Homais et employant ses mots, le romancier vise à,subvertir le langage incrusté,dans la Bê, tise humaine.

After World War II, the concept of human beings became a new place in western philosophy. The issue of the confrontation of man with another human beings has led to the design of the "other" theory as "existential", which ultimately leads to a moral affair. In line with these ethical changes, Emmanuel Levinas poses the reality of the Other and considers his presence in our lives, our identity and our feelings inescapable. This research analyzes the emotional relationships between the characters of two novels: "Madame Bovary"of Gustav Flaubert and "Two Landscapes" by Ghazaleh Alizadeh based on Levinas philosophical opinions. Let's begin by analyzing Levinas's philosophical and theoretical foundations of the "other" question. In the following sections we will find that one of the main themes of Flaubert and Alizadeh's works is the importance of a "other" position in the relationship of characters. Then we will study the various aspects of the concept of "other", such as "face", "sense of responsibility", and "femininity", and finally, by analyzing these dimensions in reviewing the relationships between characters, complete our research. We get In sum, the main focus of this research is to describe how the characters of these two novels encounter each other in their own situation with the "other".

Based on a discourse analysis of a text passage from Gustave Flaubert’s novel, Madame Bovary. Moeurs de Province (1856), this paper discusses the role of the reader according to Umberto Eco and to Mikhail Bakhtin, with reference to Eco’s notions of model reader and intentio operis, and to Bakhtin’s notions of chronotope and adressivity. It is especially the importance of the last of the mentioned notions that makes the Bakhtinian idea of the role of the reader differ from that of Eco. The addressivity of the novelistic text implies that any reader, by his otherness, adds a “different” element to the literary work, thus strengthening the dialogical aspect of the novel. In the analyzed passage of Flaubert’s novel, we see how the dialogical meeting of the creative chronotope of the author with that of the reader “liberates” the Flaubert’s text from the author’s contemporarity, admitting it to the longue durEe of literary masterpieces.FRENCH: Le role du destinataire chez Eco et Bakhtine: L’exemple deMadame Bovary de G. FlaubertA partir d’une analyse de discours d’un extrait du roman de Gustave Flaubert, Madame Bovary. Moeurs de Province (1856), cet article traite du role du lecteur selon respectivement Umberto Eco et Michail Bakhtine, a partir des notions econiennes de lecteur modèle et d’ intentio operis, et des notions bakhtiniennes de chronotope et d’ adressivité. C’est notamment l’importance de cette derni ere notion qui fait que la conception de role du lecteur chez Bakhtine differe de celle d’Eco. L’adressivite du texte romanesque implique que tout lecteur par son alterite ajoute un element “autre” a l’oeuvre litteraire, renforcant ainsi le caractere dialogique du roman. Dans l’extrait analyse du roman Flaubertien, nous voyons comment la rencontre dialogique entre le chronotope createur de l’auteur et celui du lecteur “libere”le texte Flaubertien de la contemporaneite de son auteur vers la longue durée des chefs d’oeuvres litteraires.key wordS: Flaubert, Bakhtine, Eco, Role du Lecteur, Dialogisme, Chronotope, Adressivite

In French:La traduction d’une oeuvre littéraire peut rencontrer différents obstacles dont les obstacles culturels. La traduction s’effectue non seulement entre deux langues mais bien plus entre deux cultures différentes; ainsi est-elle souvent considérée dans son essence même comme une opération interculturelle.Dans cet article nous étudierons des entraves culturelles dans la traduction de Madame Bovary de Flaubert en persane. Cette recherche se donne comme objectif l’étude des problèmes culturels dans la traduction et les façons de s’y prendre pour surmonter les écarts culturels. A cet égard, le fameux roman de Gustave Flaubert Madame Bovary a été choisi pour établir une étude comparative des traductions en persan. Nous essayerons de vérifier dans quelle mesure les traducteurs ont réussi à transmettre les faits culturels dans notre langue. Pour ce fait les traductions de ce roman en persan effectuées par Mehdi Sahâbi et Mohammad Ghāzi ont été choisies, pour montrer de plus près l’importance de ce point et vérifier à quel niveau les traducteurs ont réussi à établir un pont entre l’original et la traduction.   In English:The translation of a literary work may encounter various obstacles, including cultural ones. Translation takes place not only between two languages but also between two different cultures; thus in essence, translation is often regarded as an intercultural issue. In this article, we will study cultural interferences in the translation of Flaubert’s Madame Bovary into Persian. This research aims to study cultural problems in translation and how to overcome cultural differences. In this respect, the famous novel by Gustave Flaubert, Madame Bovary, is chosen to perform a comparative study of translation into Persian. We attempt to examine to what extent the translators have succeeded in transmitting the cultural facts in our language. Therefore, the two translations of this novel in Persian by Mehdi Sahâbi and Mohammad Ghāzi are chosen to thoroughly indicate the importance of this point and to verify at what level the translators have succeeded in bridging the original to the translation.