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النقد الادبي لayosha م9

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النقد الادبي لayosha م9 [أسئلة مراجعة - النقد الادبي لayosha م9 - فوزي سليسلي] لا حول ولا قوة الا بالله عدد الأسئلة: 44 - بعد إنهاء حل الكويز يمكنك تحميله بصيغة PDF. - سوف تحصل على نقطة إضافية في التقييم عن كل إجابة صحيحة.
1) who is Structuralism usually designates to
	group of French thinkers
	......
2) what were they influenced by
	Ferdinand de Saussure’s theory of language
	.......
3) when were they active
	the 1950s and 60s
	......
4) what concepts did they apply
	structural linguistics to the study of social and cultural phenomenon, including literature
	.........
5) where did Structuralism developed first
	in anthropology with Claude Levi-Strauss
	.....
6) where did it develop after that
	in literary and cultural studies with Roman Jackobson, Roland Barthes, Gerard Gennette
	......
7) where did it develop after that
	in Psychoanalysis with Jacques Lacan
	.......
8) where did it develop after the
	Intellectual History with Michel Foucault and Marxist Theory with Louis Althusser.
	.....
9) what school did they form
	these thinkers never formed a school but it was under the label “Structuralism”
	......
10) when did their work circulate
	their work circulated in the 1960s and 70s
	........
11) what is structuralism interested in with literary studies
	the conventions and the structures of the literary work (the text itself not the author)
	.......
12) structuralism does not seek to produce new interpretations of literary works , but what
	understand and explain how these works can have the meanings and effects that they do
	........
13) what is semiotics
	the general science of signs the general study of signs in behaviour and communication that avoids philosophical speculation and cultural critiques that marked Structuralism.
	........
14) who was Roland Barthes
	one of the most prominent figures in French Structuralism
	..........
15) what was his work about
	the function of the author in literature
	.........
16) "who wrote “The Death of the Author
	Roland Barthes
	.........
17) where did he write it
	his book Image, Music, Text
	............
18) who translated his book
	Stephen Heath
	.........
19) Barthes reminds the reader in this essay that the idea of the “author” is what
	a modren invention
	.......
20) when did the author emerge
	It emerged with English empiricism when society discovered the prestige of the individual,
	.........
21) Literature is tyrannically centred on what
	the author, his life, person, tastes and passions
	......
22) where is the explanation of a text sought
	in the person who produced it
	......
23) In ethnographic societies, the responsibility for a narrative is never assumed by a person but
	by a mediator, a relator
	......
24) where is the explanation of a work always sought
	in the man or woman who produced it
	.......
25) who reigns supreme in histories of literature biographies of writers, interviews, magazines
	the author
	.....
26) Literary criticism and literature in general are enslaved to
	the author
	......
27) The reader, the critic, the historian all read the text of literature only to try to discover
	the author, his life, his personality, his biography, psychology etc.
	.....
28) Barthes proposes that literature and criticism dispose of
	the author
	......
29) what happens once the author is removed
	the claim to decipher a text becomes quite futile
	.....
30) what happens to the professional critics who claims to be the guardian of the text
	he looses his position. All readings become equal
	.....
31) what is Roland Barthes question
	the traditional idea that the meaning of the literary text and the production of the literary text should be traced solely to a single author
	.....
32) Structuralism and Poststructuralism proved what
	"that meaning is not fixed by or located in the author’s ‘intentioned
	.......
33) Barthes rejected the idea that literature and criticism should rely on what
	“a single self-determining author, in control of his meanings, who fulfils his intentions and only his intentions
	,,,,,
34) according to Roland Barthes, who speaks
	it is language that speaks and not the author who no longer determines meaning
	.......
35) why does barthe want literature to move away from the idea of the author
	to discover the reader, and more importantly, in order to discover writing
	...........
36) a text is not a message of an author but
	“a multidimensional space where a variety of writings, none of them original, blend and clash.”
	.......
37) a text is made of what
	multiple writings, drawn from many cultures and entering into mutual relations of dialogue, parody, contestation
	.....
38) who should be the focus of interpretation
	the reader not the author
	........
39) what doe we mean by the text is plural
	“a tissue of quotations,” a woven fabric with citations, references, echoes, cultural languages
	..........
40) the author is always conceived of as
	the past of his own book
	..........
41) book and author stand automatically on a single line divided in to what
	into a before and an after
	........
42) what do we mean but he author is thought to nourish the book
	he exists before it, thinks, suffers, lives for it, is in the same relation of antecedence to his work as a father to his child
	......
43) when is the modern scriptor born
	simultaneously with the tex
	......
44) who is the modern scriptor
	the hand cut off from any voice. He is borne by a pure gesture of inscription (and not of expression)
	.....

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النقد الادبي لayosha م9
[أسئلة مراجعة - النقد الادبي لayosha م9 - فوزي سليسلي]
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لا حول ولا قوة الا بالله
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