~||Last semester of Senior Year ||~

[Maybe Not]

أتمنى أن فيه بكره محاضره :cheese: ..
< حابتها هالاسبوع أنآ..

ماتوقع ملغيه وحنا متأخرين ..
وإذآ ماجات هي بتخلي حد يشرح عنهآ ..

بس أكيد فيه :biggrin:

[isra kjs]

هلا والله بسماوات

شلونج؟ وش اخبارك؟

عيل بريطانيا مره وحده :119:

رسائل التوصية اللي تبع الجامعة الموقرة هذي
عباره عن ورقة مطبوعة و الدكتورة تعبي الفراغات و تحط كم صح على مستواك
تلقين الورقة عن مكتب السكرتيره
تعبيها الدكتوره و ترجعينها للسكرتيره علشان الختم

العام الماضي د. مها و مس بتول كتبو لي بدون اي تعقيد
سمعت ان د. لمياء و دز فوزية يطالبون بالسجل الاكاديمي حقك علشان يعرفون وش يكتبون لك
نصيحتي اخذي من استاذ دكتور و الدكتوز لأن منصبهم اكبر

و و و و و
موفقه :rose:

[امممم نسيت]

بنات احد عنده ايميل د احمد ابراهيم بس مو حق الجامعه ؟
احتاج الايميل القديم

[طيرالحب]

بنات الدكتوراحمد
والدكتوره نجلاء

اعطوا درجات اليوم؟؟؟؟

[um_amanah]

هل أ.بتول بتنزل ملازم. نثر. في حد يعرف الإيميل المشترك حق النثر. وكيف راح يكون امتحان التثر الفاينل مشترك مع صلاح. ولا لاء

[um_amanah]

الله يوفق الي راح ترد علي :rose:

[لاتغرك ضحكتي]

بنات الدكتوراحمد
والدكتوره نجلاء

اعطوا درجات اليوم؟؟؟؟

دكتور احمد عطى الدرجات اليوم

بس ما صحح اوراق اللي اختبروا مع قروب الثلاثاء
>> مثل حضرتي وشرواي :139:

:sm1:

[kawthar Y]

بنات احد عنده ايميل د احمد ابراهيم بس مو حق الجامعه ؟
احتاج الايميل القديم
aelkomy@hotmail.com

[kawthar Y]

هل أ.بتول بتنزل ملازم. نثر. في حد يعرف الإيميل المشترك حق النثر. وكيف راح يكون امتحان التثر الفاينل مشترك مع صلاح. ولا لاء
مسز بتول ماراح تنزل شي (إلى الآن ما جابت سيرة ملازم)
الإيميل المشترك prose-sat10@hotmail.com

password: apassagetoindia8
الإختبار النهائي بشكل أكيد بيكون مشترك مع دكتور صلاح لأنه هو البروفسور
وبالتوفيق :119:

[um_amanah]

الله يسعدك. مشكورة. كوثر والله يوفقكي دنيا وآخرة:rose:

[سماوات]

ام آمنه ... hope 100 ... غلاكم ..... إسراء

لكم جزيل شكري و امتناني على هالمشاعر الطيبه و المساعده الاطيب .... الله يوفقكم لكل خير و ييسر اموركم

ارسلت ايميلات من يومين و انتظر الرد .... وشكلي بكره بروح الكليه اسوي مثل ما قلتو لي عن الفورم الجاهز

[طيرالحب]

بناات احد حضر دراما اليوم ووش صاربخصوص الامتحان؟؟

[kawthar Y]

إختبار الدراما تبع مسز بتول يوم الأحد الجاي...
موفقات:106:

[kawthar Y]

محاضرة النثر التعويضية حتكون يوم الإثنين الساعة 12 بإذن الله...

[violet flower]

بنااااات
أحد عنده ايميل او شي للدكتورة لمياء؟!؟!؟!؟!؟!؟!

[Neeno]

بنات
ممكن اسم المسرحية الثانية ؟!

[عسولة الشرقية]

بنات ايش واجب النثر حق النمل والفيله ؟؟


ماحضرت الاسبوع الي فات ولا حليته واخاف د. صلاح يسال


وهل فيه واجب ثاني للنثر او للحضارة

واخر سوال هل الروايه الثانيه موجوده بالكوبي سنتر ؟؟ يمقن بتول حاطتها يمقن لا

[نــونــه]

بنات ايش واجب النثر حق النمل والفيله ؟؟


ماحضرت الاسبوع الي فات ولا حليته واخاف د. صلاح يسال


وهل فيه واجب ثاني للنثر او للحضارة

واخر سوال هل الروايه الثانيه موجوده بالكوبي سنتر ؟؟ يمقن بتول حاطتها يمقن لا

واجب الفيل والنمل
انك تجيبين معلومة وحدة فقط يعني حاولي تكون غريبة او ممتعة وتقولينها

حضارة اذا مع د.ليلى فخلصصنا المنهج خلاص

والرواية ما ادري اذا موجودة بالكوري سنتر او لا

[عسولة الشرقية]

اهااااااااا


طيب الاسامي الي تبدا من حرف الالف حقت الفيل صح ؟؟

[طيرالحب]

بنات وش طلبت مس بتول نحضره؟؟؟

[روزة الحلوة]

اهااااااااا


طيب الاسامي الي تبدا من حرف الالف حقت الفيل صح ؟؟

عادي اختاري اللي تبين الفيل او النمله وقوليها الدكتور مايدقق :cheese:

[عسولة الشرقية]

:lllolll: ثانكيو روزة

[ارنوبه]

بنات كيفكو وش الاخبااار ويااارب مجهودكم ما يروح عبث ونتخرج ونفتك
الزبدة ,حبيباتي اللي مع الدكتور احمد حسن مقال وش قال لكم جيبوا واجب هالاسبووووووووووووووع
:Looking_anim::004::004::004::004::004::004::004:: 004:

[Diamond brooch]

بناااااااااات
الحضاره مع صلاح
فيه شي نحضره بكره..:g2:

[~ Luna]

المقال تكتبين برقراف عن
first day of vacation

[Maybe Not]

المقال تسليم بعععد !
:Looking_anim: ؟

[J A M I L A H]

آللي عندهم حضآره السبت ,

وش أخذتوا ؟ هل هي آخر محآضره ؟

[طيرالحب]

:sm5:يعني معقولة محد اخذ دراما هالاسبوع؟؟

بليزهيلب مييي

[um_amanah]

بنات في حد يعرف كيف راح يكون امتحان الفاينل بالترجمة:eek:

[حكايا الورد]

بناااات بليز الي عندها ايميل دكتور سلوى تعطيني اياه ،، وهل عندها محاضرات بكرا ولا لا؟

[دخلت E وتوهقت]

ممكن ايميل آيات الشرع
كتبته عندي وضاع ..

:106:

[Lunatic]

بنات
ممكن اسم المسرحية الثانية ؟!

Look back in Anger

[Lunatic]

ممكن ايميل آيات الشرع
كتبته عندي وضاع ..

:106:

ayat002002@yahoo.com

[دخلت E وتوهقت]

ayat002002@yahoo.com




يعطيك العافية ع الرد

:rose:

[تولآيّ]

:53::004:بنات أحد اليوم راح استلم عباته من الشؤؤون حق التخرج

[honey eyes]

^
رحت سألت اليوم قالوا لي لسى ماتوزعو بيوزعوهم يوم السبت ان شاءالله :53: :wink:

[نــونــه]

بنات في حد يعرف كيف راح يكون امتحان الفاينل بالترجمة:eek:

أهلين
اتوقع انو بما انك انتساب فيتكونيين معنا مع د.هدى قصبي

اختبار الترجمة بيكوون مشترك بينها وبين د.سلوى ولكن نختار أسئلة د هدى

فيه جزء نظري
حددت لنا خمس صفحات من الملزمة
7 -8-9-14-15

والترجمة قطعتين قصيرة
وحدة عن الانبياء ووحدة فقهية وفيها سطر واحد آية قرانية



وبس سلامتك :004:

[Lunatic]

يعطيك العافية ع الرد

:rose:

ربي يعافيك :wink:

[J A M I L A H]

بنآت :Looking_anim:


آليوم باللقاء المفتوح مع العميده كآنو رئيسآت الأقسآم موجودين


وحشرت وآنحشرت :biggrin:


يقولون أنهم معلقين جدآول الفآينل قبل نسجل موآدنا !!!!!


وحلفت يمين أنها مو معلقه , ولا كيف نحط أنفسنا بموقف تعآرض مثل كذا !


فـ قالوا آنه أهمال من حضرة جنآبي مآ آتشيك بأستمرار :oao:



سؤآلي : أحد شاف على اي مكتب بالقسم جدول الفاينل قبل هالأسبوعين !!؟

[Maybe Not]

لآ !
توهم حآطينه بلآ كذب ..!
لآ يطلعون فيهآ هم الصح ..
وحنا للحين نعاني مع الشهري وتأجيله وتعآرضه !
أيش إللي ّ!!! :41jg:

[Diamond brooch]

بنات بتول ...:sm12:

كيف مذاكره الدراما ....؟؟:(107):
احس ضايعه شنو اركز عليه ..:(107):

يليت احد يعرف طريقه االاسئله ..!:(107):

>>> الله يعين راحت الطاقه كلها مافيني بعد ..:bawling:

يارب توفيقك ...:rose:

[um_amanah]

مشكورة. نونه.:004:

[نــونــه]

[QUOTE=Jamilah ~♥;6280485]بنآت :Looking_anim:



يقولون أنهم معلقين جدآول الفآينل قبل نسجل موآدنا !!!!!


وحلفت يمين أنها مو معلقه , ولا كيف نحط أنفسنا بموقف تعآرض مثل كذا !

فـ قالوا آنه أهمال من حضرة جنآبي مآ آتشيك بأستمرار :oao:



سؤآلي : أحد شاف على اي مكتب بالقسم جدول الفاينل قبل هالأسبوعين !!؟[/QUOTE






لا تعليييييييييييييييييييق :Looking_anim:





الا الا بعللق غيرت رأيي



وشششششوووو معلللق. يكذبون على مين والا مين

كيييييييف معلق كيييييييف وهم تو يسووووونه

وكل ماسسالنا الكنترول قالو لسه ماسووويناه

يعني كيف مثلا


الإهمال هذا مننا والا منهمممم


صراحه ينرفزوون اللي مايتنرزفزززز




حسسسسسسسبي الله عليهم في كل كل شششششششششي.





ياربببببب اتخخخرج وانا باقي عندي شوي عقل عشان اقدر افكر فيه




اله ياخذ كل ظالم


الكليه علمتنا كل الاشييا الخايسسسسسسه قسسسسم بالله

علمتنا الكذب اول شي
علمتنا الغش
علمتنا النفاق
علمتنا الحقد
علمتنا الأنانية
علمتنا الألفاظ السيئه والتعامل الاسسوا
علمتنا كل شي قبيح



الحمدلله باقي عندنا شويه عقل نقدر نفكر فيها و نميززز بين الصح والخطأ


وهذي الشوووويه خذناهاا من (( الا من رحم ربي )) اللي في الكليه


اااااااااه بسسسسسسس قسسسسم اعد. الايام عشششششان اطلع منها.
يااارب اتخرررررج وارتاح


فيني ششششي في قلبي من هالكليه لا يعلم فيه غير اللي خلقني !!!

اللهم لك الحمد على كل حال


<<< مين ضغط الزر هههههههههههههه

[dready days]

:Cry111:يا نونه خليها ع ربك و بيفرجها ان شاء الله.............. بالنسبه لي والله ثم والله ما اسامح كل م ظلمني و جرحني او استفزني و لثار اعصابي يارب ياحكيم ياعليم ياقدير خذ بحقنا من كل ظالم

[Purity~]

بنآت :Looking_anim:


آليوم باللقاء المفتوح مع العميده كآنو رئيسآت الأقسآم موجودين


وحشرت وآنحشرت :biggrin:


يقولون أنهم معلقين جدآول الفآينل قبل نسجل موآدنا !!!!!


وحلفت يمين أنها مو معلقه , ولا كيف نحط أنفسنا بموقف تعآرض مثل كذا !


فـ قالوا آنه أهمال من حضرة جنآبي مآ آتشيك بأستمرار :oao:



سؤآلي : أحد شاف على اي مكتب بالقسم جدول الفاينل قبل هالأسبوعين !!؟

أسفة ع التدخل:060:
نفس الموقف صـآر معي لمارحت لـ د/نسرين عشان التعارض تقول معلق من امتحانات الفاينل
حقت السمستر الاول عشان مايصير تعارض
وحلفت لها انه مـآفيه وسألت معظم البنات قالوآ ماشـآفوآ شي
قالت لي هذآ اهمال منكم موب منـآ..!:icon9:


مـآقول إلا الله يعوضنـآ بالجنة ويجزآنا على صبرنا:004:

[طيرالحب]

يعني عشانا طالبات ومانقدرنواجههم

يككذبوون :hhheeeart4:حسسسسبي الله ونعم الوكيل

دايم نظام الكليه تقف بجانب المسوولين والدكاتره

والطالبات مالهم حق في الاعتراض:bawling:

نومنا وصحتنا وطاقتنا راحت وش يبووون اكثرر

[D R E A M E R]

أهلين
اتوقع انو بما انك انتساب فيتكونيين معنا مع د.هدى قصبي

اختبار الترجمة بيكوون مشترك بينها وبين د.سلوى ولكن نختار أسئلة د هدى

فيه جزء نظري
حددت لنا خمس صفحات من الملزمة
7 -8-9-14-15

والترجمة قطعتين قصيرة
وحدة عن الانبياء ووحدة فقهية وفيها سطر واحد آية قرانية



وبس سلامتك :004:

من اي ملزمه هالصفحات ؟؟؟؟

[شموخي قهر عذالي]

بلييييييييييز بنات الى وين اختبار الدرما ؟؟؟؟ :eek: المسرحيه كلها معنا ؟؟؟؟

والتوبيكات اللي بالملزمه بعد معنا ؟؟؟؟؟:mh12:

[**مــياســة**]

احنآ لو نسسسوي مظآهرآت ونكسسسسر لهم روسسسهم :biggrin:

وقتهآ بيسسسسمعون لنآ بأذآن صصصآغيةة جدا جدا جدا جدا :biggrin: ..

م لنآ الا نصصصبر ونحتسسسب حسسسبي الله عليهم :mad: ,,

....

وشششسمةة ذآ :060: ,,

اللي تعرف كم توبيك معآنآ باختبار الشششهري للدرآمآ !!

لان الاختبار بالفصل الاول والثاني والثالث .. والرابع مو معآنآ بالششهري ...

والصصراحة بتول م تشششرح التوبيكآت معنآ :icon9: ,,

تفريغهآ هذذذذذذذررة عن قصة المسرحيةة :sm5: ..

اللي عندهآ محاضرآت دكتورة مهآ تنزلهآ هنآ الله لا يهينه’ـآ :004: ..

.....

[**مــياســة**]

بلييييييييييز بنات الى وين اختبار الدرما ؟؟؟؟ :eek: المسرحيه كلها معنا ؟؟؟؟

والتوبيكات اللي بالملزمه بعد معنا ؟؟؟؟؟:mh12:
للفصصصل الثآلث بسسس ,,

ايههه معآنآ التوبيكآت ,, بس يوم سسألتهآ ,,

قالت لي انه تشوفين التوبيكآت المرتبطة بالثلاث الفصوول ..

يعني مو كلهآ :060: ...

[شموخي قهر عذالي]

وشششسمةة ذآ :060: ,,

اللي تعرف كم توبيك معآنآ باختبار الشششهري للدرآمآ !!

لان الاختبار بالفصل الاول والثاني والثالث .. والرابع مو معآنآ بالششهري ...

والصصراحة بتول م تشششرح التوبيكآت معنآ :icon9: ,,

تفريغهآ هذذذذذذذررة عن قصة المسرحيةة :sm5: ..

اللي عندهآ محاضرآت دكتورة مهآ تنزلهآ هنآ الله لا يهينه’ـآ :004: ..

.....


يعني الاختبار بس بالفصوول الثلاثه صصصح ؟؟:g2::sm18:

[echo]

the majority of students who say that no schedule for final exam is hanged up can never be neglected:sm4:
bec. the students clarify what they have seen and delt with,if not their critical position for having 2 subjects at the same time or different subjects at the same day will not be done:d5:.
is n't it possible that we put ourselves in such a position
:41jg::41jg:?!!

[echo]

انا غايبه الاربعاء فيه شيء مهم بالمقال مع د. هدى القصبي
وش قالت عن الفاينل؟ وهل عطت الدرجات اعمال السنه كامله ؟:24_asmilies-com:

[Diamond brooch]

بنااااااااااات

انتم تقصدون بالتعارض ..!


اللي نفس الوقت يكون الاختبار ..؟:(107):

ولا تكون عندكم مادتين في اليوم ؟..:(107):
مثلا ثالث ورابع ...(في الظهر والصبح ):Looking_anim:

[Diamond brooch]

وشششسمةة ذآ :060: ,,

اللي تعرف كم توبيك معآنآ باختبار الشششهري للدرآمآ !!

لان الاختبار بالفصل الاول والثاني والثالث .. والرابع مو معآنآ بالششهري ...

والصصراحة بتول م تشششرح التوبيكآت معنآ :icon9: ,,

تفريغهآ هذذذذذذذررة عن قصة المسرحيةة :sm5: ..

اللي عندهآ محاضرآت دكتورة مهآ تنزلهآ هنآ الله لا يهينه’ـآ :004: ..

.....[/QUOTE]

ايه يليت تسوي خير اللي بتحط لنا تفريغ مهاااا..:24_asmilies-com:

ويليت وحده شطوره كذا:58545:
تستنتج
التوبيكات اللي معنا بالميد واللي مو معنا ...:(204):

بنات متأكدين ان مو كل المسرحيه معنا ..!!:sm5:
وربي يجزاها كل خير اللي بتساعدنا ...
وموفقين ...

[لاتغرك ضحكتي]

بنآت :Looking_anim:


آليوم باللقاء المفتوح مع العميده كآنو رئيسآت الأقسآم موجودين


وحشرت وآنحشرت :biggrin:


يقولون أنهم معلقين جدآول الفآينل قبل نسجل موآدنا !!!!!


وحلفت يمين أنها مو معلقه , ولا كيف نحط أنفسنا بموقف تعآرض مثل كذا !


فـ قالوا آنه أهمال من حضرة جنآبي مآ آتشيك بأستمرار :oao:



سؤآلي : أحد شاف على اي مكتب بالقسم جدول الفاينل قبل هالأسبوعين !!؟


يمزحون صح ؟!! :biggrin:
سحقاً :119:

ما علينا بنات بقول لكم شي ولا احد يهزأني :sm4:

انا ما سلمت ولا واجب لدكتور احمد حسن - مقال

مدري ليه حظي كذا كل ما يكون طالب واجب اكون غايبه :Looking_anim:

و محاضرة هالمقال السقيمه بالذات محد اعرفه معي فيها :sm18:

المطلوب بعد كل هالهذره ..

وات كان آي دو ؟ ايش الواجبات اللي فاتتني كلها و هل اقدر اسلمها
و الا راحت علي و ألقط وجهي احسن ! :icon9:

طيب كيف تقسيم الدرجات للماده + ايميل الدخطور ازا ممكن :icon9::rose:

[maziona]

اهلين بنات .. بما أنكم آخر سنه و تعرفون أغلب الدكتورات ..,

بغيت أسألكم انا عندي ماده مع دكتوره عليا و بختبر مع المعتذرات ..
سؤالي هل ممكن انها تجيب نفس الأسئله الي اختبروها البنات ؟؟ والا عادتن تغير ؟؟؟؟

بليز محيوسه مره عندي زحمة احتبارات كثير وابغى اعرف وش اذاكر بالضبط :(

[honey eyes]

للفصصصل الثآلث بسسس ,,

ايههه معآنآ التوبيكآت ,, بس يوم سسألتهآ ,,

قالت لي انه تشوفين التوبيكآت المرتبطة بالثلاث الفصوول ..

يعني مو كلهآ :060: ...
مـن قال ان التوبيكس الي بالملزمة معانا ؟؟ هي بنفسهآ قالت ؟!:eek:
مو ع حساب اللي رسلتهم لنا ع الأيميل من المرة الي فآتت ؟!:Looking_anim:

[echo]

انا اخذت معاها ماده شعر وكرهت حياتي معها
والبنات اللي ماختبروا ميدتيرم او يبغون يعيدون _للي درجاتهم اقل من النصف_:33_asmilies-com:
قالت لهم مع الفاينل . وتسالك السوال اللي ماحليتيه بالفاينل حليه بالميدتيرم.:icon120::bawling:
وسلامتكم:064:

[echo]

اقصد د.علياء

[um_amanah]

الله بخرجنا يارب سالمين القلب والعقل:rose:

[Diamond brooch]

بناااااااااات

بليز احد يقولي شسوي بالدراما ...؟؟:icon9:

وشنو التوبيكات اللي معنا بالضبط ...؟:icon9:
وطريقه الاسئله ..؟:icon9: سؤال اجباري ولا اختياري ..:(107):
وهل هي بكتب التوبيك ولا حنا نخمن..:(107):

ضاع الوقت وماسويت شي وانا خايفه من الماده ..:sm5:

[**مــياســة**]

مـن قال ان التوبيكس الي بالملزمة معانا ؟؟ هي بنفسهآ قالت ؟!:eek:


مو ع حساب اللي رسلتهم لنا ع الأيميل من المرة الي فآتت ؟!:Looking_anim:



م فيه شششي بالايميل :sm4:!!

انتي تبع اي قروب ! الاربعآء !

م فيه شي بالايميل الا توبيكآت البرزينتيشن بسسسس :Looking_anim: ,,

مممكن تنسسسخينهآ هنآ حبيبتي !! اذآ م’ عليك امر ,,

او عطيني الايميل والباسورد تبع قروبكم افضضضل !!

[**مــياســة**]

بنآت بليزز نزلوهآ تفريغ مهآ للدرآمآ ,,

عندي اختبار نثر السسسبت للمعتذرات .. وانا لسسى م بديت بالدرآمآ ,,

تكفون نزلوهآ ,,

[Diamond brooch]

The exam will be based on Act 1 and 2 and understanding of the following topics:
You will be asked to explain the given quotation and refer to the given topics. Definition of the given topics is not needed.
1.Miller's moral imperative (Miller's idea of Morality)
2. Individual Conscience
3. the idea of patriarchal family
4. Empowerment of the maginalized
5. false accusations and confessions
6. McCarthyism
7. Demonization of the other


هذا الكلام قبل يتاجل الاختبار ... بس اللحين ماادري :g2:

[honey eyes]

بناااااااااات

بليز احد يقولي شسوي بالدراما ...؟؟:icon9:

وشنو التوبيكات اللي معنا بالضبط ...؟:icon9:
وطريقه الاسئله ..؟:icon9: سؤال اجباري ولا اختياري ..:(107):
وهل هي بكتب التوبيك ولا حنا نخمن..:(107):

ضاع الوقت وماسويت شي وانا خايفه من الماده ..:sm5:

طريقة الأسئلة ان بيجيك كوتيشن واحد إجباري وبعدها بتقولك تكلمي عن التوبيك الفلاني
والي أعتقدان يكون مرتبط بنفس الكوتيشن ف وأنتي تقرأي الكوتيشنز ركزي ع الي لهم علاقة بالتوبيكس
والمواضيع ع حد علمي أن هم نفس الي حددتهم لنا قبل بس بصراحة
ماسألتها قبل عن هالشي ولاسمعتها تقول فمادري البعض يقول ان كل الي بالملزمة معانا :Looking_anim:
يعني معقولة تغير!! :Looking_anim: >> اساسا من زمان حاطة الأسئلة :24_asmilies-com:
ع العموم يمكن أتأكد من الموضوع بعدين وارد لكم خبر أن شاءالله :wink:

[honey eyes]

م فيه شششي بالايميل :sm4:!!

انتي تبع اي قروب ! الاربعآء !

م فيه شي بالايميل الا توبيكآت البرزينتيشن بسسسس :Looking_anim: ,,

مممكن تنسسسخينهآ هنآ حبيبتي !! اذآ م’ عليك امر ,,

او عطيني الايميل والباسورد تبع قروبكم افضضضل !!
هذه هي المواضيع الي أقصدها نفس الي حطتها الحلوه الي فوق :wink:

[Diamond brooch]

طريقة الأسئلة ان بيجيك كوتيشن واحد إجباري وبعدها بتقولك تكلمي عن التوبيك الفلاني

والي أعتقدان يكون مرتبط بنفس الكوتيشن ف وأنتي تقرأي الكوتيشنز ركزي ع الي لهم علاقة بالتوبيكس
والمواضيع ع حد علمي أن هم نفس الي حددتهم لنا قبل بس بصراحة
ماسألتها قبل عن هالشي ولاسمعتها تقول فمادري البعض يقول ان كل الي بالملزمة معانا :Looking_anim:
يعني معقولة تغير!! :Looking_anim: >> اساسا من زمان حاطة الأسئلة :24_asmilies-com:

ع العموم يمكن أتأكد من الموضوع بعدين وارد لكم خبر أن شاءالله :wink:



في الاختبار الاول كان معنا اكت 1+2
بس اللحين معنا 1+2+3
هذا ع كلام البنات اللي هون ...:(107):
فاكيد زادت توبيكات علينا ...:58545:

المهم انت متأكدين انها ثلاثه اكت بس انا ع بالي كلها معنا ..
يليت وحده متاكده مررره تجي تطمئنا ...:(107):

ولا شرايكم نرسل لها يميل الى وين الاختبار وشنو التوبيكات .. :Looking_anim:
ارسليها لها حبيبتي انا مااعرف اتفاهم بهيك مواضيع ..:tongue:

[honey eyes]

في الاختبار الاول كان معنا اكت 1+2
بس اللحين معنا 1+2+3
هذا ع كلام البنات اللي هون ...:(107):
فاكيد زادت توبيكات علينا ...:58545:

المهم انت متأكدين انها ثلاثه اكت بس انا ع بالي كلها معنا ..
يليت وحده متاكده مررره تجي تطمئنا ...:(107):

ولا شرايكم نرسل لها يميل الى وين الاختبار وشنو التوبيكات .. :Looking_anim:
ارسليها لها حبيبتي انا مااعرف اتفاهم بهيك مواضيع ..:tongue:
الأختبار هي قالت أن لين آكت 3 مولكها معنا متأكدة
والتوبيكات أرسلت لها وببس ترد بيجيك خبر هوون :oao:

[mrssenstive]

هاي بنات:060:طلبتكم
بغيت تفريغ لمادة النثر مع د صلاح الروايه الثانيه عندي بس محاضره رقم 11 از ممكن تنزلوونهم هووون:004::004:
وثانكيووو:rose::rose:

[Fanorita]

بنات مس بتول نزلت درجات النثؤ بالايميل

الصدمه إنو درجتي ماانحطت :eek:

وش السالفه والله إني مختبره ومسويه زين إن شاء الله:sm1::sm1::sm1::sm1:

والدرجات كلها كلها زفت اعلى بنت ماخذه 18

وش سالفتهم هالترم متسلطين علينا:bawling:

[mrssenstive]

هااااي ياحلوووات جبت لكم اسئلة من العربي لدكتوره حنان الحارثي قالت اطلعووو عليهم :33_asmilies-com::33_asmilies-com:

[Naiomy]

:Looking_anim::Looking_anim:


من كم درجة النثر ؟! مع مس بتول


:Looking_anim::Looking_anim:

[لاتغرك ضحكتي]

بنات بقول لكم شي ولا احد يهزأني :sm4:

انا ما سلمت ولا واجب لدكتور احمد حسن - مقال

مدري ليه حظي كذا كل ما يكون طالب واجب اكون غايبه :Looking_anim:

و محاضرة هالمقال السقيمه بالذات محد اعرفه معي فيها :sm18:

المطلوب بعد كل هالهذره ..

وات كان آي دو ؟ ايش الواجبات اللي فاتتني كلها و هل اقدر اسلمها
و الا راحت علي و ألقط وجهي احسن ! :icon9:

طيب كيف تقسيم الدرجات للماده + ايميل الدخطور ازا ممكن :icon9::rose:


بلييييييييييييييييييييززززز :Cry111:

[امممم نسيت]

هااااي ياحلوووات جبت لكم اسئلة من العربي لدكتوره حنان الحارثي قالت اطلعووو عليهم :33_asmilies-com::33_asmilies-com:
الفاينال مقالي ؟

[maziona]

انا اخذت معاها ماده شعر وكرهت حياتي معها
والبنات اللي ماختبروا ميدتيرم او يبغون يعيدون _للي درجاتهم اقل من النصف_:33_asmilies-com:
قالت لهم مع الفاينل . وتسالك السوال اللي ماحليتيه بالفاينل حليه بالميدتيرم.:icon120::bawling:
وسلامتكم:064:

شكرا ويعطيك العافيه ،

[so what]

translation 's announcement

To my students in the fourth year, Tuesday (8:00 a. m. ) group.
You will have a class On Monday, 7 - May - at 10:00 a. m. to compensate for what you missed this week.
Room (14- 64)
Best wishes

[so what]

translation 's announcement

To my students in the fourth year, Tuesday (8:00 a. m. ) group.
You will have a class On Monday, 7 - May - at 10:00 a. m. to compensate for what you missed this week.
Room (14- 64)
Best wishes

[Lunatic]

الفاينال مقالي ؟

مقالي وموضوعي

[طيرالحب]

بليز الايميل والباسوورد

تبع ايميل النثر:icon120::000:

[sun502]

بنات بليز احد يعرق بكرة اختبار بروز مع صلاح للمعتذرات الساغة كم وهل هو اكيدبكرة ولا غيروة واحنا ماندري:007:

[isra kjs]

بنآت :Looking_anim:


آليوم باللقاء المفتوح مع العميده كآنو رئيسآت الأقسآم موجودين


وحشرت وآنحشرت :biggrin:


يقولون أنهم معلقين جدآول الفآينل قبل نسجل موآدنا !!!!!


وحلفت يمين أنها مو معلقه , ولا كيف نحط أنفسنا بموقف تعآرض مثل كذا !


فـ قالوا آنه أهمال من حضرة جنآبي مآ آتشيك بأستمرار :oao:



سؤآلي : أحد شاف على اي مكتب بالقسم جدول الفاينل قبل هالأسبوعين !!؟


بالله؟؟ :eek:
للحين اللف و الدوران؟ :53:
طبعا السالفه غلطتكم
لانكم ما حنيتو و عورتو راسهم
خليتوهم ينسونكم :019:
و اكيد كل وحده تساعد الثانيه لانهم زميلات عمل

طيب اللي للحين وراهم ترم بالكلية ال...... هذي نصيحتي :064:
من يبدا التسجيل
اذا ما نزلو جدول الامتحان
على طول شكوى للعميدة او شؤون الطالبات
بعد الشكوى
وزعو انفسكم كل خمس بنات يراجعون بكل ساعه
:33_asmilies-com:
تخيلو بالساعه الوحده تسالهم خمس بنات (وين جدول الاختبارات) :lllolll:
واذا شفتو ورقه معلقه ان الجدول راح يتاخر ( علشان يفتكون من البنات)
انتو اخذوها اطبعوها و ارسلوها للعميده
:oao:

[mrssenstive]

الفاينال مقالي ؟

جزء مقالي
جزء موضوعي

[kawthar Y]

:looking_anim::looking_anim:


من كم درجة النثر ؟! مع مس بتول


:looking_anim::looking_anim:

من 20

[kawthar Y]

بليز الايميل والباسوورد

تبع ايميل النثر:icon120::000:
prose-sat10@hotmail.com
password: apassagetoindia8

[**مــياســة**]

بنات بليز احد يعرق بكرة اختبار بروز مع صلاح للمعتذرات الساغة كم وهل هو اكيدبكرة ولا غيروة واحنا ماندري:007:


يوم السسسبت . السسآعةة 10 الصصبآح ,,

القآعة :: ممر 65 ( 0-2) :004: ..


..

دآيموند متآكدة ان هالتوبيكآت بسس !!

ي ليت احد يرسسل لهآ ويتآكد من هالشششي !!

مع اني اششوفهآ نفسسس اللي باللملزمةة !

ارسسلوآ ع ايميل الكورسس + ايميلها الجامعةة ::

sbatool@ud.edu.sa

[طيرالحب]

مشكوره كوثر

الامتحان من كم؟!

[kawthar Y]

prose (8) is out of 20

[Diamond brooch]

كوثر حبيبتي شنو صار بموضوع الجدول
...:g2:
؟

[kawthar Y]

ما كنت فاضية الأسبوع اللي فات و ما قدرت أحضر إجتماع العميدة الأربعاء و اتفجأت من كلام البنات و كيف إن الجدول معلق من فترة...السبت إن شاء الله أستفسر و أخبركم...بس أذكركم إن ما بيدي شي مجرد إني بنقل الصورة للقسم مع محاولة إقناع و بس)
الله ييسرلنا أمورنا يارب و يوفقنا أجمعين :004:

[kawthar Y]

هذه محاضرات دكتورة أميمة على ملفات وورد... كملت على يللي رفعتوه هنا...موفقات يارب:106:

[روزة الحلوة]

:Cry111::Cry111::Cry111:كوثر اذا بتكلمون القسم عالجدول كلموهم عالسبت اللي فيه امتحان الحضاره بليزز لاتغيرون الشعر انا عندي شعرين الله يخليكم حطو نفسكم مكاني مابي شي بس الشعر ابيه سبت :Cry111::Cry111:

[echo]

ليش درجاتنا هيك بالنثر ؟:(177):

[القصواء]

^
انا مع روزه

حرام فكروا بغيركم بعد

ان يكون عندها شعرين مره صعبه

[just noony]

بلييييييييييييييييييييززززز :cry111:


ما احب اقول اخبار مو زينه بس اخر يوم كان لتسليم الواجبات كان الاربعاء بس الدكتور احمد طيب وحبوب كلميه اخر المحاظره وقولي له موضوعك وايش تقدرين تسوين عشان تعوضين درجاتك والمحاظره لجايه راحت تكون اخر محاظره اعطانا هومورك في اخر الملزمه شاركي فيه وعوضي نقص درجاتك

بالتوفيق

[Diamond brooch]

حبيبتي
نبي بس نبدل ..الحضاره بتاريخ اللغه ..فقط ..:064:

واحس الامل ضعيف ... :(177):
الله المستعان ..:106:

[Diamond brooch]

بنات الدراما مع بتول:53:
مالكم حس ليه ترى ضايعه انا :bawling:
ابي احد يفهمني التوبيكات كلها معنا:Looking_anim:
او لا بس اللي حددتها بالايميل...:g2:

[القصواء]

بنات متى اختبار النقد المعتذرات

[Diamond brooch]

بكره في محاضره تاريخ اللغه او لا ؟؟:g2:

[dready days]

يارب سهل لنا الدراما وكل المواد لساتني مابديت......بس مسز بتول لها فترة ماهي ع بعضها متقلبة مزاجيا.........الله يعطينا خيرها ويصرف عنا شرها:(107):

[dready days]

اللي تسأل عن التاريخ.....ترا هالاسبوع يقول الدكتور فيه محاضره كمراجعه وللاستفسارات....:004:

[طيرالحب]

بنات من جدها الدكتوره هدى ودرجات المقال:(177):

معطيه الدرجات على كيفها

:007:

[soce]

بنات ضروري ابي اعرف التوبيك تبع بكرا مع د.نجلاء عشان المشاركه:mh12:

[طيرالحب]

ايه صراحه تاريخ اللغة يبي له مذاكره

نبي نغيره مكان الحضاره
:(204):

[القصواء]

ترى حتى الحضارة يبيلها مذاكره لاتنسووون :sm5:

[روزة الحلوة]

[QUOTE=القصواء;6293695]
ياعمري القصواء ماقصرتي مشكوره على هالوقفه الطيبه :Cry111::004::004::004::004:

[القصواء]

^
ولو روزه حبيبتي الناس للناس :004:

انا اقترح يخلون الجدول زي ماهو ليرضي جميع الاطراف :sm12:

[J A M I L A H]

بنات من جدها الدكتوره هدى ودرجات المقال:(177):

معطيه الدرجات على كيفها

:007:

وينهآ الدرجآت ؟! :Looking_anim:

تقصدين الميدتيرم ؟

[mrssenstive]

هاااي بنات :biggrin:
اللي مشتركين مع دكتوره حصه بالقرووب ياليت تسألونها:064: انها تحط لنا سمري ووهيك:biggrin: عن قصيدة Auden old people's home احنا مابعد اخذنها بس لاني مالقيت لها شئ مهم في النت:119:

[honey eyes]

بنات الدراما مع بتول:53:
مالكم حس ليه ترى ضايعه انا :bawling:
ابي احد يفهمني التوبيكات كلها معنا:Looking_anim:
او لا بس اللي حددتها بالايميل...:g2:


ماترد ع الأيميل :Looking_anim: شكلها مافتحته :019:
ننتظر لبكرة ونشوف.. ولو أني شبه متأكدة انهم بس الي أرسلتهم قبل :(269):
وهم تقريبا أهم المواضيع الي تكلمت عنهم بالمحاضرات
بس انتي لاتضيعي وقت ذاكري الي محددين الحين ولين بكرة طلع شي جديد يصير ألف خير :wink:

[honey eyes]

بنات من صجكم للحين تفكرو بتغير الجدول ! :24_asmilies-com:
الناس بتبدأ تغيب عشان تذاكر حق الفاينل :sm12:
أتركو مثل ماهو وريحو راسكم وابدأ مذاكرة المواد الصعبة
الله يــوفقنا وإياكم جميــــع .. :106:

[عسولة الشرقية]

بنات بليز ابي ايميل الدراما المشترك حق بتول

[توفيه]

مرحبا بنات
شخباركم؟
ممكن اخذ من وقتكم شويات..
ابي اسال عن تاريخ اللغه..شنو قالكم الدكتور احمد عن الاساله
اذا ركز علي شي او لا
لاني استثنائي ومادري وش الطبخه

وبعد اذا خلصتو محاضرات ولا في بعد في محاضره تجمعكم مع الدكتور لاني ودي اخطط الماده بليز واخذ الشي المهم لا هنتو

[القصواء]

بنات ربي يفتحها بوجهكم يارب ويوفقكم بإختبار الدراما قولوا آمين

الي اختبرو شعر مع دكتوره حصه يقولون لي وش الاسئلة الي جاتهم وايش نذاكر بالضبط

انتظركم يا جميلات :004:

[أخت أخوها]

مرحبا بنات
شخباركم؟
ممكن اخذ من وقتكم شويات..
ابي اسال عن تاريخ اللغه..شنو قالكم الدكتور احمد عن الاساله
اذا ركز علي شي او لا
لاني استثنائي ومادري وش الطبخه

وبعد اذا خلصتو محاضرات ولا في بعد في محاضره تجمعكم مع الدكتور لاني ودي اخطط الماده بليز واخذ الشي المهم لا هنتو



هلا بكـ عزيزتي



اسمعي ياطويلة العمر

قال بيجيب ترجمة
تعاريف
شورت كوشنز

الاختبااار لشابتر 8
بس مو كله طبعاً يمكن صفحتين او ثلاث من شابتر 8
وخلص معانا المنهج
هذا الاسبوع بيسوي مرآجعه :rose:

[أخت أخوها]

آنا رآيي من رايي القصواء وهوني أيز

خلاص بنات خلوا الجدول ع ماهو عليه

وعندنا وقت ان شاء الله


كل ابو موادنا يبي لها مذاكرهـ وطوووويله مرهـ

مثلاً :
تتوقعوا اللغويات يتخلص بيوم ..؟
والله عندي اللغويات اصعب من الهستوري وخصوصاً اللي مع آميمه


اقلها الهستوري اغلب المواضيع مش جديده علينا

:rose:

[honey eyes]

بنات بليز ابي ايميل الدراما المشترك حق بتول
drama8_wednesday_morning@hotmail.com
drama8
........
ع فكرة بنات بخصوص مواضيع الدراما جآني الرد..!! :Looking_anim:
تقوول كل المواضييع معانا !! :sm12:

[honey eyes]

بنات ربي يفتحها بوجهكم يارب ويوفقكم بإختبار الدراما قولوا آمين
الي اختبرو شعر مع دكتوره حصه يقولون لي وش الاسئلة الي جاتهم وايش نذاكر بالضبط
انتظركم يا جميلات :004:
جابت لنا جزأ اختياري من القصيدتين عليها 13 درجة
والجزء الثاني سؤال مقالي من 12 تكلمي عن
Death imagery in The West Land referring to imagery of drowning
الأسئلة الأختياري طلعت جايبتهم من مواقع وهذا الموقع الي جابت منه اختياري الي ع ويست لاند نفسهم كوبي بيست :58545:
http://www.gradesaver.com/the-waste-land/study-guide/quiz1/
وأحتمال بعد ان تكرر لكم الأسئلة :tongue:
بليييز أدعي لي أجيب الفل مارك بالدراما :cheese: << قووية :sm1:
وبالتوفييق لكم بالشعر :10111: :rose:

[الريـــــم]

صباح الخير بنات
اللي تعرف مكتب أ -سلوى /ترجمة ياليت تقولي
ومتى الاقيها؟؟
وحبيت اسألكم الكوبي سنتر فتحوه ولا لسه؟؟

[sense]

بليييز أدعي لي أجيب الفل مارك بالدراما :cheese: << قووية :sm1:

مافي على ربك شيء قوي :106:

[sense]

الكوبي سنتر مفتوح من اسبوعين :rose:

[القصواء]

شكررررا حبيبتي هوني ربي يوفقك بالدراما وتجيبين الفل مارك بإذن الله :004:

بس الموقع هذا الي حطيتيه فيه الاسئلة وين الاقي اجوبتها ؟

[lays]

بنات اللي عندها مقال مع احمد حسن
ايش اخرر هوم ورك قاله اتوقع كان التسليم الاسبوع اللي راح بس في بكرا اخر فرصه تسليم
ياليت احد يعطني اياه

[القصواء]

بنات ترى رحت اليوم للشؤون عشان نستلم العبايات قالوا مافيه اليوم :(177):

يوم الاثنين يبدأون يوزعون عبايات التخرج والبطاقات :cheese:

فلا تتعبون نفسكم وتروحون بكره لهم لان ماراح يعطونكم شي :24_asmilies-com:

[القصواء]

وموفقات بالدراما يارب توكلوا على الله :106:

[توفيه]

مشكوره اخت اخوها:rose:

معليش متى محاضره تاريخ اللغه بأي يوم والساعه كم وفي أي قاعه؟
لان ودي اجي واخذ التخطيط من أي بنوته حلوه وكيوته فديت قلبها:004::004::004::060:

مشكورييين حبايب قلبي ماقصرتو :rose:

[honey eyes]

شكررررا حبيبتي هوني ربي يوفقك بالدراما وتجيبين الفل مارك بإذن الله :004:
بس الموقع هذا الي حطيتيه فيه الاسئلة وين الاقي اجوبتها ؟

شوفي آخر الصفحة أدعسي ع كنتنيو وبعدها تطلع لك صفحات ثانية نفس الشي كنتيو لين ماتوصلين
لآخر شي بعدها الموقع نفسه يطلع لك الحل الصحيح بتلاقيه باللون الأخضر :(204):

Sense و القصواء مشكوورين حبآيبي ع الدعوات الحلوة ورفع المعنويات :004:
أعطيتوني أمل من جديد:119:
مابذاكر عشان أجيب 19 ونص :sm4: بذاكر منشان أجيب 20 :icon120:
فعلاً مافي شي عن ربي بعيـد :004::004:
الله يوفقنا وأياكم يآآرب .. :106::106:

[isra kjs]

مرحبا بنات
شخباركم؟
ممكن اخذ من وقتكم شويات..
ابي اسال عن تاريخ اللغه..شنو قالكم الدكتور احمد عن الاساله
اذا ركز علي شي او لا
لاني استثنائي ومادري وش الطبخه

وبعد اذا خلصتو محاضرات ولا في بعد في محاضره تجمعكم مع الدكتور لاني ودي اخطط الماده بليز واخذ الشي المهم لا هنتو

توفيييه
وينك يا الغاليه؟
نزلنا التخطيط الين امتحان الشهري
و سدحنا الاسئلة اللي جت للبنات

هذا اللي جمعته

و الي بعد الشهري على البنات
عساهم يفضون لنا و يكتبون التخطيط

[توفيه]

هلا وغلا اسراء:106:
شخبارك؟
الله يجزاهم خير البنات خذيت التخطيط الى الشهري
بس كان ودي اجي للكليه واكمل التخطيط:mh12:
وبعد شفت تجميعك لاساله الاختبارات ماقصرتي الله يعطيك العافيه حبيبتي

[حكايا الورد]

مشكوره اخت اخوها:rose:

معليش متى محاضره تاريخ اللغه بأي يوم والساعه كم وفي أي قاعه؟
لان ودي اجي واخذ التخطيط من أي بنوته حلوه وكيوته فديت قلبها:004::004::004::060:

مشكورييين حبايب قلبي ماقصرتو :rose:

انا عندي تاريخ لغة الاثنين الساعه 8 في قاعه 0-12
اذا تبغي تجي تخططي من ملزمتي مافييششش مشكله =)

[lays]

بنات اللي عندها مقال مع احمد حسن
ايش اخرر هوم ورك قاله اتوقع كان التسليم الاسبوع اللي راح بس في بكرا اخر فرصه تسليم
ياليت احد يكتبه

بلييييييييييييييييييييزززززززززز

[توفيه]

مشكوووووره حكاية ورد:rose:


الله يوفقك وينجحك وتاخذين A ياااااارب
:d5::d5::d5:

[أخت أخوها]

توفيه
محاظرات تاريخ اللغه
الاثنين الساعه 8 الى 9
الثلوث محاظرتين من 8 الى 9
ومن 10 الى 11


طبعاً هي ساعتين بس الدكتور مختصر :tongue:

[echo]

بكره د.سلوى الوفائي عندها محاضرتين من الساعه 8 الى 12

[آم سلوم]

بنات احد وصل لها تفريغ التوبيكات مع بتول ؟!

[نــونــه]

poetry:




For All students of Poetry8 :

Starting from Sunday, 6th of May poetry class will be given at 12:15 in building 65.
Those who would like to attend from other poetry8 classes are welcomed .Next lecture will be on Monday 7th of May and a quiz will be given on 8th of May, Tuesday .

All poetry 8 students are allowed to attend any of class convenient to their schedule.

[sense]

بنات متى اختبار اللغويات مع د منيرة الازرقي ؟
ماحددت شي ولا قالت عنه شي :icon9:

[Angelica]

سالخير

بنات اللي عندها حل توبيكات الدرامـا تنزلها هنا + كيف تذاكرون .. احس اني ضايعه :bawling:

[Maybe Not]

وش تبي حصصه !
بكره أنا عندي امتحان دراما بنفس وقت الي حاطته..
كيف يعني ألحين ؟
شسوي أنـآ ؟

حصصه هالترم مسببه لي أززمه وقسسم
تو أمس امدحها على الامتحان !!
اليوم تعميهآ ..!

[دخلت E وتوهقت]

صح متى امتحان الازرقي لغويات ؟؟
بكرا او الاسبوع الجااي !!!

+

شقالت لكم د/هدى مقال بنات يوم الاربعاء؟؟
خلصت المنهج ولا لسى ووشقالت عن اللي ماسوت برزنتيشن ؟؟

:004:

[Angelica]

طيب ممكن بنات مها سلام يحطون لنا الايميل حقهم + الباسوورد .. ابي حلول التوبيكات يا جماعة :(269):

[M.A.S]

بنات ايش اسم مسرحية الدراما الثانية؟

[نــونــه]

وش تبي حصصه !
بكره أنا عندي امتحان دراما بنفس وقت الي حاطته..
كيف يعني ألحين ؟
شسوي أنـآ ؟

حصصه هالترم مسببه لي أززمه وقسسم
تو أمس امدحها على الامتحان !!
اليوم تعميهآ ..!

هي قالت اللي تبي تدخل بهالوقت تدخل .. ماقالت انو للكل .. :004:

[نــونــه]

بنات ايش اسم مسرحية الدراما الثانية؟

Look back in anger:rose:

[clever girl]

طيب ممكن بنات مها سلام يحطون لنا الايميل حقهم + الباسوورد .. ابي حلول التوبيكات يا جماعة :(269):
drama7-8@hotmail.com
drama@course

[lamo0o]

هاذي اجوبة اغلبية التوبيكات جمعتها من المصادر اللي عندي
بحوث البنات + المنتدى +المحاضرات

:004:



55934

[القصواء]

بنات الي حضروا اليوم نقد مع دكتوره يمنى

قالت فيه محاضرة اسبوع الجاي ولا لا ؟

[soce]

بنات بكرا محاضرة د نجلاء النقد الساعه كم لأني ما حضرت مع كلاسي اليوم و بحض مع كلاس بكرا ان يا الله

[Fanorita]

بناااااااااااااااااااااااااااااااات عندي إحساس كبير إن Moral imperative بيجي:wink:

اليوم بمحاضرة النثر لما سألوها البنات قالت كل التوبيكات وحددته هو بالخص :53:

يعني أتوقع بيجي إن شاء الله

الزبده اللي فهمته منه

هو إن بروكتر و ماري كلهم عندهم هالمورال وإنه مستحيل يكذبون بس وقت التحقيق كلن غير رايه


ماري يوم قامت تصارخ مع البنات :eek::eek::eek:>>>تخيلوه يصارخ ههههههههههههههههههههههههههههههه:biggrin:

وبروكتر يوم أقر witchcraft


هو معناها باختصار إنو بعض تكون عندهم الاخلاق واجبه ومستحيل يقولون شي غلط او كذب حتى في تصرفاتهم :(177):

منها بعد لما بروكتر في البدياه يوم يتجمعون في بيت باريس كان يقول إنها كلها خزعبلات :eek:


يارب يكون كلامي واضح وصح:Looking_anim:


اللي تعرف الصح تقوله أنا هذا اللي فهمته صراحه:sm5:

[kawthar Y]

الساعة 8

[Lunatic]

بنات الي حضروا اليوم نقد مع دكتوره يمنى

قالت فيه محاضرة اسبوع الجاي ولا لا ؟

ماكو محاضره خلاص .. السبت الجاي امتحان المعتذرات

[القصواء]

طيب ودكتور صلاح بالحضارة يبينا نحضر بعد اسبوع الجاي :mad: ؟

[Fanorita]

طيب ودكتور صلاح بالحضارة يبينا نحضر بعد اسبوع الجاي :mad: ؟


لا قال بس اللي تبي تعدل المشاركه حقتها:wink:

[isra kjs]

توفيه
حكايا الورد
أخت أخوها

مو تنسوني بالتخطيط
اسدحوه علشان الكل يستفيد
اولهم انا :mh12:

[Diamond brooch]

بنات الدكتوره يمنى
عندها محاضره بكره ولا لا بليزز؟؟:g2:

[القصواء]

لا قال بس اللي تبي تعدل المشاركه حقتها:wink:

يعني بتصير المحاضرة اسئلة للنات بس ؟ :(107):

[shwshw]

بنات بكرا الدراما الساعة كم الاختبار ؟؟:24_asmilies-com:

[Maybe Not]

12 ..

[~ Luna]

د.صلآح عطاكم درجة المد ؟؟

مآأحس في أحد أعطى درجآت غير الثقآفة الصحية
مآكو غيرهم:Looking_anim:

بنآت الي اخذو درجات المد لاي مادة تكتبهم

بكرة لغويات الله يستر لو تعطينآ درجآتنا:(177)::mad::007:

[أنغام الحرية]

عطونا درجات العربي \ بعض درجات تاريخ اللغه \درجات اللغويات مع د. منيره الازرقي \و اليوم بيعطينا مقال

[توفيه]

حبيباااتي...
اســــــــــــــــــــــــــــــــــراء:rose:
اخت اخــــــــــــــــــــــــــوها:rose:
حكايـــــــــــــــــــــــــــــا ورد:rose:

مشكوريييييين وفالكم النجاح والتخرج يارب وجميع بنات المسلمين :d5:

[امنيتي اتخرج]

بنات بليز اللي ما راح تحضر الحفل تعطيني بطاقتها ابي اختي تحضر ولها دعوه مني انا وامي وجميل ما انساه لها
انا بداوم الاثنين فاللي بتعطيني البطاقه تكتب هنا او عادي لو ما راح تداوم تحطها لي باي مكان وباخذها:Cry111:

[حكايا الورد]

توفيه وإسراء والبنات الي محتاجين تخطيط تاريخ اللغة بعد الشهري .. في المرفقــآت .،
بالتوفيق جمييييعاً .. :rose:

[أنغام الحرية]

بنات منيره !
ابي اعرف هي متى قالت انه في واجب ؟؟؟؟
بليز اللي حضروا اليوم يقولون شنو صار
وايميلها اذا ممكن
:106:

[view]

نـــــثر د. بتـــول

الســبت الصــباح


بنــــات رح تلاقوا في الايميل المشترك التأشير تبع جزء من

البارت الأول للرواية الثانية

و كمان رح تلاقوه في المرفقات تحت 7
7
7

:lllolll:

[طيرالحب]

الدكتوره نجلاء اعطت الدرجات

ووش اخذتوا عندها ؟؟

[طيرالحب]

بنات بليزز ايميل دـاميمه حق المحاضرات

[kawthar Y]

linguistics8@hotmail.com
classof2012

[طيرالحب]

تسلميييييييين ي عسسل:rose:

[Diamond brooch]

بناااااااااااااااااااات النقد سنه ثالثه ...:58545:


في محاضره coloridge >>>

الدكتوره وزعت ورقه اتوقع فيها تعاريف ...:064:

بليز الي عندها تنزلها هون :Looking_anim:
ماعندي هالورقه واخاف انها مهمه ....:bawling:

ربي يوفقكم وينجحكم ووتتفكون من الجامعه العله ..:004:..

انتظركم بنات هلب مي..:41jg:
كتبته هنا لاني اعرف في بنات كثير عندهم نقد ثالث ورابع:(284):..

[dready days]

اليوم اختبار المسرح :58545: روووووعه.........بس على الله مسز بنول تكون حبوبه وتعطينا ع تعبنا:060:
:(107): كمان حبيت اقول اللي تسأل عن اللغويات مع د.منيرة....الواجب نزلته بالبلاك بورد بس يميلها مو عندي:icon120:

[dready days]

:bawling: احس صرت ما عاد اعرف اكتب...............:41jg:................مالي نفس اعيد تصحيح الكلام اتوقع مفهوم و يوفي بالغرض:019:

[mrssenstive]

بنات متى موعد امتحان المعتذرات لغووويات الاحد لو الاثنين ساعه كم ووين:mh12::mh12:

دكتوره اميمه طبعا:rose:

[just noony]

كوثر ابي اسالك عن اختبار البروفشنسي حق الريدنق واللاسننق بكرا ؟ والساعه كم ؟

[clever girl]

وفي أي قاعة؟

[Naiomy]

مسا الخير ..

بريزنتيشن للي ماسووه الثقافه الصحيه مع أ.ايات بكره متى و وين ؟؟

[ms.2012]

الكويز حق الشعر يوم الثلاثاء أيش اللي داخل فيه ؟؟ والساعه كم هو أحد يعرف ؟؟:icon120:

[ms.2012]

مسا الخير ..

بريزنتيشن للي ماسووه الثقافه الصحيه مع أ.ايات بكره متى و وين ؟؟

قالت خلاص ماتبي أحد يعرض بس عطوها السي دي حق العرض وهي رح تعطي الفل مآرك.. والبحث مطبوع فكتنا :(204):

[عسولة الشرقية]

البروفنشنسي هل عليه شهاده ؟ (بليز خبر اكبد )

[Fanorita]

بنات تكففففففففففففون الله يوفقكم يارب ابي واجب النثر التوبيكات الثنين اللي عطتنا إياهم


لاني ماحليته وقالت لي سلميه بكرا اخر موعد الله يجزاكم الجنه ساعدوني


والله إني محتاسه مره الله يفرج عنكم:bawling:

[عسولة الشرقية]

بالنسبه للامتحانات الي تسالون عنها


انا مني متاكده 100 % من كلامي فياليت ترجعون تتاكدون



الشعر مع حصه بقصيده ديق-قنق للكاتب تشوماس هيني + انترودكشن للاميريكان بويتري

يوم الثلاثاء 11 ونص اعتقد



اللغويات مع اميمه الاثنين الساعه 10 المعتذرات كل المنهج والي بيحسنون من بعد المد الى اخر المنهج معك

طبعا طريقه التحسين بتاخذ نص درجه المد الاساسي الي اختبرتيه واختبارك الثاني بيكون من 15



هذا الي اعرفه والله اعلم بس ياليت تتاكدون مو تطلع معلومه غلط وتقولون كله مني :(269):



موفقات حبايبي

[عسولة الشرقية]

انا مع صلاح بس عطيني اسامي التوبيكات يمكن اقدر اساعدك بالحل

[Fanorita]

انا مع صلاح بس عطيني اسامي التوبيكات يمكن اقدر اساعدك بالحل

التوبيكات نفسهم مااعرف ايش هم :biggrin:

مشكوره عالمساعده قسم إني مره محتاسه:bawling:

[عسولة الشرقية]

:Looking_anim:

[just noony]

اختبار شعر !!! حق ايش هذا لكل البنات ولا وشو !

[just noony]

عسوله اختبار البروفشنسي اي عليه شهاده

[طيرالحب]

:icon9::bawling: من جدددها مس بتول ودرجات المشاركة اللي عطتنا

[طيرالحب]

:eek:فيه مجال امتحن السبيكنق ولاراح علي

[~ Luna]

بنااااااااااات الله يوفقهآ آلي تطيب خآطري وترد علي

كلآس الترجمة سلووى في بكرة ولا هو نفسة الثلووث

لآني كاني سمعت ان كلاس الثلوث خلتة بكرة
ابي خبر آآكييييد

[~ Luna]

بنات بليز اللي ما راح تحضر الحفل تعطيني بطاقتها ابي اختي تحضر ولها دعوه مني انا وامي وجميل ما انساه لها
انا بداوم الاثنين فاللي بتعطيني البطاقه تكتب هنا او عادي لو ما راح تداوم تحطها لي باي مكان وباخذها:Cry111:



آنآ بعد آبي
بطآقة وحدة احس مآآتككككفي !!!:mad:

[lamo0o]

قالت خلاص ماتبي أحد يعرض بس عطوها السي دي حق العرض وهي رح تعطي الفل مآرك.. والبحث مطبوع فكتنا :(204):




بحث؟؟:Looking_anim:

فيه بحث بالثقافه عير العرض اللي طلبته؟

[امنيتي اتخرج]

بنات بليز اللي ما راح تحضر الحفل تعطيني بطاقتها ابي اختي تحضر ولها دعوه مني انا وامي وجميل ما انساه لها
انا بداوم الاثنين فاللي بتعطيني البطاقه تكتب هنا او عادي لو ما راح تداوم تحطها لي باي مكان وباخذها:Cry111:

ما زلت انتظر:Cry111:

[توفيه]

بنات احس يبيلي كذاا :41jg:


موب قادره اذاكر هالتاريخ اللغه
لان دكتور جديد بالنسبه لي ومنهج جديد

ماعرف اسلوب الدكتور
واحسه كثير المنهج يمه:Cry111:

ان شاء الله اذا جيت الثلاثاء واحضر المراجعه افهم شسالفه:bawling::bawling::bawling:

[أنغام الحرية]

بنااات ايميل د. منيره الأزرقي ضروري

[innocent girl]

بنات انا من خريجة العام فاتني الحفل كنت تعبانه ماقدرت اروح للكلية استلم العباة والبطاقه... يمديني اخذهم الحين ؟؟؟؟يمكن احضر يمكن لا. واللي ترد علي بعلم اكيد اذا ماحضرت الحفل راح ابيع عليها بطاقتي:33_asmilies-com::060:

[عسولة الشرقية]

انتي تخرجتي خلاص يعني مالك اي ماده ؟؟؟


ولا لازلتي تدرسين


اتوقع اذا لازلتي تدرسين يب لك حفل


بس اكيد عندهم لسته باسامي الخريجات شيكيها

[ms.2012]

بحث؟؟:Looking_anim:

فيه بحث بالثقافه عير العرض اللي طلبته؟

أيه نفس البحث اللي نكتبه نعرضه بالبرزنتيشن :Looking_anim:

[kawthar Y]

كوثر ابي اسالك عن اختبار البروفشنسي حق الريدنق واللاسننق بكرا ؟ والساعه كم ؟
أيوا اليوم الإثنين الساعة 10 مبنى 65

[Barbie]

السلام عليكم
بنات نزلتو الجدول النهائي بالمنتدى ؟
ياريت اذا نزل احد يسدحه هنا واي فترة
متوهقه :sm18:

[تولآيّ]

:Cry111: بنات تكفون كلاس حصه البويتري الي بكرا الي من الساعه 10 لين 11 ونص
عندهم كويز بكرا ؟؟ او شي تكفون افيدوني لاني كنت غايبه الاسبوع الماضي ومادري :icon9::icon9::icon9:

[shwshw]

بنات احس يبيلي كذاا :41jg:


موب قادره اذاكر هالتاريخ اللغه
لان دكتور جديد بالنسبه لي ومنهج جديد

ماعرف اسلوب الدكتور
واحسه كثير المنهج يمه:cry111:

ان شاء الله اذا جيت الثلاثاء واحضر المراجعه افهم شسالفه:bawling::bawling::bawling:

ياحياتي لا تشيلين هم المادة صح طويلة بس صدقيني مع احمد ابراهيم تجنن هو قال راح يجيب سؤال ترجمة وحدد لنا ثلاث نصوص بس نحفظها, وسؤال تعاريف, وسؤال مقالي ياراح يكون عن البحث الي سويناه او من المنهج , انتي الي عليك تسوينه تمسكين الملزمة وكل يوم لخصي تقريبا 3 فصول ويوم الاختبار ذاكري الي انتي ملخصته بس ...

[shwshw]

بنات الي اختبروا ترجمة مع دكتورة سلوى كان الاختبار من انجليزي لعربي ؟ ولا العكس ؟

[العسل المر]

:Cry111: بنات تكفون كلاس حصه البويتري الي بكرا الي من الساعه 10 لين 11 ونص
عندهم كويز بكرا ؟؟ او شي تكفون افيدوني لاني كنت غايبه الاسبوع الماضي ومادري :icon9::icon9::icon9:
بكرة اختبار المعتذرات
و
quiz

[so100]

بنات ايش احضر في ماده الحضاره مع دكتور صلاح


ابي اعدل درجتي :Cry111:

[kawthar Y]

Sat.
28/6
Criticism
Sun.
29/6
Prose
Mon.

Translation
Tue.

Linguistics
Wed.

Drama
Thu.


Fri.


Sat.

Poetry
Sun.

Health Education
Mon.

Essay
Tue.

History of English Language
Wed.

Arabic
Thu.


Fri.


Sat.

Civilization

[Naiomy]

جدول الفاينل...

مووفقات :106:

[ms.2012]

An Introduction to American Poetry

List of Some Noted American Poets

I INTRODUCTION
American Literature: Poetry, verse in English that originates from the territory now known as the United States. American poetry differs from British or English poetry chiefly because America’s culturally diverse traditions exerted pressure on the English language, altering its tones, diction, forms, and rhythms until something identifiable as American English emerged. American poetry is verse written in this altered form of English.
The term American poetry is in some ways a contradiction. America represents a break with tradition and the invention of a new culture separate from the European past. Poetry, on the other hand, represents tradition itself, a long history of expression carried to America from a European past. American poetry thus embodies a clearly identifiable tension between tradition and innovation, past and future, and old forms and new forms. American poetry remains a hybrid, a literature that tries to separate itself from the tradition of English literature even as it adds to and alters that tradition.
American poetry could be defined differently, however, especially if it is not limited to poetry in English. Without that qualifying term, American poetry has its origins in the rich oral traditions of Native American cultures. Each of these cultures developed complex symbolic tales of the origins and history of its people, akin to epic poems in the European tradition. These tales were performed as part of rituals and passed on through memorization from one generation to the next. Some of them have been translated into English. Yet these works tend to vanish from most histories of American poetry because they were part of ongoing performances based in spoken rather than written language. Moreover, their rhythms and sounds are bound to the native languages in which they evolved. Similarly, there is a rich heritage of Spanish-language poetry written in America from the time of the earliest Spanish explorers to current Hispanic and Chicano and Chicana poetry. American poetry traditions also have thrived in many other languages, from Chinese to Yiddish, as the result of centuries of immigration to the United States.
But most people mean by American poetry those rhythmic, memorable, and significant verse forms composed in English in the United States or in lands that became the United States. This overview of more than 300 years of American poetry tracks the creation of a national literature identifiably different from that of any other nation. In the 1600s colonial poets responded to the challenges of their new world and expressed the hopes and fears of Europeans who settled there. In the years following the Declaration of Independence (1776) American poets created a patriotic poetry as a defining literature for the new nation. A powerful new kind of poetry flowered in the mid- and late 19th century among the first poets to be born and raised as actual citizens of the United States. American modernist poetry emerged in the first half of the 20th century, as many writers sought to subdue nationalist impulses in their poetry and define themselves as part of an international advance in the arts. Finally, in the second half of the 20th century a multiplicity of diverse voices redefined American poetry. For information on American prose or drama, see American Literature: Prose; American Literature: Drama.
II BEGINNINGS: 1600S THROUGH THE AMERICAN REVOLUTION (1775-1783)
From the beginning until well into the 19th century, widespread agreement existed that American poetry would be judged by British standards, and that poetry written in America was simply British poetry composed on the other side of the Atlantic Ocean. Yet in responding to British styles, American poetry took inspiration from the new physical environment and the evolving culture of the colonies. In the process it recorded a subtle shift from poets who were dependent imitators to poets who spoke for and in the language of the new nation.
A New England Puritan Poetry
Puritans who had settled in New England were the first poets of the American colonies. Most Puritan poets saw the purpose of poetry as careful Christian examination of their lives; and private poems, like Puritan diaries, served as a forum where the self could be measured daily against devout expectations. Puritan leaders deemed poetry a safe and inspiriting genre, since they considered the Bible itself to be God’s poetry. Thus poetry became the literary form that allowed devout believers to express, with God’s help, divine lessons. Other genres, such as drama and fiction, were considered dangerous, capable of generating lies and leading to idle entertainment instead of moral uplift.
B Southern Satire
Colonial poets of the 18th century still looked to British poets of their time, such as Alexander Pope and Ambrose Philips. Both were masters of pastoral verse—poetry that celebrated an idealized English countryside and rural life—and of satirical verse. Initially, this satiric tone was more prevalent in the southern colonies than in New England.
Two poets from the Maryland Colony, Ebenezer Cook and Richard Lewis, wrote accomplished satirical poems based on British pastoral models. But their poems cleverly undermine those models by poking fun at the British. Cook’s The Sot-Weed Factor (1708) is a long narrative poem written in rhyming couplets that mocks Americans as a backward people but aims its satire most effectively at the poem’s narrator, who is a British snob. Americans may be laughable, Cook suggests, but they are not as ridiculous as the British with their ignorance and prejudice about Americans.
C Revolutionary Era Patriotic Poetry
A penchant for satire continued in the American Revolutionary era, when American poetry was centered on Connecticut and a group of poets known as the Connecticut Wits (or Hartford Wits). This group, most of whose members were associated with Yale University, included David Humphreys, John Trumbull, and Joel Barlow. Along with other writers they produced The Anarchiad (1786-1787), a mock epic poem warning against the chaos that would ensue if a strong central government, as advocated by the Federalists, was not implemented in the United States. American poets used the British literary model of the mock epic as a tool to satirize and criticize British culture. Trumbull’s mock epic M’Fingal (1775-1782) lampooned the British Loyalists during the Revolution.
Revolutionary-era poets composed more than satire, however. They felt an urgency to produce a serious—even monumental—national poetry that would celebrate the country’s new democratic ideals. Epic poems, they believed, would confer importance and significance on the new nation’s culture. Educated in the classics, these poets were also lawyers, ministers, and busy citizens of the new republic. They did not bother with the question whether a new nation required new forms of poetry, but were content to use traditional forms to write about new subjects in order to create the first truly American poetry. Whereas traditional epics celebrated past accomplishments of a civilization, American epics by necessity celebrated the future. Examples of such epics include Barlow’s The Vision of Columbus (1787), later revised as The Columbiad (1807); Greenfield Hill (1794) by clergyman Timothy Dwight; and The Rising Glory of America (1772) by Philip Freneau. All offered the prospect of America as the future culmination of civilization.
Freneau, the most accomplished patriot poet, was not associated with Connecticut. He was born in New York City and later lived in a variety of places. His range of experience and clarity of expression made him a very popular poet, widely regarded as the first poet who spoke for the entire country. Much of his poetry focused on America’s future greatness, but he also wrote on other subjects, including the beauties of the natural world. Such lyric poems as “The Wild Honey Suckle” (1786) and “On a Honey Bee” (1809), can be seen as the first expressions in American poetry of a deep spiritual engagement with nature.
D Early Black Voices
Slavery was the great contradiction in the new nation that had affirmed in its Declaration of Independence a basic belief that “all men are created equal” and have “inalienable” rights to “life, liberty, and the pursuit of happiness.” Many of the country’s early leaders believed that African slaves were intellectually inferior to whites. Phillis Wheatley [1753?-1784], a Boston slave, challenged those racist assumptions early on. Brought to America as a young girl, Wheatley was educated by her masters in English and Latin. She became an accomplished poet, and her Poems on Various Subjects, Religious and Moral (1773) was published in England. Like the white patriot poets, Wheatley wrote in 18th-century literary forms. But her highly structured and elegant poetry nonetheless expressed her frustration at enslavement and desire to reach a heaven where her color and social position would no longer keep her from singing in her full glory.
Wheatley’s poetry, along with that of other slaves, begins a powerful African American tradition in American poetry. In 1746 Lucy Terry, a slave in Massachusetts who was also educated by her owner, wrote the first poem to be published by a black American: "Bar's Fight." The poem, which was not published until 1855, describes the victims and survivors of a Native American raid against settlers. It was followed by Jupiter Hammon’s biblically inspired, hymnlike verse, “An Evening Thought; Salvation by Christ, with Penitential Cries” (1761).
Born at the time of the founding of the nation, African American poetry retained its concern with the burning issues of the American Revolution, including liberty, independence, equality, and identity. It also expressed African American experiences of divided loyalties. Just as white Americans experienced divided loyalties in the republic’s early years—unsure whether their identity derived from the new country or from their European past—so too did African Americans, who looked always to their African past and to their problematic American present.
III THE 19TH CENTURY
The 19th century began with high hopes for poetic accomplishment. The first comprehensive anthologies of American poetry appeared in the 1820s, 1830s, and 1840s. In the first half of the century poets sought to entertain, to inform, and to put into memorable language America’s history, myths, manners, and topography, but they did not seek to forge a radical new poetic tradition. Their poetry built upon tradition, and they met the first great goal of American poetry: that it be able to compete in quality, intelligence, and breadth with British poetry. But just as they achieved this goal, poetic aspirations began to change. By the mid-19th century the new goal for American poetry was to create something very different from British poetry. Innovative poets, particularly Walt Whitman and Emily Dickinson, led the way.
A The Fireside Poets
William Cullen Bryant, Henry Wadsworth Longfellow, James Russell Lowell, Oliver Wendell Holmes, and John Greenleaf Whittier constituted a group sometimes called the Fireside Poets. They earned this nickname because they frequently used the hearth as an image of comfort and unity, a place where families gathered to learn and tell stories. These tremendously popular poets also were widely read around the hearthsides of 19th-century American families. The consensus of American critics was that the Fireside Poets first put American poetry on an equal footing with British poetry.
B Abolitionist Poetry
During the 19th century, black and white poets wrote about the abolition of slavery and the emancipation of slaves. George Moses Horton, a North Carolina slave, was the first Southern black poet. Joshua McCarter Simpson was a black poet from Ohio whose memorable songs of emancipation were set to popular tunes and sung by fugitive slaves. Frances Ellen Watkins Harper wrote passionate abolitionist and early feminist poems that called both blacks and whites to action against oppression. Black poets appropriated the language and style of the predominantly white, mainstream patriotic America. In using mainstream language, these black poets showed their white audiences how differently songs of liberty and freedom sounded from the perspective of those who had been left out of the “all men are created equal” equation. Black poets also often expressed themselves with irony and ambiguity so that different audiences heard different intonations and meanings, a double voicing that would become central to later African American writing.
White abolitionist poets, from their more privileged social position, could afford to be more confrontational about the issue of slavery. Whittier was a fiery abolitionist whose numerous antislavery poems were collected in Voices of Freedom (1846). Longfellow’s Poems on Slavery (1842) forms a long-forgotten but illuminating contribution to the tradition of American political poems. Lowell also was an ardent abolitionist.
C Mid-Century Innovation
Many 20th-century critics date the beginnings of a uniquely American poetry to the appearance of Leaves of Grass (1855) by Walt Whitman. Whitman drew a good deal of inspiration from New England writer Ralph Waldo Emerson. In his 1844 essay “The Poet,” Emerson called for a radically new American poet who would make poetry out of the rough experience of America and break free of conventional patterns of writing and thinking. Emerson could not answer his own call; his poetry, always challenging and often cryptic and highly symbolic, tended to fall into conventional rhythms and remained aloof from day-to-day reality. After reading Leaves of Grass, Emerson realized that Whitman might be the first truly original American poet: “I greet you at the beginning of a great career,” he wrote to Whitman.
D Walt Whitman
A newspaper reporter and editor, Whitman first published poems that were traditional in form and conventional in sentiment. In the early 1850s, however, he began experimenting with a mixture of the colloquial diction and prose rhythms of journalism; the direct address and soaring voice of oratory; the repetitions and catalogues of the Bible; and the lyricism, music, and drama of popular opera. He sought to write a democratic poetry—a poetry vast enough to contain all the variety of burgeoning 19th-century American culture. In 1855 Whitman published the first edition of Leaves of Grass, the book he would revise and expand for the rest of his life. The first edition contained only 12 untitled poems. The longest poem, which he eventually named “Song of Myself,” has become one of the most discussed poems in all of American poetry. In it Whitman constructs a democratic “I,” a voice that sets out to celebrate itself and the rapture of its senses experiencing the world, and in so doing to celebrate the unfettered potential of every individual in a democratic society. Emerging from a working class family, Whitman grew up in New York City and on nearby Long Island. He was one of the first working-class American poets and one of the first writers to compose poetry that is set in and draws its energy from the bustling, crowded, diverse streets of the city.
Whitman later added a variety of poems to Leaves of Grass. They include “Crossing Brooklyn Ferry” (1856), in which Whitman addresses both contemporary and future riders of the ferry, and “Out of the Cradle Endlessly Rocking” (1860), a reverie about his boyhood on the shores of Long Island. Other poems were about affection between men and about the experiences and sufferings of soldiers in the Civil War (1861-1865).
Whitman’s work was initially embraced more fully in Britain than in the United States. An influential 1872 anthology, American Poems, published in England and edited by English literary critic William Michael Rossetti, was dedicated to Whitman and gave him more space than any other poet. From then on American poetry was judged not by how closely it approximated the best British verse, but by how radically it divorced itself from British tradition. Rough innovation came to be admired over polished tradition.
E Emily Dickinson
Emily Dickinson, along with Whitman, is one of the most original and demanding poets in American literature. Living her whole life in Amherst, Massachusetts, Dickinson composed nearly 2,000 short, untitled poems. Despite her productivity, only a handful of Dickinson’s poems were published before her death in 1886. Most of her poems borrow the repeated four-line, rhymed stanzas of traditional Christian hymns, with two lines of four-beat meter alternating with two lines of three-beat meter. A master of imagery that makes the spiritual materialize in surprising ways, Dickinson managed manifold variations within her simple form: She used imperfect rhymes, subtle breaks of rhythm, and idiosyncratic syntax and punctuation to create fascinating word puzzles, which have produced greatly divergent interpretations over the years.
Dickinson’s intensely private poems cover a wide range of subjects and emotions. She was fascinated with death, and many of her poems struggle with the contradictions and seeming impossibility of an afterlife. She carries on an argument with God, sometimes expressing faith in him and sometimes denying his existence. Many of her poems record moments of freezing paralysis that could be death, pain, doubt, fear, or love. She remains one of the most private and cryptic voices in American literature.
Because of Dickinson’s prominence, it sometimes seems that she was the only female poet in America in the 19th century. Yet nearly a hundred women published poetry in the first six decades of the 1800s, and most early anthologies of American poetry contained far more women writers than appeared in anthologies in the first half of the 20th century. Dickinson’s work can be better understood if read in the context of these poets. Lydia Huntley Sigourney, for example, was a popular early-19th-century poet whose work set the themes for other female poets: motherhood, sentiment, and the ever-present threat of death, particularly to children. She developed, among other forms, the same hymn stanza that Dickinson used, although she experimented with fewer variations on it than Dickinson, and her poetry was simple and accessible. The work of Sigourney, along with that of Elizabeth Oakes Smith, Frances Sargent Locke Osgood, Alice and Phoebe Cary, and Sarah Morgan Bryan Piatt, was dismissed by most 20th-century critics until feminist critics began to rediscover the ironic edge to what had before seemed to be conventional sentimentality. The work of these and other women poets offers a window into the way 19th-century culture constructed and understood such concepts as gender, love, marriage, and motherhood.

G Toward the 20th Century
Whitman had hoped that his work would generate new energy in American poetry. But when he died in 1892, the American poetic scene was relatively barren. Most of the major poets had died and no successor to Whitman was emerging. William Vaughn Moody, a poet born in Indiana, wrote The Masque of Judgement (1900), which was the first in a series of verse dramas about humanity’s spiritual tortures and eventual spiritual victory. Stephen Crane, best known for his novels, published two volumes of poetry, The Black Riders and Other Lines (1895) and War Is Kind and Other Poems (1899). In their tone and fragmented form, his grim poems anticipate the concerns of many modern writers. But neither poet lived far into the 20th century.
IV THE 20TH CENTURY
By 1900 the United States was far different from the new nation it had been a hundred years earlier. Westward expansion, waves of immigration, and increasing urbanization all combined to create a physically larger, more populous, and far more diverse country than its founders could have imagined. These changes are tracked more visibly in America’s fiction than in its poetry, but the nation’s growing diversity is evident in the diverse voices of 20th-century American poets. American poetry in the opening decades of the century displayed far less unity than most anthologies and critical histories indicate. Shifting allegiances, evolving styles, and the sheer number of poets make it difficult to categorize 20th-century poetry.
A Regionalism
In the last decades of the 19th century, American literature had entered a period of regionalism, exploring the stories, dialects, and idiosyncrasies of the many regions of the United States. Dialect poetry—written in exaggerated accents and colorful idioms—became a sensation for a time though it produced little of lasting value. However, one major poet who rose to fame on the basis of his dialect poems was Paul Laurence Dunbar, a black writer from Ohio. Dunbar’s dialect poems, which romanticized the life of slaves in the pre-Civil War South, were extremely popular. His volumes Oak and Ivy (1893) and Majors and Minors (1895) brought attention to African American literature, although the dialect poems later embarrassed many black poets. Dunbar also wrote many nondialect poems and initiated through his work an important debate in African American literature about what voices and materials are appropriate for black writers.
B Modernism
The early 20th century was a time of huge industrial expansion in America, and many writers found the conditions for creating art unfavorable in a culture that was so focused on business and making money. Part of the struggle among modernist writers concerned the possibility or even desirability of continuing to develop a specifically American poetic tradition. Many writers exiled themselves in cultures that seemed more conducive to art, while others decided to stay and resist through their poetry the growing materialistic culture. One way to categorize the major modernist poets is to separate those who left the United States and wrote most of their poetry as expatriates in Europe from those who stayed in America. Among the expatriates are Ezra Pound, Hilda Doolittle (who wrote under the pen name H. D.), T. S. Eliot, and Gertrude Stein. Those who stayed in the United States include William Carlos Williams, Hart Crane, Wallace Stevens, Marianne Moore, Carl Sandburg, Vachel Lindsay, Langston Hughes, and Robinson Jeffers. Most of the latter group visited Europe at some point and flirted with the idea of staying there to write.
B1 The Whitman Tradition
During the first half of the 20th century a number of poets carried on what we might call a Whitman tradition. They wrote in free verse—a rhythm that responds to the specific subject instead of adhering to a predetermined, set meter. And they strived for a poetry that would have a wide appeal and would help define and develop a democracy.
B2 Imagism and After
Early in Williams’s career he belonged to a group led by Ezra Pound called the imagists. Pound, Williams, and Doolittle all met at the University of Pennsylvania and became part of Pound’s self-declared movement to remake poetry, or, as he said, to “make it new.” The imagist credo called for new rhythms, clear and stripped-down images, free choice of subject matter, concentrated or compressed poetic expression, and use of common speech. The poets who subscribed to this credo applied it differently: Williams found his new rhythms in everyday speech, while Pound sought his new rhythms in adaptations in English of Chinese, Greek, Provencal (southern France), and other poetic traditions. Pound’s Personae (1909) demonstrated his remarkable ability to write intense, beautiful experimental verse, echoing poems from other languages. Pound introduced the poetry of Hilda Doolittle as the model of imagism, and her chiseled and often erotic Sea Garden poems (1916) became for many the movement’s signature book. H. D., Pound, and Williams left imagism behind, but it continued to influence some poets for a number of years under the leadership of Amy Lowell, a descendent of James Russell Lowell.
Pound took his modernist revolution in a surprising new direction, building his brief imagist poems into a jagged collage that eventually became a massive long poem, The Cantos. While the individual poems that went to make up the Cantos were published in various forms from 1917 until the 1960s, the first complete English language edition of the poem was published in 1970 as The Cantos of Ezra Pound. This lifelong work invites comparisons with Whitman’s lifelong project, Leaves of Grass. Pound distanced himself from Whitman, however, disliking what he saw as the 19th-century poet’s over infatuation with America. Pound believed the poet should be a citizen of the world and a contemporary of all the ages, able to learn from excellence wherever and whenever it appeared. He and Williams debated this issue for years, Williams insisting that original poetry could emerge only from the local and the present and Pound insisting that fresh beauty could come only by encounters with the distant and the past, the lost and forgotten. Whereas Williams’s Paterson insists on staying in one place, Pound’s Cantos move through time, languages, and cultures—leading Pound eventually to a flirtation with fascism, which he embraced while in Italy during World War II (1939-1945). Yet both of their compilations share a collage style, built of sudden, unexpected juxtapositions of disparate materials. Doolittle also turned to long poems with her trilogy, The Walls Do Not Fall (1944), Tribute to Angels (1945), and The Flowering of the Rod (1946). In these works she turned to Egyptian mythology, ancient history, and a reconfiguration of Christian tradition as a response to the violence of World War II.
An important result of Pound’s push to build long poems out of imagist fragments was his editing of The Waste Land (1922) by T. S. Eliot. For many readers this poem ranks as the great statement of despair in the aftermath of World War I (1914-1918). Before its publication Pound condensed and reshaped this highly allusive, darkly suggestive work, which is built on fertility myths and the legend of the Holy Grail. The Waste Land has been read in many different ways, its meaning as unstable and fluid as its diverse imagery. Eliot, born in St. Louis, Missouri, eventually became a British citizen and joined the Church of England. Much of his later verse, including Ash-Wednesday (1930) and Four Quartets (1943), relates to his spiritual concerns and suggests a religious pathway out of despair and toward a renewed sense of purpose.
Some American poets tried writing responses to The Waste Land. Williams was incensed by Eliot’s poem, because its erudition suggested that readers of poetry had to be scholars. Williams, meanwhile, championed a poetry more accessible to the general reader, a poetry written in the language of the common person. He saw his own Paterson as a kind of local and optimistic answer to Eliot’s cosmopolitan poem of pessimism. Hart Crane, too, viewed his epic-length The Bridge (1930) as an answer to Eliot. Crane sought a way to bridge the American past to a productive American future and reveal the wasteland of the present as a necessary stepping-stone to that future. The Bridge is a difficult poem, written in highly charged, symbolic language and suffused in dense imagery, much of it derived from American myth, legend, and history. Crane eventually came to believe it was a failure. Instead of answering Eliot, Robinson Jeffers wrote some of the bleakest poetry in all of American literature from his isolated home in California. His bitter vision, a kind of post-Waste Land, is of a cold natural world that would be better off cleansed of humanity. With no hint of redemption, Jeffers’s poetry anticipates the dark tones of the kind of science fiction that imagines the world after ecological or nuclear holocaust.
Other modernist poets focused even more intently on experimentation with language and form. Some of their work was quite playful and some of it showed the influence of dada and surrealism—European movements that undermined and mocked the value and traditions of art. E. E.
C After Modernism
As noted earlier a period of inaction in American poetry followed the death of the great 19th-century poets and lasted until the modernist poets arose a decade or so into the 20th century. A similar lull came after the great poems by the modernists in the 1920s, 1930s, and 1940s. American poetry paused as many poets imitated what had been innovative a few decades before and produced the new formal poems that New Critics called for. By the 1950s most of the major modernists were still alive but they seldom produced innovative work and no longer had any interest in continuing to lead a poetic revolution.
Sylvia Plath in Ariel (1966). Steeped in Freudian analysis and imagery, these poems tracked psychological breakdowns; and a number of confessional poets, including Sexton and Plath, took their own lives. Their poetry explored tortured family relationships and examined the female psyche, the female body, and the dynamics of mother-daughter interactions. Sexton’s and Plath’s poetry influenced the development of feminist poetry—poetry by women that questioned the traditional roles society assigned to females. Confessional poetry in general served as a counterforce to the prevailing mood of the country in the 1950s and 1960s, when the family was presented in the mass media as the source of stability and happiness.
D New Directions
Many poets who had begun writing formal poetry in the 1950s and 1960s underwent changes similar to Rich’s, making striking alterations in their verse forms and opening their poetry up to more experimental rhythms and more radical social thoughts. Some poets, including Richard Wilbur, Donald Justice, and Anthony Hecht, have devoted their entire careers to writing elegantly structured poems, becoming among the most accomplished formal poets in American history. Others who started out as formalists gave up allegiance to traditional forms to explore and respond to radical political change by opening up their own work to new forms and structures. W. S. Merwin, an admirer of Pound’s early work, wrote remarkable poetry in traditional forms in the 1950s. However, in The Moving Target (1963) he suddenly abandoned punctuation and created a haunting, new prophetic voice, free of conventional techniques. In later books such as The Lice (1967), he addressed societal ills, including the prospect of ecological disaster as a result of human irresponsibility. American poetry became less formal and more political, more engaged in the immediate moment during the 1960s, as America faced the social turbulence of the Civil Rights movement and protests against the Vietnam War (1959-1975).
This break from new formalism traces back to Black Mountain College, an experimental school in North Carolina, where Charles Olson taught, and where poets Robert Creeley, Robert Duncan, Ed Dorn, and others studied in the early 1950s (see Black Mountain Poets). Olson owed much to Pound but had less interest in Pound’s love of tradition than in his attempt to construct a kind of poetic compendium of history and myth, as in the Cantos. Olson’s great work was The Maximus Poems (1953-1975), which focused on his hometown of Gloucester, Massachusetts, and owed much to Williams’s epic based on the city of Paterson. Olson developed a theory of poetry called projective verse, which called for poets to return to an organic basis for their form, to a poetic line controlled by the physiology of the poet's breathing instead of by pre-set meter. He urged an open form that would allow for poetry to be a process of discovery, where form emerged from the needs of the particular poem. Olson’s student Duncan later described the experience of reading and writing the new poetry as an “opening of the field,” the entering of a poetic space where one could wander and explore instead of being led along predetermined pathways. Olson’s call influenced many writers, who formed a variety of dissident groups from coast to coast—all dedicated to undermining the orthodox insistence on predetermined, closed form.
In the 1960s black poetry underwent redefinition and turned to a more confrontational style. Rejecting the old gradualist and integrationist model that saw blacks merging into white society, it became a poetry written in support of social revolution and sought to be a distinctive voice of the black community. Gwendolyn Brooks had written poems about the Chicago slums since 1945, and in 1950 she became the first black to win a Pulitzer Prize for poetry. But with the black arts movement of the 1960s, she redefined her poetic mission, writing more directly for a black audience and becoming, as she said, more “non-compromising.” LeRoi Jones, who later took the name Amiri Baraka, was a central figure in the movement. He specifically rejected Eliot and the modernists and embraced the chanting, rebellious voices of Whitman, Williams, and the Beats. The new black poetry turned to the streets of the black communities for its language and to the powerful tradition of African American jazz, blues, and rock music for its rhythms. It also aligned itself with the poetry of oppressed people in other countries, particularly developing countries around the world.
A number of black poets developed the poetic possibilities of black urban speech in politically aware, performance-based writing, which sometimes involved chanting or rapping. Another direction away from formal modernism led to deep image poetry, a name given to the work of Robert Bly, James Wright, Galway Kinnell, and others who were born in the 1920s. These poets rejected what they saw as capitalism’s sterile public facade and turned to what Bly called a “deep inwardness,” looking to internal spiritual sources that lie deep within the self and taking leaps into the unconscious to retrieve mysterious, disturbing, and often healing images.
Yet another direction led to the New York School, a group of artists, writers, and musicians in which John Ashbery and Frank O’Hara represented poetry. Ashbery and O’Hara wrote wildly experimental poetry that derived from dada and from an embrace of Whitman’s open-road aesthetic—namely a desire to keep moving and to celebrate change, instability, and chance. The resulting poems provide verbal trips through landscapes of shifting discourse with no center and no fixed voice: modes of speech alternate rapidly, high diction is mixed with street slang, and moments from different realms of experience are juxtaposed. This work influenced Susan Howe, Charles Bernstein, and others who are known as Language poets. This group attacks the idea of a unified voice and, through collaborative work, disguises or erases the distinctions between individual poets. In doing so, the Language poets work to undermine all the institutions that are built on America’s infatuation with individualism, including much of American poetry itself.
It is impossible to name the myriad schools and movements in American poetry that flourished near the turn of the century, when vigorous and unbridled variety marked the poetic scene more than ever. Philip Levine, Frank Bidart, Sharon Olds, Louise Glück, and many other poets were developing the confessional poem in surprising ways, focusing autobiographical examination in more intense lyric forms than earlier confessional poets had. C. K. Williams added to the confessional poem a sometimes brutal narrative edge as he extended the possibilities (and the length) of the long line favored by Whitman and Ginsberg. Jorie Graham extended the poetic line as well, developing Stevens’s philosophical poetry through fascinating labyrinths of speculation and imagery that cross and juxtapose the multiple cultures of her experience.
E Multicultural Voices
In the last decades of the 20th century American poetry gained much of its energy from a melding of America’s many distinct cultural traditions. For example, Asian American writers—themselves part of a diverse and multicultured community—turned increasingly to poetry as a means of exploring both their integration into American culture and their growing sense of distinctive ethnic identity within that culture. Garrett Hongo, Alan Chong Lau, John Yau, and Cathy Song are just a few of the recent and remarkable poets whose work expands the definition of Asian American poetry.
Chicano and Chicana poetry also has a long history in America, much of it centered in New Mexico, where Victor Bernal published intricate lyrics in the early 20th century. But the amount of poetry increased dramatically after 1967, when Quinto Sol Publications was founded to publish Chicano and Chicana work. José Montoya, Rudolfo Anaya, Lorna Dee Cervantes, Cherrie Moraga, Benjamin Alire Sбenz, and Gary Soto are among the innovative Chicano and Chicana writers. Much of their work blends poetry and prose, Spanish and English, and oral and written traditions.
Native Americans, of course, have the longest sustained tradition of poetry in North America, and many of the powerful Native American writers at work today ground their work in the long-standing traditions and oral cultures of their peoples. As with Chicano and Chicana writers, some Native American poets wrote in English early in the nation’s history. But most Native American poetry in English is of relatively recent origin.
The history of American poetry is usually told as the story of a handful of great poets, from Anne Bradstreet through William Cullen Bryant, Walt Whitman, Emily Dickinson, Ezra Pound, T. S. Eliot, Marianne Moore, and Robert Frost. But these poets form a small part of America’s vast poetic production, much of which is by people whose names are forgotten. Journals and newspapers preserve much of their work, and scholars have just begun to rediscover 18th- and 19th-century American poetry in those archives. Similarly, much of the most popular, politically astute, and radical 20th-century poetry appeared in workers’ newspapers and journals and popular songbooks—and a great deal of this work still awaits rediscovery.
With the vast amount of culturally diverse poetry being written today and with the growth and reach of the Internet, American poetry may well be approaching its most prolific stage. The Internet dwarfs the archives of the past in its ability to make thousands of new poetic voices available to everyone who cares to read them. “To have great poets, there must be great audiences, too,” wrote Whitman in 1855. His challenge remains valid today: The poets are out there, thousands of them, waiting for the audience that will be worthy of them.
Contributed By: Ed Folsom, e-mail: ed-folsom@uiowa.edu
Research Librarian: Kathy Magarrell, e-mail: kathy-magarrell@uiowa.edu
“American Literature: Poetry” Microsoft® Encarta® Encyclopedia 2001 http://encarta.msn.com/encyclopedia_761596671/American_Literature_Poetry.html


دكتوره حصه حآطته بالقروب :Looking_anim:
بنآت لاحظت أنو أغلب البنآت مايعرفون عن الكويز ولآ يدرون شسالفه :eek:... ومآلومهم حآطه أعلان بقروبها اللي محد يدخله :007:.. فإذا نآوين تقولون لهآ تأجل لأن الأغلبيه مايعرفون فخلونا نتفق من بدري .. لآن وراي أختبار ميد تيرم ومآبي أذاكر عالفآضي وإذا صآر بكره بالمحاضره قلتوا لها تأجل ...:41jg:

[ms.2012]

An Introduction to American Poetry

List of Some Noted American Poets

I INTRODUCTION
American Literature: Poetry, verse in English that originates from the territory now known as the United States. American poetry differs from British or English poetry chiefly because America’s culturally diverse traditions exerted pressure on the English language, altering its tones, diction, forms, and rhythms until something identifiable as American English emerged. American poetry is verse written in this altered form of English.
The term American poetry is in some ways a contradiction. America represents a break with tradition and the invention of a new culture separate from the European past. Poetry, on the other hand, represents tradition itself, a long history of expression carried to America from a European past. American poetry thus embodies a clearly identifiable tension between tradition and innovation, past and future, and old forms and new forms. American poetry remains a hybrid, a literature that tries to separate itself from the tradition of English literature even as it adds to and alters that tradition.
American poetry could be defined differently, however, especially if it is not limited to poetry in English. Without that qualifying term, American poetry has its origins in the rich oral traditions of Native American cultures. Each of these cultures developed complex symbolic tales of the origins and history of its people, akin to epic poems in the European tradition. These tales were performed as part of rituals and passed on through memorization from one generation to the next. Some of them have been translated into English. Yet these works tend to vanish from most histories of American poetry because they were part of ongoing performances based in spoken rather than written language. Moreover, their rhythms and sounds are bound to the native languages in which they evolved. Similarly, there is a rich heritage of Spanish-language poetry written in America from the time of the earliest Spanish explorers to current Hispanic and Chicano and Chicana poetry. American poetry traditions also have thrived in many other languages, from Chinese to Yiddish, as the result of centuries of immigration to the United States.
But most people mean by American poetry those rhythmic, memorable, and significant verse forms composed in English in the United States or in lands that became the United States. This overview of more than 300 years of American poetry tracks the creation of a national literature identifiably different from that of any other nation. In the 1600s colonial poets responded to the challenges of their new world and expressed the hopes and fears of Europeans who settled there. In the years following the Declaration of Independence (1776) American poets created a patriotic poetry as a defining literature for the new nation. A powerful new kind of poetry flowered in the mid- and late 19th century among the first poets to be born and raised as actual citizens of the United States. American modernist poetry emerged in the first half of the 20th century, as many writers sought to subdue nationalist impulses in their poetry and define themselves as part of an international advance in the arts. Finally, in the second half of the 20th century a multiplicity of diverse voices redefined American poetry. For information on American prose or drama, see American Literature: Prose; American Literature: Drama.
II BEGINNINGS: 1600S THROUGH THE AMERICAN REVOLUTION (1775-1783)
From the beginning until well into the 19th century, widespread agreement existed that American poetry would be judged by British standards, and that poetry written in America was simply British poetry composed on the other side of the Atlantic Ocean. Yet in responding to British styles, American poetry took inspiration from the new physical environment and the evolving culture of the colonies. In the process it recorded a subtle shift from poets who were dependent imitators to poets who spoke for and in the language of the new nation.
A New England Puritan Poetry
Puritans who had settled in New England were the first poets of the American colonies. Most Puritan poets saw the purpose of poetry as careful Christian examination of their lives; and private poems, like Puritan diaries, served as a forum where the self could be measured daily against devout expectations. Puritan leaders deemed poetry a safe and inspiriting genre, since they considered the Bible itself to be God’s poetry. Thus poetry became the literary form that allowed devout believers to express, with God’s help, divine lessons. Other genres, such as drama and fiction, were considered dangerous, capable of generating lies and leading to idle entertainment instead of moral uplift.
B Southern Satire
Colonial poets of the 18th century still looked to British poets of their time, such as Alexander Pope and Ambrose Philips. Both were masters of pastoral verse—poetry that celebrated an idealized English countryside and rural life—and of satirical verse. Initially, this satiric tone was more prevalent in the southern colonies than in New England.
Two poets from the Maryland Colony, Ebenezer Cook and Richard Lewis, wrote accomplished satirical poems based on British pastoral models. But their poems cleverly undermine those models by poking fun at the British. Cook’s The Sot-Weed Factor (1708) is a long narrative poem written in rhyming couplets that mocks Americans as a backward people but aims its satire most effectively at the poem’s narrator, who is a British snob. Americans may be laughable, Cook suggests, but they are not as ridiculous as the British with their ignorance and prejudice about Americans.
C Revolutionary Era Patriotic Poetry
A penchant for satire continued in the American Revolutionary era, when American poetry was centered on Connecticut and a group of poets known as the Connecticut Wits (or Hartford Wits). This group, most of whose members were associated with Yale University, included David Humphreys, John Trumbull, and Joel Barlow. Along with other writers they produced The Anarchiad (1786-1787), a mock epic poem warning against the chaos that would ensue if a strong central government, as advocated by the Federalists, was not implemented in the United States. American poets used the British literary model of the mock epic as a tool to satirize and criticize British culture. Trumbull’s mock epic M’Fingal (1775-1782) lampooned the British Loyalists during the Revolution.
Revolutionary-era poets composed more than satire, however. They felt an urgency to produce a serious—even monumental—national poetry that would celebrate the country’s new democratic ideals. Epic poems, they believed, would confer importance and significance on the new nation’s culture. Educated in the classics, these poets were also lawyers, ministers, and busy citizens of the new republic. They did not bother with the question whether a new nation required new forms of poetry, but were content to use traditional forms to write about new subjects in order to create the first truly American poetry. Whereas traditional epics celebrated past accomplishments of a civilization, American epics by necessity celebrated the future. Examples of such epics include Barlow’s The Vision of Columbus (1787), later revised as The Columbiad (1807); Greenfield Hill (1794) by clergyman Timothy Dwight; and The Rising Glory of America (1772) by Philip Freneau. All offered the prospect of America as the future culmination of civilization.
Freneau, the most accomplished patriot poet, was not associated with Connecticut. He was born in New York City and later lived in a variety of places. His range of experience and clarity of expression made him a very popular poet, widely regarded as the first poet who spoke for the entire country. Much of his poetry focused on America’s future greatness, but he also wrote on other subjects, including the beauties of the natural world. Such lyric poems as “The Wild Honey Suckle” (1786) and “On a Honey Bee” (1809), can be seen as the first expressions in American poetry of a deep spiritual engagement with nature.
D Early Black Voices
Slavery was the great contradiction in the new nation that had affirmed in its Declaration of Independence a basic belief that “all men are created equal” and have “inalienable” rights to “life, liberty, and the pursuit of happiness.” Many of the country’s early leaders believed that African slaves were intellectually inferior to whites. Phillis Wheatley [1753?-1784], a Boston slave, challenged those racist assumptions early on. Brought to America as a young girl, Wheatley was educated by her masters in English and Latin. She became an accomplished poet, and her Poems on Various Subjects, Religious and Moral (1773) was published in England. Like the white patriot poets, Wheatley wrote in 18th-century literary forms. But her highly structured and elegant poetry nonetheless expressed her frustration at enslavement and desire to reach a heaven where her color and social position would no longer keep her from singing in her full glory.
Wheatley’s poetry, along with that of other slaves, begins a powerful African American tradition in American poetry. In 1746 Lucy Terry, a slave in Massachusetts who was also educated by her owner, wrote the first poem to be published by a black American: "Bar's Fight." The poem, which was not published until 1855, describes the victims and survivors of a Native American raid against settlers. It was followed by Jupiter Hammon’s biblically inspired, hymnlike verse, “An Evening Thought; Salvation by Christ, with Penitential Cries” (1761).
Born at the time of the founding of the nation, African American poetry retained its concern with the burning issues of the American Revolution, including liberty, independence, equality, and identity. It also expressed African American experiences of divided loyalties. Just as white Americans experienced divided loyalties in the republic’s early years—unsure whether their identity derived from the new country or from their European past—so too did African Americans, who looked always to their African past and to their problematic American present.
III THE 19TH CENTURY
The 19th century began with high hopes for poetic accomplishment. The first comprehensive anthologies of American poetry appeared in the 1820s, 1830s, and 1840s. In the first half of the century poets sought to entertain, to inform, and to put into memorable language America’s history, myths, manners, and topography, but they did not seek to forge a radical new poetic tradition. Their poetry built upon tradition, and they met the first great goal of American poetry: that it be able to compete in quality, intelligence, and breadth with British poetry. But just as they achieved this goal, poetic aspirations began to change. By the mid-19th century the new goal for American poetry was to create something very different from British poetry. Innovative poets, particularly Walt Whitman and Emily Dickinson, led the way.
A The Fireside Poets
William Cullen Bryant, Henry Wadsworth Longfellow, James Russell Lowell, Oliver Wendell Holmes, and John Greenleaf Whittier constituted a group sometimes called the Fireside Poets. They earned this nickname because they frequently used the hearth as an image of comfort and unity, a place where families gathered to learn and tell stories. These tremendously popular poets also were widely read around the hearthsides of 19th-century American families. The consensus of American critics was that the Fireside Poets first put American poetry on an equal footing with British poetry.
B Abolitionist Poetry
During the 19th century, black and white poets wrote about the abolition of slavery and the emancipation of slaves. George Moses Horton, a North Carolina slave, was the first Southern black poet. Joshua McCarter Simpson was a black poet from Ohio whose memorable songs of emancipation were set to popular tunes and sung by fugitive slaves. Frances Ellen Watkins Harper wrote passionate abolitionist and early feminist poems that called both blacks and whites to action against oppression. Black poets appropriated the language and style of the predominantly white, mainstream patriotic America. In using mainstream language, these black poets showed their white audiences how differently songs of liberty and freedom sounded from the perspective of those who had been left out of the “all men are created equal” equation. Black poets also often expressed themselves with irony and ambiguity so that different audiences heard different intonations and meanings, a double voicing that would become central to later African American writing.
White abolitionist poets, from their more privileged social position, could afford to be more confrontational about the issue of slavery. Whittier was a fiery abolitionist whose numerous antislavery poems were collected in Voices of Freedom (1846). Longfellow’s Poems on Slavery (1842) forms a long-forgotten but illuminating contribution to the tradition of American political poems. Lowell also was an ardent abolitionist.
C Mid-Century Innovation
Many 20th-century critics date the beginnings of a uniquely American poetry to the appearance of Leaves of Grass (1855) by Walt Whitman. Whitman drew a good deal of inspiration from New England writer Ralph Waldo Emerson. In his 1844 essay “The Poet,” Emerson called for a radically new American poet who would make poetry out of the rough experience of America and break free of conventional patterns of writing and thinking. Emerson could not answer his own call; his poetry, always challenging and often cryptic and highly symbolic, tended to fall into conventional rhythms and remained aloof from day-to-day reality. After reading Leaves of Grass, Emerson realized that Whitman might be the first truly original American poet: “I greet you at the beginning of a great career,” he wrote to Whitman.
D Walt Whitman
A newspaper reporter and editor, Whitman first published poems that were traditional in form and conventional in sentiment. In the early 1850s, however, he began experimenting with a mixture of the colloquial diction and prose rhythms of journalism; the direct address and soaring voice of oratory; the repetitions and catalogues of the Bible; and the lyricism, music, and drama of popular opera. He sought to write a democratic poetry—a poetry vast enough to contain all the variety of burgeoning 19th-century American culture. In 1855 Whitman published the first edition of Leaves of Grass, the book he would revise and expand for the rest of his life. The first edition contained only 12 untitled poems. The longest poem, which he eventually named “Song of Myself,” has become one of the most discussed poems in all of American poetry. In it Whitman constructs a democratic “I,” a voice that sets out to celebrate itself and the rapture of its senses experiencing the world, and in so doing to celebrate the unfettered potential of every individual in a democratic society. Emerging from a working class family, Whitman grew up in New York City and on nearby Long Island. He was one of the first working-class American poets and one of the first writers to compose poetry that is set in and draws its energy from the bustling, crowded, diverse streets of the city.
Whitman later added a variety of poems to Leaves of Grass. They include “Crossing Brooklyn Ferry” (1856), in which Whitman addresses both contemporary and future riders of the ferry, and “Out of the Cradle Endlessly Rocking” (1860), a reverie about his boyhood on the shores of Long Island. Other poems were about affection between men and about the experiences and sufferings of soldiers in the Civil War (1861-1865).
Whitman’s work was initially embraced more fully in Britain than in the United States. An influential 1872 anthology, American Poems, published in England and edited by English literary critic William Michael Rossetti, was dedicated to Whitman and gave him more space than any other poet. From then on American poetry was judged not by how closely it approximated the best British verse, but by how radically it divorced itself from British tradition. Rough innovation came to be admired over polished tradition.
E Emily Dickinson
Emily Dickinson, along with Whitman, is one of the most original and demanding poets in American literature. Living her whole life in Amherst, Massachusetts, Dickinson composed nearly 2,000 short, untitled poems. Despite her productivity, only a handful of Dickinson’s poems were published before her death in 1886. Most of her poems borrow the repeated four-line, rhymed stanzas of traditional Christian hymns, with two lines of four-beat meter alternating with two lines of three-beat meter. A master of imagery that makes the spiritual materialize in surprising ways, Dickinson managed manifold variations within her simple form: She used imperfect rhymes, subtle breaks of rhythm, and idiosyncratic syntax and punctuation to create fascinating word puzzles, which have produced greatly divergent interpretations over the years.
Dickinson’s intensely private poems cover a wide range of subjects and emotions. She was fascinated with death, and many of her poems struggle with the contradictions and seeming impossibility of an afterlife. She carries on an argument with God, sometimes expressing faith in him and sometimes denying his existence. Many of her poems record moments of freezing paralysis that could be death, pain, doubt, fear, or love. She remains one of the most private and cryptic voices in American literature.
Because of Dickinson’s prominence, it sometimes seems that she was the only female poet in America in the 19th century. Yet nearly a hundred women published poetry in the first six decades of the 1800s, and most early anthologies of American poetry contained far more women writers than appeared in anthologies in the first half of the 20th century. Dickinson’s work can be better understood if read in the context of these poets. Lydia Huntley Sigourney, for example, was a popular early-19th-century poet whose work set the themes for other female poets: motherhood, sentiment, and the ever-present threat of death, particularly to children. She developed, among other forms, the same hymn stanza that Dickinson used, although she experimented with fewer variations on it than Dickinson, and her poetry was simple and accessible. The work of Sigourney, along with that of Elizabeth Oakes Smith, Frances Sargent Locke Osgood, Alice and Phoebe Cary, and Sarah Morgan Bryan Piatt, was dismissed by most 20th-century critics until feminist critics began to rediscover the ironic edge to what had before seemed to be conventional sentimentality. The work of these and other women poets offers a window into the way 19th-century culture constructed and understood such concepts as gender, love, marriage, and motherhood.

G Toward the 20th Century
Whitman had hoped that his work would generate new energy in American poetry. But when he died in 1892, the American poetic scene was relatively barren. Most of the major poets had died and no successor to Whitman was emerging. William Vaughn Moody, a poet born in Indiana, wrote The Masque of Judgement (1900), which was the first in a series of verse dramas about humanity’s spiritual tortures and eventual spiritual victory. Stephen Crane, best known for his novels, published two volumes of poetry, The Black Riders and Other Lines (1895) and War Is Kind and Other Poems (1899). In their tone and fragmented form, his grim poems anticipate the concerns of many modern writers. But neither poet lived far into the 20th century.
IV THE 20TH CENTURY
By 1900 the United States was far different from the new nation it had been a hundred years earlier. Westward expansion, waves of immigration, and increasing urbanization all combined to create a physically larger, more populous, and far more diverse country than its founders could have imagined. These changes are tracked more visibly in America’s fiction than in its poetry, but the nation’s growing diversity is evident in the diverse voices of 20th-century American poets. American poetry in the opening decades of the century displayed far less unity than most anthologies and critical histories indicate. Shifting allegiances, evolving styles, and the sheer number of poets make it difficult to categorize 20th-century poetry.
A Regionalism
In the last decades of the 19th century, American literature had entered a period of regionalism, exploring the stories, dialects, and idiosyncrasies of the many regions of the United States. Dialect poetry—written in exaggerated accents and colorful idioms—became a sensation for a time though it produced little of lasting value. However, one major poet who rose to fame on the basis of his dialect poems was Paul Laurence Dunbar, a black writer from Ohio. Dunbar’s dialect poems, which romanticized the life of slaves in the pre-Civil War South, were extremely popular. His volumes Oak and Ivy (1893) and Majors and Minors (1895) brought attention to African American literature, although the dialect poems later embarrassed many black poets. Dunbar also wrote many nondialect poems and initiated through his work an important debate in African American literature about what voices and materials are appropriate for black writers.
B Modernism
The early 20th century was a time of huge industrial expansion in America, and many writers found the conditions for creating art unfavorable in a culture that was so focused on business and making money. Part of the struggle among modernist writers concerned the possibility or even desirability of continuing to develop a specifically American poetic tradition. Many writers exiled themselves in cultures that seemed more conducive to art, while others decided to stay and resist through their poetry the growing materialistic culture. One way to categorize the major modernist poets is to separate those who left the United States and wrote most of their poetry as expatriates in Europe from those who stayed in America. Among the expatriates are Ezra Pound, Hilda Doolittle (who wrote under the pen name H. D.), T. S. Eliot, and Gertrude Stein. Those who stayed in the United States include William Carlos Williams, Hart Crane, Wallace Stevens, Marianne Moore, Carl Sandburg, Vachel Lindsay, Langston Hughes, and Robinson Jeffers. Most of the latter group visited Europe at some point and flirted with the idea of staying there to write.
B1 The Whitman Tradition
During the first half of the 20th century a number of poets carried on what we might call a Whitman tradition. They wrote in free verse—a rhythm that responds to the specific subject instead of adhering to a predetermined, set meter. And they strived for a poetry that would have a wide appeal and would help define and develop a democracy.
B2 Imagism and After
Early in Williams’s career he belonged to a group led by Ezra Pound called the imagists. Pound, Williams, and Doolittle all met at the University of Pennsylvania and became part of Pound’s self-declared movement to remake poetry, or, as he said, to “make it new.” The imagist credo called for new rhythms, clear and stripped-down images, free choice of subject matter, concentrated or compressed poetic expression, and use of common speech. The poets who subscribed to this credo applied it differently: Williams found his new rhythms in everyday speech, while Pound sought his new rhythms in adaptations in English of Chinese, Greek, Provencal (southern France), and other poetic traditions. Pound’s Personae (1909) demonstrated his remarkable ability to write intense, beautiful experimental verse, echoing poems from other languages. Pound introduced the poetry of Hilda Doolittle as the model of imagism, and her chiseled and often erotic Sea Garden poems (1916) became for many the movement’s signature book. H. D., Pound, and Williams left imagism behind, but it continued to influence some poets for a number of years under the leadership of Amy Lowell, a descendent of James Russell Lowell.
Pound took his modernist revolution in a surprising new direction, building his brief imagist poems into a jagged collage that eventually became a massive long poem, The Cantos. While the individual poems that went to make up the Cantos were published in various forms from 1917 until the 1960s, the first complete English language edition of the poem was published in 1970 as The Cantos of Ezra Pound. This lifelong work invites comparisons with Whitman’s lifelong project, Leaves of Grass. Pound distanced himself from Whitman, however, disliking what he saw as the 19th-century poet’s over infatuation with America. Pound believed the poet should be a citizen of the world and a contemporary of all the ages, able to learn from excellence wherever and whenever it appeared. He and Williams debated this issue for years, Williams insisting that original poetry could emerge only from the local and the present and Pound insisting that fresh beauty could come only by encounters with the distant and the past, the lost and forgotten. Whereas Williams’s Paterson insists on staying in one place, Pound’s Cantos move through time, languages, and cultures—leading Pound eventually to a flirtation with fascism, which he embraced while in Italy during World War II (1939-1945). Yet both of their compilations share a collage style, built of sudden, unexpected juxtapositions of disparate materials. Doolittle also turned to long poems with her trilogy, The Walls Do Not Fall (1944), Tribute to Angels (1945), and The Flowering of the Rod (1946). In these works she turned to Egyptian mythology, ancient history, and a reconfiguration of Christian tradition as a response to the violence of World War II.
An important result of Pound’s push to build long poems out of imagist fragments was his editing of The Waste Land (1922) by T. S. Eliot. For many readers this poem ranks as the great statement of despair in the aftermath of World War I (1914-1918). Before its publication Pound condensed and reshaped this highly allusive, darkly suggestive work, which is built on fertility myths and the legend of the Holy Grail. The Waste Land has been read in many different ways, its meaning as unstable and fluid as its diverse imagery. Eliot, born in St. Louis, Missouri, eventually became a British citizen and joined the Church of England. Much of his later verse, including Ash-Wednesday (1930) and Four Quartets (1943), relates to his spiritual concerns and suggests a religious pathway out of despair and toward a renewed sense of purpose.
Some American poets tried writing responses to The Waste Land. Williams was incensed by Eliot’s poem, because its erudition suggested that readers of poetry had to be scholars. Williams, meanwhile, championed a poetry more accessible to the general reader, a poetry written in the language of the common person. He saw his own Paterson as a kind of local and optimistic answer to Eliot’s cosmopolitan poem of pessimism. Hart Crane, too, viewed his epic-length The Bridge (1930) as an answer to Eliot. Crane sought a way to bridge the American past to a productive American future and reveal the wasteland of the present as a necessary stepping-stone to that future. The Bridge is a difficult poem, written in highly charged, symbolic language and suffused in dense imagery, much of it derived from American myth, legend, and history. Crane eventually came to believe it was a failure. Instead of answering Eliot, Robinson Jeffers wrote some of the bleakest poetry in all of American literature from his isolated home in California. His bitter vision, a kind of post-Waste Land, is of a cold natural world that would be better off cleansed of humanity. With no hint of redemption, Jeffers’s poetry anticipates the dark tones of the kind of science fiction that imagines the world after ecological or nuclear holocaust.
Other modernist poets focused even more intently on experimentation with language and form. Some of their work was quite playful and some of it showed the influence of dada and surrealism—European movements that undermined and mocked the value and traditions of art. E. E.
C After Modernism
As noted earlier a period of inaction in American poetry followed the death of the great 19th-century poets and lasted until the modernist poets arose a decade or so into the 20th century. A similar lull came after the great poems by the modernists in the 1920s, 1930s, and 1940s. American poetry paused as many poets imitated what had been innovative a few decades before and produced the new formal poems that New Critics called for. By the 1950s most of the major modernists were still alive but they seldom produced innovative work and no longer had any interest in continuing to lead a poetic revolution.
Sylvia Plath in Ariel (1966). Steeped in Freudian analysis and imagery, these poems tracked psychological breakdowns; and a number of confessional poets, including Sexton and Plath, took their own lives. Their poetry explored tortured family relationships and examined the female psyche, the female body, and the dynamics of mother-daughter interactions. Sexton’s and Plath’s poetry influenced the development of feminist poetry—poetry by women that questioned the traditional roles society assigned to females. Confessional poetry in general served as a counterforce to the prevailing mood of the country in the 1950s and 1960s, when the family was presented in the mass media as the source of stability and happiness.
D New Directions
Many poets who had begun writing formal poetry in the 1950s and 1960s underwent changes similar to Rich’s, making striking alterations in their verse forms and opening their poetry up to more experimental rhythms and more radical social thoughts. Some poets, including Richard Wilbur, Donald Justice, and Anthony Hecht, have devoted their entire careers to writing elegantly structured poems, becoming among the most accomplished formal poets in American history. Others who started out as formalists gave up allegiance to traditional forms to explore and respond to radical political change by opening up their own work to new forms and structures. W. S. Merwin, an admirer of Pound’s early work, wrote remarkable poetry in traditional forms in the 1950s. However, in The Moving Target (1963) he suddenly abandoned punctuation and created a haunting, new prophetic voice, free of conventional techniques. In later books such as The Lice (1967), he addressed societal ills, including the prospect of ecological disaster as a result of human irresponsibility. American poetry became less formal and more political, more engaged in the immediate moment during the 1960s, as America faced the social turbulence of the Civil Rights movement and protests against the Vietnam War (1959-1975).
This break from new formalism traces back to Black Mountain College, an experimental school in North Carolina, where Charles Olson taught, and where poets Robert Creeley, Robert Duncan, Ed Dorn, and others studied in the early 1950s (see Black Mountain Poets). Olson owed much to Pound but had less interest in Pound’s love of tradition than in his attempt to construct a kind of poetic compendium of history and myth, as in the Cantos. Olson’s great work was The Maximus Poems (1953-1975), which focused on his hometown of Gloucester, Massachusetts, and owed much to Williams’s epic based on the city of Paterson. Olson developed a theory of poetry called projective verse, which called for poets to return to an organic basis for their form, to a poetic line controlled by the physiology of the poet's breathing instead of by pre-set meter. He urged an open form that would allow for poetry to be a process of discovery, where form emerged from the needs of the particular poem. Olson’s student Duncan later described the experience of reading and writing the new poetry as an “opening of the field,” the entering of a poetic space where one could wander and explore instead of being led along predetermined pathways. Olson’s call influenced many writers, who formed a variety of dissident groups from coast to coast—all dedicated to undermining the orthodox insistence on predetermined, closed form.
In the 1960s black poetry underwent redefinition and turned to a more confrontational style. Rejecting the old gradualist and integrationist model that saw blacks merging into white society, it became a poetry written in support of social revolution and sought to be a distinctive voice of the black community. Gwendolyn Brooks had written poems about the Chicago slums since 1945, and in 1950 she became the first black to win a Pulitzer Prize for poetry. But with the black arts movement of the 1960s, she redefined her poetic mission, writing more directly for a black audience and becoming, as she said, more “non-compromising.” LeRoi Jones, who later took the name Amiri Baraka, was a central figure in the movement. He specifically rejected Eliot and the modernists and embraced the chanting, rebellious voices of Whitman, Williams, and the Beats. The new black poetry turned to the streets of the black communities for its language and to the powerful tradition of African American jazz, blues, and rock music for its rhythms. It also aligned itself with the poetry of oppressed people in other countries, particularly developing countries around the world.
A number of black poets developed the poetic possibilities of black urban speech in politically aware, performance-based writing, which sometimes involved chanting or rapping. Another direction away from formal modernism led to deep image poetry, a name given to the work of Robert Bly, James Wright, Galway Kinnell, and others who were born in the 1920s. These poets rejected what they saw as capitalism’s sterile public facade and turned to what Bly called a “deep inwardness,” looking to internal spiritual sources that lie deep within the self and taking leaps into the unconscious to retrieve mysterious, disturbing, and often healing images.
Yet another direction led to the New York School, a group of artists, writers, and musicians in which John Ashbery and Frank O’Hara represented poetry. Ashbery and O’Hara wrote wildly experimental poetry that derived from dada and from an embrace of Whitman’s open-road aesthetic—namely a desire to keep moving and to celebrate change, instability, and chance. The resulting poems provide verbal trips through landscapes of shifting discourse with no center and no fixed voice: modes of speech alternate rapidly, high diction is mixed with street slang, and moments from different realms of experience are juxtaposed. This work influenced Susan Howe, Charles Bernstein, and others who are known as Language poets. This group attacks the idea of a unified voice and, through collaborative work, disguises or erases the distinctions between individual poets. In doing so, the Language poets work to undermine all the institutions that are built on America’s infatuation with individualism, including much of American poetry itself.
It is impossible to name the myriad schools and movements in American poetry that flourished near the turn of the century, when vigorous and unbridled variety marked the poetic scene more than ever. Philip Levine, Frank Bidart, Sharon Olds, Louise Glück, and many other poets were developing the confessional poem in surprising ways, focusing autobiographical examination in more intense lyric forms than earlier confessional poets had. C. K. Williams added to the confessional poem a sometimes brutal narrative edge as he extended the possibilities (and the length) of the long line favored by Whitman and Ginsberg. Jorie Graham extended the poetic line as well, developing Stevens’s philosophical poetry through fascinating labyrinths of speculation and imagery that cross and juxtapose the multiple cultures of her experience.
E Multicultural Voices
In the last decades of the 20th century American poetry gained much of its energy from a melding of America’s many distinct cultural traditions. For example, Asian American writers—themselves part of a diverse and multicultured community—turned increasingly to poetry as a means of exploring both their integration into American culture and their growing sense of distinctive ethnic identity within that culture. Garrett Hongo, Alan Chong Lau, John Yau, and Cathy Song are just a few of the recent and remarkable poets whose work expands the definition of Asian American poetry.
Chicano and Chicana poetry also has a long history in America, much of it centered in New Mexico, where Victor Bernal published intricate lyrics in the early 20th century. But the amount of poetry increased dramatically after 1967, when Quinto Sol Publications was founded to publish Chicano and Chicana work. José Montoya, Rudolfo Anaya, Lorna Dee Cervantes, Cherrie Moraga, Benjamin Alire Sбenz, and Gary Soto are among the innovative Chicano and Chicana writers. Much of their work blends poetry and prose, Spanish and English, and oral and written traditions.
Native Americans, of course, have the longest sustained tradition of poetry in North America, and many of the powerful Native American writers at work today ground their work in the long-standing traditions and oral cultures of their peoples. As with Chicano and Chicana writers, some Native American poets wrote in English early in the nation’s history. But most Native American poetry in English is of relatively recent origin.
The history of American poetry is usually told as the story of a handful of great poets, from Anne Bradstreet through William Cullen Bryant, Walt Whitman, Emily Dickinson, Ezra Pound, T. S. Eliot, Marianne Moore, and Robert Frost. But these poets form a small part of America’s vast poetic production, much of which is by people whose names are forgotten. Journals and newspapers preserve much of their work, and scholars have just begun to rediscover 18th- and 19th-century American poetry in those archives. Similarly, much of the most popular, politically astute, and radical 20th-century poetry appeared in workers’ newspapers and journals and popular songbooks—and a great deal of this work still awaits rediscovery.
With the vast amount of culturally diverse poetry being written today and with the growth and reach of the Internet, American poetry may well be approaching its most prolific stage. The Internet dwarfs the archives of the past in its ability to make thousands of new poetic voices available to everyone who cares to read them. “To have great poets, there must be great audiences, too,” wrote Whitman in 1855. His challenge remains valid today: The poets are out there, thousands of them, waiting for the audience that will be worthy of them.
Contributed By: Ed Folsom, e-mail: ed-folsom@uiowa.edu
Research Librarian: Kathy Magarrell, e-mail: kathy-magarrell@uiowa.edu
“American Literature: Poetry” Microsoft® Encarta® Encyclopedia 2001 http://encarta.msn.com/encyclopedia_761596671/American_Literature_Poetry.html


دكتوره حصه حآطته بالقروب :Looking_anim:
بنآت لاحظت أنو أغلب البنآت مايعرفون عن الكويز ولآ يدرون شسالفه :eek:... ومآلومهم حآطه أعلان بقروبها اللي محد يدخله :007:.. فإذا نآوين تقولون لهآ تأجل لأن الأغلبيه مايعرفون فخلونا نتفق من بدري .. لآن وراي أختبار ميد تيرم ومآبي أذاكر عالفآضي وإذا صآر بكره بالمحاضره قلتوا لها تأجل ...:41jg:

[J A M I L A H]

صبآيآ , آختبـآر الـ proficiency يَ اللي اليوم آختبرنآه

كيف نعرف نتيجته ؟ واذا فيه شهآده من من نستلمها ؟

[عهد العتيبي]

بنات اللة يعطيكم العافية اللي اختبر مع سلوى كوز من اي مجموعة تحطلي الكلمات اللي جابتها بليزززززز

[isra kjs]

توفيه وإسراء والبنات الي محتاجين تخطيط تاريخ اللغة بعد الشهري .. في المرفقــآت .،
بالتوفيق جمييييعاً .. :rose:

يا بعد تشبدي (كبدي) انتي
:d5:

كفو

[view]

شــعر د. حـــــصة

كلام مباشرة من الدكتورة

يعني موثوق :lllolll:

بالنسبة للكويز فقط للنظام القديم و رح يكون الساعة 8

اللي حاب إنو يمتحن من مجموعات أخرى حياه الله و عليه دراسة

قصيدة Digging و Introduction of American Poetry

و بعدين تحطون سؤال على كل واحد وتجيبونهم معكم

اللي ما يبي يمتحن رح يتحدد الكويز للنظام الجديد في الأسبوع القادم

بالإضافة إلى أنو مجموعة الثلاثاء ( بكرة) رح تأخذهم الدكتورة من 10 إلى 1:30

مسهله إن شــــاء اللـــــه

:(204)::(204)::(204):

[Lunatic]

شــعر د. حـــــصة

كلام مباشرة من الدكتورة

يعني موثوق :lllolll:

بالنسبة للكويز فقط للنظام القديم و رح يكون الساعة 8

اللي حاب إنو يمتحن من مجموعات أخرى حياه الله و عليه دراسة

قصيدة digging و introduction of american poetry

و بعدين تحطون سؤال على كل واحد وتجيبونهم معكم

اللي ما يبي يمتحن رح يتحدد الكويز للنظام الجديد في الأسبوع القادم

بالإضافة إلى أنو مجموعة الثلاثاء ( بكرة) رح تأخذهم الدكتورة من 10 إلى 1:30

مسهله إن شــــاء اللـــــه

:(204)::(204)::(204):

يعني حنا الي نحط الأسئله ؟؟؟؟؟؟؟؟
ولو بيتحدد الاسبوع الجاي قصدها متى السبت ؟؟؟؟ <<< اذا عندك فكره عن الموضوع

[ms.2012]

شــعر د. حـــــصة

كلام مباشرة من الدكتورة

يعني موثوق :lllolll:

بالنسبة للكويز فقط للنظام القديم و رح يكون الساعة 8

اللي حاب إنو يمتحن من مجموعات أخرى حياه الله و عليه دراسة

قصيدة digging و introduction of american poetry

و بعدين تحطون سؤال على كل واحد وتجيبونهم معكم

اللي ما يبي يمتحن رح يتحدد الكويز للنظام الجديد في الأسبوع القادم

بالإضافة إلى أنو مجموعة الثلاثاء ( بكرة) رح تأخذهم الدكتورة من 10 إلى 1:30

مسهله إن شــــاء اللـــــه

:(204)::(204)::(204):
:71::71::71::71::71:
الله يبشرك بالخيــــر هم وأنزاح

[so100]

بنات بليزززز ايش بيسالنا عنه دكتور صلاح

في

النثر+ حضاره



ماقد شاركت معه :Cry111:

[~ Luna]

ألنثر

تطلعين معلومة غريبة و ممتعة عن النمل او الفيل =)

[~ Luna]

للبنآت الي متأزمين يقولون مآلقو شرح للقصيدة

جصلتة هنآ
> http://www.shmoop.com/digging-heaney/stanza-1-summary.html

:004:

[تولآيّ]

مافهمت كيف بكرا كويز الشعر للنظام القديم الساعه 8 وهم عندهم الصبح محاضرة تاريخ اللغه !

[mrssenstive]

مافهمت كيف بكرا كويز الشعر للنظام القديم الساعه 8 وهم عندهم الصبح محاضرة تاريخ اللغه !

دكتووور تاريخ اللغه خلص المنهج:rose:

[تولآيّ]

دكتووور تاريخ اللغه خلص المنهج:rose:

ايوا بس قال بيعطي الدرجات !

[القصواء]

ألنثر

تطلعين معلومة غريبة و ممتعة عن النمل او الفيل =)

من جدك :Looking_anim:

متى قال هالكلام دكتور صلاح ؟

[القصواء]

بنات بليز بسألكم

الحين لو جابت لنا دكتوره حصه بالاختبار بكره نتكلم عن الايمج اوف ديث او الدروينق وش اكتب :Cry111:

[ms.2012]

بنات بليز بسألكم

الحين لو جابت لنا دكتوره حصه بالاختبار بكره نتكلم عن الايمج اوف ديث او الدروينق وش اكتب :Cry111:

أتوقع الجواب اللي بملزمه تسعه حقت فوزيه عند الثيمز :Looking_anim:
يآآآآآآرب ماتغير الأسئله بكره وتطيح وجيهنآ :cheese:

[ms.2012]

القصواء أو أي أحد يعرف متى رح يكون أختبار المعتذرات حق حصه .؟؟؟:g2:

[القصواء]

^
قصدك هذا

5-Water:
Water is very significant because water is the source of life. Without water the land will become dusty/ a land that is not fertile. It is infertile; it does not reproduce. Water here is a source for rebirth and at the same time it is a source for death. You remember eh Phoenician sailor.

احس مره قصير ماينفع جواب لسؤال مقالي :Looking_anim:

[~ Luna]

من جدك :Looking_anim:

متى قال هالكلام دكتور صلاح ؟


يآحبي لك هآلكلآم له 3 آسآبيع
انا سكشني الربوع الصبح



> مآعليك د. صلآح علية شطحآآت :biggrin:

[القصواء]

^
حنا سكشن السبت وماقالنا هالكلام ابد :\

يمكن قالكم انتو بس وهل البحث الي نطلع عنه بحسبه كمشاركة ؟



مس 2012

اعتقد الاختبار الساعه 10 بنفس وقت المحاضرة

[ms.2012]

1-Death:
If we consider the poem, we will find that the poem is having this kind of cycle which is related to the cycle of nature, the cycle of history, and the cycles of so many things. After death, there is always a rebirth because birth and death are linked together. Out of death, life comes out. After the death of nature in winter, spring is a season of regeneration and rebirth and so on. After the death of human being, another human being is born. We notice the theme of death in ‘The Burial of the Dead’ and in ‘Death By Water’. In ‘The Burial of the Dead’, we have death means life. You remember the title of ‘‘The Burial of the Dead’ is from the Book of Common Prayer which is a ritual in Christianity that the dead must be respected and buried. After this death, there is resurrection which is again connected to Christianity. After Christ was crucified, he resurrected in order to offer salvation. Christ death here redeemed life. If we look at ‘Death by Water’, we will find that even though water is the source of life, but also it could be the source of death through drowning. Drowning here is not only physical, but it is also spiritual. If man has no faith, he will drown in his sins.

وهذا بعد لأنو السؤال عن الأيمج أوف ديث +referring to death by water وتضيفين بعض التفاصيل من السكشن نفسه يجي آسآي :(204):

[توفيه]

بنات الله يعافيكم
في محاضره تاريخ اللغه مراجعه بكرا؟
ولا خلاص بس اختبار عندكم؟
اذا فيه محاضره وين والساعه كم؟
شووووووووووووووووووووووووكرن:rose:

[نــونــه]

بنات الله يعافيكم
في محاضره تاريخ اللغه مراجعه بكرا؟
ولا خلاص بس اختبار عندكم؟
اذا فيه محاضره وين والساعه كم؟
شووووووووووووووووووووووووكرن:rose:

مرحباً

فيه محاضرتين
السسسساعه8
في قاعتين 13 و 12

وفيه السسسساعه 10
قاعه 12 اتووووقعععع
:rose:

[view]

يعني حنا الي نحط الأسئله ؟؟؟؟؟؟؟؟
ولو بيتحدد الاسبوع الجاي قصدها متى السبت ؟؟؟؟ <<< اذا عندك فكره عن الموضوع

هذا كلام الدكتورة

بس توقعات البنات إنها يمكن تخلينا نبدل الأسئلة فكل وحدة رح تحل أسئلة الثانية و الله أعلم

بالنسبة للتأجيل قالت رح تشوف يمكن الأحد أو الأثنين بس ما قالت السبت ليطمئن قلبك:biggrin:

ربـــك يسهلــها بإذنــــه إن شـــاء الله

:rose::rose::rose:

[echo]

هاااااااااااااي صبايا :cool:
حماس يابنات بس يومين مادخلت الا 3 صفحات ..>> قربت الامتحانات:33_asmilies-com:

بالنسبه لاختبار اللغويات بيكون يوم الاثنين الجاي الساعه 10
نوعين اما تكونين معتذره يعني من الاساس ماحضرتي الميد بيكون في جزئية الميد ومن 30
اما البنات اللي يبون تحسين راح تقسم درجتهم على 2 ويختبرون من 15 على الجزئيه اللي بعد الميد الى النهايه ( بس تعاريف مقرون بامثله) بس لازم تنحفظ صمم والدرجه اللي تجيبينها تنضاف للدرجه السابقه
مثلا جبتي 18 من 30 تنقسم على 2 يصير 9 وبالتحسين جبتي كامل 15 تصير 9+15=24:sm5::sm5::sm5::sm5::sm5:

هذا الكلام متاكده منه 100\100
وسلامتكم:lllolll:

[echo]

نثر بتول
التوبيكين 1. uniculturalism and multiculturalism
2. epiphany (Adela's realization of her mistake)

[تولآيّ]

اليوم انا اختبرت كويز شعر
طبعا الدكتوره قالت لنا نجيب سؤالين سؤال عن الامريكان بويتري وسؤال عن الديقنق القصيده
ونكون عارفين الجواب ومحضرينه

طبعا بالمحاضره قالت طلعو ورقة a4 وقالت رقمو الصفحه وجه وقفا وبكل وجه سؤال
وتكتبون السؤالين
بعدين الحل تحللون كل السؤالين على هيئة آوت لاين
وتختارون واحد من الاسئله وتجاوبونه كامل
يعني السؤالين تحلينهم اوت لاين بس تختارين واحد تحلينه كامل !

وبالتوفيـق

[القصواء]

شكرا تولاي :004:

[طيرالحب]

كيف تقسم الدرجه على 2وهي من 30

اتوقع تقسمها على 3

ومن كم يبدا تحسين الدرجات؟وهل اعطتكم التويتل مارك؟

[طيرالحب]

وش اخذتوا باللغويات اليوم وكيف طريقة الفاينل؟؟

[Rawan A]

بنات ممكن ايميل دكتورة / منيرة المهاشير ...

[M.A.S]

بنات احد يقوله كيف تقسيم درجات العربي؟
الميد ٢٠ وال برزنتيشن ١٠؟ بس من ٣٠ يعني؟

وآخر محاضرة ايش قالت لكم؟ وايش خططت؟

[الريـــــم]

بنات اليوم شريت ملازم الترجمه جزئين
وكثيييير المنهج معقوله كل شي معانا الأيآت والاحاديث والكلمات
واللي يعافيكم لاتطنشوني :biggrin:

[طيرالحب]

بنات وش اخذتوا في الدراما مع مس بتول؟؟

[echo]

طير الحب

لا ما اعطتنا التوتل مارك بس قالت اللي جايبين 20 وتحت الافضل يدخلون الاختبار

والتقسيم على 2 مش 3 اذا 3 بتنخسف درجاتنا :41jg::41jg:


الفاينل تعاريف تحفظينها صم على قولتها مع امثله وشورت كويسشن وبتجيب زي سوال البونس اللي بالميد
بس راح يكون سوال اساسي مش بونس :mh001::mh001:

[echo]

بنات لو محده منكم تنزل key answer حق اللغويات من بعد الميد

وابي ايميل الكومي اللي على الهوتميل :sm12::sm12::sm12::sm12::sm12:

[الريـــــم]

8 8
aelkomy@hotmail.com (aelkomy@hotmail.com)

هذا ايميله

[um_amanah]

بنات قالت لكم شيء د سلوى. عن امتحان الفاينل امتى آخر محاضرة:Cry111:

[رحلة عمر]

الفاينل مع سلوي قالت سؤال من ١٠ عن الثيوري وخططت معانا بالملزمه الثانيه
وقالت القطعه خارجي

[طيرالحب]

:bawling::bawling::bawling:

ليه تجيبه ايساي

echo شلووون نحل السوال لو جاءبالفاينل:bawling:

[um_amanah]

مشكورة ممكن. تقول
ي لي التخطيط من الملزمة الأولى او الثانية والصفحات. الله يوفقكي دنيا وآخره وهل. فيه سور. أحاديث. امتحان. الفاينل.

[Diamond brooch]

بنااااااااااات احد يعرف متى اختبار المعتذرات
تبع دراما بتول ..؟:33_asmilies-com:

[الريـــــم]

بنات محاضرة تاريخ اللغة أمس الثلاثاء
شنو عطاكم الدكتور حدد اشياء أو تكلم عن الفاينل؟
ياليت اللي حضرت تفيدنا