The controversial theories of modem physics created a remarkable revolution in twentieth-century literature. The progressive novelists of the century, inspired by the concepts in quantum mechanics, expressed the concerns of living in the modem world in the form of non-linear, heterogeneous writing based on doubt. In his autobiographical work, entitled Wor the Childhood Memory, George PEREC presents a good example of representing the quantum theories. In search of his identity, the writer explores his childhood memories and elucidates the chaotic, disordered quality of those memories. In order to indicate the devastating effect of war on his identity, he blends the narrative of his childhood memories with a fictional story and in this way creates paradoxical complements. Moreover, through doubting his memories and utilizing old documents and sayings of people, he makes uncertainty and probability control his autobiography, and renders genuine report of events impossible. This procedure defines the author's attitude to literature and his perspective of the autobiographical genre.

More than one critic has been involved in the study of the quotations in the Usage of Life (La Vie mode d'emploi, referred to as the VME) by Georges PEREC. The work of Bernard Magné on the meta- text analysis of PEREC constitutes a base and has influenced many studies. He, himself, invents the term “impli-citations” (imply-quotations) to indicate the quotations inserted and dissimulated in the novel of PEREC. What especially interests us in our analysis, are the enunciative transformations that undergo the targeted text (the VME) and the original texts in a way that the new text becomes isotopic and structurally coherent and leveled. The point of view can explain us how the insertion of autographic texts (coming from other works of PEREC) or allographic texts (coming from other authors rather than PEREC) and of another syntactic and semantic nature (and consequently having a different argumentative and pragmatic aim) transforms the quoting - text and how the quoting - author organizes his own text to accommodate the new text in order to hide the anomaly (enunciative, syntactic, etc) due to this transfer. We would like to know how a text of the Finding Time Again of Proust, with a homodiegetic nature can be inserted in a text like the VME which has a heterodiegetic nature.

French abstract: Cet article, en recourant à l'approche de Philippe Hamon sur L'Ironie litté raire, Essai sur les formes de l'é criture oblique (1996), a pour objet d'é tudier l’ ironie dans Les Choses de Georges PEREC et les procé dé s qu'il met en oeuvre pour montrer cette ironie. Dans cet article, nous tenterons d'illustrer que pour critiquer la socié té moderne dans laquelle la publicité joue un rô le important, PEREC profite de l'ironie. En se moquant des comportements et des pensé es de ces deux personnages maté rialistes qui sont incapables dans la connaissance du vrai et de la vé rité , l'auteur utilise des é lé ments ironiques qui donnent un ton ironique au roman. Pour ce faire, il se sert des procé dé s comme le narrateur hé té rodié gé tique, la polyphonie, l'intertextualité , les figures d'opposition, d’ insistance, d'analogie et de diction. Les é lé ments qui instaurent une distance entre l'é nonciation et l'é noncé , entre le narrateur et son discours, entre le lecteur et les personnages du ré cit. Les procé dures qui produisent un sentiment de distanciation et d'absurdité , essentiel dans l'ironie du XXe siè cle. English abstract: The Things (originally subtitled as "A History of the Sixties") is a novel by the French author, Georges PEREC, published in 1965 by Maurice Nadeau in his collection of New Letters, at Julliard, and having received the Renaudot Prize the same year. In this novel, PEREC tells the life of a young psychosociologist couple in the 1960s. Though they live in Paris, they find their life monotonous and then they dream to have more and more, to go on a trip and to become rich. . . but they do not give themselves the means to reach their goals. They try in vain to seek a passion, a purpose or an idea to give meaning to their lives. Sylvie and Jé rô me move to Tunisia, in Sfax, to test a new job offered to them. It's a failure. They returned to France, first to Paris and then to Bordeaux, where they eventually got a well-paid job. The last lines of the novel reveal that the material comfort they finally got, become the beginning of a dull life. This article, bested on Philippe Hamon's approach in L'Ironie litté raire, Essai sur les formes de l'é criture oblique (1996), aims to study irony in Georges PEREC's "The Things" and to clarify the processes used by him to show this irony. In this article, we will try to illustrate the reason why PEREC prefers to take advantage of the irony to criticize the modern society in which advertising plays an important role. By mocking the behaviors and thoughts of these two materialistic characters, incapable to accept the truth, the author uses ironic elements, giving an ironic tone to the novel. The article consists of two parts: The first part focuses on the literary register used in the novel. PEREC wrote the novel in three important registers: ironic, satirical, and tragic. The main register of the novel is satirical which is adorned by the ironic and tragic register. In this novel, PEREC gives us a portrait of the society through the lifestyle of his characters. Jé rô me and Sylvie are a psychosociologist couple from Paris, from the middle class. Their lives seem boring to them and this boredom is reflected in a burning desire for materiality. PEREC criticizes consumerism society and shows how the behaviors of characters are determined by modern society and its temptations. The strength of this novel lies in the choice of an ironic tone that dominates the narrative. The author, ridiculing the behaviors of the people of his time towards the consumer society, uses ironic elements that give an ironic tone to the novel. Something interesting in Things is that, the author mixes the ironic register with the tragic register that shows the failure of the characters. PEREC's Things is the story of radical disillusionment because heroes find themselves oppressed by the situation of their society against which they can do nothing. The heroes of Things are crushed under the pressure of history, living in the sixties, in the midst of a modern society with its crippling temptations. This novel, a story of disappointment, shows also the weakness of human being in front of his destiny. The second part, which is the main part of this article, examines the processes and elements of irony used in this novel. The signs of irony are quite evident both in the content and in the structure of this novel. At the level of enunciation, PEREC uses processes such as heterogeneous narrator, polyphony and intertextuality. In Things, the heterogeneous and omniscient narrator narrates the story by using free indirect discourses. Then several voices overlap: that of the author, the narrator, the characters in the story and even the reader, which reveals the polyphonic dimension of the story. As we read the novel, we also see the traces of the intertextuality that PEREC uses in his writing. Intertextuality allows him to emphasize the narrator's distance from statements that are not his own. PEREC practices, therefore, the two essential elements of modern irony to give an ironic register to his work: polyphony and intertextuality. Stylistically, some style figures draw attention to the identification of oblique writing. Metaphors allow us to give derisory and cartoonish images of heroes and their lifestyle, who are in search of happiness through consumerism: the representation of the contemporary social situation of the author. Antiphrases and oxymorons, paradoxical notions, by introducing shifts from the referential, formal or semantic norm of discourse, aim for an effect of absurdity that trace us the empty passage. PEREC has fun presenting the enumerations with accumulations to form a circular whole: to identify and then forget, the case of the dreams of heroes. Finally, in Things, the wordplay as well as the alliteration, repeating an identical sound, contributes essentially to illustrate a particular subject. On the syntactic level, we can observe the use of the imperfect verb (which is indeed used for free indirect speech) and conditional (to express the musings of heroes), but also the use of exclamation and questioning marks and the indefinite pronoun, the words in italics, which are particularly well suited to a game of contrast between dissonant points of view. With these studies, we can conclude that Georges PEREC uses elements of irony to criticize his contemporary society, the consumer society. Although this society is rich and modern, there is a remarkable economic inequality. A society in which people are materialistic and feel the false infinite needs within themselves and experience the feelings such as emptiness and absurdity in their quest for happiness.

IN FRENCH: Depuis Jean-Jacques Rousseau, de nombreux auteurs ont tenté,de retracer les é, vé, nements de leur vie individuelle, en donnant naissance à,l'autobiographie. L’, é, crivain de l'autobiographie cherche é, galement à,y recomposer la vé, rité,et l'unité,de son "je". Pourtant, la litté, rature du XXᵉ,siè, cle té, moigne de la cré, ation d'une sé, rie d'autobiographies modifié, es ou transgressives sous le nom d’, « autofictions ». Malgré,les efforts de l’, institutionnalisation de ce nouveau genre litté, raire depuis 2003, son sens reste encore aujourd’, hui sujet à,controverse. Un terme souvent employé,dans les mé, dias, mais rarement dé, fini, l'autofiction a de multiples dé, finitions. Parmi les é, crivains contemporains, Patrick Modiano et Georges PEREC mettent à,l'é, preuve ce genre litté, raire dans leurs oeuvres. Toute l'oeuvre de Modiano est une incarnation de divers souvenirs, en vue d'une quê, te d'identité, . Georges PEREC é, crivain franç, ais et membre de l'Oulipo, possè, de é, galement une é, criture doté, e d'interactions issues de diverses configurations scientifiques. Dans cette é, tude, notre objectif est d'examiner ce nouveau genre litté, raire d’, une maniè, re comparative dans les deux oeuvres romanesques, Dora Bruder de Patrick Modiano et W ou le souvenir d’, enfance de Georges PEREC pour ré, pondre à,cette question principale qui consiste à,savoir quelles sont les straté, gies autofictionnelles mises en oeuvre dans ces deux oeuvres et comment elles sont employé, es pour exprimer le thè, me de la recherche d'identité,par ces deux é, crivains cité, s. IN ENGLISH: Since the time of Jean-Jacques Rousseau, many French writers have described the events of their personal lives and rewritten them in the form of autobiographies. The author of the autobiography thus seeks to recompose the truth and the unity of his "I". However, the twentieth-century literature testifies to the creation of a series of modified or transgressive autobiographies known as ‘, autofictions’, . Despite efforts to institutionalize this new literary genre since 2003, its meaning is still controversial. Autofiction is a genre that is often used in the media but does not have a fixed definition. The author uses this genre to evoke facts. Among contemporary writers, Patrick Modiano and George PEREC put this literary genre to the test in their works. All of Modiano's works are embodiments of various memories, with a view to a quest for identity. George PEREC, a French writer and member of the Oulipo Literary Association, also has a style of writing endowed with interactions resulting from various scientific configurations. In the present study, our aim is to examine this new literary genre in a comparative way in the two novelistic works, Dora Bruder by Patrick Modiano and W or the childhood memory by George PEREC to answer the following question: What are the autofictional strategies implemented in these two works and how are they used to express the theme of the search for identity by these two cited writers?

