Department of French Language Teaching (2012 - Present)
Comparative literature Frech-Persian
French language Department, University of Tehran, Tehran, Iran
Comparative literature Frech-Persian
French language Department, University of Tehran, Tehran, Iran
Comparative literature Frech-Persian
French language Department, University of Tehran, Tehran, Iran
Comprative Literature French-Farsi
French language & Literature, Tehran, Tehran, Iran
French Language & Literature
French Studies, Shahid Beheshti, Tehran, Iran
French Language & Literature
French Studies, Shahid Beheshti, Tehran, Iran
Translation of movies, telecasts and any other audiovisual product is associated with special procedures and techniques which become more challengeable and complex when facing the culture and cultural elements. Due to the fact that the translator who writes the subtitles is confronted with myriads of technological restrictions, linguistics requirements and stylistic challenges, the question arises as follows: are subtitles essentially able to reproduce or duplicate the cultural elements? For studying the modalities of the transfer of the cultural messages from the original text (oral statements in Farsi) to the translated formats (subtitles in French) we have proposed a descriptivo-analytic approach applied on a case study. After giving a b
Partant du principe basique de l’Analyse Critique du Discours Faircloughienne et Van Dijkienne admettant qu’il n’est pas seulement le contenu explicite du texte qui v?hicule le sens, mais ce sont plut?t les sens sous-jacents et donc implicites qui orientent la lecture, cette ?tude vise ? analyser des manipulations du traducteur dans le texte philosophico-id?ologique de la Tentation du Mat?rialisme. Cet article se propose donc de rep?rer les indices directs et diagonaux qui rel?vent des orientations id?ologiques du traducteur et/ou des contraintes environnementales qui entrent en synergie pour modifier la projection du translatum dans la langue et culture d’accueil. Pour d?marrer l’analyse, deux questions entrelac?es sont ? poser:
Le temps a toujours ?t? la source d’angoisse pour l’homme, car l’?coulement du temps lui rapproche ? la mort. Cet article vise ? d?couvrir par le truchement de la m?thode imaginaire propos?e par Gilbert Durand et d?velopp?e dans son ouvrage de r?f?rence, Les structures anthropologiques de l’imaginaire, comment et par le biais de quelles images la hantise du temps est refl?t?e dans les œuvres de Marguerite Duras. Pour ce faire, six romans de la romanci?re publi?s principalement dans une dur?e assez consid?rable de trente ans (de 1954 ? 1984) sont choisis et analys?s selon une approche anthropologique sous-tendue par la classification isotopique des images et des structures figuratives de l’imaginaire.
Due to the advancement of film making technologies, we are witnessing, in this new era, the overabundance of different animations, such as Shrek, Brave, Frozen, etc., whose respondents are majorly children and adolescents. An important feature of these animations is their ironic or their humoristic language. Given that the transmission of humor (formally and functionally) varies in each culture and that the same message in two different linguistic-cultural spheres would not have the same effect (perception) and that the loyalty of dialogues in the translation of the films and animations is of less importance than the coherence of dialogues, audio and video, the question may be raised is that what translation techniques the translator adopts
In French:Clore le vaste cycle romanesque des Rougon-Macquart par un roman qui se d?marque par l’absence quasi-totale des images temporelles (ces derni?res dans la conception durandienne du terme) et qui chante dans l’ach?vement de l’amour idyllique, la naissance d’un fils “r?dempteur”, peut nous frapper de stupeur au prime abord. Il nous semble cependant que la gen?se de la figure du Fils avec laquelle le roman, et de facto, l’ensemble de la saga zolienne touche ? sa fin, soit inductrice du triomphe de l’imaginaire zolien vis-?-vis de l’exp?rience temporelle issue de la fuite du temps.
’Universit? Tarbiat Modares, T?h?ran, Iran Re?u: 2015/11/22, Accept?: 2016/07/18 R?sum?: Clore le vaste cycle romanesque des Rougon-Macquart par un roman qui se d?marque par l’absence quasi-totale des images temporelles (ces derni?res dans la conception durandienne du terme) et qui chante dans l’ach?vement de l’amour idyllique, la naissance d’un fils “r?dempteur”, peut nous frapper de stupeur au prime abord. Il nous semble cependant que la gen?se de la figure du Fils avec laquelle le roman, et de facto, l’ensemble de la saga zolienne touche ? sa fin, soit inductrice du triomphe de l’imaginaire zolien vis-?-vis de l’exp?rience temporelle issue de la fuite du temps. Nous nous pencherons tout au long de cet article sur la m
Although the critical structure of Mahmud Dowlatabadi’s narratives makes the characters appear flexible and sometimes rough, with semiotic narrative structures leading them to direct confrontation with the elements disturbing the initial order and serenity, we believe that the character’s conflict with themselves and others mostly results from the contrastive mentality and the binary thought that the author’s imagination system projects against outward world of turbulence and anxiety, rather than the necessity for keeping balance between the nature and manner of the characters. Though, initially, the author’s philosophical approach to the world and the way in which his imagination system responds to it motivates him to create his fi
It is natural to become seriously entangled with the inherent darkness of LF C?line’s universe and style, while studying his Journey to the end of the Night (Voyage au bout de la nuit).
Grand trait? philosophique, scientifique et doctrinaire avec lequel le vaste cycle romanesque des Rougon-Macquart touche ? sa fin, Le Docteur Pascal se d?marque ?galement comme une ?chappatoire logique que l’imaginaire du romancier trouve, dans son dernier affrontement, vis-?-vis de l’?angoisse existentielle?. Nous sommes de cet avis que si cette angoisse _ g?n?ralement engendr?e ? la suite du sentiment du n?ant envers l’?coulement irr?vocable du temps _ est ma?tris?e dans ce roman, gr?ce ? l’emploi et ? la projection experte des structures figuratives “synth?tiques nocturnes”, elle n’est pas moins attribuable au recrutement intelligent du “drame alchimique” et de la figure arch?typale de l’“alchimiste”, saupoudr?s d
It is natural to become seriously entangled with the inherent darkness of LF C?line’s universe and style, while studying his Journey to the end of the Night (Voyage au bout de la nuit).
Regardless of materialistic conceptions which form the theoretical bases and the ideological foundations of the Naturalism school, and beyond the practical directives of this conceptual movement that encourages the anthropomorphization of habitable spaces and the reification of human beings in artistic and literary representations, the naturalist descriptions are_at least in respect to the zolians descriptive texts_substantially representative of an imagining thought; an imaginative way of thinking according to which, the objects, the individuals and the spaces enter in a prosperous fusion with each other to reduce, by this way, the terrible experience of the inexistence and to transform positively the risk of extinction to a fortunate chan
It is natural to become seriously entangled with the inherent darkness of LF C?line’s universe and style, while studying his Journey to the end of the Night (Voyage au bout de la nuit).
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