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أذكر إنه قال لما تخلصون الميد ابدوا حلهم .. أنا معه الإثنين
ولسا ماخلصنا الميد

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شششكرا :106:

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يسسسسسسسسسسسسعد مسااكم بنات
>> الي عندهم حظارة مع حسن خضيري الساعه 12 بكرة
كم فصصل معنااااااا؟؟
وشنووو الفصول الي حددها وشنو المحذوف منها ؟؟

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مساء الاختبارات..

ألحين نجلاء اش قالت عن schools اللي جت بعد ارنولد؟؟

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بنات ممكن مساعده صصصصغنونه :mh318:

ابي وحده شطوره كذا تقولنا كم ثيوري لارنولد وكم ثيوري لأليوت ,, عشان من كلام د نجلاء فهمت انو لازم نذكر لو اقل شي ثيوري وحده عن الكاتب الي نتكلم عنه بس تكون هي ما قالتها :24_asmilies-com:

فاللي بتقولنااا بندعيلها من قللللب :love080:

الله يوفقنا اجمعين ويسهل علينا :106:

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بنــآآآت أبي أأأيييمييل د.محمد سيد >تارريخ اللغة لاهنتو

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تسلمي و الله و مشكوره ماقصرتي الله يوفقك يا رب
بس هذي الاسئله حقت اي دكتور ..؟؟

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تفزلي

drmsayed@hotmail.com

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بنات ثيوري جديده لاليوت

¨The theory of the objective correlative as it relates to literature was largely developed through the writings of the poet and literary critic T.S. Eliot, who is associated with the literary group called the New Critics. Helping define the objective correlative, T.S. Eliot’s essay “Hamlet and His Problems” [1] in his book The Sacred Wood: Essays on Poetry and Criticism discusses his view of Shakespeare’s incomplete development of Hamlet’s emotions. In this essay, Eliot states: “The artistic ‘inevitability’ lies in this complete adequacy of the external to the emotion….”. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him
¨The objective correlative’s purpose is to express the character’s emotions by showing rather than describing feelings as pictured earlier by Plato and referred to by Peter Barry in his book Beginning Theory: An Introduction to Literary and Cultural Theory as “…perhaps little more than the ancient distinction (first made by Plato) between mimesis and diegesis….” (28). According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author’s detachment from the depicted character and unite the emotion of the literary work.
¨One possible criticism of Eliot’s theory includes his assumption that an author’s intentions concerning expression will be understood in one way only. This point is stated by Balachandra Rajan as quoted in David A. Goldfarb’s “New Reference Works in Literary Theory” [2] with these words: “Eliot argues that there is a verbal formula for any given state of emotion which, when found and used, will evoke that state and no other.”
دعواتكم لي

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ياااااااااااااارب الترجمه شسوي فيه

احس مافي شي اعتمد عليه تفكيري كلا مع هالنقد


:Cry111: