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E7 English Literature Students level seven Forum |
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ÃÏæÇÊ ÇáãæÖæÚ |
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#141 |
ãÊãíÒ ßáíÉ ÇáÃÏÇÈ _ÞÓã ÇáÃäÌáÔ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
ÇáãÍÇÖÑÉ ÇáÓÇÈÚÉ What Is Oratory? An Oratory Is An Elaborate And Prepared Speech. It Is The Art Of Swaying An Audience By Eloquent Speech. Ýä ÇáÎØÇÈÉ åæ ßáÇã ãÌåÒ æãÏÑæÓ . åæ Ýä íÍÑß ÇáÌãåæÑ ÈÇáßáÇã ÇáÈáíÛ In Ancient Greece And Rome Oratory Was Included Under The Term Rhetoric ÇáÎØÇÈÉ ÇáÅÛÑíÞíÉ æÇáÑæãÇäíÉ ÃÏÑÌÊ ÊÍÊ ãÕØáÍ ÇáÈáÇÛÉ Oratory First Appeared In The Law Courts Of Athens And Soon Became Important In All Areas Of Life Ýä ÇáÎØÇÈÉ ÙåÑÊ ááãÑÉ ÇáÃæáì Ýí ãÍÇßã ÇáÞÇäæä Ýí ÃËíäÇ æÓÑÚÇä ãÇ ÕÈÍÊ åÇãÉ Ýí ÌãíÚ ãÌÇáÇÊ ÇáÍíÇÉ Classic Rome's Great Orators Were Cato The Elder, Mark Antony, And Cicero ÃÑÞì ÚÙãÇÁ ÑæãÇ ßÇäæÇ ÇáÃÚÙã ãÇÑß ÃäÊæäí ¡ æÔíÔÑæä Rhetoric Was Included In The Medieval Liberal Arts Curriculum. In Subsequent Centuries Oratory Was Utilized In Three Main Areas Of Public Life—Politics, Religion, And Law. ÇáÎØÇÈÉ ÃÏÑÌÊ Ýí Ýäæä ÍÑÉ Ýí ÇáãäåÌ ÇáÏÑÇÓí Ýí ÇáÞÑæä ÇáæÓØì . Ýí ÇáÞÑæä ÇááÇÍÞÉ ÇÓÊÎÏã Ýä ÇáÎØÇÈÉ Ýí ËáÇË ãÌÇáÇÊ ÑÆíÓíÉ : ÇáÓíÇÓÉ æÇáÏíä æÇáÞÇäæä During The Middle Ages, The Renaissance, And The Reformation, Oratory Was Generally Confined To The Church, Which Produced A Soul-Searing Orator Such As Martin Luther. ÎáÇá ÇáÚÕæÑ ÇáæÓØì æÚÕÑ ÇáäåÖÉ æ ÇáÅÕáÇÍ ÇáÏíäí æÇáÎØÇÈÉ ÚãæãÇ ÇÞÊÕÑÊ Úáì ÇáßäÓíÉ ÇáÊí ÃäÊÌÊ ÎØíÈ ÇáÑæÍ ãËá ãÇÑÊä áæËÑ . With The Development Of Parliaments In The 18th Cent., Great Political Orators Appeared. Because These Politicians Usually Spoke To Men Of Their Own Class And Education, Their Orations Were Often Complex And Erudite, Abounding In Classical Allusions. ãÚ ÊØæÑ ÇáÈÑáãÇäÇÊ Ýí ÇáÞÑä ÇáËÇãä ÚÔÑ ÙåÑ ÎØÈÇÁ ÇáÓíÇÓÉ ÇáÚÙãÇÁ . áÇä åÄáÇÁ ÇáÓíÇÓííä ÚÇÏÉ ãÇ ÊÍÏË ááÑÌÇá ãä ÇáÝÆÉ ÇáÎÇÕÉ æÇáÊÚáíã ¡ ÎØÈåã ÛÇáÈÇ ãÇ ãÚÞÏÉ æãËÞÝÉ ÊÒÎÑ ÈÇáÊáãíÍÇÊ ÇáßáÇÓíßíÉ Religious Sermons, Normally Addressed To A Wide Audience Of Diverse Classes Of People, ÚÙÇÊ ÏíäíÉ ÚÇÏÉ ãæÌåå áÌãåæÑ æÇÓÚ ãä ÝÆÇÊ ãÊäæÚÉ ãä ÇáäÇÓ The Oratorical Style Could Be Described As Bombastic Like That Of Hitler And Mussolini, And Intimate And Conversational, As In The "Fireside Chats" Of President Franklin D. Roosevelt. íãßä æÕÝ ÇÓáæÈ ÎØÇÈí ãäãÞ ãËá åÊáÑ æãæÓæáíäí æÇáÍãíãíÉ æÇáãÍÇÏËÉ ßãÇ åæ Ýí " ÇáÇÍÇÏíË ÇáãæÞÏ " ãä ÇáÑÆíÓ ÝÑÇäßáíä Ï. ÑæÒÝáÊ . General orations as in translating farewell speeches ÇáÎØÈ ÇáÚÇãÉ ãËá ÎØÈ ÇáæÏÇÚ .... Úáì ÓÈíá ÇáãËÇá ÇáØáÇÈ ÇáÎÑíÌíä ÇäÊåÊ ÇáãÍÇÖÑÉ ÇáÓÇÈÚÉ ![]() |
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#142 |
ÃßÜÇÏíÜãÜí ÐåÜÈÜí
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
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#143 | |||
ãÊãíÒÉ ÇááÛÉ ÇáÇäÌáíÒíÉ ÇáÊÚáíã Úä ÈÚÏ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
ÇÞÊÈÇÓ:
ÇÞÊÈÇÓ:
ÓáÇãÊß ãÇ ÊÔæÝíøä ÔÑ ![]() ÇÞÊÈÇÓ:
Ãåáíä íæå ÚÇÏ ÃäÇ ãÇ ÈÚÏ ÃäÒáåÇ ![]() Çáãåã Åíå ÊÝÇÆáí ÎíÑ Ãåã Ôí ÑßÒí Úáì ÇáäÙÑí ![]() áÃäå åæ áå ÇáÌÒÁ ÇáÃßÈÑ ãä ÇáÃÎÊÈÇÑ ![]() æÇáÈÇÞí ÈãæÖæÚ ÃÎÑ ÇáÊãÇÑííä ![]() ![]() |
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#144 |
ãÊãíÒ ßáíÉ ÇáÃÏÇÈ _ÞÓã ÇáÃäÌáÔ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
ÝÖáÇ áÇ ÂãÑÇ áæ íÊßÑã ÚáíäÇ ÇÍÏ æíÓÇÚÏäÇ ÈÊÌãíÚ ÇÓÆáÉ ÇáÇÎÊÈÇÑÇÊ ÇáäÙÑíÉ æíÍØåÇ áäÇ Ýí ãáÝ ÚÔÇä äÍáåÇ ãÚ ÈÚÖ æÈÚÏíä äãÓß ÇáÊãÇÑíä
íÇáíÊ íßæä Ýíå ÊÚÇæä ![]() |
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#145 |
ãÊãíÒÉ ÇááÛÉ ÇáÇäÌáíÒíÉ ÇáÊÚáíã Úä ÈÚÏ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
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#146 | |
ÃßÜÇÏíÜãÜí ÝÜÖÜí
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
ÇÞÊÈÇÓ:
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#147 |
ÃßÜÇÏíÜãÜí ÝÜÚøÜÇá
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
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#148 | |
ãÔÑÝÉ ÓÇÈÞÉ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
ÇÞÊÈÇÓ:
ÏæÑÊ Úä ÇáÊÑÌãÉ ÈÇáãæÇÞÚ ÇáÏíäíå æØáÚ ![]() |
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#149 |
ãÊãíÒÉ Ýí ÞÓã ÍæÇÁ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
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#150 |
ãÊãíÒ ßáíÉ ÇáÃÏÇÈ _ÞÓã ÇáÃäÌáÔ
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ÑÏ: ãÐÇßÑÉ ÇáÊÑÌãÉ ÇáÇÈÏÇÚíå ÇáÌÒÁ ÇáäÙÑí
Lecture 8
Translation of Poetry -It obviously can be translated as translated poetry plays such a large part in the literature of most cultures as Omar Khayyam poetry in English. - The opposite view-that poetry translation is difficult or even impossible -arises from the coincidence of two assumptions:
ãä ÇáæÇÖÍ Çäå íãßä ÊÑÌãÉ ÇáÔÚÑ æÇäå íáÚÈ ÇáÔÚÑ ÇáãÊÑÌã ßÌÒÁ ßÈíÑ Ýí ÇáÃÏÈ áÃÛáÈ ÇáËÞÇÝÇÊ ßÔÚÑ ÚãÑ ÇáÎíÇã ÈÇááÛÉ ÇáÇäÌáíÒíÉ . ÃãÇ ÇáÑÃí ÇáãÚÇÑÖ - Ãä ãä ÇáÕÚÈ Ãæ ÍÊì ãä ÇáãÓÊÍíá ÊÑÌãÉ ÇáÔÚÑ æÐáß íäÔà ãä ÊÚÇÞÈ ÇÝÊÑÇÖíä : à - íäÈÛí Çä íßæä ÇáÔÚÑ ÊÑÌãÉ Ýí ÍÏ ÐÇÊÉ . È- ÇáÔÚÑ ÕÚÈ , ÛÇãÖ , íÈÑÒ ÚáÇÞÉ ÎÇÕÉ Èíä ÇáÔßá æÇáãÚäì . One way of negotiating this difficulty is to translate poetry into prose, an approach sometime favoured for writers such as Shakespeare. This might be because prose is seen as easier to write, Çæá ØÑíÞÉ ááÊÝÇæÖ Úáì ÕÚæÈÉ ÊÑÌãÉ ÇáÔÚÑ Çáì ÇáäËÑ , ÝÖá ÔßÓÈíÑ ÇáßÊÇÈÉ æÇáÓÈÈ Çä ÇáäËÑ ÇÓåá . -Another way of dealing with the supposed difficulty of poetic translation is to move away from the original, producing instead imitations or new versions. But Hamburger (1989:51) sees such deviation from the original as an “admission of defeat” . Look at the following example to see how the Arabic translator has moved away from the original: åäÇß ØÑíÞÉ ÃÎÑì ááÊÚÇãá ãÚ ÕÚæÈÉ ÇáÊÑÌãÉ ÇáÔÚÑíÉ ãä ÇáãÝÊÑÖ ÇáÇÈÊÚÇÏ Úä ÇáÃÕá , æÊäÊÌ ÈÏáÇ ãä Ðáß äÓÎÉ Ãæ ÅÕÏÇÑÇÊ ÌÏíÏÉ æáßä íÑì åãÈÑÛÑ ãËá åÐÇ ÇáÇäÍÑÇÝ Úä ÇáÇÕá " ÇÚÊÑÇÝÇ ÈÇáåÒíãÉ " . Other writers such as Gutt (1991/2000:167), for example, argue that poetic texts demand direct translation; they must preserve the stylistic qualities of the original. ßÊúÇÈ ÂÎÑæä ãËá ÌæÊ : ÌÇÏá ÈÂä ÇáäÕæÕ ÇáÔÚÑíÉ ÊÊØáÈ ÇáÊÑÌãÉ ÇáãÈÇÔÑÉ æíÌÈ Çä äÍÇÝÙ Úáì ÇáÕÝÇÊ ÇáÇÓáæÈíÉ ááäÕ ÇáÇÕáí . -Some of the elements that have been put forward as distinctive of poetic style are: 1- It’s physical shape including use of lines and spaces on a page 2- It’s use of inventive language and in particular, patterns of sound and structure 3- It’s openness to different interpretations 4- It’s demand to be read non-pragmatically - ÈÚÖ ÇáÚäÇÕÑ ÇáÊí ÊãíÒ ÇáäãØ ÇáÔÚÑí : 1- ãÍíØåÇ ÇáÔßáí , ÈãÇ Ýí Ðáß ÇÓÊÎÏÇã ÇáÎØæØ æÇáãÓÇÝÇÊ Úáì ÇáÕÝÍÉ 2- ÊÓÊÎÏã áÛÉ ãÈÊßÑÉ æÇäãÇØ ÇáÕæÊ æÈäÇÁ ãÚíä 3- ÇáÇäÝÊÇÍ Úáì ÊÝÓíÑÇÊ æÊÑÇÌã ãÎÊáÝÉ 4- ÇäåÇ ÞÑÇÁÉ æáíÓÊ ÚãáíÉ Scott (2000) says maintaining that reading and translation are inextricably linked íÞæá ÓßæÊ : ÇáÍÝÇÙ Úáì ÇáÞÑÇÁÉ æÇáÊÑÌãÉ ÊÑÊÈØ ÇÑÊÈÇØÇð áÇ ÇäÝÕÇã áå For the translation of poetry, two main types of theory are relevant theory of the literary text and theories of translation ÇáÊÑÌãÉ ÇáÔÚÑíÉ , åäÇß äæÚÇä ÑÆíÓíÇä ãä ÇáäÇÍíÉ ÇáäÙÑíÉ äÙÑíÉ ÇáäÕ ÇáÃÏÈí æäÙÑíÉ ÇáÊÑÌãÉ ÇäÊåÊ ÇáãÍÇÖÑÉ ÇáËÇãäÉ |
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ãæÇÞÚ ÇáäÔÑ (ÇáãÝÖáÉ) |
ÇáÐíä íÔÇåÏæä ãÍÊæì ÇáãæÖæÚ ÇáÂä : 3 ( ÇáÃÚÖÇÁ 0 æÇáÒæÇÑ 3) | |
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