PROUST structure sa psychologie sur l’opposition entre un "moi superficiel" et un "moi profond". Le premier se divise en deux "moi", l’un "mondain" et l’autre "prive". Le "moi mondain" est le "moi" qui se manifeste dans la societe, qui est l’image que nous donnons de nous-memes aux autres. Le Narrateur dechiffre ce "moi" par l’etude des "signes" emis par les etres qui l’entourent. Le "moi prive" est celui du Narrateur etudie par lui-meme au long de la Recherche. Le deuxieme "moi" est un "moi" impenetrable qui se saisit par la memoire involontaire. Ce phenomene donne une vision panoramique du moi profond du Narrateur, mais de façon accidentelle et partielle. Apres cette etude minutieuse des deux "moi", la metaphore PROUSTienne en tant que contact direct du "moi profond" avec le monde sera etudiee. English: Social Self and Inner SelfPROUST's psychology is based on the distinction between “superficial ego” and “profound ego”. His “superficial ego” in turn, consists of two “egos”: “social ego” and “private ego”. In PROUST’s work of fiction, “social ego” has his manifestations in the society and is the one we present to others. The Narrator of In Search discovers this “ego” by investigating the “signs” which the people around show him. The “private ego” of the Narrator is analyzed only by himself all along the fiction. The second “ego” is impermeable and can be reached only by “involuntary memory”. This phenomenon provides a panoramic, but unplanned and partial vision of Narrator’s “profound ego”. A thorough investigation of “ego” in In Research leads to the study of metaphors which can be considered as a direct contact between “profound ego” and the “world”.Key words: PROUST, superficial ego, social ego, private ego, profound ego, narrator, metaphor

Ce qui passionne PROUST, dès son jeune âge, c’est le spectacle. Cette ferveur se projette également dans la plupart de ses écrits: les rubriques de théâtre, de music-hall qu’il tient, à ses débuts, dans les petites revues; puis vers la fin de sa carrière littéraire dans A la recherche du temps perdu, l’enthousiasme et la passion de l’art dramatique accompagnent partout PROUST. Aussi son roman magistral débute-t-il par le goût du jeune héros pour le spectacle et se clôt sur l’évocation comique du «bal des têtes» avant que ne tombe le rideau. Notre objectif dans cet article est non seulement d’examiner l’aspect comique de A la recherche du temps perdu et de rappeler que sa lecture est l’une des plus divertissantes qui soit, mais surtout de savoir à quels procédés PROUST recourt pour égayer son roman: les procédés de la comédie dite «traditionnelle» comme le comique de geste, de situation et de mots, que nous signalerons, se placent au centre de son oeuvre et créent de véritables scènes de théâtre.

Writers, literary critics and readers have always presented various definitions of literary works. To know whether the notion of 'literary work' is born from the writer's instinct, talent, reason, intelligence or inspiration is one of the questions still subject to discussion. The aim of this paper is to study literary work, its importance and its role according to the concept of early 20th century and among writers like Marcel PROUST and Maurice Barrès. The notions we shall try to analyze in this article are elements such as models, which fertilize the writer’s imagination, the various stages of creation and the history of its development, from its internal origin to its final creation.

Among different concepts represented in literature, there is no doubt that the concept of "love" is one of the most attractive and at the same time a challenging subject expressed in various forms. In" Swan love" Marcel PROUST analyses "love" and its effects on the human psyche. According to his opinion, love entangles human beings and cannot create a spiritual relation among them. In this idea then, the theme of love is only suffering in isolation, a lonely relation that is futile and based on "lie". By representing a new image of the concept of love, PROUST believes that it is a trivial misunderstanding which begins with doubts, restlessness and instability and terminates with the feeling of tiredness and annoyance. This article studies the linguistic structure of PROUST's masterpiece and analysis his view about "love".

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.

François Mauriac, a scholar and a famous French author and the winner of the nobel prize in literature, unlike any of his contemporaries is not known in Iran. In this article, it has been attempted to know him better on the basis of his viewpoints toward two famous contemporaries, André Gide and Marcel PROUST. Mauriac believes that these two writers incorporated a detailed reflection of religious crisis dominating the 20th century. This has caused some decline in the religious value of their work, deriving from the aesthetics which was undoubtedly the most influential aspect of their work.

Photography is an art that after its invention, important developments took place in the field of different arts including painting, architecture and literature. Photography, by showing the details of the environment around people as accurately as possible, and documenting and recording moments and events, served well in art works, including literature. The facilities available in photography were reflected in the lives of the people of the society,this potential was quickly noticed by prominent writers in the field of literature all over the world, and thus photos were involved in the course of important literary stories, setting a new platform for paying attention to the situation and characters of literary works. With the continuation of the presence of photographs and the photographic method in the field of literary texts and a fusion between these two artistic fields, works were created with a novel view of the various concepts in human life in this field,this issue made the audience closer to these two fields. In this research, we tried to pay attention to the description and analysis of the presence of photography in the field of literature, and from this point of view, analyze the work In Search of Lost Time by Marcel PROUST. We tried to examine the photographic method that this author chose to express his story based on the opinions of literary and artistic thinkers such as Roland Barthes and Georges Poulet. The main concerns of this study are how the presence of photographs and photography features in this author’, s narrative has played a role in characterizing and overcoming the time course of the story and the way the scenes are presented and the expression of important concepts in the process of the story and how this French writer has used the features of this 19th century invention that originated from his country to represent what he has in mind.

Background: One of the achievements of information and knowledge era is knowledge management according to whose characteristics, today, successful organizations have strongly felt the need to take advantage of it. Thus, evaluation of knowledge management in healthcare organizations, especially hospitals, is of great importance. Therefore, this study aimed to determine the elements of knowledge management at Hashemi Nejad Hospital, Tehran, Iran.Methods: This cross-sectional study was conducted in Tehran Hashemi Nejad hospital in 2010. The statistical society of the study included all the staffs of Hashemi Nejad Hospital 120 of whom were selected through stratified random sampling. The data were gathered using PROUST Questionnaire of Knowledge Management and analyzed through the SPSS statistical software (v.16) and descriptive statistics.Results: The study respondents rated knowledge management and its components as moderate to high (63%). However, only knowledge acquisition (2.99±0.97) and knowledge development (2.92±0.81) received lower scores compared to other indices. Overall, the total score of knowledge management was desirable (3.13±0.75) Conclusion: Knowledge management was found to have a relatively desirable status in the study hospital. This feature provides the ground for other changes in the hospital and will be helpful for the managers for systematic prediction of change priorities and development of strategies for successful implementation of management techniques and processes.

The 20th century novel has changed both in form and content. A new conception of world and generally of existence and also another kind of relation between artist and reality, which surrounds his world, have changed the various traditional form of novel. In this way, the novelist tries to discover the dominant reality within his own existence instead of finding it out of his internal world.This article tries to take into consideration some European great writers works which have a basic role in bringing about this change.

In French:Ruskin, philosophe de l’art, a attiré l’attention de PROUST sur les oeuvres d’art. En visitant les musées de la Haye, PROUST a aimé les peintres hollandais. Vermeer est le peintre favori de PROUST dans son oeuvre. Toute oeuvre de PROUST est un musée où nous pouvons visiter la peinture réaliste, classique et impressionniste. Les peintres réalistes ont beaucoup influencé PROUST par leur sentiment sur la réalité. PROUST cherche le réel dans les oeuvres d’art et en profite pour présenter la description de ces personnages. Les ressemblances des portraits de ces peintures avec ceux de PROUST sont incroyables. PROUST a été aussi influencé par les impressionnistes. Il a présenté, dans son oeuvre, les couleurs de la nature, et surtout la description des paysages, comme s’il était un peintre impressionniste de son temps. Désespéré de sa maladie, il nous a donné l’espoir du bonheur en dessinant comme un peintre. PROUST trouve ce bonheur dans la peinture. Les amis, les paysages, les villes et les hommes qui l’entourent, ont été montrés avec un génie étrange dans son oeuvre. Mais à quel point l’influence de Ruskin a orientée PROUST vers les peintres classiques, réalistes et impressionnistes?   In English:Ruskin, philosopher of art, drew PROUST's attention to the artwork. Visiting museums in the Hague, PROUST loved the Dutch painters. Vermeer is PROUST's favorite painter in his work Du Côté de chez Swann. Every work of PROUST is a museum where you can visit the realistic, classical, and impressionistic painting. The realist painters' sense of reality greatly influenced PROUST. Indeed, PROUST looks for reality in the artwork, for presenting these works to present the description of these characters and enjoying them. The similarities of the portraits of these paintings with portraits of PROUST's characters are amazing. PROUST also influenced the Impressionists of the nineteenth century. He presented, the colors of nature, especially the description of the landscape in different regions in his work, as if it were an impressionist painter of his time. Desperate to his illness, he gave us the hope of happiness by drawing as a painter. PROUST found happiness in painting. Friends, landscapes, cities and people around him, were shown with a strange genius in his work. Then the essential question is whether Marcel PROUST, as an author, is influenced by art and painting, to write his novel.