ܟ♥ ( التجمع النهائي للنقد الأدبي والنظرية / د.فوزي سليسلي/ الأختبار الأحد 24.7.1437 - فترة أولى ) ♥ܟ

[كارزما]

http://www.ckfu.org/pic4u/uploads/ckfu1455553381792.gif


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السلام عليكم ورحمة الله وبركاته :004::004:
اشحالكم يا جماعة الربع :(291): <--:139:

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لا أخفيكم سراً ان المادة كانت تمثل لي غصة في البلعوم :(88):
<-- أي سر وانتي مابقى أحد ماقلتي له :sm5:
ياخي د. فوزي مدري وش يهوجس فيه وهو يختار محتوياته :007:
راعي بثره هالرجاال :hahahahahah:<-- مثلك :S_45:
المهم أكثر من اسبوع افحط بثلاث محاضرات ولا خلصتها :(203):
ويجيني صوت حماادة بانطباعهم السمستر الي راح:(182)::004:
الي ذاكروا الأسئلة بيجيبون A و A+بالراحة والي حفروا بالمادة
رااااااااحت عليهم :53:
فااااااااااااااااااااااااااا تنفست الصعداء :(170)::(116):
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موضوع أسيرة هنا (:rose: (http://www.ckfu.org/vb/t735756.html)) :004::004: ريحني أكثر :(94):


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بالمرفقات أهم الملفات من وجهة نظري :wink:
الملخصات + الواجبات + المناقشات بتلقونها بموضوع الحب دوريمي المثبت :004:

هنا (:106: (http://www.ckfu.org/vb/t732449.html))
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أأأأأأأأاهم شي يسويه الي متقروش من المادة :S_45:
يتابع المحاضراات مع الدكتور ولايضيع وقته يحاول يذاكر
من الملزمة حتى لو مترجمة لان ماراح يطلع بنتيجة أبدااا :(201):
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بحاول اجمع لكم هنا كالعادة زبدة التجمعات :119:
اذا تابعتوا المحاضرات وتابعتوا معي هنا بتحسون بالفرق :(300):

[كارزما]

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عملت كويزات بناء على الملفات المصورة وتاريخها طبعا اعتمدت أول سنة
مثلا الفصل الأول 1433-1434 أنا سجلته بناء على أول سنة:sm5:
هو نفسه الي بيقول لكم الفصل الأول 1434 يعني مو ذيك المشكلة :wink:
فركزا بالاسئلة وخلوا النملة في حالها :16.jpg:

.. لاحظت فيه أسئلة تكررت كثيير واحيان غير بالصيغة
بس مو ذاك التغيير الجذري ما عاد سؤال الشخصيات
والراوي الي قلبه فوق تحت :icon120:وحرام ثلاث اسئلة تروح درجتها
بسبة عدم التركيز :007:

اعتمدت الحلول المصححة وبعضها صححتها من عندي لان بعض
النماذج فيها اخطاء :139:
فلذلك المفروض نتعاون كلنا ونأكد الحلول .. اي غلط تشكون فيه
حطوا رقم السؤال بالكويز ونص السؤال هنا ونتناقش علشان
الفايدة تكون عامة للكل :53:

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كويزات الاختبارت :


http://www.ckfu.org/vb/t741017.html

http://www.ckfu.org/vb/t741038.html

http://www.ckfu.org/vb/t741260.html

http://www.ckfu.org/vb/t741309.html

براجع الاسئلة وبشوف اذا باقي سؤال شرد من هنا او هناك ونضيفه :16.jpg:

بالمرفقات نموذج آخر اختبار الي هو تبع السمستر الي راح :icon19:
طبعا ماعملت له كويز لانه كان تكرار لواحد من النماذج بدون اضافات :icon120:

الخلاصة

المادة رغم غثاثتها كمحتوى الا ان الدكتور قمممميل :icon120::004:
فاعطوا المادة حقها وربي ماراح يخيبنا ان شاء الله :sm5::004:
ويعوضنا عن كوارث السمستر الي رااح :icon9::004:


http://images2.fanpop.com/images/photos/6500000/Jensen-animations-from-Eye-of-the-Tiger-jensen-ackles-6546339-300-169.gif


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ترجمة أسئلة أبوبكر الي تُعتبر شاملة للمحتوى :(204):
وتساعد في استيعاب المحتوى :007:
:
المحاضرة الأولى :


. Literature and literary criticism in Western cultures can not be understood without understanding its relationship to…….
a. Other cultures
b. Classical antiquity
c. Eastern cultures
d. All false

السوال الاول
1. الأدب والنقد الأدبي في الثقافات الغربية لا يمكن فهمه دون فهم علاقته .......
أ. الثقافات الأخرى
ب. العصور الكلاسيكية القديمة
ج. الثقافات الشرقية
د. جميع خاطئة
:

السوال الثاني

2. This is because Western cultures were:
a. Produced as a revival or recreation of Greece and Rome.
b. Copied exactly from old cultures.
c. There is no old or new when we talk about cultures.
d. A and C

لان الثقافة والادب الاوروبي والغربي كان ينتج وكانه إعادة خلق او إحياء
للحضارة اليونانية والرومانية القديمة

:
السوال الثالث

3. From the 16th to 20th century, Western cultures considered Greece and Rome as:
a. The dead culture
b. The perfect civilization
c. A non-perfect culture
d. An abandoned culture

3. من 16 إلى القرن ال20، نظرت الثقافات الغربية اليونان وروما على النحو التالي:
أ. ثقافة ميتة
ب. حضارة مثالية
ج. ثقافة غير مثالية
د. ثقافة المهجورة


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السوال الرابع

4. From the 16th to 20th century, Western drama, poetry and literary criticism were all produced in ………… Greece and Rome.
a. Contrary to
b. Away from
c. Imitation to
d. All false

الدراما الغربية والشعر, النقد الادبي,
الفن , التعليم ,السياسة , الازياء , الهندسة المعماريه,الرسم والنحت كلها تنتج
لمحاكاة او تقليد الحضارتين الكلاسيكية القديمة )اليونانية والرومانية



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السوال الخامس في حيلة شوي
الاجوبة ركزو عليها
But the West’s relationship with antiquity is not simple. It is
full of contradictions and ambivalence.

مذكورة simple والصح not simple
الجواب
5. The West relationship with antiquity is:
a. Simple
b. Complicated
c. Ambivalent
d. B and C


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السوال السادس

No other poet put it so vividly the relationship between Greece and Rome like….did.
a. Horace
b. Homers
c. Antony
d. All false

لا يوجد شاعر مثل Horace وضح العلاقة بين اليونان وروما مثله

:



. We find this sense of ambivalence and inferiority …………in Roman (Latin) literature: in Horace, Quintilian, Seneca, etc.
a. Everywhere
b. Somewhere
c. A little
d. Vaguely

نجد ان هذا الشعور بالتناقض والنقص في كل مكان من ادب روما عند ك هوراس.......


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9. The Romans conquered Greece militarily, ……………….felt that the culture of Greece remained infinitely more sophisticated and refined in poetry, in philosophy, in rhetoric, in medicine, in architecture, in painting, in manners and in refinement. Hence the sense of inferiority.
a. But they never
b. And rarely
c. And sometimes
d. But they always


في هذا السوال يبين ان الرومان غروا اليونان منقهرين منهم ليش هم دايما احسن منا متطورين وشعار وفلاسفة يعني بتاع كله وهذا يبين ان عندهم نقص



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السؤال العاشر هو الحادي عشر ( كلهم واحد )

10. “No past life has been lived to lend us glory, and that which has existed before us is not ours.” This quote belongs to:
a. Horace
b. Antony
c. Seneca
d. All false


منهو طير شلوى اللي قال هالاقتباس اكيد سينيكا




:

سينيكا عنده مقولتين :

الاولي : “No past life has been lived to lend us glory, and that which has existed
before us is not ours.”

والثانية : “[A] man who follows another not only finds nothing; he is not even
looking

[كارزما]

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Horace advised his readers to simply imitate the Greeks and……

a. Never try to invent anything themselves because their inventions will be weak and unattractive.
b. To try to to invent anything themselves.
c. To read also in Eastern cultures.
d. All false

طبعا في هذا السوال
هوراك او هوراس اللي هو يوصي ربعه يقولهم لا تسوون فيها فاهمين وتحاولون تخترعون تراكم بتفشلون مثل ربعنا تحبيط حبط فيهم


:


13. The Romans so desperately wanted to imitate the Greeks……….

a. And succeeded to match them
b. And easily managed to match them
c. A and B
d. And so constantly failed to match them.


طبعن الرومان سمعو كلام هوراس وراحوا يقلدون لكن الرجال نكبهم تتوقعون وش صار فيهم


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السؤال الرابع عشر

14. The reason for the failure of Rome to match Greeks Is because:
a. Greeks have more resources than Romans.
b. Imitation cannot produce originality.
c. Greeks avoided being busy in conquering others’ lands.
d. All false

سبب فشلهم في التقليد ان ( التقليد لا يمكن ان ينتج التميزاو الاصالة)

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السوال الخامس عشر

15. ……………….. strongly affected how culture was produced in Rome and will also strongly affect how culture will be produced later in Europe and the West.
a. Romans’ feeling of dominance
b. Romans’ feeling of inferiority
c. Romans’ feeling of power
d. Greece feeling of inferiority


في هالسؤال يبين شعور الرومان بالنقص اثر علي كيفية انتاج الثقافه في روما وايضا يؤثر علي طريقة انتاج الثقافة في اوروبا

انتهت المحاضرة الاولى:106:



كويزاتها علشان تثبت المعلومات :S_45:

Literary Criticism (أسئلة شامله للمنهج )#1 (http://www.ckfu.org/vb/t625178.html)
[ كويز ] :Literary Criticism and Theory(النقد الأدبي ) - lecture 1 (http://www.ckfu.org/vb/t621286.html)
[ كويز ] :المحاضرة الاولى - النقد الادبي / اسئلة ابو بكر (http://www.ckfu.org/vb/t585868.html)






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طبعا فاصل ونواصل :biggrin:
قد يطول قد يقصر لكن انتزرونااااااااااااااااا :sm5::004:


http://giffiles.alphacoders.com/309/3092.gif

[Hend Alqahtani]

جممال جمممال , يازينة من موضوع ..
واصلي .. الله يوفقك ويبارك لك في وقتك .. :d5::004::004::004:

[كارزما]

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Lecture 1

شرح F!x

The Stories Behind the Stories 1 Greece and Rome


Literature and literary criticism in Western cultures cannot be understood without understanding its relationship to classical antiquity – Greek and RomanWhy?


لا يمكن فهم الادب والنقد الادبي في الثقافات الغربية دون فهم علاقته بالعصور
الرومانية واليونانية القديمة


Because European and Western literature and cultures were
produced as a recreation, a revival of the classical cultures of
Greece and Rome
لان الثقافة والادب الاوروبي والغربي كان ينتج وكانه إعادة خلق او إحياء
للحضارة اليونانية والرومانية القديمة
............

From the 16th to the 20th centuries Western cultures considered
Greece and Rome the most perfect civilizations


From the 16th to the 20th centuries Western drama, poetry, literary criticism were all produced in imitation of classical antiquity (Greece and Rome).

the West’s relationship with antiquity is not simple It is
full of contradictions and ambivalence

علاقة الغرب بالعصور القديمة ليست بتلك السهولة .انها مليئة بالتناقضات
والازدواجية

Roman poet Horace writes


“Captive Greece took its wild conqueror captive”
this line considered as ......
the famous line in the Western cultures
هذا العباره تعتبر ......
عباره الشهير في الثقافات الغربية
وهي من

“A Letter to Augustus,”



Horace expresses a sense of inferiority and ambivalence because Rome
conquered Greece politically and militarily

.........................

We find this sense of ambivalence and inferiority everywhere in
Roman (Latin) literaturein Horace, Quintilian, Seneca, etc


The Romans conquered Greece militarily, But they always felt that the culture of
Greece remained infinitely more sophisticated and refined in poetry, in philosophy, in
rhetoric, in medicine, in architecture, in painting, in manners and in refinement. Hence
the sense of inferiority.

Seneca writes...

“No past life has been lived to lend us glory, and that which has existed
before us is not ours.”

لا توجد حياة ماضيه ممكن ان تعطينا المجد , وتلك التي كانت موجوده قبلنا لم تكن لنا

وكذلك من اقوله ,,

“[A] man who follows another not only finds nothing; he is not even
looking.”
الرجل الذي يكون تابع لشخص اخر ليس فقط لايجد شيئا بل لايكون يبحث عن شئ

Source Seneca:
كتابه
Epistulae Morales


.................

education in Rome
consisted simply in IMITATING
Greek


التعليم في روما كان بالتقليد اليونان


The Romans so desperately wanted to imitate the Greeks and so
constantly failed to match them

مالسبب ..

The reason is simple. Imitation cannot produce originality.
السبب بسيط جدا التقليد لايمكن ان يجلب التميز أو الأصالة

لذلك قال
Seneca
As Seneca puts it with bitterness, “a man who follows another not only
finds nothing; he is not even looking

,,,,,,,,,,,,

حياة الرومان شعب ريفي وغير مثقف .. لاكنهم ناجحين في المجال العسكري فلهم
أكبر إمبراطورية في العالم، ولكنهم ما زالوا يشعرون بأنهم أقل شأنا
ثقافيا
The Romans were a simple rural and uncultivated
people who became
successful warriors, and at the height of their success when they ruled
the biggest empire in the world, they still felt that they were inferior
culturally to their small province Greece.

طبعا هذا الوضع يؤثر على الإنتاج الثقافي في روما وبشكل كبير في اوربا والغرب

This situation strongly affected how culture was produced in Rome and Europe
and the West.


العبارات بالخط العريض ذكر بالإختبار ومهم و مكرره :oao:




:


شرح DoDy CooL




المحاضرة الاولى

European and Western literature and cultures were produced as a recreation, a revival of the classical cultures of Greece and Rome.
الأدب الأوروبي و الغربي وثقافتهما لم تكن سوى إعادة بناء و إحياء للثقافة القديمٌة للروم و
اليوٌنان


were ALL produced in imitation of classical antiquity (Greece and Rome).
جميع الاعمال كانت عبارة عن تقليد للروم والاغريق(اليونانين)

West’s relationship with antiquity is not simple. It is full of contradictions and ambivalence.
علاقة الغرب مع الروم والاغريق (العصور القديمة) كانت مليئة بالتناقض والازدواجية


الروم يسمى بـــــــالثقافة التراثية(ROME ----A MUSEUM CULTURE)
اليونان يسمى بـــــــالثقافة حية(GREECE ----A LIVING CULTURE)



نتكلم الحين عن Rome الروم
1-كان دائما تقلد الادب اليوناني

2-ورغم من كثر محاولاتهم ففشلوا في الوصول الى ما وصل له اليونانيون وذلك لأن(التقليد لا يشبه الاصل)
The Romans so desperately wanted to imitate the Greeks and so constantly failed to match them. The reason is simple. Imitation cannot produce originality

3-كان الروم عبارة عن ريفين بسطاء...وبلد قوي..ولكنهم كانوا دائما يشعرون بأنهم أقل شأنا من اليونانيين بالرغم من انهم قرى صغيرة
The Romans were a simple rural-successful warriors,-
still felt that they were inferior culturally to their small province Greece.

---------------------------------------------------

من ابز الشاعريين اللي ظهر في الروم Roman poet writes
Horace-1-
قد نصح قراءه بتقليد اليونان لانه مارح يكون في ابداع اليونانين
advised his readers to simply imitate the Greeks and never try to invent anything themselves because their inventions will be weak and unattractive

وكتب
“Captive Greece took its wild conqueror captive”


2- Seneca,
وكتب
#“No past life has been lived to lend us glory, and that which has existed before us is not ours.”

#“[A] man who follows another not only finds nothing; he is not even looking.”

---مهمين جدا---


:love080::love080::love080::love080::love080:




:

أسئلة ayosha




lecture 1

1) what is classical antiquity ?
ancient Greece and ancient Rome (also called the classic,and the ancient)

2) what relationship do we need to know to understand literature and literary criticism in western culture ?
we need to understand its relationship to classical antiquity.

3) why do we need to understand that relationship ?
because European and western literature and cultures were produced as a recreation ,a revival of the classical cultures of Greece and Rome .

4) how did the western culture perceive Greece and Rome?
they considered them the most perfect civilization .

5) when were Greece and Rome considered the most perfect civilization ?
from the 16th to the 20th centuries

6) what was produced in imitation of classical antiquity ?
western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting.

7) how would you describe the west’s relationship with antiquity?
full of contradictions and ambivalence.

8) who conquered Greece ?
Rome

9) who wrote “captive Greece took its wild conqueror captive” ?
Horace in a letter to augustus

10)why did Horace write that ?
he had a sense of inferiority and ambivalence.

11) why did Horace have a feeling of inferiority and ambivalence?
because although Rome conquered Greece politically and militarily , it could never produce a refined culture like Greece

12) what is refined culture ?
poetry, philosophy…etc

13)is the sense of inferiority only found in Horace’s work?
no it’s found everywhere in Roman (latin) literature (eg; Quintilian,Seneca)

14)whose culture was more sophisticated ?
the Romans felt that Greece was, and thats why they felt inferior

15) who wrote “no past life has been lived to lend us glory, and that which has existed before us is not ours”?
Seneca

16) what did he mean when he said that ?
that they don't have a past to be proud of , the glory and past wasn't theirs it was Greece’s

17) who said “man who follows another not only finds nothing ; he is not even looking”
seneca in Epistulae Morales

18) what did he mean by that ?
that Rome were followers

19)what was education like in Rome?
for centuries it was simply an imitation of greek masterpieces (in literature , rhetoric , painting ..etc)


20) what did Horace advise his readers?
to imitate the greeks and never try to invent anything

21) why did he give them that piece of advice ?
because he thought their inventions would be weak and unattractive compared to the imitations.

22)why did the Romans fail to match the Greeks?
because imitation cannot produce originality

23)what were the Romans successful at ?
they were successful warriors

*rome felt inferior to Greece because they were simple and uncivilized even though they were the biggest empire in the world







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كويز أسئلة عيوش :lllolll:

http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11445

[✶ جُمان ✶]

تم منح الموضوع وسام موضوع مُتميز

بارك الله فيك ياكارزما وبجهودك

[✶ جُمان ✶]

مادة النـــقد الأدبي جاني فوبيا من إنطباعات الدفعات السابقة

فقلت يابنت مابدهاش إجتهدي

وبدأيت بسماع المحاضرات المُسجلة

بكل أمانة شرح الدكتور فوزي رائع .... الرجل مُتمكن

اللهم لك الحمد حسيت بالإطمئنان

وللإختبار درست المحتوي زين مازين همن درست كل أسئلة الأعوام السابقة

وبفضل المــــولى حققت a+

والفال لكم

أحـــــلى شيء بالدراسة إنكم تتحدووون أنفسكم بالدراسة وتقولون بنحقق a+

وبإذن الله تحققون مبتغاكم بكل سهولة :rose::rose::rose:

وعلى فكرة نصيحة من أخت محبة لكم لاتدققون بإنطباعات الدفعات السابقة :sm4:

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[Doremi]

وعليكم السلام ورحمة الله



هالماده الي تمشي عليها عبارتك الي بخرف فيها الحين ( الي تخاف منه مايجيك أحسن منه ) <-- خرشتها من كيسي مدري هي كذا ولا لا ..

تجمعاتك انتي ويونا تخلي الي ما يبغى يذاكر يروح بطيب خاطر يفتح الملخص :5aga:



المهم واضح أن صعوبه هالماده في مذاكرتها فقط ، ما تنحب ولا تبغى تدخل المخ.. أذكر فتحت لحد محاضره 4 أو 5 وشردت على علم اللغه الاجتماعي ، مو عن شيء بس أحس تحتاج تكون من المواد الأخيره في المذاكره ..


وصدق كانت تحتاج تجمع ممكن لو كل واحد يعطي معلومه من هنا وهناك تمشي.. الله ييسرها لنا وبإذن الله إذا دخلنا جو المذاكره والاختبارات بيضبط الوضع، الحين باقي ما حسينا بالخطر :hahahahahah:

تسلمين على التجمع الرايق، اشتهيت أروح أدرس هالماده :love080::love080::love080::love080:

[cadycandy]

الله يسعدك ويجزاك خير :1:

[كارزما]

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http://24.media.tumblr.com/f77c1d19c488175e315c93b038d63506/tumblr_n56pevweuA1tumhqno5_500.gif



حياكن :16.jpg:

المحاضرة (2) شرح DoDy CooL (http://www.ckfu.org/vb/u103167.html)


المحاضرة الثانية

,
عصر النهضة Renaissance
اللي سواها الاوروبين..Europeans
لانهم اعادو اكتشاف الكتب اليونانية والرومانية rediscovered the books of the Greeks and Romans

وليش سمي بعصر النهضة؟؟ لانها كانت عبارة عن ((عمليه احياء-استنهاض))
The period is called the Renaissance؟؟
because across Europe people wanted to “revive” the ancient
learning of Rome and Greece

والسبب لظهورها؟؟دوافع واهداف سياسية قوية
So the emergence of what we call today “literature” in Renaissance Europe had a strong political motivation and purpose.

--------------------------------------------------------
في اوروبا لاتوجد لغة لللكتابة
There were no written languages in Europe

اللغة الوحيدة اللي كانت متواجدة هي اللاتينية..وكان قرائها قليلون جدا
The only written language was Latin and people who could read Greek, were very rare

القصائد والمسرحيات والقصص كانت في اوروبا تعتبر بأنها معالم وطنية
Europeans saw poems and plays and books and stories like they were national monuments.

وكان الشعر والادب وجودهم ضروري للقوة السياسية
poetry and literature were necessary accessories of political power

العصر 20th كان يسمى _____“imitation of the classics. تقليد الكلاسيكيات

لكن الروم كان تقليدهم لليونانين كان دائما يحبطهم؟؟؟لان التقليد لايشبه الاصاله ولانها كان عبارة عن ثقافة مسروقة
In Rome, imitation led to frustration and produced a plagiaristic culture

الاعمال الاوربية كانت تقول بانها افكار ارسطو...ولكنها بالحقيقة كانو يعرفون عن ارسطوا القليل جدا
always claimed to be based on the ideas of Aristotle, but research shows that they knew very little of Aristotle’s work

الاوروبيون عرفو (Greece) عن طريق الــrome---Latin authors. (الروم-المؤلفيين اللاتينين)

:love080::love080::love080::love080::love080:

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شرح F!x (http://www.ckfu.org/vb/u84739.html)


Lecture 2-

The Stories Behind the Stories


In the Renaissance, Europeans rediscovered the books ofthe Greeks and Romans and that allowed them to develop a
literature and a culture.

The period is called the Renaissance because across Europe
people wanted to “revive” the ancient learning of Rome
and Greece.

وتسمى هذه الفترة عصر النهضة لأوروبا عبر
الشعب يريد "احياء" التعلم القديم لروما
واليونان.

During the Renaissance, Europe was far less sophisticated
than Rome and Greece were

كانت أوروبا أقل تطورا بكثير
من روما واليونان .

++++++++

During the RenaissanceThere were no written languages in Europe

وكانت اللغة المكتوبة الوحيدة اللاتينية
The only written language was Latin

الذين يقرؤن الاتينيه قليل مثلErasmus

people who could
read Greek, like Erasmus, were very rare.


......................................


لنتحدث عن موضوع

Contradictions and Confusions
في ذلك العصر
التناقضات والإلتباسات

الأوربيين يريدون وبشدة الوصول لأعلى الثقافات كما هو حال روما

Europeans wanted to produce poems, books and
sophisticated culture because they thought, like the Romans did, that
high culture, great books and poems were what great and mighty
nations have.

الاورببين أراد لإنتاج القصائد والكتب و
ثقافة متطورة لأنهم يعتقدون، كما فعل الرومان، أن
ثقافة عالية، وكانت الكتب والقصائد العظيمة ما كبيرة وقوية
الدول لديها.


Joachim du Bellay who lived in 1520s was a French .writer

According to du Bellay, The reason why [the glorious deeds] of the Roman people”
were celebrated and preferred to the deeds of the rest of humanity, was because they
had multitude of writers.


___________

What we call today literature emerged because Europeans
were becoming politically and militarily powerful

ظهر ما نسميه اليوم الأدب لأن الأوروبيين
وقد أصبح سياسيا وقوية عسكريا


du Bellay cited indicates, poetry and
literature were necessary accessories of political power

...................

Great empires needed great literature, just like the
Romans and the Greeks

Europeans saw poems and plays and books and stories like they were National monuments


رأى الأوروبيون القصائد والمسرحيات والكتب والقصص كما لو كانوا الآثار الوطنية

------------
“, Rome which provided the ideologues of the
colonial systems of Spain, Britain and France
روما التي وفرت الايدلوجيات النظم الاستعمارية لإسبانيا وبريطانيا وفرنسا


.........

imitate Rome and Greece and develop “civilized”
languages and cultures Europeans found a ready-made model to
follow: the Romans

تقليد روما واليونان وتطوير "المتحضر"
العثور على لغات وثقافات الأوروبيين نموذجا الجاهزة
إلى
متابعة: الرومان.


...........

From the Renaissance all the way to the 20th century, European
writers called for the “imitation of the classics


من عصر النهضة وصولا إلى القرن 20 والأوروبية
الكتاب دعا إلى "تقليد الكلاسيكية

............

concept has had a strong formative and foundational
influence in modern European cultures like these concepts of
imitation.

---------------

Imitation doesn’t lead to Originality

In Rome, imitation led to frustration and produced a plagiaristic
culture.


Europeans simply ignored these complications

الاوربيين ببساطه تجاهلو هذه التعقيدات

The desire to produce poetic monuments to go with their
political and military power was more important.
الرغبه لديهم بإنتاج معالم شعر للتوافق مع
السلطة السياسية والعسكرية والتي كانت أكثر أهمية.


imitation produced “textual monuments”


...................

Imitation doesn’t lead to Originality

du Bellay
says

“it is a sign of greater elegance and skill for us,”
“in imitation of the bees, to produce in our own words thoughts
borrowed from others.”
Du Bellay advised his contemporaries not to be “ashamed
يقول لمعاصريه لاتخجلو من التقليد

...........

Du Bellay
says

no vicious thing, but praiseworthy,” he says, “to borrow
from a foreign tongue sentences and words to appropriate them
to our own.”



..............


Europeans adopted the Roman desire to produce a literary culture in imitation of
the Greeks without realizing that this imitation method had failed in Rome and
that it produced mainly an imitative and plagiaristic culture that remained
inferior to the original Greek culture it tried to mimic and duplicate.

اعتمد الأوروبيون رغبة رومانية لإنتاج الثقافة الأدبية في التقليد من
الإغريق دون أن يدركوا أن هذا الأسلوب التقليد قد فشلت في روما و
أنها تنتج أساسا ثقافة مقلد وplagiaristic التي بقيت
أدنى من الثقافة اليونانية الأصلية حاولت تقليد وتكرار.

.................

كتاب Aristotle.

‟ The Poetics

..................

[كارزما]

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المحاضرةالثانية ( السوال الاول)

1. In……….., Europeans rediscovered the books of the Greeks and Romans and that allowed them to develop a literature and a culture.
a. The Renaissance
b. The Elizabethan period
c. The King James period
d. The Victorian age


في هالسؤال يبين لنا ان في عصر النهضة اعاد الاوروبيون اكتشاف كتب اليونانيين والرومانيين وهذا سمح لهم بتطوير الادب والحضارة

:


المحاضرة الثانية ( السوال الثاني )

2. The period is called the Renaissance because across Europe people wanted to ………the ancient learning of Rome and Greece.
a. Avoid
b. Ignore
c. Criticize
d. Revive

في هالسؤال سميت هالفترة بعصر النهضه لان الناس ارادو احياء التعلم لروما واليونان


:

المحاضرة الثانية ( السؤال الثالث )

3. During the Renaissance, Europe was far ………. sophisticated than Rome and Greece were.
a. More
b. Less
c. Enough from
d. All false

في هالسؤال يبين لنا ان في عصر النهضة كانت اوروبا اقل تطورا بكثير مما كانت علية روما واليونان


:

المحاضرة الثانية ( السؤال الرابع )

طبعا السوال شوي معقد يعني ما اتوقع راح يجي بالطريقة هذي

4. Which one of the following applies to Renaissance age?
a. There were no written languages in Europe.
b. The only written language was Latin and people who could read Greek, like Erasmus, were very rare.
c. Both
d. Neither

اللي يهم تعرفة في عصر النهضة انه لم تكن هناك لغات مكتوبة - واللغة الوحيدة المكتوبة هي اللاتينية وكانوا الناس الذين يستطيعون قراءة اللغة اليونانية قليلون جدا مثل ايراسموس
:


المحاضرة الثانية ( السؤال الخامس )

5. Joachim du Bellay who lived in 1520s was a ……….writer.
a. British
b. French
c. Norwegian
d. Italian

السوال واضح يبي جنسية الكاتب



:

المحاضرة الثانية ( السؤال السادس )

6. According to du Bellay, The reason why [the glorious deeds] of the Roman people” were celebrated and preferred to the deeds of the rest of humanity, was because they had……
a. Knowledge
b. Power
c. A multitude of writers
d. All false

طبعا في هالسوال حسب راي الكاتب يعني يقصد ان الشعب الروماني راعي الاوله وله فضل علي انجازات البشرية بسبب ان عندكم عدد كبير من الكتاب

:

المحاضرة الثانية ( السؤال السابع )


7. The emergence of what we call today “literature” in Renaissance in Europe had a strong ………motivation and purpose.
a. Political
b. Social
c. Psychological
d. Scientific


لذا ظهور ما نسمية اليوم بادب عصر النهضة في اوروبا كان له دافع وهدف سياسي قوي

:

المحاضرة الثانية ( السؤال الثامن)

طبعا في السوال كلام كثير

8. What we call today literature emerged because Europeans were becoming politically and militarily powerful. They were conquering lands and taking over trade routes, and as the passage of du Bellay cited indicates, poetry and literature ……… necessary accessories of political power.
a. Were
b. Weren’t
c. Were unnecessary
d. All false


يعني اللي يسمونه الادب ظهر لان الاوروبين اصبحوا اقوي سياسيا وعسكريا وكانوا يغيرون علي الناس وياخذون اراضيهم وتجارتهم وعلي قولة الكاتب بيللي الشعر والادب كانت ضرورية للقوة السياسية


:

المحاضرة الثانية ( السؤال التاسع)

9. Europeans saw poems and plays and books and stories like they were:
a. Useless
b. Less important than victories
c. National monuments.
d. A and B

طبعا الاوروبيين يشوفون القصائد والمسرحيات والكتب ....... معالم وطنية

:

[كارزما]

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أسئلة عيوش على المحاضرة ( 2 )



lecture 2 part 1

when did the Europeans rediscover the books of greeks and Romans?
in the renaissance

2)what was the result of them finding those books?

it allowed them to develop a literature and a culture

3) why is the period called the ‘Renaissance’?
because across Europe people wanted to ‘revive’ the ancient learning of Rome and Greece

4)what was the written language in Europe?
there was NO written language in Europe

5) what written language was there?
latin

6)was reading latin common?
no its was very rare

7) give an example of someone who knew how to read latin?
Erasmus

8) describe Europe at that time?
they were under-developed and illiterate

9)what did discovering the ancient books lead to ?
the renaissance, the reformation , the scientific revelation , the enlightenment , and the modern technology world which we live today.

10)describe the relationship between Europe and the ancients?
it was filled with contradiction and confusions

11)why did the Europeans want to produce sophisticated culture?
Because they thought that high culture, great books and poems were what great nations have.

12) how did the great nations keep records of their deeds?
They recorded their deeds and conquest in books and poems

13) what was the importance of the books and poems?
It was proof of their greatness

14) why were the Romans celebrated and preferred more than the rest of humanity ?
Because they had a multitude of writers that preserved their deeds in spite of the passage of time.

15) who is Joachim du Bellay?
French writer who wrote famous books that provided guidelines for poets to develop their skills, he also gave advice to follow what the Romans did in imitating Greece culture

16) what were the Europeans doing on the 16th and 17th centuries?
They were building empires and coloniez

17) when were dictionaries ,grammar, and pronunciation books written?
After that renaissance

18) when were English, Italian, French, and other European languages develop to their modern format?
In the 18th and 19th centuries

Europe imitated Rome————> Rome imitated Greece

19)explain(emergence of literature in renaissance Europe had political and military purpose)?
they were building empires but they had a weak language so the needed to develop it so that they could have a sophisticated culture ( so they took the Romans as a modal)


great empires need great literature

20) what was the purpose of studying the classical learning,literature and criticism?
giving the Europeans written and civilized languages

21) how did the Europeans see poems and plays and books?
they saw them as national monuments

22) how did they judge the greatness of a nation ?
by the monuments they build (e.g the coliseum in Rome)

بعض المعلومات من شرح الدكتور




lecture 2 part 2

1) who was considered the most powerful political community on earth?
Rome

2) the Europeans found a ready old to follow in the developing of their civilized language , who did it belong to ?
the Romans

3)when did the Europeans call for the ''imitation of the classics''?
from the Renaissance all the way to the 20th century

4)what was the most prestigious concept in the European culture?
imitation of the classic

5) what did imitation lead to in Rome?
frustration ,and a plagiaristic culture

6) what was Europe's attitude towards what imitation lead to with the Romans?
they ignored it

7) why did they ignore it?
they desire to produce poetic monuments was more important

8) how did du belly feel about the imitation ?
he advised his contemporaries not to be ashamed to write in their native language in imitation of the ancients

9) what did du belly think of their language?
he wished that his own language was rich enough that it didn't need to borrow from a foreign one but this was not the case

10)was the imitation of the greeks successful ?
no to was not

11)were the Europeans imitating the classical cultures of the Greeks and Rome?
no in reality they imitated mostly the Romans ,because very little Greek texts were available

was European classicism based on Aristotle, like the claimed 12?
no , they new vey little of his work

13) how many times did walpole mention Aristotle in his letters ?
5 times

14) how did European writers know Greek words?
through the praise of the Romans

15) what did the Renaissance scholars recognize the Roman art as ?
that it was derived from the greeks

16) what did they not see about it ?
how plagiaristic it was

17)how did Europeans rank Horace and Aristotle?
Horace was a higher dramatic theorist than Aristotle

18) why do we have to understand the historical forces that produce literature?
It is how we can study literature from a critical, analytical and scientific perspective



كويزات المحاضرة ( 2 )

Literary Criticism (أسئلة شامله للمنهج )#2 (http://www.ckfu.org/vb/t625184.html)


[ كويز ] :Literary Criticism and Theory(النقد الأدبي ) -lecture 2 (http://www.ckfu.org/vb/t621287.html)

[ كويز ] : المحاضرة الثانية - النقد الادبي / اسئلة ابو بكر (http://www.ckfu.org/vb/t585920.html)






النقد الادبي لayosha م2 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11453

النقد الادبي لayosha م2 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11447

[كارزما]

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http://49.media.tumblr.com/tumblr_m4fsunEByy1qmt5mvo1_500.gif



ذي المحاضرة الي مارضت تخلص وخلتني اسحب على ام المادة :017:

:

شرح

[/URL]DoDy CooL (http://www.ckfu.org/vb/u103167.html)


المحاضرة الثالثة...

تتكلم اكثرها عن افلاطون..plato
>>>

بسم الله نبدأ

*الادب الغربي مبني على الادب اليوناني

*الافكار اليونانية اثرت على الادب الغربي والاوروبي

* اهم مفكران يونانيان هما :ا افلاطون وارسطو

............................
Plato

من اهم اعمالة..الجمهوريه (the Republic)
ورح نتكلم عن كتابين...Book X -10
وكتاب Book III -3

....................
سؤال قد جا بالاختبارات قبل...
من اللي اوجد الفروق بين التقليد والسرد؟؟؟ هوا افلاطون
Plato makes the very important distinction between Mimesis and Diagesis

(Mimesis) اللي هوا التقليد ويسمى (imitation و showing )

(Diagesis) اللي هوا السرد ويسمى (narration وtelling:)
((بصراحه لتلزق براسي قربتها للكلمة اللي تعني الحوار((Dialogue ))

------------------
الدراما هي عبارة عن تقليد وعرض ((فكروا فيها انه تقمص شخصيات وعرض))((drama-mimesis))
المتحدث بصف 1st اللي هوا انا وانا وفعلت..الخ

القصص هي عبارة عن سرد وتحاور((عشان كذا قلت عنها فيها حوار))((stories-diagesis))
المتحدث بالصيغة الثالثه 3rd هو وهي وذلك..الخ

--------------------
مهمممم(narration may be either simple narration, or imitation, or a union of the two)
تعود هالجملة لافلاطون..جات باختبارات سايقة
انه السرد ممكن يكون سرد بسيط او تقليد او كليهما...وهالفكره انتجها افلاطون
-------------------

Plato’s n Book X of the Republic to ban poets and poetry from the city
قام افلاطون بحظر الشعر من البلاد
ليش
poetry cripple the mind..
بحجة ان الشعر يشل العقل(((للمعلومية افلاطون كان قصده عالشعر الشفوي )oral socity زي اوروبا ))

______________________
اليونانين(Greece)) عندهم شيئين يميزهم وهوا

1- (ars) -اللي هوا معروف ب (art) لايعني فقط “Fine Arts مثل ماهو بالغرب
الفن عندهم يشمل جميع النشاطات من بينها الحرف والعلوم
includes
nhuman activities [painting, architecture, sculpture, music and poetry] and separates them from the crafts and the science

2- In the ancient world, they had poetry, tragedy
and comedy, but they were all known as “poetry.”
انه كل من التراجيدا والشعر والكويديا عنده تندرج تحت هذا المصطلحpoetry

((لذلك كان افلاطون لا يقول (الادب-او -الشعر) بل كان يستخد هذه الكلمة
poetry

--------------------------
The poet that Plato describes in the Republic, , is a poet, a performer and an educator.
وصف افلاطو الشاعر بانه مثقف وممثل

-----------------------
Plato analyses two aspects of poetry to prove his point: style and content
وجد ان للشعر جانبين وهما...الاسلوب والمحتوى..
وذكر قبل ان الشعر ينفع في صناعه الاغاني (song-making)
-------------------------------



:

F!X .. للأسف ماعاد كملت :icon9:

أسئلة المحاضرة


المحاضرةالثالثة ( السوال الاول )

1. There is no genre of literature that we have today that the Greeks ……….
a. Could develop
b. Didn’t develop
c. knew
d. all false
في هالسؤال يبين لنا ان ما فيه اي نوع من الادب الموجود اليوم لم يطورة اليونان من قبل

:

المحاضرةالثالثة ( السوال الثاني)


Greek thought influenced, in one way or another, every single literary form that developed in Europe and the West, ………. differences between the two cultures remain significant.
a. And no
b. But the
c. But only very little
d. All false

طبعا في السوال يبين ان الافكار اليونانية اثرت بشكل او باخر علي كل شكل من اشكال الادب المتطور في اوروبا والغرب ولاكن الفروقات بين الثقافتين ظلت موجودة

:



3. Greeks mean by the term Poetry:
a. Only poetry
b. Both poetry and prose
c. Every genre we know
d. All false

يقصد اليونانييون بالشعر : كل صنف نعرفه .،
يعني كل انواع الشعر .،

5. Plato‟s Critique of Poetry was:
a. Influential
b. Extremely misunderstood
c. Both
d. Neither

كان انتقاد افلاطون للشعر : كلاهما (مؤثر وغير مفهوم ) .،

6. Plato wrote dialogues and in every single one, he
addressed……….
a. Poetry
b. Philosophy
c. Politics
d. Society

افلاطون كتب عدة حوارات وفي كل وحده ذكر : الشعر .،

7. To the present, Western literature and criticism cannot
agree why Plato was so obsessed with poetry?
a. Some critics love him, some hate him.
b. They all respect him.
c. Both
d. Neither

الى وقتنا الحاضر نقاد الادب الغربي ماقدرو يعرفون ليش كان افلاطون مهووس بالشعر لكن بعضهم حبه وبعضهم كرهه لكن الكل كان يحترمه .،




:

. Plato‟s most important contributions to criticism appear in
his famous dialogue……
a. The Republic
b. The Poetry
c. The Critics
d. Alexander the great

اشهر انتقاد تكلم عنه افلاطون كان في كتابه الي اسمه : ذا ريبابليك او الجمهوريه .،

ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

9. Plato makes the very important distinction between
Mimesis and Diagesis, two concepts that remain very
important to analyse literature even today. They are often
translated as……
a. Imitation and narration
b. Showing and telling
c. Either
d. Neither

افلاطون فرق بين المحاكاه والروايه والي يعتبرون مهمين الى يومنا هذا .، ويمكن ترجمتهم كـ : الاولى والثانيه صحيحه .، لان كلها مفردات متشابهه (اني اتكلم عن قصه وانا الي اكون فيها .، اول احكي عن قصه احد ثاني يكون فيها وانا بس انقلها) ..

ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

10. If someone is telling you a story,that would be:
a. Showing
b. Narration
c. Diagesis
d. Either B or C

اذا احد كان يقولي قصه فهذا يعتبر: الثنتين صح .، يكون الشخص الي يحكيلي اياها عباره عن راوي او ناقل لقصه مو له .،
ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

11. If I tell you the story in the first person, as if I am
Napoleon: “I sailed to Alexandria with 30 000 soldiers, and
then I marched on Cairo, etc.” That would be:
a. Imitation
b. Mimesis
c. Diagesis
d. Either A or B

اذا كنت انا الي اقول القصه بلساني انا وانا الي موجوده فيها فأسمى : الثنتين صح .، اكون انا الحاكي (معليش احنا بالعدبي ماعندنا فرق بين الراوي والحاكي بس فهمتو قصدي ان شاء الله:biggrin: )
ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

12. Drama with characters is usually………….
a. A diegesis
b. A mimesis
c. Either
d. Neither

الشخصيات الدراميه عاده تكون : محاكيه .،
ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

13. Stories in the third person are usually a…….
a. A diegesis
b. A mimesis
c. Either
d. Neither

القصص الي تكون بصيغه الشخص الثالث (زي لو اقول كان فيه واحد اسمه احمد راح للمكتبه ..الخ) : ناقل .،
ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــ

14. Plato was the first to explain that narration or story
telling (in Arabic al-sard) can proceed by:
a. Only narration
b. Imitation
c. Either
d. Neither

افلاطون كان اول شخص يفسر ان السرد يمكن يكون: كل الثنتين بالنقل وبالروايه (انه احد يرويها) .،
:


أسئلة عيوش


lecture 3 part 1

1) what genre of literature did the Greeks develop?
they developed all genres of literature (tragedy, comedy, different forms of poetry, short stories, and novels)

2) what is Western literature based on ?
on Greek literature

3) is it the exactly the same?
no, there is a substantial amount of difference

4) Greek thought influenced Europe and the west ,did that make both cultures the same ?
no the difference between the two cultures were significant

5) who are the Greek thinkers that influenced the development of western literature?
plato and Aristotle

6) what is the word for literature in Greek?
they didn't have a word for literature they called it poetry

7)what did Plato think of poetry?

he thought it was influential and extremely misunderstood

8)what did he write ?
he wrote dialogues

9) what did he talk about in the dialogues?
poetry

10)why was he obsessed with poetry?
Western literature and criticism cannot agree

11) who wrote “The Republic”?
Plato

12) what were Plato’s most important contribution?
the first to makes the distinction between MIMESIS and DIAGESIS
to ban poets and poetry from the city.

13) what are MIMESIS and DIAGESIS translated as?
imitation and narration

14)what is imitation?
when we tell the story in first person (I want , I did…..)

15) what is narration?
telling the story in third person ( he went ,they talked…)

16) how is drama with characters normally written ?
mimesis (imitation)

17) how are stories in the third person written?
diegesis(narration)

who said” and narration may be either simple narration, or imitation, or a union of the two”?
plato

18)why is the distinction between MIMESIS and DIAGESIS important ?
it is very important for the analysis of literature

19)whats the name of plato’s book?
The Republic

20) how did people react towards plato decision to ban poets and poetry from the city?
it was difficult to explain because they valued poetry

21) what do western cultures clam that their literature based on ?
it was based on Greek antiquity

22)when do scholars finally show that the poetry that plato bands is different to the poetry and art that Europe and the west have ?
the 20th century

23) who drew attention to the fact that the Greeks did not have anything similar to the western ideas of art and literature?
Paul Kristller





lecture 3 part 2


1) what did the the term art (latin 'ars') applied to?
not todays term of fine arts , but all kinds of human activities

2)how did the ancient classify what we today call fine art ?
it was classified under science and crafts

3) what are the five major arts ?
Painting, sculpture, architecture, music and poetry

Before the 18th century the five major arts were under science and crafts

4)when is the discipline that we call literature invented?
In the 18th century

5) does Plato use the word litterateur or art?
No he uses the word poetry

6) What were poetry tragedy and comedy known as in the ancient world ?
poetry

7) give an example of the tragedian?
Sophocles, Euripdes

8) give an example of a comedian ?
Aristophanes

9) give an example of the epic poet?
Homer

10) did the Greeks call them artists ?
no they did not

11)did the Greeks call their poems and plays literature?
no, they diid not

12) what is the poet that plato describes in his book the republic?

he is a poet a performer and an educator

13)what was the source of knowledge is ancient Greece?
poetry

14) why was it the source of their knowledge ?
because they were an oral society

15) why would that matter?
for a society that doesn't have a writing system poetry becomes useful to preserve knowledge

16) why use poetry to preserve knowledge?
because poetry uses rhymes , meter and harmony and those make it easy to remember

17) what is an oral society ?
societies that don't have a system of writing

in an oral society knowledge , and customers an tradition or thought using poetry its the source of knowledge

18) why did plato see the poet as a big danger to his society ?
Literature is an interaction between a reader and a book
Oral poetry is a communal performance.
Literature is entertainment and pleasure
Oral poetry teaches science, medicine, war and peace and social values
The writer or artist of literature is a gifted individual
The poet in an oral society is a leader, an educator, a warrior, a priest

19)what did plato accuse the poetic experience of his time with ?
conditioning the citizens to imitate and repeat , the values without understanding them

20) do the poets have knowledge about the things they speak about?
[/no they are only good at song making and their knowledge is superficial

the poet produces a poor copy of the things he sings about and the listener acquires a bad education

the greek society was unjust

platos balames educators fro teaching youth to appear just and not really be just


:


lecture 3 part 3



what are the colors of poetry ?
rhythm, harmony, and measure

2) what does plato analyse to prove his point?
style and content

3) where does the charm and power of poetry reside in(in plato’s opinion) ?
rhythm, harmony, and measures

4)what is the poet good at in his opinion ?
good at the aesthetic adjustment of his verses and rhythms and is actually ignorant about the content of his songs or tales

5)is the four in oral poetry only verbal?
no,it is also physical. The oral poet relies equally on gestures, movements and mimicry

6)what is their purpose?
Like the poet’s words, they divert attention from what is actually being said and only aim to impress the spectator by the skills of the delivery

7) what is the result of exposing the youth to poetry from childhood to adulthood?
The youth will be educated to rely on emotions rather than reason.

Poetry cripples the mind. It weakens the critical faculty and breeds conformity.

8)what does imitation turn into?
it grows into habits and becomes a second nature


9)why do rhythms and colourful images have a strong and powerful impact on the listener ?
they find their way into the inward places of the soul, on which they mightily fasten (plato)

10) what do excitement of physical pleasures and internal passions produce?
a neutralisation of the faculty of sense and judgement

11) what was Plato’s merit ?
he distanced himself enough from these experiences to understand that the passivity effect produced was calculated

12)is it only the naïve or the ignorant that succumb to the power of poetry ?
no plato said even “the best of us” are vulnerable to a good passage

13)Poetry creates a culture of what?
superficiality

14) what dose that mean?
People want only to “seem” just rather than “be” just.

15)why is this culture of appearances most devastating in politics and law ?
because its where material rewards and economic exploitation are great

16) why can fake appearances be of great use to politicians?
They could develop, superficial ideologies with the sole aim of control and profit

17) is the superficial culture that poetry produces equally harmful to everybody ?
no,there are those who suffer , and there are those who use and benefit

18) why do some devote themselves to the game of breeding and developing appearances and lies?
The benefits are the incentive



الكويزات للمحاضرة (3 )


Literary Criticism (أسئلة شامله للمنهج )#3 (http://www.ckfu.org/vb/t625194.html)

[ كويز ] :Literary Criticism and Theory(النقد الأدبي ) - lecture3 (الجزء الأول ) (http://www.ckfu.org/vb/t621315.html)
[ كويز ] :Literary Criticism and Theory(النقد الأدبي ) - lecture3 (الجزء الثاني ) (http://www.ckfu.org/vb/t621314.html)



النقد الادبي لayosha م3 part1


[URL]http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11454





النقد الادبي لayosha م3 part2


http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11457





النقد الادبي لayosha م3 part3


http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11458





النقد الادبي (1-3) (http://www.ckfu.org/vb/t517981.html)









من أسئلة الاختبار الي جات من أول ثلاث محاضرات :



المحاضرة الاولى

(30) Why is Western literature and criticism connected to classical Greek and Roman cultures?
A. They share the same taste in literature
B. They share the same religion
C. Western literature is a recreation, a revival of classical literature
D. Western literature borrows mythology from the literature of classical antiquity

1/ “[A] man who follows another not only finds nothing; he is not even looking.” .. who is say it :
a-Horace
b-Quintilian
c-Seneca


2/ “Captive Greece took its wild conqueror captive”..who is say it:
a-Horace
b-Quintilian
c-Seneca

3/ what is famous dialogue by Plato:
a-the Republic
b-Poetics
c-Political

المحاضره الثانية

(31) Roman writers felt inferior to Greek culture because:
A. The Greeks had a bigger empire
B. The Greek culture was easy to understand
C. Roman was superior to Greece militarily, but inferior culturally
D. It was easier to become famous in Greece than in Rome


المحاضره الثالثة

(34) Who made the distinction between Mimesis and Diegesis?
A. Plato
B. Cicero
C. Aristotle
D. Ibn Rushd

(35) Why did Plato ban the poet from the city?
A. He was jealous
B. He doesn't like entertainment
C. Poetry cripples the mind
D. Poetry is not good for health

(36) "And narration," says Plato, can proceed by:
A. Imitation
B. Narration
C. Imitation or narration or a mixture of the two
D. By indirect speech

(37) Plato analyzed poetry as an imitation in his dialogue.
A. Phaedrus
B. Sophist
C. Ian
D. Republic

[كارزما]

.



.


https://31.media.tumblr.com/f8eff2fd2de77bf9059433c247cdb212/tumblr_inline_n0linv4hXw1rup8k6.gif

شرح دودي كول


المحاضرة الرابعة


..........

المحاضرة تتكلم عن ارسطوو...Aristotle
ركزووواا ع هذه مفتاح لاكثر الحلول
ارسطوا ركزززز على التراجيديا
Aristotle on Tragedy
.......يعني كل شي هنتكلم عنه يخص ارسطو والتراجيديا............


بسم الله نبدا


لماذا بدأ ارسطو في الكتابه؟؟؟
لانه احب الاعمال الفلسفية
philosophical systems

---------------------------

سمي في الادب الغربي بـــقيصر النقد الادبي
Western cultures as ‘czar of literary criticism,’
---------------------------
Aristotle,
---كتب----Poetics,---
وشرح فيه---Tragedy,(التراجيديا)
---وعرفها--an imitation of an action that is serious-انها عباره عن تقليد جاد---
وان هذه التراجيدا تدب الرعب والخوف والشفقه للمشاهدين arousing pity and fear,
الشكل تيعها عبارة عن افعال وحركات وليس بسردthat tragedy is an imitation of action, not a narration
ويجب على اي تراجيديا ان تتكون من 6 اجزاء لجودتها--must have six parts, which parts determine its quality
--------------------------------------

خصائص التراجيدا عند ارسطو

1- Plot:الحبكة
plot as “the arrangement of the incidents
هي ترتيب للاحداث
مهم(Plot-incidents in a cause-effect sequence of events.)
--------------------
تنقسم الـPlot الجيدة الى
The plot must be “a whole,” with a beginning, middle, and end.
انها تكو شاملة-بداية-وسط-نهاية

1-beginning,incentive moment,
البداية(اللحظة المؤثرة)

2-middle, or climax:earlier incidents
الوسط:حدثت بسبب الاحداث السابقة

3- end, or resolution:solve or resolve the problem created during the incentive moment.
النهاية: هو ايجاد الحل للمشكلة اللي حصل من اول لحظة مؤثرة(البداية)


مهم(الخطوة منbeginning الى climax تسمى بــtying u)
مهم(الخطوة منclimax الى end تسمى unraveling)

_______________
في نظر ارسطو ان اسوأ حبكة هي اللي تأتي على شكل حلقات
According to Aristotle, the worst kinds of plots are “‘episodic,’
-------------------------------------------------------------------------------------------------
العنصر الثاني من التراجيديا

2-. Character: " الشخصيهٌ "
*تدعم الحبكة
Character should support the plot

*ارستقراطي
the hero should be an aristocrat

*واقعي قابل للتصديق
“true to life” - he/she should be realistic and believable.
--------------------------------------------------------------------------------------------
العنصر الثالث من التراجيديا

3-Thought: الفِكر
themes of a play موضوعات المسرحية

-------------------------------------------------------
4-Diction " الأسلوب في الالقاء
“the expression of the meaning in words”
-----------------------------------------------------
5-Song, or melody الاغنية واللحن
the musical element العنصر الموسيقي
-------------------------------------------------


The end of the tragedy is a katharsis-purgation
في نهاية المحاضرة,katharsis بمعنى purgation وهي التطهير



:


أسئلة عيوش



lecture 4 part 1


1)what was Aristotle considered to be ?
very easy compared to Plato

2)who was easier to incorporate in Western literary and philosophical systems ?

Aristotle

3)what is the foundation of artistic, dramatic and literary practice ?
Aristotle’s analysis of Tragedy in the Poetics

4) what do western scholars who dislike Plato’s discussion of poetry think of Aristotle ?
they are usually full of praise for Aristotle

5)who said “When Aristotle comes to challenge his great master and speaks up for art, his attitude to the work of imitation is altogether more respectful.” ?
John Jones

6) who is meant by great master?
Plato

7) who said “One must keep in mind Plato’s devaluation of mimesis in order to appreciate the impact of the repairs Aristotle undertook.” ?
Wolfgang Iser

8) what did he mean by mimesis?
art

9) what did Aristotle repair?
what Plato destroyed

10) who said “Plato is known to have had shifting opinions on art depending on whether he thought art was useful for or detrimental to his ideal state. Aristotle’s was also an aesthetics of effect, but a more enlightened and dehumanised one.” ?
Theodor Adorno


11)what is Aristotle considered to be in Western cultures ?
the unchallenged authority on poetry and literature

12) who is the ‘czar of literary criticism”?
Aristotle

13) who said that Aristotle was the ‘czar of literary criticism”?
Gerald Else

14) who wrote The Poetics ?
Aristotle

15) what is The Poetics considered to be ?
it has for centuries functioned as the most authoritative book of literary criticism

16) what is the Bible of literary criticism ?
The Poetics

17) what is tragedy ?
is an imitation of an action that is serious, complete, and of a certain magnitude

18)there are several kinds of artistic ornaments found in plays ,what is their form?
action , not narrative .

19)what do tragedies arouse?
pity and fear

20) how many parts do we have to determine the quality of a Tragedy ?
6 parts

21) what are the parts ?
plot - characters - diction - thought - spectacle - melody

22)what is tragedy ? مو إعاده في عدة تعاريف و صفات للتراجدي
it is the “imitation of an action (mimesis) according to the law of probability or necessity

22) who said Tragedy “shows” you an action rather than “tells” you about it?
Aristotle

23) why does a Tragedy arouses pity and fear ?
The audience identifies with the characters, feels their pain and their grief and rejoices at their happiness.


24) what is the first principle of the Tragedy ?
the plot

25) what is a plot?
Aristotle defines plot as “the arrangement of the incidents.”

26) is Aristotle talking about the story itself?
no he’s talking about the way the incidents are presented to the audience, the structure of the play

27) in what sequence is the plot arranged?
cause-effect sequence

28) tragedies where the outcome depends on a tightly constructed cause-and-effect chain of actions are superior to what ?
superior to those that depend primarily on the character and personality of the hero/protagonist

29)what must the plot be ?
a whole

30) what does a whole mean ?
it should have a beginning, middle, and end

31) what is the beginning called?
incentive moment

32) what does the incentive moment start ?
the cause-and-effect chain


33) what is the middle called?
the climax

34) what causes the climax?
it is caused by earlier incidents and itself causes the incidents that follow it

بعض المعلومات من شرح الدكتور



lecture 4 part 2

what is the end called ?
the resolution

2) what causes the resolution ?
it’s caused by the preceding events but doesn’t lead to other incidents

3) what does the resolution do?
The resolution should therefore solve or resolve the problem created during the incentive moment

4) what does Aristotle call the cause-and-effect chain leading from the incentive moment to the climax ?
the tying up

5) what is “tying up “called in modern terminology?
the complication

6) what does he call the cause-and-effect chain from the climax to the resolution ?
the unravelling

7) what is “unravelling” called in modern terminology?
dènouement

8) what should the plot be?
complete and should have unity of action

9) what does Aristotle mean by that ?
that the plot must be structurally self-contained, with the incidents bound together by internal necessity, each action leading inevitably to the next with no outside intervention


9)what are the worst kind of plots ,according to Aristotle?
episodic

10)what does episodic mean?
which the episodes or acts succeed one another without probable or necessary sequence”

11)what ties the events together in that kind of plot?
the fact that they happen to the same person

12) what should playwrights and poets stay away from ?
coincidence and the irrational


The plot must be “of a certain magnitude,” both quantitatively (length, complexity) and qualitatively (“seriousness” and universal significance).

13)what are some characteristics that Aristotle thinks the plot should have or don't have ?

should not be too brief
should have a lot on incidents and themes
those incidents and themes should be brought together in organic unity
it should be universal and significant

14) what is the result of having more incidents and themes?
the greatness the artistic value and richness of the play increases

15) what is the result of if being universal and significant ?
it can catch and hold the emotions of the audience

16)what should the character support ?
the plot

17)what should the personal motivation of the characters be connected to?
it should be an intricately connected part of the cause-and-effect chain of actions that produce pity and fear in the audience .




18) what qualities should characters in tragedy’s have ?

“good or fine” - the hero should be an aristocrat
• “true to life” - he/she should be realistic and believable.
• “consistency” - Once a character's personality and motivations are established, these should continue throughout the play.
• “necessary or probable” - must be logically constructed according to “the law of probability or necessity” that govern the actions of the play.
• “true to life and yet more beautiful,” - idealized, ennobled.

19) what does Aristotle say about thought ?
Aristotle says little about thought ,what he has to say is associated with how speeches should reveal character

20) what would this category include ?
the themes of a play.

21) what is Diction ?
Diction is “the expression of the meaning in words” which are proper and appropriate to the plot, characters, and end of the tragedy

22) what is Aristotle interested in?
metaphors

23) who says the following “the greatest thing by far is to have a command of metaphor; . . . it is the mark of genius, for to make good metaphors implies an eye for resemblances.” ?
Aristotle

24) what is “song”?
Song, or melody is the musical element of the chorus

25) what is Aristotle’s point of view on it?
1)the Chorus should be fully integrated into the play like an actor
2)should not be “mere interludes,” but should contribute to the unity of the plot


26) what is the least future connected to literature ?
Spectacle

27) what does the production of Spectacle effects depend on ?
more on the art of the stage machinist than on that of the poet

28) what does Aristotle think of using Spectacle?
he argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear


29) who said the following those who rely heavily on spectacle “create a sense, not of the terrible, but only of the monstrous.” ?
Aristotle

30) what is Katharsis ?
an Aristotelian term that has generated considerable debate

31)what does Katharsis mean ?
purging

32)what is it’s purpose?
the aesthetic pleasure one gets from contemplating the pity and fear that are aroused through an intricately constructed work of art



الكويزات :16.jpg:



النقد الادبي لayosha م4 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11462

النقد الادبي لayosha م4 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11464


Literary Criticism (أسئلة شامله للمنهج )#4 (http://www.ckfu.org/vb/t625200.html)

[كارزما]

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http://25.media.tumblr.com/fb9992ec831a4de5802ea731b56b0cf5/tumblr_mwiyowoNXy1qztgoio1_250.gif




شرح دودي كول


المحاضرة الخامسة...

مثل ماذكرنا قبل....
الروم يسمى بـــــــالثقافة التراثية(ROME ----A MUSEUM CULTURE)
اليونان يسمى بـــــــالثقافة حية(GREECE ----A LIVING CULTURE)

....................
ورح نتوسع في الرومان والاشخاص اللي اتبعوا ارسطو وافلاطون

--------------------------------

1-Horace:هوراس(((((له جملة من قبل اتمنى ماتكونوا نسيتوها))) المحاضرة 1
*شاعر روماني He was a poet

*was not a philosopher-critic like Plato or Aristotle
لم يكن ناقد فيلسوفي مثل ارسطو وافلاطون

*In Ars Poetica:"إسم قصيدٌته "

*كان يخبر ان المسرحية يجب ان تتكون من 5 مقاطع لا اكثر ولا اقل
that a play should not be shorter or longer than five acts

*كان يتمتع بالادراك.sensibility”..لكي يفرق بين الذوق الراقي والذوق المبتذل
allows him to separate what he calls “sophisticated” tastes from the “vulgar

*كان يريد من الرومان ونصحهم بتقليد اليونانين
wants Roman poets to imitate are the Greeks.

*ونصح بان تكون قصصهم قابلة للتصديق
tales believable

* كتب “Letter to Augustus والذي يظهر فيها كراهيته للثقافة الشعبيه
hatred of the popular culture

*وصف الثقافة الاغريقية بالانيقة
Greek culture (books) with “elegance”
ووصف الثقافة الشعبية يالسم
popular culture of his own time with “venom.”

--------------------------------------

2-كوينتيلنتانQuintilian

*يعتبر المعلم الرائد في الخطابة عند الروم
the leading teacher of rhetoric in Rome

*حذر من التقليد ووصفها بالخطيرة
But imitation is also dangerous:

*ان هذا التقليد علامة للكسل العقلي
“It is the sign of a lazy mentality

-------------------------------------------------------

3-Seneca سينيكا ((((له جملتين من قبل اتمنى ماتكونوا نسيتوها))) المحاضرة 1
bees produce honey

------------------------------------------------------

Latin authors
((قبل ماندخل في شرحهم!!!تتذكروهم ان تكلمنا عنهم قبل.؟؟http://www.ckfu.org/vb/images/shrqwea/%28107%29.gif
المؤلفين اللاتنين الروم اللذين عن طريقهم عرفت اوروبا بالاغريق:71:
..................
نرجع
Latin authors المؤلفين اللاتنين
استخدموا الشعر والادب عشان شيئين:
used poetry and literature for two things only

1- لتحسين البلاغة----To improve eloquence
2-لغناء الامجاد الوطنية لروما -------To sing the national glories of Rome



:


ذي صورة هوراس :16.jpg:

http://www.marefa.org/images/thumb/9/95/Quintus_Horatius_Flaccus.jpg/200px-Quintus_Horatius_Flaccus.jpg

احس لاشفت خشة الواحد فيهم أقدر استحمل خثاريقه :hahahahahah:

:

أسئلة عيوش :love080:


lecture 5 part 1


was homer’s poetry in books?

no,it was an oral culture that people sang

where did people sing it ?
in the street and in the market place, in weddings and funerals, in war and in peace

3) what did Aeschylus, Sophocles, and Euripides write ?
great Greek tragedies

4) were the plays read in books?
no, they were performances and shows that people attended

5) where did they attended these plays?
at the tragic festival every year

6)what was Greek culture?
a “living culture”

7) where did it come from?
it sprang from people’s everyday life

8)who participated in the production and consumption of this culture?
All the Greeks old and young, aristocrats and commoners, literate and illiterate

9) what happened to Greek culture in ancient Rome?
it became books that had no connection to everyday life and to average people.

10) did Romans speak Greek?
no they did not


11) did they have knowledge of Greek culture and their books?
no they did not

12) did every one get to read Greek books?
Only a small, educated minority had the ability to interact with these books.

13) why?
It was a dead culture, past, remote, and with no connections to the daily existence of the majority of the population

14) what was the Greek culture in Rome ?
a “museum” culture Some aristocrats used it to show off, but it did not inspire the present

15) why did Roman literature and criticism emerge?
as an attempt to imitate that Greek culture that was now preserved in books

16) why did the Romans engage the culture of Greece ?
they reproduced the books

17) who made the distinction “Living Culture” (in Greece) and “Monument culture” (in Rome )?
Florence Dupont

18)what is Ars Poetica?
a poem

19) who wrote Ars Poetica?
horace

20) what was Very influential in shaping European literary and artistic tastes ?
Ars Poetica

21) was horace a philosopher-critic ?
no he was not


22) were Plato or Aristotle philosopher-critics ?
yes they were

23) what was horace?
He was a poet writing advice in the form of poems

24) why?
to try to improve the artistic effort of his contemporaries

25)how should plays be written in his opinion ?
a comic subject should not be written in a tragic tone, and vice versa.

26) what advise does he give them?
not to present anything excessively violent or monstrous on stage,


27) what is a deus ex machine ?
a special effects machine

28) when did horace think it should be used ?
it should not be used unless absolutely necessary

29) how long does horace think a play should be?
should not be shorter or longer than five acts

30) what was horace’s opinion on the chorus?
should not sing between the acts anything which has no relevance to or cohesion with the plot

31) what is art or poetry ?
it should teach and please

32) what should the poem be conceived as by the writer ?
a form of static beauty similar to a painting



lecture 5 part 2

1) what was at the centre of Horace's ideas ?
sensibility

2) who said the following “neither the ability nor the knowledge to keep the duly assigned functions and tones” of poetry should not be “hailed as a poet.”?
Horace’s

3) where was this principle announced ?
in line 86 of the Ars Poetica

4) is that the only place we see it ?
no it is assumed everywhere in Horace’s writing

5) who does Horace mean when he talks about the laws of composition and style, his model of excellence that he wants Roman poets to imitate ?
the Greeks

6) what do we mean by “sophisticated” tastes?
Greek books

7) what do we mean by the “vulgar?
the rustic and popular

8) what tool does Horace us to separate the two ?
sensibility”

9)who said “I hate the profane crowd and keep it at a distance,”?
Horace

10) how did Horace feel about the popular culture of his day?
he hated it

11) where can we see that ?
is apparent in his “Letter to Augustus”

12) what is Latium ?
latin

13) in his letter to Augustus what does he mean by venom?
Roman culture

14)what brought the Romans to Greece?
a relationship of force and conquest

15) what do we mean by As soon as Greece was captive, however, it held its conqueror captive?
it captivated them with its nicely preserved culture (books

16) how does Horace feel about everyday culture ?
Horace shows prejudice to the culture of everyday people

17)did he know that the culture in the greece books was itself popular culture?
no he did not

18)what did Horace equate the preserved Greek culture (books) with?
elegance

19) what did he equate the popular culture of his own time with?
venom

20)was Horace alone in this hatred of the popular culture?
no,hatred of the popular culture of his day was widespread among Latin authors

21)what did poetry mean for Horace and his contemporaries?
it meant written monuments that would land the lucky poet’s name on a library shelf next to the great Greek names

22) who said “I will not die entirely,” , “some principal part of me yet evading the great Goddess of Burials?
Horace

23) what was That great part of him?
his books

24) was Horace’s poetic practice rooted in everyday life?
no to was not

25) was Greek poetry rooted in everyday life ?
yes it was

26)why did Horace read and reread the Iliad?
in search of, as he put it, what was bad what was good, what was useful, and what was not

27)what cultures would divide future European societies?
“official” and “popular”

28) who started them?
Horace

29) what can we say about the “duly assigned functions and tones” of poetry that Horace spent his life trying to make poets adhere to?
they were a mould for an artificial poetry with intolerant overtone

30) what are Horace’s ideas on poetry based on?
an artificial distinction between a “civilized” text-based culture and a “vulgar” oral one

31) are those distinctions accepted today ?
no they are not

32)what does Horace urge the Romans to do ?
to imitate the Greeks and follow in their footsteps

33)who said “Study Greek models night and day?
Horace

34) where did he say that ?
in the Ars Poetica


بعض المعلومات من شرح الدكتور



lecture 5 part 3

what is the contradiction in Horace’s idea ?
Horace wants Roman authors to imitate the Greeks night and day and follow in their footsteps, but he does not want them to be mere imitators

2) what was his solution for this ?
only a set of metaphors with no practical steps (stay away from the round and vulgar)

3)can you see the same contradiction in Horace’s poetry ?
yes you can

4) who wrote the “Epistle to Maecenas “?
Horace

5) what does he complain about in the Epistle to Maecenas?
the slavish imitators who ape the morals and manners of their betters

6) who are their betters ?
the greeks

7)In the process of following and imitating the Greeks, Horace differentiates himself from what ?
those who “mimic” the ancients and slavishly attempt to reproduce them

8) what did he think of that kind of imitation ?
he did not have much esteem for that kind of imitation and saw his own practice to be different

9) who said “I was the first to plant free footstep on a virgin soil; I walked not where others trod. ?
Horace

10)In imitating the Greeks, Horace claims originality is this accurate?
the bold claim he makes of walking on virgin soil strongly contradicts the implied detail that the soil was not virgin, since Greek predecessors had already walked it

11) who said the precise nature of what Horace claims to have brought back from his “walk” is not clear “?
Thomas Greene

12) what does Horace advises the aspirant poet in Ars Poetica ?
to make his tale believable

13)who said “If you want me to cry, mourn first yourself, then your misfortunes will hurt me” ?
Horace

14) what does he mean by make the tale believable ?
If you depict a coward, Horace advises, make the depiction close to a real person who is a coward
But Horace only had a stylistic feature in mind.

15) who said Horace could not even think of poetry, all poetry, as an imitation, the way the idea is expressed in Book X of the Republic, or in Aristotle’s Poetics ?
Craig La Drière

16)Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both what?
imprecise

17) what affect will they have on Europe?
they will become very influential in shaping European art and literature

18) what did Horace use the principles of taste and “sensibility for?
to distinguish what he thought was “civilized” from “uncivilized” poetry

*19) what will those principals be instrumental in shaping ?
instrumental in shaping the European distinction between official high culture and popular low one

20)Horace’s ideas helped form the conception of what ?
literature and poetry as national monuments and trophies

21) Poetry in Horace’s text was subordinated to what ?
to oratory and the perfection of self-expression

22) who is reduced to classroom examples of correct speaking for rhetoricians to practice with ?
Homer and Sophocles

23)what does the idea of following the Greeks result in in the opinion of
Thomas Greene ?
it magnified the temporal and cultural distance with them

24) who wrote Institutio Oratoria ?
Quintilian

25) Quintilian was the leading teacher of what ?
the leading teacher of rhetoric in Rome

26) when was this?
From 68 to 88 C.E

27)why did he write the Institutio ?
to help in the training of orators


Sometimes Quintilian justifies the imitation of the Greeks , but still thinks its dangerous

28) what are the two contradictory positions Quintilian advocates ?
1)that progress could be achieved only by those who refuse to follow, hence the undesirability of imitating the Greeks
2)Quintilian continues to advocate imitation, and goes on to elaborate a list of precepts to guide writers to produce “accurate” imitations

29) who said The imitator should consider carefully whom to imitate and he should not limit himself to one model only?
Quintilian

30)what did Seneca do ?
he singled out the process of transformation that takes place when bees produce honey or when food, after it is eaten, turns into blood and tissue


31) what did Seneca explore ?
the process of mollification and its chemistry

32)Latin authors never discuss poetry or literature as an imitation (mimesis) but as what ?
as an imitation of the Greeks

33)why aren't Latin authors familiar with Plato’s and Aristotle’s analysis of poetry ?
The Poetics or Republic III and X do not seem to have been available to the Romans

34)Latin authors used poetry and literature for two things , what are they ?
- To improve eloquence
- To sing the national glories of Rome and show off its culture.

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الكويزات للمحاضرة ( 5 ) :16.jpg:

Literary Criticism (أسئلة شامله للمنهج )#5 (http://www.ckfu.org/vb/t625223.html)

[ كويز ] :النقد الادبي (4-5) (http://www.ckfu.org/vb/t518455.html)



النقد الادبي لayosha م5 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11511

النقد الادبي لayosha م5 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11512

النقد الادبي لayosha م5 part3
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11513

[كارزما]

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https://38.media.tumblr.com/440a39dc7783c6a31e8fb0b71bd13f60/tumblr_miw0rwyRIr1s0am14o1_500.gif




شرح دودي كول :mh12:


المحاضرة السادسة

ملياااانه دش كلام ومدري احسه مخربط...فالافضل نذاكره من الامتحانات السابقة:sm12::sm12: vtuj رفعت الراية البيضا هنا :16.jpg:

المهم هذكر اللي لقطه واعتبره مهم...بس السموحه بكتبهم بالعربي

هي عموما بتتكلم عن اللغة وظهورها

*dante دانتي
قال بان اللغة وضعت بشكل الاهي

*1440 في ايطاليا قام Lorenzo valla بان اللغة انشأت من قبل البشرية وتحديدا الرجال

*قامت الانسانية النقدية بحماية اللغة اللاتنية من الاحتكار بوضع كتب قواعد
grammar book

*Petrah بتراه
كان بطل التقليد اللاتيني
champion of Latin imitation



أسئلة عيوش :33_asmilies-com:

lecture 6 part 1

renaissance humanists realised that the Latin they spoke was what?
was different from classical Latin

2)because of that language was practically established as what?
a historical phenomenon

3)for Dante language was what ?
divinely instituted, and the connection of words and things and the rules of grammar were not arbitrary

4)who established the fact that meaning in language is created by humans and shaped by history ?
Italian humanists

5)when did they establish that fact ?
by the 1414s

6) who believed in this fact?
Lorenzo Valla

7)the realisation of the difference between medieval and classical Latin created what ?
a short era of intense neo-Latin imitation

8) who advocated the revival of ancient Latin ?
humanists

9)why did they want to revive ancient latin ?
Latin had to become, again, the natural and familiar mode of organising experience for that experience to equal that of the ancients

10)who did they imitate for this revival ?
Cicero in prose and Virgil in poetry

11)what was the controversy of that time ?
whether Cicero should be the only model for imitation, or whether multiple models should be selected

12) when was the new conceptions of language led ?
the sixteenth and early seventeenth century

13) what was its purpose?
the undermining of Latin as the privileged language of learning

14) what was the central tactic in the attack on the monopoly of Latin ?
production of grammar books for the vernacular

15) what did these books show?
that vernaculars could be reduced to the same kind of rules as Latin

16)who said “Let no one scorn this Tuscan language as plain and meagre,” ?
Poliziano

17) who said “What sort of nation are we, to speak perpetually with the mouth of another?”
Jacques Peletier

18) who said labelling of the French as barbarians “had neither right nor privilege to legitimate thus their nation and to bastardise others”?
Joachim du Bellay

19)who labeled the french as barbarians ?
the Romans

20) who said To have learned to speak with one‟s own mouth means to value that speech as both an object of knowledge and the embodiment of a culture worth having. ?
Richard Waswo

21) what did the campaign to defend and promote the vernacular result in?
it dislodged Latin‟s monopoly on all forms of written or printed enquiry

22) when did that happen ?
the early seventeenth century

23) what did they imitate to developed the new European Language ?
Latin

24) how did they imitate Latin?
by appropriating the vocabulary, grammar rules and stylistic features of Latin into the vernaculars

25)the Latin tongue became abundant by doing what ?
deriving many words from the Greek

26) European writers insisted that imitation should what ?
lead to originality, at least in principle

27) who was the champion of Latin imitation?
Petrarch

28) what did he advise his contemporaries to do ?
to heed Seneca‟s advice and “imitate the bees which through an astonishing process produce wax and honey from the flowers they leave behind

29) who said There is nothing shameful about imitating the ancients and borrowing from them ?
Petrarch

30) who said first “we should imitate the one who is best of all.” Then he added “we should imitate in such a way that we strive to overtake him ?
Pietro Bembo


lecture 6 part 2

who stressed that the imitative product should not be “the same as the ones we imitate, but to be similar to them in such a way that the similarity is scarcely recognised except by the learned ?
landino

2) who wrote Arte Poetica ?
Hieronimo Muzio

3)who said “direct your eyes, with mind intent, upon the famous examples of the ancient times.” ?
Hieronimo Muzio

4) what did Hieronimo Muzio mean by (“writing shall exhale their previously absorbed odour, like a garment preserved among roses.” )?
spending time with the classic writers will rub off on you , you will be affected by their writings

5) who said “imitation [would] change into nature”, that his work would resemble the model not as a copy but “as father is to son.” ?
Giraldi Cinthio:

6) Antonio Minturno used who's metaphor ?
Seneca‟s

7) the terms of the imitation discussions in Italy were a copy of ?
of Roman discussions

8) the terms of the French debate was a copy of ?
the Italian debate

9)who celebrated the theft and plunder from the classics ?
Joachim du Bella

10) who used Quintilian’s passage without acknowledgement ?
du Bellay


11) who enjoined the reader not to be “ashamed” to write in his native tongue in imitation of the ancients. ?
Joachim du Bella

12) why did Joachim du bella say “Imitating the best Greek authors, transforming into them, devouring them; and after well digesting them, converting them into blood and nourishment. “?
he was describing the process through which the Romans enriched their language

13) who said only the “rarest and most exquisite virtues” are to be imitated ?
Joachim du Bella

14) why couldn't Europeans imitate the Romans freely ?
they were pagans

15) Renaissance Europe was what ?
fervently Christian

16)European authors frequently stressed that imitation should not what ?
undermine the Christian character of their world

17) this issue was settled early on by ?
Erasmus’s

18) how did he settle it ?
through his dialogue Ciceronianus

19) when did the controversy rage ?
the early sixteenth century

20) the controversy was between whom ?
those who advocated the exclusive imitation of Cicero, and others who advocated the imitation of multiple models

21) who established once and for all Christian interests and sensibilities as the ultimate limit of imitation ?
Erasmus

22) what were the two propositions he started with in the ciceronianus?
the one who speaks most like Cicero speaks best
good speaking depends on decorum

23)Erasmus argued that since decorum is important, one should not speak as Cicero spoke in the past , but how ?
as he would speak now if he were alive

24) what does that mean ?
“in a Christian manner about Christian matters.”

25) Erasmus openly branded what ?
the Ciceronians

26) Erasmus saw some dangers in the practice of imitation how was that ?
the rediscovery of pagan written documents and their unprecedented diffusion through printing,

27) what was Erasmus’s primary concern in writing the Ciceronianus ?
to expose renascent paganism disguising itself as Ciceronian classicism


28) did he rely “on religious appeal “?
no he did not , he relied on “historical argument” and “historical reasoning.”


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كويزات محاضرة ( 6 ):10111:


Literary Criticism (أسئلة شامله للمنهج )#6 (http://www.ckfu.org/vb/t625244.html)

النقد الادبي (6-7) (http://www.ckfu.org/vb/t518532.html)


النقد الادبي لayosha م6 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11509

النقد الادبي لayosha م6 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11510

[كارزما]

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http://24.media.tumblr.com/f50a8db6d5a3720da35caeac1ebba65e/tumblr_mwiyowoNXy1qztgoio4_250.gif


شرح دودي كول :16.jpg:




المحاضرة السابعة
ركزووووا جدا فيها لانها مهمه وجا اسئلة كثيرة منها

بسم الله نبدأ


التشكيل الروسيRussian Formalism
تعريفه
انها منح دراسية ادبية وجدت في روسيا في القرن 20th
A school of literary scholarship that originated and flourished in Russia in the second decade of the 20th

اختصوا فقط في الشعر
Formalist located literary meaning in the pome (poetry)

the Russian formalist want to-->develop the literary

مهممم
Modern Russian Poetry
لــRoman Jakobson

-----------------------------------------------------
نتائج الحركة الروسية التشكيلية
A Product of the Russian Revolution

*كانو ينظروا للادب الرومانسي من منظور ديني
Russia romanticized literature and viewed literature from a religious perspective.

*شجعوا دراسة الادب من ناحية العلم والموضوعية---(مهم جا باختبارات سابقة)
The formalist perspective encouraged the study of literature from an objective and scientific lens

----------------------------------------------------
أهم نقاد الحركة الروسية التشكيلية:
(ذكر اسامي بس ع اعتقادي مو للحفظ ونكتفي باللي هذكرهم بعد شوي))

هالنقاد جعلو خصوصية واستقلالية للغة الشعرية والأدب
These names revolutionized literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature.

-------------------------------------------------
لم تهتم التشكيلية بــ:
Formalists are not interested in:

-نفسيةوسيرة حياة الكاتب
The psychology and biography of the author.

-الكاتب والقارئ ليسوم مهمين
people (i.e., author, reader) are not important

-رفضو التعاريف التقليدية للادب
the Formalists rejected traditional definitions of literature.

-------------------------------------------------
نرجع ونتكلم عن Roman Jakobson
اللي قلنا عنه انه صاحب Modern Russian Poetry ...اصحواااhttp://www.ckfu.org/vb/images/shrqwea/%28204%29.gif

هالشخص جا وقال:
انه المنح الادبية لا تقتصر فقط عالادب...وانما هي قطعه ادبية ومن هنا جا تعريف القطعه الادبية(literariness'),
The subject of literary scholarship is not literature in its totality but= literariness'),

وقال انه وظائف التواصل لازم ان تقلل الى الادنى
---مهممممممممم-----communicative function should e reduce to minimum

____________________________________________
اللغة مقابل الشعر....مهم وجا باختبارات سابقة)
Poetic vs. Ordinary Language
التشكيلية الروسية فرقت بين اللغة والشعر
وقالوا ان الادب نموذج خاص من اللغة
Russian Formalists argued that Literature was a specialized mode of language
-------------------------------------------------------
اللغة مقابل المحتوى.مهم وجا باختبارات سابقة)
Form vs. Content

ايضا رفضوا التقاليد في التقسيم بين الشكل والمحتوى
rejected the traditional dichotomy of form vs. content
جا في اختبارات سابقة

وبالنسبة لهم ان اشعر ليس مجرد قافية وجناس وانما هو نوع من الخطاب المتكامل المختلف عن النثر والمتسلسل هرميا
is an integrated type of discourse, qualitatively different from prose, with a hierarchy of elements and internal laws of its own

-------------------------------------
القصة مقابل الحبكة
Plot vs. Story
الاحداث تعبر عن القصة
والتسلسل يعبر عن الحبكة
The events the work relates (the story) from
the sequence in which those events are presented in the work (the plot).
------------------------------------
Literariness القطعه الادبية
((اللي هوا مثل ماذكرنا طلعها ....م هقول عدتها مرتين:cheese: لو مركزين بتعرفون لانه مهم

المهم ذا الشخص جا Jan Mukarovsky وقال انه القطعة الادبية هي كحد اقصى من القدرة على ابراز النص والكلام
Jan Mukarovsky, consists in “the maximum of foregrounding of the utterance,
---مهم وجا اختبارات سابقة---

________________________________
ركزوا اكثر لانه هنتكلم عن شخصيات مهمه.. صحصحوا:41jg:
----------------------------------------------

1- Shklovsky's صاحبDefamiliarization والتي تعني Making Strange
----------------------------------------------
2-Vladimir Propp's صاحب Morphology of the Folktale
Folktale تعني القصص الخرافية fairytale
تتكون من
*31.Functions
*broad character types,7
مهم واجا باختبارات سابقة-
---------------------------------------------
كل الشخصيات مهمه في هالمحاضرة وجت عليهم اسئلة



اسئلة عيوش :icon1:




lecture 7 part1

what is The Russian Formalist Movement ?
A school of literary scholarship that originated and flourished in Russia

2) when did they flourish?
the second decade of the 20th century (1920’s)

3)when were they suppressed ?
in the 1930’s

4)who was it championed by ?
unorthodox philologists and literary historians

5) give examples of people who championed the Russian formalist movement ?
Boris Eichenbaum, Roman Jakobson, Viktor Shklovsky, Boris Tomashevsky, and Yuri Tynyanov

6) what were its centres?
the Moscow Linguistic Circle founded in 1915
the Petrograd Society for the Study of Poetic Language (Opoyaz) formed in 1916

7) what was Opoyaz?
Petrograd Society for the Study of Poetic Language

8)Their project were stated in what books?
Poetics: Studies in the Theory of Poetic Language (1919)
Modern Russian Poetry (1921)

9) who wrote Modern Russian Poetry?
Modern Russian Poetry

10)when did the Bolshevik Revolution happen?
1917

11)how did Russia view literature Prior to 1917 ?
it romanticized literature and viewed literature from a religious perspective

12) what happened After 1917?
literature began to be observed and analyzed

13) what did the formalist perspective encourage?
the study of literature from an objective and scientific lens

14)who labeled the Opoyaz group as the "formalist"
its opponents

15)what did the Opoyaz group prefer to be called ?
the "morphological" approach or “specifiers”

16) who ere the most Important Formalist Critics?
Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eichenbaum, Roman Jakobson, Boris Tomashevsky, Grigory Gukovsky

17) These names revolutionized literary criticism between when and when ?
between 1914 and the 1930s

18) how did they do that ?
by establishing the specificity and autonomy of poetic language and literature

19)Russian formalism exerted a major influence on thinkers like who?
Mikhail Bakhtin and Yuri Lotman

20)the formalist project had two objectives , what were they ?
The emphasis on the literary work and its component parts
The autonomy of literary scholarship

21) Formalism wanted to solve what ?
the methodological confusion which prevailed in traditional literary studies

22)what did they want to establish?
literary scholarship as a distinct and autonomous field of study

23) formalists were not interested in what ?

The psychology and biography of the author.
The religious, moral, or political value of literature.
The symbolism in literature.
Formalism strives to force literary or artwork to stand on its own
people (i.e., author, reader) are not important
the Formalists rejected traditional definitions of literature. They had a deep-seated distrust of psychology.
They rejected the theories that locate literary meaning in the poet rather than the poem – the theories that invoke a "faculty of mind" conducive to poetic creation.
They had little use for all the talk about "intuition," "imagination," "genius," and the like


24) in the subject of literature it was necessary to the formalists to do what ?
to narrow down the definition of literature

25) who said "The subject of literary scholarship is not literature in its totality but literariness (literaturnost'), i.e., that which makes of a given work a work of literature.” ?
Roman Jakobson

26) who said "The literary scholar ought to be concerned solely with the inquiry into the distinguishing features of the literary materials.” ?
Eichenbaum

27) Russian Formalists argued that Literature was what ?
a specialized mode of language

28) what did they purpose?
fundamental opposition between the literary (or poetic) use of language and the ordinary (practical) use of language

29)Ordinary language aims at what?
communicating a message by reference to the world outside the message

30)Literature was what ?
a specialized mode of language. It does not aim at communicating a message and its reference is not to the world but to itself.

31)Literariness, according to Jan Mukarovsky, consists in what ?
“the maximum of foregrounding of the utterance,”

32) what is “the maximum of foregrounding of the utterance”?
the foregrounding of “the act of expression, the act of speech itself.”

33) what does to foreground mean?
to bring into high prominence.

34) what is the result of backgrounding the referential aspect of language ?
poetry makes the words themselves palpable as phonic sounds

35) By foreground its linguistic medium the primary aim of literature is what ?
is to estrange or defamiliarize or make strange

36) who said is to estrange or defamiliarize or make strange ?
Victor Shklovsky




:



lecture 7 part 2

1)Literature “makes strange” ordinary perception and ordinary language and invites the reader to do what ?
explore new forms of perceptions and sensations, and new ways of relating to language

2) where did Shklovsky's key terms, "making strange," "dis-automatization," receive wide currency ?
in the writings of the Russian Formalists.

3)who claimed that in poetry "the communicative function is reduced to a minimum.” ?
Jakobson

4) how did Shklovsky speak of poetry ?
as a "dance of articulatory organs.”

5)Formalism rejected the traditional dichotomy of what?
form vs. content

6)who said "cuts a work of art into two halves: a crude content and a superimposed, purely external form.” ?
Wellek and Warren

7)to the Formalist, verse is not merely a matter of external embellishment such as meter bur what ?

It is an integrated type of discourse, qualitatively different from prose, with a hierarchy of elements and internal laws of its own

8)plot/story is a Formalist concept that distinguishes between what?
The events the work relates (the story) from
the sequence in which those events are presented in the work (the plot).

9) Both concepts help describe what?
the significance of the form of a literary work in order to define its "literariness


10)what makes something art to begin with ?
form

11) what must you focus on in order to understand a work of art as a work of art ?
on its form

12) what was one of the most influential Formalist contributions to the theory of fiction ?
the study in comparative folklore

13)who studied fairy-tale stories and established character types and events associated with them
Propp

14) what did Propp call the events?
function

15)how many functions were there ?
31

16) Propp developed a theory of character and established how many?
7 broad character types

17) what were the 31 functions ?

1. Absentation: One of the members of a family absents himself from home (or is dead).
2. An interdiction is addressed to the hero.
3. [Violation The interdiction is violated.
4. Reconnaissance: The villain makes an attempt at reconnaissance.
5. Delivery: The villain receives information about his victim.
6. Trickery: The villain attempts to deceive his victim in order to take possession of him or his belongings.
7. Complicity: The victim submits to deception and thereby unwittingly helps his enemy.
8. Villainy or Lack: The villain causes harm or injury to a member of a family (“villainy) or one member of a family either lacks something or desires to have something (“lack”).
9. Mediation: Misfortune or lack is made known; the hero is approached with a request or a command; he is allowed to go or he is dis*****ed.
10: Counteraction: The seeker agrees or decides upon counteraction.
11. Departure: The hero leaves home
12. First Function of the Donor: The hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or a helper.
13. Hero’s Reaction: The hero reacts to the actions of the future donor.
14. Receipts of Magical Agent: The hero acquires the use of a magical agent.
15. Guidance: The hero is transferred, delivered, or led to the whereabouts of
an object of search.
16. Struggle: The hero and the villain join in direct combat.
17. الكويزات للمحاضرة ( 7 ):cheese:[/COLOR]




[B]Literary Criticism (أسئلة شامله للمنهج )#7 (http://www.ckfu.org/vb/t625274.html)




النقد الادبي لayosha م7 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11506

النقد الادبي لayosha م7 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11504

[كارزما]

.
.



http://24.media.tumblr.com/544844efeb77b4f66c654915b4afcc9a/tumblr_mnccvh0MqG1rercezo1_500.gif





شرح دودي كول :(269):


المحاضرة الثامنة

Structuralism
البنائية

ظهرت البنائية في اللادب في فرنسا 1960
Structuralism in literature appeared in France in the 1960s

وقد كانت التشكيلية الروسية هي سبب في وجودها ...ف اتبعتها الحركة البنائية ولكن اهتم بالشعر من ناحيت تراكيبه وبنيته
It continues the work of Russian Formalism in the sense that it does not seek to interpret literature; it seeks rather to investigate its structures.
-

من هذولا الاشخاص المهمين
Roland Barthes, Tzvetan Todorov, Gerard Gennete, and A.j. Greimas.

((هالمحاضرة نتكبم بالتخصيص عن Gerard Gennete,..يعني كل شي هنا تقريبا يخصه..والباقي في الماحضرات القادمة))

--------------------------------------------------------
Narrative Discourse "السرد الروائً "
قسمه جينيت Gennete الى ثلاثة اقسام:
1-time
2-Mood
3-Voice
-----------------
نبدأ نفصلهم::::
1-time
واول نوع فيه هو Narrative Order السرد الروائي

له نوعين
1-الوقت الخاص بالقصة---متى حصلت
2-الوقت الخاص بالراوي-----متى حكى واخبر هالقصة

The time of the story: The time in which the story happens

The time of the narrative: The time in which the story is told/narrated


اذا الـNarrative Order هي العلاقة بين تسلسل احداث القصة وبين ترتيبها عند الراوية
is the relation between the sequencing of events in the story and their arrangement in the narrative

--------------------------------------------
لسه احنا بالوقت...time
Time Zero "وقت الصفر "
هو الوقت اللي يروي الراوي قصته ...
Time Zeros: is the point in time in which the narrator is telling his/her story.

Anachronies
هو الحدث اللي يصير لما الراوي يتوقف بالقصة لذكر حدث من الماضي(Analepsis:) او حدث للمستقبل (Prolepsis:)
Anachronies happen whenever a narrative stops the chronological order in order to bring events or information from the past (of the time zero) or from the future (of the time zero).

نفصل هالحدثين
1-Analepsis:(اللي هوا يخص الماضي-ربطتها براسي من اول كم حرف بالكبمه(انا) __انا كنت زمان):cheese:
>>> بحكي عنها بعد وقوعها ---past ---recounts after the fact
that took place earlier than the moment ياخذنا في لحظات حدثت سابقا

2-Prolepsis:(اللي هوا يخص المستقبل-ربطتها براسي من اول كم حرف بالكبمه(برو) __بروح بكرا اختبر):cheese:
anticipates events that will occur after the point in time>>>future
بيحكي عنها بعد حدث معين سيصل لها
----------------------------------------------------------------------------
2- Narrative Mood:
Mimesis vs. Diegesis
التقليد مقابل الاخبار(((فصلنا هالنوعين في محاضرات سابقة)

Genette says, all narrative is necessarily diegesis
قال ان كل الروايات عبارة عن اخبار

ممكن تكون تقليد اذا تم تمثل الحكاية وجعلها حية وحيوية
It can only achieve an illusion of mimesis (showing) by making the story real, alive and vivid.

--------------------------------------
وانه التقليد اللي ممكن يصير هو تقليد الكلمات
The only imitation (mimesis) possible in literature is the imitation of words

__مهمين__
Mimesis: maximum of information and a minimum of the informer.
التقليد:يكون اكثر معلومات عن القصة..واقل عن الراوي (لانه هيمثل الحكاية

Diegesis: a minimum of information and a maximum presence of the informer.
الاخبار:القليل من المعلومات والكثير من الراوي((لان ببدأ يخبر عن الراوي وحكايته يعني اخباره بيكون كثير)

---------------------------------------
3-voice
“Who speaks?”)
Who see??
>>>>>>>>
نبدا نفصلهم
Who see??Focalization:
وجهه النظر ..مالذي يرى
1. Zero focalization: The narrator knows more than the charactersربطتها انه زيرو من الجهل:lllolll:الراوي يعرف الكثير عن الشخصيات

2. Internal focalization: The narrator knows as much as the focal character ربطتها انه يعيش داخل شخصيه وحدة
داخلي:يعرف عن شخصية واحدة ولا يعلم عن باقي الشخصيات

3. External focalization: The narrator knows less than the characters.
خارجي
لايعرف اي شيئ عن الشخصيات
-----------------------------------------------------------------------
النوع التاني
Who Speaks? "
من المتحدث؟؟
بمعنى اللي يسرد :
4 انواع---الحروف اللي نفس اللون لااعرف اقرب الجمل بالتعريف

1-SUBSEQUENT: The classical (most frequent) position of the past
التسلسل:الاكثر تداولا يتحدث عن الماضي

2- PRIOR: Predictive narrative, generally in the future tense (dreams,
الاسبقية:عن المستقبل

3- SIMULTANEOUS: Narrative in the present contemporaneous
في الوقت نفسه:في الوقت الحاضر...سهله مايبيلها ربط:16.jpg:

4-INTERPOLATED: Between the moments of the action (this is the most complex)
التشابك:مابين لحظات الحدث وهو الاكثر تعقيدا...

----------------------------------------
Homodiegetic Narrator:present

Heterodiegetic Narrator:absent

Extradiegetic Narrative:superior,

Intradiegetic Narrative
----------------------------------------

معليش احتجنا الربط بشكل عجيب غريب بهالمحاضرة:lllolll::lllolll:



أسئلة عيوش :119:


lecture 8

1)when did Structuralism appear in literature?
in France in the 1960s

2) whose work did it continue ?
the work of Russian Formalism

3)in what way ?
it does not seek to interpret literature; it seeks rather to investigate its structures

4)what are the most common names associated with structuralism ?
Roland Barthes, Tzvetan Todorov, Gerard Gennete, and A.j. Greimas

5) who made the most influential contributions to structuralism ?
Gerard Gennete’s

6) how ?
his book Discours du récit (Paris, 1972)

7) what language was it translated to ?
English

8) what was it translated to ?
Narrative Discourse (1980)

9) what book was so systematic and so thorough in analyzing the structures of literary discourse and narratology ?
Narrative Discourse

10) what are the main aspects of the narrative discourse ?
time
mood
voice

11) what do we mean by time ?
order,duration ,frequency

12) what do we mean by mood?
Distance (Mimesis vs. Diegesis), Perspective (the question who sees?)

13) what do we mean by voice?
Levels of narration (the question who speaks?)

14)how many forms of time are there in a narrative ?
two

15) what are they ?
The time of the story
The time of the narrative

16) what is the time of the story ?
The time in which the story happens

17) what is the time of narration ?
The time in which the story is told/narrated

18) what is narrative order ?
the relation between the sequencing of events in the story and their arrangement in the narrative

19) what do we call it when a narrator choose to present the events in the order they occurred ?
chronologically

20) what do we call it when the vents happen in the up coming order : A – B – C – D – E – F ?
a chronological order

21)what do we call it when the vents happen in the up coming order : E – D – A – C – B – F ?
non-chronological

22) what is Time Zero?
the time of the narration

23) what does Gennette call all irregularities in the time of narration ?
Anachronies

24) when does an Anachronies happen ?
whenever a narrative stops the chronological order in order to bring events or information from the past (of the time zero) or from the future (of the time zero).

25)how many types of anachronies are there ?
two

26) what are they ?
Analysis ( when information is brought from the past )and Prolepsis (when information is brought from the future)

27) what is Analepsis?
The narrator recounts after the fact an event that took place earlier than the moment in which the narrative is stopped


28) I woke up in a good mood this morning. In my mind were memories of my childhood, when I was running in the fields with my friends after school.

when is time zero?
this morning

where is the Analepsis?
memories of my childhood

29) what is Prolepsis?
The narrator anticipates events that will occur after the point in time in which the story has stops.

30) what do mean by the anachrony's reach ?
how far in the past of future we’re going

31) what do we mean by its extent ?
were going to be talking about a period of how long

32) what is the function of Analepses in a narrative ?
it’s a filler it often take on an explanatory role, developing a character's psychology by relating events from his past

33) These breaks in chronology may also be used to disrupt what ?
the classical novel's linear narrative (chronological narrative )

34) what is the only mood of literature ?
indicative

35) what does Genette say of all narratives ?
the are all diegesis (telling) and can only achieve an illusion of mimesis (showing)

36) how can it give the illusion of mimesis ?
by making the story real, alive, and vivid

37)what question does Genette answer ?
the question of imitation , in his opinion literature does not imitate

38 ) what is mimesis for Gennete ?
it’s only a form of diegesis , showing is only a form of telling

39) it is more accurate to study the relationship of the narrative under the heading of what ?
Distance and Perspective

40) what is the only imitation (mimesis) possible in literature ?
the imitation of words

41) all narratives are narratives of what ?
events and here every narrative chooses to take a certain amount of distance from the information is narrates

42) what is narrative of Events?
always a diegesis, that is, a transcription of the non-verbal into the verbal.

43) Mimesis to Genette?
maximum of information and a minimum of the informer

44) Diegesis to Genette ?
a minimum of information and a maximum presence of the informer.

45)how many types of mimesis are posable ?
three

46) what are they ?
Narrated speech
Transposed speech
Reproduced speech

47) what is Narrated speech ?
is the most distant and reduced exact uttered speech

48) what is Transposed speech ?
in indirect style mixture of uttered and narrated speech

49) what is Reproduced speech?
The most mimetic form is where the narrator pretends that the character is speaking and not the narrator

50) what is the second mode of regulating information ?
Perspective

51) Traditional criticism, says Gennete, confuses two different issues , what are they ?
narrative voice and narrative perspective

52) under what question ?
point of view

53) Gennete argues that a distinction should be made between what ?
narrative voice and narrative perspective

54) what is narrative voice ?
the question “Who speaks?

55) what is narrative perspective ?
(the question “Who sees “?

56) what is Focalization?
Who Sees?

57) how many kinds of Focalization do we have ?
three

58) what are they ?
Zero Focalization
Internal focalization
External focalization

59) what is Zero Focalization?
The narrator knows more than the characters. He may know the facts about all of the protagonists, as well as their thoughts and gestures. This is the traditional "omniscient narrator “(has no restriction or no limit he can see everything)

60) what is Internal focalization ?
The narrator knows as much as the focal character. This character filters the information provided to the reader, and the narrator does not and cannot access or report the thoughts of other characters.

61) what does Focalization means primarily?
a limitation, a limit on the capacity of the narrator to “see” and “report.”

62) what does the the narrator do if he/she wants to be seen as reliable ?
has to recognize and respect that he cannot be everywhere and know everything

63)what is External focalization ?
The narrator knows less than the characters. He acts a bit like a camera lens, following the protagonists' actions and gestures from the outside; he is unable to guess their thoughts. Again, there is restriction

64) what are the Levels of narration?
who speaks?

65) Genette systematizes the varieties of narrators according to what ?
a purely formal criteria

66) how many types of narrating is there from the point of view of time ?
four

67) what are they ?
SUBSEQUENT
PRIOR
SIMULTANEOUS
INTERPOLATED

67) what is SUBSEQUENT?
The classical (most frequent) position of the past-tense narrative.

68) what is PRIOR?
Predictive narrative, generally in the future tense (dreams, prophecies) [this type of narrating is done with less frequency than any other

69) what is SIMULTANEOUS ?
Narrative in the present contemporaneous with the action (this is the simplest form of narrating since the simultaneousness of the story and the narrating eliminates any sort of interference or temporal game).

70) what is INTERPOLATED?
Between the moments of the action (this is the most complex) [e.g., epistolary novels]

71) what is a homodiegetic Narrator?
a story in which the narrator is present in the story he narrates

72) what is a Heterodiegetic Narrator?
a story in which the narrator is absent from the story he narrates

73) what is a Extradiegetic Narrative?
the narrator is superior, in the sense of being at least one level higher than the story world, and hence has a good or virtually complete knowledge of the story he narrates.

74) what is Intradiegetic Narrative?
the narrator is immersed within the same level as that of the story world, and has limited or incomplete knowledge of the story he narrates






كويزات محاضرة 8:sm5:


Literary Criticism (أسئلة شامله للمنهج )#8 (http://www.ckfu.org/vb/t625281.html)

النقد الادبي- المحاضرة الثامنة (http://www.ckfu.org/vb/t520054.html)


النقد الادبي لayosha م8 part1
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11501

النقد الادبي لayosha م8 part2
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11502

[كارزما]

.
.


http://33.media.tumblr.com/d31a76550bc4cc16cc5efbd0c91d28cc/tumblr_inline_o1wzq7IPZB1r2bd7w_500.gif





شرح دودي كول :004:

المحاضرة 9
.وبقيه المحاضرات تتكلم عن شخصيات في الحركة البينية--Structuralism " "
ذكرنا واحد منهم في المحاضره السابقة وانجازاته,,,,وهو جينيت
......هالمحاضرة تتكلم عن

1. Roland Barthes: صاحب__,,“The Death of the Author”


In Literary Studies
في الدراسات الادبية

Structuralism is interested in the conventions and the structures of the literary work.
البنيويه اهتم بالتقاليد وهيكيليه العمل

----------------------------------
According to Roland Barthes, it is language that speaks and not the author who no longer determines meaning. Consequences: We no longer talk about works but texts.
بالنسبه لرولان بارت ان اللغة هي التي تتحدث وليس المؤلف بمعنى اننا لن نتحدث عن الاعمال...بل سنتحدث عن النصوص


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The birth of the reader has a cost: the death of the Author.
ولادة القارىء كلفت موت المؤلف

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لمن راجعت الاسئلة في اشياء محطوطة من هالمحاضرة ولاكن مو كثيرة م يتعدى سؤالين...فلتعرفوا بشكل اجمالي عن الشخصيات وايش اسئلتها بس تقرؤوا هالمعلومات اللي انا بعتبرها رؤس اقلام..ارجعوا للاسئلة..
اللي بحاول اكتبه هنا انه يكفيكم ويغنيكم عن الرجوع للمحتوى لتبسط الامور عندكم
.............................
فالشخصيات كل اللي اقدر اسويه اذكر نقاطه,,والباقي عليكم

:oao:



أسئلة عيوش :S_45:

lecture 9


who is Structuralism usually designates to ?
group of French thinkers

2) what were they influenced by?
Ferdinand de Saussure’s theory of language

3) when were they active ?
the 1950s and 60s

4) what concepts did they apply?
structural linguistics to the study of social and cultural phenomenon, including literature

5) where did Structuralism developed first ?
in anthropology with Claude Levi-Strauss

6) where did it develop after that ?
in literary and cultural studies with Roman Jackobson, Roland Barthes, Gerard Gennette

7) where did it develop after that ?
in Psychoanalysis with Jacques Lacan

8) where did it develop after the ?
Intellectual History with Michel Foucault and Marxist Theory with Louis Althusser.

9) what school did they form?
these thinkers never formed a school but it was under the label “Structuralism”

10) when did their work circulate?
their work circulated in the 1960s and 70s


11)what is structuralism interested in with literary studies?
the conventions and the structures of the literary work (the text itself not the author)

12) structuralism does not seek to produce new interpretations of literary works , but what ?
understand and explain how these works can have the meanings and effects that they do

13)what is semiotics ?
the general science of signs
the general study of signs in behaviour and communication that avoids philosophical speculation and cultural critiques that marked Structuralism.

14) who was Roland Barthes ?
one of the most prominent figures in French Structuralism

15)what was his work about?
the function of the author in literature

16) who wrote “The Death of the Author”?
Roland Barthes

17) where did he write it ?
his book Image, Music, Text

18) who translated his book?
Stephen Heath

19) Barthes reminds the reader in this essay that the idea of the “author” is what ?
a modren invention

20) when did the author emerge ?
It emerged with English empiricism when society discovered the prestige of the individual,

21)Literature is tyrannically centred on what ?
the author, his life, person, tastes and passions

22) where is the explanation of a text sought ?
in the person who produced it

23)In ethnographic societies, the responsibility for a narrative is never assumed by a person but ?
by a mediator, a relator

24) where is the explanation of a work always sought ?
in the man or woman who produced it

25) who reigns supreme in histories of literature biographies of writers, interviews, magazines ?
the author

26) Literary criticism and literature in general are enslaved to ?
the author

27)The reader, the critic, the historian all read the text of literature only to try to discover ?
the author, his life, his personality, his biography, psychology etc.

28)Barthes proposes that literature and criticism dispose of ?
the author

29) what happens once the author is removed?
the claim to decipher a text becomes quite futile

30) what happens to the professional critics who claims to be the guardian of the text ?
he looses his position. All readings become equal

31) what does Roland Barthes question?
the traditional idea that the meaning of the literary text and the production of the literary text should be traced solely to a single author

32)Structuralism and Poststructuralism proved what?
d that meaning is not fixed by or located in the author’s ‘intention.’


33)Barthes rejected the idea that literature and criticism should rely on what?
“a single self-determining author, in control of his meanings, who fulfils his intentions and only his intentions

34)according to Roland Barthes, who speaks ?
it is language that speaks and not the author who no longer determines meaning

35) why does barthe want literature to move away from the idea of the author ?
to discover the reader, and more importantly, in order to discover writing

36) a text is not a message of an author but?
“a multidimensional space where a variety of writings, none of them original, blend and clash.”

37)a text is made of what?
multiple writings, drawn from many cultures and entering into mutual relations of dialogue, parody, contestation

38) who should be the focus of interpretation ?
the reader not the author

39)what doe we mean by the text is plural?
“a tissue of quotations,” a woven fabric with citations, references, echoes, cultural languages

40)the author is always conceived of as ?
the past of his own book

41) book and author stand automatically on a single line divided in to what?
into a before and an after

42) what do we mean but he author is thought to nourish the book ?
he exists before it, thinks, suffers, lives for it, is in the same relation of antecedence to his work as a father to his child


43) when is the modern scriptor born ?
simultaneously with the tex

44) who is the modern scriptor ?
the hand cut off from any voice. He is borne by a pure gesture of inscription (and not of expression



كويزات محاضرة 9:oao:
[ كويز ] :النقد الادبي (9-10) (http://www.ckfu.org/vb/t520439.html)


النقد الادبي لayosha م9
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11470

[كارزما]

.
.


http://24.media.tumblr.com/09290c795f00635600cc66606375b1e7/tumblr_mhvy185eGH1qejvrxo6_250.gif







شرح دودي كول :004:


المحاضرة 10

1. Michel Foucaultصاحب
: “What is an Author?”

تعريف وظيفة المؤلف:
انه مجموعه من المعتقدات
والافتراضات
التي:تنتج...تتداول...وتصنف..وتستهلك النصوص

"author function" is more like a set of beliefs or assumptions governing the production, circulation, classification and consumption of texts.
(جا سؤال عليه سابقا)


:

أسئلة عيوش :004:



lecture 10


1) who wrote "What is an Author?”?
Michel Foucault

2)what does Foucault questions ?
the most basic assumptions about authorship

3) who said It "came into being,” he explains, at a particular moment in history, and it may pass out of being at some future moment ?
Michel Foucault

4) what is he talking about ?
authorship

5)how does Foucault describe the way we see authors?
as individuals, heroic figures who somehow transcend or exist outside history

6) who urged critics to realize that they could "do without [the author] and study the work itself ?
Barthes

7) what did Foucault think of that?
it’s not realistic.

8)Foucault suggests that critics like Barthes and Derrida never really get rid of the author but do what ?
instead merely reassigns the author's powers and privileges to "writing" or to "language itself

9)Foucault doesn't want his readers to assume that the question of authorship has what ?
already been solved by critics like Barthes and Derrida.

10)Foucault says the names of authors often serve as what ?
a "classifactory" function.

11) how is an average bookstore is organized ?
by author

12) who introduced the concept of the "author function “?
Foucault

13)what is the "author function”?
It is not a person and it should not be confused with either the "author" or the "writer." it’s more like a set of beliefs or assumptions governing the production, circulation, classification and consumption of texts.

14)Foucault identifies and describes how many characteristics of the "author function” ?
4

15) what are they ?
1. The "author function" is linked to the legal system
2. The "author function" does not affect all texts in the same way
3. The "author function" is more complex than it seems to be
4. The term "author" doesn't refer purely and simply to a real individual

16) what do we mean by linked to a legal system ?
There is the need here to have names attached to statements made in case there is a need to punish someone for transgressive things that get said.

17)explain does not affect all texts in the same way?
it doesn't seem to affect scientific texts as much as it affects literary texts. If a chemistry teacher is talking about the periodic table, you probably wouldn't stop her and say, "Wait a minute--who's the author of this table?" If I'm talking about a poem, however, you might very well stop me and ask me about its author

18)what do we mean by doesn't refer purely and simply to a real individual ?
The "author" is much like the "narrator," Foucault suggests, in that he or she can be an "alter ego" for the actual flesh-and-blood "writer.”

19)Foucault shows that the "author function" applies not only to individual works but what ?
larger discourses

20)who raises the possibility of doing a "historical analysis of discourse “?
Foucault

21) what has operated differently in different places and at different times ?
the "author function"

22) how did Foucault begin his essay?
by questioning our tendency to imagine "authors" as individuals isolated from the rest of society

23) who argues that the author is not a source of infinite meaning, but rather part of a systemof beliefs that serve to limit and restrict meaning ?
Foucault

24) what does Foucault agree with Barthes on?
that the "author function" may soon "disappear

25) what does he disagree with him ?
that instead of the limiting and restrictive "author function," we will have some kind of absolute freedom

26) what does he think will happen ?
one set of restrictions and limits (the author function) will give way to another set there must and will always be some "system of constraint" working upon us



:


كويزات محاضرة 10 :106:

[ كويز ] :النقد الادبي (9-10) (http://www.ckfu.org/vb/t520439.html)


النقد الادبي لayosha م10
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11469

[كارزما]

.
.


http://rs1160.pbsrc.com/albums/q483/xCuttieLawliet/xGifs-Icons/tumblr_m4syctEeQS1r8vt1fo1_500.gif%7Ec200



شرح دودي كول :106:


المحاضرة 11

Greimas: The Actantial Model
قريماس: صاحب Actantial Model

ماهي؟؟Actantial Model؟؟
اداة لتحليل اي عمل حقيقي وتشمل جميع الاعمال الادبية
actantial model is a tool that can theoretically be used to analyze any real or thematized action
for all literature
(جا سؤال عليها قبل

قسمت Actantial Model الى 6 اقسام
http://www.ckfu.org/vb/data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAhEAAACDCAIAAAC 8zd4kAAAKrUlEQVR4nO3d3YGiShAGUOMyIOIhGpIxmNkHRaF/C3EddM55ulelh4GiPqBx9vQDADGn314BAD6GzAAgSmYAECUzAI iSGQBEyQwAomQGAFEyA4AomQFAlMwAIEpmABAlMwCI+rzMuIzn 0+k0TL+9HhzbNJzUCZ9rGk6n03m8/PZ6ZF6QGdcmfjNMPz8/l3H8P4fqtQ/oBX/dow7K1RCsk2vlHvGw5DesOlni/VXyrZmRHnXzVv+PLd11xp92jYPVoXRLiKQkAnXy8syYxgMe4my TV9j9FETX+fnZmxnTUDnJ+58bt/hDObBpeE1jvp2RFPZ96Z2318mrfk2e9pJdUDrBv8WG/fuzMzMqt4wv41lmsHJr6nuOuXpilN99a5284PfjJfbvieJNIaF xtyszarsnn89Y3oDOTwavAzSuABc3Gs/jWOgFgfHLdzB4qx0HdG/ZUPfM+NRPaGfW62l5Y9ZDZfdB9dZft3eSqtkRqn8thdMZNnljd N1gd1HuS+8GPcNnXDfvanQ0XgZz/f1W54NLhee5s8U7kKvduG8SRafCI4/TJfx7Gg+hCcO6H6hp2eC18wYx/Ptlfw+dV5stVpavDL/fzrcYacs/7RnoqOwJ6vztDsKprHso/En9VU6WV7PJr+hE+5+bmr1CEv5TvNq7ZJ5x+ySLz2OszsMyQ2x zvjuGRzYhp0TeLgi/UgtI5Kr2sWQ7VpKD7SkEGXGgW1qA+menEslX3pPwXQaV+EBjXK Wvb8TvuT7GetHH0vPtGRWl/X5Euu0XDeK1Qe2j8/RLE+PWp95JjPq1/s/WXW1a6k3PSIzji9SaaU6qCyzp2B6jatUUNkr05Bdh7yhE77uO3 351zTmF1t7qZ0ZxYchsw9sG5/DeMN1RmneqzDlcV++PV3SWlOZcWBPX2e0bonuKZhu42rcIluc5 CSXJe/phC/+HvgjOK6r313RV2TGtvHLq7tYay9GXty09Srb/Yn5jM682fITT2VGdfxuJLQ/cMA9+H0vBooiYr0n66mxp2ACHbw0QDIxnkyO7OiEW+x8bmoorM NyIxeb/nqI/Zmxbfzs3WPV/ae8uGnrpRv8vc9NpYO0MqO6at1Kkxm/mKzHOLSPVkbak/BdMupUlCP5S7rbzTs7IRb7H3WtrQSyyuo2nd0x+WBWp/PKH0DpDSfsWF8fsOOQzgZon1CuXi3Np+Rzm6m8xmVWupVmntTx 7C/0vI9WRlzT8H0yqlaULeWOKZfgntfJ9z/Yz8GC5PUg/LjXH/n05mFB5+KV86xsfn7Y7yPfDyM3jD+iit1lL++MzqnEmlHcBLKq 1+U6h4+vpkwXQaV/0kpHaX9m2d8BXf6es8855P6GfPsS0+nl5jpTsr/85KYHyH8rconfFV9nF64jUNzducy2XKtdR+oGZR+NPQmozk2Co 9+X43rPNcaLhgOsvWL1yr3f9NnfAl8xnrm4uF1Vp+oHBaNy9We 2Z3nRONr9ysxk9veTqOv0W6Z+sHwrJyaqds2dV8qVYL70ZO9Pg k2SRJ6To12/vPF0x92VUnLE2k1ErsHZ3w8/79DHiV3ncugJTM4O+SGbCVzODvmgaRAdvIDP6WxVMXr3qeC/4QmcEf85hfFBiwmcwAIEpmABAlMwCIkhkARMkMAKJkBgBRMgNm lT/uD9zJDLh6wb/xAV9PZsBP8rc/xQbUyAyY/9GWaTyfx6n/z27C3yUz+Osesxil/wKWZAbMJAX0yAyYyQzokRkwkxnQIzNgJjOgR2bATGZAj8yAmcy AHpkBM5kBPTIDZjIDemQGzGQG9MgMmMkM6JEZMJMZ0CMzYCYzo EdmwExmQI/MgJnMgB6ZAUCUzAAgSmYAECUzAIiSGQBEyQwAomQGAFEyA4Aom QFAlMwAIEpmABAlMwCIkhkARMkMAKJkBgBRMgOAKJkBQJTMACB KZgAQJTMAiJIZAETJDACiZAYAUTIDgCiZAUCUzAAgSmYAECUzA IiSGQBEyQwAomQGAFEyA4AomQFA1KEy4zKeT6fTebz89orwjab hdDqdhum31wM+2fOZcT0CV26H47X1r/Rz4LGQzKBsVVjD9PPzcxnHWAQ8qrWZGc5aaEmb3p88Adl5nTEf xYWjbN68GzarI5aatDbmyttcXu/NjGlUzd/h2s9WpXFrcV8aHNXS3XtvqnGQPXErYBpkxreZhlfs0Wko1NI0b Kuv4iD/0/O/+2U8f2sv+kC3E5TCDqm/8+EapSsz+O9uB9aOHVuppct4PmxmPPlL799WvFg7F74wNTo1+A uZsbwnmLybZMZi8Nb96OqAj+G++yryQ+xoh7VF5/mMRwnMHykVzD0zNk6eNSr2Zz3LMg+XTemFJ/SExdH0eke647pdK9jW8tm7ZJ2uP/E+xFONMV+8X7pvzozlJXchoEu/y+k8jsPtU/nuqw247ArTeB6my3h2PB7CU80x0OXzUkwr8JoZ43i+fSi/RZ1PebQr9jKeH/+fDhe9ai7cKecw+qebt0+cx0u/a21oa4+KWBVI0tmW7S5St7HFm6X71sy43I/WysLF64z8l1mezrUGdOp2YJt3zuqZldIhnBV6eijUMiI9S3ks0 S6w9DwkqfhuZrj6Pb7AsxbJRyJdK/CBZqdcxNTyA/cRO42xt/g7MqMh2zC5+plZYdWXW7c3YL7tOZptk73rPZ7s2lhm5Be+2VnG uutXC6w3PdI88Exyf4btmdHrWt0PlNpWcombf2RVjNsbY1LLR7 nOWF3HlwUyY/EDuwPKjAN7/iKwdqP3mcxIF1p9pF1g3eoKXmco0CN7TWas22SgrWVVkV/h1pv+E43xyJnRPkACmbF4rTtg+wPZJdJ6dtSLG1+sbdLKdt/ZKh8/qn4v6CWZUV3PWCTsmvw+4F7+6Bdrm7Qlu4/T3YHtrtX9wIsyY1tjPHJmtI+hJzKjuzNlxlEOyB1hcRmHwlLJf MD/yYzm3aXmb7PtyfHS1jngXv7oF2ubtGnrc1MHyYxtjfGgmVHZ+M s/xC9N7V67qU+oHtTx7D/yuKSzOmtBt6TGWmJrD/SLrBe+W3LjNU6q9oDuaznErrvdrpWsK2VJjTW827d+YwNjfGom VF6lHgaWls7X/XCxq8PKDMOYHrF98Ard2jXlZ7u7uxozjMje6V07FQLbH539fxJ 8jDKk7/7ZTRFfhz11Ci90+ta3Q/UBm2VVvFkJ94Yk7pvlu6L/t5UYWvOq51vzpX8vDA/ZBsB3RzQHOO3mOusdRWRnKVMw3kY7vchhun+/vrIKt0iKJ7nFCs2f3ex7GIFp0EAfLbS9V+lv3S7Vr+tJT8ta+H Z+Xh27h5ojI3Fm6X7/r9ru3w3W+tkgdvGHIfSEs0B03VwyH60eT5jvVvzs4HF+8NUvAh elm3hbKI05VGp2PzdWvdQfl8i7Srl09Fu1wq1tWqlrhvvebxkL xTWtnDp3F68UbqH+vczMk/dEYanlTIDtnjVA3VHJTPgQWawl8z4TR++cfk40yAy2Edm/KL2Q27wEosZwZc85MWf1u1an97WDpsZyRS7I5n/5lFryow9ul3rG9raYTMDgMORGQBEyQwAomQGAFEyA4AomQFAlM wAIEpmABAlMwCIkhkARMkMAKJkBgBRMgOAKJkBQJTMACBKZgAQ JTMAiJIZAET9A0jfVAu0GHZaAAAAAElFTkSuQmCC

وقسمت هالActantial Model 6 الى 3 تعارضاتAxes
The axis of desire - Subject – Object

The axis of transmission – Sender – Receiver

The axis of power – Helper – Opponent

:love080::love080::love080::love080:

:

أسئلة عيوش :rose:

lecture 11

1) what did A. J. Greimas propose?
the actantial model

2)when was that ?
during the sixties

3)what was it based on?
the theories of Vladimir Propp

4)what is the actantial model ?
a tool that can theoretically be used to analyze any real or thematized action

5)In the actantial model an action may be broken down into how many components?
6

6)what are those components called?
actants.

7) what are actants?
Actantial analysis consists of assigning each element of the action being described to one of the actantial classes

8) what are the Actantial Models ?
the subject (the hero of the story, who undertakes the main action )
the objects (what the subject is directed toward )
the helper (helps the subject reach the desired object )
the opponent (hinders the subject in his progression )
the sender (initiates the relation between the subject and the object)
the receiver (the element for which the object is desired)

9)The actants must not be confused with characters because ?

1)An actant can be an abstraction (the city, Eros, God, liberty, peace, the nation, etc), a collective character (the soldiers of an army) or even a group of several characters.

2)A character can simultaneously or successively assume different actantial functions

3)An actant can be absent from the stage or the action and its presence can be limited to its presence in the discourse of other speakers


10) what does Greimas say about actant?
an extrapolation of the syntactic structure of a narrative. An actant is identified with what assumes a syntactic function in the narrative.

11)how many axes are there ?
3

12) The six actants are divided into what ?
three oppositions, each of which forms an axis of the actantial description

13) what is the axis od desire?
subject and object

14) the axis of power?
helper and opponent

15)axis of transmission ?
the sender and receiver

16) what is the relationship between the subject and the object called ?
junction.

17) what kind of junction is the Prince wanting the Princess ?
conjunction

18) what kind of junction is a murderer succeeds in getting rid of his victim's body ?
disjunction

:

كويزات محاضرة 11 :106:

النقد الادبي (11 -12 ) (http://www.ckfu.org/vb/t520892.html)
النقد الادبي لayosha م11
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11468

[كارزما]

.
.


http://i620.photobucket.com/albums/tt288/francismeunier/number%20two/number%203/f9195775.gif


شرح دودي كول :004:


المحاضرة 12

Poststructuralism
مابعد البنيوية

هذكر كل المحاضرة على شكل نقاط

*هي فلسفة فرنسية للقرن العشرين
outcome of Twentieth-century French philosophy

*تهتم بالثقافة والتاريخ وانه جزء مهم من المعنى
sees culture and history as integral to meaning

*هي ثورة ضد البنيوية
‘rebellion against’ structuralism

*logo-centrism was develop by: Poststructuralism مهم جا في اختبارات سابقة

*اهتمت بدراسة كيف تنتج المعرفة
study of how knowledge is produced

*رفضت ان فكرة النص تكون مفردة بالهدف او المعنى او الوجود
Rejects the idea of a literary text having one purpose, one meaning or one singular existence
-
*بدلو الكاتب (المؤلف)وجعلو القارئ هو المحور الاساسي والموضوع الرئيسي
Poststructuralism displaces the writer/author and make the reader the primary subject of inquiry

*ترفض هيكلة ثابتة للنص
rejects that there is a consistent structure to texts



:love080: :love080: :love080: :love080: :love080:


أسئلة عيوش :rose:


lecture 12

1)what is Poststructuralism ?
a broad historical description of intellectual developments in continental philosophy and critical theory

2)when and where does it come from ?
Twentieth-century French philosophy

3)what does the prefix "post’ mean ?
primarily that it is critical of structuralism

4)Structuralism tried to deal with meaning as what ?
complex structures that are culturally independent

5) what does Post-structuralism see culture and history as ?
integral to meaning

6) what was Poststructuralism a ‘rebellion against ?
structuralism

7) what was a critical and comprehensive response to the basic assumptions of structuralism ?
Poststructuralism

8)what does Poststructuralism study?
the underlying structures inherent in cultural products (such as texts)

9) what does it use for linguistics, psychology, and anthropology ?
analytical concepts

10) what do poststructuralist study to understand a text?
1)The text itself
2)the systems of knowledge which interacted and came into play to produce the text

11) what kind of study is Post-structuralism?
a study of how knowledge is produced, an analysis of the social, cultural and historical systems that interact with each other to produce a specific cultural product, like a text of literature,

12) how does Poststructuralism see the concept of “self” ?
fictional construct, an illusion

13) what is the concept of “self” ?
"self" a singular and coherent entity

14) what is “self “ to Poststructuralism?
a mass of conflicting tensions + Knowledge claims (e.g. gender, class, profession, etc.)

15) what must the reader do to properly study a text ?
the reader must understand how the work is related to his own personal concept of self and how the various concepts of self that form in the text come about and interact

16)what is Self-perception in poststructuralism ?
Poststructuralism requires a critical attitude to one's assumptions, limitations and general knowledge claims (gender, race, class, etc)

17)for Poststructuralism what is secondary to the meaning that the reader can generate from the text ?
Authorial intentions

18) what is Authorial intentions ?
the meaning that the author intends to “transmit” in a piece if literature

19) who rejects the idea of a literary text having one purpose, one meaning or one singular existence ?
Poststructuralism


20)who utilizes a variety of perspectives to create a multifaceted (or conflicting) interpretation of a text?
Poststructuralism

21) who analyzes how the meanings of a text shift in relation to certain variables ?
Poststructuralism

22)what are the Poststructuralist Concepts ?
1)Destabilized Meaning
2)Deconstruction

23) who does Poststructuralism displace ?
the writer/author

24) who does it make the primary subject of inquiry ?
the reader

25) what do they call this displacement?
the "destabilizing" or "decentering" of the author

26) what does it disregard ?
the essentialist reading of the content that look for superficial readings or story lines

27) what other sources of meaning are examined?
readers, cultural norms, other literature, etc.)


Such alternative sources promise no consistency, but might provide valuable clues and shed light on unusual corners of the text

28)what does Poststructuralism reject?
that there is a consistent structure to texts, specifically the theory of binary opposition

29)what made the theory of binary opposition famous?
that structuralism

30) what do Post-structuralists advocate ?
deconstruction


Meanings of texts and concepts constantly shift in relation to many variables. The same text means different things from one era to another, from one person to another

31) what is the only way to properly understand these meanings ?
deconstruct the assumptions and knowledge systems which produce the illusion of singular meaning




:

كويزات محاضرة 12 :sm5:


النقد الادبي (11 -12 ) (http://www.ckfu.org/vb/t520892.html)
النقد الادبي لayosha م12
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11467

[كارزما]

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.



https://24.media.tumblr.com/dd6a71ee3a71a24f3cea0ce6b568737b/tumblr_mn4uvzrfEK1rlmkyxo1_500.gif







شرح دودي كول :106:


المحاضرة 13

Jacques Derrida

Post-structuralism is a European-based theoretical movement that departs from structuralist methods of analysis.
الحركة اللي مابعد البنيوية هي حركة اوروبيةقامت على الابتعاد عن التحليل الهيكلي و البنيوي...يعني ضد الحركتين اللي من قبل اخذناهم

اهم الاسماء فيها

Jacques Lacan (psychoanalysis) تحلسل نفسي
Michel Foucault (history تاريخ

واللي هو محور محاضرتنا Jacques Derrida (philosophy في الفلسفة

ماهي اللغة عند Derrida
language is unreliable
اللغة غير واقعية ولا يمكن الاعتماد عليها

وذكر ايضا
There is no pre-discursive reality. Every reality is shaped and accessed by a discourse.
انه لا يوجد واقع قبل الخطابي,,,وان كل الوقائع تتشكل وتتكون بالكلام...
((مهم جا في الاختبار سابقا


:love080: :love080: :love080: :love080: :love080:


أسئلة عيوش :106:

lecture 13
مختصره ما تحتاح أسئلة:71::71::71:


:

كويزات محاضرة 13:S_45:

النقد الادبي (13-14) (http://www.ckfu.org/vb/t521036.html)
النقد الادبي لayosha م13
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11507

[كارزما]

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.

https://jcscans.files.wordpress.com/2008/07/k-on-yui-wave.gif



يووووووه خلصناااااااااااااااااااااا :mh001:

شرح دودي كول :71:

المحاضرة 14

Marxist Literary Criticism
النقد الادبي الماركسي

Karl Marx

*born 1818 in Rhineland. وُلد كارل ماركس عام 1818 ف راينٌلاند

*Known as “The Father of Communism.” عُرف كأب الشّيوٌُعيةٌّ

*Marx died in 1883 مات في 1883

-------------------------------------------------------

Base-Superstructure

من اهم افكار ماركس

The Base: The material conditions of life, economic relations, labor, capita
القاعدة:هي الالظروف المادية بالحياة..الاقتصاد..العلااقات

The Superstructure: This is what today is called ideology
الفوقية:هي الايدولوجي

-------------------------------------
قال ماركس بأن الظروف المادية هي التي تحدد ضمائر الناس
Marx said that it is people’s material conditions that determines their consciousness
مهم جا في اختبار سابق
-------------------------------------------------------------

Marx and Engels were political philosophers
ماركس وانقلز كانو فلاسفة سياسيين
مهم جا في اختبار سابق
------------------------------------------------------------

من افكار ماركس:

بانه لايمكن فهم الادب من (روايات ومسرحيات) خارج الظروف الاجتماعية والاقتصادية والعلاقات والايدلوجيات
Literary products (novels, plays, etc) cannot be understood outside of the economic conditions, class relations and ideologies of their time.
مهم جا في اختبار سابق
--------------------------------------------------------------


تم بحمد الله

:love080: :love080: :love080: :love080:



أسئلة عيوش :106:



lecture 14

1)when and where was karl Marx born?
1818 in Rhineland

2)what was he known as?
“The Father of Communism.”

3) the was the “Communist Correspondence League” ?
1847

4)when was The “League” disbanded ?
1852

5)when did Marx die?
1883

6)what was on of karl Marx’s greatest ideas?
base-superstructure

7) who came up with the idea that history was made of two main forces ?
Marx

8) what are the two main forces?
The Base
The Superstructure

9) what is the base?
The material conditions of life, economic relations, labor, capital, etc

10) what is the superstructure ?
This is what today is called ideology or consciousness and includes, ideas, religion, politics, history, education, etc

11) who said it is people’s economic conditions that determines the ideas and ideologies that they hold ?
marx


Note: Ibn Khaldoun says the same thing in the Muqaddimah

12)Marxist criticism analyzes literature in terms of what?
historical conditions which produce it while being aware of its own historical conditions

13)what is the goal of Marxist criticism ?
to “explain the literary works more fully, paying attention to its forms, styles, and meanings- and looking at them as products of a particular history

14) what should the best literature reflect?
the historical dialectics of its time

15) what does it mean to understand literature?
understanding the total social process of which it is part

16)how do we understand ideology, and literature as ideology ?
must analyze the relations between different classes in society.

17) what is ideology ?
a set of ideas

18)Literary products (novels, plays, etc) cannot be understood outside of what ?
the economic conditions, class relations and ideologies of their time

19)Truth is not eternal but what?
institutionally created

20) give an example ?
“private property” is not a natural category but is the product of a certain historical development and a certain ideology at a certain time in history

21)what are Art and Literature ?
commodities (consumer products

22)what are Art and Literature ?
Reflections of ideological struggle and can themselves be central to the task of ideology critique

23) what are the main schools of marxism?
Classical Marxism: The work of Marx and Engels
Early Western Marxism
Late Marxism

24) when did Classical Marxist criticism flourish?
in the period from the time of Marx and Engels to the Second World War

25) what do they consider the main forces of historical development ?
materialism, economic determinism, class struggle, surplus value, reification, proletarian revolution and communism

26) what were Marx and Engels ?
political philosophers

27) what did the few comments they made on literature enabled people after them to build ?
a Marxist theory of literature

28)Marx and Engels were more concerned with what in literature?
contents rather than the form

29)why?
because to them literary study was more politically oriented and content was much more politically important

30) when did literary form have a place?
when it served their political purposes

31)who was the first western Marxist ?
Georg Lukács

32)what did he insist on?
on the traditional Marxist reflectionist theory

33) what is the the traditional Marxist reflectionist theory ?
Superstructure as a reflection of the base

34)who was attacking the traditional Marxist reflectionist theory?
the formalists in the fifties

35)who wrote “Discourse in the Novel” ?
Bakhtin

36) when?
1930s

37) who like Lukács tried to define the novel as a literary from in terms of Marxism ?
Bakhtin

38) what does he say about the discourse of the novel ?
it’s is dialogical

39) what does that mean?
that it is not tyrannical and one-directional. It allows dialogue

40)what is the discourse of poetry ?
monological tyrannical and one-directional

41) what does the laughter in the Medieval Carnival represent?
“the voice of the people ‘

42) where was that said?
In Rabelais and His World

43)when was the Frankfurt School of Marxism founded ?
1923 at the “Institute of Social Research” in the University of Frankfurt, Germany

44)who were some of the members ?
Max Hirkheimer, Thoedor Adorno, Walter Benjamin, Erich Fromm and Herbert Marcuse, Louis Althussser, and Raymond Williams


45) what are some distinctive features of the Frankfurt School ?
independence of thought, interdisciplinarity and openness for opposing views

46)who said There were at least three forms of Marxism: the writings of Karl Marx, the systems developed by later Marxists out of these writings, and Marxisms popular at given historical moments ?
Raymond Williams

47) who said There were two Marxisms, one being the Marxian System developed by Karl Marx himself, and the other being its later development of various kind ?
Fredric Jameson

48)In his Grundrisse, Karl Marx sees the abstract not as a lofty esoteric notion but as what?
a kind of rough sketch of a thing

49) why is the notion of money abstract?
because it is no more than a bare, preliminary outline of the actual reality.

50)who makes the makes of supposing that the concrete is simple and the abstract is complex ?
the Anglo-Saxon




كويزات محاضرة 14 :lllolll:

النقد الادبي (13-14) (http://www.ckfu.org/vb/t521036.html)


النقد الادبي لayosha م14
http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11466

[كارزما]

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شرح عيوش ل time zero في المحاضرة 8

Time zero. هو الوقت الي الراوي جالس يقول القصةً
عندنا زمن القصة الي هو الوقت الي حدثت فيها الأحداث
وزمن الراوي الوقت: الي هو جالس يقول لنا عن الأحداث
والanachronies اختلافات في الزمن
مثلا لو انا ابدء اقولكم قصة الحين
قبل يومين قمت بدري وجلست أفكر بذكريات طفولتي

Time zero الحين لأَنِّي انا الحين أقول القصة

Time of the story من يومين لان الأحداث الي انا أتكلم عنها صارت من يومين

طيب عندنا شي أسمه analepsis هذا الأحداث الي صارت قبل وقت القصة
الي هي الذكريات حقت الطفولة ، الذكريات صارت قبل وقت القصة





:



البنيوية Structuralism أساسا منهج بحث (http://www.marefa.org/index.php?title=%D9%85%D9%86%D9%87%D8%AC_%D8%A8%D8 %AD%D8%AB&action=edit&redlink=1) مستخدم في عدة تخصصات علمية (http://www.marefa.org/index.php?title=%D8%AA%D8%AE%D8%B5%D8%B5_%D8%B9%D9 %84%D9%85%D9%8A&action=edit&redlink=1) تقوم على دراسة العلاقات المتبادلة بين العناصر الأساسية المكونة لبنى يمكن ان تكون: عقلية مجردة، لغوية، اجتماعية، ثقافية.
برزت البنيوية في بدايتها في مطلع القرن التاسع عشر ضمن حقل علم النفس (http://www.marefa.org/index.php/%D8%B9%D9%84%D9%85_%D8%A7%D9%84%D9%86%D9%81%D8%B3) ، لكن نجمها سطع فعلا في منتصف القرن العشرين حين لاقت شعبية منقطعة النظير مخترقة جميع أنواع العلوم والتخصصات. أبرز من عمل ضمن اطارها وعمل على تطويرها فرديناند دي سوسير (http://www.marefa.org/index.php/%D9%81%D8%B1%D8%AF%D9%8A%D9%86%D8%A7%D9%86%D8%AF_% D8%AF%D9%8A_%D8%B3%D9%88%D8%B3%D9%8A%D8%B1) وكلود ليڤي شتراوس (http://www.marefa.org/index.php?title=%D9%83%D9%84%D9%88%D8%AF_%D9%84%D9 %8A%DA%A4%D9%8A_%D8%B4%D8%AA%D8%B1%D8%A7%D9%88%D8% B3&action=edit&redlink=1).



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المدرسة الشكلية الروسية كانت أحد المذاهب المؤثرة في ميدان النقد الأدبي في روسيا في الفترة بين العام 1910 (https://ar.wikipedia.org/wiki/1910) و1930 (https://ar.wikipedia.org/wiki/1930), وهي تشتمل على أعمال العديد من المفكرين الروس ذوي التأثير الكبير على الساحة الأدبية مثل فيكتور شيكلوفسكي (https://ar.wikipedia.org/w/index.php?title=%D9%81%D9%8A%D9%83%D8%AA%D9%88%D8% B1_%D8%B4%D9%8A%D9%83%D9%84%D9%88%D9%81%D8%B3%D9%8 3%D9%8A&action=edit&redlink=1) وقد كان لأعضاء هذه الحركة الأدبية وأعمالهم انعكاسات على صعيد النقد الأدبي الحديث أثناء تطور المدرسة البنيوية وما بعد البنيوية. وتعد الشكلية الروسية حركة متشعبة لا يجمع مناصريها فكرة موحدة ولا أهداف واضحة لجهودهم وأعمالهم, وهي تجمع في واقع الأمر بين مؤسستين أدبيتين في ذلك الحين وهما جمعية دراسة اللغة الشعرية (https://ar.wikipedia.org/w/index.php?title=%D8%AC%D9%85%D8%B9%D9%8A%D8%A9_%D8 %AF%D8%B1%D8%A7%D8%B3%D8%A9_%D8%A7%D9%84%D9%84%D8% BA%D8%A9_%D8%A7%D9%84%D8%B4%D8%B9%D8%B1%D9%8A%D8%A 9&action=edit&redlink=1) في سانت بطرسبرغ (https://ar.wikipedia.org/wiki/%D8%B3%D8%A7%D9%86%D8%AA_%D8%A8%D8%B7%D8%B1%D8%B3% D8%A8%D8%B1%D8%BA) والدائرة اللغوية في موسكو (https://ar.wikipedia.org/w/index.php?title=%D8%A7%D9%84%D8%AF%D8%A7%D8%A6%D8% B1%D8%A9_%D8%A7%D9%84%D9%84%D8%BA%D9%88%D9%8A%D8%A 9_%D9%81%D9%8A_%D9%85%D9%88%D8%B3%D9%83%D9%88&action=edit&redlink=1),

[كارزما]

.
.

اسئلة اختبار النقد الادبي الفصل الاول 1435
وهي نفسا الي تكررت السمستر الي راح 1437 الفصل الاول :004:

http://www.ckfu.org/vb/t718733.html#post12898939



/


كويز 28 سؤال غير مكررة في النقد :S_45:

http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11323#takeresult



رد أحد الأعضاء باحد الانطباعات :064:

http://www.ckfu.org/vb/ckfu.org_2013/buttons/viewpost.gif (http://www.ckfu.org/vb/t640794.html#post11722963)
مرحبا بالجميع واختبار موفق.
لكن الدكتور مايخلي عادته الاجابات الصحيحه كالتالي وهي عكس المذكره.
لكن الحمدلله مامشت علي.
zero focalization: The character knows less than the narrator


internal focalization
: The character knows as much as the
narrator

external focalization
: The characte knows more than the narrator

[كارزما]

.
.




https://38.media.tumblr.com/4c599638d15a7b49544e830f31db7244/tumblr_n7nrb1bALI1rsfepao1_400.gif





بكرة ان شاء الله زبدة التجمعات :icon120:

[كارزما]

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.


http://i.imgur.com/0jAef66.gif



يا زين من سوا بكم كذا :S_45:
لان كالعادة بتجون داعسين وين ذا ووين ذاك :139:



:


توضيح الفرق بين Mimesis ( و ال) Diagesi



imitation (mimesis). I am showing you the story في المسرحيات (first person )
لو أخبرتك القصة من المنظور الأول ) بصيغةالمُتحدّث الاول كما لو أنني (نابليون : "

أبحرت إلى الأسكندر ةٌ برفقه
30 ألف جندي بعد ذلك زحفت إلى القاهرة " سيكٌون هذا محاكاة "

mimesis
أقوم بعرض القصّة لك







a
narration (diagesis).
I am telling you the story في القصص (therd person)


لو أخبرتك قصة عن غزوا ناب لٌون لمصر بضم رٌ الغابب فقلت : أبحر نابيلوٌن إلى الإسكندريةٌ

برفقة
30000 جندي و زحف بعد ذلك إلى القاهرة ..الخ . "س كٌون ذلك سرد اً ) diagesis )

بمعنى أنني أتلوا عليكٌ قصّة

:

Drama with characters is usually a mimesis;
stories in the third person are usually a diegesis.



المسرحية بالشّخصياٌت عادةً ما تكون محاكاة ) mimesis (



, و القصص من المنظور الثالث تكون سرد) (diegesis)


:


The Greek term for Art and its Latin equivalent (ars) do not specifically denote the “fine arts” in the modern sense, but were applied to all kinds of human activities which we would call crafts or sciences ....


مهمة ...

عندي احساس بتجي سوال في الاختبار

من المحاضرة ال 3


:

Aristotle defines plot as “the arrangement of the incidents.” He is not talking about the story itself but the way the incidents are presented to the audience, the structure of the play







مهمةةةة





المحاضرة ال 4


:

المحاضره الثالثه



أفلاطون. كان نقده مؤثر جدا extremely influential

وأسيء فهمه جدا extremely misunderstood

أفلاطون كتب حوارات dialogue في كل أشعاره

كان أفلاطون مهوس obsessed بالشعر طول حياته لكن الأدباء والنقاد الغربيين في عصرنا الحاضر ماهم عارفين شنو سبب هوسه بالشعر

بعض النقاد حبوه وبعضهم كرهوه لكن كلهم احترموه


:


اهم مساهمات (contribution) أفلاطون في النقد كانت في حواره الشهير الجهورية (republic) حيث كانت فيه فكرتين رأسيتين اثرت ع النقد تأثير واضح

أفلاطون في كتابه الثالت من الجمهورية (republic) وضع الفروقات الرأسييه بين المحاكاة (mimesise) والسرد (diagesis)

* السرد أني أقولك قصه عن واحد بضمير الغائب فلان ذهب وفعل وترك .... هنا قاعده اسرد عليك حكايه narration diagesis

* المحاكاة اذا كنت أقول عن نفسي انا رحت وفعلت والخ هنا انا قاعده احاكي القصه mimesise

الشخصيات الي بالمسرحيه غالبا تكون محاكاه اما القصص ف الأغلب فيها هو السرد



:


أفلاطون كان من اول المفكرين الي قالو انه اخبار القصص يكون عن طريق السرد وانه السرد ثلاثة انواع بسيط او محاكاه او الاثنين مع بعض



الكتاب العاشر من. الجمهورية (republic) أفلاطون قدم فكره جديده كان لها ردة فعل قويه في الأدب والنقد الغربي وكان فهمها صعب جدا ف أفلاطون طرد (ban)الشعر والشعراء من جمهوريته المثالية

وبما ان الثقافه الغربية كأنو يحبون الشعر والفن ويقدرونه وكانت فنونهم ماخوذة من اليونانيين القدماء فلما يجي واحد من اكبر فلاسفة اليونان طرد الشعر والشعراء ورفض ممارسه هذا الفن هالشي كان صعب جدا يفهمونه



*كرستوفر جانوري دافع عن أفلاطون فقال ان الغربيين احتجو وهاجمو وانتقدو أفلاطون بدون عدل واصلا لو قارنا حواره بهذا الكتابات بحواراته الثانية بيتضح لنا إنّو بهالحوار أفلاطون ماكتب رأيه الحقيقي


:



اسئلة المحاضره الرابعة





55-……………find Aristotle's analysis of literature ,arts and poetry more enlightened than Plato


a-John Jones (1962)


b-Adorno (1986),


c-none of them


56-Gerald Else says Aristotle is the ‘…………………


a- the ‘czar of literary criticism


b- the ‘king of literary criticism


c-none of them


57-Aristotle defines Tragedy is an imitation of an action that present in the form of action not narration that arousing pity and fear and accomplish its katharsis


a-correct


b-wrong


58-who says that Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.”


a-Plato


b-Aristotle


c-none of them


59-Aristotle defines plot as “the arrangement of the incidents.” He is not talking about the story itself but the way the incidents are presented to the audience, the structure of the play.


a-wrong


b-correct


60-Aristotle says The plot must be “a whole,” with …………


a- end


b- beginning


c- a beginning, middle, and end.


• 61-The beginning, called by modern critics the …….., must start the cause-and-effect chain.


a- incentive moment


b-end moment


c-none of them


• 62-The end should therefore solve or resolve the problem created during the ……..


a- end moment


b- incentive moment


c- none of them


63-Aristotle calls the cause-and-effect chain leading from the incentive moment to the climax the “……….” (desis). In modern terminology, it’s called the complication


a-drive up


b- tying up


c-none of them


64-Aristotle calls the cause-and-effect chain from the climax to the resolution the “……………..”


a-tying up


b- unravelling


c-none of them


65-Character should support the plot, i.e., personal motivations of the characters should be intricately connected parts of the cause-and-effect chain of actions that produce pity and fear in the audience.


a-correct


b-wrong


66-one of the Characters qualities is “good or fine” and mean ……..


a-he/she should be realistic and believable


• b-the hero should be an aristocrat


c-none of them


67- one of the Characters qualities is “true to life” and mean ……..


a-he/she should be realistic and believable


• b-the hero should be an aristocrat


c-none of them


68-Aristotle says Thought is associated with how speeches should reveal character


a-wrong


b- correct


69…………-is “the expression of the meaning in words” which are proper and appropriate to the plot, characters, and end of the tragedy:


a-Thought


b-Diction


c-none of them





70-……….. should contribute to the unity of the plot.


a-the plot


b-the Chorus


c-none of them





71-Aristotle argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear


a-correct


b-wrong





72-Tragedy arouses the emotions of pity and fear in order to purge away their excess, to reduce these passions to a healthy, balanced proportion. That is what Aristotle mean by ……..


a-Spectacle


b-Katharsis


c-none of them

[كارزما]

.
.



اسئلة المحاضرهالخامسة

73-Homer’s poetry was an oral culture that people ………….. in the street and in the market place

a-read

b- sang

c-none of them
74-Greek culture was a “………….” that sprang from people’s everyday life. All the Greeks – old and young participated in producing this culture

a- living culture

b-dead culture

c-none of them
75-Greek culture became books that had no connection to everyday life and to average people.

a-In Ancient Greece

b-In Ancient Rome

c-none of them
76- In Rome, Greek culture was not a living culture anymore. It was a “…………….” culture. Some aristocrats used it to show off

a- museum

b-dead

c-none of them
77-Horace, was ……..

a-a poet writing advice in the form of poems

b-a philosopher-critic like Plato

c-none of them
78-Horace’s hatred of the popular culture of his day is apparent in his “…………….”

a- Letter to Senca

b- Letter to Augustus

c-none of them
79-as Horace advised the poem should be conceived as a form of ……… similar to a painting

a- movable beauty

b- static beauty

c-none of them
80-Each one of these principles that Horace advised would become central in ………….

a- shaping European literary taste

b- shaping Greeks literary taste

c-none of them
81-Horace tells writers that a play should not be shorter or longer than ………… acts

a-four

b-five

c-six
82-Horace advises, that poetry should ………… and please

a-enjoy

b- teach

c-none of them
83-Whenever Horace talks about the laws of composition and style, his model of excellence that he wants Roman poets to ………………

a- imitate the western

b- imitate the Greeks

c-one of them



84-I hate the profane crowd and keep it at a distance,” he says in his Odes

a-Horace

b-Plato

c-Aristotle
v 85- Horace shows prejudice to the culture of everyday people, but he does not know that the culture of Greece that he sees in books now was itself a popular culture.

a-correct

b-wrong
86-Study Greek models night and day,” was Horce legendary advice in the ……..

a- Ars Poetica (270).

b-Ode

c-none of them
87-Horace wants Roman authors to imitate the Greeks night and day and follow in their footsteps, but he does not want them to be ……

a-inventors

b- mere imitators

c-none of them
v 88-In the “Epistle to Maecenas” Horace complains about the slavish ……… who ape the morals and manners of their betters:

a- imitators

b-writer

c-none of them
89-In the process of following and imitating the Greeks, Horace differentiates himself from those who “mimic” the ancients and slavishly attempt to reproduce them

a-wrong

b-correct
90-In imitating the Greeks, Horace claims ……..

a-revival

b- originality

c-none of them
91-In Ars Poetica, Horace also advises the aspiring poet to make his tall……

a-unbelievable

b- believable

c-none of them
92-Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both …….

a- imprecise

b-precise

c-none of them
93-From 68 to 88 C.E, he was the leading teacher of rhetoric in Rome. He wrote the Institutio as a help in the training of orators

a-Horace

b-Plato

c-Quintilian
94-At the same time, Quintilian continues to advocate imitation, and goes on to elaborate a list of precepts to guide writers to produce “accurate” imitations.

a-correct

b-wrong
95- ( The imitator should consider carefully whom to imitate and He should not limit himself to one model only

- He should not violate the rules of genres and species of writing, and should be attentive to his models’ use of decorum, disposition and language ) this written by

a-Horace

b- Quintilian

c-Seneca
96-Latin authors never discuss poetry or literature as an imitation (mimesis); they only discuss them as …………..

a- an imitation of the Greeks

b- an imitation of the Arab

c-none of them



97- Latin authors are familiar with Plato’s and Aristotle’s analysis of poetry. The Poetics or Republic III and X do not seem to have been available to the Romans:

a-wrong

b-correct
98-Latin authors used poetry and literature for…………..:

a- To improve eloquence

b- To sing the national glories of Rome and show off its culture

c-all of them


اختبار النقد مع الترجمة
اولا اسئلة ابو جنى
السوال 1
"The subject of literary science," according to Roman Jackobson, "is not literature but…
A. Grammar B. Metaphor C. Literary Style D. Literariness
موضوع العلم الادبي وفقا لرومان جاكوبسون ليس ادبيا لكن Literariness

السوال 2
Structuralist criticism continues the work of
A. Formalism B. Symbolism C. Linguistics D. Marxism
النقاد البنائيون يواصلون عمل الشكليونFormalism

السوال 3
:In his study of fairy tales, Vladimir Propp established
A. Twenty character types
B. Sixty character types
C. Thirty-one character types
D. Seven character types
في دراسته للحكايات الخرافية فلاديمير بروب انشئ 7انواع للشخصيات

:


السوال 4
How many Actants are there in the Actantial Model?
A. Sixteen
B. Thirty
C. Six
D. Twenty-one
كم عدد الحدثيات في النوذج الحدثي 6

السوال 5
What discipline or school of criticism did A.J. Greimas belong to?
A. Linguist
B. Structuralism
C. Marxism
D. Formalism
مالمدرسة التي انتقدت فعل اي جي جيرماز لانظمامه اليها ؟ البنائية

السوال 6
Who developed the Actantial Model?
A. Michel Foucault
B. A.J. Greimas
C. Gerard Gennette
D. Roland Barthes
من اللذي طور النموذج الحدثي ؟ اي جي جيرماز


:

السؤال 7
Who wrote "The Death of the Author"?
A. Michel Foucault
B. Jacques Derrida
C. Roland Barthes
من اللذي كتب "وفاة المؤلف" رونالد بارثز

السؤال 8
"The death of the Author" asks the reader to
A. Kill the author
B. Reestablish the importance of the author
C. Dismiss the author from the analysis of literature
D. Disrespect the author
وفاة المؤلف يسأل القراء عن ؟ استبعاد المؤلف من تحليل الادب

السؤال 9
How does Gerard Gennette define the "Time of the Story"?
A. An imaginary time
B. Any past time
C. The time of the Narration
D. The time in which the story happens
كيف عرف جينيتي وقت القصة؟ هو الوقت اللذي تحدث فيه القصة

السوال10
The "Time Zero", according to Gerard Gennette, is
A. The time in which the story is being told
B. The time in which the story happens
C. An ideal time
D. An impossible time
وقت الصفر وفقا لجرارد جينيتي هي الساعة التي تبدا فيها رواية القصة




:

السؤال 11
Vladimir Propp develops his 31 functions in order to apply them on
A. Literature
B. Novels
C. Folktales
D. Short stories
فلاديمير بروب طور 31 وظيفة في ترتيب وطبقه على؟ الحكايات الشعبية

:

السؤال 12
؟ What types of literature does the Actantial Model apply on
A. Plays
B. All literature
C. Short stories
D. Films
ماهي الانواع الادبية التي طبق عليها النموذج الحدثي؟ كل الادب

السؤال 13
؟What is the definition of the "Plot" in Aristotle's theory of Tragedy
A. The story of the play
B. It is the sequence of events
C. The cause-effect chain that connects the events
D. The actions of the hero
بماذا عُرفت الحبكة في نظرية ارسطو للتراجيدية؟ سلسلة السبب-والتأثير التي تربط الحدث

السوال14
: The question of "Voice" for Gerard Gennette, is about
؟A. Who sees the action
؟B. Who narrates the action
؟ C. Who witnesses the action
D. The audience
ان مسألة الصوت لجيرارد جينتي هي حول الذي يروي العمل

[كارزما]

.

.




أسئلة المحاضرة الأولى

1-Literature and literary criticism in Western cultures cannot be understood without understanding its relationship to
a-Greek
b- roman
c-classical antiquity – Greek and Roman.

2-European and Western literature and cultures were produced as a ……….. of the classical cultures of Greece and Rome
a-revival
b- recreation, a revival
c- recreation

3-Western cultures considered Greece and Rome the most perfect civilizations from the…….
a-15th to the 20th
b-16th to the 20th
c-17th to the 20th

• 4-Western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting, sculpture were ALL produced in ……….. of classical antiquity (Greece and Rome).
a-changing
b- imitation
c-none of them

• 5-West’s relationship with antiquity is not simple. It is full of ….....
a- ambivalence
b- contradictions
c- contradictions and ambivalence.

5-“Captive Greece took its wild conqueror captive” was written by Roman poet ……..
a-Seneca
b- Horace
c-none of them

6-in this verse “Captive Greece took its wild conqueror captive” Horace described the relationship between ………
a-Roman and Greece
b-Greece and western
c-none of them

7-The Romans conquered Greece militarily, but they always felt that the culture of Greece remained infinitely more sophisticated
a-correct
b-wrong

8-No past life has been lived to lend us glory, and that which has existed before us is not ours.” Witten by
a-Horace
b- Seneca
c-none of them

9-“[A] man who follows another not only finds nothing; he is not even looking.” Witten by
a-Horace
b- Seneca
c-none of them

10- Why Horace advised his readers to simply imitate the Greeks and never try to invent anything themselves
a-Because they do not have the ability to invention
b-because their inventions will be weak and unattractive
c- none of them

11-The Romans so desperately wanted to imitate the Greeks and so constantly failed to match them Why?
a-Imitation cannot produce originality
b- Imitation is something experienced before
c-none of them

12-The Romans were a simple rural and uncultivated people who became successful warriors, and at the height of their success when they ruled the biggest empire in the world, they still felt that they were inferior culturally to their small province Greece
a-correct
b-wrong

أسئلة آلمحآضره آلثآنيه

13-In the Renaissance, Europeans rediscovered the books of the Greeks and Romans and that allowed them to ………….
a- develop machines
b- develop a literature and a culture.
c-none of them

14- The period is called the Renaissance because…….
a- across Europe people wanted to “revive” the ancient learning of Arab
b- across Europe people wanted to “revive” the ancient learning of Rome and Greece.
c-none of them

15-During the Renaissance, Europe was
a- more sophisticated than Rome and Greece
b- far less sophisticated than Rome and Greece
c-none of them

16-during the renaissance The only written language was
a-French
b-German
c-Latin

17- During the Renaissance people who could read Greek, like Erasmus, were ……………..
a- very much
b- very rare
c-none of them

18-What we call today literature emerged because Europeans were becoming politically and militarily powerful. They were conquering lands and taking over trade routes, and as the passage of du Bellay cited indicates, poetry and literature were necessary accessories of political power.
a-wrong
b-correct

19-the study of classical learning, literature and criticism all emerged with the purpose of giving the emerging European states written and “civilized” languages comparable to those of Rome and Greece.
a-correct
b-wrong

20- Europeans saw books, poems, plays and literature as monuments of the greatness of ……...
a-thought
b- nations
c- none of them

21-to imitate Rome and Greece and develop “civilized” languages and cultures to go with their newly acquired military and political power, Europeans found a ready-made model to follow: the Romans.
a-correct
b-wrong

22-No other concept has had a strong formative and foundational influence in modern European cultures like these concepts of imitation.
a-correct
b-wrong

23-In Rome, imitation led to ………… and produced a plagiaristic culture
a-prosperity
b- frustration
c- none of them

24-Du Bellay advised his contemporaries not to be “…………” to write in their native language in imitation of the ancients.
a-ashamed
b- conceited
c-none of them






أسئلة المحاضره الثالثة

25-the two influential Greek thinkers who influenced the development of Western literature and criticism more than any other thinker in history:.

a-Phidias and Sophocles

b- Plato and Aristotle

c-none of them

26-the Greek did not have a word of literature they have instead of literature a word ……

a-Poetry

b-theme

c-none of them

27-He was obsessed with poetry throughout his life

a-Sophocles

b- Plato

c-Aristotle
28-Plato’s most important contributions to criticism appear in his famous dialogue the ……

a- Republic

b-Country

c-none of them

v 29-Plato makes the very important distinction between Mimesis and Diagesis, two concepts that remain very important to analyse literature even today. They are often translated as imitation and narration or showing and telling:

a-correct

b-wrong



30- If I tell you the story of Napoleon’s invasion of Egypt in the third person: He sailed to Alexandria with 30 000 soldiers and then he marched on Cairo, etc.” That would be ………….I am telling you the story

a-an imitation (mimesis)

b- a narration (diagesis).

c-none of them

31-if I tell you the story in the first person, as if I am Napoleon: “I sailed to Alexandria with 30 000 soldiers, and then I marched on Cairo, etc.” That would be ………………………………I am showing you the story

a-an imitation (mimesis)

b- a narration (diagesis).

c-none of them

32-Plato was the first to explain that narration or story telling (in Arabic al-sard) can proceed by narration or by imitation:“And narration may be either simple narration, or imitation, or a union of the two”

a- wrong

b-correct
33- Plato’s famous decision in Book X of the Republic to ………… poets and poetry from the city

a-confirm

b- ban

c-none of them

34………….. drew attention to the fact that the Greeks did not have anything similar to the Western ideas of art and literature. The Western ideas of art and literature did not exist in ancient Greece and Rome:

a-Paul Kristller

b-Christopher Janaway

c-none of them
35-The Greek term for Art and its Latin equivalent (ars) do not specifically denote the “fine arts” in the modern sense, but were applied to all kinds of human activities which we would call …………….”

a- crafts.

b- crafts or sciences.

c- sciences

36-the fine art made up of ................ in the mid of eighteenth century

a-painting and architecture

b-sculpture and music and poetry

c-all of them

37-The discipline that we call today Literature is an ……. century European invention

a-19th

b-18th

c-17th

38-In the ancient world, they had poetry, tragedy and comedy, but they were all known as “………..”

a-literature

b- poetry

c-none of them

39-They poet could be a tragedian like Sophocles or Euripides, a comedian like Aristophanes, or an epic poet like Homer, but the Greeks never called any of these poets “artists” and they never called their poems and plays, “………….”

a- literature

b-Art

c-none of them

v 40-why in an oral society the poetry becomes the most principal source of knowledge and education.

a-the poetry shows the knowledge

v b- in an oral society does not have a system of writing, poetry becomes useful to record and preserve knowledge.

c-none of them

v 41-as Eric Havelock shows, is a poet, a performer and an educator. The poetry that Plato talks about was main source of knowledge in the society.

a-wrong

b-correct

42-in European and Western Literature is an interaction between a reader and a book

a-wrong

b-correct

43-Oral poetry is a communal performance.

a- correct

b-wrong

44-in European and Western Literature is an entertainment and pleasure

a-wrong

b-correct

45-Oral poetry teaches science, medicine, war and peace and social values

a-correct

b-wrong

46-The poet in an oral society is a leader, and educator, a warrior, a priest

a-correct

b-wrong

47- Plato accuses the poetic experience of his time of conditioning the citizens to …………., uncritically, the values of a tradition without grasping it.

a-repeat

b- imitate and repeat

c- imitate

48-The poet produces only a poor copy of the things he sings about, and those who listen to him and believe him acquire a ….

a-good education

b- poor education.

c-none of them

49-It would be fine, he says, if people just laughed at these tales and stories, but the problem is that they take them seriously as a source of ……..

a-happiness

b- education and law

c-none of them

50-Plato observes that the charm of poetry and its power reside in its …

a- rhythm

b- harmony

c- rhythm, harmony, and measures

51-Plato calls rhythm, harmony, and measures colours of ……

a-poetry

b-music

52-Oral societies, that do not have a system of ………., use poetry like modern societies use schools, libraries, newspapers and television

a-reading

b- writing

c-none of them

53-Plato analyses two aspects of poetry to prove his point:………..

a-rhythm and harmony

b- style and content.

c-none of them

54-The poet’s craft, Plato says, demands only a ……… knowledge of things

a- superficial

b-perfect

c-none of them




أسئلة آلمحآضره آلسآدسه

99-renaissance humanists was emerged in ……… and spread in the rest of Europe

a-France

b- Italy

c-Spain

100-they call themself humanist because they want to investigate important question from human prospective

a-correct

b-wrong

101-Renaissance humanists realised that the Latin they spoke and inherited from the Middle Ages was ……. from classical Latin

a- different

b-same

c-none of them

102-language was divinely instituted, and the connection of words and things and the rules of grammar were not arbitrary this saying belong …….

a-Dante

b-Lorenzo

c-one of them

103-By the 1440s, Italian humanists established the fact that meaning in language is created by ……….. and shaped by history,

a-God

b-nature

c-humans

104-for the lessons of Rome to be properly grasped, humanists advocated ………

a- the revival of ancient Latin

b- the revival of ancient Greeks

c-none of them

105-. The central tactic in the attack on the monopoly of Latin was the production of grammar books for the vernacular.

a-wrong

b-correct

106-Jacques Peletier (in R. Waswo) said “What sort of nation are we, to speak perpetually with the mouth of another?” he refers to use …….

a-French

b-Latin

c-none of them

107-they developed the new European Language in imitation of Latin, by…….

a-invent new vocabulary and grammar rules

b-appropriating the vocabulary, grammar rules and stylistic features of Latin into the vernaculars

c- none of them

108-“how the Latin tongue became abundant by deriving many words from the Greek this saying belong …..

a-Horace

b-landino

c- none of them

109-Cicero, Horace, Quintilian and Seneca, European writers also insisted that imitation should lead to ………, at least in principle

a- originality

b-development

c-none of them

110-………. was the champion of Latin imitation. He advised his contemporaries to heed Seneca’s advice

a-Horace

b-Petrarch

c- Quintilian

111-…………(1512) said that first “we should imitate the one who is best of all.” Then he added “we should imitate in such a way that we strive to overtake him.” Once the model is overtaken, “all our efforts should be devoted to surpassing him.”

a-Landino

b- Pietro Bembo

c-Petrarch

112-……….. stressed that the imitative product should not be “the same as the ones we imitate, but to be similar to them in such a way that the similarity is scarcely recognised except by the learned.”

a-Landino

b- Pietro Bembo

c-Petrarch

113-……….. started his Arte Poetica (1551) with the command: “direct your eyes, with mind intent, upon the famous examples of the ancient times.”

a- Hieronimo Muzio

b- Pietro Bembo

c- Petrarch

114-a slight variation of expression and meaning “is necessary to make one a poet.” This saying belong...

a- Bembo

b- Hieronimo Muzi

c- Petrarch

115-…………: said in his Discorsi (1554) that after patient study of “good” authors, the writer would find that “imitation [would] change into nature”, that his work would resemble the model not as a copy but “as father is to son.”

a- Giraldi Cinthio

b- Petrarch

c- Hieronimo Muzi

116-the terms of the imitation discussions in Italy were almost a carbon copy of Roman discussions, the terms of the French debate, with minor variations, were also almost a carbon copy of the Italian debate

a-correct

b-wrong

117-despoil” Rome and “pillage” Greece “without conscience.” This saying belong ……

a-Petrarch

b-Joachim du Bellay

c- Muzi

118-The humanists were not philosophers. They were a……..

a-class of professional teachers

b-class of professional writers

c-none of them

[كارزما]

.
.


Defamiliarization – Making Strange

 Literature “makes strange” ordinary perception and ordinary language and invites the reader to explore new forms of perceptions and sensations, and new ways of relating to language.


 Shklovsky's key terms, "making strange," "dis-automatization," received wide currency in the writings of the Russian Formalists.


 Jakobson claimed that in poetry "the communicative function is reduced to a minimum.”



 Shklovsky spoke of poetry as a "dance of articulatory organs.


مهمييييييييين ركزو على كل كاتب وش قال اكيد في سوالين ع الاقل من هالفقرة


المحاضرة 7


11-when a narrative stops the chonological order to bring events or information from the past ( of the time zero ), it is called :
A- Analepsis
B- Prolepsis
C- Anachrony
D- Flashback
12- when a narrative stops the chonological order to bring events or information from the future ( of the time zero ), it is called :
A- Analepsis
B- Prolepsis
C- Anachrony
D- Flashback

[كارزما]

.
.

سوال 26 من ابو جنى
(26 ) The culture of Ancient Greece can be described as:
A. A living culture
B. A museum culture
C. A culture of books
D. A culture of aristocracy
ثقافة اليونان القديمه يمكن وصفها انها
اـ ثقافه حيه
ب- ثقافة متحف
ج- ثقافة كتب
دـ ثقافه ارستقراطيه
الاجابه ثقافه حيه


سوال29
The concept "Logocentrism" was developed by:
A. Post-structuralists
B. Structuralists
C. Formalists
D. Greeks
وقد تم تطوير مفهوم "Logocentrism" حسب:
A. ما بعد البنيويين
B. البنيويون
C. الشكليون
D. الإغريق

الاجابه مابعد البنيويين


سوال 30
Why is Western literature and criticism connected to classical Greek and Roman cultures?
A. They share the same taste in literature
B. They share the same religion
C. Western literature is a recreation, a revival of classical literature
D. Western literature borrows mythology from the literature of classical antiquity
لماذا الأدب الغربي والنقد متصلا الثقافات اليونانية والرومانية الكلاسيكية؟
A. لأنهما يشتركان في نفس الطعم في الأدب
B. لأنهما يشتركان في نفس الدين الأدب
C. لان الادب الغربي هو للترفيه، و إحياء الأدب الكلاسيكي
D.لان الادب الغربي يقترض الأساطير من أدب العصور الكلاسيكية القديمة
الاجابه c





سوال 31
Roman writers felt inferior to Greek culture because:
A. The Greeks had a bigger empire
B. The Greek culture was easy to understand
C. Roman was superior to Greece militarily, but inferior culturally
D. It was easier to become famous in Greece than in Rome
ورأى الكتاب الرومان تدني الثقافة اليونانية للأسباب التالية:
A. الإغريق كان إمبراطورية كبيره
B. كان من السهل أن تفهم
C. الرومان متفوقين على اليونان عسكريا ، ولكن الثقافه اليونانيه أقل شأنا
D. كان من السهل تصبح مشهورا في اليونان مما كان عليه في روما

الاجابهc


سوال 32
Recent history is showing that the Renaissance started in:
A. In al-Andalus in the 11th century
B. In Germany in the 19th century
C. Paris in the 8th Paris
D. In New York in the 20th century
التاريخ الحديث يظهر أن النهضة بدأت في:
A. في الأندلس في القرن ال11
B. في ألمانيا في القرن ال19
C. في باريس في القرن ال8
D. في نيويورك في القرن ال20

سوال33
The books of ancient Greece were translated back into Latin from:
A. Russian sources
B. Jewish sources
C. Greek sources
D. Arabic sources
ترجمت الكتب اليونانيه القديمه الى اللاتينيه
ا-مصادر روسيه
ب-مصادر يهوديه
ج-مصادر يونانيه
د-مصادر عربيه

الاجابه تكون يونانيه
محلوله عند ابو جنى غلط كاتب عربيه



Structuralist criticism continues the work of:
A. Formalism
B. Symbolism
C. Linguistics
D. Marxism

سوال34
Who made the distinction between Mimesis and Diegesis?
A. Plato
B. Cicero
C. Aristotle
D. Ibn Rushd
الذي ميز بين السرد و المحاكاه
ا-افلاطون
ب-سيسيرو
ج-ارسطو
د-ابن رشد

الاجابه افلاطون


سوال 35
Why did Plato ban the poet from the city?
A. He was jealous
B. He doesn't like entertainment
C. Poetry cripples the mind
D. Poetry is not good for health
لماذا حظر افلاطون الشعر ف المدينه
ا-لانه غيور
ب-لانه يحب الترفيه
ج-لان الشعر يشل العقل
د-لان الشعر مضر بالصحه

الاجابه c


سوال 36
"And narration," says Plato, can proceed by:
A. Imitation
B. Narration
C. Imitation or narration or a mixture of the two
D. By indirect speech
اضاف افلاطون للروايه
ا-التقليد
ب-السرد
ج-التقليد والسرد
د-خطاب غير مباشر

الاجابه التقليد والسرد


Plato analyzed poetry as an imitation in his dialogue.
A. Phaedrus
B. Sophist
C. Ian
D. Republic
افلاطون حلل الشعر في
الجمهوريه


سوال 38
What did Aristotle write?
A. Drama
B. Poetry
C. Speeches
D. Philosophical works
اسلوب ارسطو ف الكتابه
ا-دراما
ب-شعر
ج-خطب
د-اعمال فلسفيه


سوال 39
In which one of the following books did Aristotle analyze tragedy?
A. Rhetoric
B. Politics
C. Poetics
D. Metaphysics
في واحد من الكتب التاليه حلل ارسطو التراجيديا
هو



سوال 40
Tragedy was defined as "an imitation of an action" by:
A. Dryden
B. Plato
C. Horace
D. Aristotle
من الذي عرف التراجيديا انها التقليد
ا-درايدن
ب-افلاطون
ج-هوراس
د-ارسطو

[كارزما]

.
.


سوال 41
According to Aristotle, pity and fear are caused by:
A. Horror movies
B. Novels
C. Poetry
D. Tragedy
ارسطو يقول سبب المأساه والخوف
ا- افلام الرعب
ب-الروايه
ج-الشعر
د- الماساه (التراجيديا)

الاجابه التراجيديا

سوال 42
According to Aristotle, tragedy has:
A. Six parts
B. Twelve parts
C. Twenty parts
D. Thirty parts
ارسطو ف التراجيديا
ا-سته اجزاء
ب-12جزء
ج-20جزء
د-30جزء

الاجابه 6 أجزاء

من سوال 43 الى 48
A good plot, says Aristotle, should have:
A. Entertainment
B. Music and dance
C. Beginning, middle and an end
D. More than one story
المؤامره جيده يقول ارسطو ينبغي ان تكون
ا- الترفيه
ب-موسيقى و رقص
ج- بدايه ووسط ونهايه
د-اكثر من قصه واحده
الاجابه C
Formalism defined its project as the study of literature:
A. From a scientific and objective perspective
B. From a religious perspective
C. From a political perspective
D. From an economic perspective
حددت الشكليه مشروعها لدراسة الادب
ا- تكون علميه و موضوعيه
ب-دينيه
ج-سياسيه
د-اقتصاديه
الاجابهA
Which school of criticism developed the concept of "Defamiliarization"?
A. Greek and Roman critics
B. French Structuralism
C. Post-structuralism
D. Russian Formalism
المدرسه الانتقاديه التي وضعت منهج "Defamiliarization"
ا- اليونان والرومان
ب- البنيويه الفرنسيه
ج- مابعد البنيويه
د- الشكليه الروسيه
الاجابهD
Russian Formalists wanted to:
A. Promote Russian literature
B. Translate Russian literature
C. Develop a science of literature
D. Mix science and literature
الشكليه الروسيه عباره عن
ا-تشجيع الادب الروسي
ب-ترجمة الادب الروسي
ح-تطوير العلوم و الادب
د- مزيج من العلم و الادب
الاجابهC
Vladimir Propp was a Russian Formalist who studies:
A. Novels
B. Fairy Tales
C. Plays
D. Short stories
فلادمير بروب الشكلي الروسي درس
ا-الروايات
ب-الحكايات الخياليه
ج-المسرحيات
د-القصص القصيره
الاجابهB
In his study of fairy tales. Vladimir Propp established:
A. Twenty character types
B. Sixty character types
C. Thirty-one character typ
es
D. Seven character types
في دارسة فلايدمر بروب للحكايات الخياليه كانت
ا-20نوع
ب-60نوع
ج-31نوع
د-7انواع
الاجابهD
- To which school of criticism do we attribute the idea that "there is no pre-discursive reality. Every reality is shaped and accessed by a discourse"?
A. Formalism
B. Structuralism
C. Post-Structuralism
D. Marxism

.Logocentrism is an important concept that was developed by :
A- Structuralists
B- Post-structiralists
C- Formalism
D- Semioticians

الواجب الاول

1l Which poet said: “A man who follows another not only finds nothing; he is not even looking”?

Plato

Aristotle

Horace

Seneca

2/ Who was the first philosopher/critic to make the distinction between Mimesis and Diegesis?

Martin Luther

Shakespeare

Plato

Ibn Rushd

3/ Aristotle says that a good tragedy must have:

Six parts

Ten parts

Twelve parts

Twenty parts

الواجب الثاني

1/Defamiliarization” or “The Making Strange” is a technique that became famous among:

Russian Formalists.

French Structuralists

Post-structuralist critics
Traditional literary critics

2/Russian Formalists had an ambition to: To improve Russian poetry and criticism

To translate Russian poetry and criticism into English

To establish an autonomous science of literature

To establish an autonomous science of translation

3/According to Roman Jackobson, “the subject of literary science is not literature, but…

metaphoriness

literariness

syntax

poetry

الواجب الثالث

1/In literary criticism, Structuralism…

Continued the work that was done before by Renaissance Humanism

Continued the work that was done before by Russian Formalism

Expanded the study of literature to include novels and short stories

Expanded literary criticism to include translation

2/According to structuralist critics, literary criticism should focus exclusively on:

The biography of the author

The historical background of the literary work

The text

The reactions of the reader

3/Structuralism tries to analyze literature from:

A political point of view

A scientific point of view

A psychological point of view

A sociological point of view

4/The Actantial Model was developed by: Roman Jackobson

Roland Barthes

A.J. Greimas

Gerard Gennette

[كارزما]

.
.



Zero Focalization=more
Internal Focalization=as much as
External Facalization=less


West’s relationship with antiquity is not simple. It is full of -5 ….....
العلاقة الغربية مع العصور القديمة ليست بسيطة. أنها مليئة ... .....
a- ambivalence التناقض
b- contradictions ب- التناقضات
c- contradictions and ambivalence. ج- التناقضات والازدواجية





in this verse “Captive Greece took its wild conqueror captive” Horace
described the relationship between ………
في هذه الآية "استغرق الأسير اليونان أسيرا لها الفاتح البرية" هوراس
ووصف العلاقة بين ........
-Roman and Greece -الرومانية واليونان
-Greece and western ب-اليونان وغرب
c-none of them -لا أحد منهم

Western cultures considered Greece and Rome the most perfect civilizations from the

واعتبرت الثقافات الغربية اليونان وروما الحضارات الأكثر مثالية من ...

a-15th to the 20th و15-إلى 20
b-16th to the 20th 16 إلى 20

What classical antiquity means
Greek and roman

The question of "focalization" for Gerard Gennetee, is about
A. Who participates in the action
B. Who sees the action
C. Who narrates the actions
D. The audience
مسالة التمركز لجيرارد جينتي هي حول الذي يرى العمل

شباب انتبهوا لهذه الاسئله

15) According to Gerard Genete ,"Zero Focalization" in a narratier is a situation in .....
C. The charactor knows MORE than the narrator
16) According to Gerard Genete ,"Internal Focalization" in a narrative is a situation which
B.The character knows as much as the narrator
17) According to Gerard Genete,"External Facalization" in a narrative is a situation which
A. The charactor knows LESS than the narrator

الاجوبه هذه غلط الاجوبه الصحيحه هي :


15) According to Gerard Genete ,"Zero Focalization" in a narratier is a situation in .....
C. The narrator knows MORE than the character
16) According to Gerard Genete ,"Internal Focalization" in a narrative is a situation which
B.The character knows as much as the narrator
17) According to Gerard Genete,"External Facalization" in a narrative is a situation which
A. The narrator knows LESS than the character


وممكن يقلبها الدكتور مثل كذا :


17) According to Gerard Genete,"External Facalization" in a narrative is a situation which
A. The charactor knows MORE than the narrator






لكي لا نلخبط حبيت اضع رابط بتكبير حرف a
When does an Analepsis happen?
A. When the narrative stops to pick up some information from the past
B. When the narrative stops to pick up some information from the future
. c-When there is a flashback
D. When there is a time gap in the narrative


---------------------------

When does a Prolepsis happen?
A. When the narrative stops to pick up some information from the past
B. When the narrative stops to pick up some information from the future
C. When there is a flashback
D. When there is a time gap in the narratve

[كارزما]

.
.



* Quintilian
هذا المعلم الاول في الخطابة rhetoric في روما ---------- المحاضرة 6

*
karl marx
هذا عرف كاب للشيوعية communist-------------- المحاضرة 14

*
من وجهة نظر الزمن يوجد اربع انواع للسرد
From the point of view of time, there are four types of narrating
(( كلمة time من اربع حروف يعني اربع انواع )



كمفاتيح سريعة
Homodiegetic Narrator: a story in which the narrator is present in the story he narrates

Heterodiegetic Narrator: a story in which the narrator is absent from the story he narrates

Extradiegetic Narrative: The narrator is superior, in the sense of being at least one level higher than the story world, and hence has a good or virtually complete knowledge of the story he narrates.

Intradiegetic Narrative: the narrator is immersed within the same level as that of the story world, and has limited or incomplete knowledge of the story he narrates

Perspective is

a-the first mode of regulating information
b-the second mode of regulating information
c- the third mode of regulating information
d- the forth mode of regulating information

المحاضرة 8

المحاضرة الثامنة ملئية بالمعلومات


Narrated speech: is the most distant and reduced (“I informed my mother of my decision to marry Albertine” [exact uttered speech].

Transposed speech: in indirect style (“I told my mother that I absolutely had to marry Albertine” [mixture of uttered and narrated speech].

Reproduced speech: The most mimetic form is where the narrator pretends that the character is speaking and not the narrator: “I said to my mother: it is absolutely necessary that I marry Albertine

Mimesis: maximum of information and a minimum of the informer.

Diegesis: a minimum of information and a maximum presence of the informer.

المحاضرة 8

في المحاضرة الثالثة تحت عنوان الكتاب الثالث
وتابعة ل PLATO

لخبطة راسي بعض المعلومات ولكن وضعتها بهذة الطريقة فلربما توصل بسرعة المعلومة


(Mimesis = imitation ( showing
مثال Drama

M I S اول حروف الكلمات
-------------------------------
(Diagesis = narration ) telling
مثال stories
D N T اول حروف الكلمات


ذة انواع المدارس
المحاضرة 14
1-Classical Marxism: The work of Marx and Engels
( Marx and Engels )

2-Early Western Marxism
( Georg Lukلcs )

3- Late Marxism
( Mikhail M. Bakhtin


.............................
Frankfurt School of Marxism
تاسست عام 1923
ولها كتاب كثير






formalist located literary meaning in
a-the pote
b-the poem
c-the figure of speech
d-the impact of the poem on the reader


with strecturalism literary crticism developms the ambition to study literature frome
a-striclly literary perspective
b-striclly scientific perspective
c-striclly potic perspective
d-striclly marxist

هذي سؤالين حلها الدكتور بنفسه لدفعه سابقه


Zero focalization: The narrator knows more than the characters
Internal focalization: The narrator knows as much as the focal character.
External focalization: The narrator knows less than the characters


بس ممكن يعكس يحط characters قبل narrator
فلا تركزون على more و less لانها بتكون على حسب وش يحط بالاول

[كارزما]

.
.


http://media2.giphy.com/media/uB2szZH5JSIU0/giphy.gif

.... وندخل على الي بعده :71:


من الأسئلة اللي سألها الدكتور بالمباشرة الرابعة :

1- In which book did Aristotle analysis poetry
الجواب : poetics

2-In which book did paltos analysis the poetry
الجواب : Republic


هوراس ومعاصريه الشعر بالنسبه لهم
عن الاثار المكتوبه التي يضعها الشاعر على رف المكتبه بجوار الشعراء اليونان العظام
Poetry for ……… & his contemporaries meant written monuments that would land the lucky poet’s name on a library shelf next to the great Greek names

هوراس هو من كتب عبارة
ٱ‏​نـِْ♡̨̐ـِْا. لن اموت بشكل كامل
وكان يقصد بعبارته العظيمه كتبه
“I will not die entirely,” writes Horace, “some principal part of me yet evading the great Goddess of Burials.” That great part of him was his books

هوراس لم تتجذر ممارسته الشعريه في الحياه اليوميه مثل الشعر عند اليونان
Poetic practice was not rooted in everyday life, as Greek poetry was

هوراس نصح انه مايقدموا العنف و الوحشيه بشكل مفرط على المسرح
وانه مايستخدموا الرموز الالهيه الا في حالة الضروره القصوى
Advises them not to present anything excessively violent or monstrous on stage, & that the dues ex machina should not be used unless absolutely necessary

في مركز افكار هوراس مفهوم الحساسيه او العاطفه
At the Centre of Horace’s ideas is the notion of “sensibility.”
طلب من الكتاب انه يستخدمون هذا المفهوم كاداه كي يفصلوا بين الاذواق الراقيه التي يتفق فيها مع كتب اليونان القديمه
والاذواق المبتذله التي يتفق فيها مع الريفيين و الشعبيين
The notion of “sensibility” that he asks writers to have is a tool that allows him to separate what he calls “sophisticated” tastes (which he associates with Greek books) from the “vulgar,” which Horace always associates with the rustic & popular

:



صاحب رسالة الى اغسطس هو الشاعر الروماني هوراس
“Captive Greece took its wild conqueror captive” was written by Roman poet((A Letter to Augustus
في هذه الرساله كان يحقد ع الثقافه الشعبيه الموجوده في عصره
نصح قرائه بتقليد اليونان
و انه لايحاولوا يخترعوا شي بانفسهم
لان اختراعاتهم حتكون ضعيفه وغير جذابه
Advised his readers to simply imitate the Greeks & never try to invent anything themselves because their inventions will be weak & unattractive
كان دايم يعبر عن حس النقص و التناقض
لان روما احتلت اليونان سياسياً وعسكرياً
لكن روما لم تستطع ابداً تنتج حضاره او ثقافه مصقوله مثل اليونان
Expresses a sense of inferiority & ambivalence because Rome conquered Greece politically & militarily but Rome could never produce a refined culture (poetry, philosophy, rhetoric, etc.) like Greece
نصح انه لازم يتصوروا القصيده كشكل من اشكال الجمال الثابت المماثل للوحه
Advised the poem should be conceived as a form of static beauty similar to a painting


:


هوراس كان يشعر باحتقار تجاه الثقافه الشعبيه في ايامه
In the scorn he felt towards the popular culture of his day, the symptoms were already clear of the rift between “official” & “popular” culture that would divide future European societies
كان يحاول ان يجعل الشعراء يلتزمون بالوظائف و النغمات الشعريه مع نغمه عاليه من التعصب
The “duly assigned functions & tones” of poetry that …… spent his life trying to make poets adhere to, were a mold for an artificial poetry with intolerant overtone
دائم ينصح كتاب المسرحيه لا تكون اقصر ولا اطول من 5اعمال
Tells writers that a play should not be shorter or longer than five acts
ينصح انه الشعر لابد ان يكون تعليم او رجاء
Advises, that poetry should teach & please
تحدث عن قوانين و اسلوب التكوين وانه يبي من شعراء الرومان يقلدون الاغريق اليونانيين
Whenever ......... talks about the laws of composition & style, his model of excellence that he wants Roman poets to imitate the Greeks
قال في قصائده
ٱ‏​نـِْ♡̨̐ـِْا. اكره الحشد المدنس و ابقائه على مسافه
I hate the profane crowd & keep it at a distance,” he says in his Odes
وضح التحيز لثقافة الشعب اليوميه
ويرى الكتب بحد ذاته ثقافه شعبيه
Shows prejudice to the culture of everyday people, but he does not know that the culture of Greece that he sees in books now was itself a popular culture
في رسالته “Epistle to Maecenas” يشتكي من المقلدين اللي ضيعوا الاخلاق و الادب
In the “Epistle to Maecenas” …. complains about the slavish imitators who ape the morals & manners of their betters
بتقليد اليونان ادعى الاصاله
In imitating the Greeks, claims originality
وبهذا الادعاء الجريء مثل اللي يمشي على ارض عذراء وهذا كله يتعارض بشده مع المعلومات
لان هذه الارض ليست عذراء لان اليونان مشوا عليها قبل
But the bold claim he makes of walking on virgin soil strongly contradicts the implied detail that the soil was not virgin, since Greek predecessors had already walked it.
هوراس ع قد اللي سواه لم يكن ناقد فيلسوفي مثل افلاطون و ارسطو
Though, was not a philosopher-critic like Plato or Aristotle
طبعاً نبه اللي يكتبون المسرحيات الكوميديه انه لا يكون فيها نبرة تراجيديا حزينه والعكس صحيح
Tells writers of plays that a comic subject should not be written in a tragic tone, & vice versa
قد تم اعلان مبدأه في كتاب ارز بوتيكا سطر 86 واعتمد هذا المبدأ في كتاباته
This principle, announced in line 86 of the Ars Poetica, is assumed everywhere in Horace’s writing
في قصيدته Satires اشار الى كل المتطفلين
In the Satires, he refers to “the college of flute-players, quacks, beggars, mimic actresses, parasites, & all their kinds
يعني عنده رسالتين
وقصيده وكتاب انتبهوا

[كارزما]

.
.


توماس جرين
لاحظ انه طبيعة ادعاء هوراس غير واضحه
In addition, as ……notes, the precise nature of what Horace claims to have brought back from his “walk” is not clear
وانه الفكره من اتباع اليونان هي فقط بعد المسافه الزمنيه و الثقافيه
The idea of following the Greeks, as …….. Notes only magnified the temporal & cultural distance with them
فلورانس دبونت
عمل على التفريق بين الثقافيه الحيه عند اليونان و الثقافه التذكاريه عند الرومان
Dupont Makes a useful distinction between “Living Culture” (in Greece) & “Monument culture” (in Rome).


الاوربيون حالهم مثل حال الرومان ارادوا ان ينتجوا القصائد و الكتب والثقافه المتطوره لانهم اعتقدوا ان الثقافه العاليه في الكتب و القصائد بما يجب ان تمتلكه الامم العظيمه
Like the Romans, wanted to produce poems, books & sophisticated culture because they thought, like the Romans did, that high culture, great books & poems were what great & mighty nations have
الدول الكبرى احتلت الاراضي و الناس وسجلت الاعمال العظيمه و الفتوحات في الكتب العظيمه و القصائد
Do great deeds (like conquering lands & people) & record those great deeds & conquests in great books & poems
اللغة المكتوبه الوحيده هي اللاتينيه وقليل جداً يستطيعون قراءة اليونانيه مثل ايراسموس
The only written language was Latin & people who could read Greek, like Erasmus, were very rare
عند الاوربيون لم يوجد لغات مكتوبه
There were no written languages in Europe
مثل الكتاب الرومان والايطاليين
Du Bellay
وقد اكد على ان التقليد قد ينتج نوع من الاصاله
Like Roman & Italian authors, …… also stressed that imitation should produce some sort of originality
وقد اعتقد ان الشعر الفرنسي انتج بصيغه اعلى وافضل ولابد ان ترى بالشعراء اليونانيين والرومان
Believed that French poetry “is capable of a higher & better form” which “must be sought in the Greek & Roman” poets
وكان يتمنى ان لغته تكون غنيه بالنماذج المحليه و بالتالي لايكون من الضروري الاستعانه بنماذج اجنبيه
Wished that his tongue “were so rich in domestic models that it were not necessary to have recourse to foreign ones,” but that was not the case



معايير جودة الحبكه الجيده

يجب ان تكون متكامله ببدايه , و وسط , ونهايه

البدايه يسميها النقاد الحديثون باللحظه المحفزه incentive moment

والوسط او الصراع climax لابد ان يكون سببها الاحداث السابقه earlier incidents

والنهايه او الخاتمه resolution لابد ان تكون نتيجه الاحداث السابقه



اسمى ارسطو سلسلة السبب والنتيجه الي تبداء من اللحظه المحفزه وصولا للصراع ( الربط) وهي tying up

واسمى سلسلة السبب والنتيجه من الصراع الى الحل النهائي (التفكك) وهو unravelling




- Jan Mukarovsky نربط مع الابراز – واصلا من اسمه مايكروسكوفي --<< بس عشان افهم ما عليكم من النطق -- المهم يتكلم عن = maximum of foregrounding معناه الابراز – ابرز في الكلام والتعبير

- نجي للثاني شكلوسفكي Shklovsky – اصلا من اسمع كل شيء غريب ""strange" dis-automatization وغير مالوف – وبعد وصف الشعر بانه تراقص الاعضاء اللفظيه

- نجي للثالث –Jakobson-- عاد ما عرفت اربط شيء معه – وعلى سيرة الربط الوظيفه التواصليه له –انخفظت الى احد يعني – reduced to minimum
وطبعا لا ننسى انه عرف موضوع الادب – وقال انه مو كله ادب – يعني the subject of literey scholarship is not in its totality but Literariness (liiteratunost) – which make of given work work literature

وفيه بعد شخص عرف موضوع الادب ايكنباوم – Eichenbaum—قال انه علماء الادب يجب عليهم العنايه بشكل منفصل بتحقيق السمات المميزه للمواد الادبيه يعني-- The literary scholar ought to be concerned solely with the inquiry into the distinguishing features of the literary materials


- بعد عندنا اثنين مفكرين تأثروا في الشكليات الروسيه –influence on thinker
- Mikhail Bakhtin and Yuri Lotman, and on structuralism



العلماء المهمين في المحاضره السابعه --


A- A human creation
B- A divine creation
C- A government creation
D- A product of chance
دانتي وصف اللغه في العصور الوسطى بانها الاهيه -- من الله لأنه شفته باختار ثاني كاتب from the God


4-In the Renaissance, Lorenzo Valla broke with tradition and considered language to be :
A- A human creation
B- A divine creation
C- A government creation
D- A product of chance

في عصر النهظه وصفه لورنز فلا بانه انساني

هالسؤال متكرر في نموذجين --

سوال 28
What did Roman author use poetry and literature for?
A. To improve eloquence and sing national glories
B. To sell books and fight unemployment
C. To entertain the emperor and the masses
D. To educate children and entertain adults
مافعله الكاتب الروماني في الشعر و الادب هو
ا-لتحسين البلاغة
ب-بيع الكتب و محاربة البطاله
ج-ترفيه الامبراطور و الجماهير
د- تثقيف الاطفال و البالغين

الاجابه تحسين البلاغه

سوال29
The concept "Logocentrism" was developed by:
A. Post-structuralists
B. Structuralists
C. Formalists
D. Greeks
وقد تم تطوير مفهوم "Logocentrism" حسب:
A. ما بعد البنيويين
B. البنيويون
C. الشكليون
D. الإغريق

الاجابه مابعد البنيويين

سوال 30
Why is Western literature and criticism connected to classical Greek and Roman cultures?
A. They share the same taste in literature
B. They share the same religion
C. Western literature is a recreation, a revival of classical literature
D. Western literature borrows mythology from the literature of classical antiquity
لماذا الأدب الغربي والنقد متصلا الثقافات اليونانية والرومانية الكلاسيكية؟
A. لأنهما يشتركان في نفس الطعم في الأدب
B. لأنهما يشتركان في نفس الدين الأدب
C. لان الادب الغربي هو للترفيه، و إحياء الأدب الكلاسيكي
D.لان الادب الغربي يقترض الأساطير من أدب العصور الكلاسيكية القديمة
الاجابه c

سوال 31
Roman writers felt inferior to Greek culture because:
A. The Greeks had a bigger empire
B. The Greek culture was easy to understand
C. Roman was superior to Greece militarily, but inferior culturally
D. It was easier to become famous in Greece than in Rome
ورأى الكتاب الرومان تدني الثقافة اليونانية للأسباب التالية:
A. الإغريق كان إمبراطورية كبيره
B. كان من السهل أن تفهم
C. الرومان متفوقين على اليونان عسكريا ، ولكن الثقافه اليونانيه أقل شأنا
D. كان من السهل تصبح مشهورا في اليونان مما كان عليه في روما

الاجابهc

سوال 32
Recent history is showing that the Renaissance started in:
A. In al-Andalus in the 11th century
B. In Germany in the 19th century
C. Paris in the 8th Paris
D. In New York in the 20th century
التاريخ الحديث يظهر أن النهضة بدأت في:
A. في الأندلس في القرن ال11
B. في ألمانيا في القرن ال19
C. في باريس في القرن ال8
D. في نيويورك في القرن ال20

الاجابه الاندلس

[كارزما]

.
.


سوال 35
Why did Plato ban the poet from the city?
A. He was jealous
B. He doesn't like entertainment
C. Poetry cripples the mind
D. Poetry is not good for health
لماذا حظر افلاطون الشعر ف المدينه
ا-لانه غيور
ب-لانه يحب الترفيه
ج-لان الشعر يشل العقل
د-لان الشعر مضر بالصحه

الاجابه c

:
سوال 36
"And narration," says Plato, can proceed by:
A. Imitation
B. Narration
C. Imitation or narration or a mixture of the two
D. By indirect speech
اضاف افلاطون للروايه
ا-التقليد
ب-السرد
ج-التقليد والسرد
د-خطاب غير مباشر

الاجابه التقليد والسرد

:

سوال37
Plato analyzed poetry as an imitation in his dialogue.
A. Phaedrus
B. Sophist
C. Ian
D. Republic
افلاطون حلل الشعر في
الجمهوريه

الاجابهD


:

سوال 38
What did Aristotle write?
A. Drama
B. Poetry
C. Speeches
D. Philosophical works
اسلوب ارسطو ف الكتابه
ا-دراما
ب-شعر
ج-خطب
د-اعمال فلسفيه
الاجابه اعمال فلسفيه

:

سوال 39
In which one of the following books did Aristotle analyze tragedy?
A. Rhetoric
B. Politics
C. Poetics
D. Metaphysics
في واحد من الكتب التاليه حلل ارسطو التراجيديا
هو

الاجابه تكون C


:

سوال 41
According to Aristotle, pity and fear are caused by:
A. Horror movies
B. Novels
C. Poetry
D. Tragedy
ارسطو يقول سبب المأساه والخوف
ا- افلام الرعب
ب-الروايه
ج-الشعر
د- الماساه (التراجيديا)

الاجابه التراجيديا

:

سوال 42
According to Aristotle, tragedy has:
A. Six parts
B. Twelve parts
C. Twenty parts
D. Thirty parts
ارسطو ف التراجيديا
ا-سته اجزاء
ب-12جزء
ج-20جزء
د-30جزء

الاجابه 6اجزاء

:

سوال 42
According to Aristotle, tragedy has:
A. Six parts
B. Twelve parts
C. Twenty parts
D. Thirty parts
ارسطو ف التراجيديا
ا-سته اجزاء
ب-12جزء
ج-20جزء
د-30جزء

الاجابه 6اجزاء



Logocentrism is an important concept that was developed by :
A- Structuralists
B- Post-structiralists
C- Formalism
D- Semioticians

[كارزما]

الواجب الاول

1l Which poet said: “A man who follows another not only finds nothing; he is not even looking”?

Plato

Aristotle

Horace

Seneca

2/ Who was the first philosopher/critic to make the distinction between Mimesis and Diegesis?

Martin Luther

Shakespeare

Plato

Ibn Rushd

3/ Aristotle says that a good tragedy must have:

Six parts

Ten parts

Twelve parts

Twenty parts

الواجب الثاني

1/Defamiliarization” or “The Making Strange” is a technique that became famous among:

Russian Formalists.

French Structuralists

Post-structuralist critics
Traditional literary critics

2/Russian Formalists had an ambition to: To improve Russian poetry and criticism

To translate Russian poetry and criticism into English

To establish an autonomous science of literature

To establish an autonomous science of translation

3/According to Roman Jackobson, “the subject of literary science is not literature, but…

metaphoriness

literariness

syntax

poetry

الواجب الثالث

1/In literary criticism, Structuralism…

Continued the work that was done before by Renaissance Humanism

Continued the work that was done before by Russian Formalism

Expanded the study of literature to include novels and short stories

Expanded literary criticism to include translation

2/According to structuralist critics, literary criticism should focus exclusively on:

The biography of the author

The historical background of the literary work

The text

The reactions of the reader

3/Structuralism tries to analyze literature from:

A political point of view

A scientific point of view

A psychological point of view

A sociological point of view

4/The Actantial Model was developed by: Roman Jackobson

Roland Barthes

A.J. Greimas

Gerard Gennette

[كارزما]

هذولي المقولات تكررت بكذا مكان أحس بيجيبها عاد يحب سينكا هو :5aga: :

“Captive Greece took its wild conqueror captive”
- هوارس Horace -

\

“No past life has been lived to lend us glory, and that which has existed before us is not ours.”

“A man who follows another not only finds nothing; he is not even looking ”

- سينكا Seneca -

:

-

بأول محاضرة:

The Romans so desperately wanted to imitate the Greeks and so constantly failed to match them.
المقصود هنا بـ مُحاكاة وتقليّد اليونان.

The reason is simple. Imitation cannot produce originality. As Seneca puts it with bitterness.
"المُحاكاة لا تجلّب الأصالة.

:biggrin::love080:

:

باتريك Petrach كان بطل المحاكاة اللاتيّنية :cheese:

:

-




Katharsis
( The end of the tragedy is a katharsis( purgation, cleansing

نهاية المأساة او النص التراجيدي

:


-

السرد الروائي:
Narrative Discousr:
1- Time
2- Mood
3- Voice > Who Speaks?



:rose::biggrin:

:

katharsis the word means purging

[كارزما]

.
.




http://pa1.narvii.com/5818/0c25327a925b37dca89320b407290417ad6b6b25_hq.gif


نصيحة صيته :

كثفي الحفظ في الاسئلة ( احفظي السؤال و الاجابة ) لان احيانا يكون الجواب من ضمن السؤال في نماذج اخرى مثلا


Roland Barthes wrote the famous essay
A. "What is an Author
B. "The Death of the Author
C. "Morphology of the Folktale
D. "The Narrative Discourse



في نموذج اخر


Who wrote "The Death of the Author"
A. Michel Foucault
B. Jacques Derrida
C. Roland Barthes

:


One of the most important concepts that Post-structuralism developed is:
A. Eurocentrism
B. Logocentrism
C. Feminism
D. Marxism


تكرر في اختبار 35 الفصل الاول و لكن بشكل مختلف
Logocentrism is an important concept that was developed by
A- Structuralists

B- Post-structiralists

C- Formalism
D- Semioticians




ومن بين الاسئله المهمه اللي تكررت بكل الاعوام السابقه وايضاً جاء بالواجبات ،هذا السؤال :


Structurealism in literature is continuation of the work of


البنيوية تابعت عمل ادب ؟؟ مين طبعا هم ،


الاجابه

، Russian formalism الشكليين الروسيين

المحاضرة 8




أفلاطون اسمه بالانجليزي ،، Plato
من اهم اعمالة..الجمهوريه (the Republic)



الحبكة. اسمها plot علشان مايصير فيه لخبطه اثناء الاختبار او عند قراءة السؤال ؟؟

سؤالين من المحاضرة الثامنه وجاء بالاختبار الترم اللي راح والأعوام السابقه



Analepsis ?

الرواي اذا يروي قصه وتوقف وتذكر حدث بالماضي past

When the narrative stop top pick up some information form the past




Prolepsis

When the narrative stop top pick up some information from the future


Prolepsis

الرواي يروي القصه ويتوقف ليذكر معلومات من المستقبل



أربطو

Analepsis = past ماضي


Prolepsis =future مستقبل

[كارزما]

.
.



(1)
"The subject of literary science," according to Roman Jackobson, "is not literature but…
A. Grammar
B. Metaphor
C. Literary Style
D. Literariness
(2)



Structuralist criticism continues the work of:
A. Formalism
B. Symbolism
C. Linguistics
D. Marxism
(3)



In his study of fairy tales, Vladimir Propp established:
A. Twenty character types
B. Sixty character types
C. Thirty-one character types
D. Seven character types

(4) How many Actants are there in the Actantial Model
A. Sixteen
B. Thirty
C. Six
D. Twenty-one

[كارزما]

(5)
What discipline or school of criticism did A.J. Greimas belong to?
A. Linguist
B. Structuralism
C. Marxism
C. Formalism
(6) Who developed the Actantial Model?
A. Michel Foucault
B. A.J. Greimas
C. Gerard Gennette
D. Roland Barthes

(7) Who wrote "The Death of the Author"?
A. Michel Foucault
B. Jacques Derrida
C. Roland Barthes
D. Mikhail Bakhtin

[كارزما]

"The death of the Author" asks the reader to:
A. Kill the author
B. Reestablish the importance of the author
C. Dismiss the author from the analysis of literature
D. Disrespect the author
(9) How does Gerard Gennette define the "Time of the Story"?
A. An imaginary time
B. Any past time
C. The time of the Narration
D. The time in which the story happens
(10) The "Time Zero", according to Gerard Gennette, is:
A. The time in which the story is being told
B. The time in which the story happens
C. An ideal time D. An impossible time

(11) Vladimir Propp develops his 31 functions in order to apply them on:
A. Literature
B. Novels
C. Folktales
D. Short stories

[كارزما]

(12)
What types of literature does the Actantial Model apply on?
A. Plays
B. All literature
C. Short stories
D. Films
(13) What is the definition of the "Plot" in Aristotle's theory of Tragedy?
A. The story of the play
B. It is the sequence of events
C. The cause-effect chain that connects the events
D. The actions of the hero

(14) The question of "Voice" for Gerard Gennette, is about:
A. Who sees the action?
B. Who narrates the action?
C. Who witnesses the action?
D. The audience

(14) The question of "Voice" for Gerard Gennette, is about:
A. Who sees the action?
B. Who narrates the action?
C. Who witnesses the action?
D. The audience

هنا ال voice=who speak?
عشان كذا اخترنا b

[كارزما]

(15)
The question of "focalization" for Gerard Gennetee, is about:
A. Who participates in the action?
B. Who sees the action?
C. Who narrates the actions?
D. The audience
(16) How does Gerard Gennette define the "time of the narrative"?
A. The time in which the story happens
B. The time in which the story is narrated
C. The time in which the story is read
D. An imaginary time
(17) When does an Analepsis happen?
A. When the narrative stops to pick up some information from the past
B. When the narrative stops to pick up some information from the future
C. When there is a flashback
D. When there is a time gap in the narrative
(18) When does a Prolepsis happen?
A. When the narrative stops to pick up some information from the past
B. When the narrative stops to pick up some information from the future
C. When there is a flashback D. When there is a time gap in the narratve

(19) When does an Anachronies happen?
A. When the narrative stops to pick up some information from the past
B. When the narrative stops to pick up some information from the future
C. When the narrative is chronological
D. When there is a time gap in the narrative

شوفوا سؤال 17 و18 لازم يجي في الاختبار فتجي بصيغتين
Analepsis تجي كلمة تدل عليها وهي كلمة الpast او تجي كلمة earlier

Prolepsis تجي كلمة تدل عليها وهي future او will

[كارزما]

(20)
Who wrote "What is an Author"?
A. Michel Foucault
B. Roland Bathes
C. Jacques Derrida
D. Vladimir Propp

(21) Dante considered language to be:
A. Divinely instituted
B. Created by men
C. Created by the governments
D. Created by chance


(22) Lorenzo Valla considered language to be:
A. Divinely instituted
B. Created by men
هنا ممكن غير كلمة men ويجيب كلمة humen
C. Created by the governments
D. Created by chance

[كارزما]

هذا سؤال مهم انا حفظته عن ظهر قلب اتوقع اذا مو باكيد راح يجيبه :mh318:

(23) What did Renaissance Humanists use to break the monopoly of Latin on education and promote the use of European languages?
A. They used plays
B. They used poems
C. They used grammar books
D. Nothing. It happened by chance

(25)
Formalism rejected the distinction between:
A. Literature and reality
B. Form and content
C. Literature and criticism
D. Poetry and Prose

(26)
The culture of Ancient Greece can be described as:
A. A living culture
هنا لانها كانت oral
B. A museum culture
C. A culture of books
D. A culture of aristocracy

(27) The literary culture of Ancient Rome can be described as:
A. A culture of books
B. A culture of aristocracy
C. A living culture
D. A museum culture
هنا اصبحت في كتب

[كارزما]

What did Roman author use poetry and literature for?
A. To improve eloquence and sing national glories
B. To sell books and fight unemployment
C. To entertain the emperor and the masses
D. To educate children and entertain adults

هذا السؤال سهل -- ليه استخدم المؤلفين الرومان -- الشعر والادب
الاجابه ِ A

Why is Western literature and criticism connected to classical Greek and Roman cultures?
A. They share the same taste in literature
B. They share the same religion
C. Western literature is a recreation, a revival of classical literature
D. Western literature borrows mythology from the literature of classical antiquity

ليه الادب الغربي والنقد متصلين بـ بالثقافه الرومانيه واليوناينه -- طبعا لأحيااءrevival --الادب الكلاسيكي
االاجابه C

Roman writers felt inferior to Greek culture because:
A. The Greeks had a bigger empire
B. The Greek culture was easy to understand
C. Roman was superior to Greece militarily, but inferior culturally
D. It was easier to become famous in Greece than in Rome
الروما شعروا بالنقص من الثقافه اليونانيه لأنه الاجابه c

[كارزما]

Recent history is showing that the Renaissance started in:
A. In al-Andalus in the 11th century
B. In Germany in the 19th century
C. Paris in the 8th Paris
D. In New York in the 20th century

التاريخ الحديث لعصر النهضه بدأ ---- من الاندلس في القرن 11 الاجابه A


(33) The books of ancient Greece were translated back into Latin from:
A. Russian sources
B. Jewish sources
C. Greek sources
D. Arabic sources

الكتب اليونانيه القديمه ترجمت مره اخرى الى اللاتينية
هو حاط العربيه بس الاجابه اعتقد خطا -- الاجابه هي اليونانيه -- يعني c


(34) Who made the distinction between Mimesis and Diegesis?
A. Plato
B. Cicero
C. Aristotle
D. Ibn Rushd

هذا السؤال نحفظه صم --- شفته باكثر من نموذج -- الجوب طبعا A


(35) Why did Plato ban the poet from the city?
A. He was jealous
B. He doesn't like entertainment
C. Poetry cripples the mind
D. Poetry is not good for health
ليه افلاطون حظر او طرد الشعراء من المدينه -- لأنه الشعر في نظره يشل العقل -- والاجابه هي c

(36) "And narration," says Plato, can proceed by:
A. Imitation
B. Narration
C. Imitation or narration or a mixture of the two
D. By indirect speech

الاجابه c --لأنه افلاطون كان عنده قسمين في كتابه هو المحاكاه والسرد



Plato analyzed poetry as an imitation in his dialogue.
A. Phaedrus
B. Sophist
C. Ian
D. Republic

اسم كتاب افلاطون الي حلل فيه المحاكاه ---Repubic


(38) What did Aristotle write?
A. Drama
B. Poetry
C. Speeches
D. Philosophical works

ارسطو كان فيلسوف --الاجابه d
(39) In which one of the following books did Aristotle analyze tragedy?
A. Rhetoric
B. Politics
C. Poetics
D. Metaphysics

وش اسم الكتاب الي حلل فيه التراجيديا ارسطو --- الجواب c

(40) Tragedy was defined as "an imitation of an action" by:
A. Dryden
B. Plato
C. Horace
D. Aristotle

الي عرف المحاكاه بانه حدث ---- هو ارسطوو --

[كارزما]

اسئلة مهمه والربط بين الاسئلة والجواب

37-In Narrative Discourse, Gerard Gennette defines the
"time of the story" as:

A- The time in which the author is writing the story
B- The time in which the story happens
C- The time in which the story is being told
D- The time in which the story is being read

38-In Narrative Discourse, Gerard Gennette defines the
"time of the narrative" as :
A- The time in which the author is writing the story
B- The time in which the story happens
C- The time in which the story is being told
D- The time in which the story is being read

39-Gerard Gennette calls "narrative order" :
A- The relationship between the time of the story and the
time of the narrative
B- The relationship between the time of the story and the
time of the reading
C- The relationship between the time of writing and the time
of reading
D- The relationship between the time of fiction and real time

[كارزما]

According to Aristotle, tragedy has:
A. Six parts
B. Twelve parts
C. Twenty parts
D. Thirty parts
ارسطو قسم التراجيديا الى 6 اقسام الاجابه A

(43) A good plot, says Aristotle, should have:
A. Entertainment
B. Music and dance
C. Beginning, middle and an end
D. More than one story
الحبكه الجيده كما قال ارسطو انها انه لها بدايه ووسط ونهايه
الاجابه c

(44) Formalism defined its project as the study of literature:
A. From a scientific and objective perspective
B. From a religious perspective
C. From a political perspective
D. From an economic perspective

التشكيله عرفت ببأن مشروعها -- دراسة الادب من منظظظور علمي وموضوعي
الاجابه هي ِA

(45) Which school of criticism developed the concept of "Defamiliarization"?
A. Greek and Roman critics
B. French Structuralism
C. Post-structuralism
D. Russian Formalism

هالاجابه -- مو متأكده منها ---
(46) Russian Formalists wanted to:
A. Promote Russian literature
B. Translate Russian literature
C. Develop a science of literature
D. Mix science and literature
الشكليه الروسيه كانت تريد ---- تطوير علم الادب ---c

(47) Vladimir Propp was a Russian Formalist who studies:
A. Novels
B. Fairy Tales
C. Plays
D. Short stories
فلاديمير بروب -- هو من الشكليه الروسيه ويددرس -- الحكاااايات الخرااافيه --- الاجابه b

(48) In his study of fairy tales. Vladimir Propp established:
A. Twenty character types
B. Sixty character types
C. Thirty-one character types
D. Seven character types

في دراسته للحاكااايات الخرااافيه -- فلاديمير اسس --- 7 خصائص

[كارزما]

-Ars Poetica is a treatise on poetry by :
A- Plato
B- Aristotle
C- Horace
D- Cicero
هذا حفظ صم -- وهو هوراس ---- الاجابه c

2- "Captive Greece took its wild conqueror captive. "The conqueror was:
A- England
B- France
C- Russia
D- Rome
هوراس هنا قال هذي المقوووله وطبعا يقصد الرومان الاجابه -- D


3-Medievel and Renaissance authors like Dante considered language to be :
A- A human creation
B- A divine creation
C- A government creation
D- A product of chance

دااانتي ---- اللغه قال انها الااهيه الاجابه B
4-In the Renaissance, Lorenzo Valla broke with tradition and considered language to be :
A- A human creation
B- A divine creation
C- A government creation
D- A product of chance

لوريز فيلا --- قالت انها نسانيه -الاجابه A

5-It was during the Renaissance that the monopoly of Latin as the sole language of instruction and education was broken. The weapon that humanists used to break that monopoly was :
A- Books of literature
B- Poems that praised the vernacular
C- Grammar Books
D- Criticism

كيف كسروا الاحتكار اليوناني يعني سلاحهم كان كتب القواااعد -- الاجابه C

[كارزما]

-During the Renaissance, Humanist critics relied heavily on theories of imitation that …. Developed :
A- In Rome
B- In Greece
C- In Europe
D- In the Muslim world

عصر النهظه والنقد الانساني اعتمد بشكل كبير على محاكاة ---- الرومان --الاجابه A

7-In literary criticism, formalism is the attempt to make the study of literature :
A- Formal and serious
B- Scientific and objective
C- Fun and entertaining
D- Educational and interesting

في النقد الادبي - الشكليه هي محاوله الى جعل دراسة الادب -----علميه وموضوعيه << جابها باالاختبار الي قبل بس كان كاتب من منظور علمي موضوعي -- المحهم الاجابه B

8-The aim of Russian Formalism was :
A- To encourage Russians to write more literature
B- To establish formalism as a respectable school of literary criticism
C- To establish literary scholarship as a distinct and autonomous field of study
D- To show the relevance of linguistic theory to the study of literature

هدف الشكليه الروسيه ==إنشاء المنح الدراسية الأدبية كمجال متميز ومستقل في الدراسة- الاجابه هي c

9-Formalists located literary meaning in :
A- The poet
B- The poem
C- The figures of speech
D- The impact of the poem on the reader

الادب في الشكليه هو يعني شعري --الاجابه A

10-Formalists proposed to make a distinction :
A- Between prose and poetry
B- Between ancient and modern poetry
C- Between poetic language and ordinary language
D- Between Russian poetic language and English poetic language

الشكليون اقترحوا تمييز -- اللغه الشعريه والعاديه -- يعني الاجابه --c

[كارزما]

-when a narrative stops the chonological order to bring events or information from the past ( of the time zero ), it is called :
A- Analepsis
B- Prolepsis
C- Anachrony
D- Flashback
----- هذا السؤال حفظ في المحاضره الثامنه وانا نزلت ملخص للمحاضره الثامنه اهم النقاط الي
المهم في الماضي --Analepsis-- يعني هنا الرااوي يتوقف لسرد احداث او معلومات من المااضي -- الاجابه هي ٍA

12- when a narrative stops the chonological order to bring events or information from the future ( of the time zero ), it is called :
A- Analepsis
B- Prolepsis
C- Anachrony
D- Flashback
هنا عكس الي فوق يقوم الكاتب بتوووقع احداث راح تصير له في المستقبل -- Prolepsis --- الاجابه هي ٍB


13-Genette distinguishes three kinds of focalization :
A- Internal, external and zero focalization
B- Simple, complex and compsite focalization
C- First, second and third degree focalization
D- Small, medium and large focalization

جينيت ميز الــ focalization -- بثلاث انواع مهمه هي Internal, external and zero focalization -- الاجابه هي ٍA


14-What are the two issues that Gerard Gennete says traditional criticism confuses under "Point of View":
A- Plot and characters
B- Writer and narrator
C- First-person narration and third-person narration
D- Narrative voice and narrative perspective
النقد التقليدي كما يقول جينيت يخلط بين مسألتين تحت وجهة النظر هو سرد الصصصصوت -وومنظووور السرد -- يعني الاجابه هي ٍC


15-According to Roland Barthes, "a text is not a line of words realizing a single 'theological' meaning (the 'message' of the Author-God) but :
A- " a space in which a variety of writings, none of them original, blend and clash."
B- " a ground in which a variety of writings, none of them original, blend and clash."
C- " a multi-dimensional in which a variety of writings, none of them original, blend and clash."
D- " a uni-dimensional space in which a variety of writings, none of them original, blend and clash."
هذا مو متاكده منه --- هو في المحاضر ه التاسعه بس مالي خلق ادور تععتب ههه
الاجابه حاطينها C

16-Roland Barthes rejected the idea that literature and should rely on :
A- A single method of reading that everyone should follow
B- A single self-determining author, in control of his meanings
C- A single school of criticism to interpreta all the texts
D- A single philosophy of language to use for literary criticsm
هنا بارث -- رفض فكرة الادب وان يعتمد على مؤلف ذو قرار نفسي في التحكم بمعانيه والتي تحقق نواااياه فقط --- الاجابة هي ٍB

17-Barthes wants literature to move away from the idea of the author in order to discover :
A- The power of literature
B- The hidden meaning of the text
C- The intentions of the author
D- The reader and writing
بارثز اراد ان ينتقل الادب من فكرة الكاتب " المؤلف ال اكتشاف ---قارئ وكتتاااابه معااا -- الاجابه هي ٍD


18-According to Michel Foucault, the "author function"is :
A- A set of belief that the author encodes in his text for the reader to find
B- A set of criteria the reader applies to understand the opinion of the author in the text
C- A set of criteria used in bookstores to organize books on the shelves
D- A set of beliefs governing the production, circulation, classification and consumption of text

من خلال ميشيل فوكولت -- وظاائف الكاتب ---- الانتاج - والتداول والتصنيف واستهلاك النص --D

[كارزما]

هذا السوال رقم 42 من اسئلة الترم الاول
مالقيته في الملزمة وكرره في الترمين
According to Richard Mabark, European writers knew Greek works
A- Directly by reading them
B- From Arabic translations
C- By hiring Greek translators
D- Only through the praise of ( Roman ) Latin authors
معناه ان الكتاب الاوروبيون عرفوا الاعمال اليونانية فقط من خلال ثناء الرومان للكتاب اللاتينيين

[كارزما]

What is the number of the actants in Greimas's Actantial Model ?
A- Six
B- Ten
C- Sixteen
D- Twenty

سته عدد النماذج الي بس ابي اعرف لك هذا التعريف Actantial model -- الكيان الفاعل او الكيان البطولي --
والي اقترح هذا النموذج هو جيريمس --- -- وطبعا استند الى نظريه فلادييمير بررووب -- وطبعا هذا النموذج له ست عناصر وتسمى -actants


20-A.J. Greimas says we can apply the Actantial Model on :
A- Short stories
B- Novels
C- Plays
D- All literature


21-Mimesis-Diegesis is a literary distinction that was first formulated by :
A- Shakespeare
B- Aristotle
C- Quinintilian
D- Plato
هنا طبعا اخترنا افلاطون لأنه في كتابه الاول book III - republic -- Mimesis-Diegesis
والكتاب الثاني ناقش فيه bookX -Republic --- the pan poets poetry ---


22-Poetry, Says Plato, is dangerous and ought to be banned from the state because
A- Poetry makes people lazy
B- Poetry cripples the mind
C- Poetry makes people weak in math
D- Poetry teaches people to rob and steal

ليه حظر افلاطون الشعر--- لأنه يعتقد انه الشعر يخرب العقول -- يشلها عن التفكير

23-Without a system of writing, how does a society preserve and transmit its knowledge, its customs and its traditions ?
A- They hire writers from another society
B- They use poetry and songs
C- They use videotape
D- They use word of mouth
اذا ما كن عندنا نظام للكتابه كيف راح يحافظ وتنقل المعرفه في المجتمع --- طبعا عن طريق الشعر والغناء


24-Which critics said: "And narration may either simple narration, or imitation, or a union of the two" ?
A- Ibn Rushd
B- Aristotle
C- Horace
D- Plato

افلاطووووون

[كارزما]

The Greek term for "art" and its Latin equivalent (ars) refer to :
A- The fine arts
B- The sciences
C- The crafts
A- All kinds of human activities which we would call crafts or sciences


مصطلح الفن --في اليونانينه "art " وفي اللاتينيه "ars "هنا السؤال يقول ترجع لـأيش نقول لجميع النشاطات الانسان والتي يطلق عليه حرف او علوم
26-Aristotle defined what as " imitation of an action " ?
A- Poetry
B- Tragedy
C- Films
D- Music
ارسطو نحط مع التراجيديا ---- "imitation of an action


27-Tragedy causes pity and fear in :
A- The writer
B- The audience
C- The actors
D- The hero
هنا ليه اخترنا الجمهور -- طبعا لأنه الجمهور يتصور نفسه فيها من خلال السبب والنتيجيه
because the audience can envision themselves whitin the cause and effect


28-What genre of literature does Aristotle say have six parts
A- The novel
B- Comedy
C- Tragedy
D- Epic poetry
قلنا قبل الشيء الوحيد الي مع ارسطو هو التراجيديا --- بس تذكرت معلومه عن ارسطو انه قيصر الادب واسم كتابه poetics ---المهم الست اقسام هي plot- chracter -diction- thought- spectacle melody


29-What is it that, according to Aristotle, should have a beginning, a middle and an end ?
A- The characters
B- The setting
C- The themes
D- The plot
من مواصفات الحبكه هي ان تكون في البدايه والوسط والنهايه -
لاحظت هذا الاختبار كثره او نقول اغلب شيء ركز ع المحاضره 1 + 2 + 3 + 6+7 +8 --

30-The most accurate definition of the " plot " in Aristotle's theory of tragedy is :
A- The events of the story
B- The arrangement of the events in the story
C- The arrangement of the hero's action in a cause- effect chain of incidents
D- The arrangement of the events in a cause-effect chain incidents
الحبكه نظام --الاحداث فيه سبب ونتيجه --
31-"Literariness," according to Jan Mukarovsky, consists in :
A- The maximum of foregrounding of the utterance
B- The minimum of foregrounding of the utterance
C- The maximum of backgrounding of the utterance
D- The minimum of backgrounding of the utterance
هذي المحاضره السابعه -- طبعا من خلال الخيارات كلها خطأ ما عندا الاولى حتى لو ما درسنا ههه
32-In poetry, said Jakobson, the communicative function should be :
A- Reduce to minimum
B- Increased to a maximum
C- Completely eliminated
D- Used moderately

33-Vladimir Propp tested his theories on :
A- Renaissance drama
B- American short stories
C- English novels
D- Russian fairytales


-----
هذولا العلماء بالمحاضره السابعه
- Mukarovsky نربط مع الابراز – واصلا من اسمه مايكروسكوفي --<< بس عشان افهم ما عليكم من النطق -- المهم يتكلم عن = maximum of foregrounding معناه الابراز – ابرز في الكلام والتعبير

- نجي للثاني شكلوسفكي Shklovsky – اصلا من اسمع كل شيء غريب ""strange" dis-automatization وغير مالوف – وبعد وصف الشعر بانه تراقص الاعضاء اللفظيه

- نجي للثالث –Jakobson-- عاد ما عرفت اربط شيء معه – وعلى سيرة الربط الوظيفه التواصليه له –انخفظت الى احد يعني – reduced to minimum


- وطبعا لا ننسى انه عرف موضوع الادب – وقال انه مو كله ادب – يعني the subject of literey scholarship is not in its totality but Literariness (liiteratunost) – which make of given work work literature

- وفيه بعد شخص عرف موضوع الادب ايكنباوم – Eichenbaum—قال انه علماء الادب يجب عليهم العنايه بشكل منفصل بتحقيق السمات المميزه للمواد الادبيه يعني-- The literary scholar ought to be concerned solely with the inquiry into the distinguishing features of the literary materials

-
- بعد عندنا اثنين مفكرين تأثروا في الشكليات الروسيه –influence on thinker
- Mikhail Bakhtin and Yuri Lotman, and on structuralism

[كارزما]

-

البنيوية أو مدري وش أسمها = Structuralism :cheese:
Strated in France in the 1960s - 20th
بدأت في فرنسا بالقرن العشرين .
مكتوب عندي التاريخ مهم قلت بنزله للتذكير :biggrin:

- المحاضرة الثامنة :019:


The only imitation ) mimesis ( possible in literature is the imitation of ......... where the exact words uttered can repeated/reproduce/imitated
A. Actions
B. Sentences
C. Worlds
D. All false
أربطوا السؤال بالجواب عشان ما تنسونها :S_45:



-

هذا بالمحاضرة التاسعة أتوقع :
The Text is plural, - A tissue of quotations -
هو نسيّج من الأقتباسات http://www.ckfu.org/vb/images/shrqwea/%28269%29.gif

[كارزما]

Literariness," according to Jan Mukarovsky, consists in :
A- The maximum of foregrounding of the utterance
B- The minimum of foregrounding of the utterance
C- The maximum of backgrounding of the utterance
D- The minimum of backgrounding of the utterance




Mukarovsky == اسمه مايكروسوف == عاد الي اسمه ممايكروسكوب خخ < المهم
-- احفظوه maximum foregroundingكل حاقه كبيره -- يعني لما نشوف الميكروسكوب نشوف كل شي كبير --
:16.jpg:

[كارزما]

- Mukarovsky نربط مع الابراز – واصلا من اسمه مايكروسكوفي --<< بس عشان افهم ما عليكم من النطق -- المهم يتكلم عن = maximum of foregrounding معناه الابراز – ابرز في الكلام والتعبير

- نجي للثاني شكلوسفكي Shklovsky – اصلا من اسمع كل شيء غريب ""strange" dis-automatization وغير مالوف – وبعد وصف الشعر بانه تراقص الاعضاء اللفظيه

- نجي للثالث –Jakobson-- عاد ما عرفت اربط شيء معه – وعلى سيرة الربط الوظيفه التواصليه له –انخفظت الى احد يعني – reduced to minimum


- وطبعا لا ننسى انه عرف موضوع الادب – وقال انه مو كله ادب – يعني the subject of literey scholarship is not in its totality but Literariness (liiteratunost) – which make of given work work literature

- وفيه بعد شخص عرف موضوع الادب ايكنباوم – Eichenbaum—قال انه علماء الادب يجب عليهم العنايه بشكل منفصل بتحقيق السمات المميزه للمواد الادبيه يعني-- The literary scholar ought to be concerned solely with the inquiry into the distinguishing features of the literary materials

-
- بعد عندنا اثنين مفكرين تأثروا في الشكليات الروسيه –influence on thinker
- Mikhail Bakhtin and Yuri Lotman, and on structuralism



Formalism also rejected the traditional dichotomy of form vs. content which, as Wellek and Warren have put it, "cuts a work of art into two halves: acrude content and a superimposed, purely external form

ان الشكليون " الروس " كل شيء عندهم رفض – معارضين المهم "Rejected " رفضوا الانقسام التقليدي – للشكل والمحتوى – وطبعا الي قال هذا هم اثنين "ويلك ووارين – ووضعوا قطع العمل الى نصفين الاول المحتوى الاولي –البسيط و/ تركيب الشكل الخارجي البحت "



فيه بعد واحد ما كتبته وهو فلادمير بروب - Vladimir prop--- من اهم مسااهماته دراسة الفلكلور Morphology of the Folktale
درس Vladimir prop---- " الحكايا الخرافيه " fairy tale " -- سسس نواع من الشخصيات والاحداث -- -اطلق على الاحداث "events اسم "function" -- وعددها 31



الشخصيات وعددها 7 character and established 7 broad character types


--Formalist School is credited even by its adversaries such as Russian critic Yefimov
فضلت المدرسة الشكليه حتى من قبل معاارضيها --- كالنقد الروسي بيييفيموف



Russian formalism gave rise to the Prague school of structuralism





شرح سريع لللمحاضره السابعه -

[كارزما]

هذي اسئلة الاختبار الي من المحاضره 14 ----

Karl Marx said that it is people's material conditions that determines their :
A- Literary talents
B- Consciousness
C- Wealth
D- Productivity

45-In Marxist criticism, literary products ( novels, plays, etc ) cannot be understood :
A- Without reference to the author's biography and political culture
B- Without reference to the classical background that influences them
C- Outside of the economic conditions, class relations and ideologies of their time
D- Outside the time and place in which the author lives

46-Karl Marx and Friedrich Engels were :
A- Literary critics
B- Political philosophers
C- Novelists
D- Playwrights

47-Western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting, sculpture were ALL produced in imitation of
A- French literature
B- Classical Antiquity
C- Latin American culture
D- Arabic and Islamic culture

[كارزما]

-

Repost


7.Roman poet Horace writes:
“Captive Greece took its wild conqueror captive”. This line is considered as:
A. The least useful line in the poem.
B: The most famous line in the Western cultures.
C. A big lie.
D. All false

:wink::love080:

[كارزما]

Recent history is showing that the Renaissance started in:
التاريخ الحديث يظهر أن النهضة بدأت في:
A. In Al-Andalus in the 11th century عشر الحادي القرن في الندلس
B. In Germany in the 19th century
C. Paris in the 8th Paris
D. In New York in the 20th century

[كارزما]

.
.



https://45.media.tumblr.com/932e45573c47bbb10010b2b100290c61/tumblr_o3t3p4hIlN1ufdoz0o1_500.gif



جبت لكم أقوال الاولين والآخرين بخصوص هالمادة :16.jpg:
حتى تجمعاتها ومواضيعها متعبه مثل محتواها :017:
ممكن يكون فيه أخطاء ان شاء الله ننتبه لها ونحلها مع بعض :S_45::004::004:
الله يسهلها علينا ولايضيع لنا تعب :sm5::004::004:

[Sitah.Alotaibi]

98 درجتي في المادة
انصحكم حفظ الاسئلة حقت الاعوام مع مذاكرة المحتوى
ما راح يعقدها معكم السليسلي ......

[pink velvet]

يسعد ايامك ياكريزما
اش الجمال وراحة البال اللي اشوفها ذي :(202):
الماده دسمه وشوفة الملزمه يسد النفس مع كمية المعلومات اللي فيها
بس الله يسهل للجميع :106:
سهلتي علينا الله يسهل عليك دروب ممشاك يارب

.................

[shadow22]

.
.




Horace advised his readers to simply imitate the Greeks and……

a. Never try to invent anything themselves because their inventions will be weak and unattractive.
b. To try to to invent anything themselves.
c. To read also in Eastern cultures.
d. All false

طبعا في هذا السوال
هوراك او هوراس اللي هو يوصي ربعه يقولهم لا تسوون فيها فاهمين وتحاولون تخترعون تراكم بتفشلون مثل ربعنا تحبيط حبط فيهم


:


13. The Romans so desperately wanted to imitate the Greeks……….

a. And succeeded to match them
b. And easily managed to match them
c. A and B
d. And so constantly failed to match them.


طبعن الرومان سمعو كلام هوراس وراحوا يقلدون لكن الرجال نكبهم تتوقعون وش صار فيهم


:

السؤال الرابع عشر

14. The reason for the failure of Rome to match Greeks Is because:
a. Greeks have more resources than Romans.
b. Imitation cannot produce originality.
c. Greeks avoided being busy in conquering others’ lands.
d. All false

سبب فشلهم في التقليد ان ( التقليد لا يمكن ان ينتج التميزاو الاصالة)

:

السوال الخامس عشر

15. ……………….. strongly affected how culture was produced in Rome and will also strongly affect how culture will be produced later in Europe and the West.
a. Romans’ feeling of dominance
b. Romans’ feeling of inferiority
c. Romans’ feeling of power
d. Greece feeling of inferiority


في هالسؤال يبين شعور الرومان بالنقص اثر علي كيفية انتاج الثقافه في روما وايضا يؤثر علي طريقة انتاج الثقافة في اوروبا

انتهت المحاضرة الاولى:106:



كويزاتها علشان تثبت المعلومات :S_45:

Literary Criticism (أسئلة شامله للمنهج )#1 (http://www.ckfu.org/vb/t625178.html)
[ كويز ] :Literary Criticism and Theory(النقد الأدبي ) - lecture 1 (http://www.ckfu.org/vb/t621286.html)
[ كويز ] :المحاضرة الاولى - النقد الادبي / اسئلة ابو بكر (http://www.ckfu.org/vb/t585868.html)






:

طبعا فاصل ونواصل :biggrin:
قد يطول قد يقصر لكن انتزرونااااااااااااااااا :sm5::004:


http://giffiles.alphacoders.com/309/3092.gif












you're really so amazing .you made it easily for me girl . God bless and making you happy daily:004:

[أم هيثم]

:106:جعلك الله من اهل الجنة يا كارزما قولي امين

[اميره الجزيره]

مواضيعك دااائما تجيب العافيه
الله يوفقك بالدارين على قد تعبك معنا
فعلا بس اشوف موضوع منزلته اتحمس كثييير للمذاكره وتسهلين علينا الصعب
:d5::1::1::1::1::1::1::1::1::1::1::1::1:

[اميره الجزيره]

98 درجتي في المادة
انصحكم حفظ الاسئلة حقت الاعوام مع مذاكرة المحتوى
ما راح يعقدها معكم السليسلي ......


طيب شنو افضل محتوى صيته
كثرت الملخصات لهمقرر واحترت
لاتقولي مس هيفاء اتوقع اخلصه السنه الجايه من صفحاتخه:Cry111:

[كارزما]

.
.

قطرة من سحائب الرحمن دُعاء يُرفع لك وانت لاتعلم :(176)::004::004:
كل الي مروا بها الموضوع وردوا أو قيموني :004::004:
أودعوا لي بقلوبهم ربي يعطيكم أضعاااف ماسألتوه لي ..
ويفتح عليكم من خزائنه الملأ حتى يرضيكم
دنيااا وآخرة يااااااااااااارب :004::004::004:


.
.


الحمد لله أخيرااا خلصت هالعلة :16.jpg:
أبسط تعريف لها انها نظرية المعرفة بس بالانقلش :cheese:
لان كل الموجودين فيها مو أدباء لا ذولاك أهل وين اذنك با جحا :hahahahahah:
علشان كذاا ماحبيتها .. ميولي أدبية ياخي :bawling:
مفرداتها معقولة حتى المصطلحات سهل استيعابها .
كيف تذاكرونها والله مدري كل واحد ادرى بامكانياته .
شخصيا بديت اذاكرها ساحبه الملزمة معي باي مشوار
قسم بالله رايحة عرس ذاك اليوم ومتحضنتها :sm5:
بس حسيت بتستنزف وقتي مثل عصر النهضة اسبوع بالثالثة ماغير اعد
الصفحات ومو راضية تخلص :017::017:
لذلك تابعت معاه المحاضرات ..:sm5:
استفدت المادة خلصت بسرعة :mh001:
اشياء حددتها مهمة شفته ركز عليها وجات عليها اسئلة <-- احبني جدااا هنا :16.jpg:
اطول محاضرات 7-8-9 مدتهم 50 دقيقة من العاشرة تبدا الوناسة 20 دقيقة واقل :71:
يعني الي ماوده بملزمة مس هيفا يتابع المحاضرات ويشوف الترجمة اضعف الايمان :139:
وبالمراجعة يتابع هالموضوع :16.jpg:

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بالمرفقات بحط لكم اختبارت المادة بالترتيب من عام 1434 الفصل الثاني
الى الفصل الأول لعام 1437 :sm5:
ربي يسعد الي جمعوها وصححوها ويعطيهم حتى يرضيهم :004::004:
+ ملخص 36 صفحة للي مثلا وده يذاكر الاسئلة وياخذ فكرة عن المادة :16.jpg:
..

بتلاحظون ان الفصل الأول 37 هو نفسه الفصل الاول 35 :S_45:
آآآآآآآآآسعااااااداااااااااا :sm5::16.jpg:
وين ايقونات بس يحلل لنا الأسئلة الي عليها العين هالسمستر :hahahahahah:

[كارزما]

الكويزات :
تجميعF!x (http://www.ckfu.org/vb/u84739.html) كل الشكر لك

أسئلة شاملة للمنهج
Literary Criticism (أسئلة شامله للمنهج )#1 (http://www.ckfu.org/vb/t625178.html)
Literary Criticism (أسئلة شامله للمنهج )#2 (http://www.ckfu.org/vb/t625184.html)
Literary Criticism (أسئلة شامله للمنهج )#3 (http://www.ckfu.org/vb/t625194.html)
Literary Criticism (أسئلة شامله للمنهج )#4 (http://www.ckfu.org/vb/t625200.html)
Literary Criticism (أسئلة شامله للمنهج )#5 (http://www.ckfu.org/vb/t625223.html)
Literary Criticism (أسئلة شامله للمنهج )#6 (http://www.ckfu.org/vb/t625244.html)
Literary Criticism (أسئلة شامله للمنهج )#7 (http://www.ckfu.org/vb/t625274.html)
Literary Criticism (أسئلة شامله للمنهج )#8 (http://www.ckfu.org/vb/t625281.html)
http://img.dev-point.com/imgcache/2014/03/431728.png

[جحدر77]

وش أفضل ملخص مترجم للمادة ؟؟

[كارزما]

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امتحان 1434 الفصل الأول هو نفسه
امتحان 1435 الفصل االاول هو نفسه
امتحان 1437 الفصل الأول :16.jpg:
يعني الدورة الزمنية للتكرار :no:
شوفوا باقي النماذج اعتبارا من الفصل الثاني لـ1434:sm5:




http://i940.photobucket.com/albums/ad246/TaschimaCullen/GIFS/jensengif40_zpsee444932.gif

[كارزما]

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مس هيفا بلامنازع .

[كارزما]

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الحين ليش كل مره يجاوبون على السؤال بشكل مختلف :mad:
الحين مو نفس السؤال ؟؟

Formalists proposed to make a distinction :
A- Between prose and poetry
B- Between ancient and modern poetry
C- Between poetic language and ordinary language
D- Between Russian poetic language and English poetic language





.

.


One of the most important distinction that the Formalists proposed was:
A. Between prose and poetry
B. Between metaphors and metonymies
C. Between form and content
D. Between poetic language and ordinary language


أنا اشوف ان
C- Between poetic language and ordinary language

هي الاجابة الصح للسؤالين :16.jpg: والا فيه فخ بالسؤال ما انتبهت له :eek:

[أم هيثم]

:icon1:نهاركم سعيد ممكن رقم جوال الدكتور فوزي سليسلي ولكم مني جزيل الشكر

[overmy]

.
.



الحين ليش كل مره يجاوبون على السؤال بشكل مختلف :mad:
الحين مو نفس السؤال ؟؟

Formalists proposed to make a distinction :
A- Between prose and poetry
B- Between ancient and modern poetry
C- Between poetic language and ordinary language
D- Between Russian poetic language and English poetic language





.

.


One of the most important distinction that the Formalists proposed was:
A. Between prose and poetry
B. Between metaphors and metonymies
C. Between form and content
D. Between poetic language and ordinary language


أنا اشوف ان
C- Between poetic language and ordinary language

هي الاجابة الصح للسؤالين :16.jpg: والا فيه فخ بالسؤال ما انتبهت له :eek:



نعم الجواب الصحيح هو
Between poetic language and ordinary language


Russian Formalists argued that Literature was a specialized mode of
language and proposed a fundamental opposition between the literary
(or poetic) use of language and the ordinary (practical) use of language

[كارزما]

.
.


أوفر ياقلبي شكلك مصحصحة معي بذا المادة :16.jpg:
بالله شوفي لي أي سؤال مطرح شك بحله وحطيه هنا علشان ننتبه له :017:

عملت كويزات بناء على الملفات المصورة وتاريخها طبعا اعتمدت أول سنة
مثلا الفصل الأول 1433-1434 أنا سجلته بناء على أول سنة:sm5:
هو نفسه الي بيقول لكم الفصل الأول 1434 يعني مو ذيك المشكلة :wink:
فركزا بالاسئلة وخلوا النملة في حالها :16.jpg:

.. لاحظت فيه أسئلة تكررت كثيير واحيان غير بالصيغة
بس مو ذاك التغيير الجذري ما عاد سؤال الشخصيات
والراوي الي قلبه فوق تحت :icon120:وحرام ثلاث اسئلة تروح درجتها
بسبة عدم التركيز :007:

اعتمدت الحلول المصححة وبعضها صححتها من عندي لان بعض
النماذج فيها اخطاء :139:
فلذلك المفروض نتعاون كلنا ونأكد الحلول .. اي غلط تشكون فيه
حطوا رقم السؤال بالكويز ونص السؤال هنا ونتناقش علشان
الفايدة تكون عامة للكل :53:

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.

كويزات الاختبارت :


http://www.ckfu.org/vb/t741017.html

http://www.ckfu.org/vb/t741038.html

http://www.ckfu.org/vb/t741260.html

http://www.ckfu.org/vb/t741309.html

براجع الاسئلة وبشوف اذا باقي سؤال شرد من هنا او هناك ونضيفه :16.jpg:

بالمرفقات نموذج آخر اختبار الي هو تبع السمستر الي راح :icon19:
طبعا ماعملت له كويز لانه كان تكرار لواحد من النماذج بدون اضافات :icon120:

الخلاصة

المادة رغم غثاثتها كمحتوى الا ان الدكتور قمممميل :icon120::004:
فاعطوا المادة حقها وربي ماراح يخيبنا ان شاء الله :sm5::004:
ويعوضنا عن كوارث السمستر الي رااح :icon9::004:


http://images2.fanpop.com/images/photos/6500000/Jensen-animations-from-Eye-of-the-Tiger-jensen-ackles-6546339-300-169.gif


.

دودي لُطفا حطي المشاركة ذي بأول أو ثاني رد :16.jpg::004:

[Hend Alqahtani]

يسعد قلبك يـآرب , وربي لايحرمك الاجر

ويبارك لك في وقتك وجهدك ..

أنـآ الحين بالمحاضرة ٣ الي ماودها تخلص ..

[overmy]

تنبيه
على سؤال كررتيه مع اختلاف الاجابات فيه

9-Formalists located literary meaning in :
A- The poet
B- The poem
C- The figures of speech
D- The impact of the poem on the reader

الاختيار طبعا B
انتبهي مو A

-------------------------
They rejected the theories that locate literary meaning in the poet rather
than the poem
رفضوا النظريات التي تُحدد المعنى الأدب من خلال الشاعر بدلا من القصيدة


-----------------------------
لهنا وخلاص والف شكر على التجمع الرائع :d5:
شكرا كارزما
اعتقد ليلة الاختبار بفتح التجمع اول لمراجعة اهم النقاط
بعدها بمر على المحتوى بشكل سريع

والى اللقاء بليلة الاختبار :004:

[كارزما]

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أنا انقل زبدة التجمعات بدون ما ادقق على
كل شي فيها لذلك اذا لقينا غلط حلو يثبت المعلومة اكثر
ونركز أأأأأأكثر .
السؤال أهم شي أكون بالكويزات حالته صح .
المهم نبهوني احس بعض العالم عايشين ع الكويزات هههههههه

[Noora200]

آه آه آه ياراسي من شوفة هالموضوع ياربي

مجدولته ابتدي فيه بكرا وعندي انفلونزا وهونت خلاص بأجله كم يوم والله يفرجها


مششششكورة كارزما عالموضوع الكامل المتكامل المميز ويعطيط العافيه والله يعديها على خير

[Noora200]

رجاءاً من المشرفين والمشرفات يتثبت الموضوع لأهميته وكمان موضوع الترجمة الابداعية والمواضيع المهمة

[Bayashoot]

يعطيك الف عافية كارزما عالموضوع الكامل المتكامل الله يوفقك ويسعدك يارب

[كارزما]

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ويعطيكم جميعا ماتتمنون واكثر .
نورا التجمعات تتثبت قبل اختبارها علشان لا احد
يتشتت بينها وبين الموضوع الملخصات والواجبات

[جحدر77]

طيب حطوا لنا ملخص مس هيفاء


كاريزما موضوع قمة

عسا يدك ماتمسها النار

[كارزما]

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جميعا يارب .. جحدر ادخل موضوع الملخصات المثبت بتلقى كل الملخصات
موجودة .

[Hend Alqahtani]

الحمد لله , تمت

[jmoooly]

شكرا كاريزما جهد جبار كعادتك

[Noora200]

ياليت احد يجمع لنا كل الموضوع بملف pdf لأنه ممكن المنتدى يعلق بأي وقت

وكمان ابي اسأل عن نقاط ٣١ بالمحاضرة السابعة و٨ شخصيات هل نحفظهم

واسئلة عيوش احسها صعبة ودخلت على كويز منهم ولقيتها تحط خيار واحد او كلهم صحيحة



طبعاً درست المحاضرة 3,4,7, والثامنة لسى مادرستها ،، قرأت انه اكثر اسئلة الاختبار منهم .. صحيح ؟؟

[كارزما]

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يب معظم الأسئلة من 7 و 8 و 4 و 3 و 9:icon120:

بالنسبة لوظايف الشخصيات ماقد شفت سل عنها
بس ترى سهله اقريها مع الترجمة بتتستسهلينها بالمره
الي الكل عارفها بمعظم الروايات الشخصيات كيف يكون نمطها
عندك البطل والمسافر والغايب والشرير
+ بعض الاحداث وترتيبها في القصص
اقريها بشوية رواق وتتسهل مع اني اشوف اني شاقحتها
ولاعليها تظليل بالملزمة خخخخخ معناه الدكتور مامخمخ عليها بالشرح .:16.jpg:

[B-h-s]

كارزما كيف الحال :biggrin:
ودي اسأل وش طريقة مذاكرتك لنقد ؟ :bawling:

[كارزما]

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حي الله بدر .. عاش من شافك .:16.jpg:
وأانا اختك قعدت مدة داخله خارجه بالملزمة :bawling:
كرهت ام المذاكرة اقعد بالمحاضرة الوحدة اسبوع ماترضى تخلص .:007:
آخرتها فتحت المحاضرات وتابعت مع فوزي خذت مني اسبوع تخيل !!!:eek:
لو بقولك ذاكر الأسئلة اعتمادا على قولة انه يكرر اتوقع بتضيع لوغير
الصيغة .. لكن بنصحك بنصيحة حماادة حبيب ألبك ههههه:S_45:
أقرا الملزمة قراية مثل ماسوى كنه يقرا جريدة على قولته .
وفيه نموذج أسئلة محطوط رقم المحاضرة الي جا منها السؤال
وشف وش يركز عليه الدكتور واقرا هالتجمع من اول صفحة لآخر صفحة
وفالك الفل مارك ان شاء الله ..:004:

[الزعيـــمه]

يسلمووووووووووو كارزماااااااااااااااااااااا :(125):
الحين عندي استفسار :(107):
اختبار الترم الي راح احد عنده خبر عن الأسئلة

[كارزما]

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زوز ماصوروه لان كان نسخة عن اختبار 1435 الفصل الثاني اظن .:064::biggrin:



+


الزعيمة الحين انتي صقيقتنا الي كل سمستر تدور ع الكويزات :sm5:
ثم تعصب وتربط الحزام وتسدح كل الكويزات الي كانت تسأل عنها :hahahahahah:
تجملي فينا هالترم وسوي تبع الترجمة او طرق البحث :icon9::004:

[gallo]

ماشاء الله كارزما جهد جبار الله يكتب اجرك
انا ذا الماده ضايعه فيها جدا والله كلام كثير ومعلومات من كل مكان
الفكره الي تدور براسي اني احفظ اسئلة عيوش والاختبارات واقرء الملخص بس سؤال
عجبتني الاسئله الي نزلتيها هههه والشرح من وين هي ؟اسئلة الاختبارات
فكرة اجمعها في ملف وانزلها مع اسئلة عيوش. :064:

[كارزما]

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الشرح لدودي كول ربي يسعدها بتلقين لها موضوع برا ههههه
+ راجعي اسئلته تماااااااام .

[gallo]

وين الاسئلة لقيت شرح دودي

[ام طلال*]

الله يجزاك الجنه ووالديك ويجعل كل حرف كتبتيه وكل جهد سويتيه بميزان حسناتك ولايحرمك التوفيق والدرجات العاليه بدينك ودنيااك :love080::rose::rose:

يااااااااااااااااحبيييييي لك:verycute:

[كارزما]

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آآآآىمين يارب :verycute::love080:
لبى فؤادك ام طلال .. ويبارك لك ربي بطلال
ويجعله قرة عين وفخر لسيد الكونين يااارب :verycute::love080::love080:



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غلو اسئلته عملتها كويزات وبتلقين معظم الأسئلة بأول صفحة :16.jpg:

[B-h-s]

-


كيف الحال كارزما سؤال اختي لو تكرمتي اللحين الوظائف الـ 31 في محاضره 7 :bawling:
هل نقراها ولا نحفظ فيها ولا وش وضعها يا ليت تعلميني وش اللي اركز عليها
احس الماده ما يمشي معها الا القراءه > بفهم < :rose:

[كارزما]

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.

اخبرها محاضرة 8 متى انحاشت <-- مخي فاضي من المادة
هي للاطلاع مثل ماقال الدكتور عني تعرف وش هي ؟؟
وبمراجعتي للاسئلة مامر علي سؤال فيها .
ان شاء الله بالمراجعة نمرها ع الطاير مع بعض .

[gallo]

نحفظها ولاكيف الشخصيات تعبت نفسيا!!!

[كارزما]

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يا قلبي قلباااه قلت لكم قال خذوا فكره عنها يعني لاتتعمقون فيها
الظاهر بتوسوسون فين لين احفظها

http://i.imgur.com/MRsEoaH.gif

[هآيدي]

الحين لو اسحب ع الملزمه البثره واشوف التجمع والاسئله اللي فيه وكذا والمعلومات وشرح دودي وبعضا من اسئله عيوش
تهقون انجح !؟ انا مستغنيه في ذا الماده عن a من ابثر ما قرأت ، ودي ادري وش تبغى وش السالفه عجزت ، كلماتها معقده ويبي لها قعده بس لحفظ المصطلحات هذا غير كل محاضره توصل 20 صفحه 😭 بصيح 😭💔

[كارزما]

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صيحي ياهايدي لين يجيك بيتر هههههه
كلنا صحنا لين قلنا آآآآآآمين ههههه
ان شاء الله كافية + ادعي الله لايغير فوزي علينا ياااالله .

[عذب !]

اخبارك كارزما ، إن شاء الله امورك تمام

* سؤال - آسف لو أزعجتك بس مهم جدًا بالنسبه لي - :
الحين ملفات الاسئله بأول فقره من الموضوع * شامله لكل أسئلة الدكتور السنوات اللي راحت كلها * ؟

[كارزما]

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بخير الله يسلمك .
وش ازعجتني توك مابعد طلبت شي ههههه
نقول انشاء الله كاملة .
سويت الموضوع وأنا فاضية وحفرت بكل التجمعات
طبعا كان فيه أغلاط اكتشفوها الدفعة الي راحت وصححوها
وعدلوا الملفات وبناء عليه عملت الكويزات والتجميع + صححت
الي انتبهت له مثل سؤال الراوي والشخصية الي عكسه الدكتور
والكل كان يحل بمقتضى الملزمة .
الدفعة الي راحت امتحانهم كان كوب بست من سمستر سابق


شوف الرد هنا (http://www.ckfu.org/vb/13270442-post80.html)

[عذب !]

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بخير الله يسلمك .
وش ازعجتني توك مابعد طلبت شي ههههه
نقول انشاء الله كاملة .
سويت الموضوع وأنا فاضية وحفرت بكل التجمعات
طبعا كان فيه أغلاط اكتشفوها الدفعة الي راحت وصححوها
وعدلوا الملفات وبناء عليه عملت الكويزات والتجميع + صححت
الي انتبهت له مثل سؤال الراوي والشخصية الي عكسه الدكتور
والكل كان يحل بمقتضى الملزمة .
الدفعة الي راحت امتحانهم كان كوب بست من سمستر سابق


شوف الرد هنا (http://www.ckfu.org/vb/13270442-post80.html)

^
ماشاء الله ، ربي يوفقك ولا يحرمنا إبداعك ي شيخه
* مدري وش اقولك كارزما ، بس هالترم واضح اني مو فاضي ابد اذاكر مثل مذاكرة الأترام الماضيه بس محظوظين إنكم بدفعتنا

[كارزما]

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واضح مايحتاج تقول .
ربي يكون بالعون ان شاء الله هاانت .
ربي يبارك لنا باوقاتنا ياارب .. ويفرجها من عنده على اهون سبب .

[jamola]

الله يطمن ويريح بالكم كلكم كاريزما وجمان وصيتههونتوها علينا بردودكم:verycute::004::004::106:

[أم راشد0000]

5. Joachim du Bellay who lived in 1520s was a ……….writer.
a. British
b. French
c. Norwegian
d. Italian

[أم راشد0000]

5. Joachim du Bellay who lived in 1520s was a ……….writer.
a. British
b. French
c. Norwegian
d. Italian
اي اجابة صحيحة

[كارزما]

5. Joachim du Bellay who lived in 1520s was a ……….writer.
a. British
b. French
c. Norwegian
d. Italian





من Joachim du Bellay
تعرفين انه فرنسي :biggrin:

[wejdanh]

الله يعطيكم العافية يارب ويوفقنا جميعا يارب
بالنسبة لاستفساري لاحظت وجود ملفين فقط اللي موضحين الاجابات جاية من اي محاضرة ياليت اذا فيه مجال ياكاريزما توضحين لنا النماذج اللي صححتيها من اي محاضرة عشان تثبت اكثر ولا عليك امر طبعا اذا فيه مجال

[كارزما]

.
.

وجدان مافهمت عليك !!
بس انا اعتمدت الملفات الي هنا
والي صححوها دفعت تغريد

هنا (http://www.ckfu.org/vb/12890488-post92.html)

والاسئلة الي صححتها والله ماعاد اذكر بأي ملف
بس بتنتبهون اذا حليتوا الكويز او ادخلوا نفس مواضيع الكويزات
اذكر تناقشت انا والبنات فيها .

[wejdanh]

لقيت لك في الصفحة الثالثة من هالتجمع حاطة كل الاسئلة اللي جت ف كل محاضرة قصدي لو تصير في ملف pdf اسهل واسرع في الحفظ بدال ماتكون هنا
واللي اقصدة بردي السابق ان فيه بس ملفين حاطين جنب كل سؤال واجابته جاي من اي محاضرة وطبعتها اسهل
والله يعطيك العافية صدق ماقصرتي ويوفقك دنيا واخرة وييسر لك كل امر عسير زي مايسرتي ع الجميع دعوه من قلبي وربي بين الاذان والاقامة :004::106:

[كارزما]

.
.

مدري اذا تقصدين اسئلة عيوش او ابوبكر ؟؟
او غيرها وربي الحين طافية ان شاء الله احد فهم قصدك
ويجمع لك الي تبين بملف واحد .. او انا بالمراجعة اجمعها لك
يسعدك ربي .. نُوصيك الدعاء .


+

وجدان روحي من الاعدادت وخلي المشاركات بالصفحة الوحدة 100
كذا يسهل عليك التصفح .
انا التجمع عندي كله صفحتين بس وش طولهم :sm5:

[يـــــــــــارا]

كارزما ,,,مستحية منك سؤال صغير :060:الدكتور درس خمس سمسترات قبلنا صح

[كارزما]

.
.

يب

https://31.media.tumblr.com/d30d7c9431b96d95ed8e632d1bef4a8b/tumblr_inline_myzuw5T5TN1s0yzr8.gif

[msyuna]

Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both imprecise, but they will become VERY influential in shaping European art and literature





Poetry in Horace’s text was subordinated to oratory and the perfection of self-expression. Homer and Sophocles are reduced to classroom examples of correct speaking for rhetoricians to practice with.

[حماااده]

انا عندي ملاحظـه : خاصه للي ما يذاكر فقط : وقرر يعتمد على الاسئله

حلول الاسئله اللي تتداول في هذا المنهج ( الترم السابق ) : مو كلها صحيحه .. واصلا بعضها متناقضـه يعني ملف يقول الحل كذا وملف يقول كذا ..

فالشخص اللي ما نوى يذاكرها ، ينتبه لا يحفظ الاجوبه < لازم يلاحظ التناقضات ويوقف عندها ، او يعتمد على الكويزات اللي الان واخيرا سواها شخص ( كارزما ) يلوموني في دفعتي 3> مجهود كبير :>


الترم اللي راح عاد الاسئله طبق الاصل ، ولكن بعضهم اخطوا بسبب الاجوبه اللي تتداول :>
وللاسف ما كانوا يسون ( كويزات ) واتوقع بسبب الضغط اللي كان عندهم لان قبلها شسمه علم اللغه الاجتماعي
بس دفعتنا سوبر مان :> لا مثيل لها ، الحمدلله ..

^ انا في الحقيقه بما اني اكبر منكم ومخلص هالماده جاي .. وحاط السبحه بيدي اسوي فيها يعني ههههههه

[حماااده]

نسيت اقول شي :>
انا اصلا كنت قاري نصيحه مهمه لانطباع الدفعه اللي قبل قبلنا :>
وكانوا مختلفين فيما بينهم يعني :
قال واحد منهم :
اللي مذاكر الاسئله فقط جاب a+
واللي ذاكر معها المنهج جاب a


في الحقيقه نصيحه عظيمـه لا انساها هههههههههههههههههههههه
بس انتم احرار كلامي مو قرآن ، بكره يغير الاسئله كلها وتجون تسون مشكله

[كارزما]

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.

يا شيبة عرعر ترى نصيحتك الذهبية
بمقدمة الموضوع ... مد يدك بس <---تقهويك هههههه

[~Ghada]

مساء الورد

كارزما يا ألطف اللطيفين شكراً جداً لكل ربع حرف تكتبينه :004:
ترتيباتك وتلميحاتك وحتى شطحاتك فادتني كثير :004:


بدايةً انا كنت مفكره انو الثلاثاء الاختبار طلع الخميس الحمد لله
بس يوم اطالع في تاريخ يوم الخميس الا وهو يوم ميلادي :bawling:
قلت عليه العوض هالسنه بحتفل فيه مرتين السنه الجايه ان شاء الله :16.jpg:


المهم ان قمري دوريمي قالت لي ان أغث مادتين النقد والترجمة والباقي سهل
فقلت اضغط على نفسي وابدا افتح النقد
والصدق ان اللي حمسني للمذاكرة انو جاني ماك بوك برو هدية فقلت اجرب الدراسة فيه :5aga:
بصراحه كنت متخوفه من النقد لاني مدري وش محتواه :agolakser:
لكن طلع جميييييل ومهضوم
هنا تذكرت كلامها يوم قالت اتوقع يعجبك عشان فيه فلسفه :icon120:
قريت المحاضرة الاولى وخلصتها في ربع ساعة وانا فيني نوم بس بعدها حسيت بنشاط ورسخت الحمد لله
يمكن لأنها شي جديد علي فصحصحت بي :mh318:

[amooly999]

:mh12:وش هاالماده مرررره طويله ودسمهالله يسهل يارب ويوفقنا جميعا ومشكوره على جهودك.:004:

[كارزما]

مساء الورد

كارزما يا ألطف اللطيفين شكراً جداً لكل ربع حرف تكتبينه :004:
ترتيباتك وتلميحاتك وحتى شطحاتك فادتني كثير :004:


بدايةً انا كنت مفكره انو الثلاثاء الاختبار طلع الخميس الحمد لله
بس يوم اطالع في تاريخ يوم الخميس الا وهو يوم ميلادي :bawling:
قلت عليه العوض هالسنه بحتفل فيه مرتين السنه الجايه ان شاء الله :16.jpg:


المهم ان قمري دوريمي قالت لي ان أغث مادتين النقد والترجمة والباقي سهل
فقلت اضغط على نفسي وابدا افتح النقد
والصدق ان اللي حمسني للمذاكرة انو جاني ماك بوك برو هدية فقلت اجرب الدراسة فيه :5aga:
بصراحه كنت متخوفه من النقد لاني مدري وش محتواه :agolakser:
لكن طلع جميييييل ومهضوم
هنا تذكرت كلامها يوم قالت اتوقع يعجبك عشان فيه فلسفه :icon120:
قريت المحاضرة الاولى وخلصتها في ربع ساعة وانا فيني نوم بس بعدها حسيت بنشاط ورسخت الحمد لله
يمكن لأنها شي جديد علي فصحصحت بي :mh318:



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حي الله الغزالة :sm5::004::004:
اشوف لايكاتك وتواجدك واقول يامسلمة خذي أخبارها
وارجع أهون :icon9: أحيانا الصمت يقول أكثر من الي نبي نقوله :119::004::004:
نورتي الحته وأهل الحتة :mh001::004::004:
+ النقد هو نظرية المعرفة للفلسفة الكفارية :16.jpg:
يعني جوك انتي وحماادة :icon120:
وللاسف مو جوي :017:+ محتويات مسيو فوزي بيني وبينها عداء :139:

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.

امول اذا تبين نصيحتي اقري التجمع ذا من اول صفحة ان كثرتي أخذ منك ساعة
اقل شي بتكونين صورة عامة عن المادة :cool:
بعدين ادخلي المحتوى وبتتسهل معك .. ماعليك من كلام غادة بس :cheese:
قال النقد مهضوم قال :eek: والله انه عسر هضم وقربعة مصارين :16.jpg:





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.



حبي غادة اتوحشنااااك برشااا :004::004::004::004:
وكل عام وانتي في قلب العاافية وأحباب قلبك ماليين حياتك :004:
ويغفر لابوك ويجعل محبته صبر ورضى :004::004::004:

[حماااده]

للفلسفه الكفاريه
.. ذكرتيني بكلام ودي اقولها حول ربط الفلسفه بالكفر ، اعرف انك تقصدين المزاح زي علومهم فقط زي لغة الكفار ههههه

المهم كتبت كلام كثير بعدين مسحته هههههه

المنهج يحاول يجيب تاريخ العلماء في الادب وتطوراته .. يعني هو زي التاريخ الادب كيف وصل كذا، وانها مستمره حتى الان يعني ..


للمعلومية علوم فقه ديننا على طريقة الفلسفه ولا يهمني احد ( هذا رايي )
فمثلا بدايه ( القياس ) كيف تمت !! له تاريخ وصولات وردود ،
حتى وصلوا لها بهالطريقة :>

[كارزما]

.
.


أحسن انك مسحته هههههه
رح شف لنا دبره مع حليمة والنظرة الابداعية عنده

http://24.media.tumblr.com/tumblr_lolg4xZrDk1qiadpyo1_400.gif

[حماااده]

.
.


أحسن انك مسحته هههههه
رح شف لنا دبره مع حليمة والنظرة الابداعية عنده

http://24.media.tumblr.com/tumblr_lolg4xzrdk1qiadpyo1_400.gif

تبين الجد احس اني استسلمت
المهم اعتقد انه يعيد 20 سؤال حقت النجاح اهم شي :> لا تقولون ما يسوي كذا ابد

ما اقدر اخلص ( صفحه وحده ) مو بس عند منهجه ، بالعكس منهجه احيانا احسن من غيره .. بس في كل المناهج حتى الان فتحت علم اللغه النفسي هههههههههههه خفت اني ما اخلصه !! بسبب اني بطئ كل ما قريت سطر ، رحت فتحت لي مقطع يوتيوب ، او رحت رديت رد :> او سكرت الكمبيوتر ورحت امارس حياتي الطبيعية :>


الله يسهل

[كارزما]

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.

أجل الوضع عادي .. اتطمن :biggrin:
وأنا الي نوم الدنيا كلها فيني وينه هالنوم بالعطلة :41jg:
موقادرة افتح عيني والشاهي براد ورى براد وأنا :019:

وش تشوف باليوتيوب يمكن اصحصح :hahahahahah:

[أم هيثم]

:icon19:مساء الخير للجميع :53:عندي سؤال محيرني اذا ممكن احد يعطيني الجواب الشافي ولكم مني جزيل الشكر. Plato says that poetry should not be allowed in the city because ...
breeds conformity
or
produce ignorance
انا الي حسيته صح produce ignorance
لو سمحتو احد يقنعني بالاجواب الصح:icon120:

[كارزما]

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.

أم هيثم أي سؤال ذا وعطيني خياراته كاملة ؟؟

[jamola]

كاريزما كانك قلتي محاضر 7 مهمه وركز عليها يعني نحفظها ولا نشدد على اسئله مراجعتها بس:sm18:

اتوقع هالماده لزوم اختمها واراجعها قبل يومها ويومها بس مراجعه المراجعه للمذاكره :16.jpg::hhheeeart4::000:

[كارزما]

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.

معظم اسئلته من محاضرة 4-7-8 -9
يعني لو كنتي تشقحين بالمذاكرة تعالي هنا وجيبي
تلاجة الشاهي ههههه

[Doremi]

:icon19:مساء الخير للجميع :53:عندي سؤال محيرني اذا ممكن احد يعطيني الجواب الشافي ولكم مني جزيل الشكر. Plato says that poetry should not be allowed in the city because ...
breeds conformity
or
produce ignorance
انا الي حسيته صح produce ignorance
لو سمحتو احد يقنعني بالاجواب الصح:icon120:

موجود نصا ً بالملخص breeds conformity
مع أني أشوف حتى الخيار الي قلتيه صح حسب وجهة نظر الآدمي، بس يلا نمشي عالنص..

[نوره بنت بابا]

يعطيك الف عافيه كرزما موضوع اكثر من رائع بحرررر معلومات يالله يارب يوفقك ويعوضك تعبك بدرجه كامله بكل المواد

[Doremi]

https://lh3.googleusercontent.com/-tRZJ2b1vcDw/VxmPaPbvqZI/AAAAAAAANMY/NffOX5sHxv0f-GO2N5HZexiwK75Exfn6wCCo/s350/5647.gif



خربوطه صغيره سويتها لترسيخ أهم النقاط بمحاضرتين 3 و 4 ..

ما تغني عن المحاضرات نفسها طبعا ً..
بس أنا كان عندي مشكله ألخبط بينهم ومخي مسوي فله كل ما أحفظها يرميها..
الي يستفيد منها بالعافيه :16.jpg:

https://lh3.googleusercontent.com/-hFv2cqJ4UvU/VxmWObEhxBI/AAAAAAAANNw/PQwTaPNUCjkTXeGbn0kWdcxskTR3ZOJsgCCo/s500/9898.png


( اضغطوا هنا علشان تجيبون النسخه الكبيره ) (https://lh3.googleusercontent.com/-hFv2cqJ4UvU/VxmWObEhxBI/AAAAAAAANNw/PQwTaPNUCjkTXeGbn0kWdcxskTR3ZOJsgCCo/s0/9898.png)



الصدق مع المراجعه المكثفه حبيت الماده ..
السالفه حقتهم مب شينه بس المحتوى بيض ..


https://lh3.googleusercontent.com/-0BxfaY7FwGo/Vxe28b9kmKI/AAAAAAAANKo/gynXoSWuJRYEqXxNhVIC7Uk9hiycMi1TACCo/s245/_mapktwRbQ01qzw0zeo2_250.gif




نشوف باقي أحبها إذا جيت أشوف أسئلته ولا لا..


بالتوفيق جميعا ً

[نوره بنت بابا]

15) According to Gerard Genete ,"Zero Focalization" in a narratier is a situation in .....
The charactor knows MORE than the narrator The charactor knows LESS than the narrator The character knows as much as the narrator

الاجابه more
بس بالكويز less

17) According to Gerard Genete,"External Facalization" in a narrative is a situation which
The character knows as much as the narrator The charactor knows LESS than the narrator The charactor knows MORE than the narrator

الاجابه less
بس في الكويز more

حبيت انبهك ياعسل ( في الكويز 1435 الفصل الاول ) وشكرا

[Doremi]

أهم سوالف هوراس :

https://lh3.googleusercontent.com/-zKBWCdo-kG0/VxmpQyUxsvI/AAAAAAAANOI/AnMNmg5zXOMRZYBjtP0rGSYvjZot3sptwCCo/s300/horac.png


( هنا الصوره بالحجم الكامل ) (https://lh3.googleusercontent.com/-zKBWCdo-kG0/VxmpQyUxsvI/AAAAAAAANOI/AnMNmg5zXOMRZYBjtP0rGSYvjZot3sptwCCo/s0/horac.png)


.. الاثنين الي بعده ما يحتاجون لأن سينيكا ماعنده سالفه هي كلها معلومتين ..
وكونتيليان برضو جاب فكرتين ظريفه سهله الحفظ..

[يـــــــــــارا]

كويزات كرزومتنا الله يعطيها حتى يرضيها يارب بعد الحل

[أم هيثم]

تسلمي دوريمي رحم الله والديك

[كارزما]

15) According to Gerard Genete ,"Zero Focalization" in a narratier is a situation in .....
The charactor knows MORE than the narrator The charactor knows LESS than the narrator The character knows as much as the narrator

الاجابه more
بس بالكويز less

17) According to Gerard Genete,"External Facalization" in a narrative is a situation which
The character knows as much as the narrator The charactor knows LESS than the narrator The charactor knows MORE than the narrator

الاجابه less
بس في الكويز more

حبيت انبهك ياعسل ( في الكويز 1435 الفصل الاول ) وشكرا




.
.


يسعد قلبك نورة على دعواتك :004:

شوفي ردي هنا وانتبهي :biggrin:

http://www.ckfu.org/vb/t741260.html

[*Ashwaq*]

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.


بخير الله يسلمك .
وش ازعجتني توك مابعد طلبت شي ههههه
نقول انشاء الله كاملة .
سويت الموضوع وأنا فاضية وحفرت بكل التجمعات
طبعا كان فيه أغلاط اكتشفوها الدفعة الي راحت وصححوها
وعدلوا الملفات وبناء عليه عملت الكويزات والتجميع + صححت
الي انتبهت له مثل سؤال الراوي والشخصية الي عكسه الدكتور
والكل كان يحل بمقتضى الملزمة .
الدفعة الي راحت امتحانهم كان كوب بست من سمستر سابق


شوف الرد هنا (http://www.ckfu.org/vb/13270442-post80.html)

15) according to gerard genete ,"zero focalization" in a narratier is a situation in .....
The charactor knows more than the narrator the charactor knows less than the narrator the character knows as much as the narrator

الاجابه more
بس بالكويز less

17) according to gerard genete,"external facalization" in a narrative is a situation which
the character knows as much as the narrator the charactor knows less than the narrator the charactor knows more than the narrator

الاجابه less
بس في الكويز more

حبيت انبهك ياعسل ( في الكويز 1435 الفصل الاول ) وشكرا

حل كارزما صح لان الدكتور غير الترتيب بين الراوي والشخصية
في التعريف في الملزمة الراوي اول ثم الشخصية ولو كان السؤال بهذا الصيغة فاجابتك صحيحة
لكن الدكتور عكس وجعل الشخصية قبل الراوي لذا اجابة كارزما صحيحة

[كارزما]

+

أنا سألته خفت ان السؤال كان محض صدفة :000:
او الدكتور ماكان قصدة وهو يحط الثلاث اسئلة
بالذات ان حتى الدفعة الي راحت والي قبلها ما صححوه :sm4:
بس رد علي واكد ان اذا عكسنا راح تتغير كمية المعرفة .
فتأكدت انه الله يسلمه راعي حركااات ..الله يسخره لنا بس .:biggrin:

[أم هيثم]

لو سمحتوا احد يتفضل يشرح لي هذه الجزئية :the concept logocentrism was developed by
post-structuralists
or
structuralists

[كارزما]

.
.

أم هيثم يقولك مفهوم اللغويات تم تطويره
من قبل اي مدرسة فكرية ؟؟
طبعا مابعد البنيوية
post-structuralists
تلقينها بمحاضرة 12

[أم هيثم]

:rose:الله يعطيك حتى يغنيك ويرضيك يا كرزما يا عسل

[wejdanh]

سوال
who developed the Actantial Model
1 michel Foucault
2 AJ Greimas
3 Gerard Gennette
4 Roland Barthes

[نوره بنت بابا]

يااااه مانتبهت لشقلبة السؤال مرررره يعطيك العافيه كارزما

[كارزما]

سوال
who developed the Actantial Model
1 michel Foucault
2 AJ Greimas
3 Gerard Gennette
4 Roland Barthes


.

.


2 AJ Greimas

في الستينات اقترح اي جي جريمس هالنموذج
استنادا الى نظريات فلادمير بروب .
محاضرة 11

[msyuna]

بذاكر عندكم بما اني مو فالحه اخلص لحالي :sm1:

:Russian Formalism
https://33.media.tumblr.com/9d68b61462b79ea8f50c293eff5bd05a/tumblr_ni6ykk0JdY1qkx988o1_500.gif




تيم فورتريس خلينا نلعبها بالاجازه دودي :004:


.x originated and flourished in Russia
.x A school of literary scholarship
.x It was championed by unorthodox philologists and literary historians
:x Their project was stated in
. 1Poetics: Studies in the Theory of Poetic Language
. 2Modern Russian Poetry by Roman Jakobson


.(1917,x Russian Formalism is a product of the Russian reveloution (The Bolshevik Revolution
.x Before 1917 Russia romanticized literature and viewed literature from a religious perspective
.x The formalist perspective encouraged the study of literature from an objective and scientific lens
x thier oppenents named them the formalist but they prefered to be called the morphological approach or the specifiers
x They revolutionized literary criticism by establishing the specificity and autonomy of poetic language and literature.



:x Formalist project had two objectives
1The emphasis on the literary work and its component parts
2The autonomy of literary scholarship




:x Formalist Principles
1Formalists are not interested in: The psychology and biography of the author,The religious, moral, or political value of literature ,The symbolism in literature also people (i.e., author, reader) are not important
2Formalism strives to force literary or artwork to stand on its own
3the Formalists rejected traditional definitions of literature. They had a deep-seated distrust of psychology
4They rejected the theories that locate literary meaning in the poet rather than the poem – the theories that invoke a "faculty of mind" conducive to poetic creation.
5They had little use for all the talk about "intuition," "imagination," "genius," and the like.




x Roman Jakobson: (The subject of literary scholarship is not literature in its totality but literariness (literaturnost'), i.e., that which makes of a given work a work of literature
x Eichenbaum: (The literary scholar ought to be concerned solely with the inquiry into the distinguishing features of the literary materials



:x Poetic vs. Ordinary Language
x Russian Formalists argued that Literature was a specialized mode of language


literary (or poetic) use of languageordinary (practical) use of languageIt does not aim at communicating a messageaims at communicating a messagereference is not to the world but to itselfreference to the world outside the message

[شوشينا]

هل التواريخ مطلوبه.؟

[msyuna]

هل التواريخ مطلوبه.؟

برأيي لا تاخذي الا المهم منها
الدكتور ما يركز الا على المهم

[كارزما]

.
.

شوشينا مثل ماقالت يونا ركزي ع التاريخ المهم والمميز
لان الدكتور قال أنا ادرس أدب مو تاريخ .

[msyuna]

:x Literariness
x Jan Mukarovsky: Literariness consists in the maximum of foregrounding of the utterance,” that is the foregrounding of (the act of expression, the act of speech itself) To foreground is to bring into .high prominence
x By backgrounding the referential aspect of language, poetry makes the words themselves palpable as phonic sounds.
x By foreground its linguistic medium, the primary aim of literature, as Victor Shklovsky famously put it, is to estrange or defamiliarize or make strange
x makes strange: invites the reader to explore new forms of perceptions and sensations, and new ways of relating to language.
x Shklovsky spoke of poetry as a dance of articulatory organs
x Jakobson: in poetry "the communicative function is reduced to a
minimum.


:x Form vs. Content
x Formalism also rejected the traditional dichotomy of form vs. content
x Wellek and Warren : cuts a work of art into two halves: a crude content and a superimposed, .purely external form
x To formalist poetry is : an integrated type of discourse, qualitatively different from prose, with a .hierarchy of elements and internal laws of its own


:x Plot vs. Story
:plot/story is a Formalist concept that distinguishes between
(1Story : The events the work relates (form
2Plot : the sequence in which those events are presented in the work
x form is what makes something art to begin with


:x The Morphology of the Folktale
x theory of fiction : Vladimir Propp
x He called the events Functions and their numbers were limited to 31
x He developed a theory of character and established 7 broad character types, which he thought could be applied to other narratives.



:x Legacy of Russian Formalism
x Yefimov:The contribution of our literary scholarship lies in the fact that it has focused sharply on the basic problems of literary criticism and literary study, first of all on the specificity of its object, that it modified our conception of the literary work and broke it down into its component parts, that it opened up new areas of inquiry, vastly enriched our knowledge of literary technology, raised the standards of our literary research and of our theorizing about literature effected, in a sense, a Europeanization of our literary scholarship…. Poetics became an object of scientific .analysis, a concrete problem of literary scholarship
x All contemporary schools of criticism owe a debt to Russian Formalism
x Russian formalism gave rise to the Prague school of structuralism and the literary wing of French structuralism

[شوشينا]

الف شكر يونا..كارزما:love080::love080:

[msyuna]

^
العفو يا قمر :004:








Structuralism
http://www.adina.com/rbc_fluid%20and%20structure.web.gif




x Structuralism in literature appeared in France in the 1960s
x it does not seek to interpret literature; it seeks rather to investigate its structures
(x Gerard Gennete book Discours du récit (Narrative Discourse




:x Narrative Discourse
: x Gennette analyzes three main aspects of the narrative discourse
1Time: Order, Duration, Frequency
(?2Mood: Distance (Mimesis vs. Diegesis), Perspective (the question who sees
(?3Voice: Levels of narration (the question who speaks








:x Time
:x There are two forms of time in narrative
1The time of the story: The time in which the story happens
2The time of the narrative: The time in which the story is told/narrated
x Narrative Order: is the relation between the sequencing of events in the story and their arrangement in the narrative.
x Time Zero: is the point in time in which the narrator is telling his/her story. This is the narrator’s present, the moment in which a narrator is sitting and telling his/her story to an audience or to a reader, etc. Time Zero is the time of the narration



:x Anachronies
Anachronies happen whenever a narrative stops the chronological order in order to bring
(events or information from the past (of the time zero) or from the future (of the time zero


ProlepsisAnalepsisThe narrator anticipates events that will occur after the point in time in which the story has stops.The narrator recounts after the fact an event that took place earlier than the moment in which the narrative is stopped.ccan arouse the reader's curiosity by partially revealing facts that will surface lateroften take on an explanatory role, developing a character's psychology by relating events from his past



:x Reach and Extent
x anachrony's reach: temporal distance
extent: The anachrony itself can also cover a duration of story that is more or less long



:x Mood
x all narrative is necessarily diegesis (telling). It can only achieve an illusion of mimesis (showing) by making the story real, alive and vivid.
x Mimesis, for Gennete is only a form of diegesis, showing is only a form of telling
x The only imitation (mimesis) possible in literature is the imitation of words, where the exact words uttered can be repeated/reproduced/imitated.
x Mimesis: maximum of information and a minimum of the informer
x Diegesis: a minimum of information and a maximum presence of the informer


: x Distance and Perspective
1Narrative of Events:Always a diegesis, that is, a transcription of the non-verbal into the verbal
: 2Narrative of Words : The only form of mimesis that is possible
A - Narrated speech: the most distant and reduced ,exact uttered speech
B - Transposed speech: in indirect style ,mixture of uttered and narrated speech
C - Reproduced speech: The most mimetic form is where the narrator pretends that the character is speaking and not the narrator


: x Narrative Perspective
x Perspective: is the second mode of regulating information
x Traditional criticism, says Gennete, confuses two different issues (narrative voice and narrative .perspective) under the question of Point of View

:x three kinds of focalization
1Zero focalization: The narrator knows more than the characters. He may know the facts about all of the protagonists, as well as their thoughts and gestures. This is the traditional "omniscient narrator".
2Internal focalization: The narrator knows as much as the focal character. This character filters the information provided to the reader, and the narrator does not and cannot access or report the thoughts of other characters.
3External focalization: The narrator knows less than the characters. He acts a bit like a camera lens, following the protagonists' actions and gestures from the outside; he is unable to guess their thoughts. Again, there is restriction.

x Focalization: means, primarily, a limitation, a limit on the capacity of the narrator to “see” and “report.” If the narrator wants to be seen as reliable, then he/she has to recognize and respect that he cannot be everywhere and know everything

[msyuna]

:x Voice

:x From the point of view of time, there are four types of narrating

INTERPOLATEDSIMULTANEOUSPRIOR SUBSEQUENTBetween the moments of the action (this is the most complex)Narrative in the present contemporaneous with the action (this is the simplest form of narrating since the simultaneousness of the story and the narrating eliminates any sort of interference or temporal game).Predictive narrative, generally in the future tense (dreams, prophecies) [this type of narrating is done with less frequency than any other]The classical (most frequent) position of the past-tense narrative


:x Their structural position with respect to the story/events

HeterodiegeticHomodiegetica story in which the narrator is absent from the story he narratesa story in which the narrator is present in the story he narrates


:x different narrative/enunciative levels of the work

IntradiegeticExtradiegeticthe narrator is immersed within the same level as that of the story world, and has limited or incomplete knowledge of the story he narrates.The narrator is superior, in the sense of being at least one level higher than the story world, and hence has a good or virtually complete knowledge of the story he narrates.

[msyuna]

Roland Barthes

http://www.arthistoryunstuffed.com/wp-content/uploads/2013/12/RB_Maroc_coll_Roland_Barthes_IMEC.jpg
"الرجل الكشخه الذي لا يتصور الا والسيجار بين اصابعه"

x Structuralism usually designates a group of French thinkers who were influenced by Ferdinand de Saussure’s theory of language x
x In Literary Studies: Structuralism is interested in the conventions and the structures of the literary work
x It is not easy to distinguish Structuralism from Semiotics
x Semiotics: is the general study of signs in behaviour and communication that avoids philosophical speculation and cultural critiques that marked Structuralism

x We will focus on his article : “The Death of the Author,” published in his book Image, Music, Text


: x The Death of the Author
x the idea of the “author” is a modern invention
x Literature is tyrannically centred on the author, his life, person, tastes and passions
x Literary criticism, as a result, and literature in general are enslaved to the author
x The work or the text, itself, goes unread, unanalyzed and unappreciated
x Barthes proposes that literature and criticism dispose of the the author
x Once the Author is removed, he says, the claim to decipher a text becomes quite futile
x Roland Barthes questioned the traditional idea that the meaning of the literary text and the production of the literary text should be traced solely to a single author
x Structuralism and Poststructuralism proved that meaning is not fixed by or located in the author’s ‘intention.’
x Barthes rejected the idea that literature and criticism should rely on a single self-determining author, in control of his meanings, who fulfils his intentions and only his intentions

[msyuna]

^
سبحان الله كيف وانا اذاكرها انجلد بينما بعد ما اكتبها تبان قصيره وكيوت كذا :(107):


تابع x Roland Barthes :The Death of the Author




:x From ‘Work’ to ‘Text

x According to Roland Barthes, it is language that speaks and not the author who no longer
determines meaning. Consequences: We no longer talk about works but texts

x Roland Barthes :(It is now known that a text is not a line of words realising a single
‘theological’ meaning (the ‘message’ of the Author-God) but a multi-dimensional space in which
a variety of writings, none of them original, blend and clash. The text is a tissue of quotations
drawn from the innumerable centres of culture

x Roland Barthes : (The text is plural, “a tissue of quotations,” a woven fabric with citations,
references, echoes, cultural languages, that signify FAR MORE than any authorial intentions. It is
this plurality that needs to be stressed and it can only be stressed by eliminating the function of
the author and the tyranny of the author from the reading process.



: x From Author to Reader

x Barthes wants literature to move away from the idea of the author in prder to discover the
reader, and more importantly, in order to discover writing. A text is not a message of an
author; it is “a multidimensional space where a variety of writings, none of them original, blend
and clash.” A text is made of multiple writings, drawn from many cultures and entering into
mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity
is focused and that place is the reader, not, as was hitherto said, the author.


x it is the reader (not the author) that should be the focus of interpretation. The process of
signification that a text carries are realized concretely at the moment of reading.



: x From Author to Scriptor

x The Author, when believed in, is always conceived of as the past of his own book: book and
author stand automatically on a single line divided into a before and an after.
x The Author is thought to nourish the book, which is to say that he exists before it, thinks
suffers, lives for it, is in the same relation of antecedence to his work as a father to his child.
xIn complete contrast, the modern scriptor is born simultaneously with the text, is in no way
equipped with a being preceding or exceeding the writing, is not the subject with the book as
predicate; there is no other time than that of the enunciation and every text is eternally written
here and now, at the moment it is read



: x The Modern Scriptor
x The modern scriptor has, as Barthes describes it, the hand cut off from any voice. He is borne
by a pure gesture of inscription (and not of expression), traces a field without origin – or which,
at least, has no other origin than language itself, language which ceaselessly calls into question
all origins.
x Succeeding the Author, the scriptor no longer bears within him passions, humours, feelings,
impressions, but rather this immense dictionary from which he draws a writing that can know
no halt: life never does more than imitate the book, and the book itself is only a tissue of signs,
an imitation that is lost, indefinitely deferred.

[msyuna]

^


لحظه ليه لون الخط حقي صار ازرق وانا حاطته عودي من الخيارات؟:064:
راح اشقح 10 لاني اتذكر اجزاء منها فما راح امرها:biggrin:


Algirdas Julien Greimas


http://www.semioticon.com/semiotix/files/2010/07/Kestutis-Nastopka.jpg




x During the sixties, A. J. Greimas proposed the actantial model based on the theories of
Vladimir Propp.
x The actantial model is a tool that can theoretically be used to analyze any real or thematized
action, but particularly those depicted in literary texts or images.
x In the actantial model, an action may be broken down into six components, called actants






:x The Actantial Model


http://www.jmmsweb.org/images/content_images/vol1_no3_005sm.png







x The sender: The sender: initiates the relation between the subject and the object the relation between the subject and the object
x The object: what the subject is directed toward
x The receiver: the element for which the object is desired
x The helper:helps the subject reach the desired object
x The subject: the hero of the story, who undertakes the main action
x The opponent:hinders the subject in his progression

[msyuna]

Actant Vs. Character

x actants must not be confused with characters
x An actant can be an abstraction, a collective character or even a group of several characters
x A character can simultaneously or successively assume different actantial functions
x An actant can be absent from the stage or the action and its presence can be limited to its
presence in the discourse of other speakers
x An actant, says Greimas, is an extrapolation of the syntactic structure of a narrative. An actant is identified with what assumes a syntactic function in the narrative




:x Six Actants, Three Axes

x The six actants are divided into three oppositions, each of which forms an axis of the actantial :description


1The axis of desire - Subject – Object : The subject wants the object. The relationship
established between the subject and the object is called a junction. Depending on whether the
object is conjoined with the subject or disjoined ,it is called a conjunction or a disjunction.


2The axis of power – Helper – Opponent : The helper assists in achieving the desired junction
between the subject and object; the opponent tries to prevent this from happening


3The axis of transmission – Sender – Receiver : The sender is the element requesting the establishment of the junction between subject and object. The receiver is the element for which the quest is being undertaken. To simplify, let us interpret the receiver (or beneficiary-receiver) as that which benefits from achieving the junction between subject and object ,The Senders are often also Receivers.

[المعيده ساره]

يعطيك العافيه كارزما ،، الموضوع مررررهق جدا من كثر الشروحات والاسئله ،،،لو بقراها كلها عزالله ماذاكرت باقي المواد ،،، دفعتي اختبره المستوى السابق وخرجوا فرحااااانين من الاختبار ماشاءالله وقالوا كوبي بست من اسئلة الاعوام ،، عاد ماحددوا اي سيمستر يقصدوا ،، الزبده ريحوا بالكم ولاتعطون الماده اكبر من حجمهاذاكروا اسئلة الاعوام بفهم مو بس حفظ يعني ترجموهاواحفظوها وفالكم ال اي بلس

[سعود خالد]

السلام عليكم ورحمة الله وبركاتهجزاكم الله خير على مجهودكم الجبار
انا ياطويلين العمر لي 3 ايام ماسك النقد ويادوووب خلصت المحاضره الرابعه:bawling:
بحاول اختصر على نفسي واذاكر ملخص Ansaf وجميع اسئئئئئئئئئلة السنوات الماضيه
لان عندي فكر وثقافه انجليزيه قبله :Cry111:
يعني مافي وقت
انتم وش تشورون علي يا الربع
بالله انصحوني :53:

[كارزما]

.
.

ملخص انصاف + أسئلة الاعوام السابقة مثل ماقالت سارة
+ كويزات الاختبارات وتابع التجمع هنا وفالك الفل مارك ان شاءالله
والفكر مادة سهلة ودكتورها حبيب .

[~Ghada]

مبسوطة كثير ع المحتوى الجميل ظلمتوه حرام عليكم والله مشوق :16.jpg:
رغم اني لسى في المحاضرة الثالثة بس مطوله بالي مره :(269):


عجبتني كويزات عيوش حسيتها دقيقة اكثر من الدكتور





كارزما وانتي بخير يا قلبي وانا متنازله عن الهديه ما ابغاها ابغى بوسه بس :cheese::004:

يونا وانتي واحشتني اكثر :004::106:

حماده لاعاد تحط فيديوهاتك الآن جلست اتابعها وتركت المذاكرة :139:
جداً رائعة :(204):
واتمنى احد يتبرع ويترجم الفيديوهات الباقية

[عذب !]

يعطيك العافيه كارزما ،، الموضوع مررررهق جدا من كثر الشروحات والاسئله ،،،لو بقراها كلها عزالله ماذاكرت باقي المواد ،،، دفعتي اختبره المستوى السابق وخرجوا فرحااااانين من الاختبار ماشاءالله وقالوا كوبي بست من اسئلة الاعوام ،، عاد ماحددوا اي سيمستر يقصدوا ،، الزبده ريحوا بالكم ولاتعطون الماده اكبر من حجمهاذاكروا اسئلة الاعوام بفهم مو بس حفظ يعني ترجموهاواحفظوها وفالكم ال اي بلس

^
* بالنسبه لمادة النقد رد ساره هذا

+ مستشعر كارزما هنا

النقد الأدبي :

الي لحقت عليه يسأل البنات عندهم اي استفسار توضيح ؟؟
الوظايف ال31 لي بالمحاضرة 8 ناخذ فكرة عنها بشكل عام
<-- قلت لكم قراها قرايه خخخخخخ
اعمال داريدا مانتعمق فيها مثلا اعماله في النحو او مقالاته
برضوه فكره عامة باستثناء الأعمال الأساسية الي سبق وسأل عنها .
+ لما تابعت معاه المحاضرات المحاضرة 14 آخرها مامر عليه أبداااااااااااااا
خلص المحاضرة بدون حتى مايقراه فمن عندي اقروه قرايه <-- ياويلك .
لاجد لان بالمحاضرات الاشياء المهمة يقعد يشرح ويستفيض بالشرح
والهذرة الزايدة يقراها قرايه .
المستشعر ان مسيو فوزي مارح يغير اسلوبه <--- نقول يااااااااااااااارب


.. تخليك ترتاح نفسيًا :") :004:

[كارزما]

.
.

شكل النقد عقدك يا عذب !

http://38.media.tumblr.com/42c1adfbe4c3d0b4ce1d411a512f8b1b/tumblr_inline_nwfchjonFp1qan247_500.gif

[gallo]

.
.

شكل النقد عقدك يا عذب !

http://38.media.tumblr.com/42c1adfbe4c3d0b4ce1d411a512f8b1b/tumblr_inline_nwfchjonFp1qan247_500.gif

اللهم احمي قلبي من الفتن داخله اشوف وش سويتوا القئ جاكسون ايفري تعذيب والله عيونه:Cry111:

[كارزما]

.
.

http://vomzi.com/wp-content/uploads/2015/11/best-laughing-hysterically-gif.gif



وأنا الي أحسب اني فاضية وأنا متنحة في تفاحة آدم ههههههههه

[msyuna]

https://media.giphy.com/media/iMmOePvIfGvpm/giphy.gif

انقذوا هؤلاء الفتيات من هذه الماده

[كارزما]

.
.

يونا توقعتك تمطرين قلوو بصورجاكسون خخخخ

http://25.media.tumblr.com/94d35f0d1a93af2f1a151994bbdf112b/tumblr_mxqd04dYeI1qa9vu4o3_r1_250.gif



اهداء يا قلوو ههههههه

[msyuna]

.
.

يونا توقعتك تمطرين قلوو بصورجاكسون خخخخ

http://25.media.tumblr.com/94d35f0d1a93af2f1a151994bbdf112b/tumblr_mxqd04dYeI1qa9vu4o3_r1_250.gif



اهداء يا قلوو ههههههه

دوريمي يتنجلط مننا هههههههههههههههه < بعيد الشر
والله يختي انا شغلي نكد الله وكيلك لو هي ما تحبه كان امطرتها :16.jpg:

[كارزما]

.
.

مو ع بالي اقول بيخلون فوق ال150 رد في عمق
المادة ويشبطوا بآخر ردين ههههههههه

[gallo]

الدكتور قرقر كثير ي اخوان :(

[عذب !]

.
.

شكل النقد عقدك يا عذب !

http://38.media.tumblr.com/42c1adfbe4c3d0b4ce1d411a512f8b1b/tumblr_inline_nwfchjonfp1qan247_500.gif

ابد والله الهلال انهزم ومكروف بالدوام ، وقفت ع النقد يعني ! 🙂
* بس خلاص حطيتها براسك بعد ردك الجممميل 😌

[كارزما]

.
.


قدااااااااام أجل ههههههه:71:
المهم الي يشك بجواب سؤال يحطه نتناقش فيه .:(204):
لان حماادة يقول فيه اسئلة كانت محلولة غلط .
ويمكن ما اكون انتبهت لبعضها .:oao:

[شعنونة789]

ياجماعة متى أبدأ بقضايا كم يكفيني من الوقت لسه افحط بالنقد :017:


إنني أغرق أغرق :bawling:

[ام طلال*]

السلام عليكم ورحمة الله وبركاتهجزاكم الله خير على مجهودكم الجبار
انا ياطويلين العمر لي 3 ايام ماسك النقد ويادوووب خلصت المحاضره الرابعه:bawling:
بحاول اختصر على نفسي واذاكر ملخص ansaf وجميع اسئئئئئئئئئلة السنوات الماضيه
لان عندي فكر وثقافه انجليزيه قبله :cry111:
يعني مافي وقت
انتم وش تشورون علي يا الربع
بالله انصحوني :53:




فيه ملخص ل دودي كول جميل مره اقراه وبعدها ذاكر اسالة الاختبارات تبع كل محاضرة وحل كويز المحاضره وفالكa+

[غلا حرب]

وين ملخص دودي بلييييييز

[*Ashwaq*]

وين ملخص دودي بلييييييز

تجدينه هنا في هذا الموضوع


http://www.ckfu.org/vb/t743405.html

[gΐяℓ Ĵαηυαяу]

http://www.m5zn.com/uploads2/2012/3/5/photo/gif/0305120903573enydb560nbed5w8u64p3hit1.gif



شكلي بجيب العيد اهتميت بمادة وتركت الباقي

[غلا حرب]

تجدينه هنا في هذا الموضوع


http://www.ckfu.org/vb/t743405.html

الله يسعدك يارب ويوفقك ياعسل:d5:

[gallo]

ياجماعة متى أبدأ بقضايا كم يكفيني من الوقت لسه افحط بالنقد :017:


إنني أغرق أغرق :bawling:

في يوم تخلصينه اذ قبله ماعندك شيئ لكن اذا عندك ماده وهو بعدها عل طول خلصيه قبل احسن :71:

[شعنونة789]

يسعدك غلو الاختبار بكره :41jg:

[غلا حرب]

اساله اختبار مهمه

وواجبات بالملفات

دعووواتكم:love080:

[Ana sasaa]

وانا فرفر لقيت الملف ذا ان شاءاالله يفيدكمم :16.jpg:

[msteamo]

مررره مرره ثانكسسس ربي يسعدك ويوفقككك يارررب انا حسسسبت تدخل مخي اسئلة ابو وبكرا ودودي بس كلهم شرحهم حلو واختصاراتهم ويعطيهم الف العافيه ويوفقهممم ياررب يارب يارب يوفقنااا جميعاااا 😘😍

[كارزما]

.
.

بنات بتذاكرون النقد والا علم اللغة ؟؟
وش تشوفون ؟؟
شوفوا الي يناسبكم عادي انا بذاكر ترجمة لو ماراح تبدون اليوم .

[نوره بنت بابا]

انا بدرس علم اللغه الاجتماعي

[Doremi]

^

أنا بعد

[Ana sasaa]

وانا بعد

[كارزما]

.
.

ok
أجل بتحضن ملزمة حليمة اليوم ومتى ماحبيتوا بدينا
الله يسهل اموركم يااارب .

[msyuna]

وانا معاكم ^

[gΐяℓ Ĵαηυαяу]

انا بديت بالنقد

[صفا^]

كيفكم
يوم قريت عن انطباعات الطلبة كلهم قالوا كوبي بيست ودي اني اختبرته الترم الي راح من كثر فرحتهم
انا شكلي ببدا بالترجمة شوي من الحين وبكرا
يوم السبت بذاكر محتويات الاسئلة للنقد والمراجعات
ولان ولد سليسلي قال ما بيتعمق كثير بالاسئلة الله يوفقنا جميع

[Magek]

ي عالم هل تكفي الملخصات وأسئلة الاعوام او لازم ملزمة ميس هيفا:o

[Huda Mazen]

يسلموا ايديكم عالموضوع الرائع والمتكامل وجزاكم الله الجنة ... بالنسبة للنقد انا مذاكرته لمحاضرة 8 يكفي أكمل الباقي قراءة فقط (أنا ملخصي لا تحزني 36 صفحة ) .. وأذاكر من الأسئلة والكويزات ؟؟ هل تضمنون إنه الدكتور يكرر أو ممكن يغير الأسئلة ؟؟

[كارزما]

.
.


هدى ممكن ملخص لاتحزني .

[gΐяℓ Ĵαηυαяу]

ابي اعرف الاسئلة المصورة حقت عام 1434 . 1435 هل اجوبتها صحيحه ولا ؟ ردو لاهنتو

[صفا^]

بقولكم شي صديقتي اختبرت ادب انقليزي عند الدكتر حقنا
تقول كوبي بيست تهقون هالشي يفرح ولا اتوهم

[*Ashwaq*]

.
.


هدى ممكن ملخص لاتحزني .

تجديه في هذه المشاركة اخت كارزما


http://www.ckfu.org/vb/12641882-post2.html

[الدكتور ياسر]

الدكتور فوزي صار حبيب القلب ، اليوم مختبر معه عصر النهضة وكرر كل اسئلته
ونقول يا رب كمان يعمل بالمثل لهالمقرر .

[الدكتور ياسر]

يسلموا ايديكم عالموضوع الرائع والمتكامل وجزاكم الله الجنة ... بالنسبة للنقد انا مذاكرته لمحاضرة 8 يكفي أكمل الباقي قراءة فقط (أنا ملخصي لا تحزني 36 صفحة ) .. وأذاكر من الأسئلة والكويزات ؟؟ هل تضمنون إنه الدكتور يكرر أو ممكن يغير الأسئلة ؟؟


م احد يضمن الا الدكتور نفسه .:oao:

[Huda Mazen]

.
.


هدى ممكن ملخص لاتحزني .



أكييييييد ..تفضلي :icon19:

[zainb07]

اذا ذاكرت اسئلة اختبارات المستوى الي راح لنقد الادبي هل يكفي
لانه عندي مادتين يوم الاحد

[كارزما]

.
.


زينب ما ادري اذا قريتي الاسئلة بدون مذاكرة ممكن تستوعبين ؟؟
+ بعض الاسئلة محلولة غلط !
شوفو الموضوع من أوله فيه شروحات وتوضيحات بتساعدك
حتى لو قريتي المنهج قراية بعدين .
+ الكويزات تبع الاختبارات اعتمدت آخر نسخة اعتمدوا انها صح
بس مايمنع الي يشك بشي ينبه <-- تناظر غادة وبيس تخصصهم :wink::004::004:
يعني اليوم افتحي الملزمة اقري المحارات وتابعي الشروحات بالموضوع
وادخلي الكويزات + اشوف منتسب مسوي كويزات برا الموضوع الله يسعده :106:
وفالك الفل مارك ان شاء الله .
وعلشان ماتتعبين عدلي بياناتك ل100 رد بالصفحة :(204):

[hessah.f]

يا الله من نكبات سليسلي تآمنّا :16.jpg:

[كارزما]

.
.

زينب هالملفات الي اقصدها

http://www.ckfu.org/vb/12890488-post92.html

[Neena]

أقوال du bellay وغيره معانا ؟

يعني مثلا يجيب سؤال يقول من القائل ؟

[Hanooo *_*]

.
.

زينب هالملفات الي اقصدها

http://www.ckfu.org/vb/12890488-post92.html



تسلمين على مجهودك العظيم :004: ولا يهونون باقي الاعضاء
لكن اذا ممكن :agolakser: ولا تعصبين:Cry111::Cry111: بوه اسئله مترجمه بالعربي:060::119:

[اسم منتسب]

http://www.ckfu.org/vb/t747007.html

http://www.ckfu.org/vb/t747008.html

http://www.ckfu.org/vb/t747009.html

http://www.ckfu.org/vb/t747010.html

http://www.ckfu.org/vb/t747011.html

[كارزما]

.
.

نينا الدكتور بنفسه قال الاسئلة عامة وليست بذاك العمق .
شوفي اسئلته هل قد سأل مثل سؤالك او لا؟ لان ما اذكر والله

.
.

هنو مرا علي بالاسئلة شي مترجم بس ماعاد اذكر
بس اكيد حطيته بالمرفقات باول صفحة .
+ نصيحة تنسخي السؤال بنفسك وتترجميه افضل
لان بعض الترجمة احسها تحوس ام الدنيا .
+ بترسخ براسك .:16.jpg:

[Magek]

تسلمين على مجهودك العظيم :004: ولا يهونون باقي الاعضاء
لكن اذا ممكن :agolakser: ولا تعصبين:Cry111::Cry111: بوه اسئله مترجمه بالعربي:060::119:


وهل في ملف لجميع الأسئلة بدون ملف الكويزات :mh318::mh12:

[gΐяℓ Ĵαηυαяу]

محد رد افيدوني

[Hanooo *_*]

وهل في ملف لجميع الأسئلة بدون ملف الكويزات :mh318::mh12:

اطلعي فوق استفسارك تلقين اسم منتسب سارد كل الاسئله:d5:
جعلهم الجنه

[Magek]

اطلعي فوق استفسارك تلقين اسم منتسب سارد كل الاسئله:d5:
جعلهم الجنه
مافهمتي ق صدي ابيها بدون كويز ي رب احد يفهمن:24_asmilies-com:

[Hanooo *_*]

وهل في ملف لجميع الأسئلة بدون ملف الكويزات :mh318::mh12:

هذي بعض الاسئله و ي رب تنفعك:(204):

[اميره الجزيره]

الله يجزاكم خير وحبيبتي كارزما بلييز ابي ملف لاسئلة عيوش كامله ماحصلتها بداية الصفحه

[صفا^]

ياربي وانا اقرا بس الاسئلة جاني انعواج في اللسان وش هالمصطلحات والهروج ذي:007::007:

[كارزما]

.
.

اميرة انا حطيت اسئلة عيوش
بالترتيب ما اظن حملتها حتى لنفسي بملف
+ اسئلتها اشوفها متعمقة بالمادة والدكتور قال بالمباشرة
اسئلتي عامة بمعنى ماينبش بين السطور .

[اميره الجزيره]

.
.

اميرة انا حطيت اسئلة عيوش
بالترتيب ما اظن حملتها حتى لنفسي بملف
+ اسئلتها اشوفها متعمقة بالمادة والدكتور قال بالمباشرة
اسئلتي عامة بمعنى ماينبش بين السطور .


انشهد انها متعمقه :verycute::Cry111:

[Magek]

[QUOTE=Hanooo *_*;13355385]هذي بعض الاسئله و ي رب تنفعك:(204):[جزاك الله الجنه وكرزيما وكل من تعب معنا

يشهد علي ربي أني ادعي لكم في الخفى:rose:

[Magek]

وصلت المحاضره الرابعه وتعبت ونطيت ع اسئلة الاعوام والله يستر مااعاد ارجع للملزمه:rolleyes:

[كارزما]

.

.


انتبهي واقري حتى بالعربي وشوفي المهم
وترجمته فوزي حليل بس يرمي كم سؤال جديدة وسهلة
حرام تضيعينها .انا توني بالثانية .<-- تشجيع وكذا هههه

[Magek]

.

.


انتبهي واقري حتى بالعربي وشوفي المهم
وترجمته فوزي حليل بس يرمي كم سؤال جديدة وسهلة
حرام تضيعينها .انا توني بالثانية .<-- تشجيع وكذا هههه

ي عمري انتي ربك يسهلها :bawling: طيب سؤال برايك ملخص لاتحزني يكفي او دودي كول :019:

[كارزما]

.
.

انا طلبته من هدى وهو اول ملخص انا حاطته بالموضوع ههههههه
وجالسة اتابع منه ولا ادري انه لاتحزني .
+ امشي مع الموضوع ذا من اول محاضرة بيكون تمام
شرح دودي كول فيه اهم المهم بصراحة واغلب الي مركز عليه مسيو فوزي
وشرح فكس ماشاء الله شامل ووافي جداااااااااااااااااااااااااااااا .
حتى المعلومات المهمة عاملة عليها بولد بالخط .
اشوفهم مع ملزمة لاتحزني يادون الغرض .

:oao:

[zainb07]

كارزما شكرا شكرا شكرا من اعماق قلبي
بديت بنصيحتك ب الرابط الي اعطيتيني والشرح الي هنا
وفالنا a+

[hessah.f]

ياربي وانا اقرا بس الاسئلة جاني انعواج في اللسان وش هالمصطلحات والهروج ذي:007::007:





كل الدكاترة بكل سمستر نتقدم به يحطون مفردات صعبه وغريبة شوي
وهذا الطبيعي، واللازم ل قسمنا
لازم نتخرج وعندنا مخزون لغوي :004:

[Magek]

.
.

انا طلبته من هدى وهو اول ملخص انا حاطته بالموضوع ههههههه
وجالسة اتابع منه ولا ادري انه لاتحزني .
+ امشي مع الموضوع ذا من اول محاضرة بيكون تمام
شرح دودي كول فيه اهم المهم بصراحة واغلب الي مركز عليه مسيو فوزي
وشرح فكس ماشاء الله شامل ووافي جداااااااااااااااااااااااااااااا .
حتى المعلومات المهمة عاملة عليها بولد بالخط .
اشوفهم مع ملزمة لاتحزني يادون الغرض
:oao:

:oao: يسلموووو الله ييسر امرك ويخليك تختارين الاجابات وانتي تضحكين :lllolll::hhheeeart4:

[محمدالمرزوق]

اسئلة 1437/1436 الفصل الاول غير محلوله ,,

[kholooad]

سؤال عن الاقوال مهمه او لا

[محمدالمرزوق]

سؤال عن الاقوال مهمه او لا








على حسب نماذج الاسئله بالاعوام السابقه فيه اسئله من هالنوعية
وفقاً لـــ .....
من القائل ؟
يعني خذي احتياطاتك :sm12:

[msyuna]

سؤال : هل شاف احد من هنا او من هنا اي سؤال عن التواريخ ولا نسحب ع ابوها ؟

[Hala A]

انا لسه ما ختمت المادة بس عندي احساس وحبيت أشارككم فيه
الحمدلله المادة صح انها كبيييرة وطويلة بس هدا الحمدلله حيخلي ال 50 سؤال عليها مررررررة تكون أسئلة عامة وابدأ مو من بين السطور لأن لما المادة تكون قصيرة يضطر الدكتور يجيب من بين السطور ويتعمق ويحاول يلف ويدور في الخيارات
بس الحمدلله المادة طويلة وفي كثيييير اسئلة يقدر الدكتور يسألها وبإذن الله كلها تكون أسئلة عامة وواضحة
تانيا الدكتور الكل يقولوا انه طيب ويكرر الاسئلة وتهمه مصلحة الطالب طبعا هدا ما يخلينا نريح نفسنا وندرس أسئلة الأترام السابقة فقط بس عالأقل يخلينا ندرس واحنا متطمنين ان الدكتور ان شالله أسئلته حلوة ونقدر نجاوب عليها ونحنا مرتاحين

اهم شي النفسية الحلوة وما نخاف لأن الدكتور ركز على موضوع الخوف في المباشرة ومايبغانا نخاف في الاختبار

[Lovely meme]

ما ادري اذا قريتي الاسئلة بدون مذاكرة ممكن تستوعبين ؟؟
+ بعض الاسئلة محلولة غلط


مااقول الا الله يسعدك دنيا واخره ويفرج همك ويجعلك من اهل الفردوس الاعلي شكرًا شكرًا من كل قلبي علي الاساله الي حطيتيها وباذن الله لك دعوه من كل قلبي الله يحفظك ويسعدك ويهنيك دنيا واخره وعقبال الامتياز والوظيفه والي تتمنين

[صفا^]

صباح الخير
انا عندي ملزمة ميسز هيفا
المهم انها كثيييرة مره السؤال هنا
الملزمة فيها جميع اسئلة النماذج السنوات الي راحت مادري احد يعرف اذا هي صحيحة او لا ؟

[كارزما]

.
.


ربي يسعدكم على كل حرف :004::004:
ويعطيكم حتى يرضيكم :verycute::004::004:
.
.

خلود الي مر علي مقولتين لسينكا + مقولة هوراس:(204):
يونا فريت الاسئلة ماشفت تاريخ للان :biggrin:
ترى الدكتور اسئلته دقيقة وربي بس لانه يكرر ماحد حس
نفس نظام الشناوي تكرراه يخلينا نتجاوز :16.jpg:

+
صفا عندي مس هيفا مافيها أسئلة :000:

[Sitah.Alotaibi]

م احد يضمن الا الدكتور نفسه .:oao:

يكرر و من ورى خشمه ذاكرووا اسئلة الاعواااام و فل مارك ....

للمعلومية الترم اللي راح كرر نموذج كامل و لا زاد عليه
و الحمد الله 98 بالراحه مع اني مذاكرة المحتوى بس خسارة لو اني مريحه عمري من البداية.....لان المنهج ضخم و صعب جدا الطلاب يحفظونه من الجلده للجلده ..... :oao:

[كارزما]

.
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ادور مثل ردك يا صيته دوارة من امس باربع محاضرات
انام واقوم ع الملزمة .. تعتبر وربي اهون من خثاريق حليمة
تقدرين تطلعين شي بس حليمة !!!!!!!!!!!!!!!!1

[كارزما]

.
.

نماذج الاسئلة اذا فيه شي ناسينه ضيفوه


http://www.ckfu.org/vb/12890488-post92.html


+

هنا كويزاتها

.

كويزات الاختبارت :


اختبار النقد الأدبي والنظرية الفصل الأول 1434 د / فوزي سليسلي (http://www.ckfu.org/vb/t741017.html)

اختبار النقد الأدبي والنظرية الفصل الثاني 1434 د / فوزي سليسلي (http://www.ckfu.org/vb/t741038.html)

اختبار النقد الأدبي والنظرية الفصل الأول 1435 د / فوزي سليسلي (http://www.ckfu.org/vb/t741260.html)

اختبار النقد الأدبي والنظرية الفصل الثاني 1435 د / فوزي سليسلي (http://www.ckfu.org/vb/t741309.html)


+

الكويزات الي عملها منتسب صراحة مابعد شفتها
ياليت احد يتأكد هل هي شاملة وحلولها بعد التصحيح او لا ؟؟



أسئلة اختبار النقد الأدبي الفصل الأول للعام 1436-1437 هـ د. فوزي سليسلي (http://www.ckfu.org/vb/t747007.html)

أسئلة اختبار النقد الأدبي الفصل الثاني للعام 1435-1436 هـ د. فوزي سليسلي (http://www.ckfu.org/vb/t747008.html)

أسئلة اختبار النقد الأدبي الفصل الأول للعام 1435-1436 هـ د. فوزي سليسلي (http://www.ckfu.org/vb/t747009.html)

أسئلة اختبار النقد الأدبي الفصل الثاني للعام 1434-1435 هـ د. فوزي سليسلي (http://www.ckfu.org/vb/t747010.html)

أسئلة اختبار النقد الأدبي الفصل الثاني للعام 1433-1434 هـ د. فوزي سليسلي (http://www.ckfu.org/vb/t747011.html)

[Sitah.Alotaibi]

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ادور مثل ردك يا صيته دوارة من امس باربع محاضرات
انام واقوم ع الملزمة .. تعتبر وربي اهون من خثاريق حليمة
تقدرين تطلعين شي بس حليمة !!!!!!!!!!!!!!!!1

جاك اللي جاني بس ما راح يضيع تعبك ان شاء الله :love080:


حتى حليمه ما يخوف :smile: ركزي على النظري :oao:


العملي حاولي تحفظين التراجم الصحيحه و بس :53:

[صفا^]

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ربي يسعدكم على كل حرف :004::004:
ويعطيكم حتى يرضيكم :verycute::004::004:
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خلود الي مر علي مقولتين لسينكا + مقولة هوراس:(204):
يونا فريت الاسئلة ماشفت تاريخ للان :biggrin:
ترى الدكتور اسئلته دقيقة وربي بس لانه يكرر ماحد حس
نفس نظام الشناوي تكرراه يخلينا نتجاوز :16.jpg:

+
صفا عندي مس هيفا مافيها أسئلة :000:

الي مترجم فيه اسئلة لاكثر من ترم

[صفا^]

يكرر و من ورى خشمه ذاكرووا اسئلة الاعواااام و فل مارك ....

للمعلومية الترم اللي راح كرر نموذج كامل و لا زاد عليه
و الحمد الله 98 بالراحه مع اني مذاكرة المحتوى بس خسارة لو اني مريحه عمري من البداية.....لان المنهج ضخم و صعب جدا الطلاب يحفظونه من الجلده للجلده ..... :oao:

قاعده اذاكر الاسئلة والكويزات من الصبح واحس بتانيب الضمير اني ما ذاكرت من المحاضرات :sm1:
وكل شوي اذاكر الاسئلة وافتح ع المحتوى اقراه :24_asmilies-com:
المحتوى صعب ينحفظ مررره جميل كقرءاة ومعلومات بس اختبار لااء
صيته كلامك برد قلبي :53::004:

[كارزما]

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عندي المترجم يا صفا مافية ولاسؤال
لو سمحتي ارفقي الي عندك .

[fαɪsαℓ]

لقيت ملخص لأهم نقاط المحتوى من 17 صفحه :(204): إن شاء الله يفيدنا

[kholooad]

يكرر و من ورى خشمه ذاكرووا اسئلة الاعواااام و فل مارك ....

للمعلومية الترم اللي راح كرر نموذج كامل و لا زاد عليه
و الحمد الله 98 بالراحه مع اني مذاكرة المحتوى بس خسارة لو اني مريحه عمري من البداية.....لان المنهج ضخم و صعب جدا الطلاب يحفظونه من الجلده للجلده ..... :oao:
ماشاءالله تبارك الله
من أمس وانا أفكر اعتمد على الله ثم الاسئله واترك الملخص