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آآآآآوبس .. آآآسفه جدا :53:

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دقي عليهم ويعلمونك

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الاسئلة موحده ؟:mh12:

اشياءكم غيييير عن دكتوره يمنى !!!!! :mh12:

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ايش سالفة ال dissusiton of sensbilty + unification of sensblity ?:017::017::017::017:

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بنات الله يخليكم وش التوبيكات حقت الدراما خايفة انسا شي منها

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:(269):

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بنات ردوا بليز وش الصفحات اي بتجي منها الكوتيشنات في الدراما وهل الصفحات الي محدده علا المسرحيه الاولي من ملزمه التصوير والامن الكتاب الاصل

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بقووووووووووووووووووووووووه غيير!! :mh12:
المفروض مايكون الأختبار مووحد :(177):
بنختلع كذا من أسئلة نجلاء اسم الله علينا :cheese:

قصدك تبيه التعريف لو منتي فاهمتها ؟؟:(269):

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بنآآآت :icon9:

ريتشارد في شيئين مالقيت عنهم معلومات :mad:
Intellectual belief
sincerity

آحد يفيدني حتى لو من ملازم يمنى :biggrin:

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sincerity is the obedience to that tendency which seeks a more perfect order
within the mind when confusion reigns and we are unable to decide what we think or feel.
It means we must read the work again and again until we achieve the meaning.

sincerity is being true to oneself..
The sincere reader has perfect and genuine mind.To be genuine mind, one should be free from impurities..

.......................................
هذا اللي فهمته :wink:

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:106:

( الوتر جنّة القلبْ )

فلتنعمْ قلوبكم بتلَك الجنّة :"")



تصبحون على خيير .. ونقـــد:biggrin:

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111) Dynamic Nature of Tradition .:

According to Eliot, tradition does not mean the mere copy of the writing of the generations of authors in the past. Tradition cannot be inherited but obtained by hard work. It can be obtained by those who have the historical sense. The person who has the historical sense feels that the whole literature of Europe from the ancient time of Rame to his own century forms one continuous literary tradition. He is conscious of his relation with these writers of the past. Eliot's conception of Tradition is dynamic and not static . This means that it is never fix but changes constantly. The writer (or poet) in the present must seek guidance from the past. The past guides the present i.e. the new work and the present alters and modifies the past i.e. tradition. For example, great poets like Virgil, Dante and Shakespeare have added something to the literary tradition. The addition guided future generation of poets in writing poetry.




Function of Tradition : Importance of Both Tradition and Individual Talent According to Eliot, tradition has typical function. The works of the past are judged by the new works of art. The purpose is not seen whether the new works are better or worse than the works of the past. The comparison is reciprocal. The past (tradition) helps to understand the present and the present (individual talent) throws light on the past. Thus, the comparison reveals the importance of both, tradition and the individual talent. Both are 'valid' and 'valuable' in their own ways. However, it is their combination ('blend') which can crate a good work of art. In fact, 'tradition' and the 'individual talent' go or should go hand in hand.


Sense of the Tradition and its Importance :

Eliot also speaks about the sense of tradition. It does not mean that the poet in the present should try to know the past as a whole. Actually, only the significant from it should be acquired. The poet should not know only the authors whom he admires. On the contrary, he should know all small and great poets of all the Ages. Similarly, in order to know the tradition, the poet must judge critically what the main trends are and what are not.
Conclusion : Thus, Eliot has given his views on the nature of the tradition of teh past authors and its relationship with an individual poet. Eliot concluded that it is the sense of tradition which is more important than the personality of an individual artist.


كلامهم مرا سهل ومفهوووم ..
بالميد تيرم كنت معتمدة لأليوت اغلب شي من عرض البوربوينت اللي ارفقته وهو نفسه اللي نسخت لك منه
مقسسسسم البوربوينت ع تقسيم التكست ويفتح النفسسسس

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[QUOTE=honey eyes;5404730]

بقووووووووووووووووووووووووه غيير!! :mh12:
المفروض مايكون الأختبار مووحد :(177):
بنختلع كذا من أسئلة نجلاء اسم الله علينا :cheese:

عادي حتى لو كان موحد ..
اللغويات تقريبا منهج الدكتوره أميمه شكل ومنهج الدكتوره منيره شكل ثاني !
بس انه في الامتحان كل سؤال 2 أوبشن واحد الدكتوره أميمه وواحد الدكتوره منيره
فإحتمال نفس الشي يكون السبت ..

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إذا قصدك دراما سنه رابع مافيه شي محدد .. الأرجح إنه من الكوتيشنات اللي شرحتها الدكتوره مها في محاضراتها
والدكتوره سميره قرت معنا كم كوتشين تحسهم مهمين بس يعني ما أظنهم مهمين للإختبار بما انها ماراح تكتب الأسئله
إعتمدي على الله ثم على الكوتيشنات اللي شرحتهم الدكتوره مها بس
لا تحوسين برا هذا الشي ولا بتكتشفين ان وقتك يضيع وانتي محتاجه كل دقيقه ألحين .

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بدل هالحوسه ليه ما تطبعينها ؟ مره قصيره تراها تلاقينها كتاب الكتروني ان كان ودك تقرينها من اللاب توب او الآي باد ..
واذا تطبعينها تفضلي :)
http://samuel-beckett.net/Waiting_for_Godot_Part1.html
http://samuel-beckett.net/Waiting_for_Godot_Part2.html

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أول شي والأهم إنك تخلصين المنهج اللي أخذناه معها بس ..وإذا راجعتيه وكان معك وقت زياده ما يمنع تقرين الشرح اللي نزلوه البنات حق الدكتوره يمنى العام على أساس تقرين وش أهم شي عندها بالنسبه للتكست لكل ناقد
لأن لو بديتي من ألحين تقرين اشيا وتدورين تضيعين نفسك،
صدقيني ممكن حتى ما تسوين مثل اللي ذاكرت المنهج وبس
والله يوفقك :)

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صباح الخير بنات كيفكم مع النقد :(269):

يارب يجي اختبارنا اسهل من شربة الماي ونطلع ووجيهنا كذا :biggrin::biggrin::biggrin::(204):


بس بسالكم بنات

انا مع د.نجلاء

والملزمة اللي نزلتها الاخت دريدي فيه اشياء باليوت كثيرة ما اذكر ان درسناها مع نجلاء

اللي مطبوعه بالكمبيوتر

ف ما ادري وش موقعها من الاعراب لانها كثيرة والمنهج ما شاء الله ما يحتاج زيادة معلومات :000:


؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟

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بنات احد عنده معلومات عن

intellectual and emotional belief

واذا في احد لقى accusation عن ريتشارد


ياااااريت يفيدنا

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اول سبعه اشياء شرحتها معنا د.نجلا .. لقينا شي مشترك :biggrin:... ومدري ليه عندي احساس ان الفور ميننق بيجي .. :biggrin:
ابد سلامتك لا تقاسيم ولا هم يحزنون .. كل السالفه اننا نذاكر كل المنهج .. وكل وحده مننا تركز على ناقد ولمن يجي السبت .. نراجع وكل وحده تتكلم عن الناقد اللي ركزت عليه :love080:
وعلى فكره .. باقي ماوصلت له هالليفز .. :017:

كنت متحمسه بجاوبك :biggrin:.. بس لقيتهم جاوبو :love080:

نفس الشي كنت بقوله لك .. بتلاقينها في النت .. وقصيره مرررره :biggrin:
الكوتيشنات اللي تكلمت عنهم سميره ي المسرحيه الثانيه مو ع اساس انهم مهمين :(269): لكن على اساس انهم يوضحون سير المسرحيه .. يعني بدل ماتقرا كل المسرحيه قرت زبدتها :biggrin:

يارب من بؤك لباب السسسسسسسسما ..

الله يسلمك الزيادات هذي عشان تفهمين زود .. وتدعمين اجابتك باشياء خارجيه مثل ما تبي د. نجلا .. :biggrin:



وبس سلامتكم ..
:wink:

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صباح الخير
ادا ممكن تفريغ محاضرة ريتشاردز لنجلا او يمنى
بس تكون شاملة اول سبع نقاط دكرتهم Lunatic
لان ما عندي ماتيريال اداكر منه
بلييز

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مو قآدره آستوعبه أحسسه صععععب :000::000:

خخخخ آمززح فآهمته وبشرححه مآتخفييش بس رآفع ضغطي :biggrin:

لسسى مآبديت بالحلوين آرنولد و إليوت :(269): برججع أذآكر ريتشآرد و لييفيز :tongue:

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no response !

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من جد

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شوفي هذا الشي

(لو كنتي مخلصة وعندك وقت ابحثي بالعميق )

عن ريتشارد والنقاد اللي عارضوا الأبروتش حقه

Later critics who refined their formalist approach to New Criticism by actively rejecting his psychological emphasis included, besides Brooks and Tate, John Crowe Ransom, W.K. Wimsatt, R.P. Blackmur, and Murray Krieger. R.S. Crane of the Chicago school was also both indebted to Richards' theory and critical of its psychological assumptions. They all admitted the value of his seminal ideas but sought to salvage what they considered his most useful assumptions from the theoretical excesses they felt he brought to bear in his criticism. Like his student Empson, Richards proved a difficult model for the New Critics, but his model of close reading provided the basis for their interpretive methodology.

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لوست حبيبتي

في الأيميل المشترك في عرض بعنوان

F.R.Leavis‏

فيه الأكيوزيشنز

سوري ماقدرت ارفقة نتي بطييييييءءءءءءء

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الشيء الثالث والرابع شرحتهم نجلاء ...؟

واذا شرحتهم ممقن آحد يفيدنآ :cheese:

آنا آحس بيجي الريدر رسبونس والكلتشورال ابرووش :wink:

وسؤال الاسي احسه بيجي يا ارنولد او اليوت :biggrin:

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يب يب شفته ’ ثآإنكسسس :106::love080:

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هذآ لقيته عندي :biggrin:
أتوقع انو شرح Value of Metaphors وعلاقتها بالـ Four kinds

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كلتشر ابروش في احد يفيدنا عنه لانه مالقيت كلام كثير في النت :000::Cry111:

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بنات نقد يمنى
قصايد كيتس الي نقدهم ليفز نذاكرهم ؟؟؟ هي ماجابت طاريهم ابد ونجلا العكس :mh12:
بلييييز :sdfgdsf:

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بنات الله يعافيكم وش نقول عن enthusiasm for reason

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هو الشي جا بارنولد اتوقع
وهو يقول ان لازم الواحد يكون عنده حماس يدور ع كل الافكار بالعالم اللي مو ماديه

>>اتوقع:106:

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:mh12: خلصتو؟؟
اللي ذاكرت ريتشاردز تحط النقاط الرئيسيه ابغا اركز بليييييييييييييييييييييييييييييييييييييييييييييييز :017:

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احس بيجي ايساي مقارنه بين اليوت وارنولد تنفضينهم نفض وتجيبين مدارسهم وكتبهم ..احس مدري:wink:


والباقي احس يصلحون يكونون اسئله قصيره لان مايه كلام واجد عنهم



:smile:
هاذي توقعات فقطــ:love080:

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مياسه

في شي ناقص من البدايه تكلم عن reader response=qualified reader

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اتوقع مافيه الا ذويلك الاثنين اللي قالو في بدايه كلامهم الاتهام اللي عن النيو كرتيكس.. وبعدين بنهايه الكلام دافعو عنه .. برروك وهوكز ..

يعني الاتهامات مو موجهه لريتشاردز بشكل خاص .. << اي ثنك يعني :biggrin:

انتي ام الاحساس .. تكفين اذا حسيتي حسي بشي سهل :biggrin:

يب يب الايساي نفس احساسي .. :)


فالك ماقبلناه :(177):
لااااااااااااااااااااااا تكفين لا تتوقعين اشيا مخيفه كذا ..!!!:000:
توقعوا اشيا حليوه :(269):



بنات يمكن تقول ان كلمه ميديتيشن .. تكلمو عنها الاثنين ارنولد وريتشاردز.. وضحي الفرق بينهم .. :(269): << ماتعرف الجواب

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مابعد رجعت لهم :24_asmilies-com:.. توني ببدا في ليفز ..

<< بايعه الدنيا :biggrin:


الله يوفق الجميع

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:cool:بنات ااااااااااااااااااااه منكم ليش ماتردون علي حدي متوتره :017: حطو اوت لاين ليرتشاردز يلعن شكله:mad:

+هل هو كان مايحب الكلوز ريدينق؟؟ انلحس مخي طيب كيف النيو كريتيسزم يحبونها وهولا وهو اصلا منها؟؟ احسه غبي اذا كذا:biggrin:
+اش هي الاشياء المتشابهه بينه هو واليوت وبينه هو و ارنولد ابغا رد شافي كافي بليييييييز وادعيلكم دعوة قد الدنيا

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لوست شكرا ع ردك الله يوفقنا جميعا:106:

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^



:71:













مرّه قريت لـ الحلوه أعلاه تقول :

القلق مثل الكرسي الهزاز .. يحركك وانت بمكانك ماتتقدم ابد ! :wink:

عاد هالكلمه ستيك بعقلي من قريتها :love080:

يعني آتربعوا على الارض اصرف لكم من الكرسي ذا :tongue:



.



عندنآ كذا سورس .. وآكيد كل وحده قرت اللي يعجبها

أهم شي سوو أوت لآين شآمل لكل كآتب .. وللنقاط اللي تحسونها مهمه بالتفريغ

لحد يقرا آوت لـآين آحد عشان لا يعتفس ويتوتر آكثر

كل بنت بأسلوها باوت لاينها طبيعي بيختلف عن الثانيه .. :(269):

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:017::017::017::017::017::017:<<قال ايش قال كرسي هزاز الا هندول وانتي الصادقه:mad:

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:(269):

ريــلآلآلآكسس ريلآلآكسس :biggrin:
د.نقققلآء حليوووه وآسئلتهآ مو صعبه بس يبيلهآ تركيييز و تطلعين كل اللي قريتيه بترتيب بس :(204):


جموووله :biggrin: كرسي القلق ذآ الحمممدلله ودعته السنه ذي , :71:

الله يوفقنآ و يسسهل علينآ يآرب :106::love080:

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-

دريدي :hahahahahah::hahahahahah: توووووحفففه المققطع

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هههههههههههههههه


اممما الرقصصصص والله توني مسويته بالظهر


مابديت برتشارد بعد احسه معقد ماني قادره ابدا فيه الله ياخذه:mad:

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ههههههههههههههههههههه وربي شكلي بسويها بكرا وانا طالعه من القاعه ههههههههههههههه عاد حلات الموقف لو تقابلني د/نجلا وانا طالعه ادخل فوجها وارقص نفس رقصت ذا الولد بما اني حافظتها واقعد اقول طرررارم طررررام :hahahahahah:<<مسويه ايقاع :hahahahahah:

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وحده من البنات حطت هذا عن ريتشارد

.A. Richards follows the organized and formalistic approach .
- Also he follows the psychological approach .
- He is concerned with the reader response , ( qualified reader ) –> Critics .
- Richards' impact on the field of literary criticism was immense. Adams calls it as influential as that of T.S. Eliot. Like Matthew Arnold, he was interested in the experience of reading poetry and the impact of poetry on the reader. In particular, he believed that "balancing and organizing conflicting impulses is characteristic of the experience of poetry and that this experience has particular importance in an age during which canons of moral and social authority are crumbling."
-
Practical Criticism
The Four Kinds of Meaning
Richards shows an interest in the effect of poems on the reader. He tends to locate poem in reders response. The being of the poem seems to exist only in the readers. Poetry is a form of words that organizes our attitudes. Poetry is composed of pseudo statements, therefore it is effective. He talks about the close analysis of a text. Like a new critics, he values irony. He praises the irony and says that it is characteristics of poetry of higher order. In “The Forth Kinds of Meaning”, he talks about functions of language. Basically he points out four types of functions or meaning that the language has to perform.
Sense ( Logical meaning )
What speaker or author speaks is sense. The thing that the writer literally conveys is sense. Here, the speaker speaks to arouse the readers thought. The language is very straightforward which is descriptive. This language is not poetic. Words are used to direct the hearer's attraction up on some state of affairs or to excite them. Sense is whiteness of language use.

Feeling
Feeling is writer’s emotional attitude towards the subject. It means writer’s attachment or detachment to the subject is feeling. It is an expression. The speaker or writer uses language to express his views. This very language is emotive, poetic and literary also. Here only, rhyme and meter cannot make poetry to be a good, emotion is equally important. Especially in lyric poem, emotion plays vital role.

Tone
Tone refers to attitude of speaker towards his listener. There is a kind of relation between speaker and listener. Since speaker is aware of his relationship with language and with the listener, he changes the level of words as the level of audience changes. It means tone varies from listener to listener.
Intention
Intention is the purpose of speaker. Speaker has certain aim to speak either it is consciously or unctuously. Listener has to understand the speaker's purpose to understand his meaning. If the audience can't understand his purpose the speaker becomes unsuccessful. The intention of author can be found in dramatic and semi- dramatic literature.
There four types of meaning in totality constitute the total meaning of any text. Therefore all utterances can be looked at from four points of view, revealing four kinds of meaning are not easily separated. But they are in dispensable terms for explaining. Basically, the four meaning are interconnected in poetry.



Doctrine in Poetry

Here Richarads talks about the proper way of analyzing the text and what critic and reader should be like. He tends to locate the poem in readers response to it. It means readers analyze the text and respond any poetry from similar judgmental aspects. It shows every reader produces same meaning from same text as the text is organic whole obstacles and barriers the variation of meaning occurs.

His ideas are oriented toward distinguishing the belief of readers from that of the poets. If there occurs contradiction between the belief of readers and the belief of poets, the readers do not get sole meaning from the text. Because of readers’ temperament and personal experience, they don't get same meaning from the text The obstacle that brings variation in meaning is doctrinal belief of readers.
Richards finds two kinds of belief and disbelief :

i) Intellectual belief
ii) Emotional belief

In an intellectual belief we weigh an idea based on doctrinal preoccupation, where as an emotional belief is related to the state of mind. He thinks that the good kind of being comes from the blending of the both. Until and unless we are free from beliefs and disbeliefs there comes variation in meaning. But to free our mind from all impurities is not possible. Therefore the reader should be sincere to get single meaning escaping from such obstacles.
This sincerity is the way to success. The sincere reader has perfect and genuine mind. To be genuine mind, one should be free from impurities. In this sense the reader should be free from obstruction these obstacles is not possible.
-

Richards Main Theories :
مآشرحتهآ طبعآ :D
• Theory of Literature
• Theory of “ The meaning of the meaning “
• Theory of Metaphor
• Theory of Value
• آرججعوآ للبرزنتيشنآت ’ و آقروهآ ,

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::Cry111: شكرا ام امنه............اااااااااااااااااااااااااااااه بس الله يوفقنا ويخارجنا ع خير :Cry111: وربي الدمعه متحجره في عيني :wink:

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ليفز يوافق اليوت في impersonal theory

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عفواً .شكراً لك أنت بعد ما قصرتي أشكري البنت الي نزلتها في بنت ثانية نزلت هذا عن Leavis



هذي نزلتها من قبل بس بنزلها مره ثانيه للفايده


Cultural approach
كيف انقسم نقده الا 4 مراحل
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
كيف تاثر بمدرسة النقد الحديثه
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:إتهامات ضد leavis من نقاد آخرين بأنه كان عصبي ويقول كلام قاسي
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:

*: http://www.ckfu.org/vb/t211165-514.html#ixzz1igVvMOui

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دريدي مييي تووو:(177):

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هع ياقلبي .. انا جالسه ادفهم بمخي دف :41jg:
بس بقولك الي فهمته وان شاء الله صح .. بس لاتعتمدي عليه اعتماد كامل لانو كتابتي ويمكن فيه اخطاء
هذا عن ريتشارد باختصار
Richards was a lecturer in Cambridge University . He believed in close textual reading . Therefore, he gave his students poems without the name of the author to analyze. Moreover, he noticed that his students were not in control by the name of the author or the historical back ground of the poem .
الايج الي هو انهم كانوا يبحثون عن بديل للدين إلى اخره ... نفس المقدمه الي ذبحونا فيها :biggrin:
Four kinds of meaning :
Sense : it is the literary meaning of the text or what the writer wants to say.
Feeling : the emotions of the writer related to the meaning .
therefore , feeling is related to sense
Tone : the approach of the writer to his readers or how the writer varies his tone as his audience varies
Intention : how the writer uses words to convey what he wants to say ,e.g. if he wanted to talk about love he shall use words that carry affection .
intention is related to tone
بس اخلص مذاكره برجع اكتب .. :oao:

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Discuss Richards’ psychological theory of value

http://neoenglish.wordpress.com/2010...eory-of-value/

Summarize the main ideas of I. A. Richards on Rhythm; metre, metaphor and Meaning

http://neoenglish.wordpress.com/2010...r-and-meaning/

بنت حطتهم هنا مقالات عن كل النقاد

http://www.ckfu.org/vb/t211165-512.html

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يا ربي أنجح :Cry111:

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بنات بليز وش توبيكات الدراما وهل بس خم الي نذاكر

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الحين البويتك السمبشن تنقسم قسمين انتيليكتوال و اموشنال طيب
الديكتورنال بيليف ينقسم قسمين انتيلليكتوال 1-بيليف2-ديس بيليف +ايموشنال بيليف و ديس بيليف<<طيب ممكن وحده ربي يبي يرزقها بدعوه من الاعماق تشرحها لي لاني مغرزه ل=هيلب الله يهلبكم:cheese: بسرعه ابي اخلص:41jg:

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rhythm : the music of the words
meter : the music of the line
علاقتهم بالتون :
if the tone was quiet the reader will feel peaceful
and if the tone was tense the reader will feel tense as will


Value of metaphors
metaphors mean : image that indicates another meaning
Richards believes that metaphors are a poetic tool and it should not be used in prose . For, metaphors will confuse the reader because they are indirect . Furthermore, using metaphors in prose will not allow the reader to understand the true meaning of the text
Therefore, in Richards point of view , all we need to understand a text is these four factors
the meaning of the four factors is determined by the text

نظرية كولريدج :
welling suspension of disbelief means : the reader will agree with the emotion in the text without logic for the sake of enjoyment . Richards agrees with Coleridge's theory because the reader will have a direct relation with the text (sincere(
The reader will not be able to free himself from his beliefs if the work of art in front of him is not well structured
البليف والسنسرتي مااقدر افتي فيهم :000: والبنات نزلوا عليها شغلات اعتقد بصفحات قبل
اتنمى افدتك وكلامي يكون واضح :106:

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بنات يمنى
كيف بتذاكرو ليفز
ما فيه شي واضح ولا له علاقة بالتكست ابدا لا من قريب ولا من بعيد
حرام عليها ليش كدا
اذا وحدة عندها رابط او اوت لاين تسعفنا فيه
الله يسامحك يا يمنى :(

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:000:
حسيت مذآكرتي أخخخرطي يوم قريت هـ الكلام :biggrin:
مآفي فرق بينهم أتوقع :mh12:
بس ششوفي الانتيلكتشوآل بيليف و ديس بيليف يعني :
أذآ قرأتي شي مثلآ و جآزلك و حسيتيه زي أفكآآرك ذاك الوقت يصير انتلكتشوآل بيليف ..
و آمآ اذا العكس مآجآزلك و خآلف افكآرك يصير انتيلكتشوآل ديس بيليف . .

الايموشنآل بيليف و ديس بيليف يعني :
اذا قرأتي شي وتعأطفتي معااه و خشيتي جو معه يعني صآر أيموشنآل بيليف
و اذا العكس فصآر إيموشنآل ديس بيليف ..



( أمآ شرحححي عجيييب بس سلكككي ) .. :hahahahahah:

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لا والله حلو وصلتي المعلومه يعطيك العافيه انا فهمته كذا بس قلت اتأكد يالللللللللللللله يوفقك :love080:

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^

وش حل ذا السؤال :bawling:

احسه مايجي ايسي مافيه كلام كثير يا هوني

ياربي احس اني مي مذاكره شي:mh12:

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من ماثيو ارنولد كان << موراليستك وان لازم ينربط بالسوسايتي

من اليوت << فورمالستك و ترادشن




صح علي ؟؟؟




ايش Eliot's main critical ideas
؟؟؟؟

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:106:اللة يجزاك خير lost3
رتبتيلي افكاري عن ريتشارد
بعد المذاكرة:love080::love080:

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ايش هي السنسيرتي ممكن احد يشرحها بالتفصيل اااااااااااااااااااااااه باقا ليا ليفيز الدوب :33_asmilies-com:

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In an intellectual belief we weigh an idea based on doctrinal preoccupation, where as an emotional belief is related to the state of mind. He thinks that the good kind of being comes from the blending of the both. Until and unless we are free from beliefs and disbeliefs there comes variation in meaning. But to free our mind from all impurities is not possible. Therefore the reader should be sincere to get single meaning escaping from such obstacles. This sincerity is the way to success. The sincere reader has perfect and genuine mind. To be genuine mind, one should be free from impurities. In this sense the reader should be free from obstruction these obstacles is not possible

اقولش الي فهمه ان المفروض الواحد يفضي مخه من الاشياء غير مهمه ويركز على الورك اوف ارت

وبكذا يكون صادق ومخلص في نقده للورك اوف ارت

ان شاء الله المعلومه وصلت

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:love080::106:

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طيب
هوني ايز
تقصدي تفريغ العام او السنة
لان تفريغ العام سايح على بعضه

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reality & sincerity ما شرحتهم
اما interst of life انا كاتبة عندي انو
the morality is through the text not through the life of the writer

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بنات

new criticism

and checago

معانا

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:mh12::mh12:
بنات


ممكن احد يشرح لي ع السريع


impersonal theory

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يااااااااااااااااااااااااااااااريت احد يرد علي

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آنآ كآتبه بدفتري هيك ..

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يااااااريت تردون علي

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الحين كل الي موجودين في هالصفحه ولا في اي وحده تجاوب علي

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:106:

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ايه معانا نيو كرتيسيزم وشيكاغو...اساسا من متى النقد يحذفون منه:(269):

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دمدم انتي يمنى والا نجلاء؟.:(107):
احنا يمنى يصير معانا الأول

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اقصد chicago school

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هوني ايز صادقه والمشكله اني ما اكتشفت هاذا الشي الا بعد ماطارت درجاتي بالشهري
اذا تقدرين تحطين الورقه هنا او اي احد من البنات اكون شاااكرتلك مررره لأني م حضرت المحاضره الاخيره

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بنااات سوال سريع
الحين اليوت وليفيز نيو كريتكس صح
طيب أرنولد وريتشار تبع اي مدرسه؟؟؟؟*

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ارنولد==موراليتستيك
اليوت ==فورماليستك
ريتشارد==نيوكريتيكيزم
ليفيز==ولا شي ضايع بالطوشه ياخذ من مورليستك وفورماليستك والنيوكريكيس فهو مو محدد مع مين بالبضبط لاينتمي لاي مدرسه



هاذا ع حسب التفريغ حق نجلاء:love080:

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:hhheeeart4::119: