المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13302280) . . 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

المشاركة الأصلية كتبت بواسطة أم راشد0000 (المشاركة 13306849) 5. Joachim du Bellay who lived in 1520s was a ……….writer. a. British b. French c. Norwegian d. Italian

المشاركة الأصلية كتبت بواسطة ~Ghada (المشاركة 13310825) 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:

المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13311451) . . أحسن انك مسحته هههههه رح شف لنا دبره مع حليمة والنظرة الابداعية عنده http://24.media.tumblr.com/tumblr_lo...adpyo1_400.gif

المشاركة الأصلية كتبت بواسطة أم هيثم (المشاركة 13312181) :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:

المشاركة الأصلية كتبت بواسطة نوره بنت بابا (المشاركة 13312709) 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

المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13302280) . . 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

المشاركة الأصلية كتبت بواسطة نوره بنت بابا (المشاركة 13312709) 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

المشاركة الأصلية كتبت بواسطة wejdanh (المشاركة 13313433) سوال who developed the Actantial Model 1 michel Foucault 2 AJ Greimas 3 Gerard Gennette 4 Roland Barthes

بذاكر عندكم بما اني مو فالحه اخلص لحالي :sm1:

:Russian Formalism
https://33.media.tumblr.com/9d68b614...x988o1_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

المشاركة الأصلية كتبت بواسطة شوشينا (المشاركة 13313861) هل التواريخ مطلوبه.؟

: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

^
العفو يا قمر :004:








Structuralism
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: 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

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

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


[table=50%][tr=tcat][td]Prolepsis[/td][td]Analepsis[/td][/tr][tr=alt1][td]The narrator anticipates events that will occur after the point in time in which the story has stops.[/td][td]The narrator recounts after the fact an event that took place earlier than the moment in which the narrative is stopped.[/td][/tr][tr=alt2][td]ccan arouse the reader's curiosity by partially revealing facts that will surface later[/td][td]often take on an explanatory role, developing a character's psychology by relating events from his past[/td][/tr][/table]

: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 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

:x From the point of view of time, there are four types of narrating

[table=50%][tr=tcat][td]INTERPOLATED[/td][td]SIMULTANEOUS[/td][td]PRIOR [/td][td]SUBSEQUENT[/td][/tr][tr=alt1][td]Between the moments of the action (this is the most complex)[/td][td]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).[/td][td]Predictive narrative, generally in the future tense (dreams, prophecies) [this type of narrating is done with less frequency than any other][/td][td]The classical (most frequent) position of the past-tense narrative[/td][/tr][/table]


:x Their structural position with respect to the story/events

[table=50%][tr=tcat][td]Heterodiegetic[/td][td]Homodiegetic[/td][/tr][tr=alt1][td]a story in which the narrator is absent from the story he narrates[/td][td]a story in which the narrator is present in the story he narrates[/td][/tr][/table]


:x different narrative/enunciative levels of the work

[table=50%][tr=tcat][td]Intradiegetic[/td][td]Extradiegetic[/td][/tr][tr=alt1][td]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.[/td][td]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.[/td][/tr][/table]

Roland Barthes

http://www.arthistoryunstuffed.com/w...rthes_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

^
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

^


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/f...s-Nastopka.jpg

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/conten..._no3_005sm.png

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.

المشاركة الأصلية كتبت بواسطة المعيده ساره (المشاركة 13315103) 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

المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13320674) . . شكل النقد عقدك يا عذب ! http://38.media.tumblr.com/42c1adfbe...qan247_500.gif

المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13321810) . . يونا توقعتك تمطرين قلوو بصورجاكسون خخخخ http://25.media.tumblr.com/94d35f0d1...4o3_r1_250.gif اهداء يا قلوو ههههههه

المشاركة الأصلية كتبت بواسطة كارزما (المشاركة 13320674) . . شكل النقد عقدك يا عذب ! http://38.media.tumblr.com/42c1adfbe...qan247_500.gif

المشاركة الأصلية كتبت بواسطة سعود خالد (المشاركة 13315142) 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:

المشاركة الأصلية كتبت بواسطة غلا حرب (المشاركة 13325106) وين ملخص دودي بلييييييز

المشاركة الأصلية كتبت بواسطة *Ashwaq* (المشاركة 13325128) تجدينه هنا في هذا الموضوع http://www.ckfu.org/vb/t743405.html

المشاركة الأصلية كتبت بواسطة شعنونة789 (المشاركة 13323478) ياجماعة متى أبدأ بقضايا كم يكفيني من الوقت لسه افحط بالنقد :017: إنني أغرق أغرق :bawling:

اساله اختبار مهمه

وواجبات بالملفات

دعووواتكم:love080: