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

[msyuna]

:x Voice

: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]

[msyuna]

Roland Barthes


"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


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؟
راح اشقح 10 لاني اتذكر اجزاء منها فما راح امرها


Algirdas Julien Greimas

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

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
بحاول اختصر على نفسي واذاكر ملخص Ansaf وجميع اسئئئئئئئئئلة السنوات الماضيه
لان عندي فكر وثقافه انجليزيه قبله
يعني مافي وقت
انتم وش تشورون علي يا الربع
بالله انصحوني

[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
رغم اني لسى في المحاضرة الثالثة بس مطوله بالي مره


عجبتني كويزات عيوش حسيتها دقيقة اكثر من الدكتور





كارزما وانتي بخير يا قلبي وانا متنازله عن الهديه ما ابغاها ابغى بوسه بس

يونا وانتي واحشتني اكثر

حماده لاعاد تحط فيديوهاتك الآن جلست اتابعها وتركت المذاكرة
جداً رائعة
واتمنى احد يتبرع ويترجم الفيديوهات الباقية

[عذب !]

المشاركة الأصلية كتبت بواسطة 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

^
* 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 :")