Sociocritique which insist on accompaniment of form of expression and content is in contrast to classical method of sociological studies which implies literary work as a social statement. Sociocritique is a way to achieve content through the complexities of language. The works of Georges PEREC, full of linguistic games, are valuable for sociocritique. Because they use language to deliver concepts of author. In seven works that are discussed in present paper, concepts will be considered through the mathematical rules, the rhetorical techniques and the intertextuality. All of these technics are considered like important structural elements in sociocritique. In this way, we will try to find reasons for using them in translating meaning by finding examples of three techniques mentioned. The purpose of this study is to achieve a common concept that has been expressed in all of these works : PEREC’s social concerns, which are highly inspired by the War and the crisis of identity in a society with absurd values.

Each novel has its own strategies for reading and built its own reader. The study of the narrator and his narrataire in La Vie mode emploi (VME) by Georges PEREC will enable us to determine if the novel is a story which tells about itself, with an anonymous and almost absent narrator or if on the contrary, having a "determined figurative entity”, the narrator is quite present and because of this presence, he builds his own recipient. The frequent usage of the pronoun us with the values that we know about it, indicates the particular interest of the narrator (and through him, the author-PEREC) to integrate the narrataire (and through him, the real reader) in the narration.

In 1960, a number of French writers including Raymond Queneau, Franscois Le Lionnais, Georges PEREC organized a literary movement called oulipo. Rejecting the conventions and traditions dominating literature, they concentrated on the text itself and made constructive innovations and created play and obligation, thus injecting a fresh life into the sickening literature. They were interested both in poetry and prose, mostly novels. Creating new methods of writing poetry such as isogramme, anagramme, acrostiche, etc., which stimulated the curiosity ofthe reader, they opened up new vistas for writing poetry. In the field of the novel too, Georges PEREC and Raymond Queneau made the most innovative contributions. Opting forlipogrammic and monovocalic methods, they made a great upheaval in the field of literature.

Dans cet article, l"enjeu serait d"initier les lecteurs a un mouvement litteraire qui est apparu en occident et qui s"est donne le nom de L"OULIPO. Certes, ce mouvement est peu connu chez nous en Iran et le nombre d"articles consacre cl ce sujet n"est pas considerable. Cet article nous esquisse done les objectifs et les caracteristiques de L"OULIPO ainsi que les portraits des precurseurs et les fondateurs de ce mouvement sans oublier de nous donner des exemples precis.

The importance of the question of argumentation in narrative texts is greater than the argumentation, which is approached with using the concept of point of view there. We know very well that the point of view often acts in an implicit manner, which is reported with the manner of the text argumentation. So, these two phenomena are closely linked. Contrary to other types of texts (philosophical, moral, etc), the narrative text argues indirectly, because adopting an «attitude of slack phrase» (Weinrich), the appeal in definite and direct rational techniques can shock the reader. So, the narrator tries hard to hide his opinions and his judgments behind the narration, to give the impression, which all the reader reads is objective and neutral. Life: a User's Manual (La Vie mode d'emploi) give us countless examples of this narratoriale and even attitude sometimes actorielle (relating to the figures). By an example chosen by: “Life: a User's Manual”, we shall see how a figure tries to hide his arguments, by a strategy with numerous facets.

Même si dans un roman, on le sait depuis longtemps, le narrateur n’est pas une entité humaine et psychologique mais plutôt une construction poético-sémiotique, il a pourtant une «figure» et une «zone» dans laquelle elle évolue et agit. Se fondant sur la théorie du Point de vue d’Alain Rabatel et la théorie aristotélicienne de l’Ethos, nous analysons les modalités de la présence du narrateur et de la construction de sa zone et de sa figure dans le chef d’oeuvre de Georges PEREC, La Vie mode d’emploi.