Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Mohammad Taghi Qiasi and Translation of French Poetry Mohammad Taghi Qiasi and Translation of French Poetry 11 33 3103 FA Mitra Raissi Dehkordi Assistant Professor, of French Language and Literature , Bu-Ali Sina University Journal Article 2017 11 06 Mohammad Taghi Qiasi has been researching in different fields of French language and literature. In addition, he has provided numerous translations from French to Farsi, particularly about the translation French works. Among his translations, two books are dedicated to the translation of French poetry. Initially, the translation of forty four pieces of Paul Eluard’s poems entitled Oh Freedom by Mohammad Taghi Qiasi was published in 1978. Later, French Poetry in Twentieth Century was published by Nahid Publications. However, the reasons for the inclusion of some nineteenth century poems have been explained in the introduction of the book. In fact, the French poetry has been only sparsely translated into Persian language, and therefore, it has got a different course in comparison to French prose works. In this way, those who adore poetry have not got the opportunity to get familiar with the rich and influential French poetry. In the present paper, we review the book of French Poetry in the Twentieth Century. We aimed to analyze the reasons for the selection of poems, the method for the introduction of poets, and the classification of the history of French poetry to different periods, as well as the translation methods. In this review work, we aimed to demonstrate to which extent this book may aid those who adore literature, to get familiar with the French poetry Mohammad Taghi Qiasi has been researching in different fields of French language and literature. In addition, he has provided numerous translations from French to Farsi, particularly about the translation French works. Among his translations, two books are dedicated to the translation of French poetry. Initially, the translation of forty four pieces of Paul Eluard’s poems entitled Oh Freedom by Mohammad Taghi Qiasi was published in 1978. Later, French Poetry in Twentieth Century was published by Nahid Publications. However, the reasons for the inclusion of some nineteenth century poems have been explained in the introduction of the book. In fact, the French poetry has been only sparsely translated into Persian language, and therefore, it has got a different course in comparison to French prose works. In this way, those who adore poetry have not got the opportunity to get familiar with the rich and influential French poetry. In the present paper, we review the book of French Poetry in the Twentieth Century. We aimed to analyze the reasons for the selection of poems, the method for the introduction of poets, and the classification of the history of French poetry to different periods, as well as the translation methods. In this review work, we aimed to demonstrate to which extent this book may aid those who adore literature, to get familiar with the French poetry

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Mohammad Taghi Ghiasi and New Criticism Mohammad Taghi Ghiasi and New Criticism 35 59 3104 FA Hassan ZOKHTAREH Assistant Professor, French Language and Literature Department, Bu-Ali Sina University, Hamadan 0000-0001-6452-2623 Journal Article 2017 12 03 By writing several books during three decades, Mohammad Taghi Ghiasi can be said to stand among those who have tried to make the Persian speaking community acquainted with the French New Criticism. He has thus had an undeniable role in creating the Iranians’ first reception of this movement, particularly, in the context of universities. In so doing, he has introduced himself a translator, a researcher, and even a writer although in most of his books, he is no more than a translator of works of French authors. The present study is on the belief that the quality of Ghiasi’s work in this domain has been progressively declining. This falling trend has gone so far that he has sometimes provided his audience with an incorrect, vague, and even misleading image of some new movements in criticism. The origin of such distorted image of literary criticism can be found in his lack of loyalty in translating French texts and in introducing fundamental changes in them. The Persian speaking reader also faces texts which have little similarity with Ghiasi’s so-called books and the introductions he has written to them. By writing several books during three decades, Mohammad Taghi Ghiasi can be said to stand among those who have tried to make the Persian speaking community acquainted with the French New Criticism. He has thus had an undeniable role in creating the Iranians’ first reception of this movement, particularly, in the context of universities. In so doing, he has introduced himself a translator, a researcher, and even a writer although in most of his books, he is no more than a translator of works of French authors. The present study is on the belief that the quality of Ghiasi’s work in this domain has been progressively declining. This falling trend has gone so far that he has sometimes provided his audience with an incorrect, vague, and even misleading image of some new movements in criticism. The origin of such distorted image of literary criticism can be found in his lack of loyalty in translating French texts and in introducing fundamental changes in them. The Persian speaking reader also faces texts which have little similarity with Ghiasi’s so-called books and the introductions he has written to them.

