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

[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]

المشاركة الأصلية كتبت بواسطة wejdanh

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

:Russian Formalism





تيم فورتريس خلينا نلعبها بالاجازه دودي


.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

[table=50%][tr=tcat][td]literary (or poetic) use of language[/td][td]ordinary (practical) use of language[/td][/tr][tr=alt1][td]It does not aim at communicating a message[/td][td]aims at communicating a message[/td][/tr][tr=alt2][td]reference is not to the world but to itself[/td][td]reference to the world outside the message[/td][/tr][/table]

[شوشينا]

هل التواريخ مطلوبه.؟

[msyuna]

المشاركة الأصلية كتبت بواسطة شوشينا

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

[msyuna]

^
العفو يا قمر








Structuralism

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


[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 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