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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
لا لا
أقصد آخر ملزمة نزلتها الي فيها عن ريتشارد وليفز |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
هذا رابط القروب بس كيف التسجيل فيه صراحة ماعرف اودي أعرف :biggrin: ياليت الي تعرف تعلمنا :tongue: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
[align=justify] متى نزلتها ؟ قالو لي ان الجزء الرابع أخر شي نزل سؤال : الكويز في ريتشارد أو ليفز ؟؟ وطلب : ممكن تسوي للملزمة سكان او تصوير ؟؟ ع الأقل بس الكريتيك اللي داخل معنا بالكويز [/align] |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
نزلت يوم الثلوث الظهر والكويز بيكون في ريتشارد :(177): ومع الأسف ماعندي سكان كان نزلتها مع اني مومقتنعة فيها :icon9: ان شاءالله البنات مايقصرو >> الظاهر ان لو برزنتيشن اهون علينا :(177): |
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ماحسيتها مرة كلام بقوة يرفع ضغط
سوال : هي قالت نداكر منها ؟؟؟؟ |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بسألكم الحين السجل الاكاديمي الي خذناه من القسم عشان نراجع موادنا ونتأكد منها
ماهم حاطين آخر فصل درسناه :(107): كلكم مثلي ولا بس انا ؟ |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
انا برضو مثلك قريتها ولا فهمت شي :bawling: مادري من وين نذاكر ياربي وش السوات :mh12: بنات دكتورة نجلا بيليييييز انقذونا تكفوون طلبناكم ربي يفرج لكم فرجوا لنا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
me too I did not understand any thing:Cry111: :bawling:HELP US PLEASE:bawling: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
عن نفسي هالملزمة غسلت يدي منها
كل الي فيها هذررة مأخود خيرها:(177): وهي قالت انها بتجيب لنا ياتعريف يافراغات يعني اكيد شي من التيكست نفسه واذا تذكرون انها كتبت لنا نقاط ع البورد كالتالي: close textual analysis meaning of words (4 factors ) context Rhythm& meter value of metaphors 4 factors of the meaning of the words: sense feelings tone intention والحين وأنا ابحث لقيت كلام ومقدمته نفس اللي كتبته بالظبط ويشرح كل هالنقاط :d5: شكله جايبته منه :71: وهي من النوع الي يجيب الكلام الي تشرحه وتكتبه يعني ان شاءالله يكفينا هالكلام مع بعض الأظافات وطبعا اللي تذكر شي ثاني قالته تحطه لنا احسن من مانضيع وقتنا ع الملزمة المعقدة :(177): تفضلو هذا اللي لقيته : A study of Richards’s Practical Criticism, A Study of Literary Judgment reveals that Richards is a staunch advocate of a close textual and verbal study and analysis of a work of art. Similar interest in the study of words is revealed in his book, Meaning of Meaning. Total meaning of a poem is combination of several contributory meanings of different types—Sense, Feeling, Tone, and Intention. Sense means to make reference to something, that is, when the writer says something he wants to direct his hearers’ attention upon some state of affairs, to present to them some items for consideration and to excite in them some thoughts about these items. Feeling refers to the feelings of the writer or speaker about these items, about the state of affairs he is referring to. He has an attitude towards it, some special direction, bias, or accentuation of interest towards it, some personal flavor or coloring of it, and he uses language to express these feelings, this nuance of interest. Tone means the attitude of the writer towards his readers. The writer or the speaker chooses and arranges the words differently as his audience varies, in automatic or deliberate recognition of his relation to them. We may distinguish between the tone of authority in some persons when speaking to their subordinates or inferiors and the tone of friendship when spraking to their equals. Besides all these things, the speaker’s intention or aim, conscious or unconscious, should also be taken into account. Ordinarily the speaker speaks with a purpose and his purpose modifies his speech. The understanding of it is part of the whole business of apprehending his meaning. Unless we know what he is trying to do, we can hardly estimate the measure of his success. We may distinguish here between the inflammatory speeches of the political readers where the aim is to excite the listeners and class-room lectures where the aim is to make certain things intelligible to the students. No one function among these functions differ in different types of writings. Only this much can be said that generally sense predominates in the scientific language and feeling in the poetic language. Richards says, “Originally language may have been almost purely emotive; that is to say a means of expressing feelings about situations, a means of expressing impersonal attitudes, and a means of bringing about concerted action.” In poetry language returns to that primitive condition. Language of poetry affects feelings. “The statements in poetry are there as a means to manipulation and expression of feelings and attitudes. Hence we must avoid an intuitive reading and also an over literal reading of poems.” Words in poetry have an emotive value, and figurative language used by poets conveys those emotions effectively and forcefully. Words also acquire a rich associative value through their use by different poets in different contexts. The context in which a word has been used is all important. “Words have different meanings in different contexts. Words are symbols or signs and they deliver their full meaning only in a particular context. They work in association and within a particular context. He writes : “A context is a set of entities (things or events) related in a certain way; these entities have each a character; such that other sets of entities occur having the same characters and related by the same relation; and these occur nearly uniformly.” Meaning is dependent on context, but the context may not always be apparent and easily perceptible. Literary compositions are characterized by rich complexity in which certain links are suppressed for concentration or effective and forceful expression. Frequent mention is therefore made of the ‘missing context’ and ‘ambiguity.’ In ordinary blemishes in writing, but in poetry or even in artistic prose they are a source of embellishment and a means of effective communication of meaning. The literary critic is expected to understand and expand the context so that the poem may become intelligible and its full value may be grasped. Words have different meanings in different contexts. Sense and feeling have a mutual dependence. “The sound of a word has much to do with the feeling it evokes.” First, it may arise from the meaning and be governed by it. The feeling is the result of grasping the meaning. Secondly, the meaning arises from the feeling evoked. Thus the word ‘gorgeous’ first generates a feeling from its sound. Thirdly, sense and feeling may be related because of the context. A complete poem can influence a single word or phrase contained in it either through the feelings or through the sense. The feelings already occupying the mind limit the possibilities of the new words. This is because words are ambiguous in themselves and they acquire new meanings when they are charged with feelings. Hence Richards argues that we need one careful reading to find the meaning and another to grasp the feeling. The meaning of words is also determined by rhythm and meter. Rhythm results from the repetition of particular sounds and the expectancy this repetition arouses in the mind. Metre is a specialised form of rhythm. It is rhythm made more regular and cast into set and well-formed pattern. Both rhythm and meter are organic and integral parts of a poem, for they both determine the meaning of the words used by the poets. Richards’ remarks in this connection are interesting and deserve to be quoted in their entirety : “Rhythm and its specialized form, meter, depend upon repetition and expectancy. Equally where what is expected recurs and where it fails, all rhythmical and metrical effects spring from anticipation. As a rule, this anticipation is unconscious. Sequences of syllables both as sounds and as images of speech-movements leave the mind ready for certain further sequences rather than others. Our momentary organization is adapted to one range of possible stimulus rather than to another. Just as the eye reading print unconsciously expects the spelling to be as usual, and the fount of type to remain the same, the mind after reading a line or two of verse, or half a sentence of prose, prepares itself ahead for any one of a number of possible sequences, at the same time negatively incapacitating itself for others.” “We may turn now to that more complex and more specialized form of temporal rhythmic sequence which is known as meter. This is the means by which words may by made to influence one another to the greatest possible extent. In metrical reading the narrowness and definiteness of expectancy, as such unconscious as ever in most cases, is very greatly increased, reaching in some cases, if rhyme also used, almost exact precision. Furthermore, what is anticipated becomes through the regularity of the time intervals in meter virtually dated. This is no mere matter of more or less perfect correspondence with the beating of some internal metronome.” Rhythm, meter and meaning cannot be separated; they form together a single system. They are not separate entities but organically related. Therefore, a paraphrase or an over literal reading can never convey the total meaning of a poem. Successive readings are necessary to understand the poetic meaning. Poetic truth is different from scientific truth. It is a matter of emotional belief rather than intellectual belief. It is not a matter of versification, but of attitude and emotional reaction. For the purpose of communication, the use of metaphoric language is all important. “A metaphor is a shift, a carrying over of a word from its normal use to a new use”. Metaphors may be of two kinds : (I) sense-metaphors, and (2) emotive-metaphors. In a sense-metaphor the shift is due to a similarity or analogy between the original object and the new one. In an emotive metaphor the shift is due to a similarity between the feelings the new situation and the normal situation arouse. The same word in different contexts may be a sense-metaphor or an emotive one. “Metaphor,” says Richards, “is a semi-surreptious method by which a greater variety of elements can be brought into the fabric of the experience. With the help of a metaphor, the writer can crowd into the poem much more than would be possible otherwise. The metaphorical meaning arises from the inter-relations of sense, tone, feeling and intention.” “A metaphor is a point at which many different influences may cross or unite. Hence its dangers in prose discussions and its treacherousness for careless readers of poetry, but hence, at the same time, its peculiar quasi-magical sway in the hands of a master. Certain conjunctions of metaphors—through their history partly and through the collocation of emotional influence that by their very ambiguity they effect—have a power over our minds that nothing else can exert or perpetuate.” |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات اللي ما سووا برزنتيشن وما سلمو البروجكت شيسوون؟ :icon9:
د. سلوى ما جت يوم الاربعاء :mh12: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
عموما بوضعك مادريتي فسلميها اياه يوم السبت و إذا مالقيتيها عطيه د.مها تحطه فوق مكتبها بما أنهم بنفس الغرفه أو عطيها الأمن حقت قسمنا اللي كانت تجمعهم وبالنسبه للبرزنتيشن أرسليه لإيميلها إن شا الله تقبله وأكدي لها اذا لقيتيها السبت إنك أرسليتيه لها |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات :(
ألحين اللغويات مع الدكتوره أميمه للبنات اللي راح يمتحنون بس ديفنيشن ايش الجزئيه بالضبط ؟ أعرف المعتذرات تقريبا كل المنهج بس اللي غير معتذرات ايش !! |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
- أول شي انه كآن مهتم بالـ qualified reader يعني بمعنى آخر " النقآد " , - كآن يتبع الـ formalistic approach و الـ psychological approach , - شرحت لنآ الفور ميننيق بإختصآر وقالت مسؤليتكم انكم تشرحون وتفهمونهآ :(177): , بعدين شرحت الـ Doctrine of poetry , و ركزت على : two ways of assumptions : 1- Intellectually 2- Emotionally وبمعنى ثاني : 1- intellectual belief . 2- emotional belief . و ركزت بعد على أهتمام ريتشآرد في الـ sincerity . و بسسس هذي زبدة محآضرة ريتشآرد , , |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
ايه كلنـآ مثلك لأن آخر فصل درجآته نآزله في البيوبل سوفت مو آلبانر :119: يعني آلسجل آللي معك بس فيه آلدرجات حقت آلمواد لمن كنـآ ع نظـآم آلبانر..:106: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
السلام عليكم
امتحان د. أميمة متى راح يكون؟ الأحد او السبت? ( امتحان الدفنيشنز) |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات بالنسبة للغويات لا تعتمدون بس ع الكتاب
شوفوا السلايدات (بنات دكتورة اميمه) لاني سمعت بنت تسالها تقول د. نذاكر من الكتاب ولا السلايدات والدكتورة كذا >>>>>>>>> :41jg: مره ملامحها تغيرت على اساس اشلون البنت تسالها هالسؤال :biggrin: وقالتلها كلهم معك بس يوم جت تمشي البنت قالتها اصلا السلايدز اوضحلك لانه كل عنوان وتحته الدفنشن فانتوا مروا ع الاثنين لانه الدفنشن بيكون واحد سواء بالكتاب او بالسلايد بس ممكن يكون اوضح بالسلايد والي بالكتاب يمن يكون شي مش مكتوب اساسا بالعرض وهيك موفقين :106: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات ممكن تقولولي ايش التوبيكات حقت الدراما _مها سلام_ ابي اشتغل عليها اليوم..؟؟
ابي اتاكد نفس اللي عندي والا فية شي ناااقص,,.؟ بليـــــــــــــــــــــــز:(107): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
ونزززززل تفريغ لمها بعد( 678),,..؟؟؟؟ والا لا
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
ايه نزل
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات النثر فيه كلاس يوم السبت؟؟ والساعه كم؟
انا محاضرتي الثلاثا بس صعبه احضر |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
اقتباس:
اذا حد يعرف ايميلها اسئلوها .. |
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بنات، أحد عنده تفريغ العام نثر (جين اير) لـ د. صلاح؟
:sdfgdsf: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
^
check the first page :119: |
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8 مرفق
آخر ماوصلني من محاضرات النقد 8و9 و 10
++ عروض برزنتيشن من الايميل المشترك تبع النقد |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
Jamilah, I mean Prose (third year) Jane Eyre I only found fourth year :(107): |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
ماشاء الله عليك لوست مختصرة ومختزله تنفعين دور مختصر المحاضرة الله يعطيك اعافية :(204): افديتنا بالمحاضرة السابقة وهذي شكرا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
الله يعطيكم العافيه ويوفقكم هوني ايز و لوست 3 وبتاقي البنات
ماقصرتوا :106: ادعولنا ربي يوفقنا عندنا اختبارين بنفس اليوم نقد + لغويات |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
^
^ ^ موفقه حبيبتي .. حسيت فيك :love080: انا ادعولي تنفتح نفسي للمذاكره :icon9: الله يوفقنا ياااااااااااااااااارب ونتخرج هالسنه بأعلى المعدلات :106: |
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مالي خلق ادرس :icon9: :bawling:
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بنات ايميل الدكتور محمد السيد بليييييز :)
ووو اللي معاه قروب السبت في شي عندكم !! يعني بتاخذون كويز والا خلصتوا ووش الواجب الثاني لأني م سلمته لحد اللحين :| |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
drmsayed@hotmail.com |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
مساء الخير..:love080:
ممكن وحده شاطره >>د.صلاح على غفله:hahahahahah: تقولنا المواضيع اللي ركز عليها د.صلاح بالروايه الثانيه؟؟ مشكورييييييييييين مقدما:106::106: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
>>> حايسه مع دفينشن اللغويات :bawling:
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
حآولي تفهمينهم وتحطين عليهم آمثلة ..كذآ رح يسهل عليك آلحفظ :119: بآلتوفيـــق يآآآرب :106: |
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بنات حضارة وترجمة يوم السبت خلصنا صح؟؟؟؟
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
انا نزلت تفريغ بموضوع ثالث رووحي شوفيه :064: دعواتك :106: |
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بنات تكفون انا غويت الصفحه اللي فيها تفريغ المسرح مع دكتوره مها ابي اعرف ايش رقمها او اذا تقدرون تنزلون من جديد الله يعافيكم
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بنات الله يخليكم بروجكت الترجمه صح فيه ايات ,,ماعرفت اترجمهم ,,
بليز احد يعطيني ترجمتها ,, الله يجزاكم خير |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات هالتعاريف معنا .؟؟؟؟
Levels of Linguistics: Phonetics Phonology Morphology Syntax Semantics Pragmat يارب لاء ... استناكم |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنااااااااااااااااااااااات
احد كتب جدول الفاينل ...؟ |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات امتحان اللغويات> الديفنشنز لكل المنهج ولا بس الي بعد الميد تيرم ??
الله يوفقها يااارب اللي تررد:love080: |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
لكل المنهج
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
[QUOTE=Eman Al-s;5258671]بنات هالتعاريف معنا .؟؟؟؟
Levels of Linguistics: Phonetics Phonology Morphology Syntax Semantics Pragmat يارب لاء ... استناكم انا سألتها قالت لا مو معنا |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
متاكده؟؟؟؟؟؟؟
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
تبين تتاكدين اساليها احسن |
رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
بنات ياليت اللي ما ارسلت برزنتيشن النقد او الدراما ترسله اذا احنا ماتعاونا وماهتمينا راح نخسر كثير Cultural approach On poetryLeavis in his writing was one of the most influential figures in twentieth-century English literary criticism. He introduced a "seriousness" into English studies, and some English and American university departments were shaped very much by Leavis’s example and ideas. Leavis appeared to possess a very clear idea of literary criticism and he was well known for his decisive and often provocative, and idiosyncratic, judgements. Leavis insisted that valuation was the principal concern of criticism, and that it must ensure that English literature should be a living reality operating as an informing spirit in society, and that criticism should involve the shaping of contemporary sensibility . Leavis's criticism is difficult to directly classify, but it can be grouped into four chronological stages. The first is that of his early publications and essays including New Bearings in English Poetry (1932) and Revaluation (1936). Here he was concerned primarily with reexamining poetry from the seventeenth to twentieth centuries, and this was accomplished under the strong influence of T. S. Eliot. Also during this early period Leavis sketched out his views about university education. He then turned his attention to fiction and the novel, producing The Great Tradition (1948) and D. H. Lawrence, Novelist (1955). Following this period Leavis pursued an increasingly complex treatment of literary, educational and social issues. Though the hub of his work remained literature, his perspective for commentary was noticeably broadening, and this was most visible in Nor Shall my Sword (1972). Two of his last publications embodied the critical sentiments of his final years; The Living Principle: ‘English’ as a Discipline of Thought (1975), and Thought, Words and Creativity: Art and Thought in Lawrence (1976). Although these later works have been sometimes called "philosophy", it has been argued that there is no abstract or theoretical context to justify such a description. In discussing the nature of language and value, Leavis implicitly treats the sceptical questioning that philosophical reflection starts from as an irrelevance from his standpoint as a literary critic - a position set out in his famous early exchange with Rene Wellek. Others, however, have argued that although Leavis's thinking in these later works is hard to classify - itself an important datum - it provides valuable insights into the nature of a language. Though his achievements as a critic of fiction were impressive, Leavis is often viewed as having been a better critic of poetry than of the novel. In New Bearings in English Poetry Leavis attacked the Victorian poetical ideal, suggesting that nineteenth-century poetry sought the consciously ‘poetical’ and showed a separation of thought and feeling and a divorce from the real world. The influence of T. S. Eliot is easily identifiable in his criticism of Victorian poetry, and Leavis acknowledged this, saying in The Common Pursuit that, ‘It was Mr. Eliot who made us fully conscious of the weakness of that tradition’ (Leavis 31). In his later publication Revaluation, the dependence on Eliot was still very much present, but Leavis demonstrated an individual critical sense operating in such a way as to place him among the distinguished modern critics. On the novelThe early reception of T. S. Eliot and Ezra Pound's poetry, and also the reading of Gerard Manley Hopkins, were considerably enhanced by Leavis's proclamation of their greatness. His criticism of John Milton, on the other hand, had no great impact on Milton's popular esteem. Many of his finest analyses of poems were reprinted in the late work, The Living Principle. As a critic of the novel, Leavis’s main tenet stated that great novelists show an intense moral interest in life, and that this moral interest determines the nature of their form in fiction (Bilan 115). Authors within this "tradition" were all characterised by a serious or responsible attitude to the moral complexity of life and included Jane Austen, George Eliot, Henry James, Joseph Conrad, and D. H. Lawrence, but excluded Thomas Hardy and Charles Dickens. In The Great Tradition Leavis attempted to set out his conception of the proper relation between form/composition and moral interest/art and life. This proved to be a contentious issue in the critical world, as Leavis refused to separate art from life, or the aesthetic or formal from the moral. He insisted that the great novelist’s preoccupation with form was a matter of responsibility towards a rich moral interest, and that works of art with a limited formal concern would always be of lesser quality. F. R. Leavis While New Criticism was especially dominant in the 1940s and 1950s, Leavisite criticism became especially dominant in the 1970s. Leavis became, according to A Reader’s Guide to Contemporary Literary Theory, “the major single target for the new critical theory of the 1970s and beyond” (Selden, 23). Leavis’s criticism did not have a clearly defined theory, (in fact he refused to define his theories at all), but it was based on a “common sense” approach which dealt closely with the text of the poem. Leavis believed that there were “great works” of literature, therefore remaining a strong supporter of an existing canon. He also had defined ideas about what was poetry and what was not. He did not hesitate to dismiss many popular authors as non-poetic. Tennyson, Lang (“The Odyssey”), and Browning were a few of those who he dismissed as writing in poetic form, but not writing true poetry. He believed that poetry should express something personal about the poet and the poet should be emotionally involved with the poem. Leavis also believed that the poet was (or should be) and enlightened being and be profoundly affected by life. Leavis says, in his book New Bearings In English Poetry, “poetry matters because of the kind of poet who is more alive than other people, more alive in his own age.” A poet must also have the “power of making words express what he feels” and this should be “indistinguishable from his awareness of what he feels.” He should be “unusually sensitive, unusually aware, more sincere and more himself than any ordinary man should be.” If a poet and his or her work did not conform to Leavis’s ideas, the poem was not poetry (at least, certainly not great poetry). Some of those authors who he felt accomplished “true” poetry were Eliot, Hardy, Yeats and De La Mare. Leavis’s criticism had a sense of the past. It related historical context to the poem and poet. The era that the poem was written in and the types of poetry that were being composed in that particular era, he believed, had an effect on the poetry that was composed, the ideas behind it, and the shape/form of that poetry. Historical and social backgrounds were not a focus of Leavis’s criticism. However, the focus of Leavis’s criticism was always on the text in terms of words and how they related to one another, (their ambiguities and contrasts). Literature and Society Frank Raymond Leavis (14July 1895-14 April 1978) was an influential British Literary critic of the early-to-mind-twentieth century. He was born in Cambridge, England, in 1895. He was educated at a local independent private school. Leavis has been frequently (but often erroneously) associated with the American school of New Critics, a group which advocated close reading and detailed textual analysis of poetry over an interest in the mind and personality of the poet, sources, the history of ideas and political and social implications. Leavis possessed a very clear idea of literary criticism. Leavis insisted that evaluation was the principal concern of criticism, and that it must ensure that English literature should be a living reality operating as an informing spirit in society, and that criticism should involve the shaping of contemporary sensibility. According to Leavis, literatureand society are closely related. They are interrelated. The relation between literatureand society is like body and soul. Society is body and literature its soul. He points out that the study of literature is the study of human life or inherent human nature. To him, human life is synonymous to society. The society plays a great role in making writers. The making of a successful writer occurs only when there is an adequate social collaboration / cooperation. Leavis quotes an example regarding William Blake, who lacked a public, which resulted in his loss of seriousness in writing. Thus the lack of a congenial / helpful society and the absence of adequate social collaboration failed Blake’s power to achieve the artistic achievement. Social collaboration is very essential for the nourishment of a writer’s artistic powers. Blake’s artistic power lacks of social collaboration. But Jon Buayan is opposite to Blake. He was able to produce a human masterpiece in from of The Pilgrum’s Progress despite its moralizing aim. He got the artistic power Social Collaboration. This was because Bunyan belonged to his civilization of his time. He was at home with his society. The advantage that Buyan enjoyed was that during his time there was a popular culture of the people and he could mingle the popular culture with literary culture in his book. By giving example of Bunyan’s allegorical book ‘The Pilgrim’s Progress’ Leavis brings the idea that without adequate social collaboration successful works of literature will not occur. Thus he established the intimate relationship between literature and society. In Dryden’s Love For All, he shows how people of all classes and different religions, caste and belief live together in a very peaceful can led the best society. Best society can produce best and immortal literature. They are interrelated, interdependent and co-operative. None can go without other. Society is unproductive without literature and literature is blind without society. After all we can say that F. R. Leavis is a modern critic who exhibits who relationship betweenliterature and society. هذي الجزئيه من البريزنتيشنات اللي كانت بكلاسي يوم الثلاثاء وعلقت عليها الدكتوره |
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بنات ابي تفريغ الدراما مع مها بليييييييييييييييييييييييييز اهي راح تداوم الاحد او لا اذا في احد ما سوا مناقشه وراح الاسبوع هذا وسوا عادي ما تقول شي ؟؟؟؟؟؟؟؟؟؟ :mh12:
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بتداوم الاثنين |
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شتاء عمررري وشو اللي نزل بعد الميد للدراما علشان ابي اتاكد.؟
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بدراما؟
وصلني محاضره الي كانت مناقشه البحوث الي قبل بدايه المسرحيه 2 |
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بنات نزلت محاضره النقد تبع يمنى
اللي ماجاتها تقولي |
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تكفون اللي عندها تفريغ شعر +نقد+حضارة تنزله الله يوفقها ترا ما بتكسب الا اجر والله ولعل دعوة من دعوتنا تستجاب وربي ييسر دربها..:119:
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اي محاضرة,,..؟؟ ^^
تفريغ والا ايــــــــــــــــــــش,,.؟ |
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بنات اذا في احد عنده محاضرات نثر اللي بعد الشهري ياليت تنزلها:mh12: البرنامج مو راضي يتنزل على جهازي عشان كذا الملف اللي باول صفحه مو راضي يفتح معي:Cry111: |
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so 100 اي محاضرة تقصدين,,.؟؟
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بنآآت
خطرت ع بالي فكرهـ << لايصيدها سآآهر بس :biggrin: آلموهيم شسمه ذا :mh318: شو رايكم مثلاً : النقد نمسك كل ناقد وندرج تحته العناوين آو النظريآآت اللي كتبها وبكيذا بيكون آسهل علينا مذاكرته مو شرط شرح النظريات بس آوت لآين |
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اي لان البرنامج مو راضي يتثبت ع جهازي:Cry111: |
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14 مرفق
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بنـآت آلقصـآئد آللي آخذناهم من بعد آلشهري 3 بس !!
آللي هم..Easter, Second coming, Piano ود.فوزية آلعام شرحت شي منهم ولا لا ؟؟!!! ربي يسعدهآ ويوفقهـآ آللي ترد علي..:love080: |
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بنـآت ترى د.حصة نزلت آلدرجات ع آلقروب ..
آلله يوفق آلكل :106: |
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بنات ضروري ابي تفريغ المسرح وين الاقيه في اي صفحه ؟؟؟؟؟؟؟؟؟؟؟ دكتوره مها وغير كذا مين عندها فكره عنها راح تجي الاحد اهي او لا بتداوم او لا
اذا ما تدرون في اي صفحه احصله تنزل لي بنت من جديد الله يؤفقكم اقضون حاجتي |
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الحلوين الللي البحث حقهم او البريزنتيشن عن the drama of ideas في مادة الدراما ياليت يرسلونه ع الايميل المشترك او يضيفونه هنا |
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خذيا بالميد 6 قايد ومن بعده هالثلاث يعني 9 هل من مزيد؟:love080: |
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القصيدتين في تفريغ فوزية :106: |
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او إذا هو شسمه ملف وورد ممكن تنزليه هنا؟ |
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مدري كيف انزلهم ..!! هي مصورتهم |
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[BIMG]http://f1.grp.yahoofs.com/v1/0Mz1TiJRaJugJo16AEkLLtmf0Pwrca2eUbkrJ0oGdyPLFDsinR kIomUAIy_xmi2Gv6htylXwa73nCWLZ9HD-5HMy6oaosJNBO_U/Scan_Pic0001.jpg[/BIMG][BIMG]http://f1.grp.yahoofs.com/v1/0Mz1TsXXKXGgJo162XY3-a5ne92aCapZoPx7oUK9TIVM8wCMMRZ281TYXOrETndAaiGRbXz 5muX_vL91yZjxq8ZhcpGVytBA2W0/Scan_Pic0003.jpg[/BIMG][BIMG]http://f1.grp.yahoofs.com/v1/0Mz1TmPFSKegJo167kszRAs5gdFj7u0qb1Mk8_WBmidAqjGkBa MluVjp7VsJ-jE0yN8gnj_dmJRU5OG5tZcnDYyAooA7MQgKcbw/Scan_Pic0004.jpg[/BIMG]
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[BIMG]http://f1.grp.yahoofs.com/v1/0Mz1Tr6VqKagJo16An-NtznDT0jojaVOQKXoHgxbK6QxUAyWk1MB5hWDMmmZp_A6BXFNx sU6_P4RPNpAKwM1jirS449OsZ3cvK4/Scan_Pic0002.jpg[/BIMG]
هذي آلدرجات آللي منزلتهم بالقروب.. |
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بنات تكفون ابي اي بنت منكم تسوي لي سكااااااان على اخر شابتر في اللغويات سنتاك بليز الله يؤفقك اللي راح تساعدني :mh12: حدي متورطه ودرجاتي نازله في المد ابي اذاكر زين الى النهائي الله يؤفق اللي راح تفك ازمتي
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منزلة بس الشهري بدون التوتال
بنات ماتحسون strange meeting سخيفة والمفروض تنحذف من المنهج؟ مها بتعطينا محاضرة يوم الاثنين |
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ياحلوين المحاضرة الاخيره لمادة اللغويات مقسومه على عرضين وحده من البنات ربي يسعدها نزلت لنا الجزء الاول ع الورد الجزء الثاني؟ مافي احد تكلم عنه او نزله:017: الجزء الثاني هو الرسم الشجري اذا محد اخذه ياليت تقولون عشان اكلم وحده من البنات اللي بيداومون بكرا تاخذه من الدكتوره |
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هذي درجات الميد بس طيب والتوتل متى :mh12:.؟؟ |
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اي جزء ثاني تقصدين ؟ قصدك اخر محاضرة اخذناها معها والي كانت تطبيق ؟ ترى مالها محاضرة هي نفس محاضرة السنتاك بس قاعدين نطبق عليها ولا ترى مافي شي جديد :biggrin: |
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ضمي لها second coming :bawling: مو قاااااااااااااااااااادره ابلعها ولا استوعبها كريييييييييييييييييييييهه مالها معنى احس :bawling:مدري كيف بذاكرها |
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اول امتحان امتحناه شعر ..و اخر امتحان ناخذ درجاته شعر..:017: يعني اكيد التوتال وقت الفاينال مافي امل هالاسبوع ناخذهم..:017: يعني وانا حاله زين حاطه لي درجه تفشل ..:mad::mad: |
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اقول كل المنهج على بعضه ماله داعي..:biggrin::biggrin: |
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http://www.ckfu.org/vb/t211165-396.html موفقه وادعيلي انجح بكل الموااااااااااااااااااااااااااااااااااد :bawling: |
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دام السالفه كذا شرايك مانذاكر :biggrin: بس اخاف دكتوره حصه تزعل اننا ماذاكرنا :cheese: <<< ظرافه ماقبل الاختبارات :064: |
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قصدك هبلت فينا هالامتحانات:71::71: والله ودي ما أذاكر ..بس راح يأنبني ضميري..:(269): |
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طلب : تفريغ محاضرات د. يمنى نقد اللي حطوهم البنات من قبل تبع العام ضيعتهم باي صفحة:smile::smile: |
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خليها بالقلب تجرح ولا تطلع وتفضح :Cry111: من بدينا من بعد اجازه الحج للحين واحنا من اختبار لاختبار من اختبار لاختبار :bawling:ومازلنا صامدين وسنستمر في الصمود دون رجعه الى ان نتمشى في مسيره التخرج متبسمين ومتشدقين من الفرحه والسرور:Cry111::mh001::53: |
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غير هذا كللللللللله ,, الي فاقعلي مرارتي .. درجات كلاسنا ما نزلتها للحين .. الى متى يعني ؟؟:(107): :017::017::017::017::017::017::017: |
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مايطلعوا الصور =(
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بنااااااااات بليييز وحده تقولي وش التعاريف الي بتشابتر القرامر باللغويات
احسني مره حايسه :bawling: |
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بنات لوسمحتوا نزلو درجات الشعر هنا مو قادره ادخل القروب اشوفها
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الله يعافيكم اذا نزلت درجات الشعر نزلو لي الرابط لا هنتو ماني عارفه كيف ادخل بلييييييييييييييييييييييييييز :sdfgdsf:
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الشعر قروب الثلاثاء 8 ما بعد :33_asmilies-com:
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الا موجوده الدرجات انا من قروب الثلوث 8 |
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:53: لك الحمد ربي ما ضاع تعبي.........:106::(204):...........طيب هذا التوتال؟؟
ولا الميد بس؟؟:000: |
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الميد بس ^^
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اللهم لك الحمد يارب.....مبروك لكل اللي جابو درجات عاليه واللي نازله شدو حيلكم واحنا معاكم وتذكرو "لاحياة مع اليأس ولا يأس مع الحياة" و تذكرو قول ربي جل جلالة "ولاتهنوا ولا تحزنوا وانتم الاعلون"
اذا خلونا نبدأبحماس و بمذاكرة فعلية جادة ومن توكل على الله فهو حسبه صدقوني على مدى تجارب طويله بالنسبة لعمري ما قد يوم تحطمت نفسيتي وتذكرت كلام ربي وتوكلي عليه الا يجيني احسن مما طلبت وتمنيت ...ربنا كريم يا بنات لكن خلو عندك علو الهمة و قمة التوكل على الله:106: |
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4 مرفق
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عالعموم لسى باقيلي ماخلصت من المنهج كله اذا امداني بأكتب لج وش طلع معي بالقرامر :wink: |
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:(177): انا قروب الثلاثاء الصبح مانزلت ؟
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