last year......old plan group

[quiet heartl]

السلام عليكم
احد يعرف اسما المسرحيات الي بناخذها بالدراما هالكورس

[heavy rain20]

بنات مين حلت واجب اللغويات تعلمني الرابط الي اخذتت منه انا بحثت وحترت هل الي طلعته صح اولا ترى من جد فاقده الذاكره بالجات باللغويات صار لي سنه ما درست هالماده ههههههههههههه

[Naiomy]

بنات مين حلت واجب اللغويات تعلمني الرابط الي اخذتت منه انا بحثت وحترت هل الي طلعته صح اولا ترى من جد فاقده الذاكره بالجات باللغويات صار لي سنه ما درست هالماده ههههههههههههه

:Looking_anim:

هههههههههههه الحال من بعضه :lllolll:

اقرب شي افتحي الدكشنري :019: تلاقين الترانسكريبشن يم الكلمه :004:

Good Luck :019:

[رنومه..]

بنات مين حلت واجب اللغويات تعلمني الرابط الي اخذتت منه انا بحثت وحترت هل الي طلعته صح اولا ترى من جد فاقده الذاكره بالجات باللغويات صار لي سنه ما درست هالماده ههههههههههههه

اكتبي بقوقل،
British transcription dictionary
و يطلع لك..
اون لاين دكشنوي..

[isra kjs]

كيف حالك إسراء؟إسراء رحت الكلية وقالت لي أن أمتحان التصفية يمكن يمكن يكون 13 ذو القعدة وقالت لي أن أجي يوم الأربعاء الجاي عشان أعرف نتيجة المحمول وموعد جدول التصفيه المؤكد

متى راح أفك من هذي الكلية :cry111: يعني ليش النتيجة للحين ما طلعت :cry111:بنات الي يعرف إيميل دصلاح ود مها سلام يحطه هنا ولي لكم دعوة من القلب بالتوفيق



الله يجزاك الجنة

انتبهي من كلمة ( ممكن)
انتي تعرفين شنو صار لي بسبب هالكلمة

انا شاء الله تنجحين بالمحمول وما تحتاجين تصفية

شوفي مادة تاريخ اللغة واهم شي اذا اسمي موجود مع اللي يحق لهم دخول الامتحان

[um_amanah]

الله يسمع منك إسراء إنشاء الله لما أروح راح أشوف متى راح يكون تاريخ اللغة وراح أسئل إذا أسمك موجود ولا لاء وإنشاء الله أسمك موجود:rose:

[~ Luna]

مسا الخير

بليييييز حبايبي
اللي تعرف متى ينزل نتيجة التظلم تخبرني


ولاتنسووووني من صالح دعائكمم:bawling:

[حكايا الورد]

السلام عليكم
احد يعرف اسما المسرحيات الي بناخذها بالدراما هالكورس




Six characters in search of an authur by pirandello
-Pygmalion by Bernard shaw
-The Riders to the sea

[حكايا الورد]

مسا الخير

بليييييز حبايبي
اللي تعرف متى ينزل نتيجة التظلم تخبرني


ولاتنسووووني من صالح دعائكمم:bawling:

اسألي السكرتاريه أكيد عندهم خبر.،
وموفقه ان شاء الله ^^

[~ Luna]

حكايا الورد انا ماعندي شي يعني ما اداوم

:rose: ممكن تسالينهم فضلا لا امرا
:004:

[mrssenstive]

:cheese:مساءكم خير في احد يدرس بروززز عند دكتووره صباح اذا في بنزل لكم تفرررريغ قديم محفوووظ بالجهاز عندي:icon120:مافي راح احذفه:(284):

[دخلت E وتوهقت]

:cheese:مساءكم خير في احد يدرس بروززز عند دكتووره صباح اذا في بنزل لكم تفرررريغ قديم محفوووظ بالجهاز عندي:icon120:مافي راح احذفه:(284):



يب
ياليت الله يعافيك


وحده من صديقاتي تبيهم


:004::rose:

[munee.s]

:cheese:مساءكم خير في احد يدرس بروززز عند دكتووره صباح اذا في بنزل لكم تفرررريغ قديم محفوووظ بالجهاز عندي:icon120:مافي راح احذفه:(284):

مساء النور اييييييه ايييه فيه فيه:biggrin: يلا ننتظر قبل الحذف :33_asmilies-com: << تحمست تفكرها مسابقه:biggrin:

[حكايا الورد]

حكايا الورد انا ماعندي شي يعني ما اداوم

:rose: ممكن تسالينهم فضلا لا امرا
:004:




اليوم مو مداومه.. بكرا ان شاء الله اسأل لك.،

[mrssenstive]

في نقد بكره بنات خطه قديمه :g2:

[mrssenstive]

هذولي جزء:119:

[mrssenstive]

:119:الجزء الثاني

[mrssenstive]

:119::106: ذا كمان

[mrssenstive]

بنات في احد عنده حضاره مع لميااء عندي كمان محاضرااااات اللي يبيهم بنزلهم قبل لا احذفهممممم

[munee.s]

mrssenstive يعطيك الف الف عافيية الله يوفقك ويسعدك :004::004::004::004::004::004::004:

[echo]

يَ مسآإء آلورد .. :rose:


ويسبرز فديتس حنآإ عندنآإ نقد آلثلآثآء بس مرآإح تجي وآتوقع نفس آلشي للي هي عندهم بكرةه ونفس آلشي للبروز مآإ رآإح يكون فيةه بكرةه بروز ولآ حضآإرة بس فيةه حآإضر من آلسآإعةه 10 ..


وآللي عندهآ علم غير كذآ تخبرنآإ لآهنتو :119:


وحده قالت لي انوه د. صباح العيسوس راح تعطينا بكرة بروز بدال الدكتور شمس الدين عشان مانتاخر على مايجي بس ابي وحده تاكد او تنفي الخبر <<:007:

[munee.s]

^
^
^
واكيد مافي نقد بكره؟؟ ماعندي الا هي وانا غايبه ذاك الاسبوع فالوسواس شغال عندي :biggrin: بلييز بنات اكدوا بكره فيه نقد والا مافي

[Diamond brooch]

بالنسبه للتفريغ بناااات حطوهاااا بدون سؤال
اللي يحتاج ياخذها ...:10111:

اذا متوفر

دراما مع مها :biggrin:
شعررررر مع حصه:biggrin:

مشكورين :004:

[Diamond brooch]

بنات يعطيكم العافيه..
مقال ودراما يوم السبت :(107):
شنو اخذتم ...!!

واذا في هوم ورك او شي ...!!

هلب مي ..:icon120:

[munee.s]

هذا تفريغ الشعر حصه العام :biggrin:

[التوفيق يارب]

بنات تفريغ الدراما العام غير لانه دكتورة مها غيرت المنهج هذا الترم :biggrin:

[munee.s]

بنات يعطيكم العافيه..
مقال ودراما يوم السبت :(107):
شنو اخذتم ...!!

واذا في هوم ورك او شي ...!!

هلب مي ..:icon120:

المقال عطانا اسم الكتاب college writing skills with reading by: john langan
وكنه قال ان بينزله بالكوبي سنتر :biggrin: مدري شفيني نسيت
وقعد يقرا من ملزمه يقول اكتبوا اللي اقراه بس انا :cheese: ماكتبت كل شي كتبت نقاط وحوسه يعني خرابيط و الهومورك قال اكتبوا في نفس التوبك اللي هو الماس ميديا ويقول اذا ماشاركتوا بقوم بالاسماء ودي الاسماء عندي اهوه :oao: وبس

[التوفيق يارب]

بنات دكتورة حصة ايش قالت نسوي حق الاسبوع الجاي ؟؟؟ ايش اسم القصيدة اللي نحضرها ؟ فيه واجب او شي ؟
د:(107):

[التوفيق يارب]

و دراما بعد مها سلام ايش قالت نسوي ؟
:004: شكرًا مقدما :004:

[ليان محمد]

^
^
^
واكيد مافي نقد بكره؟؟ ماعندي الا هي وانا غايبه ذاك الاسبوع فالوسواس شغال عندي :biggrin: بلييز بنات اكدوا بكره فيه نقد والا مافي

هذا رد الدكتوره :119:
For criticism students ,there will be no lecture on monday + tuesday.

[ليان محمد]

بنات اخذتوا نثر مع دكتوره صباح اليوم كأنهم قالوا كانت ملغيه احد يأكد لي بليز :(107):

[طيرالحب]

بنات كيف اشترك مع قروب د/حصة

[~ Luna]

حكايا الورد الللله يوفقك
ويرززقك

انتظر :004::004::004:
والف شكر حبيبتي تعبتك

[هتان7ano0]

هااااي صبايا كيف حالكم ؟! ... بسأل شخبار التسجيلات والتفريغات .. نبي تسجيلات نيووو ?ن اكيد فيه تغيراات با المنااهج .. و بليزز الي عندها تفريغ النقد لـ نجلاء او هيفا تنززله .. طبعا" تفريغ يمنى مهو بنافعنا ب' البرزنتيشن ?نه من شرح البنات .. الززبده د/ احمد وش طلب لترجمه فيه شي نسوويه ..

[quiet heartl]

بنات الله يعافيكم ويوفقكم يارب
ابي اسأل الدكتور شمش الدين مداوم بكره
ردو بسررررررعه
الله يجزاكم خيرررر:060:

[التوفيق يارب]

و دراما بعد مها سلام ايش قالت نسوي ؟
:004: شكرًا مقدما :004:

بنات دكتورة حصة ايش قالت نسوي حق الاسبوع الجاي ؟؟؟ ايش اسم القصيدة اللي نحضرها ؟ فيه واجب او شي ؟
د:(107):

+:24_asmilies-com:

[mrssenstive]

:119: دعوووواتكم

[fatmah20]

:g2: هتان دكتور احمد ما طلب شي عطانا قطعه ويبي ترجمتها للاسبوع الجاي
الظاهر يبيها للمشاركه تقدرين تطلعينها من النت اذا ما كتبتيها
رساله من charles dickens الى kates :lllolll: بس ما ادري هذا العنوان او لا المهم يبي ترجمتها كامله :000:

[mrssenstive]

:119: ودا لمها سلام

[fatmah20]

هذي هي لقيتها :(284):
My dearest Kate.

Now observe. You must read this letter, very slowly and carefully. If you have hurried on thus far without quite understanding (apprehending some bad news), I rely on your turning back, and reading again.

Little Dora, without being in the least pain, is suddenly stricken ill. She awoke out of a sleep, and was seen, in one moment, to be very ill. Mind! I will not deceive you. I think her very ill.

There is nothing in her appearance but perfect rest. You would suppose her quietly asleep. But I am sure she is very ill, and I cannot encourage myself with much hope of her recovery. I do not—and why should I say I do, to you my dear!—I do not think her recovery at all likely.

I do not like to leave home. I can do nothing here, but I think it right to stay here. You will not like to be away, I know, and I cannot reconcile it to myself to keep you away. Forster with his usual affection for us comes down to bring you this letter and to bring you home. But I cannot close it without putting the strongest entreaty and injunction upon you to come with perfect composure—to remember what I have often told you, that we never can expect to be exempt, as to our many children, from the afflictions of other parents—and that if—if—when you come, I should even have to say to you "Our little baby is dead", you are to do your duty to the rest, and to shew yourself worthy of the great trust you hold in them.

If you will only read this, steadily, I have a perfect confidence in your doing what is right.

Ever affectionately,

Charles Dickens

[mrssenstive]

:119:وذا لنجلاء

[LMo0o]

بنات الله يعافيكم ويوفقكم يارب
ابي اسأل الدكتور شمش الدين مداوم بكره
ردو بسررررررعه
الله يجزاكم خيرررر:060:

محاظرات دكتور شمس من الاسبوع الجاي تبدا 6 ذو القعده

[التوفيق يارب]

تكفووووووون بنات متى كلاساااات الشعرر حق دكتووورة حصه غييير الأحد الصباااح تكفونن ماعندي مواااصلات ابي اغير شعبه ساعدوووني

[Diamond brooch]

^ في شعر
السبت
والاثنين
..:106:

[حكايا الورد]

تكفووووووون بنات متى كلاساااات الشعرر حق دكتووورة حصه غييير الأحد الصباااح تكفونن ماعندي مواااصلات ابي اغير شعبه ساعدوووني



فيه السبت 10 و 12

[رغووده]

بنات وش المطلوب مع ليلي باطوق بالدراما بكره ؟؟؟؟؟

[التوفيق يارب]

ايش طيب كلاسات الدراما ممها سلاام المفتووحه هالترم ؟؟؟:bawling:

[quiet heartl]

صباح الخير ياحلويين
بالنسبه لدكتوره ليلى باطوق فيه ٣ قروبات بكره بيقدمون عروضهم والي تبيه ان الطالبه تحضر فإذا كان عندها معلومه زياده اواي شي تبي تزيده تشارك فيه ولها درجات مشاركه

الاشياء المطلوبه مودرن دراما وايش الفيتشر حقتها

Six characters in search of an authur by pirandello تحضرين عنها وعن الكاتب ☺

[quiet heartl]

اتمنى اكون افدتك

[هتان7ano0]

ذي محاضراات سنة ثالث :(107):


الي نزلتهم الاخت الجميلة حقات يمنى العام حلوااات مره للاختبار :53:

بس انا ودي بملازم نجلاء او هيفا عشان التكست اوضح فيها :064:

[isra kjs]

ام امانة
شخبار نتيجتك؟

يا بنات
شخبار جدول التصفية؟ فيه خبر عنه؟

[مجنونتها]

بناات اللي مسجل فكر مع لمياء عندكم فكرة إذا الاختبار اللي بيوم الاثنين الجآي تأجل أو لا ! اللي متأكدةة ترد بليز !

[ليان محمد]

بناات اللي مسجل فكر مع لمياء عندكم فكرة إذا الاختبار اللي بيوم الاثنين الجآي تأجل أو لا ! اللي متأكدةة ترد بليز !

ايه تأجل كانت منزله اعلان انه تأجل

[طيرالحب]

صبايا اللي نزلا محاضرات الشعر مافتحت معي

احد يقدر ينزلها بوورد :119:

[**مــياســة**]

آحم آحم :biggrin: ..

السسسلآم عليكم ورحمةة الله وبركآتهه :060: ,,,’

كيفكم صصصصبآيآ :060: !! ان شآء الله منيحين :biggrin::004: ..

ي لبى قسسسسمي بث :060::004::004: ..

وشسسسمة ذآ : حبيت امر واسلم واتطمن على احوآل االرعية وتسذآ :biggrin::060::004: ...

اللي عندهآ اسألهه بخصوص الترجمة + الحضآرة + اللغويآت تسسدحهآ :biggrin::004: ..

م عندي الا هالموآد عشآن امخمخ عليهآ :58545::biggrin::rose: ...

موفققآت حبآيبي :004: ..

[um_amanah]

كيف حالك إسراء الموظفة قالت لي أجي في الأسبوع الجاي في يوم الأربعاء يعني الأربعاء الي راحت ما رحت الكلية تتوقعي أنه لازم أروح يوم السبت عشان جدول التصفية ولا أروح يوم الأربعاء أخاف أروح ولا أشوف جدول التصفية بنات الله يخليكم حاولوا تسألوا مرة ثانية شؤون الطالبات للنظام القديم عن جدول التصفية إسراء قالت الموظفة يمكن أمتحان التصفية يكون 13 ذو القعدة أنتِ ذاكري الحين أنا رسلت ل د صلاح ومها إيميل أسألهم عن النتيجة ولا ردوا علي

[munee.s]

اهلن :biggrin:
هذي محاضرات الشعر وورد للي مافتح معها بالrar

[Roony bnt 7sony]

ايه تأجل كانت منزله اعلان انه تأجل



صج والله ؟ تاجججلت ؟

متاكده ؟

بليز احد ياككد لي

يارب صج :mh12:

[clever girl]

كيف حالك إسراء الموظفة قالت لي أجي في الأسبوع الجاي في يوم الأربعاء يعني الأربعاء الي راحت ما رحت الكلية تتوقعي أنه لازم أروح يوم السبت عشان جدول التصفية ولا أروح يوم الأربعاء أخاف أروح ولا أشوف جدول التصفية بنات الله يخليكم حاولوا تسألوا مرة ثانية شؤون الطالبات للنظام القديم عن جدول التصفية إسراء قالت الموظفة يمكن أمتحان التصفية يكون 13 ذو القعدة أنتِ ذاكري الحين أنا رسلت ل د صلاح ومها إيميل أسألهم عن النتيجة ولا ردوا علي
دكتورة مها قالت ان بنات المحمول كلهم نجحوا:d5:

[طيرالحب]

الله يوووفقكك ياارب ويسهل عليكك

munees:106::106:

[Diamond brooch]

بناااااااااااات
طلعت نتايج التظلم ولا لا ..!!:(107):

واي مكتب...!!:(107):

[حكايا الورد]

انا رحت سألك الاسبوع الي راح بس قالوا انها ماطلعت..
عند الكنترول مبنى 62 -الدور الثاني اول مكتب

[رغووده]

فيه شي مطلوب بالنقد بكرة مع د.يمني؟؟؟؟

[um_amanah]

:Cry111:صحيح الحمد الله شكرا Clever Girl :106:

[mrssenstive]

:cheese:

فيه شي مطلوب بالنقد بكرة مع د.يمني؟؟؟؟

بصراحه ما اذكر انها قالت في تحضير اوشئ

[Naiomy]

مرحبا
:106:
لقيت ملخصات تاريخ اللغه بجهازي
من السمستر اللي فات

فقلت بحطهم هنا قبل لا احذفهم


اذكروني بدعوه :060:

best of luck

[طيرالحب]

صبايا اخذتوا تاريخ لغة اليووم
وش اعطاكم؟!

[لغه الأزهار]

هلا بنات .. حابه اسئل خذيتو حضاره اليوم ,,يعني جاء الدكتور شمس الدين ؟؟

ردو ضروري بكره ماعندي الا هي ومابي اطق مشوار ع الفاضي :000:

[tabula rasa]

السلام عليكم,,
بنات من عندها مع يمنى السبت نقد.في واجب؟ وهل هي قسمت قروبات ولا كيف؟؟
مابعد حضرت لها للحييين!!
الله يوفقها ويشرح صدرها الي ترد علي بليز :(

[tabula rasa]

آحم آحم :biggrin: ..

السسسلآم عليكم ورحمةة الله وبركآتهه :060: ,,,’

كيفكم صصصصبآيآ :060: !! ان شآء الله منيحين :biggrin::004: ..

ي لبى قسسسسمي بث :060::004::004: ..

وشسسسمة ذآ : حبيت امر واسلم واتطمن على احوآل االرعية وتسذآ :biggrin::060::004: ...

اللي عندهآ اسألهه بخصوص الترجمة + الحضآرة + اللغويآت تسسدحهآ :biggrin::004: ..

م عندي الا هالموآد عشآن امخمخ عليهآ :58545::biggrin::rose: ...

موفققآت حبآيبي :004: ..



هلا والله ميآسه,,شي مرا جميل منك تساعدينا يازميلاتك,الله يجعله بميزان حسناتك يارب..

انا ابي اسألك لو سمحتي عن الترجمه! لان انا كلاسي الابعا مع سلوى وتقفلت الشعبه وضمونا مع كلاس الثلاثا لان عددنا كان شوي! المهم انو مااخذنا ولاشي.فحبيت آسالك وش اخذتو؟؟ووايش التكست؟وهل فيه واجبات ولا لساا!!
يعطيك العافيه حبيبتي

[حكايا الورد]

هلا بنات .. حابه اسئل خذيتو حضاره اليوم ,,يعني جاء الدكتور شمس الدين ؟؟

ردو ضروري بكره ماعندي الا هي ومابي اطق مشوار ع الفاضي :000:



اليوم ماجا د. شمس الدين..

[لاتغرك ضحكتي]

^ الله يبشرررررك بالخير :biggrin:

[يارب نجحني]

السلام عليكم,,
بنات من عندها مع يمنى السبت نقد.في واجب؟ وهل هي قسمت قروبات ولا كيف؟؟
مابعد حضرت لها للحييين!!
الله يوفقها ويشرح صدرها الي ترد علي بليز :(

ـ ايه قسمت القروبات و في برزنتيشن الاسبوع الجاي
ـ
ـ نزلت تكست بالكوبي سنتر بس مدري اذاهي اللي فيها تكست البرزنتيشن او لا

[طيرالحب]

اخذتوا شعرمع دحصة اليوم ؟!

[ريحة المطر]

يسعد مساكم

بنات الدكتور محمد السيد لغويات وش رسى عليه بخصوص الكتاب ..؟

الاول والا sound of Language ??

[حكايا الورد]

يسعد مساكم

بنات الدكتور محمد السيد لغويات وش رسى عليه بخصوص الكتاب ..؟

الاول والا sound of Language ??

The study of language by Yule

:biggrin:

[isra kjs]

الله يجزاك خير

انا ادري ان الامتحان 13 ذي القعدة
وبغيت اروح السبت اشوف الجدول
بس الاجازة فاجأتني

قاعدة ادرس بس مو قادرة اركز
لاني للحين ما اعرف يوم الامتحان علشان اضبط اجازة للمراجعة


المهم
لا تنسون تشيكون على اسمي اذا موجود بلستة المصرح لهن بدخول امتحان التصفية

والله الامتحان وسيرته دخلو علي حتى بالمنام
من الفلاحة الزايدة مثلا:(269):

[لاتغرك ضحكتي]

the study of language by yule

:biggrin:

حكايا الله لايهينك ممكن تنزلين صورة الكتاب
و كم رقم الاديشن :106:

[حكايا الورد]

حكايا الله لايهينك ممكن تنزلين صورة الكتاب
و كم رقم الاديشن :106:




ماقال اي نسخة.. بس الي عندي الطبعة الرابعة..
في المرفقات.،

[Purity~]

سلام عليكم

مـآعندكم خبر إذا د/شمس الدين بيدآوم بكرآ والا لا..؟

:106:

[طيرالحب]

جاء االدكتور شمس الدين واعطى محااضرة

[يارب نجحني]

جاء االدكتور شمس الدين واعطى محااضرة


ـ اخذ حضور
ـ و كيف طريقته و شرحه !

[isra kjs]

ام امانة
جاني خبر أكيد ان موعد امتحان التصفية تأجل الى الاسبوع الجاي
(اعتقد يصادف 21\10)
بسبب تأخر الاقسام بإخراج نتائج المحمول

ما ادري انا فرحانه او زعلانة
فيه جزء كبير مني يبي الفكة
والجزء العقلاني يقول لي
كل تأخيره وفيها خيره علشان أدرس أكثر

عابت على هالتفكير ، هذا واسمه جزء عقلاني بعد :139:


يا رب نجحني
الله يعطينا ويعطيك على قد اسمك
قولي امين

[um_amanah]

إسراء الله يوفقكي ويسعدكي اليوم رحت وقالوا لي نفس كلامك وأن الجدول بينزل بالأسبوع الجاي والأمتحان في الي بعده وسألت عنك أسم عيلتك تبدأ ب ش صح وقالوا لي يحق لك دخول أمتحان التصفية :106:

آمين يا رب تنجحي والله يوفقكي :106:
والحمد الله نجحت أخيراً بعد ثمانية سنوات :Cry111::106:

[um_amanah]

الجدول ما خلصوه قالوا لي أكيد راح يطلع الأسبوع الجاي لكن ما قالوا في أي يوم
تأكدي من التاريخ أكيد الأمتحان في شهر 11 ومش في شهر عشرة

وإذا اليوم 10 إنشاء الله موعد امتحان التصفية راح يكون 19/11

[التوفيق يارب]

بنات فيه تفريغغ دراما و شعرررر هالسنه ؟؟؟؟؟
فيه احد يسجل على الاقل :mh12:

[لغه الأزهار]

بنات الله يعافيكم نبي تفريغ نقد نجلا او هيفا حق هالترم ,,اللي نزلت التفريغ طلع حق سنه ثالث

بليز نحتاجه عندنا برزنتيشن وحايسين

[ليان محمد]

بنات نبي تفريغ النقد ل د/ نجلاء تبع العام :sm5:

[أميرة الدوسري]

شكرًا

[أميرة الدوسري]

شكراً

[أميرة الدوسري]

شكرًا

[هتان7ano0]

بنات د/ حصة و ش قالت لنا نحضر للأسبوع الجاي ؟

[التوفيق يارب]

+ دراما دكتورة مها ايش نحضر حق هالاسبوع؟؟

[يوونا]

المقال وش طلب نحضر نفس التوبيك mass media ولا غيره ؟؟؟؟؟؟؟؟؟؟؟:53:

[يوونا]

الشعر قالت حضرو عن wars poetry
اما الدراما قالت اقرو المسرحيه:33_asmilies-com:

[Saroona]

بنات الي عندها ترجمه مع سلوى يوم الاحد وش نحضر للأسبوع الجاي :(269):

[لغه الأزهار]

بنات تكفون اللي عندها تفريغ نجلا للنقد تنزله ,,محتاجين له ضروري:Cry111:

[mrssenstive]

بنات تكفون اللي عندها تفريغ نجلا للنقد تنزله ,,محتاجين له ضروري:cry111:


الصفحات اللي قبل نزلت للنجلاء

[mrssenstive]

المقال وش طلب نحضر نفس التوبيك mass media ولا غيره ؟؟؟؟؟؟؟؟؟؟؟:53:

نفس التوووبيك:cheese:

[التوفيق يارب]

اي مسرحية نقرا ؟؟؟؟؟

[لاتغرك ضحكتي]

الشعر قالت حضرو عن wars poetry
اما الدراما قالت اقرو المسرحيه:33_asmilies-com:

+ قصيدة the soldier
Robert brooke

[Little Angel]

بنات تكفون طلبتكم ابي إيميل الدكتورة سلوى او اي طريقة للتواصل معها بليز أنا بانتظاركم

[isra kjs]

الجدول ما خلصوه قالوا لي أكيد راح يطلع الأسبوع الجاي لكن ما قالوا في أي يوم
تأكدي من التاريخ أكيد الأمتحان في شهر 11 ومش في شهر عشرة

وإذا اليوم 10 إنشاء الله موعد امتحان التصفية راح يكون 19/11


أي شهر 10 (اللي هو شوال) الله يجزيج خير ؟؟؟؟ :Looking_anim:
خلص هالشهر من زمااااااااااان

شهر 11 اللي هو شهر ذي القعدة
عاد السبت الجاي (مو هذا . اللي وراه) :cheese:
يصادف أي يوم ؟
عاد مدري :(269):



بس فرحتيني
اسمي موجود باللستة
الله يسعدك دنيا واخرة

ليش ما تعرفين أهلي؟؟؟
انا اسراء الشبيبي :58545:
يعني ابي استحي ؟؟؟؟
لاااااا -:sm5: انا قليلة أدب

[um_amanah]

الله يقطع بليسك :biggrin: بالتوفيق

[شموخي قهر عذالي]

بنات الي عندها ترجمه مع سلوى يوم الاحد وش نحضر للأسبوع الجاي :(269):

+1 :sdfgdsf:

[التوفيق يارب]

اي مسرحييييييه نقراااااا. في درامااااااااا

[Saroona]

بنات بليز احد يرد :mh12:

[ليان محمد]

الصفحات اللي قبل نزلت للنجلاء


ايه بس طلع تبع سنه ثالث مش رابع :Looking_anim:

[أنغام الحرية]

صباح الخير

الى بنات الفكر مع لمياء

الاثنين هذا امتحان بس للأسف ماعندي المحاضره اللي عطت البنات اول اسبوع
منو تقدر تساعدني؟:060:

[التوفيق يارب]

لو سمحتو بس اي مسرحية نقرا ؟
كاراكترز سيرتش فور ان أوثررر ؟
والا رايدرز تو ذا سي ؟
والا الثالثة ؟؟؟؟
ددد:007:

[لغه الأزهار]

الصفحات اللي قبل نزلت للنجلاء


لا للاسف طلعت حت سنه ثالث

[ضايعه بالآداب]

يا هوه فيه كتب مطلوبه ؟؟؟؟؟؟
اللي اعرفه أن العربي طالبه .. فن المقال لمحمد نجم '

طيب فيه غيرها طالب ؟؟

[يوونا]

six characters search.........:53:

[يوونا]

لو سمحتو بس اي مسرحية نقرا ؟
كاراكترز سيرتش فور ان أوثررر ؟
والا رايدرز تو ذا سي ؟
والا الثالثة ؟؟؟؟
ددد:007:

الكاركترز:biggrin::

[M.A.S]

بنات فيه برزنتيشنز نقد مع يمنى هالاسبوع؟؟؟

[M.A.S]

قروب السبت اقصد :mh12:

[clever girl]

اي

[Diamond brooch]

بنااااااااااااات هلب مي:53:

اللي عندهم شعر الاحد ..:biggrin:

عطتنا سؤلين يليت احد يكتبهم ..:060:
وهل الاسئله واجب تسليم ولا مشاركه بس ..:(107):




واللي عندها دراما بكره ..:biggrin:
تقولي شسالفه هالماده ماحضرت لها ولا مره بسسب ظروف ..:sm1:



وربي يسهل وييسر لكم ..:004:

[M.A.S]

بنات ممكن ايميل النقد بليز؟

[التوفيق يارب]

الشعر اللي أعرفة يوم الأحد قالت اكتبوا أوت لاين عن الفيتشرززز حقت ال ٢٠ سينتشري
:000:

[ليان محمد]

طيب الشعر كلاس السبت ايش طلبت نسوي بليز بكرا اول محاضره لي :Cry111:

[M.A.S]

بنات ابي ايميل النقد تكفون

[M.A.S]

ليان أنا كلاس الساعة ١٠
طلبت نتكلم عن الفيتشرز حقت Pre war poets
+
The first Pre war poet : Rupert Brooke
والقصيدة : The solider

[Maybe Not]

بنات آلله يعافيكم كم سؤال :
غبت الإسبوع الي قبل اللي طاف ..
وضضعععت .. فأبي مساعده .,


- اللغويات دكتوره أميمه :: شعطتكم بمحاضرة الاحد اللي طاف < مو اللي حق الاجازه قبله ؟
فيه واجب أو طلب أو تحضير ؟

- المقال دكتور احمد أبراهيم ماحضررت معه شي .. شسالفه ؟ واجب ؟

وسؤال شاطح ومادري شسالفته ..
وش مادة العربي هالترم ؟

لآ تقولو تذوق مدري النقد الادبي ؟؟
إذا لا اجل هالماده من اي مستوى ؟


اممم وسلآمتكم ..
دعوآتي لكم ..
لآهنتوآ ردوا علي مشتته أنا :004:

[munee.s]

بنات آلله يعافيكم كم سؤال :
غبت الإسبوع الي قبل اللي طاف ..
وضضعععت .. فأبي مساعده .,


- اللغويات دكتوره أميمه :: شعطتكم بمحاضرة الاحد اللي طاف < مو اللي حق الاجازه قبله ؟
فيه واجب أو طلب أو تحضير ؟

- المقال دكتور احمد أبراهيم ماحضررت معه شي .. شسالفه ؟ واجب ؟

وسؤال شاطح ومادري شسالفته ..
وش مادة العربي هالترم ؟

لآ تقولو تذوق مدري النقد الادبي ؟؟
إذا لا اجل هالماده من اي مستوى ؟


اممم وسلآمتكم ..
دعوآتي لكم ..
لآهنتوآ ردوا علي مشتته أنا :004:

للاسف انا ماقدر افيدك الا بالمقال :/ المقال بكره في واجب اللي هو
write about: mass media information or manipulation within 350 words

وبكره بيقول مين حابه تشارك اذا البنات شاركوا كان بها اذا ماشاركوا من انفسهم بينادي بالاسماء :biggrin: والله المعين

وياليت البنات يساعدونك بالمواد الباقيه :106:

[what ever !]

بنات آلله يعافيكم كم سؤال :
غبت الإسبوع الي قبل اللي طاف ..
وضضعععت .. فأبي مساعده .,


- اللغويات دكتوره أميمه :: شعطتكم بمحاضرة الاحد اللي طاف < مو اللي حق الاجازه قبله ؟
فيه واجب أو طلب أو تحضير ؟

- المقال دكتور احمد أبراهيم ماحضررت معه شي .. شسالفه ؟ واجب ؟

وسؤال شاطح ومادري شسالفته ..
وش مادة العربي هالترم ؟

لآ تقولو تذوق مدري النقد الادبي ؟؟
إذا لا اجل هالماده من اي مستوى ؟


اممم وسلآمتكم ..
دعوآتي لكم ..
لآهنتوآ ردوا علي مشتته أنا :004:

مقال أحمد ابراهيم يبينا نكتب موضوع عن mass media manipulation

عربي بندرس فن المقاله د/ محمد يوسف نجم

لغويات ماتذكر قالت شي كالعاده بس اقري الي بتعطينا عشان تركزين معها

[munee.s]

مساء الخير بنات :biggrin: لقيت الكلام اللي نقلته لنا د يمنى بالنت ونقلت منه اللي ناقصني فقلت لازم افيدكم بعد انتوا:biggrin::004: وهذا هو...

To Arnold a critic is a social benefactor.Before Arnold a literary critic cared only for the beauties and defects of works of art, but Arnold the critic chose to be the educator and guardian of public opinion and propagator of the best ideas.Cultural and critical values seem to be synonymous for Arnold.Cultural and critical values seem to be synonymous for Arnold. He gives the principles by which the best poems should be selected. Aristotle says that poetry is superior to History since it bears the stamp of high seriousness and truth. If truth and seriousness are lacking in the subject matter of a poem, so will the true poetic stamp of diction and movement be found lacking in its style and manner. Hence, the nobility of subject matter, and the superiority of style and manner, are proportional and cannot occur independently. Grand style arises in poetry when a noble nature, poeticallgifted, treats with simplicity or with a severity a serious subject

Architectonics: Arnold asserts the importance of architectonics that is the necessity of achieving unity by subordinating the parts to the whole, and the expression of ideas to the depiction of human action, and condemns poems which exist for the sake of single lines or
passages. Scattered images can only provide partial effects, and not contribute to unity
so much of his thought and outlook became part of the general educated consciousness. To Arnold's method of criticism is comparative. Steeped in classical poetry, and thoroughly acquainted with continental literature, he compares English literature to French and German literature, adopting the disinterested approach he had learned from Sainte-Beuve.

Arnold's objective approach to criticism and his view that historical and biographical study are unnecessary was very influential on the new criticism. His emphasis on the importance of tradition also influenced F. R. Leavis, and T. S. Eliot. In an age when cheap literature caters to the taste of the common man, one might fear that the classics will fade into insignificance. But Arnold is sure that the currency and the supremacy of the classics will be preserved in the modern age.

Arnold was unable to practise disinterestedness in all his essays. Arnold sometimes became a satirist, and as a satirical critic saw things too quickly, too summarily. he overlooked the positive features of Romanticism such as its humanitarianism, love of nature, love of childhood,faith in man. Arnold's love of classicism made him blind to the beauty of lyricism. It was also unfair of Arnold to compare the classical works to modern poetry. Arnold upheld the supreme importance of the architectonic faculty, then later shifted his ground.



وهذا رابط الموقع الي خذت منه هنــا (http://www.literature-study-online.com/essays/arnold.html)

وبس ان شاء الله اكون افدت واستفدت :biggrin:

:004::106::106:

[LMo0o]

بنات وش فيكم الماس ميديا الاسبوع اللي فات اخذناه !!
وقاموا البنات شاركوا

[munee.s]

^
ايه هالكلام لبنات يوم السبت لان الاسبوع الي فات اجازه فصار هالواجب للمره الثانيه هالاسبوع :biggrin: << فهمتوا شي؟!!:biggrin:

[رغووده]

بنات اختبار الفكر والثقافه مع لمياء وش نذاكر فيه

[tabula rasa]

بنات اختبار الفكر والثقافه مع لمياء وش نذاكر فيه


انا سمعت فيه تفريغ!!
نبي بليز:mh12:

[رغووده]

بناا ت الله يفرج همها الي ترد اب ي تفريغ فكر وثقافه بكرة اختباري مع لميا

[Maybe Not]

الفكر والثقافه هالماده تبع اللي حولوا نظام جديد صح ؟
> شكيت بنفسي !

[طيرالحب]

بنات ماحصصلت شئ مفيد عن pre war poetry

ياليت اللي اخذوا اليوم يفيدوونا

[دخلت E وتوهقت]

اللي مخلصين عربي

بكرا عندي ومااشتريت الكتاب اذا فيه وحدة ماتبيه
تتبرع لي فيه :biggrin::rose:

[رغووده]

الفكر والثقافه هالماده تبع اللي حولوا نظام جديد صح ؟
> شكيت بنفسي !

إيه نفس الماده بليز بنات

[Maybe Not]

pre-war poetry
تقلين معلومات عنها بالكتاب المتين ..
لآ يغرك صغر الخط ويخوفك ..
بتلقطين كم معلومه ..

[Maybe Not]

بنات ممكن واجب الترجمه للدكتوره سلوى ..
قروب يوم الثلوث ..
حتى لو سكان للورقه بكون شآكره ..

[يارب نجحني]

ـاللي يسألون عن تفريغ الفكر روحو لموضوع المستوى الخامس الاخت مياسه جزاها الله خير منزلتهم
ـ
ـ والاختبار اتوقع الاثنين مو بكرا

[Saroona]

.بنات الترجمه مع سلوى بليز وش مطلوب منا نترجم بكرة :24_asmilies-com:

[ريحة المطر]

بنات الشعر قروب الاحد

انا كاتبه عندي war poetry وليس pre war
وانا بدور ب الكتاب الكبير

[Maybe Not]

الترجمه الدكتوره منزله ع الفيس نصين ترجمه ..

[ليان محمد]

بنات ايش موضوع المقال بكرا ؟:g2:

[isra kjs]

لا اله الا انت سبحانك اني كنت من الظالمين

[التوفيق يارب]

ايش ندرررس في اختبار الشعر مع دكتوورة حصه ؟؟؟
في ايش الاختبار وكيف طريقته

[never give up]

متى الاختبار ؟؟
مااتدكر انها حددت

[التوفيق يارب]

يقولون الاسبوع الجاي :6:
مدري انا كنت غائبه ياليت احد ياكد لنا

[um_amanah]

بنات كيف أطلب من قسمي يطلع لي وثيقة مؤقته تثبت أني أتخرجت ..........:16:

[в7т ѕнσ0σg]

مسسسآإء آلسسسوكرر :16:

آلشعر قآلت " آلتوآريخ وآلآسمآء وآلكآركترستيكك حقت آلفكتورين آيج وآلوور بوتس "

هذآ آللي سمعتةة كنت حآضرةة آّذآ حد سمع شي ثآني يخبرنآإ :35:

وموفقيـن يَ رب :43:

[в7т ѕнσ0σg]

بآإكك ..

يب يب وآلآمتحآن بيكون فَ نفس آلمحآضرةة وآختيآري :8:

[heavy rain20]

هههههههههه لحضه شسالفه مو داخله لله انا بس لفت نظري الرموز ايش السالفه تغيرت :8: الي قبل احلى هذولاء عندنا بالواتس

ايوه بنات في ختبار شعر يوم الاحد هذا الكلام الى بنات يوم الاحد بالتؤفيق :29: بس السؤال من وين راح تذاكرون يا حلوات

[التوفيق يارب]

يوم السبت ماليه اختبااار يعني ؟؟؟
و الفيكتوريان هم نفسهم شعراء القرن ٢٠ ؟؟؟؟

[never give up]

شعر مجموعة السبت في اختبار ولا بس مجموعة الاحد؟؟؟

[التوفيق يارب]

السبت يقولون قالت انه بيكوووون وقت النشاااط يؤوم الإثنيين

[التوفيق يارب]

طيب بنات ايش وواجب الشعرررر اللي بيسبب لي ازمه قلبيه ::32:

وايش إيميل دكتورة حصة اللي ترد عليه ؟؟:

[طيرالحب]

من وين نذاكرالشعر:40::4:

[طيرالحب]

احد عنده ملازم دفوزية حقت العام؟؟

[um_amanah]

بنات تجمع البنات القديم فيه ملازم الشعر وسجلوا في قروب د حصة راح تشوف فيه مقدمة وأشياء عن القصائد الي أخذتوها و ممكن تكتبوا تحليل مع أسم القصيدة بالإنجليزي طبعا ويطلع لكم شرح للقصايد الي درستوها

[mrssenstive]

احد عنده ملازم دفوزية حقت العام؟؟

ركزووو ع اللي تعطيكم اياه د حصه وللي تنزله ع قرووبها


عندي اتوقع لدكتووورة فوزيه بس كثييير د حصه ماتقوول ربعه:7:

اذا تبوونه بنزله وعندي للدكتور محمد :42:

[isra kjs]

بنات كيف أطلب من قسمي يطلع لي وثيقة مؤقته تثبت أني أتخرجت ..........:16:


توني انتبه

هل افهم انك نجحتي ؟؟؟ :42:
ألف ألف ألف مبروووووووووووووووووووووك :14:

عقبالي ان شاء الله


الا على طاري النجاح
ما شفتو جدول التصفية ؟؟؟:44:

[clever girl]

التصفيه نفسه امتحان الحمل الثاني؟
انا شفت جدول للحمل الثاني!

[isra kjs]

التصفيه نفسه امتحان الحمل الثاني؟
انا شفت جدول للحمل الثاني!

اعتقد انه هو بزاتو

لان امتحان التصفية يجي بعد امتحان الحمل


اذا تقدرين تسدحين مادة تاريخ اللغة
اي يوم وبكم الساعة

وجوزيتم خيرا

[J A M I L A H]

بنات متى اوقات محاضرة الغويات مع الدكتور غير يوم الأثنين ؟

[طيرالحب]

اي عزيزتي اذا تقدرين نزلي محاضرات دفوزية

الله يجزاك خيرويسهل عليك

[لاتغرك ضحكتي]

بنات متى اوقات محاضرة الغويات مع الدكتور غير يوم الأثنين ؟

الاربعاء 10

غيرها ما اعرف :36:

[التوفيق يارب]

الشعر معنا القصائد والا بس الباكقراوند و التواريخ و اسماء الشعراء و الوار بوتري ???

[mrssenstive]

اعتقد انه هو بزاتو

لان امتحان التصفية يجي بعد امتحان الحمل


اذا تقدرين تسدحين مادة تاريخ اللغة
اي يوم وبكم الساعة

وجوزيتم خيرا



اسراء اي ترم تسالي عنه اذ الترم الاول يوم الاربعاء24 واذا ترم ثاني الاثنين22 تقريبا

[mrssenstive]

اي عزيزتي اذا تقدرين نزلي محاضرات دفوزية

الله يجزاك خيرويسهل عليك



بكرا انزلهم انشاء الله:16:

[clever girl]

اعتقد انه هو بزاتو

لان امتحان التصفية يجي بعد امتحان الحمل


اذا تقدرين تسدحين مادة تاريخ اللغة
اي يوم وبكم الساعة

وجوزيتم خيرا
خلاص بشوفه يوم السبت لأن بكره ماعندي دوام

[isra kjs]

mrssenstive و clever girl
و غيرهم

مشكورين كتييير

بغيت ما يسمى بتاريخ اللغة تبع الترم الثاني

فيه مادة اذا تذكرونها اسمها تاريخ الادب
هذي قعدت اعيد فيها 5 مرات يالله نجحت :42:
الجين دور تاريخ اللغة

تخيلو لو اني بقسم تاريخ :26:
كم سنة احتاج علشان انجح ؟

[um_amanah]

الله يبارك لك إسراء بإذن الله ناجحه والله يوفقكي ويسر لك :16:

[M.A.S]

بنات من وين بتذاكرون كويز الشعر ؟

[M.A.S]

الشعر معنا القصائد والا بس الباكقراوند و التواريخ و اسماء الشعراء و الوار بوتري ???

ذا سوليجر مؤ معنا متاكدة

بس مدري حقت ثوماس هاردي معنا وإلا لا ؟؟

[هتان7ano0]

بنات ابغى ايميل دكتور احمد الكوومي بلييييييييييييييززز ب اسررع وقت :26:

[التوفيق يارب]

بليز بنات اللي عندة معلومات في الشعر يحطها تواريخ او اسماء او اي شي :22:

[Diamond brooch]

بناااااااات

واجب المقال تسليم ولا بس مشاركه ؟:36:

[رغووده]

مين الي بتنزل تفريغ الشعر ؟
بليز محتاجينه :35:

[echo]

القصائد مو معنا ابدا

الله يعافيكم اذا احد يقدر يشوف القروب حقها لانه مارضى يفتح معي يمكن نزلت شيء جديد

يسلمووو

[هتان7ano0]

بنات ايميل احمد ابرااهيم تكفوون ضروري

[Diamond brooch]

بناااااااااااااات الاحد شعر ..:7:

هلب مي كنت غايبه ومااعرف عن الاختبار شي ..:31:

مواضيع الاختبار بليزززز في شنو بالضبط ..

ومتى الاختبار طريقه الاختبار...!!

