Here :: مُنآقشَة وتَرجمة وشَرح Literary Criticism ::

[susanّ ♥]

أسألة آلمحآضرهه آلآولى

1-Literature and literary criticism in Western cultures cannot be understood without understanding its relationship to
a-Greek
b- roman
c-classical antiquity – Greek and Roman.

2-European and Western literature and cultures were produced as a ……….. of the classical cultures of Greece and Rome
a-revival
b- recreation, a revival
c- recreation

3-Western cultures considered Greece and Rome the most perfect civilizations from the…….
a-15th to the 20th
b-16th to the 20th
c-17th to the 20th

• 4-Western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting, sculpture were ALL produced in ……….. of classical antiquity (Greece and Rome).
a-changing
b- imitation
c-none of them

• 5-West’s relationship with antiquity is not simple. It is full of ….....
a- ambivalence
b- contradictions
c- contradictions and ambivalence.

5-“Captive Greece took its wild conqueror captive” was written by Roman poet ……..
a-Seneca
b- Horace
c-none of them

6-in this verse “Captive Greece took its wild conqueror captive” Horace described the relationship between ………
a-Roman and Greece
b-Greece and western
c-none of them

7-The Romans conquered Greece militarily, but they always felt that the culture of Greece remained infinitely more sophisticated
a-correct
b-wrong

8-No past life has been lived to lend us glory, and that which has existed before us is not ours.” Witten by
a-Horace
b- Seneca
c-none of them

9-“[A] man who follows another not only finds nothing; he is not even looking.” Witten by
a-Horace
b- Seneca
c-none of them

10- Why Horace advised his readers to simply imitate the Greeks and never try to invent anything themselves
a-Because they do not have the ability to invention
b-because their inventions will be weak and unattractive
c- none of them

11-The Romans so desperately wanted to imitate the Greeks and so constantly failed to match them Why?
a-Imitation cannot produce originality
b- Imitation is something experienced before
c-none of them

12-The Romans were a simple rural and uncultivated people who became successful warriors, and at the height of their success when they ruled the biggest empire in the world, they still felt that they were inferior culturally to their small province Greece
a-correct
b-wrong

[sway]

المحاضره الثانيه
Literary Criticism and Theory
In the Renaissance, Europeans rediscovered the books of the Greeks and Romans and that allowed them to develop a literature and a culture. The period is called the Renaissance because across Europe people wanted to “revive” the ancient learning of Rome and Greece
في عصر النهضه , اعاد الاوروبيون اكتشاف كتب اليونانيين والرومانيين وهذا سمح لهم بتطوير الادب والحضاره.
العصر سمي بعصر النهضه لان في اوروبا الناس ارادوا احياء التعلم من روما القديمه واليونان .
.
During the Renaissance, Europe was far less sophisticated than Rome and Greece were. There were no written languages in Europe. The only written language was Latin and people who could read Greek, like Erasmus, were very rare. So we have an under-developed continent, largely illiterate that all of a sudden discovers a vast legacy from the ancient world – hundreds and hundreds of texts and books that no one had seen for hundreds of years. This material will transform the mind of Europe, and lead to the Renaissance, the Reformation, the Scientific Revolution, the Enlightenment and the modern technological world in which we live today.
خلال عصر النهضه , كانت اوروبا كانت اقل تطورا بكثير مما كانت عليه روما واليونان .لم تكن هناك لغات مكتوبه في اوروبا .اللغه الوحيده المكتوبه كانت اللاتينيه والناس الذين كانوا يستطيعون قراءة اللغه اليونانيه مثل ايراسموس كانوا قليلون جدا .
اذا لدينا قاره متخلفه , اميين بشكل كبير حيث ان جميع الاكتشافات كانت ارث كبير من العالم القديم , المئات والمئات من الكتب والنصوص التي لم يرها احد منذ مئات السنين .
هذه الماده سوف تحول العقل الاوروبي , وتقود الى عصر النهضه , الاصلاح , الثوره العلميه , التنوير والعالم التكنولوجي الحديث الذي نعيش فيه الان .
• Contradictions and Confusions
Like the Romans, Europeans wanted to produce poems, books and sophisticated culture because they thought, like the Romans did, that high culture, great books and poems were what great and mighty nations have.
Great nations do great deeds (like conquering lands and people) and record those great deeds and conquests in great books and poems.
التناقضات والالتباسات :
كما هو حال الرومان , الاوروبيون ارادوا ان ينتجوا قصائد , كتب وثقافه متطوره لانهم ظنوا كما فعل الرومان بان الثقافه العاليه , الكتب والقصائد الرائعه كانت هي مايجب ان تمتلكه الامم العظيمه .
الدول الكبرى تقوم بأعمال كبرى , (مثل احتلال الاراضي والشعوب ) وتسجيل تلك الاعمال الكبرى والغزوات في كتب وقصائد رائعه .
The reason why “les gestes [the glorious deeds] of the Roman people” were unanimously celebrated and preferred to the deeds of the rest of humanity, Joachim du Bellay explains in the 1520s, was because they had “a multitude of writers.” That is the reason, he says, why “in spite of the passage of time, the fierceness of battle, the vastness of Italy, and foreign incursions, the majority of their deeds (gestes) have been in their entirety preserved until our time.” Joachim du Bellay

So the emergence of what we call today “literature” in Renaissance Europe had a strong political motivation and purpose.
السبب وراء ان مآثر الروم الكبرى تم الاجماع على الاحتفاء بها وتفضيلها على بقية انجازات البشريه ,كان بسبب انهم كان لديهم عدد كبير من الكتاب . وهذه هو السبب , الذي يقوله Joachim du Bellay ,على الرغم من مرور الوقت , فان ضراوة المعارك , واتساع ايطاليا , والغزوات الاجنبيه , الغالبيه من انجازاتهم في غالبيتها حفظت حتى وقتنا الحالي .
لذا ظهور مانسميه اليوم الادب في عصر النهضه في اوروبا كان له دافع وهدف سياسي قوي .
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 were necessary accessories of political power.
The logic was this:
Great empires needed great literature, just like the Romans and the Greeks had.
In that sense, the study of classical learning, literature and criticism all emerged with the purpose of giving the emerging European states written and “civilized” languages comparable to those of Rome and Greece.
مانسميه اليوم بالادب ظهر لان الاوروبيون اصبحوا اقوى سياسيا وعسكريا .كانوا يحتلون الاراضي ويستولون على خطوط التجاره , وكما اشار اليه النص الذي كتبه بيللي ,الشعر والادب كانت ملحقات ضروريه للقوه السياسيه .
كان المنطق ::
الامبراطوريات العظيمه احتاجت الى ادب عظيم , تماما كما كان لدى الرومان واليونانا
Europeans saw poems and plays and books and stories like they were national monuments. They judged the greatness of a nation by the monuments it builds, (the Coliseum in Rome) and saw books, poems, plays and literature as monuments of the greatness of nations.
“It was, above all, Rome which provided the ideologues of the colonial systems of Spain, Britain and France with the language and political models they required, for the Imperium romanum has always had a unique place in the political imagination of western Europe. Not only was it believed to have been the largest and most powerful political community on earth, it has also been endowed by a succession of writers with a distinct, sometimes divinely inspired purpose.”
(Source: Anthony Pagden, Lords of all the World: Ideologies of Empire in Spain, Britain and France 1500-1800, Yale University Press, 1995, pp. 11-2.
الاوروبيون رأوا القصائد والمسرحيات والكتب والقصص كما لو انها آثار ومعالم وطنيه . حكموا على عظمة الامه من خلال المعالم والآثار التي بنتها (المدرج الروماني ) ورأوا الكتب والقصائد والمسرحيات والادب كمعلم لعظمة الأمه .
(( وقد كان قبل كل شيئ , روما التي قدمت منظور النظام الاستعماري لاسبانيا , بريطانيا وفرنسا بالنماذج اللغويه والسياسيه التي تطلبتها , كان للامبرياليين الرومانيين دائما مكانا فريدا في المخيله السياسيه لاوروبا الغربيه .
ليس فقط اعتقد انها كانت المجتمع الاكبر والاكثر قوه سياسيا على الارض , بل انها ايضا تمتعت بنجاح كتاب بأهداف متميزه واحيانا الهيه .


يتبع...

[sway]

“Imitation of the Classics”
So to imitate Rome and Greece and develop “civilized” languages and cultures to go with their newly acquired military and political power, Europeans found a ready-made model to follow: the Romans.
From the Renaissance all the way to the 20th century, European writers called for the “imitation of the classics.” This is how the concepts: “imitation of the classics,” “imitation of the ancients,” “imitatio” (Latin), “mimesis” (Greek) or simply “imitation” became, from the Renaissance to the 20th centuries, the most prestigious and classical concepts in European cultures. No other concept has had a strong formative and foundational influence in modern European cultures like these concepts of imitation.

((تقليد الكلاسيكيات ))
في سبيل تقليد روما واليونان وتطوير اللغات والثقافات الحضاريه لمواكبة السلطه السياسيه والعسكريه المكتسبه حديثا , وجد الاوروبيون نموذجا جاهزا ليتبعوه ... الرومان :::
منذ عصر النهضه ووصولا حتى القرن العشرين نادى الكتاب الاوروبيون لتقليد الكلاسيكيات . هكذا اصبحت المفاهيم ((محاكاة الكلاسيكيات )) (( محاكاة القدماء )) منذ عصر النهضه حتى القرن ال20 اكثر المفاهيم المرموقه والكلاسيكيه في الثقافه الاوروبيه . لم يوجد مفاهيم اخرى في الثقافه الاوروبيه الحديثه كان لها تأسيس وتأثير قوي مثل مفهوم التقليد .
Imitation doesn’t lead to Originality
In Rome, imitation led to frustration and produced a plagiaristic culture. Europeans simply ignored these complications. The desire to produce poetic monuments to go with their political and military power was more important.
As long as imitation produced “textual monuments” in the form of books, poems and plays, European writers were happy with it.

التقليد لايؤدي الى الأصاله .
في روما التقليد قاد الى الاحباط وانتج ثقافه ادبيه مسروقه .
تجاهل الاوروبيون تلك التعقيدات بكل بساطه .الرغبه في انتاج معالم وآثار او انجازات شعريه تواكب قوتهم السياسيه والعسكريه كانت اهم بكثير .
طوال الوقت الذي انتج فيه انجازات نصيه في شكل كتب , قصائد ومسرحيات كان الكتاب الاوروبيون سعداء بذلك .
Imitation doesn’t lead to Originality
“it is a sign of greater elegance and skill for us,” says du Bellay, “in imitation of the bees, to produce in our own words thoughts borrowed from others.” Du Bellay advised his contemporaries not to be “ashamed” to write in their native language in imitation of the ancients.
It is “no vicious thing, but praiseworthy,” he says, “to borrow from a foreign tongue sentences and words to appropriate them to our own.” Du Bellay wished that his own language “were so rich in domestic models that it were not necessary to have recourse to foreign ones,” but that was not the case.
التقليد لاينتج الاصاله ::
انها علامه لاناقه ومهاره اكبر بالنسبة لنا ((كما يقول بيللي)) في تقليد الbees حين ننتج بكلماتنا الخاصه افكار نستعيرها من اخرين . بيللي نصح معاصريه ان لايشعروا بالخجل من ان يكتبوا بلغتهم المحليه محاكاة للقدماء . انه ليس شيئا شريرا .؟؟ لكنه يستحق الثناء , ان تستعير من لسان اجنبي جمل وكلمات وتجعلها ملائمة لنا .بيللاي تمنى ان تكون لغته غنيه جدا بنماذج محليه تكون تغنيه عن الاستعانه باخرى اجنبيه . لكن لم تكن تلك هي المشكله .
Europeans adopted the Roman desire to produce a literary culture in imitation of the Greeks without realizing that this imitation method had failed in Rome and that it produced mainly an imitative and plagiaristic culture that remained inferior to the original Greek culture it tried to mimic and duplicate.

In addition, Europeans thought that they were imitating the classical cultures of Greece ad Rome. In reality they imitated mostly the Romans. Very few Greek texts were available in Europe before the 19th century, and even those were read, studied and imitated through Roman perspectives. European classicism, for example, always claimed to be based on the ideas of Aristotle, but research shows that they knew very little of Aristotle’s work. In eighteenth-century England, for example:
تبنى الاوروبيون رغبة الرومان بانتاج ثقافه ادبيه بتقليد اليونانيين بدون ان يدركوا بان منهج التقليد قد فشل في روما وانه ينتج بشكل اساسي ثقافه مسروقه ومقلده تبقى اقل شأنا من الثقافه اليونانيه الاصل التي تحاول ان تقلدها او تكررها .
بالاضافه الى ذلك , الاوروبيون ضنوا انهم كانوا يقلدون ثقافة اليونان والرومان الكلاسيكيه . لكن في الحقيقه كانوا يقلدون الرومان بشكل اكثر .القليل جدا من النصوص اليونانيه كانت متواجده في اوروبا قبل القرن ال19 وحتى تلك النصوص كانت مقروءه ومدروسه ومقلده من قبل الرومان . الكلاسيكيه الاوروبيه على سبيل المثال سعت دائما الى ان تكون مبنيه على اساس افكار ارسطو , لكن الابحاث اظهرت انهم كانوا يعرفون القليل جدا فقط من اعمال ارسطو .
Aristotelism Without Aristotle
“A first hand knowledge of Aristotle, even in translation, seem to have been exceptional: Walpole mentions him five times in his letters – usually coupled with Bossu and the ‘Rules’; and Cowper, at the age of fifty-three, had ‘never in his life perused a page of Aristotle.’ The Poetics were mush reverenced, but little read.”
John W. Draper, “Aristotelian ‘Mimesis’ in Eighteenth Century England,” PMLA, 36 (1921), pp. 373-4.
Aristotelism Without Aristotle
European writers knew Greek works “only… through the praise of (Roman) Latin authors.”
Richard Marback, Plato’s Dream of Sophistry (University of South Carolina, 1999), p. 46.
Renaissance scholars recognized that Roman art and literature were derived from the Greeks, but they could not discern, as Glynne Wickham notes, how plagiaristic the Romans were. Hence, the grotesque European rankings of Horace as a higher dramatic theorist than Aristotle, and of Seneca as a more accomplished dramatist than Sophocles and Euripides.
Glynne Wickham, “Neo-Classical Drama and The Reformation in England,” in Classical Drama and Its Influence, ed. M. J. Anderson (Methuen, 1965), p.158.
الحركه الارسطويه بدون ارسطو ::
المعرفه الاوليه المباشره لارسطو , حتى من خلال الترجمه تبدو انها استثنائيه , ذكره والبول خمس مرات في رسائله وعادة مرتبطا ببوسسو ورولز وكوبر , وفي عمر ال53 لم يقم مره واحده في حياته بالاطلاع على ورقه من كتابات ارسطو .
الكتاب الاوروبيون عرفوا الكلمات اليونانيه فقط من خلال مدح كتاب اللاتينيه (الروم).
Richard Marback, Plato’s Dream of Sophistry (University of South Carolina, 1999), p. 46
علماء عصر النهضه عرفوا ان الفن والادب الروماني كان يشتق من اليونان , لكنهم لم يستطيعوا ان يستشفوا , كما فعل قلاين ويكام , كم كان الرومان سارقون للادب ..
وبالتالي فان التصنيفات الاوروبيه المشوهه لهوراس ككاتب درامي اعلى من ارسطو , ولسينيكا ككاتب درامي اكثر انجازا من سوفوكليس ويوروبيديس .
Important to note:
Literature is not simply stories or beautiful words, and literary criticism is not simply a discussion of the content or style of those stories or beautiful words.
There are more important, fascinating and REAL stories behind the fictitious stories and the beautiful words of literature.

من المهم ان نلاحظ ان :
الادب ليس فقط قصص او كلمات جميله , والنقد الادبي ليس فقط نقاش حول محتوى واسلوب تلك القصص والكلمات الجميله .
هناك قصص اكثر اهميه وتشويق وواقعيه خلف القصص الوهميه والكلمات الجميله للادب .
Studying literature involves:
1. understanding the historical forces – political, economic, cultural, military – that made literature as an institution, as a tradition and as a discourse possible and
2. understanding the new historical realities – political, economic, cultural, military – that literature as an institution helps shape and create.
We have to understand the historical forces that produce literature and the historical forces and transformations that literature then goes to produce. This is how we can study literature from a critical, analytical and scientific perspective. Do NOT just consume uncritically the stories and the dramas that you read or watch. You are critics, analysts and experts and you should adopt critical and analytical perspectives to this material.
دراسة الادب تشمل ::

1- فهم القوى التاريخيه والسياسيه والاقتصاديه والثقافيه والعسكريه التي جعلت الادب كمؤسسه , كتقليد ..
2- فهم الحقائق التاريخيه الجديده السياسيه والاقتصاديه والعسكريه التي يساعد الادب كمؤسسه على صياغتها وخلقها .

لابد ان نفهم القوى التاريخيه التي تنتج الادب والقوى والتحولات التاريخيه التي سوف ينتجها الادب عندها .
هذه هي الطريقه التي بامكاننا دراسة الادب من منظور علمي وتحليلي . لاتستهلك فقط القصص بدون تحليل والدراما التي تقرأها او تشاهدها .
انت ناقد , محلل وخبير ويجب ان تتبنى منظور تحليلي ونقدي لهذه المواد .

انتهت المحاضره2..

[susanّ ♥]

أسألة آلمحآضره آلثآنيه

13-In the Renaissance, Europeans rediscovered the books of the Greeks and Romans and that allowed them to ………….
a- develop machines
b- develop a literature and a culture.
c-none of them

14- The period is called the Renaissance because…….
a- across Europe people wanted to “revive” the ancient learning of Arab
b- across Europe people wanted to “revive” the ancient learning of Rome and Greece.
c-none of them

15-During the Renaissance, Europe was
a- more sophisticated than Rome and Greece
b- far less sophisticated than Rome and Greece
c-none of them

16-during the renaissance The only written language was
a-French
b-German
c-Latin

17- During the Renaissance people who could read Greek, like Erasmus, were ……………..
a- very much
b- very rare
c-none of them

18-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 were necessary accessories of political power.
a-wrong
b-correct

19-the study of classical learning, literature and criticism all emerged with the purpose of giving the emerging European states written and “civilized” languages comparable to those of Rome and Greece.
a-correct
b-wrong

20- Europeans saw books, poems, plays and literature as monuments of the greatness of ……...
a-thought
b- nations
c- none of them

21-to imitate Rome and Greece and develop “civilized” languages and cultures to go with their newly acquired military and political power, Europeans found a ready-made model to follow: the Romans.
a-correct
b-wrong

22-No other concept has had a strong formative and foundational influence in modern European cultures like these concepts of imitation.
a-correct
b-wrong

23-In Rome, imitation led to ………… and produced a plagiaristic culture
a-prosperity
b- frustration
c- none of them

24-Du Bellay advised his contemporaries not to be “…………” to write in their native language in imitation of the ancients.
a-ashamed
b- conceited
c-none of them

[sway]

المحاضره الثالثه ::

:::::::::::::::::::::::::::::::::::

v There is no genre of literature that we have today – tragedy, comedy, the different forms of poetry, the short story and even the novel – that the Greeks didn’t develop.

v Yes, Western literature is based on Greek literature, but as the previous lecture showed and as we will see in this lecture, the reality is more complex than that.

v Greek thought influenced, in one way or another, every single literary form that developed in Europe and the West, but the differences between the two cultures remain significant.

v This lecture and the next will look at the two influential Greek thinkers who influenced the development of Western literature and criticism more than any other thinker in history: Plato and Aristotle.

الادب اليوناني والغربي ::

- لايوجد نوع من الادب الموجود اليوم ..التراجيديا,الكوميديا,الاشكال المختلفه من الشعر ,القصه القصيره , وحتى الروايه لم يطورها اليونان من قبل .

- نعم , الادب الغربي بني على الادب اليوناني , لكن كما سبق في المحاضره السابقه وكما سنرى في هذه المحاضره , الواقع اكثر تعقيدا من ذلك .

- الافكار اليونانيه اثرت بشكل او باخر على كل شكل من اشكال الادب تطور في اوروبا والغرب , لكن الفروقات بين هاتين الثقافتين ظلت ملاحظه وموجوده .

- هذه المحاضره والمحاضره المقبله سوف نتناول المفكران النمؤثران اليونانيان الذان اثرا في تطور الادب الغربي والنقد اكثر من أي مفكر اخر في التاريخ : افلاطون وارسطو .

- Plato’s Critique of Poetry

- Extremely influential and extremely misunderstood.

- He wrote dialogues and in every single one, he addressed poetry. He was obsessed with poetry throughout his life. But to the present, Western literature and criticism cannot agree why Plato was so obsessed with poetry? Some critics love him, some hate him, but they all respect him.

- Plato’s most important contributions to criticism appear in his famous dialogue the Republic. Two main ideas appear in this dialogue that have had a lasting influence. The following lecture will present those ideas and then provide some analysis.

- Our interest is in Book III and Book X of the Republic. Two ideas emerge in these two books that have had a lasting influence:

نقد افلاطون للشعر ::

1- مؤثر للغايه وأسيئ فهمه ايضا للغايه .

2- كتب حوارات وفي كل واحد منها كتب شعرا. كان مهووسا بالشعر طوال حياته . لكن حتى الوقت الحاضر , الادب والنقد الغربي لم يتفق على سبب هوس افلاطون بالشعر .بعض النقاد احبه وبعضهم كرهه , لكنهم جميعا احترموه .

اهم مساهمات افلاطون في النقد يظهر في حواره الاشهر ((الجمهوريه )) . فكرتان رئيسيتان تظهران في هذا الحوار كان لها تأثير دائم .المحاضره التاليه ستظهر هاتان الفكرتان ومن ثم تقديم بعض التحليل
..يتبع..

[sway]

Book III of the Republic

v 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 imitation and narration or showing and telling:

v If I tell you the story of Napoleon’s invasion of Egypt in the third person: He sailed to Alexandria with 30 000 soldiers and then he marched on Cairo, etc.” That would be a narration (diagesis). I am telling you the story.

v But 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 an imitation (mimesis). I am showing you the story.

v Drama with characters is usually a mimesis; stories in the third person are usually a diegesis.

- افلاطون يوضح الفرق بينMimesis and Diagesis وهما مفهومان ظلا مهمان جدا لتحليل الادب حتى الوقت الحاضر . هما غالبا يترجمان ب(( التقليد والروايه )) (( عرض او اخبار )).

- اذا اخبرتكم قصة غزو نابليون لمصر كشخص ثالث :هو ابحر الى الاسكندريه مع 30000 جندي ثم ذهب الى القاهره ...الخ , هذا يكون ((روايه )) .انا اخبرك قصه .

- لكن ان اخبرتك القصه كشخص اول , كما لو كنت انا نابليون (( انا ابحرت الى الاسكندريه ...الخ )) هذا سوف يكون تقليد او محاكاة او عرض . انا أريك القصه .

- الدراما والشخصيات عادة تكون محاكاة , القصص برواية الشخص الثالث دائما تكون روايه او اخبار .

“But when the poet speaks in the person of another, may we not say that he assimilates his style to that of the person who, as he informs you, is going to speak?
Certainly
And this assimilation of himself to another, either by the use of voice or gesture, is the imitation (mimesis) of the person whose character he assumes?
Of course
Then in that case the narrative of the poet may be said to proceed by way of imitation?
Very true
Plato, Republic 393.

لكن عندما يتحدث الشاعر في شخص آخر , قد لانستطيع القول انه يحول اسلوبه الى الشخص الذي سوف يتحدث عنه .
وهذا التحول او التقمص من نفسه الى شخص اخر اما عن طريق الصوت او لفته , هو المحاكاة للشخص الذي من المفترض ان يجسده .
Plato was the first to explain that narration or story telling (in Arabic al-sard) can proceed by narration or by imitation:
“And narration may be either simple narration, or imitation, or a union of the two” (Republic, 392).

This distinction has been very popular in Western literary criticism and it remains today very important for the analysis of literature. We will see in future lectures how useful it is to twentieth century schools of criticism like Formalism and Structuralism.
افلاطون هو اول من وضح بان اخبار او سرد الحكايه ممكن ان يتم عن طريق الروايه او عن طريق المحاكاة.والروايه ممكن ان تكون اما روايه بسيطه او تقليد او ممكن ان تكون باتحاد الاثنين .
التمييز كان معروفا جدا في النقد الادبي الغربي وظل حتى هذه الايام مهم جدا لتحليل الادب .
v Plato introduced another idea that has produced strong reactions in Western literature and criticism and has been very difficult to understand.
v This is Plato’s famous decision in Book X of the Republic to ban poets and poetry from the city.
v Because European and Western cultures have always valued poetry, literature and art, Plato’s decision has always been difficult to explain. Western cultures have always claimed that their practice of literature and art are based on Greek antiquity, but here is the most important Greek philosopher rejecting art and poetry and banning them from his ideal city.
افلاطون قدم فكره اخرى انتجت رد فعل قوي في الادب والنقد الغربي وواجهت صعوبه كبيره في فهمها .
هذا هو قرار افلاطون الاشهر كتاب 4 من الجمهوريه وهو حظر ومنع الشعر والشعراء من المدينه .
لان الثقافه الغربيه و الاوروبيه كان لديها دائما شعر وادب وفن قيم , قرار افلاطون كان من الصعب دائما شرحه . الحضاره الغربيه لديها ادعاء دائم بان ممارستهم للادب والفن مبني على القدم اليوناني . لكن هنا اهم فيلسوف يوناني يرفض الفن والشعر ويمنعهما من مدينته المثاليه .

يتبع ...

[white tulip]

يعطيكم العافية يارب

[DewDrop]

جهد جبار تشكروا عليه
بارك الله فيكم

[susanّ ♥]

آلآن آلمحآضره آلمبآشره

[الطالب الموهوب]

جهد تشكرون عليه . على فكرة هل نزلت معكم تسجيل المحاضرة المباشرة الثالثة للمادة لان عندي ماهي نازلة المجلد فارغ