ملتقى طلاب وطالبات جامعة الملك فيصل,جامعة الدمام - عرض مشاركة واحدة - اللغة الانجليزية l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|

يآحلآتي · 2011- 11- 24

لاختبار النقد (د.نجلا)

قالت انو نجيب اراء نقاد انتقدو مثلا اليوت او ارنولد

هذ1 بنت ربي يجزاها خير حاطته بايميل النقد قلت للي ماتدري عن الايميل

Matthew Arnold & T. S. Eliot

Arnold's main concern is the function of criticism has in relation to the development of art, even culture , in general. from his point of view criticism is closely linked to any artistic activity since the crating of current of true and fresh ideas. 'The creative power works with elements ' he argues , which are ideas in the case of literature , and those elements are not in its own control, they are more within the control of the critical power. In this respect art is completely dependent on the critic who has to provide these ideas by knowing the best that is known and thought in the world, and by in its turn making this known. the critic thereby prepares the ground for artistic activity , effective, criticism therefore , is a condition for creative activity.

•Arnold expresses this quite clearly :" criticism first ; a time of true creative activity .when criticism has done its work "

In order to secure a good basis for the production of valuable works of art the critic has to fulfill certain conditions and do his work with a certain attitude.

•Eliot deals with the problem of criticism in all its manifold aspects. In the very beginning, he comments upon the terms 'critical' and 'creative'. He ridicules Matthew Arnold for having distinguished rather bluntly between the 'critical' and the 'creative' activity. Eliot further expresses the view that the criticism employed by a writer on his own work is the most vital and the highest kind of criticism. Elsewhere, Eliot calls such criticism, 'workshop criticism. Eliot goes to the extent of saying that some creative writers are superior to others only because their critical faculty is superior. He ridicules those who decry the critical toil of the artist, and hold the view that the greater artist is an unconscious artist. He commends those who, .stead of relaying on the 'Inner voice' or 'inspiration', conform to tradition, and in this way try to make their works as free from defects as possible. According to Eliot it is a mistake to separate critical and creative activities. A large part of creation is in reality criticism. But critical writing cannot be creative. There can be creative criticism. Creative

criticism is neither criticism nor creation.

Matthew Arnold & Oscar Wilde

• Matthew Arnold in his "The Function of Criticism at the Present Time" and Oscar Wilde in his "The Critic as Artist" both engage in an agenda to elevate the art of criticism to a level above the art of creative literature. That this attempt should be considered momentous is evidenced by the fact that even today, long after their theories were published, it is doubtful that many readers consider the critic to be on par with the creative artist, much less a vital contributor to the writer of the work being criticized. It is because criticism is still so widely regarded, and perhaps even misunderstood, as only a by-product of creative endeavors is precisely what makes the arguments of Arnold and Wilde so important today. Both writers make strong cases for their viewpoints, but ultimately that theory expressed by Wilde's character Gilbert must be considered more successful not only because he has the courage to explicitly place criticism at a higher level than creative writing-an idea to which Arnold subscribes but tries to cunningly circumvent openly admitting-but also because his judgment in placing criticism higher than creative writing is based upon more practical conceptions than Arnold's theoretical views.

•

The slogan “art for art’s sake” is associated in the history of English art and letters with the Oxford don Walter Pater and his followers in the Aesthetic Movement, which was self-consciously in rebellion against Victorian moralism. It first appeared in English in two works published simultaneously in 1868: Pater's review of William Morris's poetry in the Westminster Review and in William Blake by Algernon Charles Swinburne. A modified form of Pater's review appeared in his Studies in the History of the Renaissance (1873), one of the most influential texts of the Aesthetic Movement. In his essays, Pater declared that life had to be lived intensely, following an ideal of beauty.

The artists and writers of the Aesthetic movement asserted that there was no connection between art and morality, and tended to hold that the arts should provide refined sensuous pleasure, rather than convey moral or sentimental messages. They did not accept John Ruskin and Matthew Arnold's utilitarian conception of art as something moral or useful. They believed that art need only be beautiful, and developed the cult of beauty. Life should copy art, and nature was considered crude and lacking in design when compared to art. The main characteristics of the movement were suggestion rather than statement, sensuality, extensive use of symbols, and synaesthetic effects (correspondence between words, colors and music).

The concept of "art for art's sake" played a major role in Oscar Wilde's only novel, The Picture of Dorian Gray.

2011- 11- 24	#2390
يآحلآتي أكـاديـمـي الملف الشخصي: رقم العضوية : 39618 تاريخ التسجيل: Sun Oct 2009 العمر: 37 المشاركات: 96 الـجنــس : أنـثـى عدد الـنقـاط : 240 مؤشر المستوى: 66 بيانات الطالب: الكلية: كلية الاداب	رد: l\|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][\|l لاختبار النقد (د.نجلا) قالت انو نجيب اراء نقاد انتقدو مثلا اليوت او ارنولد هذ1 بنت ربي يجزاها خير حاطته بايميل النقد قلت للي ماتدري عن الايميل *Matthew Arnold & T. S. Eliot* Arnold's main concern is the function of criticism has in relation to the development of art, even culture , in general. from his point of view criticism is closely linked to any artistic activity since the crating of current of true and fresh ideas. 'The creative power works with elements ' he argues , which are ideas in the case of literature , and those elements are not in its own control, they are more within the control of the critical power. In this respect art is completely dependent on the critic who has to provide these ideas by knowing the best that is known and thought in the world, and by in its turn making this known. the critic thereby prepares the ground for artistic activity , effective, criticism therefore , is a condition for creative activity. •Arnold expresses this quite clearly :" criticism first ; a time of true creative activity .when criticism has done its work " In order to secure a good basis for the production of valuable works of art the critic has to fulfill certain conditions and do his work with a certain attitude. •Eliot deals with the problem of criticism in all its manifold aspects. In the very beginning, he comments upon the terms 'critical' and 'creative'. He ridicules Matthew Arnold for having distinguished rather bluntly between the 'critical' and the 'creative' activity. Eliot further expresses the view that the criticism employed by a writer on his own work is the most vital and the highest kind of criticism. Elsewhere, Eliot calls such criticism, 'workshop criticism. Eliot goes to the extent of saying that some creative writers are superior to others only because their critical faculty is superior. He ridicules those who decry the critical toil of the artist, and hold the view that the greater artist is an unconscious artist. He commends those who, .stead of relaying on the 'Inner voice' or 'inspiration', conform to tradition, and in this way try to make their works as free from defects as possible. According to Eliot it is a mistake to separate critical and creative activities. A large part of creation is in reality criticism. But critical writing cannot be creative. There can be creative criticism. Creative criticism is neither criticism nor creation. Matthew Arnold & Oscar Wilde • Matthew Arnold in his "The Function of Criticism at the Present Time" and Oscar Wilde in his "The Critic as Artist" both engage in an agenda to elevate the art of criticism to a level above the art of creative literature. That this attempt should be considered momentous is evidenced by the fact that even today, long after their theories were published, it is doubtful that many readers consider the critic to be on par with the creative artist, much less a vital contributor to the writer of the work being criticized. It is because criticism is still so widely regarded, and perhaps even misunderstood, as only a by-product of creative endeavors is precisely what makes the arguments of Arnold and Wilde so important today. Both writers make strong cases for their viewpoints, but ultimately that theory expressed by Wilde's character Gilbert must be considered more successful not only because he has the courage to explicitly place criticism at a higher level than creative writing-an idea to which Arnold subscribes but tries to cunningly circumvent openly admitting-but also because his judgment in placing criticism higher than creative writing is based upon more practical conceptions than Arnold's theoretical views. • The slogan “art for art’s sake” is associated in the history of English art and letters with the Oxford don Walter Pater and his followers in the Aesthetic Movement, which was self-consciously in rebellion against Victorian moralism. It first appeared in English in two works published simultaneously in 1868: Pater's review of William Morris's poetry in the Westminster Review and in William Blake by Algernon Charles Swinburne. A modified form of Pater's review appeared in his Studies in the History of the Renaissance (1873), one of the most influential texts of the Aesthetic Movement. In his essays, Pater declared that life had to be lived intensely, following an ideal of beauty. The artists and writers of the Aesthetic movement asserted that there was no connection between art and morality, and tended to hold that the arts should provide refined sensuous pleasure, rather than convey moral or sentimental messages. They did not accept John Ruskin and Matthew Arnold's utilitarian conception of art as something moral or useful. They believed that art need only be beautiful, and developed the cult of beauty. Life should copy art, and nature was considered crude and lacking in design when compared to art. The main characteristics of the movement were suggestion rather than statement, sensuality, extensive use of symbols, and synaesthetic effects (correspondence between words, colors and music). The concept of "art for art's sake" played a major role in Oscar Wilde's only novel, The Picture of Dorian Gray.