الله يوفقكم انتظر ردكم ..:1:

[التوفيق يارب]

القروووب مانزلت شي

الاختبار يوم الاثنين وقت النشاط الا مجموعة الأحد وقت المحاضره

القصائد مو معنا بس الباقراوند و تواريخ القرن وكذا واسماء الشعراء كل الاختبار اختياري
:1:

[التوفيق يارب]

إيميل دكتور احمد
aibrahim@ud.edu.sa>; <aelkomy@hotmail.com>

[SUMMO]

بنات شعر قروب السبت ما اتذكر انها حددت يوم الكويز ،، بليز قروب السبت اللي تعرف شي عن الاختبار تقول لي اي يوم بنختبر

[ms.2012]

بنات شعر قروب السبت ما اتذكر انها حددت يوم الكويز ،، بليز قروب السبت اللي تعرف شي عن الاختبار تقول لي اي يوم بنختبر

أنا قروب السبت الساعه 10 ... الأختبار راح يكون الأثنين بوقت النشاط .. موفقه :29:

[LMo0o]

بنات الحظاره يوم السبت الصبح
وش اخذتوا الاسبوع اللي فات ؟؟

[رغووده]

بنات الماتريل الي نزلته د.حصه صعب كلماته مافي تفريغ ؟؟؟

[S.H.123]

صباح الخير بنات :37:

احد يعرف اسم كتاب " النظام السياسي بالاسلام" ؟

ضرووووووووري الله يعافيكم :18:

[Maybe Not]

الحضاره دكتور شمس الدين أعطانا محاضره ومبين من طريقة شرحه ان التورايخ مهمه ..
كان يشرح شوي ع السبوره وشوي ع ورق عنده وحنا نكتب معه ..

[لاتغرك ضحكتي]

صباحوو :16:

لا هنتوا ياحلوين اللي قدرت تدخل على قروب الكهلان
تنسخ لنا الماتيريال هييير بليز :35:

[ليان محمد]

يب بليز نبي الماتيريال لكويز البويتري رجاء

[ليان محمد]

بنات ايش طلبت منا د/ حصه نحضر للمحاضره الجايه ؟

[التوفيق يارب]

كيف تقسيم درجات الشعرررر

[التوفيق يارب]

بنات ايش طلبت منا د/ حصه نحضر للمحاضره الجايه ؟

قصيدتين happiness + futility ل Wilfred Owen

[نور الـ ع ـيون]

THE 20TH CENTURY

FROM 1900 TO 1945
The Edwardians
The 20th century opened with great hope but also with some apprehension, for the new century marked the final approach to a new millennium. For many, humankind was entering upon an unprecedented era. H.G. Wells's utopian studies, the aptly titled Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought (1901) and A Modern Utopia (1905), both captured and qualified this optimistic mood and gave expression to a common conviction that science and technology would transform the world in the century ahead. To achieve such transformation, outmoded institutions and ideals had to be replaced by ones more suited to the growth and liberation of the human spirit. The death of Queen Victoria in 1901 and the accession of Edward VII seemed to confirm that a franker, less inhibited era had begun.
Many writers of the Edwardian period, drawing widely upon the realistic and naturalistic conventions of the 19th century (upon Ibsen in drama and Balzac, Turgenev, Flaubert, Zola, Eliot, and Dickens in fiction) and in tune with the anti-Aestheticism unleashed by the trial of the archetypal Aesthete, Oscar Wilde, saw their task in the new century to be an unashamedly didactic one. In a series of wittily iconoclastic plays, of which Man and Superman (performed 1905, published 1903) and Major Barbara (performed 1905, published 1907) are the most substantial, George Bernard Shaw turned the Edwardian theatre into an arena for debate upon the principal concerns of the day: the question of political organization, the morality of armaments and war, the function of class and of the professions, the validity of the family and of marriage, and the issue of female emancipation. Nor was he alone in this, even if he was alone in the brilliance of his comedy. John Galsworthy made use of the theatre in Strife (1909) to explore the conflict between capital and labour, and in Justice (1910) he lent his support to reform of the penal system, while Harley Granville-Barker, whose revolutionary approach to stage direction did much to change theatrical production in the period, dissected in The Voysey Inheritance (performed 1905, published 1909) and Waste (performed 1907, published 1909) the hypocrisies and deceit of upper-class and professional life.
Many Edwardian novelists were similarly eager to explore the shortcomings of English social life. Wells—in Love and Mr. Lewisham (1900); Kipps (1905); Ann Veronica (1909), his pro-suffragist novel; and The History of Mr. Polly (1910)—captured the frustrations of lower- and middle-class existence, even though he relieved his accounts with many comic touches. In Anna of the Five Towns (1902), Arnold Bennett detailed the constrictions of provincial life among the self-made business classes in the area of England known as the Potteries; in The Man of Property (1906), the first volume of The Forsyte Saga, Galsworthy described the destructive possessiveness of the professional bourgeoisie; and, in Where Angels Fear to Tread (1905) and The Longest Journey (1907), E.M. Forster portrayed with irony the insensitivity, self-repression, and philistinism of the English middle classes.
These novelists, however, wrote more memorably when they allowed themselves a larger perspective. In The Old Wives' Tale (1908), Bennett showed the destructive effects of time on the lives of individuals and communities and evoked a quality of pathos that he never matched in his other fiction; in Tono-Bungay (1909), Wells showed the ominous consequences of the uncontrolled developments taking place within a British society still dependent upon the institutions of a long-defunct landed aristocracy; and in Howards End (1910), Forster showed how little the rootless and self-important world of contemporary commerce cared for the more rooted world of culture, although he acknowledged that commerce was a necessary evil. Nevertheless, even as they perceived the difficulties of the present, most Edwardian novelists, like their counterparts in the theatre, held firmly to the belief not only that constructive change was possible but also that this change could in some measure be advanced by their writing.
Other writers, including Thomas Hardy and Rudyard Kipling, who had established their reputations during the previous century, and Hilaire Belloc, G.K. Chesterton, and Edward Thomas, who established their reputations in the first decade of the new century, were less confident about the future and sought to revive the traditional forms—the ballad, the narrative poem, the satire, the fantasy, the topographical poem, and the essay—that in their view preserved traditional sentiments and perceptions. The revival of traditional forms in the late 19th and early 20th century was not a unique event. There were many such revivals during the 20th century, and the traditional poetry of A.E. Housman (whose book A Shropshire Lad, originally published in 1896, enjoyed huge popular success during World War I), Walter de la Mare, John Masefield, Robert Graves, and Edmund Blunden represents an important and often neglected strand of English literature in the first half of the century.
The most significant writing of the period, traditionalist or modern, was inspired by neither hope nor apprehension but by bleaker feelings that the new century would witness the collapse of a whole civilization. The new century had begun with Great Britain involved in the South African War (the Boer War; 1899–1902), and it seemed to some that the British Empire was as doomed to destruction, both from within and from without, as had been the Roman Empire. In his poems on the South African War, Hardy (whose achievement as a poet in the 20th century rivaled his achievement as a novelist in the 19th) questioned simply and sardonically the human cost of empire building and established a tone and style that many British poets were to use in the course of the century, while Kipling, who had done much to engender pride in empire, began to speak in his verse and short stories of the burden of empire and the tribulations it would bring.

View larger image!

Boer troops lining up in battle against the British during the South African War (1899–1902).
DeA Picture Library
No one captured the sense of an imperial civilization in decline more fully or subtly than the expatriate American novelist Henry James. In The Portrait of a Lady (1881), he had briefly anatomized the fatal loss of energy of the English ruling class and, in The Princess Casamassima (1886), had described more directly the various instabilities that threatened its paternalistic rule. He did so with regret: the patrician American admired in the English upper class its sense of moral obligation to the community. By the turn of the century, however, he had noted a disturbing change. In The Spoils of Poynton (1897) and What Maisie Knew (1897), members of the upper class no longer seem troubled by the means adopted to achieve their morally dubious ends. Great Britain had become indistinguishable from the other nations of the Old World, in which an ugly rapacity had never been far from the surface. James's dismay at this condition gave to his subtle and compressed late fiction, The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904), much of its gravity and air of disenchantment.
James's awareness of crisis affected the very form and style of his writing, for he was no longer assured that the world about which he wrote was either coherent in itself or unambiguously intelligible to its inhabitants. His fiction still presented characters within an identifiable social world, but he found his characters and their world increasingly elusive and enigmatic and his own grasp upon them, as he made clear in The Sacred Fount (1901), the questionable consequence of artistic will.
Another expatriate novelist, Joseph Conrad (pseudonym of Józef Teodor Konrad Korzeniowski, born in the Ukraine of Polish parents), shared James's sense of crisis but attributed it less to the decline of a specific civilization than to human failings. Man was a solitary, romantic creature of will who at any cost imposed his meaning upon the world because he could not endure a world that did not reflect his central place within it. In Almayer's Folly (1895) and Lord Jim (1900), he had seemed to sympathize with this predicament; but in Heart of Darkness (1902), Nostromo (1904), The Secret Agent (1907), and Under Western Eyes (1911), he detailed such imposition, and the psychological pathologies he increasingly associated with it, without sympathy. He did so as a philosophical novelist whose concern with the mocking limits of human knowledge affected not only the content of his fiction but also its very structure. His writing itself is marked by gaps in the narrative, by narrators who do not fully grasp the significance of the events they are retelling, and by characters who are unable to make themselves understood. James and Conrad used many of the conventions of 19th-century realism but transformed them to express what are considered to be peculiarly 20th-century preoccupations and anxieties.
The Modernist revolution
Anglo-American Modernism: Pound, Lewis, Lawrence, and Eliot
From 1908 to 1914 there was a remarkably productive period of innovation and experiment as novelists and poets undertook, in anthologies and magazines, to challenge the literary conventions not just of the recent past but of the entire post-Romantic era. For a brief moment, London, which up to that point had been culturally one of the dullest of the European capitals, boasted an avant-garde to rival those of Paris, Vienna, and Berlin, even if its leading personality, Ezra Pound, and many of its most notable figures were American.
The spirit of Modernism—a radical and utopian spirit stimulated by new ideas in anthropology, psychology, philosophy, political theory, and psychoanalysis—was in the air, expressed rather mutedly by the pastoral and often anti-Modern poets of the Georgian movement (1912–22; see Georgian poetry) and more authentically by the English and American poets of the Imagist movement, to which Pound first drew attention in Ripostes (1912), a volume of his own poetry, and in Des Imagistes (1914), an anthology. Prominent among the Imagists were the English poets T.E. Hulme, F.S. Flint, and Richard Aldington and the Americans Hilda Doolittle (H.D.) and Amy Lowell.
Reacting against what they considered to be an exhausted poetic tradition, the Imagists wanted to refine the language of poetry in order to make it a vehicle not for pastoral sentiment or imperialistic rhetoric but for the exact description and evocation of mood. To this end they experimented with free or irregular verse and made the image their principal instrument. In contrast to the leisurely Georgians, they worked with brief and economical forms.
Meanwhile, painters and sculptors, grouped together by the painter and writer Wyndham Lewis under the banner of Vorticism, combined the abstract art of the Cubists with the example of the Italian Futurists who conveyed in their painting, sculpture, and literature the new sensations of movement and scale associated with modern developments such as automobiles and airplanes. With the typographically arresting Blast: Review of the Great English Vortex (two editions, 1914 and 1915) Vorticism found its polemical mouthpiece and in Lewis, its editor, its most active propagandist and accomplished literary exponent. His experimental play Enemy of the Stars, published in Blast in 1914, and his experimental novel Tarr (1918) can still surprise with their violent exuberance.

View larger image!

Ezra Pound, painting by Wyndham Lewis, 1938–39.
The Granger Collection, New York
World War I brought this first period of the Modernist revolution to an end and, while not destroying its radical and utopian impulse, made the Anglo-American Modernists all too aware of the gulf between their ideals and the chaos of the present. Novelists and poets parodied received forms and styles, in their view made redundant by the immensity and horror of the war, but, as can be seen most clearly in Pound's angry and satirical Hugh Selwyn Mauberley (1920), with a note of anguish and with the wish that writers might again make form and style the bearers of authentic meanings.
In his two most innovative novels, The Rainbow (1915) and Women in Love (1920), D.H. Lawrence traced the sickness of modern civilization—a civilization in his view only too eager to participate in the mass slaughter of the war—to the effects of industrialization upon the human psyche. Yet as he rejected the conventions of the fictional tradition, which he had used to brilliant effect in his deeply felt autobiographical novel of working-class family life, Sons and Lovers (1913), he drew upon myth and symbol to hold out the hope that individual and collective rebirth could come through human intensity and passion.
On the other hand, the poet and playwright T.S. Eliot, another American resident in London, in his most innovative poetry, Prufrock and Other Observations (1917) and The Waste Land (1922), traced the sickness of modern civilization—a civilization that, on the evidence of the war, preferred death or death-in-life to life—to the spiritual emptiness and rootlessness of modern existence. As he rejected the conventions of the poetic tradition, Eliot, like Lawrence, drew upon myth and symbol to hold out the hope of individual and collective rebirth, but he differed sharply from Lawrence by supposing that rebirth could come through self-denial and self-abnegation. Even so, their satirical intensity, no less than the seriousness and scope of their analyses of the failings of a civilization that had voluntarily entered upon the First World War, ensured that Lawrence and Eliot became the leading and most authoritative figures of Anglo-American Modernism in England in the whole of the postwar period.
During the 1920s Lawrence (who had left England in 1919) and Eliot began to develop viewpoints at odds with the reputations they had established through their early work. In Kangaroo (1923) and The Plumed Serpent (1926), Lawrence revealed the attraction to him of charismatic, masculine leadership, while, in For Lancelot Andrewes: Essays on Style and Order (1928), Eliot (whose influence as a literary critic now rivaled his influence as a poet) announced that he was a "classicist in literature, royalist in politics and anglo-catholic in religion" and committed himself to hierarchy and order. Elitist and paternalistic, they did not, however, adopt the extreme positions of Pound (who left England in 1920 and settled permanently in Italy in 1925) or Lewis. Drawing upon the ideas of the left and of the right, Pound and Lewis dismissed democracy as a sham and argued that economic and ideological manipulation was the dominant factor. For some, the antidemocratic views of the Anglo-American Modernists simply made explicit the reactionary tendencies inherent in the movement from its beginning; for others, they came from a tragic loss of balance occasioned by World War I. This issue is a complex one, and judgments upon the literary merit and political status of Pound's ambitious but immensely difficult Imagist epic The Cantos (1917–70) and Lewis's powerful sequence of politico-theological novels The Human Age (The Childermass, 1928; Monstre Gai and Malign Fiesta, both 1955) are sharply divided.
Celtic Modernism: Yeats, Joyce, Jones, and MacDiarmid
Pound, Lewis, Lawrence, and Eliot were the principal male figures of Anglo-American Modernism, but important contributions also were made by the Irish poet and playwright William Butler Yeats and the Irish novelist James Joyce. By virtue of nationality, residence, and, in Yeats's case, an unjust reputation as a poet still steeped in Celtic mythology, they had less immediate impact upon the British literary intelligentsia in the late 1910s and early 1920s than Pound, Lewis, Lawrence, and Eliot, although by the mid-1920s their influence had become direct and substantial. Many critics today argue that Yeats's work as a poet and Joyce's work as a novelist are the most important Modernist achievements of the period.
In his early verse and drama, Yeats, who had been influenced as a young man by the Romantic and Pre-Raphaelite movements, evoked a legendary and supernatural Ireland in language that was often vague and grandiloquent. As an adherent of the cause of Irish nationalism, he had hoped to instill pride in the Irish past. The poetry of The Green Helmet (1910) and Responsibilities (1914), however, was marked not only by a more concrete and colloquial style but also by a growing isolation from the nationalist movement, for Yeats celebrated an aristocratic Ireland epitomized for him by the family and country house of his friend and patron, Lady Gregory.
The grandeur of his mature reflective poetry in The Wild Swans at Coole (1917), Michael Robartes and the Dancer (1921), The Tower (1928), and The Winding Stair (1929) derived in large measure from the way in which (caught up by the violent discords of contemporary Irish history) he accepted the fact that his idealized Ireland was illusory. At its best his mature style combined passion and precision with powerful symbol, strong rhythm, and lucid diction; and even though his poetry often touched upon public themes, he never ceased to reflect upon the Romantic themes of creativity, selfhood, and the individual's relationship to nature, time, and history.
Joyce, who spent his adult life on the continent of Europe, expressed in his fiction his sense of the limits and possibilities of the Ireland he had left behind. In his collection of short stories, Dubliners (1914), and his largely autobiographical novel A Portrait of the Artist as a Young Man (1916), he described in fiction at once realist and symbolist the individual cost of the sexual and imaginative oppressiveness of life in Ireland. As if by provocative contrast, his panoramic novel of urban life, Ulysses (1922), was sexually frank and imaginatively profuse. (Copies of the first edition were burned by the New York postal authorities, and British customs officials seized the second edition in 1923.) Employing extraordinary formal and linguistic inventiveness, including the stream-of-consciousness method, Joyce depicted the experiences and the fantasies of various men and women in Dublin on a summer's day in June 1904. Yet his purpose was not simply documentary, for he drew upon an encyclopaedic range of European literature to stress the rich universality of life buried beneath the provincialism of pre-independence Dublin, in 1904 a city still within the British Empire. In his even more experimental Finnegans Wake (1939), extracts of which had already appeared as Work in Progress from 1928 to 1937, Joyce's commitment to cultural universality became absolute. By means of a strange, polyglot idiom of puns and portmanteau words, he not only explored the relationship between the conscious and the unconscious but also suggested that the languages and myths of Ireland were interwoven with the languages and myths of many other cultures.
The example of Joyce's experimentalism was followed by the Anglo-Welsh poet David Jones and by the Scottish poet Hugh MacDiarmid (pseudonym of Christopher Murray Grieve). Whereas Jones concerned himself, in his complex and allusive poetry and prose, with the Celtic, Saxon, Roman, and Christian roots of Great Britain, MacDiarmid sought not only to recover what he considered to be an authentically Scottish culture but also to establish, as in his In Memoriam James Joyce (1955), the truly cosmopolitan nature of Celtic consciousness and achievement. MacDiarmid's masterpiece in the vernacular, A Drunk Man Looks at the Thistle (1926), helped to inspire the Scottish renaissance of the 1920s and '30s.
The literature of World War I and the interwar period
The impact of World War I upon the Anglo-American Modernists has been noted. In addition the war brought a variety of responses from the more-traditionalist writers, predominantly poets, who saw action. Rupert Brooke caught the idealism of the opening months of the war (and died in service); Siegfried Sassoon and Ivor Gurney caught the mounting anger and sense of waste as the war continued; and Isaac Rosenberg (perhaps the most original of the war poets), Wilfred Owen, and Edmund Blunden not only caught the comradely compassion of the trenches but also addressed themselves to the larger moral perplexities raised by the war (Rosenberg and Owen were killed in action).
It was not until the 1930s, however, that much of this poetry became widely known. In the wake of the war the dominant tone, at once cynical and bewildered, was set by Aldous Huxley's satirical novel Crome Yellow (1921). Drawing upon Lawrence and Eliot, he concerned himself in his novels of ideas—Antic Hay (1923), Those Barren Leaves (1925), and Point Counter Point (1928)—with the fate of the individual in rootless modernity. His pessimistic vision found its most complete expression in the 1930s, however, in his most famous and inventive novel, the anti-utopian fantasy Brave New World (1932), and his account of the anxieties of middle-class intellectuals of the period, Eyeless in Gaza (1936).
Huxley's frank and disillusioned manner was echoed by the dramatist Noël Coward in The Vortex (1924), which established his reputation; by the poet Robert Graves in his autobiography, Good-Bye to All That (1929); and by the poet Richard Aldington in his Death of a Hero (1929), a semiautobiographical novel of prewar bohemian London and the trenches. Exceptions to this dominant mood were found among writers too old to consider themselves, as did Graves and Aldington, members of a betrayed generation. In A Passage to India (1924), E.M. Forster examined the quest for and failure of human understanding among various ethnic and social groups in India under British rule. In Parade's End (1950; comprising Some Do Not, 1924; No More Parades, 1925; A Man Could Stand Up, 1926; and Last Post, 1928) Ford Madox Ford, with an obvious debt to James and Conrad, examined the demise of aristocratic England in the course of the war, exploring on a larger scale the themes he had treated with brilliant economy in his short novel The Good Soldier (1915). And in Wolf Solent (1929) and A Glastonbury Romance (1932), John Cowper Powys developed an eccentric and highly erotic mysticism.
These were, however, writers of an earlier, more confident era. A younger and more contemporary voice belonged to members of the Bloomsbury group. Setting themselves against the humbug and hypocrisy that, they believed, had marked their parents' generation in upper-class England, they aimed to be uncompromisingly honest in personal and artistic life. In Lytton Strachey's iconoclastic biographical study Eminent Victorians (1918), this amounted to little more than amusing irreverence, even though Strachey had a profound effect upon the writing of biography; but in the fiction of Virginia Woolf the rewards of this outlook were both profound and moving. In short stories and novels of great delicacy and lyrical power, she set out to portray the limitations of the self, caught as it is in time, and suggested that these could be transcended, if only momentarily, by engagement with another self, a place, or a work of art. This preoccupation not only charged the act of reading and writing with unusual significance but also produced, in To the Lighthouse (1927), The Waves (1931)—perhaps her most inventive and complex novel—and Between the Acts (1941), her most sombre and moving work, some of the most daring fiction produced in the 20th century.
Woolf believed that her viewpoint offered an alternative to the destructive egotism of the masculine mind, an egotism that had found its outlet in World War I, but, as she made clear in her long essay A Room of One's Own (1929), she did not consider this viewpoint to be the unique possession of women. In her fiction she presented men who possessed what she held to be feminine characteristics, a regard for others and an awareness of the multiplicity of experience; but she remained pessimistic about women gaining positions of influence, even though she set out the desirability of this in her feminist study Three Guineas (1938). Together with Joyce, who greatly influenced her Mrs. Dalloway (1925), Woolf transformed the treatment of subjectivity, time, and history in fiction and helped create a feeling among her contemporaries that traditional forms of fiction—with their frequent indifference to the mysterious and inchoate inner life of characters—were no longer adequate. Her eminence as a literary critic and essayist did much to foster an interest in the work of other female Modernist writers of the period, such as Katherine Mansfield (born in New Zealand) and Dorothy Richardson.
Indeed, as a result of late 20th-century rereadings of Modernism, scholars now recognize the central importance of women writers to British Modernism, particularly as manifested in the works of Mansfield, Richardson, May Sinclair, Mary Butts, Rebecca West (pseudonym of Cicily Isabel Andrews), Jean Rhys (born in the West Indies), and the American poet Hilda Doolittle (who spent her adult life mainly in England and Switzerland). Sinclair, who produced 24 novels in the course of a prolific literary career, was an active feminist and an advocate of psychical research, including psychoanalysis. These concerns were evident in her most accomplished novels, Mary Olivier: A Life (1919) and Life and Death of Harriett Frean (1922), which explored the ways in which her female characters contributed to their own social and psychological repression. West, whose pen name was based on one of Norwegian playwright Henrik Ibsen's female characters, was similarly interested in female self-negation. From her first and greatly underrated novel, The Return of the Soldier (1918), to later novels such as Harriet Hume (1929), she explored how and why middle-class women so tenaciously upheld the division between private and public spheres and helped to sustain the traditional values of the masculine world. West became a highly successful writer on social and political issues—she wrote memorably on the Balkans and on the Nürnberg trials at the end of World War II—but her public acclaim as a journalist obscured during her lifetime her greater achievements as a novelist.
In her 13-volume Pilgrimage (the first volume, Pointed Roofs, appeared in 1915; the last, March Moonlight, in 1967), Richardson was far more positive about the capacity of women to realize themselves. She presented events through the mind of her autobiographical persona, Miriam Henderson, describing both the social and economic limitations and the psychological and intellectual possibilities of a young woman without means coming of age with the new century. Other women writers of the period also made major contributions to new kinds of psychological realism. In Bliss and Other Stories (1920) and The Garden Party and Other Stories (1922), Mansfield (who went to England at age 19) revolutionized the short story by rejecting the mechanisms of plot in favour of an impressionistic sense of the flow of experience, punctuated by an arresting moment of insight. In Postures (1928, reprinted as Quartet in 1969), Voyage in the Dark (1934), and Good Morning, Midnight (1939), Rhys depicted the lives of vulnerable women adrift in London and Paris, vulnerable because they were poor and because the words in which they innocently believed—honesty in relationships, fidelity in marriage—proved in practice to be empty.
Creating heavily symbolic novels based on the quest-romance, such as Ashe of Rings (1925) and Armed with Madness (1928), Butts explored a more general loss of value in the contemporary wasteland (T.S. Eliot was an obvious influence on her work), while Doolittle (whose reputation rested upon her contribution to the Imagist movement in poetry) used the quest-romance in a series of autobiographical novels—including Paint It Today (written in 1921 but first published in 1992) and Bid Me to Live (1960)—to chart a way through the contemporary world for female characters in search of sustaining, often same-sex relationships. Following the posthumous publication of her strikingly original prose, Doolittle's reputation was revised and enhanced.
The 1930s
World War I created a profound sense of crisis in English culture, and this became even more intense with the worldwide economic collapse of the late 1920s and early '30s, the rise of fascism, the Spanish Civil War (1936–39), and the approach of another full-scale conflict in Europe. It is not surprising, therefore, that much of the writing of the 1930s was bleak and pessimistic: even Evelyn Waugh's sharp and amusing satire on contemporary England, Vile Bodies (1930), ended with another, more disastrous war.
Divisions of class and the burden of sexual repression became common and interrelated themes in the fiction of the 1930s. In his trilogy A Scots Quair (Sunset Song [1932], Cloud Howe [1933], and Grey Granite [1934]), the novelist Lewis Grassic Gibbon (pseudonym of James Leslie Mitchell) gives a panoramic account of Scottish rural and working-class life. The work resembles Lawrence's novel The Rainbow in its historical sweep and intensity of vision. Walter Greenwood's Love on the Dole (1933) is a bleak record, in the manner of Bennett, of the economic depression in a northern working-class community; and Graham Greene's It's a Battlefield (1934) and Brighton Rock (1938) are desolate studies, in the manner of Conrad, of the loneliness and guilt of men and women trapped in a contemporary England of conflict and decay. A Clergyman's Daughter (1935) and Keep the Aspidistra Flying (1936), by George Orwell, are evocations—in the manner of Wells and, in the latter case unsuccessfully, of Joyce—of contemporary lower-middle-class existence, and The Road to Wigan Pier (1937) is a report of northern working-class mores. Elizabeth Bowen's Death of the Heart (1938) is a sardonic analysis, in the manner of James, of contemporary upper-class values.
Yet the most characteristic writing of the decade grew out of the determination to supplement the diagnosis of class division and sexual repression with their cure. It was no accident that the poetry of W.H. Auden and his Oxford contemporaries C. Day-Lewis, Louis MacNeice, and Stephen Spender became quickly identified as the authentic voice of the new generation, for it matched despair with defiance. These self-styled prophets of a new world envisaged freedom from the bourgeois order being achieved in various ways. For Day-Lewis and Spender, technology held out particular promise. This, allied to Marxist precepts, would in their view bring an end to poverty and the suffering it caused. For Auden especially, sexual repression was the enemy, and here the writings of Sigmund Freud and D.H. Lawrence were valuable. Whatever their individual preoccupations, these poets produced in the very play of their poetry, with its mastery of different genres, its rapid shifts of tone and mood, and its strange juxtapositions of the colloquial and esoteric, a blend of seriousness and high spirits irresistible to their peers.
The adventurousness of the new generation was shown in part by its love of travel (as in Christopher Isherwood's novels Mr. Norris Changes Trains [1935] and Goodbye to Berlin [1939], which reflect his experiences of postwar Germany), in part by its readiness for political involvement, and in part by its openness to the writing of the avant-garde of the Continent. The verse dramas coauthored by Auden and Isherwood, of which The Ascent of F6 (1936) is the most notable, owed much to Bertolt Brecht; the political parables of Rex Warner, of which The Aerodrome (1941) is the most accomplished, owed much to Franz Kafka; and the complex and often obscure poetry of David Gascoyne and Dylan Thomas owed much to the Surrealists. Even so, Yeats's mature poetry and Eliot's Waste Land, with its parodies, its satirical edge, its multiplicity of styles, and its quest for spiritual renewal, provided the most significant models and inspiration for the young writers of the period.
The writing of the interwar period had great breadth and diversity, from Modernist experimentation to new documentary modes of realism and from art as propaganda (particularly in the theatre) to conventional fiction, drama, and poetry produced for the popular market. Two trends stand out: first, the impact of film on the writing of the decade, not least on styles of visual realization and dialogue, and, second, the ubiquitous preoccupation with questions of time, on the psychological, historical, and even cosmological levels. As the world became less stable, writers sought both to reflect this and to seek some more-fundamental grounding than that provided by contemporary circumstances.
The literature of World War II (1939–45)
The outbreak of war in 1939, as in 1914, brought to an end an era of great intellectual and creative exuberance. Individuals were dispersed; the rationing of paper affected the production of magazines and books; and the poem and the short story, convenient forms for men under arms, became the favoured means of literary expression. It was hardly a time for new beginnings, although the poets of the New Apocalypse movement produced three anthologies (1940–45) inspired by Neoromantic anarchism. No important new novelists or playwrights appeared. In fact, the best fiction about wartime—Evelyn Waugh's Put Out More Flags (1942), Henry Green's Caught (1943), James Hanley's No Directions (1943), Patrick Hamilton's The Slaves of Solitude (1947), and Elizabeth Bowen's The Heat of the Day (1949)—was produced by established writers. Only three new poets (all of whom died on active service) showed promise: Alun Lewis, Sidney Keyes, and Keith Douglas, the latter the most gifted and distinctive, whose eerily detached accounts of the battlefield revealed a poet of potential greatness. Lewis's haunting short stories about the lives of officers and enlisted men are also works of very great accomplishment.
It was a poet of an earlier generation, T.S. Eliot, who produced in his Four Quartets (1935–42; published as a whole, 1943) the masterpiece of the war. Reflecting upon language, time, and history, he searched, in the three quartets written during the war, for moral and religious significance in the midst of destruction and strove to counter the spirit of nationalism inevitably present in a nation at war. The creativity that had seemed to end with the tortured religious poetry and verse drama of the 1920s and '30s had a rich and extraordinary late flowering as Eliot concerned himself, on the scale of The Waste Land but in a very different manner and mood, with the well-being of the society in which he lived.
LITERATURE AFTER 1945
Increased attachment to religion most immediately characterized literature after World War II. This was particularly perceptible in authors who had already established themselves before the war. W.H. Auden turned from Marxist politics to Christian commitment, expressed in poems that attractively combine classical form with vernacular relaxedness. Christian belief suffused the verse plays of T.S. Eliot and Christopher Fry. While Graham Greene continued the powerful merging of thriller plots with studies of moral and psychological ambiguity that he had developed through the 1930s, his Roman Catholicism loomed especially large in novels such as The Heart of the Matter (1948) and The End of the Affair (1951). Evelyn Waugh's Brideshead Revisited (1945) and his Sword of Honour trilogy (1965; published separately as Men at Arms [1952], Officers and Gentlemen [1955], and Unconditional Surrender [1961]) venerate Roman Catholicism as the repository of values seen as under threat from the advance of democracy. Less-traditional spiritual solace was found in Eastern mysticism by Aldous Huxley and Christopher Isherwood and by Robert Graves, who maintained an impressive output of taut, graceful lyric poetry behind which lay the creed he expressed in The White Goddess (1948), a matriarchal mythology revering the female principle.


هذا اللي منزلتة دكتورة حصة في القروب عن 20th c

[هتان7ano0]

يعني حنا قروب الاحد بيكون اختبارنا حق الشعر الاحد و الا الاثنين ... ؟ متووهقه مرره مع ذا الكوووز

[التوفيق يارب]

الأحد يوم الأحد و السبت يؤوم الاثنين

[never give up]

احنا السبت س 12 الاسبوع اللي فات انا حضرت بس ماتكلمت ابد ان في اختبار :6:

[التوفيق يارب]

وكل هالحوسه عليه ٥ درجات بس :24:

[Miss.LoLo]

مساء الخير بنات الله يعافيكم اللي عندها شي مفيد عن الworld war
الله يوفقها تنزله لنا واللي تقدر تسوي سكان من البووك الكبير حق الشعر تسوي لنا صفحة الوورد وار
بليز ولكم دعوات :16:

[mrssenstive]

:29: سوووري ع التاخيررررر:17:اتمنى لكم التوووفيق

[mrssenstive]

في للدكتور محمد الشهال ذا درس دفعه من البنات كان حلووو الشرح:33: تبعه في كم محاضره للدكتووورة فوزيه:29:

[Diamond brooch]

the 20th century


from 1900 to 1945
the edwardians
the 20th century opened with great hope but also with some apprehension, for the new century marked the final approach to a new millennium. For many, humankind was entering upon an unprecedented era. H.g. Wells's utopian studies, the aptly titled anticipations of the reaction of mechanical and scientific progress upon human life and thought (1901) and a modern utopia (1905), both captured and qualified this optimistic mood and gave expression to a common conviction that science and technology would transform the world in the century ahead. To achieve such transformation, outmoded institutions and ideals had to be replaced by ones more suited to the growth and liberation of the human spirit. The death of queen victoria in 1901 and the accession of edward vii seemed to confirm that a franker, less inhibited era had begun.
Many writers of the edwardian period, drawing widely upon the realistic and naturalistic conventions of the 19th century (upon ibsen in drama and balzac, turgenev, flaubert, zola, eliot, and dickens in fiction) and in tune with the anti-aestheticism unleashed by the trial of the archetypal aesthete, oscar wilde, saw their task in the new century to be an unashamedly didactic one. In a series of wittily iconoclastic plays, of which man and superman (performed 1905, published 1903) and major barbara (performed 1905, published 1907) are the most substantial, george bernard shaw turned the edwardian theatre into an arena for debate upon the principal concerns of the day: The question of political organization, the morality of armaments and war, the function of class and of the professions, the validity of the family and of marriage, and the issue of female emancipation. Nor was he alone in this, even if he was alone in the brilliance of his comedy. John galsworthy made use of the theatre in strife (1909) to explore the conflict between capital and labour, and in justice (1910) he lent his support to reform of the penal system, while harley granville-barker, whose revolutionary approach to stage direction did much to change theatrical production in the period, dissected in the voysey inheritance (performed 1905, published 1909) and waste (performed 1907, published 1909) the hypocrisies and deceit of upper-class and professional life.
Many edwardian novelists were similarly eager to explore the shortcomings of english social life. Wells—in love and mr. Lewisham (1900); kipps (1905); ann veronica (1909), his pro-suffragist novel; and the history of mr. Polly (1910)—captured the frustrations of lower- and middle-class existence, even though he relieved his accounts with many comic touches. In anna of the five towns (1902), arnold bennett detailed the constrictions of provincial life among the self-made business classes in the area of england known as the potteries; in the man of property (1906), the first volume of the forsyte saga, galsworthy described the destructive possessiveness of the professional bourgeoisie; and, in where angels fear to tread (1905) and the longest journey (1907), e.m. Forster portrayed with irony the insensitivity, self-repression, and philistinism of the english middle classes.
These novelists, however, wrote more memorably when they allowed themselves a larger perspective. In the old wives' tale (1908), bennett showed the destructive effects of time on the lives of individuals and communities and evoked a quality of pathos that he never matched in his other fiction; in tono-bungay (1909), wells showed the ominous consequences of the uncontrolled developments taking place within a british society still dependent upon the institutions of a long-defunct landed aristocracy; and in howards end (1910), forster showed how little the rootless and self-important world of contemporary commerce cared for the more rooted world of culture, although he acknowledged that commerce was a necessary evil. Nevertheless, even as they perceived the difficulties of the present, most edwardian novelists, like their counterparts in the theatre, held firmly to the belief not only that constructive change was possible but also that this change could in some measure be advanced by their writing.
Other writers, including thomas hardy and rudyard kipling, who had established their reputations during the previous century, and hilaire belloc, g.k. Chesterton, and edward thomas, who established their reputations in the first decade of the new century, were less confident about the future and sought to revive the traditional forms—the ballad, the narrative poem, the satire, the fantasy, the topographical poem, and the essay—that in their view preserved traditional sentiments and perceptions. The revival of traditional forms in the late 19th and early 20th century was not a unique event. There were many such revivals during the 20th century, and the traditional poetry of a.e. Housman (whose book a shropshire lad, originally published in 1896, enjoyed huge popular success during world war i), walter de la mare, john masefield, robert graves, and edmund blunden represents an important and often neglected strand of english literature in the first half of the century.
The most significant writing of the period, traditionalist or modern, was inspired by neither hope nor apprehension but by bleaker feelings that the new century would witness the collapse of a whole civilization. The new century had begun with great britain involved in the south african war (the boer war; 1899–1902), and it seemed to some that the british empire was as doomed to destruction, both from within and from without, as had been the roman empire. In his poems on the south african war, hardy (whose achievement as a poet in the 20th century rivaled his achievement as a novelist in the 19th) questioned simply and sardonically the human cost of empire building and established a tone and style that many british poets were to use in the course of the century, while kipling, who had done much to engender pride in empire, began to speak in his verse and short stories of the burden of empire and the tribulations it would bring.

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boer troops lining up in battle against the british during the south african war (1899–1902).
Dea picture library
no one captured the sense of an imperial civilization in decline more fully or subtly than the expatriate american novelist henry james. In the portrait of a lady (1881), he had briefly anatomized the fatal loss of energy of the english ruling class and, in the princess casamassima (1886), had described more directly the various instabilities that threatened its paternalistic rule. He did so with regret: The patrician american admired in the english upper class its sense of moral obligation to the community. By the turn of the century, however, he had noted a disturbing change. In the spoils of poynton (1897) and what maisie knew (1897), members of the upper class no longer seem troubled by the means adopted to achieve their morally dubious ends. Great britain had become indistinguishable from the other nations of the old world, in which an ugly rapacity had never been far from the surface. James's dismay at this condition gave to his subtle and compressed late fiction, the wings of the dove (1902), the ambassadors (1903), and the golden bowl (1904), much of its gravity and air of disenchantment.
James's awareness of crisis affected the very form and style of his writing, for he was no longer assured that the world about which he wrote was either coherent in itself or unambiguously intelligible to its inhabitants. His fiction still presented characters within an identifiable social world, but he found his characters and their world increasingly elusive and enigmatic and his own grasp upon them, as he made clear in the sacred fount (1901), the questionable consequence of artistic will.
Another expatriate novelist, joseph conrad (pseudonym of j&oacute;zef teodor konrad korzeniowski, born in the ukraine of polish parents), shared james's sense of crisis but attributed it less to the decline of a specific civilization than to human failings. Man was a solitary, romantic creature of will who at any cost imposed his meaning upon the world because he could not endure a world that did not reflect his central place within it. In almayer's folly (1895) and lord jim (1900), he had seemed to sympathize with this predicament; but in heart of darkness (1902), nostromo (1904), the secret agent (1907), and under western eyes (1911), he detailed such imposition, and the psychological pathologies he increasingly associated with it, without sympathy. He did so as a philosophical novelist whose concern with the mocking limits of human knowledge affected not only the content of his fiction but also its very structure. His writing itself is marked by gaps in the narrative, by narrators who do not fully grasp the significance of the events they are retelling, and by characters who are unable to make themselves understood. James and conrad used many of the conventions of 19th-century realism but transformed them to express what are considered to be peculiarly 20th-century preoccupations and anxieties.
The modernist revolution
anglo-american modernism: Pound, lewis, lawrence, and eliot
from 1908 to 1914 there was a remarkably productive period of innovation and experiment as novelists and poets undertook, in anthologies and magazines, to challenge the literary conventions not just of the recent past but of the entire post-romantic era. For a brief moment, london, which up to that point had been culturally one of the dullest of the european capitals, boasted an avant-garde to rival those of paris, vienna, and berlin, even if its leading personality, ezra pound, and many of its most notable figures were american.
The spirit of modernism—a radical and utopian spirit stimulated by new ideas in anthropology, psychology, philosophy, political theory, and psychoanalysis—was in the air, expressed rather mutedly by the pastoral and often anti-modern poets of the georgian movement (1912–22; see georgian poetry) and more authentically by the english and american poets of the imagist movement, to which pound first drew attention in ripostes (1912), a volume of his own poetry, and in des imagistes (1914), an anthology. Prominent among the imagists were the english poets t.e. Hulme, f.s. Flint, and richard aldington and the americans hilda doolittle (h.d.) and amy lowell.
Reacting against what they considered to be an exhausted poetic tradition, the imagists wanted to refine the language of poetry in order to make it a vehicle not for pastoral sentiment or imperialistic rhetoric but for the exact description and evocation of mood. To this end they experimented with free or irregular verse and made the image their principal instrument. In contrast to the leisurely georgians, they worked with brief and economical forms.
Meanwhile, painters and sculptors, grouped together by the painter and writer wyndham lewis under the banner of vorticism, combined the abstract art of the cubists with the example of the italian futurists who conveyed in their painting, sculpture, and literature the new sensations of movement and scale associated with modern developments such as automobiles and airplanes. With the typographically arresting blast: Review of the great english vortex (two editions, 1914 and 1915) vorticism found its polemical mouthpiece and in lewis, its editor, its most active propagandist and accomplished literary exponent. His experimental play enemy of the stars, published in blast in 1914, and his experimental novel tarr (1918) can still surprise with their violent exuberance.

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ezra pound, painting by wyndham lewis, 1938–39.
The granger collection, new york
world war i brought this first period of the modernist revolution to an end and, while not destroying its radical and utopian impulse, made the anglo-american modernists all too aware of the gulf between their ideals and the chaos of the present. Novelists and poets parodied received forms and styles, in their view made redundant by the immensity and horror of the war, but, as can be seen most clearly in pound's angry and satirical hugh selwyn mauberley (1920), with a note of anguish and with the wish that writers might again make form and style the bearers of authentic meanings.
In his two most innovative novels, the rainbow (1915) and women in love (1920), d.h. Lawrence traced the sickness of modern civilization—a civilization in his view only too eager to participate in the mass slaughter of the war—to the effects of industrialization upon the human psyche. Yet as he rejected the conventions of the fictional tradition, which he had used to brilliant effect in his deeply felt autobiographical novel of working-class family life, sons and lovers (1913), he drew upon myth and symbol to hold out the hope that individual and collective rebirth could come through human intensity and passion.
On the other hand, the poet and playwright t.s. Eliot, another american resident in london, in his most innovative poetry, prufrock and other observations (1917) and the waste land (1922), traced the sickness of modern civilization—a civilization that, on the evidence of the war, preferred death or death-in-life to life—to the spiritual emptiness and rootlessness of modern existence. As he rejected the conventions of the poetic tradition, eliot, like lawrence, drew upon myth and symbol to hold out the hope of individual and collective rebirth, but he differed sharply from lawrence by supposing that rebirth could come through self-denial and self-abnegation. Even so, their satirical intensity, no less than the seriousness and scope of their analyses of the failings of a civilization that had voluntarily entered upon the first world war, ensured that lawrence and eliot became the leading and most authoritative figures of anglo-american modernism in england in the whole of the postwar period.
During the 1920s lawrence (who had left england in 1919) and eliot began to develop viewpoints at odds with the reputations they had established through their early work. In kangaroo (1923) and the plumed serpent (1926), lawrence revealed the attraction to him of charismatic, masculine leadership, while, in for lancelot andrewes: Essays on style and order (1928), eliot (whose influence as a literary critic now rivaled his influence as a poet) announced that he was a "classicist in literature, royalist in politics and anglo-catholic in religion" and committed himself to hierarchy and order. Elitist and paternalistic, they did not, however, adopt the extreme positions of pound (who left england in 1920 and settled permanently in italy in 1925) or lewis. Drawing upon the ideas of the left and of the right, pound and lewis dismissed democracy as a sham and argued that economic and ideological manipulation was the dominant factor. For some, the antidemocratic views of the anglo-american modernists simply made explicit the reactionary tendencies inherent in the movement from its beginning; for others, they came from a tragic loss of balance occasioned by world war i. This issue is a complex one, and judgments upon the literary merit and political status of pound's ambitious but immensely difficult imagist epic the cantos (1917–70) and lewis's powerful sequence of politico-theological novels the human age (the childermass, 1928; monstre gai and malign fiesta, both 1955) are sharply divided.
Celtic modernism: Yeats, joyce, jones, and macdiarmid
pound, lewis, lawrence, and eliot were the principal male figures of anglo-american modernism, but important contributions also were made by the irish poet and playwright william butler yeats and the irish novelist james joyce. By virtue of nationality, residence, and, in yeats's case, an unjust reputation as a poet still steeped in celtic mythology, they had less immediate impact upon the british literary intelligentsia in the late 1910s and early 1920s than pound, lewis, lawrence, and eliot, although by the mid-1920s their influence had become direct and substantial. Many critics today argue that yeats's work as a poet and joyce's work as a novelist are the most important modernist achievements of the period.
In his early verse and drama, yeats, who had been influenced as a young man by the romantic and pre-raphaelite movements, evoked a legendary and supernatural ireland in language that was often vague and grandiloquent. As an adherent of the cause of irish nationalism, he had hoped to instill pride in the irish past. The poetry of the green helmet (1910) and responsibilities (1914), however, was marked not only by a more concrete and colloquial style but also by a growing isolation from the nationalist movement, for yeats celebrated an aristocratic ireland epitomized for him by the family and country house of his friend and patron, lady gregory.
The grandeur of his mature reflective poetry in the wild swans at coole (1917), michael robartes and the dancer (1921), the tower (1928), and the winding stair (1929) derived in large measure from the way in which (caught up by the violent discords of contemporary irish history) he accepted the fact that his idealized ireland was illusory. At its best his mature style combined passion and precision with powerful symbol, strong rhythm, and lucid diction; and even though his poetry often touched upon public themes, he never ceased to reflect upon the romantic themes of creativity, selfhood, and the individual's relationship to nature, time, and history.
Joyce, who spent his adult life on the continent of europe, expressed in his fiction his sense of the limits and possibilities of the ireland he had left behind. In his collection of short stories, dubliners (1914), and his largely autobiographical novel a portrait of the artist as a young man (1916), he described in fiction at once realist and symbolist the individual cost of the sexual and imaginative oppressiveness of life in ireland. As if by provocative contrast, his panoramic novel of urban life, ulysses (1922), was sexually frank and imaginatively profuse. (copies of the first edition were burned by the new york postal authorities, and british customs officials seized the second edition in 1923.) employing extraordinary formal and linguistic inventiveness, including the stream-of-consciousness method, joyce depicted the experiences and the fantasies of various men and women in dublin on a summer's day in june 1904. Yet his purpose was not simply documentary, for he drew upon an encyclopaedic range of european literature to stress the rich universality of life buried beneath the provincialism of pre-independence dublin, in 1904 a city still within the british empire. In his even more experimental finnegans wake (1939), extracts of which had already appeared as work in progress from 1928 to 1937, joyce's commitment to cultural universality became absolute. By means of a strange, polyglot idiom of puns and portmanteau words, he not only explored the relationship between the conscious and the unconscious but also suggested that the languages and myths of ireland were interwoven with the languages and myths of many other cultures.
The example of joyce's experimentalism was followed by the anglo-welsh poet david jones and by the scottish poet hugh macdiarmid (pseudonym of christopher murray grieve). Whereas jones concerned himself, in his complex and allusive poetry and prose, with the celtic, saxon, roman, and christian roots of great britain, macdiarmid sought not only to recover what he considered to be an authentically scottish culture but also to establish, as in his in memoriam james joyce (1955), the truly cosmopolitan nature of celtic consciousness and achievement. Macdiarmid's masterpiece in the vernacular, a drunk man looks at the thistle (1926), helped to inspire the scottish renaissance of the 1920s and '30s.
The literature of world war i and the interwar period
the impact of world war i upon the anglo-american modernists has been noted. In addition the war brought a variety of responses from the more-traditionalist writers, predominantly poets, who saw action. Rupert brooke caught the idealism of the opening months of the war (and died in service); siegfried sassoon and ivor gurney caught the mounting anger and sense of waste as the war continued; and isaac rosenberg (perhaps the most original of the war poets), wilfred owen, and edmund blunden not only caught the comradely compassion of the trenches but also addressed themselves to the larger moral perplexities raised by the war (rosenberg and owen were killed in action).
It was not until the 1930s, however, that much of this poetry became widely known. In the wake of the war the dominant tone, at once cynical and bewildered, was set by aldous huxley's satirical novel crome yellow (1921). Drawing upon lawrence and eliot, he concerned himself in his novels of ideas—antic hay (1923), those barren leaves (1925), and point counter point (1928)—with the fate of the individual in rootless modernity. His pessimistic vision found its most complete expression in the 1930s, however, in his most famous and inventive novel, the anti-utopian fantasy brave new world (1932), and his account of the anxieties of middle-class intellectuals of the period, eyeless in gaza (1936).
Huxley's frank and disillusioned manner was echoed by the dramatist noël coward in the vortex (1924), which established his reputation; by the poet robert graves in his autobiography, good-bye to all that (1929); and by the poet richard aldington in his death of a hero (1929), a semiautobiographical novel of prewar bohemian london and the trenches. Exceptions to this dominant mood were found among writers too old to consider themselves, as did graves and aldington, members of a betrayed generation. In a passage to india (1924), e.m. Forster examined the quest for and failure of human understanding among various ethnic and social groups in india under british rule. In parade's end (1950; comprising some do not, 1924; no more parades, 1925; a man could stand up, 1926; and last post, 1928) ford madox ford, with an obvious debt to james and conrad, examined the demise of aristocratic england in the course of the war, exploring on a larger scale the themes he had treated with brilliant economy in his short novel the good soldier (1915). And in wolf solent (1929) and a glastonbury romance (1932), john cowper powys developed an eccentric and highly erotic mysticism.
These were, however, writers of an earlier, more confident era. A younger and more contemporary voice belonged to members of the bloomsbury group. Setting themselves against the humbug and hypocrisy that, they believed, had marked their parents' generation in upper-class england, they aimed to be uncompromisingly honest in personal and artistic life. In lytton strachey's iconoclastic biographical study eminent victorians (1918), this amounted to little more than amusing irreverence, even though strachey had a profound effect upon the writing of biography; but in the fiction of virginia woolf the rewards of this outlook were both profound and moving. In short stories and novels of great delicacy and lyrical power, she set out to portray the limitations of the self, caught as it is in time, and suggested that these could be transcended, if only momentarily, by engagement with another self, a place, or a work of art. This preoccupation not only charged the act of reading and writing with unusual significance but also produced, in to the lighthouse (1927), the waves (1931)—perhaps her most inventive and complex novel—and between the acts (1941), her most sombre and moving work, some of the most daring fiction produced in the 20th century.
Woolf believed that her viewpoint offered an alternative to the destructive egotism of the masculine mind, an egotism that had found its outlet in world war i, but, as she made clear in her long essay a room of one's own (1929), she did not consider this viewpoint to be the unique possession of women. In her fiction she presented men who possessed what she held to be feminine characteristics, a regard for others and an awareness of the multiplicity of experience; but she remained pessimistic about women gaining positions of influence, even though she set out the desirability of this in her feminist study three guineas (1938). Together with joyce, who greatly influenced her mrs. Dalloway (1925), woolf transformed the treatment of subjectivity, time, and history in fiction and helped create a feeling among her contemporaries that traditional forms of fiction—with their frequent indifference to the mysterious and inchoate inner life of characters—were no longer adequate. Her eminence as a literary critic and essayist did much to foster an interest in the work of other female modernist writers of the period, such as katherine mansfield (born in new zealand) and dorothy richardson.
Indeed, as a result of late 20th-century rereadings of modernism, scholars now recognize the central importance of women writers to british modernism, particularly as manifested in the works of mansfield, richardson, may sinclair, mary butts, rebecca west (pseudonym of cicily isabel andrews), jean rhys (born in the west indies), and the american poet hilda doolittle (who spent her adult life mainly in england and switzerland). Sinclair, who produced 24 novels in the course of a prolific literary career, was an active feminist and an advocate of psychical research, including psychoanalysis. These concerns were evident in her most accomplished novels, mary olivier: A life (1919) and life and death of harriett frean (1922), which explored the ways in which her female characters contributed to their own social and psychological repression. West, whose pen name was based on one of norwegian playwright henrik ibsen's female characters, was similarly interested in female self-negation. From her first and greatly underrated novel, the return of the soldier (1918), to later novels such as harriet hume (1929), she explored how and why middle-class women so tenaciously upheld the division between private and public spheres and helped to sustain the traditional values of the masculine world. West became a highly successful writer on social and political issues—she wrote memorably on the balkans and on the nürnberg trials at the end of world war ii—but her public acclaim as a journalist obscured during her lifetime her greater achievements as a novelist.
In her 13-volume pilgrimage (the first volume, pointed roofs, appeared in 1915; the last, march moonlight, in 1967), richardson was far more positive about the capacity of women to realize themselves. She presented events through the mind of her autobiographical persona, miriam henderson, describing both the social and economic limitations and the psychological and intellectual possibilities of a young woman without means coming of age with the new century. Other women writers of the period also made major contributions to new kinds of psychological realism. In bliss and other stories (1920) and the garden party and other stories (1922), mansfield (who went to england at age 19) revolutionized the short story by rejecting the mechanisms of plot in favour of an impressionistic sense of the flow of experience, punctuated by an arresting moment of insight. In postures (1928, reprinted as quartet in 1969), voyage in the dark (1934), and good morning, midnight (1939), rhys depicted the lives of vulnerable women adrift in london and paris, vulnerable because they were poor and because the words in which they innocently believed—honesty in relationships, fidelity in marriage—proved in practice to be empty.
Creating heavily symbolic novels based on the quest-romance, such as ashe of rings (1925) and armed with madness (1928), butts explored a more general loss of value in the contemporary wasteland (t.s. Eliot was an obvious influence on her work), while doolittle (whose reputation rested upon her contribution to the imagist movement in poetry) used the quest-romance in a series of autobiographical novels—including paint it today (written in 1921 but first published in 1992) and bid me to live (1960)—to chart a way through the contemporary world for female characters in search of sustaining, often same-sex relationships. Following the posthumous publication of her strikingly original prose, doolittle's reputation was revised and enhanced.
The 1930s
world war i created a profound sense of crisis in english culture, and this became even more intense with the worldwide economic collapse of the late 1920s and early '30s, the rise of fascism, the spanish civil war (1936–39), and the approach of another full-scale conflict in europe. It is not surprising, therefore, that much of the writing of the 1930s was bleak and pessimistic: Even evelyn waugh's sharp and amusing satire on contemporary england, vile bodies (1930), ended with another, more disastrous war.
Divisions of class and the burden of sexual repression became common and interrelated themes in the fiction of the 1930s. In his trilogy a scots quair (sunset song [1932], cloud howe [1933], and grey granite [1934]), the novelist lewis grassic gibbon (pseudonym of james leslie mitchell) gives a panoramic account of scottish rural and working-class life. The work resembles lawrence's novel the rainbow in its historical sweep and intensity of vision. Walter greenwood's love on the dole (1933) is a bleak record, in the manner of bennett, of the economic depression in a northern working-class community; and graham greene's it's a battlefield (1934) and brighton rock (1938) are desolate studies, in the manner of conrad, of the loneliness and guilt of men and women trapped in a contemporary england of conflict and decay. A clergyman's daughter (1935) and keep the aspidistra flying (1936), by george orwell, are evocations—in the manner of wells and, in the latter case unsuccessfully, of joyce—of contemporary lower-middle-class existence, and the road to wigan pier (1937) is a report of northern working-class mores. Elizabeth bowen's death of the heart (1938) is a sardonic analysis, in the manner of james, of contemporary upper-class values.
Yet the most characteristic writing of the decade grew out of the determination to supplement the diagnosis of class division and sexual repression with their cure. It was no accident that the poetry of w.h. Auden and his oxford contemporaries c. Day-lewis, louis macneice, and stephen spender became quickly identified as the authentic voice of the new generation, for it matched despair with defiance. These self-styled prophets of a new world envisaged freedom from the bourgeois order being achieved in various ways. For day-lewis and spender, technology held out particular promise. This, allied to marxist precepts, would in their view bring an end to poverty and the suffering it caused. For auden especially, sexual repression was the enemy, and here the writings of sigmund freud and d.h. Lawrence were valuable. Whatever their individual preoccupations, these poets produced in the very play of their poetry, with its mastery of different genres, its rapid shifts of tone and mood, and its strange juxtapositions of the colloquial and esoteric, a blend of seriousness and high spirits irresistible to their peers.
The adventurousness of the new generation was shown in part by its love of travel (as in christopher isherwood's novels mr. Norris changes trains [1935] and goodbye to berlin [1939], which reflect his experiences of postwar germany), in part by its readiness for political involvement, and in part by its openness to the writing of the avant-garde of the continent. The verse dramas coauthored by auden and isherwood, of which the ascent of f6 (1936) is the most notable, owed much to bertolt brecht; the political parables of rex warner, of which the aerodrome (1941) is the most accomplished, owed much to franz kafka; and the complex and often obscure poetry of david gascoyne and dylan thomas owed much to the surrealists. Even so, yeats's mature poetry and eliot's waste land, with its parodies, its satirical edge, its multiplicity of styles, and its quest for spiritual renewal, provided the most significant models and inspiration for the young writers of the period.
The writing of the interwar period had great breadth and diversity, from modernist experimentation to new documentary modes of realism and from art as propaganda (particularly in the theatre) to conventional fiction, drama, and poetry produced for the popular market. Two trends stand out: First, the impact of film on the writing of the decade, not least on styles of visual realization and dialogue, and, second, the ubiquitous preoccupation with questions of time, on the psychological, historical, and even cosmological levels. As the world became less stable, writers sought both to reflect this and to seek some more-fundamental grounding than that provided by contemporary circumstances.
The literature of world war ii (1939–45)
the outbreak of war in 1939, as in 1914, brought to an end an era of great intellectual and creative exuberance. Individuals were dispersed; the rationing of paper affected the production of magazines and books; and the poem and the short story, convenient forms for men under arms, became the favoured means of literary expression. It was hardly a time for new beginnings, although the poets of the new apocalypse movement produced three anthologies (1940–45) inspired by neoromantic anarchism. No important new novelists or playwrights appeared. In fact, the best fiction about wartime—evelyn waugh's put out more flags (1942), henry green's caught (1943), james hanley's no directions (1943), patrick hamilton's the slaves of solitude (1947), and elizabeth bowen's the heat of the day (1949)—was produced by established writers. Only three new poets (all of whom died on active service) showed promise: Alun lewis, sidney keyes, and keith douglas, the latter the most gifted and distinctive, whose eerily detached accounts of the battlefield revealed a poet of potential greatness. Lewis's haunting short stories about the lives of officers and enlisted men are also works of very great accomplishment.
It was a poet of an earlier generation, t.s. Eliot, who produced in his four quartets (1935–42; published as a whole, 1943) the masterpiece of the war. Reflecting upon language, time, and history, he searched, in the three quartets written during the war, for moral and religious significance in the midst of destruction and strove to counter the spirit of nationalism inevitably present in a nation at war. The creativity that had seemed to end with the tortured religious poetry and verse drama of the 1920s and '30s had a rich and extraordinary late flowering as eliot concerned himself, on the scale of the waste land but in a very different manner and mood, with the well-being of the society in which he lived.
Literature after 1945
increased attachment to religion most immediately characterized literature after world war ii. This was particularly perceptible in authors who had already established themselves before the war. W.h. Auden turned from marxist politics to christian commitment, expressed in poems that attractively combine classical form with vernacular relaxedness. Christian belief suffused the verse plays of t.s. Eliot and christopher fry. While graham greene continued the powerful merging of thriller plots with studies of moral and psychological ambiguity that he had developed through the 1930s, his roman catholicism loomed especially large in novels such as the heart of the matter (1948) and the end of the affair (1951). Evelyn waugh's brideshead revisited (1945) and his sword of honour trilogy (1965; published separately as men at arms [1952], officers and gentlemen [1955], and unconditional surrender [1961]) venerate roman catholicism as the repository of values seen as under threat from the advance of democracy. Less-traditional spiritual solace was found in eastern mysticism by aldous huxley and christopher isherwood and by robert graves, who maintained an impressive output of taut, graceful lyric poetry behind which lay the creed he expressed in the white goddess (1948), a matriarchal mythology revering the female principle.


هذا اللي منزلتة دكتورة حصة في القروب عن 20th c






بنااااااااااات هذا يكفي للمذاكره ولا لا ؟؟:42:

اذا الاختبار اختياري لازم في متريل ثابت صح:7:

[التوفيق يارب]

اللحين بروك و سيسزون و اوين ،،، بري وار بوتس ????

و Yeats post war ?
:4::7:

احس لخبطت

[التوفيق يارب]

التواريخ ايش هي غير الحربين :26:
و ال early 20cen 1900 - 1945

[هتان7ano0]

بنات دكتور احمد وش قال عن المقاله الي يبغاها الاسبوع ذاااا ..؟

بنات سؤال ترا انا اول مرة اخذ معه مقال ... هو كيفة بدرجات ؟ احسه ب المقال شديد ما يعجبة اي شي :7:

[هتان7ano0]

يعطييييييييكم العااافية و موفقااات ان شاءالله ....
و ي لبىىى دكتورة فووزية وشرحها الي يفتح النفس و ي لبىىى الي نزلت التفريغات :37:

[Diamond brooch]

^

اي رقم تفريغ معنا بالاختبار ..؟:7:

[التوفيق يارب]

Imagism started 1910 till 1930
It is the beginning of modern age

[استفاق الجرح]

مرحباااااااااااااااااا صبايا يسعد مسائكم :2:
د .يمنى تبي نحضر عن aestheticism بس مافهمت وش تبي بالضبط مقاله اوتعريف

موفقيييييييييييييييييين:16::16::16:

[التوفيق يارب]

مين عنده بكرا شعر

[heavy rain20]

انا عندي الاحد بس حابه اسالكم بنات مين عندها الكتاب الكبير انثولجي تنسخ لنا معلومات منه عن القرن ال20 الله يؤفقها :29:

[Diamond brooch]

بنات واجب المقال :33:
مشاركه ولا تسليم بليز احد يرد علي ...!!

:5:

[clever girl]

إسرااااااااااء:31:
اختبار تاريخ اللغه الترم الثاني بيكون يوم الأثنين تاريخ١١/٢٢
الاختبارات تبدأ يوم السبت وتخلص السبت الثاني يعني أسبوع ويوم:27:

[طيرالحب]

)
- The Modernists are not using references hints at common understanding of certain views in the minds of the reader. They were smart in using the exact words that create the scene or the exact image that they want the reader to have. They were interested in individuality and roam in the inside rather than the outside – interested in the poet’s interior world rather than the exterior world surrounded the reader in the environment. So, their language, subject matter and the rhythm is that of the inside rather than the outside. They tried to create to the reader a parallel world to their interior world through the poet’s own words, themes and rhythm. So, this helped them to come out with some kind of new poetry with the poetic way of creating images. That is why, they sometimes go back to the classical and the metaphysical.
- They used the exact words to reflect their points and they never used random synonyms just to decorate their points. That is why, they did not use references or symbols or some illusions to make something new. What is new is that they remind us with somebody else; we do not read about the writer himself. So, they depend on some kind of personal, individual and private creation rather than depending on something beautiful only. They substitute the word beautiful for something religious.
- They wrote short poems, they concentrate the subject and described it very well. This goes with one of the outstanding leader in poetry namely Hopkins. He wrote his poems in 8 or 10 lines maximum with very beautiful language, so we can realize this concentration of ideas or subjects. So, his poems were different from what we read in the romantics in the concentration of the words. Sometimes they have descriptive passages which come out of their freedom in choosing the subject matter but they come to the concentration and the exact use of words and we find their interest in the choice of words. The word is chosen for its meaning, its sound and how far it will go to be inserted into the line to give the rhythm or describe the subject matter. For example, if the poet is describing a dry leaf, he must use only the exact word that carries the exact meaning, the sound and the goes with the line to give the full rhythm of the whole poem and all these in short lines. So, this is a kind of smart concentration language.
- At the beginning of the 20th century and the end of the Victorian period, writers were suffering some criticism as writers who were keen to show their religious meanings and their believe in God were moving towards the Godless era. They started with the impact of Darwin period of evolution. They need a substitution for that, so they stated to search for some value in their life.
- One of these values was a sort of Art “Art for Art’s sake” – which means the beauty of art in itself. The second value was imperialism. Imperialism was formed in England and it gave some citizens a sense of superiority over others. At the same time, they started to think about the soldiers who sacrifice their blood in other lands like India. At the end of the 19th century and the beginning of the 20th century, the idea of imperialism was taken to play the role of religion – a power on earth.
- These different trends in the age created the language of the age. The language of the age is that of the modernism which early noted imagism.
- The sense of alienation was a prevailing sense in the age. To feel alienation means to feel alone, deserted and live inside yourself even if you are living in a society and surrounded by many people whom you have very little commons with them.
- Historical background:
- What he is anticipated is that in the new century, people will go to a new creation in literature. People created a new way of writing and a new approach to man and his life. We spoke about the Modern age and the Modern poetry and a new movement started to be created and adapted by writers like imagism and symbolism and modernism. Suddenly the war started and a new generation of writers appears who are less pessimistic and more optimistic even if they are participating in war. A new generation of writers believed in their country and ready to devote their lives to their country.
-
- At that time, there was a new type of literature (Modernism) started to be written but all that was postponed and bushed to the back seat with the beginning of the war. Then different kind of poetry started to be written which is war poetry.
-
- The war poetry can be described as traditional and this makes people leave the modern poetry and started to read the traditional. Also, they started to read the war poetry because of the world war atmosphere at England during this period. People are busy with war and the details of the war. People are busy and enthusiastic for the people who are more capable to speak of war, namely the soldiers who are writing poetry like Rupert Brooke, Wilfred Owen and Sassoon. All those poets form a break of the new trend (Modernism) by writing a traditional poetry.
-
- We can divide those poets into two groups, the war poetry and antiwar poetry. Rupert Brooke belongs to the war poetry as he was a soldier, handsome young man, well educated and he was writing very well at this period. During the World War, he joined the army and was ready to die for his country. In War poetry, the poets glorifying war and their own countries and think that war is the only way to keep their land protective. The war poets show in their poetry a distance of patriotism, nationalism and ready to devote their lives.
-
- On the other side, there are the anti-war poets. Those poets expose in their works the hardship of war, the hardship of killing and death. Among those poets are Owen and Sassoon.
-
- Brooke was glorifying war in his poetry but he was romantic in a sense. He was a soldier who does not express his love to war but he is celebrating, glorifying and expressing love to his country. He is expressing what is hard and evil in life but this hard is not war because war is welcomed. Hard and evil is the hard and evil that people are living in which can be dismissed only by war. So, being a soldier means to defend correct and dismiss hard and evil from the life of people. Even they participate in the war, appreciate war, love their country and ready to die for it, this is to achieve peace for their country and dismiss any kind of hard and evil in their life.
-
- The war poets think of war as being a mean to dismiss hard and evil from their life, they are romantic in their attitude of war and the approach of dying for their country England. While the anti-war poets think of war as being evil, they are more realistic and that is why in their poetry we see the color and smell blood.
هذا منقول من ملازم د حصة العام عن الوار بويتري و20القرن

ان شاءالله يفيدكم واللي عندها زيادة تخبرنا

good luckk:16::1:

[لاتغرك ضحكتي]

مرحبا ياجميلات :2:

اللي عندهم بكره محاضرة عربي ( فن المقال )
متى وقتها ؟؟
محتاجه الرد ضروووري بليز :9:

[isra kjs]

مشكورة كليفر قير

اعتقد يبدا الاختبار على 8:30 صح؟

الله يجزيكم خير
تعبتكم معاي

[نور الـ ع ـيون]

مرحبا ياجميلات :2:

اللي عندهم بكره محاضرة عربي ( فن المقال )
متى وقتها ؟؟
محتاجه الرد ضروووري بليز :9:


اهلين ياعسل


بكرة محاضرتنا الساعه 12 وعندنا اختبار

[echo]

بنات صدق تاجل كويز الشعر لكل الكلاسات؟؟؟ بليز ردوو

[نور الـ ع ـيون]

ايوة وحده راحت لها اليوم وقالت الاسبوع الجاي



:21::17:

[clever girl]

مشكورة كليفر قير

اعتقد يبدا الاختبار على 8:30 صح؟

الله يجزيكم خير
تعبتكم معاي

ماتذكر أني شفت وقت للأختبار:38:

[heavy rain20]

بنات الي اخذ نقد اليوم ايش عطتكم يمنى

[Tswa EyoOony]

السلام عليكم بنوتات !!اخباركم؟قبل يومين أرسلت للدكتور شمس الدين استفسر عن أسلوبه وطريقة اسئلته واللي يركز عليه وباحط لكم الرد للفائدة وربي يسهل ويعدي هالسنه على خير >>>فيس طلعت روحه من الكلية يبي يعيش حاله حال الاوادم خخخخخخ




Dear Student
First, my overall teaching strategy focuses on both thematic and chronological issues. By thematic, I mean the main themes and issues that I discuss in class with you; their meaning, sense, value and implications. A thematic approach is independent from, but not totally unrelated to, other approaches. By chronological, I mean an approach that starts over from dates and examines their significance on their own as well as in relation to other dates. This means that dates are not important in themselves but rather in association with other dates: for instance if a certain king or queen dies in a certain year and on a specific day, the year or the day are only important in-as-much-as they reveal whether his or her death would constitute a turning point or an implication of some sort.


In prose, it is a MUST that you read fully the novels assigned to you, attend the course, take notes and discuss the themes and the plot and pay attention to the importance of techniques such as characterisation, etc. These may be part of your exam or oral questions.


My test and exam questions most often require critical answers on the part of students. My advice to all of you is: DO NOT learn by heart and DO NOT copy and paste from the internet, because that will definitely affect very badly your marks and grades. In exams, you shall have essay questions and/or text analysis.


As for your second question, I advise you NOT to search online material, basically because you cannot tell whether the uploaded material is reliable and can therefore be used. My colleagues and I will provide scholarly articles. On the other hand, given your status as final year students, we know that you might well get confused once you read additional notes, articles or books. So, it will be enough for you to focus in class, take notes, review the course details at home and read the additional material that I provide.
Best wishes and good luck

[طيرالحب]

وش القصايد اللي اخذوا شعراليوم؟!

[heavy rain20]

happiness and futilty by wilfred owen

Tswa EyoOony (http://www.ckfu.org/vb/u78018.html)

طيب ما قال شي عن الدرجات هل الحضور ع درجات او لا ؟ كيف بقسم درجاته ؟

[لغه الأزهار]

:4::4::4:

صدق تأجل الكويز؟؟ لان الكويز بكره عليي تكفون علموني :7: وراي برزنتيشن وعفسه

[pretty]

الى وين اختبار العرررررررربي

[heavy rain20]

ايوه تاجل الكوز وقالت بتنزل اعلان

[Diamond brooch]

بنات شسالفه النقد مافهمت عليها
اي متريال نطلعه من النت وكيف ..!!:7:

[ليان محمد]

بنات احس نفسي هالسنه ضايعه مع الدكاتره من جد:18: :36:

[ليان محمد]

الحين د/احمد طلب منا شي نكتب عنه طيب بيكون تسليم ولابس مشاركه :40:

[ليان محمد]

يابنات ياحلوين د/اللغويات تبع كلاس بكرا كم واجب استلم منا انا الي اذكره انه اخذ واحد بس صح ولا لا ؟

[heavy rain20]

ايوه صح بس واجب واحد سلمنا اما الي تسالي عنا مدري هل تسليم هل مشاركه!

[arreem]

يابنات ياحلوين د/اللغويات تبع كلاس بكرا شنو واجب بكرا .. ياريت احد يكتبه لي ؟؟

:24:

[pretty]

بنات متى محاظرة العربي بكرى
والى أي درس الإختبار !!

[arreem]

مرحبا ياجميلات :2:

اللي عندهم بكره محاضرة عربي ( فن المقال )
متى وقتها ؟؟
محتاجه الرد ضروووري بليز :9:
اهلن عزيزتي بشري وش سويتي في اختبارك وكيف كان طريقتها
والى اي درس داخل معانا بالاختبار لانه بكرا خويتي عندها اختبار معاها:16:

[دخلت E وتوهقت]

فيه احد يعطيني قروب
الياهو تبع د/حصة ؟


بنات سكشن الاثنين
فيه اختبار و لاتأجل ؟:7:

[شموخي قهر عذالي]

فيه احد يعطيني قروب

الياهو تبع د/حصة ؟


بنات سكشن الاثنين

فيه اختبار و لاتأجل ؟:7:



تأجل الاختبار:13:

[دخلت E وتوهقت]

تأجل الاختبار:13:



الله يبشرك بالجنة

:16:

[لاتغرك ضحكتي]

اهلن عزيزتي بشري وش سويتي في اختبارك وكيف كان طريقتها
والى اي درس داخل معانا بالاختبار لانه بكرا خويتي عندها اختبار معاها:16:

اهلين ..
انا من شعبة الاثنين بكره اختباري بس كنت اسأل عشان ودي اختبر مع شعبة الاحد
لكن ما ناسبني الوقت 12 :35:

وبالنسبه للي داخل معانا من ص25 لين اخر شي وقفنا عنده
حسب كلام بنت اختبرت اليوم
وتقول ركزوا عالتعاريف اللي بالورقه اللي وزعتها الاستاذه بآخر محاضره

:2:

[لاتغرك ضحكتي]

بنات متى محاظرة العربي بكرى
والى أي درس الإختبار !!


حياك بمحاضرتنا :42:
الساعه 12

[LMo0o]

بنات اخذتوا شي مهم اليوم بالترجمة والدراما ؟؟؟؟؟
قروب الاحد

[whispers]

بنات النقد

شنو الأسئلة الي عطتكم وياهم؟

[mrssenstive]

بنات اللي امتحنوو نقد ع شنو كان ع النص ارنولد او ع التوبك اللي قالت حضروووه؟؟؟؟؟:12:الله يسعد اللي ترد

[echo]

وش الروايات اللي معانا بالنثر مع الدكتور شمس الدين؟


الله يرزق اللي تجاوب:2:

[Diamond brooch]

بناااااااات

الترجمه والنثر قروب بكره ...!!:36:

شنو صار الاسبوع اللي راح في واجب او شي نحضره ..؟

مشكورررين ..:16:

[echo]

بناااااااات


الترجمه والنثر قروب بكره ...!!:36:

شنو صار الاسبوع اللي راح في واجب او شي نحضره ..؟


مشكورررين ..:16:

الترجمة مااعرف بس النثر عطاانا محاضره دسمه بس كلها قال بينزلها في الكوبي سنتر ومافيه واجب

[в7т ѕнσ0σg]

مسسآإء آلورد :16: ..

هذآ آسم قروب آلترجمةة بآلفيس بوكك ..
المركز السوري للترجمة (د.سلوى الوفائي) | The Syrian Center for Translation

وآلسسسموحةة ي نور آلعيون بس تو آفضى :37::43:

[в7т ѕнσ0σg]

يَ لبآ آنتو يَ صبآيآ بس بقول لكم شي ..

ليش في كتآبآتكم كأنكم متأزمآت وحآلتكم حآلةة آنآةه آلعن منكم بس ترى هذآ آلي بيعدم نفسيآتنآ وحنآ نبي نتخرج آو آقلهآ نعدي ثلآث آربآع آلموآد :33:

خذو نفس وقولو لآ آله آلآ آلله وكل شي مقدور عليةة وآتركوآ عنكم " صحيح عندنآ كذآ :4: وبنآت من سمع كذآ :38: و ترى ذآ يخوف :6: و وتوكلو على آلله وحدة :3:

خلونآ نحول هآلضغط وآلخوف لـ شي ينفعنآ ونتعآون وآلله وحده خير معين ..

آحوووبكم :37::16:

[التوفيق يارب]

ترا نزلت دكتورة حصه ملفات للكويز :2:

[ليان محمد]

بنات ايش التوبيك الي قالت عنه الدكتوره يمنى حضروه لاسبوع هذا؟:36:
وشي ثاني سمعت انها سوت للسكاشن بوب كويز صحيح هالكلام ؟:4:
الله يسعدها الي بتجاوب :16: