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| E7 English Literature Students level seven Forum |
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أدوات الموضوع |
2016- 3- 27
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#11 |
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مميزة مستوى 8 E
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ترجمة أسئلة ابوبكر
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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 : |
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2016- 3- 27
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#12 |
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مميزة مستوى 8 E
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أسئلة عيوش + الكويزات
. . 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 ) 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 |
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2016- 3- 27
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#13 |
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مميزة مستوى 8 E
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المحاضرة ( 3 )
. DoDy CooL .  ذي المحاضرة الي مارضت تخلص وخلتني اسحب على ام المادة  : شرح 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  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  )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 ) النقد الادبي لayosha م3 part1 النقد الادبي لayosha م3 part2 النقد الادبي لayosha م3 part3 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 |
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2016- 3- 27
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#14 |
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مميزة مستوى 8 E
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المحاضرة ( 4 )
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.  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  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 |
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2016- 3- 28
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#15 |
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مميزة مستوى 8 E
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المحاضرة ( 5 )
. lecture 5 part 2 .  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.؟؟  المؤلفين اللاتنين الروم اللذين عن طريقهم عرفت اوروبا بالاغريق  .................. 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  احس لاشفت خشة الواحد فيهم أقدر استحمل خثاريقه  : أسئلة عيوش  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 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. . . الكويزات للمحاضرة ( 5 ) [ كويز ] :النقد الادبي (4-5) 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 |
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2016- 3- 28
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#16 |
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مميزة مستوى 8 E
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المحاضرة ( 6 )
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.  شرح دودي كول  المحاضرة السادسة ملياااانه دش كلام ومدري احسه مخربط...فالافضل نذاكره من الامتحانات السابقة  vtuj رفعت الراية البيضا هنا 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  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.” : كويزات محاضرة ( 6 )  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 |
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2016- 3- 28
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#17 |
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مميزة مستوى 8 E
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المحاضرة ( 7 )
. lecture 7 part1 .  شرح دودي كول 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 ...اصحوااا  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  لو مركزين بتعرفون لانه مهمالمهم 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  ---------------------------------------------- 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  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. [Branding The hero is branded. 18. Victory: The villain is defeated. 19. Liquidation: The initial misfortune or lack is liquidated. 20. Return: The hero returns. 21. Pursuit: The hero is pursued. 22. Rescue: The rescue of the hero from pursuit. 23: Unrecognized Arrival: The hero, unrecognized, arrives home or in another country. 24. Unfounded Claims: A false hero presents unfounded claims. 25. Difficult Task: A difficult task is proposed to the hero. 26. Solution: The task is resolved. 27. Recognition: The hero is recognized. 28. Exposure: The false hero or villain is exposed. 29. Transfiguration: The hero is given a new appearance. 30. Punishment: The villain is punished. 31. Wedding: The hero is married and ascends the throne. 18) what were the 8 broad character types in the 100 tales Propp analyzed ? 1. The villain — struggles against the hero. 2. The dis*****er — character who makes the lack known and sends the hero off. 3. The (magical) helper — helps the hero in their quest. 4. The princess or prize — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. The hero's journey is often ended when he marries the princess, thereby beating the villain 5. Her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father cannot be clearly distinguished. 6. The donor — prepares the hero or gives the hero some magical object. 7. The hero or victim/seeker hero — reacts to the donor, weds the princess. 8. False hero — takes credit for the hero’s actions or tries to marry the princess 19) Formalist School was credited even by its adversaries, such as? Russian critic Yefimov 20) Russian formalism gave rise to what school ? the Prague school of structuralism 21) when? in the mid-1920s 22) who did they provide a model for? the literary wing of French structuralism in the 1960s and 1970s 23) All contemporary schools of criticism owe a debt to ? Russian Formalism : الكويزات للمحاضرة ( 7 ) 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 |
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2016- 3- 28
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#18 |
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مميزة مستوى 8 E
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المحاضرة ( 8 )
. .  شرح دودي كول .gif "(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) >>> 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) 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  الراوي يعرف الكثير عن الشخصيات2. 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 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 أسئلة عيوش  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  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 |
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2016- 3- 28
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#19 |
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مميزة مستوى 8 E
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محاضرة ( 9 )
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.  شرح دودي كول  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 ----------------------------------------------------- The birth of the reader has a cost: the death of the Author. ولادة القارىء كلفت موت المؤلف ------------------------------------------------------- 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  أسئلة عيوش  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 [ كويز ] :النقد الادبي (9-10) النقد الادبي لayosha م9 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11470 |
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2016- 3- 28
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#20 |
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مميزة مستوى 8 E
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محاضرة ( 10 )
. lecture 10.  شرح دودي كول 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 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  [ كويز ] :النقد الادبي (9-10) النقد الادبي لayosha م10 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11469 |
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