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عزيزتي جميلة ممكن تحددين البرزنتيشن اللي قدمتوه نقد .!!!! ولمين ؟ او اللي يعرف يجاوب

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بنات ياحلوين من الحلوه الي تقولي ايش مهم اطبع غير البرزنتيشنز حق النقد والمحاضرات الله يجزاها خير

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ام سلوم و حلمي كبير من عيوني بكرا تلاقونها هناك:106:

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عادي طبيعي كل احد احيان يكلم نفسه بهالمنتدا انتي سلكي :biggrin:

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ابغى ارسل شغلة على قروب د.حصة بس ماني عارفة

وهل اللي سووا ريكوست من قبل انقبلوا على طول أو كيف

أنا محتاجة أتواصل معاها هاليومين , فاللي تعرف الطريقة تجاوبني

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الله يوفقك ويسهل دربك :106:

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كمية المتريل ماتهم قد ماتهم الفائدة اللي تطلعين منها

يعني اهم شي تطلعين بنقاط شاملة ومرتبة وكانك مع د. نجلا لاتنسين تحفظين نقاد عارضوا او أيدوا ع القليل 2 لكل ناقد

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بنات كنت قاعده ساعه اجمع هاذا


رتبتهم ع حسب الرجال والاشياء اللي خذيناها طبعا مو امله لك تعطيك خلفيه حلوه


تجميع من العروض حقت البنات+ النت +الله اعلم




دعواتكمــ:love080:

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بنات د.يمنى ريتشارد ماذا نفعل به؟؟؟؟؟:biggrin:

ياربيه والله إني خايفه مره منه هو والدرااما:000:

الله يعيننا والله النقد صاير خبيصه مايندرى وشو:(177):

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ما طرت عليكم ذي الأنسانة


7


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http://a1.sphotos.ak.fbcdn.net/hphot..._6520393_n.jpg
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http://a2.sphotos.ak.fbcdn.net/photo...11_6132433.jpg


<- ترا انا اللي اخذت الصورة كنت معاهم بالكلاس :biggrin:


((الله يذكرها بالخير))

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stage direction


ماتكلمت عنه سسميره ابدا ابدا ابدا ابدا ابدا ابدا ابدا ابدا ابدا .. :(269):

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اي والله اللله يذكرها بالخير دكنورة منى حشيش


:love080::love080::love080::love080::love080::bawl ing::bawling::bawling::bawling:

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حلمي كبيرر من وين جبتي الصور التووووحفه :53::53::53:

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فيس بوك :biggrin:

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^ in her account in face book:biggrin:

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محد عنده اكسس للقروب طيب .!!!!

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8
انا خذت كم يوم على ماقبلتني في القروب

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د. منى حشيش :bawling:


اشتقتلها وبقوووووووووه :Cry111:



الله يوفقها ويسعدها ويسهل دربها وين ما راحت يارب


شكسبير كان له طعم خاص معها



كل الشخصيات بالمسرحيه imbalance mently عندها :lllolll:

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والله ,,,,,!!!!

انا دايم ابحث عنها بللفيس ماالقاها
وش اسمها طيب ابي اضيفها :(204):

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اخخخخخ يوم شفت الصور خنقتني العبرررره :Cry111:

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والله حتا انا ياقلبي حاولت مو راضي يقبلني مدري شالسالفه او انا ماعرفتله :g2::biggrin:


:064: بس اذكر مره رحتلها قلتلها ضيفيني كانت فاتحه اللاب وحاولت عيا معها بعدين اخر شي قالت الضاهر في مشكله بالنت :hhheeeart4:


الى اليوم وانا اتسائل وش دخلل النت:(269)::hahahahahah:

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آهم شيء حشيش كآتبت لهم ع السبوره ... مين بيخبط عالباب ؟؟؟ >> مو هذا العربي اللي يدرسونه ترى :hahahahahah::hahahahahah:
ياحليلها لها وحششه والله ......


دريدي أنا كمآن رحت ومالقيتها بالكليه فلو تنزلينها بفجر ولا تهونين تسوين خير فيناآ :000:... الله يوفقك ياآرب ... :love080:


لوست ممكن أرسلك أيميلي كمآن وترسلين لي تآريخ اللغه .. لأني مصوره من بنت وخطها ماينقرآ أبد أبد ... :000: >>>>> مشتغله أنا طراره من اليوم :tongue:

بالتوفيق لنا جميعا ً :106:

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محد عنده اكسس للقروب طيب .!!!!

أنا ضايفتني معها بالقروب ..إذا تبن أكاونتي ترسلين لها منه ماعندي مشكله ...:biggrin:

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بنآت شنو الاشيآء النآقصصة بمحاضرات تفريغ د نجلا او معلومات ناقصة :(269):
اللي لازم نسوي لها بحث :(107)::icon9::106:!!

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هااااي ياحبيبتي دريدي دريمز نزلتيها في المكتبه ياليت تردين عشان ابي اروح اخذها


حطيتيها في مكتبه فجر ولالا

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Leavis 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.
On poetry

كيف نقده بالشعر

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.
The 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.
On the novel

كيف كان مع النوفل

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 was a teacher at Cambridge University. His employment as an educator had a profound affect on his criticism, (as did his geographical location). Many of the other New Critics lived in the United States. For Leavis, living across the ocean in England gave him a different, if related, perspective. F. R. Leavis was not entirely a New Critic, but his close analysis of the poem itself (“the words on the page”) and his belief that a poem should be self-sustaining (its reason for being should exist only inside its text and meaning), make him important to New Criticism. Leavis’s major influences include T.S. Eliot and Matthew Arnold and his major works include The Common Pursuit, The Great Tradition, Revaluation, and Education and the University.
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

كيف كان يشوف الادب

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.

Some of the accusations of Leavis:
One of the misrepresentation concerned Leavis’s views on university education.
He was accused of being both elitist and anti-democratic, when he protested against “the transition from quality to quantity in education,” against the universities “turning out hordes of ‘substandard’ would-be researchers,” thereby debasing ”research,” and against the accelerating drift of Americanization leading us headlong towards the Comprehensive University; and when he suggested that “neither democratic zeal nor egalitarian jealousies should be permitted to dismiss or discredit the fact that only a limited portion of any young adults is capable of profiting by, or enjoying, university education. The proper standard can be maintained only if the students the university is required to deal with are-for the most part, at any rate of university quality. If standards are not maintained somewhere the whole community is let down".another misrepresentation Leavis suffered from all his life concerned his English style. He was frequently accused of “clumsiness of expression,” “nervous mannerisms of style,” “ramshackle use of language.” One critic compared his English to “a third former’s translation of Cicero”; another described it as “cokelike in its roughness and chill”; and still another blamed him for his “imprecise prose and bad temper.”
. When Leavis’s book on Lawrence was being published in America the publisher’s “stylist” wrote to Leavis suggesting that he clarify a particular sentence in the book. Leavis’s reaction was: “I am not going to attempt that kind of paraphrase for the American or any other reader. It’s like being asked to have a different kind of mind and to have written a different kind of book.
There I stand and, as Luther said, ‘I can no other.’ I tried the sentence on Q.D. Leavis (my severest critic), and she says it would give no trouble to anyone who can read the book.” Clarity of expression, A.E. Housman said, is not a virtue but a duty. But so is fidelity to one’s own thought in all its subtlety and complexity.F.R.Leavis did not have a theoretical approach to criticism. Or rather, he did not overtly have one. Roland Barthes would have criticized him for not declaring his ideology: his value system. Therefore, it is hard to determine whether he had any consistency in his criticisms. Leavis objected to ideologies, such as Marxism, because they dealt with abstractions and a whole world outside the text, whereas his concern began and ended with the printed word. As Eagleton writes ,the text almost became ‘reified’ as Leavis limited his focus to it. If a text can be studied in isolation, then the question raised is why Leavis needs to write about Wordsworth, the poet, instead of just his work. By writing about Wordsworth, Leavis has gone beyond the text.
There is more than just a hint that Leavis knows something of Wordsworth’s life: ”his generously active sympathies had involved him in emotional disasters that threatened his hold on life.”
However, Leavis has not begun with a close reading of any literary text, as he wanted to do. Rather, it would appear that this is an examination of Wordsworth, itself and himself; for Wordsworth can mean both text and author, just as Shakespeare can. To do this it means involves using psychology. It would appear that Leavis is writing with an ideology in mind, and that he is guilty of the same crime that he has accused others of. For instance, Leavis uses abstractions. “Impersonality” is certainly treated as one by Vincent Buckley and, according to him, it is not the only word that Leavis employs in a specialized way.
Another accusation of Leavis is that even though he had written with critical acumen and insight on Mark Twain and T.S. Eliot, the Ezra Pound of Hugh Selwyn Mauberley, as well as about “The Americanness of American Literature,” where he referred to the “American centra1 tradition ” “carrying with it the promise of a robust continuing life” and suggested that “in Jane Austen, Dickens, Hawthorne, Melville, George Eliot, Henry James, Conrad, and D.H. Lawrence we have the successors of Shakespeare,” he was accused of being anti-American. And this because, among other things, he contemplated, as he calls it, “the nightmare of the intensification of what Matthew Arnold feared,” namely, the danger of England becoming a greater Holland or a little America; interpreted the general acceptance, in England, of Hemingway as a great writer, as a sign of the collapse of standards; and showed his astonishment at American academics writing on novels from Jane Austen to D.H. Lawrence with “utter insensitiveness to those refinements of perception, distinction, valuation and interest which imply the collaboratively created human reality they depend on, and, voided of which the novelist’s theme becomes a mere opportunity for such gratuitousness of ‘interpretation’ as the critic’s need to be original may prompt him (or her) to contrive.”
Another thing which is Leavis’s commitment to creativity which needs to be stressed because his detractors have chosen to ignore it, dismissing him as a ‘righteous moralist’ instead of examining what he actually says. The critic’s task, wrote Leavis was ‘not to subscribe to or apply some specific ethical theory or scheme’ to a work, but to keep alive a sense of the literary heritage, that world of ‘human values and significances which is created and maintained by continuous collaborative human activity’ (1972: 174). Leavis is very careful not to define these ‘human values and significances’ because that would be to limit them, to enclose them within the bounds of an enlightenment view of language as purely a means of expression.
i.a.reachards:

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بنات بلنسبه لدكتوره نجلا ابد ابد لاتسوون كووبي بيست انتبهووو هي تهتم في طريقتك في حل الاساله من وجهة نظر ناقده يعني لو تحطين رايك مع راي الناقد بتعطيك درجاات كثيرره عليه لانها اكثر من مره قالت انا ما اختبر شي انتي حفظتيه يعني ما تختبر معلومات الرردي هي عارفتها الزبددده تفلسفووو فلسفه مو صاحيه وانتي تحلين تخيلي نفسك ناقد وقاعد ينقد النقاد الثانين :biggrin:



يلا بلتووفيق نصيحه ع الماشي :biggrin:

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بنات :Cry111: اسفه للحين مانزلتها وربي غصبن غصبن غصبن عني لكن بحاول اتخطى ظرفي واحطها والله حاسه فيكم:love080::bawling:

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كل ماخلصتو من كاتب حطوا النقاط اللي ركزتوا عليها عشان تعم الفائده و زي ماتحبون مصلحتكم لانفسكم حبوها لغيركم "لا يغير الله مابقوم حتى يغيروا ما بأنفسهم":cool:

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مشكوووره :love080::love080::love080:
والله راح ادعيلك دعوه بظهر الغيب :")
--

بنات سؤال مهم ويارب تردون :106:
أنا عندي نقد ميدرتم معتذرات + فاينال
أول شي: د. نجلا تغير الأسئله للمعتذرات والا تجيب نفسها؟
ثاني شي: بلييز قولو لي ايش جابت لكم بالميد ترم ( كل الشعب) بلييز ! :sdfgdsf:

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:mad:يالله باقي ما بلشت اذاكر اوووووووووووووووووووف من كثر ما انا خايفه نفسي انقفلت ع المذاكره وربي متوتره .
انتو ذاكرتو بليز قولو لي او شجعوني ع الاقل "احس زي الاطفال ما يذاكر الا اذا قالو له خلص ونخليك تلعب بلاي ستايشن!!" :hahahahahah:...............من جد الماتيريال تسد النفس :sdfgdsf::Cry111:

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-

سؤآل :(269):

new criticism و Chicago group معنآ صصح .؟؟
<~ ترآي ذآكرتهم لا تقولون مو معانا :000:

و خخلصت ريتشآرد ( التفريغ طبعا بس ) :(269):

شسمه بنزل التفريغ و مأشره الاشيآء المهمه اما الباااقي فهو هههههذررة نقققلآء :biggrin: بس مآيمنع انك تقرأينهآ ’

طبعآ بديت من بعد الميد محآضره 8 - 9 - 10 - و 11 لسسى مآبديت فيهآ لان مخخخي يشتكي :000:

ولححد يعتمد على ذآ بس لان آنآ أشرت على المهم واللي ممكن ينكتب بالاختبآر :cool: يعني اذا تبين تفهمين أكككثر أقريهآ كامله واذا تبين ترآجعين أقرأي اللي مأشر عليه بس وبتتذكرين ككككل شي ,

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بنات نصيحتي لكم ذاكرو من الاخير
اللي اختبرناة بالميد خلوة بالاخير تذاكرونها:(269):
ياللة توني ببدا اللة يعينااااااااااااااااااااااااااا:mh12::33_asmilies-com:واللة خاااااااااااااااااااااايفة

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من نآحية تغير الاسئله أو لآ - مآدري مآقد جربت :biggrin:
آمآ أسئلة الميد ( جآبت السنس أوف ترآدشن ) هذا السؤال الاول أتذكره بإختبآري ,
آمآ بالنمآذج الثآنيه فجآبت بكل نموذج الفور كواليتي ( ديتآشمنت , ديس أنترستمنت , أنديبندنس و أنثوزيآزم ) .. فيه أسئله غيرهآ بس مآعرفهآ :tongue:

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على طاري الانثوزيازم........اشنكتب فيها ختى بالتلخيص ما عرفت ايش احط بالضبط:biggrin: تفاعلو بليز
:hahahahahah:

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سوال

الانترودكشن للفكتوريان ايج معنا اولالا؟؟ د/نجلاء

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فيه 11 ؟ طويله والا قصيره ؟

ممكن تنزلينها هنا :mh318:

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آمآ بالنمآذج الثآنيه فجآبت بكل نموذج الفور كواليتي ( ديتآشمنت , ديس أنترستمنت , أنديبندنس و أنثوزيآزم ) .. فيه أسئله غيرهآ بس مآعرفهآ

من اي كاتب هذيلا :sdfgdsf:

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تفزلي :106:
مو طويله 6 صفحات بس :biggrin:

هذي من الحبيّب آرنولد :(269):

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http://www.ckfu.org/vb/5283185-post6.html

:biggrin:

اول واحد .. ارنولد ..




الحين سؤال .. هذا نقد والا فلسسفه :(269):


:(177): :(177): :(177):

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:lllolll:

نفس المشاركات ردينا عليها :hahahahahah:


luv ya lost3
:love080:

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هاذي 11 :119:

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-

:biggrin::biggrin:

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ببدأ بـ 11 الاخ لييفييز بشووف وش سالفته وآرججع :71:

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رمزيتك جميله جدا :71:
معبره لابعد حد .. :wink:

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بطس اكمل قرآآه الخرابيط اللي مدري ليه ندرسها ..

:biggrin:

موفقين جميعا :love080:

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بنات نقد يمنى ....
بالنسبه إلى I.A.Richards :
الاشياء الي لقيتها .... اذا في شي ناقص بليييييز احد يخبرني ...:bawling:
اول شي : مقدمه عن الكاتب نفسه والايج ...
الشي الثاني : The four kinds of meaning وكل واحد وش معناه
الشي الثالث : meter & rhythm وعلاقتم بالـ tone
الشي الرابع : Value of Metaphors وعلاقتها بالـ Four kinds
الشي الخامس : نظرية Coleridge of willing suspension of disbelief وكيف ان ريتشارد يوافقه
الشي السادس : انواع الـ belief
1- Intellectual belief
2- Emotional belief
الشي السابع : معنى Sincerity
الشي الثامن : Ways to sufficient sincerity
1- Exercise of the thought
2- Intuition
الشي التاسع : Transitional State
وسلامتكم ... اتمنى افدتكم

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victorian age
اول محااضره مع د/ نجلاء معنااا والا لالالالالا؟

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طير حبيبتي ..

دايما المقدمه تكون فقط للشرح وعشان تعرفين عن العصر اللي بتدرسين عنه .. يعني مافيها شي يتذاكر ويكون خاص بالناقدين .. اللهم انها تعطيك فكره عامه عن العصر اللي عايشين فيه والاشيا اللي كانت فيه ..



بنات د.نجلا دايم تجي اسئلتها على الاشيا اللي بعد الميد وقليل ماتجي على اللي قبل .. ركزوا عليها اكثر .. عشان ماننقهر مثل الشعر ..

الله يستر لو تسوي العكس واتفششل :biggrin:

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اتوقع تغير .. اصلا في اختبار الميد لكل الشعب تقريبا غطت كل شي ..

اختباري :
تراديشن عند اليوت .. و الديستاشمنت عند ارنولد :love080:

لازم تكتبين ناقد تكلم عنهم سوا مدحهم او ذمهم .. عشان ماتطيرر عليك درجاتك زي ماصار معنا :(269):

موفقه يارب :106:

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يارب اختبارنا يجي سهل وواضح .. وتصصح لنا وهي مستانسه من شي موسع صدرها .. وتطلع فرحتها في اوراقنا وتنجحنا .. :biggrin:


^^ حسيته خرابيط ومو مرتب .. بس ان شا الله تفهمون اللي ابيه يوصصل :hahahahahah:


يللا من جد برجع للفسلفه :mh12:اقصد النقد :biggrin:

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مشكككوره نوونه وفالك النجااح والتوفيق...:106:

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وجججع يآليييفيز دوخختني :017:<~ مدري أسب المآده ولا أسبه هو :hahahahahah:
تقريبآ كككل ملزمة التفريغ خططتهآ :000: ككله مترآبط ببعض مدري كيف بيجي عليه سؤآل :(269):

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+1
me too :icon9:

اللي عندهآ ملازم العآم ,, بليز تنزلهآ هنـــآ ,, :icon9::106:

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كم انتي رائعه :love080: > شرايتس بس بالفصحى :biggrin:

الله يوفقك ويسهل عليك :106::love080::love080: ..

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بنات سؤال مهم ويارب تردون
أنا عندي نقد ميدرتم معتذرات + فاينال
أول شي: د. نجلا تغير الأسئله للمعتذرات والا تجيب نفسها؟
ثاني شي: بلييز قولو لي ايش جابت لكم بالميد ترم ( كل الشعب) بلييز !


هع..هع .. نفسي :biggrin: ..شوفي حبيتي آنا آتوقع أن نجلاء تخلي المعتذرآت يحللون من نفس ورقة الآختبار ..يعني مثلآ يكون فيه تو تشيوسز والبنات يحلون واحد ..آحنا نحل الأثنين ..:biggrin:>>>طيب طسي ذآكري يالفالحه :000:

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Roony bnt 7sony

وكم أنتي أروع بس ذآكري وآدعي لي :biggrin::biggrin:



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بعدين شفيكم :000: ممنهج العاام يخخختلف عن هالسنه ’ الكتآب نفسهم بس التكست تختلف

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المشاركة الأصلية كتبت بواسطة M.A.S http://www.ckfu.org/vb/ckfu/buttons/viewpost.gif

مشكوووره :love080::love080::love080:

والله راح ادعيلك دعوه بظهر الغيب :")


--

بنات سؤال مهم ويارب تردون :106:


أنا عندي نقد ميدرتم معتذرات + فاينال


أول شي: د. نجلا تغير الأسئله للمعتذرات والا تجيب نفسها؟


ثاني شي: بلييز قولو لي ايش جابت لكم بالميد ترم ( كل الشعب) بلييز !

الي سألت عن المعتذرات بالميد تيرم تبع نجججلاء

انا جربته عندها وتوهقت .. ان ششالله ماتتوهقين مثلي :biggrin:

اسمعي طال عمرك :mh318: ..

مو هي بتجيب لنا بالفاينل تشويسس .. اسئله قصيره وطويله ونختار منها !!؟

بتقولك حلي الي ماحليتهم بالفاينل

.. يعني نفس اختبار الفاينل تحلين الي ماخترتيه :mad:..

انتبهي يعني اطلعي من الفاينل وراجعي الي ماحليتهم :biggrin:
,

وتر سوت هالحركه بعد يوم كانت تدرسنا شعر بثاني :icon9:

الله يوفقك ي رب :love080:

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بنات تتوقعو د.نجلاء تجيب.مقارنه.بين.ارنولد،واليوت:(107):

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انا عن نفسي مانزلتها جاني ظرف و ما قدرت اوديها بس خلي اي احد من البنات ينزلها وعلى فكرة نرا فيه بنت نزلتها هنا :106:

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:mad:اكره النقد من يوم عمري 3 سنوات :hahahahahah: من جد تقهرني هذي الماده حتى تفلسف زي العالم مافيها افهمي اللي مكتوب و الا اقلبي وجهك وش ذا ...........الله لا يسامح اللي خلانا ندرسها الا العالم ماتت وحنا نبتلش وندرسهم....عجيبيبن والله !!!

:biggrin:<<يللا عن اذنكم بروح اذاكر اصلا الماده زي العسل اموت عليها <<تعزز لنفسها بس انتم سلكو :hahahahahah:

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يمقن :biggrin: , لانها ماجابتها في الشهري .. وكانت اكثر شي تقوله انها مو داخله معنا .. فيمقن انها تجيبها:wink:

:000:
لااااااااااااااااااااا .. افهميه زين مازين تكفين :Cry111:.. باقي مابعد وصلت له .. وشكلي بذاكره بكره ..
اذا اذن العشا ينتهي دوامي :hahahahahah:.. خلصت او لا .. :biggrin: << بايعتها

مالي دخل لازم تفهمينه.. وتشرحينه ببساطه :(269): .. هذا جزئك :biggrin:.. انا اخترت البدايه :tongue:

الله يووفقك وييسر لك .. :106:

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بنات لا تقعدون شايلين هم الملزمه حقت دريدي.. كذا ماراح تركزون ابد .. !!!

ذاكرو الجزئيه اللي ماذاكرتوها ابد ..
وبعدين اطبعوا اوراق دريدي. ترا ..صورتها رحلة عمر ونزلتها هون ..

واذا الطابعه خربانه او مافيه طابعه .. عادي ذاكريها من اللاب او المكتبي او الجوال او الاي باد ((ميته ابيه ..الله يلعن المكافات مابعد جت :017:))او اللي هو .. :biggrin:

واذا استعصي الامر مره وحده .. الله يفرج عليكم .. ارجعو ذاكرو التفريغ .. :biggrin:
وسلامتكم .. :106:

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من تقدر تكتب النقاط اللي ناقشتها دريدي بالملزمتين

عشان نعرف وش اللي ناقصنا ..

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هذا فهمي لسالفة السينسرتي والإنسينسيرتي والاموشنال وانتلكتشوال بيليفس اقرأوه وصححوني اذا غلط واذا صح قولولي عشان احس اني شاطره :biggrin:

If we misunderstand something it is because we are being insincere to ourselves, we base our understanding on an assumption so we cannot give a justification of why we believe or disbelieve something.
Assumption is based on two beliefs ;The intellectual belief and the emotional belief.
If a person has certain ideas and he finds an idea in a poem that appeals to him, he applies all his ideas to that work. And if the poem appeals to his emotion, then he assumes different meanings and starts to apply his own meaning to the poem.
We should blend these two beliefs; the intellectual and emotional to understand the work correctly otherwise we will be just assuming things that we cannot justify and therefore we would be insincere to ourselves.

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هذا مو كأنه ريتشاردز ..؟؟؟؟؟؟

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يسعد مسآكم وموفقين في النقد يارب
قريت اوراق عن ليفز وقلت انسخه لكم يمكن تستفيدون لاني تقريبا فهمت ليفز


F.R. Leavis

Frank Raymond Leavis died in 1978 which means after the middle of the 20th century. He had a very prominent influence upon criticism though there were especially in his time lots of opponents and criticism towards his essays and articles he was writing. He was a lecturer and a professor in Cambridge university. Because he was a teacher, this actually affected his own way of writing and from his books Valuation in Criticism and Other Essays, Great Tradition, New Bearings in English Poetry and Common Pursuit. All of his works has this educational flavor, a pursuit or effort.

He was also an editor for other literary journals but his ideas and thoughts have extended to be an influence on literary criticism until the present time, because his main critical ideas were based on humanitarian bases. He believed in the importance of relating literature to be a kind of a model, a kind of writings that would elevate and educate people. So, he had this humanistic approach in his criticism.

He mainly was influenced by Mathew Arnold and T.S Eliot. As literature was a substitute of religion in a way that it elevates the life of people, Mathew Arnold was basically interested in tradition, in the past, in old writings and poetry that belongs to different ages. Mainly he was interested in literature as a source of light for people to make a kind of spiritual relief in an age that was full of changes.

Being influenced by Eliot, means that he is interested in tradition and objectivity towards regarding tradition and its position in the life of people. It is always an attempt to cultivate people. What happened was that in the time of F.R. Leavis that extended throughout the first half of 20th century which have witnessed industrial development. In the 18th and 19th century there was a kind of scientific development which actually in the 20th century has developed to a kind of industrial development. This industrial development has imposed a certain style of life, ideas and concepts towards the way we live, communicate with each other and the way we progress in life. So when people are dominated with this industrial development, values change and there is material benefit becomes the most important, people are evaluated according to their productivity or the value of their work. The value is connected to material elements which mean the value one gets as a person or object depends on his productivity. People started to gain materialistic values and people have been evaluated the same way as objects like material things not as human beings.

The style of life itself have changed according to the building of factories and having workers. The way of work became different in factories. The owner needs to control that factory in order to get more money which means hard work and time control as loss of time means loss of money. There should be control of time, people and machines. Life is controlled and there is scientific management. That was the essence of changes in the early part of 20th century which led of course that certain writers and thinkers who would try to give more details and principals so that people would get more benefit of their industry and the new style of life that have started in the 20th century.

At the same time, Leavis and others have felt this kind of change in their life that have witnessed a separation from old values of the life of people. That thing that happened with news papers, magazines and press was a kind of separation. This kind of separation made people classified into separated groups that each group would target a certain type of writing. Before that time, writings were complete kinds of writing which all people would read there was no specialties which would isolate people into different groups and interests. Then the isolation result in disconnection with people among the same society and community.

Now people neglect tradition and the focus now is only to gin more profit, develop the style of living in this modern life which for Leavis ,who was very sensitive and conscious, knew that this style of like would make a kind of separation and lead to serious problems in society. The key for this problem was instead of depending on the modern or contemporary civilization, we have to have a kind of evaluative reading of works that we are interested in. it means to see the value of the things we need. The value he means is the cultural and spiritual value that we really need to search for in the woks we are reading. According to this, we can give value to the works they are reading whether they are good or not.

The method that Leavis has adopted in his criticism had been influenced by this scientific management. The same thing with control that the manager does in factory, Leavis has adopted the same technique in literature that it should be put under control in order to have a value in our life. ‘Enactment’ is a very crucial word that Leavis used. This words means how a work of art would act or produce its morals. There is am effort here as it shows how the text would act its morality towards its readers.
What he is targeting is a community of readers who are educated people, interested in literature especially the English one, critics and students of literature. Only those people would be able to make an evaluative reading to literature and to see how works of art enact (to see the value of the work).

The most important thing is although he is interested in the morality and value of the work of art, he is an objective writer. That means that when he is discussing the morality of the work, he is separating it from the writer. So he believes that what we search in a work of art should not extent to the life of the writer. The moral values that we search in a work of art are separated from the personal life of the writer and the history of the work itself. He is an objective writer, belongs to modern criticism but in the same time he focuses on that a work of art should have moral ideas and not searching only for the form of the work. The content is very important but it should not meet with the real life of the writer. The content should only meet with the form of the work. His basic idea is to have moral value to make the reader feel self recognition.

Leavis did something better that what Arnold had done and that was that he made a kind of thorough survey of literature throughout history which is a study of writers and their works to search for evaluative standards of their work to show the enactment of their works and how these works hold within itself moralities that is working in separation of the writer. The writers he thinks they deserve to belong to the literary tradition. He believes that Shakespeare was one of the great writers who were able to produce a literature that can be described as composing in itself a kind of moral value. He believes that the people, in his time, helped Shakespeare to write such kind of works because of the language they speak, the consciousness they have led Shakespeare to make a work of enactment.

Leavis praises Metaphysical writers and also Keats who was one of great writers of the romantic period. For him Keats, to be compared with Shelly, is much greater writer. He did not like the works of Shelly. Keats was writing about beauty. The difference between them is that Shelly is too personal in his work which means that the morality that he discusses in his work is personal and there is no balance between the morality or the ideas and the emotions in his work. There are exaggerated emotions in his work. However, Keats was much better, because he was able to produce a kind of morality and emotions that is actually separated from him as a person. While Shelly, was always attaching emotions and moralities of himself to his work. He liked novelists like Jane Austen, George Eliot, Henry James, but not Dickens, Bronte’s not even James Joyce, as he felt that their works were kind of entertainment and not true art. D.H. Lawrence was a novelist and a poet of the 20th century and he believes that the morality of the works of Lawrence is the one that actually represents life but not Lawrence himself though Lawrence was expressing real life.

These are Leavis ideas. They are about Enactment, evaluative method or technique and the impersonality. His impersonality that was in one way or the other is similar to what T.S Eliot was discussing in “Tradition and The Individual Talent” that only writers with personality would be very flexible to change themselves to different shapes will be able to produce works that are detached from themselves.

Enactment is the notion that works of art act their moral judgments. Works of art enact their moral evaluations not by deploying works to enforce a didactic intention but by a specifically poetic use of language which leavis characterizes as the poetic creator. Leavis is insisting on a conception of literature which has relevance and a value for other things beside literature. The word ‘enactment’ implies that good poetry embodies, enacts evaluation of a reality at what is inner (spiritual) and outer (social or sensuous). To enact a valuation is to realize whatever is evaluated. It is to bring us into an immediate and living relation with reality.

The purpose of evaluating literature is to keep alive the tradition of the human world not by admiring its achievements but by bringing its values, purpose and significance to bear on the present.

بالتوفيق للجميع :106:

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لاتخوفيني ليفز احس مافي شي

اللي ذاكرته:
كيف انقسم نقده 4 اقسام
كيف نقده في الشعر
كيف نقده في النوفل
ماهي وجهت نظره بالادب والحياه
عطانا 3 قصائد ل كيت وكيف جاب كتاب ثانين انتقدو هذي الاعمال عشان يبين وجهة نظره هو

وبس


اذا انا غلطانه ولا ناقصني شي علموني<---------:bawling:

طيب بنات شنو تتوقعون اسئلة الاسي؟

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yes it is Richard's theory

صح والا لا :000:

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نونه اشوف عندكم تقاسيم و ماتقاسيم:(107): علمونا معاكم عن ليفز ترا باقي ماتعرفت على الرجل الطيب "الله لا يبرك فقبره":017:...............مغرزه في اليوت باقي وباقي ريتشاردز وارنولد خلصته وليفز بعد ماتعرفت عليه هلموا الينا وعلمونا مما علمكم الله:017::017::017::017:

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ايه انا اسأل اذا ريتشارد لانك كتبتي انه ليفز وشككت بس
ما اقدر افيدك اذا صح او لا لاني ما بعد ذاكرت ريتشاردز

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لا تخافين .. ليفز اسهل واحد من بينهم

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طب ممكن لو سمحتي تقولين وش المهم فيه؟:bawling:

يعني اكتبي لنا النقاط الرئيسيه والمهمه:icon9:

وقسم اني ضايعه مافهمت شي ابد:(177):

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

:sdfgdsf::sdfgdsf::sdfgdsf:

بنااااات سؤالين عالسريع واللي بتجاوبني لها دعوه عالسريع السريع :biggrin:
الحين اليوت ينتمي لاي مدرسه ؟؟؟ الهيستوريكال كريتيسيزم ؟؟ :(107):

والسؤال الثاني ... شسالفة ال dynamic of nature الي عند اليوت ؟؟ :g2:

تقصتني عليها في الميد لاني ما كتبتها :icon9: الله يوفق الي تشرحها لي :119:

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هههههههههه ماكتبت انه بـ ليفيس ( leavis ) قصدي انتلكتشوال واموشنال بيليفس ( beliefs )

:cheese:

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بنات د.يمنى وش بتذاكرون؟:icon9:

بس اللي تنقلنا إياه نفس الشهري

وريتشارد ماشرحته ولا شي وش نسوي:017::017:

ياربي بنات لو وحده ترتب افكار كل كاتب والثيوري حقته بدعي لها من كل قلبي خصوصا ريتشارد :bawling::bawling::bawling:الله يجزاكم الجنه

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بنات
سؤال مستعجل
اللي تعرف تعلمني
و اللي بتجاوبني راح تتوفق>> من فرج عن مؤمن كربه

مكتبة العبيكان ألاقي فيها مسرحية waiting for godot؟؟؟؟

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

انا رتبت افكار ريتشارد موجود بكم صفحه قبل ...
وليفز ريحة المطر جزاها الله ألف خير جابت عليه معلومات نفس الي شرحتها يمنى بالكلاس :(204):

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ليفز ركز ع 3 اشياء

enactment، impersonality , evaluative method اللي

ارجعي فوق شوي بتلقين رد طويل عن ليفز
وبتلقين تعاريف الثلاثه اشياء

وبالتوفيق