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Origin and Position of the Translations of Three French “Commentary” by Mohammad Taghi Ghiasi Origin and Position of the Translations of Three French “Commentary” by Mohammad Taghi Ghiasi 61 77 3105 FA Sara Tabatabae Assistant Professor of French Language and Literature, Shahid Beheshti University Journal Article 2017 12 08 Mohammad Taghi Ghiasi started his career of translator with the translation of a number of literary criticism books, including a Commentary on the Red and the Black of Stendhal, a Commentary on The Stanger of Camus and a Commentary on the Nausea of Sartre. According to his claims, these translations provided useful resources to the scholars and critics of his time to get acquainted with new theories of critique and their applications on literary oeuvres. To verify the validity of this claim, we should first study the history of literary criticism of Iran in order to have a better understanding of its achievements and deficiencies before the advent of the above-mentioned translations. Then, we will examine the books themselves, their framework, goals and audience, to see if Ghiasi's selection has been innovative and responsive to his time requirements. Finally, the selective-composed approach of the translator in a Commentary on The Stanger of Camus will be studied. Mohammad Taghi Ghiasi started his career of translator with the translation of a number of literary criticism books, including a Commentary on the Red and the Black of Stendhal, a Commentary on The Stanger of Camus and a Commentary on the Nausea of Sartre. According to his claims, these translations provided useful resources to the scholars and critics of his time to get acquainted with new theories of critique and their applications on literary oeuvres. To verify the validity of this claim, we should first study the history of literary criticism of Iran in order to have a better understanding of its achievements and deficiencies before the advent of the above-mentioned translations. Then, we will examine the books themselves, their framework, goals and audience, to see if Ghiasi's selection has been innovative and responsive to his time requirements. Finally, the selective-composed approach of the translator in a Commentary on The Stanger of Camus will be studied.

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Didactic criticism of the two works of Mohamed-Taghi Ghiassi, RaveŠe no dar āmuzeŠe zābān farānse (fifth edition 1993/1372) and Farānseje gām be gām (eighth edition 2013/1392) Didactic criticism of the two works of Mohamed-Taghi Ghiassi, RaveŠe no dar āmuzeŠe zābān farānse (fifth edition 1993/1372) and Farānseje gām be gām (eighth edition 2013/1392) 79 95 3106 FA Kamyar Abdoltajedini Assistant Professor of French Language and Literature, French Department, University of Isfahan, Isfahan Journal Article 2017 12 22 In this review, we have studied the teaching of Dr. Ghiassi through his works: New method to Teach French and French Step by Step. To do this, we first studied their content and form. To do this, we first checked the content and form of these works to derive exemptions from their strengths and weaknesses. Then, analyzing and comparing the author's remarks, in his introductions, with the principles of the known methods and teaching approaches we demonstrated that he adopts the grammar-translation method. In a final stage, we studied the quality of the content and Dr. Ghiassi’s teaching grammar, vocabulary, and pronunciation. In this last section, we have demonstrated that both books are rich in vocabulary. But, we also said that the content does not match the needs of the learners, the teaching of pronunciation is not effective, and sometimes the selected texts do not contain the grammatical points discussed. In this review, we have studied the teaching of Dr. Ghiassi through his works: New method to Teach French and French Step by Step. To do this, we first studied their content and form. To do this, we first checked the content and form of these works to derive exemptions from their strengths and weaknesses. Then, analyzing and comparing the author's remarks, in his introductions, with the principles of the known methods and teaching approaches we demonstrated that he adopts the grammar-translation method. In a final stage, we studied the quality of the content and Dr. Ghiassi’s teaching grammar, vocabulary, and pronunciation. In this last section, we have demonstrated that both books are rich in vocabulary. But, we also said that the content does not match the needs of the learners, the teaching of pronunciation is not effective, and sometimes the selected texts do not contain the grammatical points discussed.

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 A Brief Look at Translations of Mohammad Taghi Ghiasi from Emile Zola A Brief Look at Translations of Mohammad Taghi Ghiasi from Emile Zola 97 114 3107 FA Esmaeel Farnoud Assistant Professor, PhD of Translation Studies, Faculty of Foreign Languages, Yazd University Journal Article 2017 10 05 Translation Criticism is one of the main branches of applied translation studies and human translation evaluation is a subset of translation criticism. In the evaluation, the critic's focus is more on the finding errors, which is called a quantitative critique, but in a comprehensive critique, the qualitative and hypertext aspects are also considered. It is very sensitive and important to present the first translation of the works of an influential writer. Mohammad Taghi Ghiasi, is one of the renowned translators who has translated three books of the twenty-volume collection of Rougon-Macquart. The only available translations of three books of The Earth, La Curée and The Fortune of the Rougons belong to Ghiasi. In this essay, after an introduction about assessment criteria for translation and its differentiation with evaluation, we have a general look at Ghiasi translations of Zola’s works. The writer is trying to explore the translator’s approach and attitude by highlighting the repeated and common features in all three books. Translation Criticism is one of the main branches of applied translation studies and human translation evaluation is a subset of translation criticism. In the evaluation, the critic's focus is more on the finding errors, which is called a quantitative critique, but in a comprehensive critique, the qualitative and hypertext aspects are also considered. It is very sensitive and important to present the first translation of the works of an influential writer. Mohammad Taghi Ghiasi, is one of the renowned translators who has translated three books of the twenty-volume collection of Rougon-Macquart. The only available translations of three books of The Earth, La Curée and The Fortune of the Rougons belong to Ghiasi. In this essay, after an introduction about assessment criteria for translation and its differentiation with evaluation, we have a general look at Ghiasi translations of Zola’s works. The writer is trying to explore the translator’s approach and attitude by highlighting the repeated and common features in all three books.

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Review for the Reviewer’s Review Pathology of Book Review: « L’Histoire de la Littérature française du XIXe siècle », SAMT Publication, Institute of Humanities Review for the Reviewer’s Review Pathology of Book Review: « L’Histoire de la Littérature française du XIXe siècle », SAMT Publication, Institute of Humanities 115 134 3112 FA Roya Letafati Associate Professor, Department of French Language and Didactic, Tarbiat Modares University Bita Moazzami French Instructor, Department of French Language and Literature, Islamic Azad University Journal Article 2018 01 15 Regarding the book review of « L’Histoire de la Littérature française du XIXe siècle », written by Mrs Mitra Rayissi (PhD), from SAMT publications which appears to be more a bad derivative review than a book review, the authors of the book have decided to write this article intending to shed light on the improper critiques in academia with the purpose that eventually such critiques will be replaced with more scientifically written articles. In this paper, with precise focus on reasoning, the review of the critic is analyzed to depict how, considering the book’s limited number of readers and its medium, the comparison between this book and internationally acclaimed resource books which are published by international publishers cannot be a just comparison. Furthermore, why has the significant role of the publisher, regarding the review process and editing, been disregarded and rather authors are denounced for this issue? The current paper, undoubtedly, has not been written to defend the inefficiency of academic books in our country; the sole objective is to tackle the phenomenon of bad derivative review which is detrimental to the current situation of academia in the country. Regarding the book review of « L’Histoire de la Littérature française du XIXe siècle », written by Mrs Mitra Rayissi (PhD), from SAMT publications which appears to be more a bad derivative review than a book review, the authors of the book have decided to write this article intending to shed light on the improper critiques in academia with the purpose that eventually such critiques will be replaced with more scientifically written articles. In this paper, with precise focus on reasoning, the review of the critic is analyzed to depict how, considering the book’s limited number of readers and its medium, the comparison between this book and internationally acclaimed resource books which are published by international publishers cannot be a just comparison. Furthermore, why has the significant role of the publisher, regarding the review process and editing, been disregarded and rather authors are denounced for this issue? The current paper, undoubtedly, has not been written to defend the inefficiency of academic books in our country; the sole objective is to tackle the phenomenon of bad derivative review which is detrimental to the current situation of academia in the country.

Institute for Humanities and Cultural Studies Critical Studies in Texts & Programs of Human Sciences 2383-1650 18 3 2018 05 22 Text, Ego and “People” in Mohammad Taghi Ghiassi’s Interpretations Text, Ego and “People” in Mohammad Taghi Ghiassi’s Interpretations 135 164 3108 FA Maziar MOHAYMENI Assistant Professor of French Language and LiteratureBu-Ali Sina University Journal Article 2017 12 31 The Blind Owl of Hedayat, The Heavenly Kingdom of Bahram Sadeghi, poems of Sohrab Sepehri are Mohammad Taghi Ghiassi’s efforts to access some personal writing through an interpretation of these works which are fundamentally paradoxical. If the “second” character of interpretation writing is not in opposition to the writer’s aspiration to singularity, the dispersion of interpretation text would be a proof of the absence of the consciousness which assumes the innovatory order of speech and the original recomposition of knowledge. Ghiassi’s ego is too ingrained in his lent science to manipulate it. The elementary image of this science in the text shows the ego’s disability in appropriation and subjectivity of a reason reached by the other in a step of his transcendental suspension. Ghiassi’s interpretations search for their lever between two suspensions. His use of French theories for interpreting Iranian works is not for the purpose. The intention is to speak about somewhat physical presence of his ego in the connecting process. This presence does not unify the text; moreover, it enfeebles its consistency. There is no organic connection between the works and the theories. The unique connecting element is ego, which cries its singularity in the climax of its dependence in someone else’s speech. Belief in the superiority of the speechless ego over the silent people seems paradoxical where the learned reason of ego is inclined to vulgarity. The Blind Owl of Hedayat, The Heavenly Kingdom of Bahram Sadeghi, poems of Sohrab Sepehri are Mohammad Taghi Ghiassi’s efforts to access some personal writing through an interpretation of these works which are fundamentally paradoxical. If the “second” character of interpretation writing is not in opposition to the writer’s aspiration to singularity, the dispersion of interpretation text would be a proof of the absence of the consciousness which assumes the innovatory order of speech and the original recomposition of knowledge. Ghiassi’s ego is too ingrained in his lent science to manipulate it. The elementary image of this science in the text shows the ego’s disability in appropriation and subjectivity of a reason reached by the other in a step of his transcendental suspension. Ghiassi’s interpretations search for their lever between two suspensions. His use of French theories for interpreting Iranian works is not for the purpose. The intention is to speak about somewhat physical presence of his ego in the connecting process. This presence does not unify the text; moreover, it enfeebles its consistency. There is no organic connection between the works and the theories. The unique connecting element is ego, which cries its singularity in the climax of its dependence in someone else’s speech. Belief in the superiority of the speechless ego over the silent people seems paradoxical where the learned reason of ego is inclined to vulgarity.