Social Sciences (discontinued) (18185800)11(6)pp. 903-905
Present era is the era of media diplomacy. These days collective medias play an important role in international relations and are known as a mirror which reflect countries through showing communities' culture and national identity and prepare the causes of foreign governments policy stability. Therefore, it is possible to consider group medias as efficient tools in order to realize the goals of foreign policy and reaching the national advantages of government which is the most important tool of cultural diplomacy. The main goal of this essay is to determine the important role and considerable effect of collective medias in progressing cultural diplomatic goals of France which was the first Western country that is committed to cultural diplomacy. Since French were the second European nation who accepted the democracy, at the beginning of the third millennium, media is still the fourth column of democracy for France which itself is the cradle of freedom of expression. © Medwell Journals, 2016.
Language Related Research (23223081)7(2)pp. 1-18
“Forgiveness” is a collection of stories of Sadegh Hedayat’s Three drops of blood. It narrates the story of a woman whose jealousy causes the death of the first and second children of his husband’s second wife and the latter. The history is full of sense of reproach and suffering of the feelings of jealousy. In this study, we try to analyze, following the theory of Landowski on the human feelings and the patterns provided by experts as Greimas, Fontanille and Landowski about the human emotions’s production, the “jealousy” through the perspective of semiotics of passion. The aim of this research is to show how this feeling takes the discursive properties. We will also examine how the status of emotion of jealousy in this story corresponds with the systematic patterns of semiotics of Paris school and its recent theories. This review will provide and assess the applicability of these models on the Persian literary products. © 2016, Tarbiat Modares University. All rights reserved.
Language Related Research (23223081)8(8)pp. 1-21
By adopting the insights of phenomenological approach since late 80th century we easily observe the passage from classic narrative scheme to the semiotics with sensible and existential landscape. This approach is called semiotics with ontological foundations in which the reading and interpretation is no more related to the simple coding of a text, but it involves in movement towards the live experience of signification process in the world. In the discourse of Blind Owl by Sadegh Hedayat, we encounter with this manner of presence and interaction of subject with the world; that is to say, the perception of character from the world, himself and other (alterity) depends on sensible and dynamic presence of subject with his constant interaction with phenomena. Therefore, the aim of this study is to analyze by referring to Landowski and Greimas’s theories and ideas, the presence of the subject and his relationship with himself and others. Then, we study how the interaction with the "other" creates new systems such as the transcendental or ecstasy discourses and how the being of subject is determined in interaction with others. © 2017, Tarbiat Modares University. All rights reserved.
Studia Iranica (02215004)46(1)pp. 125-142
The late arrival of postmodern American and French novels in Iran explains, clearly, the delay of Persian literature in creating works that would reflect the postmodern world where man has no knowledge of himself. Despite the efforts of young writers, postmodern works have barely succeeded in implementing features of the postmodern novel, and they seem to be rather formal imitations of foreign works. This paper aims to follow the progress of this literary movement in Persian literature and to show, through one of Mohammad Hasan Šahsavai's works entitled The Possible Night (Šab-e Momken) (1971), as a successful example of this kind, how the distinguishing characteristics of postmodernism arise in the Persian novel and to what extent Šahsavari's work is a postmodernist piece of literature. We will explain the mechanisms that the writer activates-on the narrative level as well as the socio-cultural context - in order to prove that this work can appear as a postmodern work. © 2017 Peeters Publishers. All Rights Reserved.
Language Related Research (23223081)8(8Tome38)pp. 187-216
Teaching/learning French nasal vowels are one of the problems encountered by Iranian teachers and students in institutes and universities. The problems arise due to the fact that there are no approximate phonetic analogues for those vowels in Persian. In the present study, the acoustic phonetics is used. It is a method based on acoustic analysis using speech analysis and phonetics software. In recent years, voice analysis software’s have made it possible to identify phonetic errors with precision. The research objective is to identify French nasal vowels errors by Iranian students and analyze inter-phoneme-phonetic data. The population under study consists 8 students of the French language at University of Isfahan during the first semester 2015-16. Student’s oral productions have been analyzed by using analysis software with regard to structural physical parameters of F1, F2 and F3. As the results of the present study demonstrate, students in the production of French nasal vowels (CVn) are in trouble due to the absence of such vowels in the native language. The process of “unpacking nasal vowels” and “nasalizing the oral vowels” are evident due to the impact of native language. Therefore, the frequency of phonetic errors, French nasal vowels, has a meaningful relationship with the French nasal vowels characteristics and phonetic structure of the students’ native language. © 2017, Tarbiat Modares University. All rights reserved.
Language Related Research (23223081)10(5)pp. 183-207
Consonant clusters that are composed of/R/and other consonants are among the phonetic properties of the French language. Although in the L1 of Persian language learners the syllabic structure of CC is at the end of a Word (but not at the beginning), the correct pronunciation of consonant clusters has always been a difficult task for beginner level learners and even sometimes for higher level learners. Using acoustic phonetics, this study investigated the physical structure of the two consonant clusters of [pR] and [tR] in the French language. A hypothesis could be made that Iranian FFL learners, especially at elementary levels, have a problem in reproducing consonant clusters at the beginning of the target French Words rather than at the end of these Words. To evaluate this hypothesis, phonetic productions of six first-year students at the University of Isfahan majoring in French language and literature were examined in terms of the first, second and third formants, as well as the energy level. Results demonstrated that the error rate of the learners in the re-production of consonant clusters [pR] and [tR] at the beginning and at the end of a Word has a significant relationship with the level of the marked consonant. Besides, the marked consonant clusters at the beginning and the end of target Words cause a phonetic error. © 2019, Tarbiat Modares University. All rights reserved.
Semiotica (00371998)2020(233)pp. 179-204
Les études déjà menées depuis des années 1970 autour de la sémiotique de l'espace montrent que les fondements méthodologiques et épistémologiques de cette approche se situent bel et bien, dans la lignée de la sémiotique structurale. Pourtant, certains espaces et le sens qui y émerge en acte ne peuvent pas être réduits à un cadre théorique si restreint. Cet article se propose de montrer, à travers l'analyse d'une chambre décrite par Sohrab Sépehri (1928-1980), poète et peintre moderne iranien, comment l'explication de la production du sens dans cet espace échappe aux fondements de l'appareil théorique classique. Notre hypothèse est que cette chambre en tant qu'espace qui ne se veut plus comme un objet-valeur, ni comme un espace opératoire ou manipulateur, prend sens dans un processus interactionnel comme un mouvement tourbillonnaire qui implique le sujet, l'entoure, l'engage et le fait ainsi vivre une expérience vécue. Cet espace éprouvé devient ainsi l'espace existentiel de la présence du monde du poète. Mais selon quelles caractéristiques déterminons-nous le régime d'espace auquel appartient la Chambre bleue de Sépehri Comment et dans quelle mesure la Chambre qui appelle le poète sans arrêt, contribue à lui former un nouvel être au monde et à le faire avancer dans son itinéraire transcendant C'est à ces questions que ce texte essaiera de répondre. © 2020 Walter de Gruyter GmbH, Berlin/Boston 2020.
