Article 226 of the Civil Code refers to the word " notice for performance " the adaptation of the French term (MISE en demeure) in Article 1146 of the French Civil Code 1804 (Article 1231 of Reformation 2016) means "delaying" which the writers of Iranian civil code have translated into notice for performance and in fact, it is a kind of no-action warning. In France, the concept and effects are considered for this institution which can be achieved with the same results in Iranian law. its role in the responsibility and risk transfer, and other effects can be accepted in the law of Iran. Although this institution has been raised in civil law, the doctrine has not yet addressed this institution and its effects. The importance of this institution is such that the French civil code in the 2016 reform allocates a part to the notice for performance and the sanction of the contracts is subject to this order. Therefore, the notice for performance in Article 226 is more than a common term that it tells of the arrival of the Roman French institution in the literature of Iranian law of obligations which is studied in this research comparatively. The main purpose of this article is to study the concept and effects and exceptions of this legal establishment with the method applied in comparative civil law and based on a descriptive-analytic method.

Andre Gide employed the "MISE en ABYME" or Mirror- like method as reflected in Andre Waiter"s notebooks from the time when he began his writing. As a result, he presented a new approach to the writing style of novels. He intended to develop another aspect of his life into his prose by using this literary genre. not so much customary. Later on, he used such new literary genre in his writing such as Narciss"s Treaty, Love intention as well as in Paludism and some other works. In the present essay, this approach will be studied to show how much of a good role he played in changing the writing style of novels.

This paper aims to offer a critical reading of the contemporary English author lan McEwans fifth novel entitled Black Dogs (1992). I postulate that literary critics have frequently read his fiction for what it is not. As such, McEwans thought-provoking engagement with cultural questions has more often than not gone unexamined owing to a critical blueprint that, reducing his oeuvre to the topoi of violence, or to a gallery of obnoxious characters branded as psychopaths, typecasts him as a writer of disturbing, salacious fiction. Arguing that McEwan writes to dissect and criticise contemporary culture, I offer a reading of his novel as a literary intervention into a cultural debate. I argue that of crucial importance in McEwans novel is the question of the narrative structure through which the different segments of Black Dogs are recounted. Drawing on the narratological concepts and terminology introduced in the works of Gerard Genette and Shlomith Rimmon-Kenan, I examine the complexities of the narrative discourses of McEwans novel and its interlinking thematic analogies. Based on this reading, I conclude that McEwans intervention in the ongoing cultural debates of today makes of him a severe critic of our time.

Tahar Djaout, auteur, poè, te et journaliste algé, rien, aborde dans ses é, crits la violence qui persiste dans son pays dans la pé, riode allant de l’, arrivé, e du Colonisateur à,l’, é, poque postcoloniale. Chez Djaout, la question qui se pose c'est que l'oeuvre qui est naturellement polyphonique, à,la croisé, e du fictif et factuel, d'une diversité,de domaines, de langues et d'expressions (orale/é, crite), à,quel point pourrait é, claircir les problè, mes de violence, d'identité, , d'interculturel et de linguistique et à,la fois attirer son interlocuteur. Pour pouvoir arriver à,une synthè, se de la MISE en scè, ne de la violence dans son oeuvre, nous nous sommes essentiellement penché, e sur trois de ses é, crits: Les Vigiles, L'Exproprié,et Le Dernier é, té,de la raison qui se situent plutô, t dans le cadre du roman, chevauchant entre le factuel et le fictif. En analysant les discours dans les romans pré, cité, s, nous allons dé, duire qu’, en associant le fond à,la forme, Djaout parvient à,montrer la violence qui secoue son pays.

Misti est une nouvelle de Guy de Maupassant. Sur le mode de la narration à la première personne, cette nouvelle rapporte le souvenir d’un jeune homme qui fait part d’une histoire étrange qu’il a vécue dans une relation amoureuse. Les deux éléments constitutifs de départ sont les questions d’amour et de superstition. Des éléments textuels comme la description et la MISE en ABYME d’une part et, d’autre part la présence d’un animal qui occupe le premier plan, sont problématiques: Quel est le sens du texte et comment ces éléments peuvent en être révélateurs? Compte tenu du thème central d’amour, et de l’apport psychanalytique - d’optique freudienne - cette nouvelle s’avère être l’expression d’un fait psychique fondamental. Cette approche (psychanalytique et textuelle) montre que non seulement il n’y a rien d’étrange dans cet amour, mais encore elle permet de découvrir, de comprendre le sens profond du texte au-delà de l’anecdote raconté.

Cet article se propose d’examiner le roman de Pascal Quignard, tout en s’appuyant sur une poétique de l’anamorphose qui s’y déploie comme modalité de la construction de la narration. Le principe d’anamorphose se dit d’une technique de représentation en arts (notamment en peinture) reposant sur « une déformation réversible d’une image » qui ne retrouve son apparence primitive que lorsqu’elle est observée sous un certain angle. L’image distordue et défigurée s’appelle anamorphose offrant de multiples visions erronées. Ce jeu d’anamorphose gravite autour du jeu d’échange entre texte et image donnant lieu à une écriture de l’image tout en offrant à la fois une nouvelle perspective sur l’art de la narration chez Quignard. Il masque la réalité tout en la montrant, et suppose ainsi une esthétique du dévoilement en faisant apparaître une réalité autre, celle que l’auteur révèle et celle dans laquelle il place son lecteur/son personnage, à qui il permet d’affronter progressivement le secret de sa vie par le biais de son reflet incarné dans une collection d’objets épars qui ne renvoient qu’à une vraie et seule figure première reconstruite en anamorphose: le personnage de Flora, la petite condisciple qu’Edouard, le personnage principal, avait aimée autrefois.

Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts such as Masadig-al-Asar of Sheykh Yaha Kondori or Mozaffari History and the life of Saint Shedrek. This characteristic which is seen in postmodern fiction, is called MISE-en-ABYME. Esfar-e-Kateban which includes the description of the greatness of Khawjas and saints has the features of a magical realist fiction. Magical Realism is an oxymoron that consists of magical+real elements. Many writers, have used this genre for studying the clashes between colonial, postcolonial, and imperialist powers with their society. And sometimes they have revisioned the harsh realities of history using Magical realism. The present study after examining MISE-en-ABYME in Esfar-e-Kateban and mentioning the characteristics of magical realist fictions such as the irreducible element, the phenomenal world, unsettling doubts, merging realms, disruptions of time, space, and identity according to Faris’ classification, finds the mentioned novel a magical realist one and then it expresses the revisionary nostalgia of the writer in order to rewrite the historical narratives of the lives of Shah Mansour Mozaffari and Saint Shedrek.

Les é, tudes abordant la question des compé, tences culturelles sont aujourd’, hui de pleine actualité,et sont souvent reprises pour analyser diffé, rents aspects de ces compé, tences au sein de l’, enseignement-apprentissage des langues-cultures é, trangè, res, ces é, tudes ont donc leur utilité,dans la MISE en é, vidence de la diversité,de ces compé, tences sous les diffé, rentes appellations et applications parmi lesquelles nous avons choisi de mettre en lumiè, re la compé, tence transculturelle. Il n’, existe pas de commun accord quant à,la dé, finition du concept de la compé, tence transculturelle et à,sa place à,l’, é, gard d’, autres compé, tences culturelles. Cet article tente de ré, pondre à,la question comment dé, finir pré, cisé, ment la notion de compé, tence transculturelle, comment l’, interpré, ter et la promouvoir. Cette é, tude a donc pour objectif de proposer une conception de la compé, tence transculturelle. La maniè, re dont la compé, tence transculturelle peut ê, tre acquise et dé, veloppé, e sera é, galement discuté, e et abordé, e dans le cadre d’, une recherche de terrain auprè, s des é, tudiants de licence en langue et litté, rature franç, aises de l’, Université,Hakim Sabzevari. Nous avons dé, cidé,d’, emprunter le dispositif de la pensé, e en ré, seaux pour la MISE en application et le dé, veloppement de cette compé, tence. Quant au choix de la modalité,de la collecte des donné, es, nous avons eu recours aux entretiens semi-directifs afin de vé, rifier l’, impact de la MISE en œ, uvre du dispositif sur le dé, veloppement de la compé, tence transculturelle sur le public examiné, . L’, analyse des ré, sultats obtenus par les entretiens montrent les traits distinctifs de la compé, tence transculturelle due à,la MISE en place du dispositif choisi. .

Each theater scene is an event occurring in a space, and it is evident that space is not independent of the architecture and design of the scene. The concept of space, as the container in which the events occur, is experienced by the agent of the time and expresses a narrative. The factor of time for experiencing space is the reason for the hierarchy and narrative in architecture, while it is formed in theater of space based on narration and play. There are many components in architecture that, based on Norberg Schultz’ s sense of place theory, can be combined to MISE en scene to make athmospher and sense of location. This experience, in addition to the formation of spatial structure, enhances the sense of space and rhythm. The present research seeks to achieve how this function works to develop it during production and implementation. Therefore, the present research seeks to answer the following questions: How is the formation of space through the MISE en scene of creation? How can the elements of narrative be transformed into sensory spaces using the MISE en scene design? How to use Schultz’ s sense of location in MISE en scene space to define space? In order to explain the role of MISE en scene in the creation of space, due to the rich conceptual and structural studies of the field of space architecture, the Norbert Schultz sense of place theory is used and to implement the architectural harmony pattern and MISE en 143 73 scene Arthur Miller’ s Death of a Salesman choosed as a case study And is analyzed according to the Norbert Schultz sense of of place theory. Ultimately, this study, with the help of Schultz’ s sense of of place theory, explores narrative-space transformation into theater using the MISE en scene elements.

If we look around through an artist's investigative eye, we shall perceive every object and element as a combination of lines, points, surfaces and volumes; Elements which are referred to as visual elements in visual arts. Each visual element of frame and image composition can play a distinct role in conveying a specific meaning. Unquestionably, line is the most readily available and the most important element found in our environment. Each frame of our world is packed with lines that make up the surfaces and volumes of our surrounding areas. Each line infuses its own meaning and concept in the frame. For example, horizontal and vertical lines are in conflict, a vertical line is exactly in an upright position on horizontal line, conveying a sense of dynamism and height in the picture. In contrast, a horizontal line conveys a sense of coldness and stillness in the frame. Now if we analyze frames making up the body of a movie by transferring illusion of motion to the audience through an analytic view and an approach to the visual arts, we may realize that each such frame itself can serve as a window that conveys a concept to the audience. In this respect, the use of visual elements can play a significant role in conveying the image sense to the audience. In other words, the director can employ a MISE-en-scè ne arrangement of the scene objects to convey a sense of uneasiness, dispersion or altered mental or social space to the audience by creating segments, broken and angular lines. This article endeavors to demonstrate the impact of visual arts in cinematic MISE-en-scè ne through analyzing Asghar Farhadi’ s movies such as “ The Beautiful City” , “ The Past” and “ A Separation” . The reason for selecting Farhadi’ s movies as case study in this paper is that when a director such as him obtains lofty awards like the Academy Award for best Foreign Language Film, he has definitely been able to convey the sense and concept of his movies in the form of image to the audience who don’ t understand the movie’ s original language. Consequently, analyzing the MISE-en-scè ne of his films with an approach towards visual arts can be of great assistance to this research. In this study, the impact of lines created by objects or actors have been studied via examining the movie frames in these three films and also by analyzing MISE-en-scè ne and the impact of lines in creating depth of field in the semantic space. In addition, this study aims to illustrate the significance of the implication of visual arts' principles in cinema through combining the features of visual arts in cinema and studying the MISE-en-scè ne of these three movies. The study also endeavors to display the fact that visual elements, specifically lines, can help convey feelings through MISE-en-scè ne in cinema. Also, the use of MISE-en-scè ne based on and through the employment of a variety of lines and their features as well as their psychological, visual properties can assist directors transmit feelings. As the one determining the MISE-en-scè ne, the director should have comprehensive information on the features and effects of visual elements and particularly line, as one of the most important elements, to be able to use an appropriate stage setting and proper arrangements to convey feelings to the audience. Therefore, the result of this research reveals a new dimension of the key role of visual arts in cinema.