Publication Date: 2017
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.
Publication Date: 2017
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.
Publication Date: 2019
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.
Publication Date: 2020
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.
