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m.s :love080:الله يووفقك حبيييييبتي ويسعددك وفالك التفوق والتخرج يارب :")

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drama7-8@hotmail.com
p.w: drama@course


بالتوفيق :106:

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بنات الدراما مها سلام

اتشابه بين المسرحيه وايبسن نفسه
1- ذكر ان كريستين ليندي جت بالبحر====== ابوه كان بحار او يشتل بالبحر
2- ذكر الدكاترة والطب ====== هو كان يعرف بالصيدله شوي
3- تكلم عن الافلاس وان لواحد معنده فلوس===== تعرض الظاهر بحياته لازمة ماليه

والله اعلم ^_^
:106:


معلوات للمشاركه

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والله ودي اساعدك بعيوني .. بس موادي 11 لاصارت 6 ابشري .. بس ان شاء الله نساعدك باللي نقدرعليه

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بنات قولي ايه عادي تكفون ..:Cry111:

:(107):

بحث النثر .. عادي كوبي بيست .... يعني تتوقعونه بيدقق .. بيقرا كل شي ..؟؟

طيب .. نفرض مثلا انو مو عادي .. كم بيعطيني اذا سويت كوبي بيست ..:mh12:

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اتوقع الأغلب يسوي كوبي بيست بس انتي عالأقل حاولي تضبطين مقدمة من عندك

أي شي عشان يحس انه من أسلوبك ،،


والله ييسر لنا يارب ،،

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شكرا :Cry111::106:

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طيب سؤال ثاني ..

يبي نكتب المصادر ؟؟؟!!:mh12:

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لانونه مو طالب المصادر
اهم شي الخط يكون 14

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شششششششششششششششششششششششششكرا :106:

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العفوو ..
مووفقه

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بنات خلاص رفعوا الحظور والغياب ولا لسا تتوقععون ؟

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+1 :bawling:

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بنات كيف نكتب سبلينق FLORTATION SCENE
(فلورتاشن سين)؟:24_asmilies-com:

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Flirtation Scene

G.L:106::love080:

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[SIZE="6"]بنات هذا سمري لرواية البروز الثانيه اللي ماقروء الروايه اتمنى يستفيدون


Mrs.Dalloway by Virginia Woolf


رواية ''مسز دالوي'' عبارة عن شبكة شديدة الاشتباك والتعقيد مجدولة من أفكار مجموعة من البشر في يوم واحد من حياتهم. ثمة حدثٌ واحد بسيط، وراءه حركة شديدة التسارع والديناميكية من الحاضر إلى الماضي ثم إلى الحاضر ثانيةً من خلال ذاكرة الشخوص. البطلة المحورية ''كلاريسا دالواي'' سيدة لندنية ثريّة، تقضي نهار أحد الأيام في الإعداد لحفل المساء. في ذلك تستدعي حياتها قبل الحرب العالمية الأولى: ذكرياتها قبل زواجها من ''سبتيمس دالواي'' وقبل صداقتها للمرأة غريبة الأطوار ''سالي سيتون''، التي سوف تعود بلقبها الجديد ''السيدة روستر''. ثم تستدعي علاقتها بـ ''بيتر ويلش''، الذي مازال متيّماً بها. وأثناء الحفل، الذي لم يحضره المجنّد الإنجليزي ريتشارد سبتيمس (صديقها القديم الشاعر، الذي أُقيم الحفل على شرفه من أجل تكريمه لفوزه بجائزة في الأدب، وكان قد آثر العزلة في منزله البسيط إثر أصابته في الحرب العالمية بصدمة نفسية تسمى ''صدمة القذيفة''.3 وكان أحد أول المتطوعين في الحرب)، تحدث الأحداث. عند وصول رئيس الوزراء بالضبط إلى مكان الحفل في بيت كلاريسّا، يقوم ''سبتيمس'' بإلقاء نفسه من شرفة منزله المنعزل على مرأى من ''مسز دالواي'' التي راحت إليه لتصطحبه إلى الحفل، فباغتها وانتحر بعد حوارٍ قصير معها فحواه أنه يفضّل الذهاب إلى الموت بدلا من انتظاره. من المقاطع الشهيرة في الرواية ''كان أول ما تبدّى لها، تلك الممارسات الطائشة التي تخرق الآداب الاجتماعية وتقاليد اللياقة، لكن تلك الممارسات في جانبٍ آخر تحولت إلى رمية سهمٍ في السؤال الوجوديّ الأكبر الذي يلازم حياتنا. بينما تغادر مسز دالواي الحفل خلسةً لتتجه نحو شرفتها، تتأمل القضبان الحديدية الرأسية التي تشكّل سور الحديقة وتفكر: ثمة قضبان مماثلة تسوِّر جسد ''سبتيمس'' التعس، وتسأل عما إذا كان هناك هدفٌ وخطّة وراء حياتنا؟ لماذا نستمر في الحياة في وجه الألم والمأساة؟''.[/SIZE]

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بنات احنا دخلنا بالروايه الثانيه ولا مابعد ؟؟؟:biggrin:

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مابعد:biggrin:

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يوم السبت بداء معنا بالروايه الثانيه :biggrin:

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بنات سميره ليوم الاربعاء اختبرتنا اليوم وجابت لنا كوتيشن اجباري تحلينه

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:106:

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لا ما عطتنا ..جابت اوراق بس طلعت مو حقتنا

اخذنا قصيدة بيانو و على ما اعتقد هي اخر قصيده..

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طيب اي كوتيشن جابت لكم؟؟

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كلاس بكرا آلنقد وش نحضر ..؟!!

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يقولون الريدر رسبونس



طيب شسمة اللي بكرا عندهم برزنتيشن .. عن ايش بتكوون المواضييع

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بناات ممكن احد يصور لي الصفحه اللي بملزمه النثر د. صلاح
اللي عن ايزابيل والفمنينيزم والاندبندس
بليز بليز بليز لو تصوير جوال عادي :sdfgdsf:

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تسليم بحث النثر الاسبوع الجاي :53:

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^^^^
صددددق!!!!
مييين قااال!!!
:71::71::71::71:

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^

حتى شعبة الثلاثاء ؟

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بناات بليييز اكييد تسليم النثر الاسبوع الجاي؟!!
بلييز عندي الف شي اسويه وما يمديييني :bawling:

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متى كلاس الشعر بكره مع د حصه وبأي كلاس ؟

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انا اللي اتذكره ان د/ صلاح قال هالاسبوع
بس مدري اذا صار تغيير و انا مدري
ياليت تجي كيندر سبرايز و تقول لنا مصدر خبرها :064:

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+ اللي احتبروا اوبن بوك اليوم كيف كان الاختبار ؟

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اللي اعرفه انه في كلاسين واحد الساعه 8 في قاعه 0-1 اذا ما تغيرت
اما الثانيه الساعه عشره بس ما ادري اي كلاس..

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جابت لهم عن war poetry و خلتهم كل وحده تحله بروحها بعدين يكتبون ورقه وحده عن القروب كله ..القروب اربع بنات يعني يسلمونها خمس اوراق ..:biggrin:

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كندر سربراااايز
وينك! متأكده من الخبر؟!! :000:

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بالنسبه للنثر

الاسبوع اللي فات حرص على تسليمه هالاسبوع وبدون تاجيل ...

لكن ماادري اذا فيه شي جديد

مووفقه
..

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اللي تسال عن النقد..


انا قروب الاحد تحضرين عنreader response

وبتحصصلين كثيير عنه

موفقه

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طيير الحب ممكن تنزلين الاشياء اللي لقيتيها عنه؟
بلييز ما يمديني ابحث عندي شغل كثيير :bawling:

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بنااات


ممكن محاضرة القرامر
للغويات د/ آميمه

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Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and his or her experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and form of the work.

Although literary theory has long paid some attention to the reader's role in creating the meaning and experience of a literary work, modern reader-response criticism began in the 1960s and '70s, particularly in America and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, Roland Barthes, and others. Important predecessors were I. A. Richards, who in 1929 analyzed a group of Cambridge undergraduates' misreadings; Louise Rosenblatt, who, in Literature as Exploration (1938), argued that it is important for the teacher to avoid imposing any "preconceived notions about the proper way to react to any work"; and C. S. Lewis in An Experiment in Criticism (1961).

Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates his or her own, possibly unique, text-related performance. It stands in total opposition to the theories of formalism and the New Criticism, in which the reader's role in re-creating literary works is ignored. New Criticism had emphasized that only that which is within a text is part of the meaning of a text. No appeal to the authority or intention of the author, nor to the psychology of the reader, was allowed in the discussions of orthodox New Critics.

Contents [hide]
1 Kinds of reader-response criticism
1.1 Individualists
1.2 Experimenters
1.3 Uniformists
2 Objections
3 Extensions
4 Notes and references
5 Further reading
6 External links
[edit]Kinds of reader-response criticism

One can sort reader-response theorists into three groups: those who focus upon the individual reader's experience ("individualists"); those who conduct psychological experiments on a defined set of readers ("experimenters"); and those who assume a fairly uniform response by all readers ("uniformists"). One can therefore draw a distinction between reader-response theorists who see the individual reader driving the whole experience and others who think of literary experience as largely text-driven and uniform (with individual variations that can be ignored). The former theorists, who think the reader controls, derive what is common in a literary experience from shared techniques for reading and interpreting which are, however, individually applied by different readers. The latter, who put the text in control, derive commonalities of response, obviously, from the literary work itself. The most fundamental difference among reader-response critics is probably, then, between those who regard individual differences among readers' responses as important and those who try to get around them.

[edit]Individualists
In the 1960s, David Bleich began collecting statements by influencing students of their feelings and associations.[clarification needed] He used these to theorize about the reading process and to refocus the classroom teaching of literature. He claimed that his classes "generated" knowledge, that is, knowledge of how particular persons recreate texts.

Michael Steig and Walter Slatoff have, like Bleich, shown that students' highly personal responses can provide the basis for critical analyses in the classroom. Jeffrey Berman has encouraged students responding to texts to write anonymously and share with their classmates writings in response to literary works about sensitive subjects like drugs, suicidal thoughts, death in the family, parental abuse and the like. A kind of catharsis bordering on therapy results. In general, American reader-response critics have focused on individual readers' responses. American magazines like Reader, Reading Research Quarterly, and others publish articles applying reader-response theory to the teaching of literature.

In 1961, C. S. Lewis published An Experiment in Criticism, in which he analyzed readers' role in selecting literature. He analyzed their selections in light of their goals in reading.

In 1967, Stanley Fish published Surprised by Sin, the first study of a large literary work (Paradise Lost) that focused on its readers' experience. In an appendix, "Literature in the Reader", Fish used "the" reader to examine responses to complex sentences sequentially, word-by-word. Since 1976, however, he has turned to real differences among real readers. He explores the reading tactics endorsed by different critical schools, by the literary professoriate, and by the legal profession, introducing the idea of "interpretive communities" that share particular modes of reading.

In 1968, Norman Holland drew on psychoanalytic psychology in The Dynamics of Literary Response to model the literary work. Each reader introjects a fantasy "in" the text, then modifies it by defense mechanisms into an interpretation. In 1973, however, having recorded responses from real readers, Holland found variations too great to fit this model in which responses are mostly alike but show minor individual variations.

Holland then developed a second model based on his case studies 5 Readers Reading. An individual has (in the brain) a core identity theme (behaviors then becoming understandable as a theme and variations as in music). This core gives that individual a certain style of being--and reading. Each reader uses the physical literary work plus invariable codes (such as the shapes of letters) plus variable canons (different "interpretive communities", for example) plus an individual style of reading to build a response both like and unlike other readers' responses. Holland worked with others at the State University of New York at Buffalo, Murray Schwartz, David Willbern, and Robert Rogers, to develop a particular teaching format, the "Delphi seminar," designed to get students to "know themselves".

[edit]Experimenters
Reuven Tsur in Israel has developed in great detail models for the expressivity of poetic rhythms, of metaphor, and of word-sound in poetry (including different actors' readings of a single line of Shakespeare). Richard Gerrig in the U.S. has experimented with the reader's state of mind during and after a literary experience. He has shown how readers put aside ordinary knowledge and values while they read, treating, for example, criminals as heroes. He has also investigated how readers accept, while reading, improbable or fantastic things ([[plays. Jenefer Robinson, a researcher in emotion, has recently blended her studies on emotion with its role in literature, music, and art.

[edit]Uniformists
Wolfgang Iser exemplifies the German tendency to theorize the reader and so posit a uniform response. For him, a literary work is not an object in itself but an effect to be explained. But he asserts this response is controlled by the text. For the "real" reader, he substitutes an implied reader, who is the reader a given literary work requires. Within various polarities created by the text, this "implied" reader makes expectations, meanings, and the unstated details of characters and settings through a "wandering viewpoint". In his model, the text controls. The reader's activities are confined within limits set by the literary work.

Another important German reader-response critic was Hans-Robert Jauss, who defined literature as a dialectic process of production and reception (Rezeption--the term common in Germany for "response"). For Jauss, readers have a certain mental set, a "horizon" of expectations (Erwartungshorizont), from which perspective each reader, at any given time in history, reads. Reader-response criticism establishes these horizons of expectation by reading literary works of the period in question.

Both Iser and Jauss, and the Constance School they exemplify, return reader-response criticism to a study of the text by defining readers in terms of the text. In the same way, Gerald Prince posits a "narratee", Michael Riffaterre posits a "superreader", and Stanley Fish an "informed reader." And many text-oriented critics simply speak of "the" reader who typifies all readers.

[edit]Objections

Reader-response critics hold that, to understand the literary experience or the meaning of a text, one must look to the processes readers use to create that meaning and experience. Traditional, text-oriented critics often think of reader-response criticism as an anarchic subjectivism, allowing readers to interpret a text any way they want. They accuse reader-response critics of saying the text doesn't exist. (Reader-response critics respond that they are only saying that to explore someone's literary experience, one must ask the someone, not pore over the text.) By contrast, text-oriented critics assume that one can understand a text while remaining immune to one's own culture, status, personality, and so on, and hence "objectively."

To reader-response based theorists, however, reading is always both subjective and objective, and their question is not "which" but "how".[clarification needed] Some reader-response critics (uniformists) assume a bi-active model of reading: the literary work controls part of the response and the reader controls part. Others, who see that position as internally contradictory, claim that the reader controls the whole transaction (individualists). In such a reader-active model, readers and audiences use amateur or professional procedures for reading (shared by many others) as well as their personal issues and values.

Another objection to reader-response criticism is that it fails to account for the text being able to expand the reader's understanding. While readers can and do put their own ideas and experiences into a work, they are at the same time gaining new understanding through the text. This is something that is generally overlooked in reader-response criticism.

Some argue that 'artworks' are now purposely being fabricated which lack meaning but rather the 'artworks' are fabricated only to generate a reader response. The reader response then is corralled via interpretative communities. Reader response rather than handing a freedom to the reader empowers the leaders of an interpretative community against the reader. The reader has no ground to evaluate the 'artwork' as the artwork is senseless. Only a reader response, basically an emotive response, is legitimate. The Web provides an ideal way to form such interpretative communities. The power of reader response strategy is that people are fundamentally 'hungry' for culture and will attempt to impart meaning even to artworks that are senseless. Of course, people can always opt out of these interpretative communities centered around senseless artworks with little to no loss via-a-vis culture and almost certainly a cultural gain.

Paradoxically reader response criticism as done by critics today attempts to tell the reader what the reader is allegedly thinking about an artwork. Basically when employing reader response theory to criticism it has to be this way as otherwise the critic fails to connect to the audience in any way as otherwise the idiosyncratic views of the reviewer, perhaps based on neuropsychoanalysis, for example, are put forward with a loss of a popular audience. Moreover, being a leader of an interpretative community has attractions over detailed analysis of summer blockbusters. Reader response criticism is clearly a cultural dominant amongst those who do popular criticism.

[edit]Extensions

Reader-response criticism relates to psychology, both experimental psychology for those attempting to find principles of response, and psychoanalytic psychology for those studying individual responses. Post-behaviorist psychologists of reading and of perception support the idea that it is the reader who makes meaning. Increasingly, cognitive psychology, psycholinguistics, neuroscience, and neuropsychoanalysis have given reader-response critics powerful and detailed models for the aesthetic process. In 2011 researchers found that during listening to emotionally intense parts of a story, readers respond with changes in heart rate variability, indicative of increased activation of the sympathetic nervous system. Intense parts of a story were also accompanied by increased brain activity in a network of regions known to be involved in the processing of fear, including amygdala.[1]

Because it rests on psychological principles, a reader-response approach readily generalizes to other arts: cinema (David Bordwell), music, or visual art (E. H. Gombrich), and even to history (Hayden White). In stressing the activity of the scholar, reader-response theory justifies such upsettings of traditional interpretations as, for example, deconstruction or cultural criticism.

Since reader-response critics focus on the strategies readers are taught to use, they address the teaching of reading and literature. Also, because reader-response criticism stresses the activity of the reader, reader-response critics readily share the concerns of feminist critics and critics writing on behalf of gays, ethnic minorities, or post-colonial peoples.

المصدر
http://en.wikipedia.org/wiki/Reader-response_criticism

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بنات فيه شي مهم قالته مس هدى بالمقااااال :biggrin:

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بنسبه لنثر صلاح قال بقروبنا السبت انه التسليم الاسبوع الجاي
لاني ماقلت بقروبكم ان التسليم هذا لاسبوع


اذا انتم قالكم التسليم هذا لاسبوع معناته بياخذه بكرا

موفقينن

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ايه

المحاضره حقت اليوم كانت مهمه

حل الاكسسرسايز والتمارين ..

والي ماسسو برزنتيشن تسلمه لها ورقه ومطبوع ..

بس ..

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بنااات بليز محد عندة برزنتيشن بكرة بالنقد ؟؟؟؟؟؟؟؟؟
ابي ادخل مع اي قرووووووب بليز انا توني اداوم قبل اسبوعين لاني مانجحت بالتصفيه وصارت النتيجه باقيه بليزززز والله ماراح يضركم شي ومن فرج على مسلم كربه فرج الله عنه يوم القيامه

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بنات ممكن ايمييل الدكتوره سلوى ..

ضيعته ..

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ايوه ..

قالت فيه ورقة مراجعه بالكبي سنتر ضروري نجيبها ونحلها وياها نكست ويك

اللي مآسوت برزنتيشن تسلمه لها بآسمها و وقت كلاسها من غير ماتعرضه ..

وحلت معنا تمارين من بدايه ص 96

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انا قروب يوم السبت قال لنا ان التسليم الاسبوع الجاي يعني اكيد يوم الثلاثاء بيكون نفس الشي فلاتستعجلون بالواجب
:biggrin:

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ارسلي لي رقمك عالخاص ..

سالت وحده من البنات بكره قروبها ومدري متى بترد .. فارسلي لي رقمك .. ومتى ماردت ارسلت لك مسسج .. :106:
الله ييسر لك ان شا الله

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:53: :53:
بسسسسسسسسسسس خلاص ابشششششرك تعالي .. لقيت لك قروووب.. :wink:والاسبوع الجاي بيقدموون .. مو بكككككككره :mh001: :mh001:

ارسلي لي رقمك ابي اشووف فيسك بكره :biggrin:

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مس بتر فلاي..

انا بنااااااااااام .. :(269):..

انتظر رقمك بكره الصباح ان شا الله ..


ـــــــــــــــــــــــــــــــ


بنات :53:


تصبحون على خيييييييير :biggrin:


:106:

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:mh001: :mh001: :mh001: :mh001:


وآلله آني آحاتيها عشان وضعها صعبب .. زين حصلتي :biggrin:

آلله يرزقج من حيث لا تحتسبين :106:

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بناااااات بوكرا النقد مع مس نجلاء أيش طلبت منا نحضر :g2: ريدر رسبونس ؟؟

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سو وات ما قصرتي والله يوفقكي دنيا وآخره ويسعدك ويعطيكي ما تتمني :106:

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In the reader-response critical approach, the primary focus falls on the reader and the process of reading rather than on the author or the text.
Theoretical Assumptions:

• Literature is a performative art and each reading is a performance, analogous to playing/singing a musical work, enacting a drama, etc. Literature exists only when it is read; meaning is an event (versus the New Critical concept of the "affective fallacy").
• The literary text possesses no fixed and final meaning or value; there is no one "correct" meaning. Literary meaning and value are "transactional," "dialogic," created by the interaction of the reader and the text. According to Louise Rosenblatt, a poem is "what the reader lives through under the guidance of the text."

Varying Emphases:

How readers interpret texts: Sometimes called "subjective." May deal with published "readings" of texts and/or study nonprofessional readings (e.g., students). These critics explain similarities in readings in varying ways:

• "styles" or "identity themes" of readers are similar (Norman Holland--psychoanalytic approach): cf. George Dillon's classification of students' responses to Faulkner's "A Rose for Emily":
  • "Character-Action-Moral Style" ("connected knowers")--treat literature as coextensive with experience
  • "Diggers for Secrets"--find hidden meanings in literature, psychoanalyze motives of characters, etc.
  • "Anthropologists"--look for cultural patterns, norms, values [e.g. feminists, New Historicists].
• readers belong to same "interpretive communities" (Stanley Fish) with shared reading strategies, values and interpretive assumptions (i.e., shared "discourse"); concept of the "informed reader."
• readers are situated in a common cultural/historical setting and shaped by dominant discourses and ideologies (New Historicist emphasis). "Reception theory/aesthetics" studies the changing responses of the general reading public over time.

How texts govern reader: Focus on how texts guide, constrain, control reading; often use linguistic, stylistic, narratological methods of analysis. Wolfgang Iser argues that the text in part controls the reader's responses but contains "gaps" that the reader creatively fills. There is a tension between

• "the implied reader," who is established by the "response-inviting structures" of the text; this type of reader is assumed and created by the work itself
• "the actual reader," who brings his/her own experiences and preoccupations to the text

m.a.s هذا اللي للنقد مختتلف عن اللي نزلته انجليكا

اتمنى افدتتك ...
وسوري ع التاخيير....

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السلام عليكم
كيف الحال صبايا ؟
ايش اخذتو شعر اليوم " الثلاثا" الصباح مع دكتورة حصه ؟
قالت شي مهم ؟
عطتكم الدرجات ؟

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اسئله الدراما د.مهاسلام
1- تكلمي عن الفلووووووس
2- كوتيشون يوم تورفالد يقول لنوره انتي ماشفناك الكريسماس اللي فات وان انا كنت زهقن وتكلمي عنه




الظاهر ماغيرت الاسئله عن الكلاس اللي قبل
الله اعلم

بالتوفيق للي عندهم والله يسهل عليكم:love080:

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[QUOTE=SaraIb;5096984]السلام عليكم
كيف الحال صبايا ؟
ايش اخذتو شعر اليوم " الثلاثا" الصباح مع دكتورة حصه ؟
قالت شي مهم ؟
عطتكم الدرجات ؟[/QUO\\\



الاختبار اسبوع الجاي


باقي قصيدة piano

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:love080:
بنات وش قالت اليوم دكتوره اميمه للي حضرو عندها

جمووله انتي عندك اليوم لغويات .. حضرتي ؟

متى الاختبار حق المعتذرات ..

والي وين ..!


+


ابي ايميل د. سلوى الي معي غلط موب راضي يفتح !



=


تشششكرات :biggrin::love080::106:

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بليز بنات ابي احد يتلطف و يقول لي واجب تاريخ اللغه مع الدكتور ,, ضرووووووووووووووري بليز :Cry111::Cry111::Cry111::Cry111:
انا قصدي الواجب اللي عطانا اياه من اسبوعين مو اللي قبل الاختبار ,, انا قرورب يوم الاربعاء

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الاختبار مو الاثنين الجاي اللي بعده
ورح يكون 10 تعاريف تحلينهم كل وحده درجه
وبكل المنهج الظاهر



بالتوفيق

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الله يجزاككك ككل الخخير ..

يعني اخخر اسبوع قبل الفاينل ؟

بس ابي اتاكككد .. انت تقصدين المعتذرات ولا الميد الثاني !

انا ماختبرت الميد الاول مع اميمه ..

وابي اتاكككد ..

متى المعتذرات للميد الاول وهل احنا نختبر الميد الثاني مع البنات ولا لحالنا ؟

تسلمين ..

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ب المناسبه بما اني اتكلم عن اللغويات ..

حبيت اقولكم اني لقيت بفجر ملزمه سلاديات د. اميمه

وحده من البنات الله يجزاها خيرها منزلتها

مكتوبه بالكمبيوتر ومرتبه الي محارضره القراممر ..

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بنات بكره في اختبار عربي او لا ؟
انا اقول فيه وبنات يقولون لا :biggrin:
ابي كلام شوور :(107):

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^^

انا كلاس الاحد ..

اذا انتي تقصدين الكويز

اختبرو نص البنات الي ذاكرو والي ماذاكرو خلته مع الميد تيرم الي هو الاحد الجاي ..

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بنآآآآآآآآآآآآت :sdfgdsf:

اللي اختبرو دراما مع د.مها .. جابت لكم كوتيشن ؟؟؟؟؟!!

واذا جابت وشو الكوتيشن .؟؟


وبالتوفيق جميعا :106:

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اووووه سوري جدن

ماادري عن المعتذرات بس هالاختبار هو للي درجاتهم نازله ويبون يعوضون او الميد اثاني ع قولتك

اما المعتذرات فماعندي خبر

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بنات أنا ماسويت البرزنتيشن حق الترجمه للحين..وأبغى أعمله بكره ..عن أيش أسوي لها ؟؟ اللي تعرف بليييز تقول

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+ 1

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اهنن
انا كلاسي الاربعا الساعه 10
اخذنا معها 6 محاضرات بالضبط والضبيطه .. :biggrin:
5 كتبناهم .. واخر محاضره كانت عن المقال الصحفي .. عطتنا ورق عنه ..

بالنسبه لاختبارها الميد .. بيكون الى محاضره 5 .. يعني الصحفي موب معنا ..<< داخل في الفاينل ..
والاختبار بيكون كله موضوعي :53:..

وكان الله غفورا رحيما ..

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انا مع الدكتور .. طالب مننا بروجكت ومدري وش . وقال بنزل لكم الاوراق .. ولسه مانزلها :24_asmilies-com:

سوري مئدرشي افيدك :(107):

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بنات :53:

شطحه سريعه ..

سسسمعتوا د.نجلا اليووم :hahahahahah:

اهم شي لما قالت .. انو كلكم جايبين نفس الكلام والماتيريال .. فعشان كلكم تاخذون مشاركه . كل وحده تقرا سطرين وتخلي السطرين الباقيه للثانيه :hahahahahah: :hahahahahah:

عجبتني :biggrin:


يللا بطس اذاكر دراما :wink:

دعواتكم :106:

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فديتـــك نونا أدري ماتقصرين :love080:
هههههههههههههه رهيبه د. نجلاء أختصرت الطواله علينا وعليها ...
good luck بالدراما :106: ياااارب يجي أختبارركم مره سهل وتحلووون زين بالتوفييق

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نفس السسسسسؤال :(107):

يا ترى باقي مجال اسوي ترجمة قصيده ؟
او فيه شي ثاني ؟!

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المعتذرات قالت يذاكرون كل شيء من البدايه للنهايه :106:والأختبار بآخر سبت قبل الميد مع التحسين ^_^

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باقي بنات يترجمون قصيده عادي
والدكتورة حاطه بالايميل مسرحية ون اكت
كواجب ترجمي جزء منها واعرضيه انا قريتها حسيتها سهله
حطيت المسؤحيه بالمرفق .. وبالتوفيق :106:


بس السؤال .. فيه مجال اسوي البرزنتيشن الاسبوع الجاي ؟؟
اللي عنده خبر يعلمني ضروري

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الله يجزاك الجنه ويوفقك يارب :106:.. كنت شايله همه وموفقين جميعا :106:

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واجب الترجمه حق بكرا ششنو ؟؟

لقيت اشياء كثيرا بايمييلها .. ش السالفه :/


اي واحد فيهم ..!!

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still waiting ....:119:

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امممم
انا مجهزه عندي ترجمة قصيده
المسرحيه اتوقع بس مشاركه صح والا ؟ :(107):
و برزنتيشن القصيده عليه 5 او كم ؟؟

و يعطيك العافيه ع الرد :love080::106:

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لابنات انا اقصد اختبار المد انا عربي يوم الاربعاء ١٢
ابي اعرف هو بكره والا الاسبوع الجاي لان الكويز خلصناه الاسبوع اللي فات
بليزززز ردو علي :sdfgdsf:

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A MATTER OF HUSBANDS
a play in one-act
by Ferenc Molnar
translated by Benjamin Glazer
The following one-act play is reprinted from Ten Minute Plays. Ed. Pierre Loving. New York: Brentano's, 1923. It is now in the public domain and may therefore be performed without royalties.
CHARACTERS
Famous Actress
Earnest Young Woman


[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her boudoir.]
FAMOUS ACTRESS: You wished to see me?
EARNEST YOUNG WOMAN: [She gulps emotionally] Yes.
FAMOUS ACTRESS: What can I do for you?
EARNEST YOUNG WOMAN: [Extends her arms in a beseeching gesture] Give me back my husband!
FAMOUS ACTRESS: Give you back your husband!
EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.
FAMOUS ACTRESS: Oh! I have met him--yes.
EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.
[There is a long pause.]
FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.
EARNEST YOUNG WOMAN: You just admitted that you knew him.
FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?
EARNEST YOUNG WOMAN: Yes.
FAMOUS ACTRESS: I don't remember him with spectacles.
EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!
FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?
EARNEST YOUNG WOMAN: He sends you flowers all the time.
FAMOUS ACTRESS: That's not true.
EARNEST YOUNG WOMAN: It is!
FAMOUS ACTRESS: It isn't. He never sent me a flower in all his life. Did he tell you he did?
EARNEST YOUNG WOMAN: No. I found out at the florist's. The flowers are sent to your dressing room twice a week and charged to him.
FAMOUS ACTRESS: That's a lie.
EARNEST YOUNG WOMAN: Do you mean to say that I am lying?
FAMOUS ACTRESS: I mean to say that someone is lying to you.
EARNEST YOUNG WOMAN: [Fumbles in her bag for a letter] And what about this letter?
FAMOUS ACTRESS: Letter?
EARNEST YOUNG WOMAN: He wrote it to you. And he said--
FAMOUS ACTRESS: He wrote it to me? Let me see.
EARNEST YOUNG WOMAN: No. I'll read it to you. [She opens it and reads mournfully] "My darling, Shan't be able to call for you at the theater tonight. Urgent business. A thousand apologies. Ten thousand kisses. Alfred."
FAMOUS ACTRESS: Oh!
EARNEST YOUNG WOMAN: I found it on his desk this morning. He probably intended to send it to the theater by messenger. But he forgot it. And I opened it. [She weeps.]
FAMOUS ACTRESS: You mustn't cry.
EARNEST YOUNG WOMAN: [Sobbing] Why mustn't I? You steal my husband and I mustn't cry! Oh, I know how little it means to you. And how easy it is for you. One night you dress like a royal princess, and the next night you undress like a Greek goddess. You blacken your eyebrows and redden your lips and wax your lashes and paint your face. You have cosmetics and bright lights to make you seem beautiful. An author's lines to make you seem witty and wise. No wonder a poor, simple-minded lawyer falls in love with you. What chance have I against you in my cheap little frock, my own lips and eyebrows, my own unstudied ways? I don't know how to strut and pose and lure a man. I haven't got Mr. Shakespeare to write beautiful speeches for me. In reality you may be more stupid than I am, but I admit that when it comes to alluring men I am no match for you.
FAMOUS ACTRESS: [Without anger, slowly, regards her appraisingly] This is a very interesting case.
EARNEST YOUNG WOMAN: What is?
FAMOUS ACTRESS: Yours.
EARNEST YOUNG WOMAN: Mine? What do you mean?
FAMOUS ACTRESS: I mean that I never received a flower, or a letter, or anything else from your husband. Tell me, haven't you and your husband been getting on rather badly of late?
EARNEST YOUNG WOMAN: Yes, of course.
FAMOUS ACTRESS: You used to be very affectionate to each other?
EARNEST YOUNG WOMAN: Why, yes.
FAMOUS ACTRESS: And of late you have been quite cold?
EARNEST YOUNG WOMAN: Yes.
FAMOUS ACTRESS: Of course! A typical case.... My dear, if you knew how often we actresses meet this sort of thing! It is perfectly clear that your husband has been playing a little comedy to make you jealous, to revive your interest in him.
EARNEST YOUNG WOMAN: [Dumbfounded, staring] Do you really think that? Do you mean to say such a thing has happened to you before?
FAMOUS ACTRESS: Endless times. It happens to every actress who is moderately pretty and successful. It is one of the oldest expedients in the world, and we actresses are such conspicuous targets for it! There is scarcely a man connected with the theater who doesn't make use of us in that way some time or another--authors, composers, scene designers, lawyers, orchestra leaders, even the managers themselves. To regain a wife or sweetheart's affections all they need to do is invent a love affair with one of us. The wife is always so ready to believe it. Usually we don't know a thing about it. But even when it is brought to our notice we don't mind so much. At least we have the consolation of knowing that we are the means of making many a marriage happy which might otherwise have ended in the divorce court.
EARNEST YOUNG WOMAN: But how--how could I know?
FAMOUS ACTRESS: [With a gracious little laugh] There, dear, you mustn't apologize. You couldn't know, of course. It seems so plausible. You fancy your husband in an atmosphere of perpetual temptation, in a backstage world full of beautiful sirens without scruples or morals. One actress, you suppose, is more dangerous than a hundred ordinary women. You hate us and fear us. None understands that better than your husband, who is evidently a very cunning lawyer. And so he plays on your fear and jealousy to regain the love you deny him. He writes a letter and leaves it behind him on the desk. Trust a lawyer never to do that unintentionally. He orders flowers for me by telephone in the morning and probably cancels the order the moment he reaches his office. By the way, hasn't he a lock of my hair?
EARNEST YOUNG WOMAN: Yes. In his desk drawer. I brought it with me.
FAMOUS ACTRESS: Yes. They bribe my hair-dresser to steal from me. It is a wonder I have any hair left at all.
EARNEST YOUNG WOMAN: [Happily] Is that how he got it?
FAMOUS ACTRESS: I can't imagine how else. Tell me, hasn't he left any of my love letters lying around?
EARNEST YOUNG WOMAN: [In alarm] No.
FAMOUS ACTRESS: Don't be alarmed. I haven't written him any.
EARNEST YOUNG WOMAN: Then what made you--?
FAMOUS ACTRESS: I might have if he had come to me frankly and said: "I say, Sara, will you do something for me? My wife and I aren't getting on so well. Would you write me a passionate love letter that I can leave lying around at home where she may find it?" I should certainly have done it for him. I'd have written a letter that would have made you weep into your pillow for a fortnight. I wrote ten like that for a very eminent playwright once. But he had no luck with them. His wife was such a proper person she returned them all to him unread.
EARNEST YOUNG WOMAN: How clever you are! How good!
FAMOUS ACTRESS: I'm neither better nor worse than any other girl in the theater. Even though you do consider us such monsters.
EARNEST YOUNG WOMAN: [Contritely] I have been a perfect fool.
FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?
EARNEST YOUNG WOMAN: Yes.
FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.
EARNEST YOUNG WOMAN: He won't. Never fear!
FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.
EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?
FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.
EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.
FAMOUS ACTRESS: Now you mustn't begin crying all over again.
EARNEST YOUNG WOMAN: You have made me so happy!
[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]
FAMOUS ACTRESS: [Goes to the door of her boudoir, calls] All right, Alfred. You can come in now. She has gone.

THE CURTAIN FALLS

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خلاص اعرضيها
الدكتوره كاتبه ع المسرحيه الهوم ورك لهذا الاسبوع :(269):

ويب عليه 5 درجات .. بالتوفيق :106:

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انا يوم الاحد وما اقدر افيدك
ان شاء الله احد من البنات يرد عليك

موفقه يارب :106:

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ثانكس حبيبتي :love080:
شورك و هداية الله ..

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|l + ص 301 رد 3007
 

الحين الدكتورة ايش نزلت غير المسرحية والبروجكت ؟! في شي ثاني !!

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العربي يوم الاربعاء الميد مو بكره الاسبوع الجاي بكره مافي محاضره

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بنات الله يعافيكم ممكن اعرف قصاىد الشعر بعد الشهري ؟؟
وايش الايرش بويتري الي تكلمت عنه كنت غايبه من وين نطلعه ؟؟


وشي ثاني بعد الله يوفقكم ايش قال الدكتور صلاح زيادة على المسرحيه الاولى من بعد الميد ؟؟
اخر شي اخذناه قبل الميد الكاريكتارزيشين في شي زياده بعد ؟؟؟؟؟؟



الله يوفقكم ردو ضروري

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بنات ممكن محاضرات العربي :mh318: