University of TehranResearch in Contemporary World Literature2588-4131102520050923--12166FAJournal Article19700101One of the principal components of any literary work is the setting. This component has been examined in various ways by different analysts. Based on the definitions offered, the setting is the context in which the events in the story take place. In this regard, what is worthy of attention is the fact that this element is, in most literary texts, changed from its unlimited nature in
the real world to a limited one in the story. The setting, as an integral part of
all stories, constitutes features that bring with it certain cultural interpretations allowing the reader to get to the essence and inherent message of all literary works. To demonstrate this fact, the most famous play by Federico Garcia Lorca, The Bernard Alba's House, has been selected for an analysis of the setting as a means to discover the writer's intended message. On the other hand, there is a reciprocal and inseparable relationship between the setting of a story and its characters which enables us to arrive at an understanding of the setting through the analysis of the characters. This re]ationship also makes it possible to discover the characters' features through recourse to the specifications existing in the setting.One of the principal components of any literary work is the setting. This component has been examined in various ways by different analysts. Based on the definitions offered, the setting is the context in which the events in the story take place. In this regard, what is worthy of attention is the fact that this element is, in most literary texts, changed from its unlimited nature in
the real world to a limited one in the story. The setting, as an integral part of
all stories, constitutes features that bring with it certain cultural interpretations allowing the reader to get to the essence and inherent message of all literary works. To demonstrate this fact, the most famous play by Federico Garcia Lorca, The Bernard Alba's House, has been selected for an analysis of the setting as a means to discover the writer's intended message. On the other hand, there is a reciprocal and inseparable relationship between the setting of a story and its characters which enables us to arrive at an understanding of the setting through the analysis of the characters. This re]ationship also makes it possible to discover the characters' features through recourse to the specifications existing in the setting.https://jor.ut.ac.ir/article_12166_f868db8494b1d2de9d35be83c27405b9.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12167FAJournal Article19700101Until a few decades ago, even mere speculation about paraliterature was problematic and perhaps not even considered as a norm of literature. From a literary point of view it did not gain any recognition, nor was it a part of the syllabus at universities. But since the year 1969, various sessions and meetings were devoted for it to be considered as a part of the syllabus. These sessions took place in France, and since then has been considered as an important subject to be taught at universities and also recognized as a new social phenomena. However, there are traces that in the 19th century, literary writers were using this phenomena, as reflected in various publications. The line of argument rests upon its basis and formation and related genres which is apparently obscure in most societies. Although it has two independent roots, yet the two are inter - connected, and it is this interconnection which
has been analyzed in this paper, so that its importance in the history of literature can be revealed.Until a few decades ago, even mere speculation about paraliterature was problematic and perhaps not even considered as a norm of literature. From a literary point of view it did not gain any recognition, nor was it a part of the syllabus at universities. But since the year 1969, various sessions and meetings were devoted for it to be considered as a part of the syllabus. These sessions took place in France, and since then has been considered as an important subject to be taught at universities and also recognized as a new social phenomena. However, there are traces that in the 19th century, literary writers were using this phenomena, as reflected in various publications. The line of argument rests upon its basis and formation and related genres which is apparently obscure in most societies. Although it has two independent roots, yet the two are inter - connected, and it is this interconnection which
has been analyzed in this paper, so that its importance in the history of literature can be revealed.https://jor.ut.ac.ir/article_12167_bb0337937ac215b9ce87854ea0f59907.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12168FAJournal Article19700101Friedrich Duerenmatt advocates comedy to show the awful situation of man in the present modem anarchistic world. He means that the soul of
contemporary man is filled with tragedy, but for expressing it, should use comedy, the kind of comedy which is biting and stabbing. In order to achieve this aim, in plays especially "Physicists", Duerrenmatt has introduced comedy-tragedy as the best option. The purpose of writing a
comedy-tragedy play is that the subject of play is comic; though the fate of players is tragic and sad. The genre of Grotesque which appears in the paradoxical manner of the player's characteristics makes the audience to think about his fate wisely. The use of grotesque in "Physicists" reflects the situation of the main actor of the play who is Mobius. Mobius performs paradoxically so that he gains his goals in ways for Humanity. He doesn't refuse any immoral solutions. So, he himself makes his tragic fate. Incidence, in Durrenmatt's opinion, is the result of today's human fate in industrial societies. It is unavoidable and impossible to anticipate.The tragic fate of the main actor of the play "Physicists" is by incidence too and this incidence creates the worst possible condition for the main actor.Friedrich Duerenmatt advocates comedy to show the awful situation of man in the present modem anarchistic world. He means that the soul of
contemporary man is filled with tragedy, but for expressing it, should use comedy, the kind of comedy which is biting and stabbing. In order to achieve this aim, in plays especially "Physicists", Duerrenmatt has introduced comedy-tragedy as the best option. The purpose of writing a
comedy-tragedy play is that the subject of play is comic; though the fate of players is tragic and sad. The genre of Grotesque which appears in the paradoxical manner of the player's characteristics makes the audience to think about his fate wisely. The use of grotesque in "Physicists" reflects the situation of the main actor of the play who is Mobius. Mobius performs paradoxically so that he gains his goals in ways for Humanity. He doesn't refuse any immoral solutions. So, he himself makes his tragic fate. Incidence, in Durrenmatt's opinion, is the result of today's human fate in industrial societies. It is unavoidable and impossible to anticipate.The tragic fate of the main actor of the play "Physicists" is by incidence too and this incidence creates the worst possible condition for the main actor.https://jor.ut.ac.ir/article_12168_2939b4663015981eb1ad1fdbed4b880d.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12169FAJournal Article19700101Four, hundred year ago, that is the year 1604 A.D Miguel de Cervantes of Spain attained the opportunity of publishing the first part of his legendary work, Don Quixote, a book that attained the tag of the first novel of the world. In the year 1351 (Iranian calender) an Iranian writer, Iraj Pezeshkzad contributed to the market the much controversial work Uncle Napoleon, a work, welcomed by the reading public, which attained further fame when converted into a television serial. The literary type of both works is facetious
and both follow the technique of satire which is subsequeuthy the strength of both works. However, what holds the interest of readers is the affinity between the two works which is apparenthy also the discussion in this paper. Two problematic heroes fall prey to an abstract idealism and simultaneously are in quest of their past which they wish to keep alive. However, their social and historical environnent will not allow them to keep this past alive. Not being able to escape, both eventually drown in unhopefulness and despair.Four, hundred year ago, that is the year 1604 A.D Miguel de Cervantes of Spain attained the opportunity of publishing the first part of his legendary work, Don Quixote, a book that attained the tag of the first novel of the world. In the year 1351 (Iranian calender) an Iranian writer, Iraj Pezeshkzad contributed to the market the much controversial work Uncle Napoleon, a work, welcomed by the reading public, which attained further fame when converted into a television serial. The literary type of both works is facetious
and both follow the technique of satire which is subsequeuthy the strength of both works. However, what holds the interest of readers is the affinity between the two works which is apparenthy also the discussion in this paper. Two problematic heroes fall prey to an abstract idealism and simultaneously are in quest of their past which they wish to keep alive. However, their social and historical environnent will not allow them to keep this past alive. Not being able to escape, both eventually drown in unhopefulness and despair.https://jor.ut.ac.ir/article_12169_613be27f5a736d52a8497bfd3ba03e41.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12170FAJournal Article19700101https://jor.ut.ac.ir/article_12170_390e2b6a418aa57598e97eb45b20886e.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12171FAJournal Article19700101Traditional grammars have always concentrated on sentence structure. The assumption is that what makes a sentence meaningful and grammatical is the number of constituents and the meanings attributed to individual words. In other words, a sentence is defined as a series of meaningful words, which represent the sentence meaning regardless of the arrangements of the words. In this paper, attempts are made to demonstrate that a sentence, in its simplest form has multiple meaning structures. Thus, our description of a particular sentence should go much beyond the scope of surface structure. In other words, logical form categories should also be taken into consideration.Traditional grammars have always concentrated on sentence structure. The assumption is that what makes a sentence meaningful and grammatical is the number of constituents and the meanings attributed to individual words. In other words, a sentence is defined as a series of meaningful words, which represent the sentence meaning regardless of the arrangements of the words. In this paper, attempts are made to demonstrate that a sentence, in its simplest form has multiple meaning structures. Thus, our description of a particular sentence should go much beyond the scope of surface structure. In other words, logical form categories should also be taken into consideration.https://jor.ut.ac.ir/article_12171_117a852fb70daca5f34fb8206151464f.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12172FAJournal Article19700101Language skills, which in the terminology of teaching languages are called the main, basic and classic skills, are categorized as the four following skills: Listening, Speaking, Reading and Writing. Other skills like Visual skill, (Inter)cultural competence, Critical Thought, Translation and
Bilingualism as the Fifth Skill have newly been discussed in the field of
teaching languages. Mentioning these skills based on their initial sources can explain that the four classic skills are not so sufficient for learning languages. The fifth skill although not a substitute for the classic skilJs, is a necessity in order to command a Language. In the present article, besides a
terminological analysis of this skill from different points of View, the cultural dimension of the Fifth Skill and the necessity and importance of it in the physical and virtual platform are discussed.Language skills, which in the terminology of teaching languages are called the main, basic and classic skills, are categorized as the four following skills: Listening, Speaking, Reading and Writing. Other skills like Visual skill, (Inter)cultural competence, Critical Thought, Translation and
Bilingualism as the Fifth Skill have newly been discussed in the field of
teaching languages. Mentioning these skills based on their initial sources can explain that the four classic skills are not so sufficient for learning languages. The fifth skill although not a substitute for the classic skilJs, is a necessity in order to command a Language. In the present article, besides a
terminological analysis of this skill from different points of View, the cultural dimension of the Fifth Skill and the necessity and importance of it in the physical and virtual platform are discussed.https://jor.ut.ac.ir/article_12172_1c45d97e7c828f40e58c372c04cd43a1.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12173FAJournal Article19700101The 20th Century besides being an era of cultural and scientific ideas, is also respected as a Jinguistic century. This field of science despite the human necessity of dealing with communication and of strengthening international relations is not considered as a science of philology but only known as an active and a useful element in the transmission and exchange of ideas. The 21 st century is considered as a "plurilinguistic century" for linguistics. Some linguistic sciences such as: semantics, sociolinguistics, discourse analysis, and psycholinguistics have played an important part in the linguistics field. The investigation carried out in applied linguistics in the present century and the role performed in the formation of translators has led this branch of science to become independent. Nevertheless most of the investigations and studies have been carried out in a technical language which in many occasions has not been understood by students and as a result they are lost in the labyrinth of expressions and concepts of words. Therefore, this study tends to investigate the history of translation and also adequate ways for teaching translation in universities.The 20th Century besides being an era of cultural and scientific ideas, is also respected as a Jinguistic century. This field of science despite the human necessity of dealing with communication and of strengthening international relations is not considered as a science of philology but only known as an active and a useful element in the transmission and exchange of ideas. The 21 st century is considered as a "plurilinguistic century" for linguistics. Some linguistic sciences such as: semantics, sociolinguistics, discourse analysis, and psycholinguistics have played an important part in the linguistics field. The investigation carried out in applied linguistics in the present century and the role performed in the formation of translators has led this branch of science to become independent. Nevertheless most of the investigations and studies have been carried out in a technical language which in many occasions has not been understood by students and as a result they are lost in the labyrinth of expressions and concepts of words. Therefore, this study tends to investigate the history of translation and also adequate ways for teaching translation in universities.https://jor.ut.ac.ir/article_12173_43bb7a43c4f6fedeb778fa7ca9c0f39a.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12174FAJournal Article19700101Contrasting languages or their subsystems is an activity, the results of
which not only enhance our knowledge of the structures of languages, but also contribute to such fields as translation and language teaching. Languages like all things in nature are similar in some aspects and different in others, but when we compare languages we are more concerned with similarities and when we contrast them we are interested in their differences. The basic claim of applied contrastive analysis is that students - of foreign languages make certain systematic errors in the process of learning that can be attributed to the interference of the patterns and structures of their mother tongue or their first language. Therefore, we are justified to compare and contrast languages to account for some of the deviant structures produced by students. The present research attempts at contrasting some aspects of one subsystem of Persian and Japanese, namely, their phonological structure.
Persian and Japanese belong to different language families, but as we shall see their phonological systems are similar in some respects though there are differences.Contrasting languages or their subsystems is an activity, the results of
which not only enhance our knowledge of the structures of languages, but also contribute to such fields as translation and language teaching. Languages like all things in nature are similar in some aspects and different in others, but when we compare languages we are more concerned with similarities and when we contrast them we are interested in their differences. The basic claim of applied contrastive analysis is that students - of foreign languages make certain systematic errors in the process of learning that can be attributed to the interference of the patterns and structures of their mother tongue or their first language. Therefore, we are justified to compare and contrast languages to account for some of the deviant structures produced by students. The present research attempts at contrasting some aspects of one subsystem of Persian and Japanese, namely, their phonological structure.
Persian and Japanese belong to different language families, but as we shall see their phonological systems are similar in some respects though there are differences.https://jor.ut.ac.ir/article_12174_7931c40a41958295039b77c98be6cd6e.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12175FAJournal Article19700101One of the problems Persian speakers encounter in Russian is the monomial sentence. A monomial sentence is a sentence type in which there
is only one mam word, either a subject or a predicate. In the syntactic structure of Russian, the existence of only one word as the main component of the sentence is a common phenomenon. In this case, however, the sentence is both structurally and meaning-wise complete. Regarding their form and meaning, this type of sentence is divided into various kinds. The present article attempts to discuss one of these kinds in comparison to the structures of binomial sentences.One of the problems Persian speakers encounter in Russian is the monomial sentence. A monomial sentence is a sentence type in which there
is only one mam word, either a subject or a predicate. In the syntactic structure of Russian, the existence of only one word as the main component of the sentence is a common phenomenon. In this case, however, the sentence is both structurally and meaning-wise complete. Regarding their form and meaning, this type of sentence is divided into various kinds. The present article attempts to discuss one of these kinds in comparison to the structures of binomial sentences.https://jor.ut.ac.ir/article_12175_b058855cf11ee1168f3a818367511a1d.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12176FAJournal Article19700101Words, when put together, influence one another and bring about syntactic relationships as a result of which phrases, clauses, and sentences are produced. Such syntactic relations may be of three types: co-ordinative, dependence and two-way interrelationship. In co-ordinative relationship all components of the phrase or the sentence have equal values regarding the syntactic function. Unlike co-ordinative relationship, in dependence relationship words do not have equal value rather one word is the 'head' and the others 'dependents'. A two-way relationship is found only between subject and predicate in a sentence. The above mentioned syntactic devices as genitive marker 'e', prepositions, word order, intonation and postposition 'ra' in Persian, and prepositions, connectives, word order, intonation and
inflectional endings in Russian, has in this paper been included for discussionWords, when put together, influence one another and bring about syntactic relationships as a result of which phrases, clauses, and sentences are produced. Such syntactic relations may be of three types: co-ordinative, dependence and two-way interrelationship. In co-ordinative relationship all components of the phrase or the sentence have equal values regarding the syntactic function. Unlike co-ordinative relationship, in dependence relationship words do not have equal value rather one word is the 'head' and the others 'dependents'. A two-way relationship is found only between subject and predicate in a sentence. The above mentioned syntactic devices as genitive marker 'e', prepositions, word order, intonation and postposition 'ra' in Persian, and prepositions, connectives, word order, intonation and
inflectional endings in Russian, has in this paper been included for discussionhttps://jor.ut.ac.ir/article_12176_fc56809369924c7626fddf7172187632.pdfUniversity of TehranResearch in Contemporary World Literature2588-4131102520050923--12177FAJournal Article19700101A study of the tense process of literary discourse consists of the analysis of interaction between discourse extensions and discourse intensities. The intellectual source of such a study lies in the linguistic component: the stress-bearing units of language follow two important characteristics; they either bear stress and intensity that lead to their rise, or they lack stress and are weak which lead to their fall. Due to procedural nature of linguistic operations, this rise and fall reflect themselves throughout the discourse in literary discourses. As a result of the interaction between discourse intensities and extensions four procedural schemata are formed: A) the
procedural schema of the fall of the affective intensity and the rise of cognitive extensio.n; B) the procedural schema of the rise of affective intensity and the fall of the cognitive extension; C) the procedural schema of
the simultaneous rise of intensities and extensions; D) the procedural schema of the simultaneous fall of intensities and extensions. The study of these processes will indicate, on the one hand, that literary discourse is a dynamic trend that can never be terminated, or even be established at a certain point, and, on the other hand, it will determine manner according to which the interaction between the two cognitive and affective types will lead to the creation of meaning.A study of the tense process of literary discourse consists of the analysis of interaction between discourse extensions and discourse intensities. The intellectual source of such a study lies in the linguistic component: the stress-bearing units of language follow two important characteristics; they either bear stress and intensity that lead to their rise, or they lack stress and are weak which lead to their fall. Due to procedural nature of linguistic operations, this rise and fall reflect themselves throughout the discourse in literary discourses. As a result of the interaction between discourse intensities and extensions four procedural schemata are formed: A) the
procedural schema of the fall of the affective intensity and the rise of cognitive extensio.n; B) the procedural schema of the rise of affective intensity and the fall of the cognitive extension; C) the procedural schema of
the simultaneous rise of intensities and extensions; D) the procedural schema of the simultaneous fall of intensities and extensions. The study of these processes will indicate, on the one hand, that literary discourse is a dynamic trend that can never be terminated, or even be established at a certain point, and, on the other hand, it will determine manner according to which the interaction between the two cognitive and affective types will lead to the creation of meaning.https://jor.ut.ac.ir/article_12177_4afb92065258025e6d28b9e8d053b15e.pdf