•• {{ 2nd year English students cafe ««

[C a t h r e n]

هو صلاح قال لكم .. كل شي مهم موجود بالأوراق..؟؟

يعني تعتمدوا عليها بلحالها في المذاكرة؟؟

[طب طب]

المشاركة الأصلية كتبت بواسطة رنومه..

يعطيك العآفيه..
ايييه شكلك كنتي معي بنفس الكلآس الي توهق بسؤآل البلوت وهو أصلا مو شآرحه:t1:..

بالعكس اشرحه كذا مره وحتى اذا تذكرين رسم لنا وهو يشرح البلوت يوم يرسم بيت بنقلي وبنت وكذا

انا حليت هالسؤال بس ماكنت متوقعه يجيب لنا البلوت بكبرها يعني

[ThE lEgEnD]

انا بحط لكم البرزينتيشون حقنا وياليت كل وحده تحط بتاعها لانها قالت انها مهمه ولازم ننتبه مع البنات ع نستفيد واحتمال جميل انها تجي بالفاينل لانها تعتبر شامله المهم

•Thesentimental novel or the novel of sensibility during the 18th century is a literary kind which celebrates exaggerated emotions and feelings.

Sentimentalism, and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction beginning in the eighteenth century. In general, sentimentalism is improving in form, “artless” in style, honest in its tone, sensational in its plotting, and addressed overwhelmingly to a female readership.
* Often, the term “sentimentalism” is used in two senses:
1- An excess in emotion, especially the conscious effort to induce emotion in order to enjoy it; expressing a “sensibility,” or weakness to emotions and sentiments (as opposed to logic or reason).
2- An optimistic overemphasis of the goodness of humanity, representing in part a reaction against Calvinism, which regarded human nature as depraved.

-The first sentimental work appeared is Pamela by Samuel Richardsonwhich started this type of writing or Virtue Rewarded(1740).

--Among the most famous sentimental novels are Laurence Sterne's Sentimental

Journey (1768)

- Sentimental novels gave rise to the subgenre of domestic fiction in the early eighteenth century, commonly called conduct novels or domestic novels. The story's hero in domestic fiction is generally set in a domestic world and centers on a woman going through various types of suffering, and who is juxtaposed with either a foolish and passive or a woefully undereducated woman. The contrast between the heroic woman's actions and her foil's is meant to draw sympathy to the character's plight and to instruct them about expected conduct of women. The domestic novel uses sentimentalism as a tool to convince readers of the importance of its message.

A certain term may change from an age to another.

In the 19th century, the meaning of this term(Sentimentalism) had changed for that many novelists wrote cheap sentiment novels that were less popular and totally exaggerated.

In Jane Austen’s first novel Sense and Sensibility(Sentimentality) we can find sentiments which is even shown in the title.

In A Sentimental Journey Through France and Italy Laurence Sterne travelled through [[France]] and [[Italy]] as far south as [[Naples]], and after returning determined to describe his travels from a [[sentimental]] point of view.

MrYorick, the hero of the novel, follows his Sensibility and finds pleasure in everything he does, he has various adventures of lust and feeling with women .

A Sentimental Journey emphasized the subjective discussions of personal taste and sentiments, of manners and morals over classical learning.

Sterne called it a "sentimental" journey because the point of travel was not to see sights or visit art collections, but to make meaningful contact with people. Yorick succeeds, but in every adventure, his ego or inappropriate desires and impulses get in the way of "sentimental commerce." The result is a light-hearted comedy of moral sentiments.

It is one of the most popular and imitated works of fiction, by Jane Austen, it is a story set in the early 19th century with many themes running through it. As the title of the novel suggests, two major themes running throughout the novel are 'pride' and 'prejudice' exemplified best by the main characters of the novel, Elizabeth Bennet (one of the five daughters in Bennett Family) and FitzWilliam Darcy (A wealthy young man of high status ) .

The other themes that the story deals with includes family, marriage, women, , virtue, and class. Jane Austen has shown the social fabric of society during her times and made a comment on all the important and inevitable aspects of life.

**A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is useless parents.

In Pride and Prejudice, the failure of Mr. and Mrs. Bennet(particularly the latter) as parents is blamed for Lydia's lack of moral judgment

*Darcy, on the other hand, has been taught to be principled and carefully honorable , but also proud. Kitty, rescued from Lydia's bad influence and spends overbearing more time with her older sisters after they marry, is said to improve greatly in their superior society..

Throughout the whole novel we can’t exact a sentiment character who has this exaggerated emotions but we can find some serious characters instead, which are not as MrYorick’scharacterwho has this exaggerated feelings toward simple matters .

Therefore, it is not considered as a sentimental novel because Jane Austen criticizes society through the novel without showing any sentiment by the characters as it should.

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ادعوا للبنات اللي شاركوا فيهـ.

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ان شاء الله بس يكون واضح لكمـــ

لاني سويت له كوبي بيست من الباوربوينت هع

[C a t h r e n]

هذا البحث حقي

كوبي بيست من النت

عنوان البحث

---The Sentimental Novel---


Sentimentalism

It is now a pejorative term applied to what is perceived to be an excess of emotion to an occasion, and especially to an overindulgence in the "tender" emotions of pathos and sympathy. Since what constitutes emotional excess or overindulgence is relative both to the judgment of the individual and to large-scale historical changes in culture and in literary fashion, what to the common reader of one age is a normal expression of humane feeling may seem sentimental to many later readers. The emotional responses of a lover that ****************ley expresses and tries to evoke from the reader in his "Epipsychidion" (1821) seemed sentimental to the New Critics of the 1930s and later, who insisted on the need for an ironic counterpoise to intense feeling in poetry. Most readers now find both the drama of sensibility and the novel of sensibility of the eighteenth century ludicrously sentimental, and respond with jeers instead of tears to once celebrated episodes of pathos, such as many of the death scenes, especially those of children, in some Victorian novels and dramas. A staple in current anthologies of bad poetry are sentimental poems which were no doubt written, and by some people read, with deep and sincere feeling. A useful distinction between sentimental and nonsentimental is one which does not depend on the intensity or type of the feeling expressed or evoked, but labels as sentimental a work or passage in which the feeling is rendered in commonplaces and clichés, instead of being freshly verbalized and sharply realized in the details of the representation.


Sentimental novel
The sentimental novel or the novel of sensibility is an 18th century literary genre which celebrates the emotional and intellectual concepts of sentiment, sentimentalism, and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction beginning in the eighteenth century in reaction to the rationalism of the Augustan Age. An early example is Manon Lescaut by Antoine-François Prévost in 1731, the story of a courtesan for whom a young seminary student of noble birth forsakes his career, family, and religion and ends as a card shark and confidence man. His downward progress, if not actually excused, is portrayed as a sacrifice to love. The prototype of the English sentimental novel is Samuel Richardson's novel Pamela (1740). The term and the literary style originate in medieval French (and later English) romances, in which the hero is usually preoccupied with his or her love and love sufferings. The second important novel was The History of Tom Jones, a Foundling by Henry Fielding, who went on to satirize the style a year later in Joseph Andrews. Sentimental novels are related to the domestic fiction of the early eighteenth century. Among the most famous sentimental novels are Laurence Sterne's Sentimental Journey (1768) and Henry Mackenzie's The Man of Feeling (1771). Along with a new vision of love, sentimentalism presented a new view of human nature which prized feeling over thinking, passion over reason, and personal instincts of "pity, tenderness, and benevolence" over social duties. Possibly the most prominent example of sentimental fiction in America is Susan Warner's The Wide, Wide World.

The novel of sensibility
After the 1760s, Laurence Sterne's Tristram Shandy spawned the novel of sensibility; it is also a peak in the development of sentimentalism. In it, the protagonist, most often a young woman, naively encounters the world and learns to refine her natural goodness. Sensibility was a character trait important in the mid- to late-eighteenth century. A person with sensibility was attuned with nature and was easily, and rightly, affected by the feelings of others; the "sensible" person noticed the hurt of others and was a barometer of social morality. Tobias Smollett tried to imply the "cult of sensibility" in his Humphry Clinker 1771. An excellent example of this type of novel is Frances Burney's Evelina (1778), wherein the heroine, while naturally good, in part for being country-raised, hones her politeness when visiting London she is educated into propriety. This novel also is the beginning of "romantic comedy". Johann Wolfgang von Goethe's 1774 The Sorrows of Young Werther was highly sentimental and immediately extremely popular throughout Europe, and even inspired young people who could relate to Werther's sorrows to commit suicide.




History
Among the most famous sentimental novels are Laurence Sterne's Sentimental Journey (1768) and Henry Mackenzie's The Man of Feeling (1771). Possibly the most prominent example of sentimental fiction in America is Susan Warner's The Wide, Wide World.
Tobias Smollett tried to imply a darker underside to the "cult of sensibility" in his The Expedition of Humphry Clinker (1771). An excellent example of this type of novel is Frances Burney's Evelina (1778), wherein the heroine, while naturally good, in part for being country-raised, hones her politeness when visiting London she is educated into propriety. This novel also is the beginning of "romantic comedy", though it is most appropriately labeled a conduct novel and a forerunner of the female Bildungsroman in the English tradition exemplified by later writers such as Jane Austen, Charlotte Bronte, and George Eliot.
Sentimental novels gave rise to the subgenre of domestic fiction in the early eighteenth century, commonly called conduct novels. The story's hero in domestic fiction is generally set in a domestic world and centers on a woman going through various types of hardship, and who is juxtaposed with either a foolish and passive or a woefully undereducated woman. The contrast between the heroic woman's actions and her foil's is meant to draw sympathy to the character's plight and to instruct them about expected conduct of women. The domestic novel uses sentimentalism as a tool to convince readers of the importance of its message.
By the end of the 18th century, sentimental literature faced complaints about the abundance of "cheap sentiment" and its excessive bodily display. Critics, and eventually the public, began to see sentimentalism manifested in society as unhealthy physical symptoms such as nervousness and being overly sensitive, and the genre began declining sharply in popularity.



Satirical works
The novelist Henry Fielding, known later for his novel The History of Tom Jones, a Foundling, satirized the sentimental style in his early novels Shamela and Joseph Andrews.
Jane Austen's Sense and Sensibility is most often seen as a "witty satire of the sentimental novel", by juxtaposing values of the Age of Enlightenment (sense, reason) with and those of the later eighteenth century (sensibility, feeling) while exploring the larger realities of women's lives, especially through concerns with (marriage and inheritance). This reading of Sense and Sensibility specifically and Austen's fiction in general has been complicated and revised by recent critics such as Claudia L. Johnson (Jane Austen: Women, Politics and the Novel [1988] and ********************ocal Beings: Politics, Gender, and Sentimentality in the 1790s [1995]), Jillian Heydt-Stevenson (Austen's Unbecoming Conjunctions [2005], and Christopher C. Nagle (Sexuality and the Culture of Sensibility in the British Romantic Era [2007]), all of whom see unruly and even subversive energies at play in her work, inspired by the sentimental tradition.


Cultural aspects
The sentimental novel complemented the current social trends toward humanism and the heightened value of human life. The literature focused on weaker members of society, such as orphans and condemned criminals, and allowed readers to identify and sympathize with them. This translated to growing sentimentalism within society, and led to social movements calling for change, such as the abolition of the death penalty and of slavery. Instead of the death penalty, popular sentiment called for the rehabilitation of criminals, rather than harsh punishment. Frederick Douglass himself was inspired to stand against his own bondage and slavery in general in his famous Narrative by the speech by the sentimentalist playwright Sheridan in The Columbian Orator detailing a fictional dialogue between a master and slave.
Johann Wolfgang von Goethe's 1774 The Sorrows of Young Werther was highly sentimental and immediately extremely popular throughout Europe, and even inspired young people who could relate to Werther's sorrows to commit suicide.[9] It is also an excellent example of an epistolary novel, an especially typical form for eighteenth-century novels of sensibility, beginning with the influential novels of Samuel Richardson, [[Pamela (1740)]], [[Clarissa (1748)]], and [[The History of Sir Charles Grandison (1753)]]. The latter was an especially important influence on Jane Austen, who references it repeatedly in her letters and began a dramatic adaptation of the work for the amusement of her family.

Gothic novel
The Gothic novel's story occurs in a distant time and place, often Medieval or Renaissance Europe (especially Italy and Spain), and involved the fantastic exploits of a virtuous heroine imperiled by dark, tyrannical forces beyond her control. The first Gothic novel is Horace Walpole’s The Castle of Otranto (1764), but its most famous and popular practitioner was Ann Radcliffe. As in other Gothic novels, the notion of the sublime is central. Eighteenth-century aesthetic theory, following Edmund Burke, held that the sublime and the beautiful were juxtaposed. The sublime was awful (awe-inspiring) and terrifying while the beautiful was calm and reassuring. The characters and landscapes of the Gothic rest almost entirely within the sublime, with the heroine serving as the great exception. The “beautiful” heroine’s susceptibility to supernatural elements, integral to these novels, both celebrates and problematizes what came to be seen as hyper-sensibility.


Relation to the Gothic novel
Gothic and sentimental novels are considered a form of popular fiction, reaching their height of popularity in the late 18th Century. They reflected a popular shift from Neoclassical ideas of order and reason to emotion and imagination.[10] Popular stylistic elements, such as the "discovery" of the original manu************************ by the author (as in Walpole's Castle of Otranto) or creating fragmented works by combining disjointed tales (seen in Sterne's A Sentimental Journey) were meant to suggest to the reader that there was no act of artistic creation to distort reality between the reader and the work, or that the emotional intensity and sincerity remained intact.


























A Sentimental Journey Through France and Italy



A Sentimental Journey Through France and Italy is a novel by the Irish-born English author Laurence Sterne, written and first published in 1768, as Sterne was facing death. In 1765 Laurence Sterne travelled through France and Italy as far south as Naples, and after returning determined to describe his travels from a sentimental point of view. The novel can be seen as an epilogue to the possibly unfinished work The Life and Opinions of Tristram Shandy, Gentleman, and also as an answer to Tobias Smollett's decidedly unsentimental Travels through France and Italy. (Sterne met Smollett during his travels in Europe, and strongly objected to his spleen, acerbity and quarrelsomeness. He modeled the character of Smelfungus on him.)
The novel was extremely popular and influential and helped establish travel writing as the dominant genre of the second half of the 18th century. Unlike prior travel accounts which stressed classical learning and objective non-personal points of view, A Sentimental Journey emphasized the subjective discussions of personal taste and sentiments, of manners and morals over classical learning. Throughout the 1770s female travel writers began publishing significant numbers of sentimental travel accounts. Sentiment also became a favorite style among those expressing non-mainstream views including political radicalism.
The narrator is the Reverend Mr. Yorick, who is slyly represented to guileless readers as Sterne's barely disguised alter ego. The book recounts his various adventures, usually of the amorous type, in a series of self-contained episodes. The book is less eccentric and more elegant in style than Tristram Shandy and was better received by contemporary critics. It was published on February 27, and on March 18 Sterne died.








About The Author

Laurence Sterne (1713 - 1768)
Novelist, born in Clonmel, County Tipperary, Ireland. Laurence Sterne came of a distinguished family, though he gained no advantage from it, and, having been born in Ireland where his father was stationed, he spent his youth first as a camp-follower and then as a schoolboy in Yorkshire under the guardianship of his uncle. At Cambridge, where he was a poor dis****************************ed scholar, he became friendly with John Hall-Stevenson who later in life placed at his disposal a large private library and encouraged him to join the carousing and *****-brained fun of a club called the Demoniacs which met at Crazy Castle.
Apart from these bouts of conviviality, Sterne was ordained in 1738 and settled to his career as a conscientious country parson who earned some reputation both as a wit and as a preacher. Despite his growing fame in Yorkshire, he gained no ecclesiastical promotion; he became estranged from his wife, and she eventually suffered from mental collapse.
In 1759, under such melancholy circumstances, he wrote he wrote the first two volumes of his eccentric and influential comic novel The Life and Opinions of Tristram Shandy. These were issued locally at his own expense; soon, however, they were so popular in London itself that he was able to obtain a contract for a new volume each year during the rest of his life.
The remaining volumes appearing between 1761 and 1767. Unfortunately, success had barely reached him when tuberculosis showed itself. From 1762 he lived mainly abroad for health reasons, there he was feted by influential people as a man with a European reputation. A second trip in search of health resulted in A Sentimental Journey in 1768, a jocose mixture of travel, gossip and novel spiced with oddity yet sweetened with sentimentalism. It was while he was in London supervising the publication of this book that he suffered a sudden relapse and died.
His Letters from Yorick to Eliza (1775-1779) contained his correspondence with a young married woman to whom he was devoted.



Plot Summary
Yorick's journey starts in Calais, where he meets a monk who begs for donations to his convent. Yorick initially refuses to give him anything, but later regrets his decision. He and the monk exchange their snuff-boxes. He buys a chaise to continue his journey. The next town he visits is Montriul, where he hires a servant to accompany him on his journey, a young man named La Fleur.
During his stay in Paris, Yorick is informed that the police inquired for his passport at his hotel. Without a passport at a time when England is at war with France (Sterne traveled to Paris in January 1762, before the Seven Years' War ended[1]), he risks imprisonment in the Bastille. Yorick decides to travel to Versailles where he visits the Count de B**** to acquire a passport. When Yorick notices the count reads Hamlet, he points with his finger at Yorick's name, mentioning that he is Yorick. The count mistakes him for the king's jester and quickly procures him a passport. Yorick fails in his attempt to correct the count, and remains satisfied with receiving his passport so quickly.
Yorick returns to Paris, and continues his voyage to Italy after staying in Paris for a few more days. Along the way he decides to visit Maria – who was introduced in Sterne's previous novel, Tristram Shandy – in Moulines. Maria's mother tells Yorick that Maria has been struck with grief since her husband died. Yorick consoles Maria, and then leaves.
After having passed Lyon during his journey, Yorick spends the night in a roadside inn. Because there is only one bedroom, he is forced to share the room with a lady and her servant-maid. When Yorick can't sleep and accidentally breaks his promise to remain silent during the night, an altercation with the lady ensues. During the confusion, Yorick accidentally grabs hold of something; at this point the second volume ends with a cliffhanger. The mystery of what Yorick grabs hold of is a product of modern censorship which either omits the last word of the last line of the original or substitutes c**t.[2] The sentence is open to interpretation. You can say the last word is omitted, or that he stretched out his hand, and caught hers (this would be grammatically correct). Another interpretation is to incorporate 'End of Vol. II' into the sentence, so that he grabs the Fille de Chambre's 'End'.


Yorick's Attitude Towards Women in A Sentimental Journey

If we are to read Laurence Sterne's A Sentimental Journey, we must abandon the fixed idea about ordinary travel, which are filled with detailed de************************ions of the landscapes. In Sterne's work, however, there are unique de************************ions of human feelings, compared to the other ordinary travelogues. Consequently, the whole work makes readers confused at first. However, once we are absorbed in that story, we can easily follow Yorick's unique thoughts. Especially his attitude towards women is interesting. He meets many women and his attitude towards them does not change. That is, we can see there exists some principles when Yorick faces women.

Why does Yorick meet so many women in such a short time? As there is not a single passage about his own profile in the story, we cannot assume what he is and what he does in his country. Nevertheless, Yorick seems to be single, because nobody ever told Yorick not to go abroad in the first episode. And also Yorick is really afraid of being kept in prison. Though it is a sort of general fear that everybody can be scared, Yorick seems to be even more sensible about being limited to a particular place or group of people. He tries to set free the "starling" (71-3), because he does hate the feeling of confinement. A marriage possibly can be a sort of confinement to Yorick. That is, being a free single man, Yorick does not want to be tied to particular person. And that makes him meet so many women in such a short time and have lots of relationships with them.

Yorick meets so many people and they are various in the class, sex, and dispositions. But he has a very eccentric idea, classifying them only into two parts, men and women. Yorick does not care the other's classes or dispositions, he often meets from the Madame to the lady maid. But his attitude changes according to the other's sex. Although there are lots of episodes through the whole story, women in these episodes are actually described as a sentimental being.

"The Conquest" (94) episode shows the very idea of Yorick's attitude towards women. As the title says, it is about the conflict between the "clay-cold heads"[reason] and "luke-warm hearts"[sentiments]. Apparently Yorick looks sentimental enough in front of a woman. But deep in his heart, he is fighting between sentiment and reason. Whenever he feels some passions towards a woman, he talks to himself in a moderate voice as followings: "Whip me such stoics, great governor of nature!" (94). That is, Yorick presses himself not to be extremely sentimental in the relationship with others. Although Yorick insists he is a "sentimental traveller" (11), all his attitude towards others are very product of rational thoughts. That explains Yorick is thinking and fighting among the two elements, reason and sentiment.

In fact he emphasizes the danger of one-sided opinion between these two by referring to "Smelfungus" and "Mundungus" (28-9). He criticizes both of them. The former always "set out with the spleen and jaundice, and every object he pass'd by was discoloured or distorted" and the latter "had travell'd straighted on looking neither to his right hand or his left, lest Love or Pity should seduce him out of his road". That is, "Smelfungus" only concerns his own feelings, on the contrary, "Mundungus" is only interested in strict reason. That is, these two are the very examples of dangerous extreme. In that point of view, Yorick's passiveness towards women and his boldness towards men are both dangerous. Finally Sterne wants to warn the readers of dangerous extreme.

In summary, Mr. Yorick, traveling through France and Italy, trying to tell us the importance of harmony with reason and sentiment. In that point, Yorick himself is a very mixed existence with reason and sentiment blended. And these can be probably explained by that historical background. England and France have maintained the contrasting in many ways. As some part of this story shows, the difference between these two countries can be compared to the conflict between reason and sentiment. In fact we easily match the word 'reasonable the English' and 'elegant the French' even in the end of 20th century. Sterne probably wants to settle this unsolved situation through eccentric character, Mr. Yorick.

[ThE lEgEnD]

كاثرين يعطيك العافيه بس البحوث دايمن تكون كلام دششش غير البريزينتيشنات اللي هي اكدت على اهميتها>>>احلفي ,,, بس يعطيك العافيه ماقصرتي

ومعاأأأأًًًًً يداً بيد نحو طريق الخير هياااااااااااا...نعلم ان لن يعيدنا الزمن في عااااالم الديجيتال بل العمل معاً
أأصحاااااااااااااااااااااااابووووو الديجيتاااااااااال

[أخت أخوها]

ري ري

الله يحفظكـ تسلمين قدا

=)

[C a t h r e n]

ليجيند والله لو غني سويته بنفسي بحط بس ماعندي نسخة منه ..صحباتي سووه


الذين يشاهدون محتوى الموضوع الآن : 13 ( الأعضاء 9 والزوار 4)
‏C a t h r e n, ‏دخلت E وتوهقت, ‏رحلة عمر, ‏shwshw, ‏souLs, ‏ThE lEgEnD+, ‏غرك غلاك, ‏what ever !


بلييييز في أحد من بنات صلاح يجاوبني؟؟؟

[امممم نسيت]

كاثرين ان شالله احد يرد عليك

بس بنات الحين اوراق هيام الخمسه حقت الميد + الملازم المرفقه

تكفي وتفي بالغرض ؟

[دخلت E وتوهقت]

كاثرين .. والله انا ماعندي ماعند جدتي سواً عند صلووح او مهاوي

بس ان شاءالله يجي اللي يفيدك :)

[اخت فجر]

وشو الخبر ؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟

انا عندي ترجمه