[ اللغة الانجليزية ] : l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|

[honey eyes]

لا لا
أقصد آخر ملزمة نزلتها الي فيها عن ريتشارد وليفز

[honey eyes]

المشاركة الأصلية كتبت بواسطة Angel Eye

ابي القروب حق د.حصه آللي تعرفه ياريت تحطه ..وكيف اسجل فيه ؟؟

http://groups.yahoo.com/group/kahlanpoetry/
هذا رابط القروب بس كيف التسجيل فيه صراحة ماعرف اودي أعرف
ياليت الي تعرف تعلمنا

[أتعبتني يا قلب]

[align=justify]
متى نزلتها ؟
قالو لي ان الجزء الرابع أخر شي نزل
سؤال : الكويز في ريتشارد أو ليفز ؟؟
وطلب : ممكن تسوي للملزمة سكان او تصوير ؟؟ ع الأقل بس الكريتيك اللي داخل معنا بالكويز [/align]

[honey eyes]

المشاركة الأصلية كتبت بواسطة أتعبتني يا قلب

[align=justify]
متى نزلتها ؟
قالو لي ان الجزء الرابع أخر شي نزل
سؤال : الكويز في ريتشارد أو ليفز ؟؟
وطلب : ممكن تسوي للملزمة سكان او تصوير ؟؟ ع الأقل بس الكريتيك اللي داخل معنا بالكويز [/align]

نزلت يوم الثلوث الظهر
والكويز بيكون في ريتشارد
ومع الأسف ماعندي سكان كان نزلتها مع اني مومقتنعة فيها
ان شاءالله البنات مايقصرو
>> الظاهر ان لو برزنتيشن اهون علينا

[jawaher]

ماحسيتها مرة كلام بقوة يرفع ضغط
سوال : هي قالت نداكر منها ؟؟؟؟

[القصواء]

بنات بسألكم الحين السجل الاكاديمي الي خذناه من القسم عشان نراجع موادنا ونتأكد منها

ماهم حاطين آخر فصل درسناه

كلكم مثلي ولا بس انا ؟

[القصواء]

المشاركة الأصلية كتبت بواسطة honey eyes

بنات فيه حد قرأ الملزمة الي نزلتها د. يمنى ؟؟
مااعجبتني ابدا! أحس مافيها شي مهم !
معقولة نذاكر منها وبتجيب منها !
هذا غير الخط اللي احولت عيوني وأنا أحاول أقراه

انا برضو مثلك قريتها ولا فهمت شي

مادري من وين نذاكر ياربي وش السوات

بنات دكتورة نجلا بيليييييز انقذونا تكفوون طلبناكم ربي يفرج لكم فرجوا لنا

[just noony]

المشاركة الأصلية كتبت بواسطة القصواء

انا برضو مثلك قريتها ولا فهمت شي

مادري من وين نذاكر ياربي وش السوات

بنات دكتورة نجلا بيليييييز انقذونا تكفوون طلبناكم ربي يفرج لكم فرجوا لنا

me too I did not understand any thing
HELP US PLEASE

[honey eyes]

عن نفسي هالملزمة غسلت يدي منها
كل الي فيها هذررة مأخود خيرها
وهي قالت انها بتجيب لنا ياتعريف يافراغات يعني اكيد شي من التيكست نفسه
واذا تذكرون انها كتبت لنا نقاط ع البورد كالتالي:
close textual analysis meaning of words (4 factors )
context
Rhythm& meter
value of metaphors
4 factors of the meaning of the words:
sense
feelings
tone
intention
والحين وأنا ابحث لقيت كلام ومقدمته نفس اللي كتبته بالظبط
ويشرح كل هالنقاط
شكله جايبته منه
وهي من النوع الي يجيب الكلام الي تشرحه وتكتبه يعني ان شاءالله يكفينا هالكلام مع بعض الأظافات وطبعا اللي تذكر شي ثاني قالته تحطه لنا
احسن من مانضيع وقتنا ع الملزمة المعقدة
تفضلو هذا اللي لقيته :

A study of Richards’s Practical Criticism, A Study of Literary Judgment reveals that Richards is a staunch advocate of a close textual and verbal study and analysis of a work of art. Similar interest in the study of words is revealed in his book, Meaning of Meaning. Total meaning of a poem is combination of several contributory meanings of different types—Sense, Feeling, Tone, and Intention.

Sense means to make reference to something, that is, when the writer says something he wants to direct his hearers’ attention upon some state of affairs, to present to them some items for consideration and to excite in them some thoughts about these items.
Feeling refers to the feelings of the writer or speaker about these items, about the state of affairs he is referring to. He has an attitude towards it, some special direction, bias, or accentuation of interest towards it, some personal flavor or coloring of it, and he uses language to express these feelings, this nuance of interest.
Tone means the attitude of the writer towards his readers. The writer or the speaker chooses and arranges the words differently as his audience varies, in automatic or deliberate recognition of his relation to them. We may distinguish between the tone of authority in some persons when speaking to their subordinates or inferiors and the tone of friendship when spraking to their equals. Besides all these things, the speaker’s intention or aim, conscious or unconscious, should also be taken into account. Ordinarily the speaker speaks with a purpose and his purpose modifies his speech. The understanding of it is part of the whole business of apprehending his meaning. Unless we know what he is trying to do, we can hardly estimate the measure of his success. We may distinguish here between the inflammatory speeches of the political readers where the aim is to excite the listeners and class-room lectures where the aim is to make certain things intelligible to the students. No one function among these functions differ in different types of writings. Only this much can be said that generally sense predominates in the scientific language and feeling in the poetic language.

Richards says, “Originally language may have been almost purely emotive; that is to say a means of expressing feelings about situations, a means of expressing impersonal attitudes, and a means of bringing about concerted action.” In poetry language returns to that primitive condition. Language of poetry affects feelings. “The statements in poetry are there as a means to manipulation and expression of feelings and attitudes. Hence we must avoid an intuitive reading and also an over literal reading of poems.” Words in poetry have an emotive value, and figurative language used by poets conveys those emotions effectively and forcefully.

Words also acquire a rich associative value through their use by different poets in different contexts. The context in which a word has been used is all important. “Words have different meanings in different contexts. Words are symbols or signs and they deliver their full meaning only in a particular context. They work in association and within a particular context. He writes : “A context is a set of entities (things or events) related in a certain way; these entities have each a character; such that other sets of entities occur having the same characters and related by the same relation; and these occur nearly uniformly.” Meaning is dependent on context, but the context may not always be apparent and easily perceptible. Literary compositions are characterized by rich complexity in which certain links are suppressed for concentration or effective and forceful expression. Frequent mention is therefore made of the ‘missing context’ and ‘ambiguity.’ In ordinary blemishes in writing, but in poetry or even in artistic prose they are a source of embellishment and a means of effective communication of meaning. The literary critic is expected to understand and expand the context so that the poem may become intelligible and its full value may be grasped.

Words have different meanings in different contexts. Sense and feeling have a mutual dependence. “The sound of a word has much to do with the feeling it evokes.” First, it may arise from the meaning and be governed by it. The feeling is the result of grasping the meaning. Secondly, the meaning arises from the feeling evoked. Thus the word ‘gorgeous’ first generates a feeling from its sound. Thirdly, sense and feeling may be related because of the context. A complete poem can influence a single word or phrase contained in it either through the feelings or through the sense. The feelings already occupying the mind limit the possibilities of the new words. This is because words are ambiguous in themselves and they acquire new meanings when they are charged with feelings. Hence Richards argues that we need one careful reading to find the meaning and another to grasp the feeling.

The meaning of words is also determined by rhythm and meter. Rhythm results from the repetition of particular sounds and the expectancy this repetition arouses in the mind. Metre is a specialised form of rhythm. It is rhythm made more regular and cast into set and well-formed pattern. Both rhythm and meter are organic and integral parts of a poem, for they both determine the meaning of the words used by the poets. Richards’ remarks in this connection are interesting and deserve to be quoted in their entirety :
“Rhythm and its specialized form, meter, depend upon repetition and expectancy. Equally where what is expected recurs and where it fails, all rhythmical and metrical effects spring from anticipation. As a rule, this anticipation is unconscious. Sequences of syllables both as sounds and as images of speech-movements leave the mind ready for certain further sequences rather than others. Our momentary organization is adapted to one range of possible stimulus rather than to another. Just as the eye reading print unconsciously expects the spelling to be as usual, and the fount of type to remain the same, the mind after reading a line or two of verse, or half a sentence of prose, prepares itself ahead for any one of a number of possible sequences, at the same time negatively incapacitating itself for others.”

“We may turn now to that more complex and more specialized form of temporal rhythmic sequence which is known as meter. This is the means by which words may by made to influence one another to the greatest possible extent. In metrical reading the narrowness and definiteness of expectancy, as such unconscious as ever in most cases, is very greatly increased, reaching in some cases, if rhyme also used, almost exact precision. Furthermore, what is anticipated becomes through the regularity of the time intervals in meter virtually dated. This is no mere matter of more or less perfect correspondence with the beating of some internal metronome.” Rhythm, meter and meaning cannot be separated; they form together a single system. They are not separate entities but organically related. Therefore, a paraphrase or an over literal reading can never convey the total meaning of a poem.

Successive readings are necessary to understand the poetic meaning. Poetic truth is different from scientific truth. It is a matter of emotional belief rather than intellectual belief. It is not a matter of versification, but of attitude and emotional reaction.
For the purpose of communication, the use of metaphoric language is all important. “A metaphor is a shift, a carrying over of a word from its normal use to a new use”. Metaphors may be of two kinds : (I) sense-metaphors, and (2) emotive-metaphors. In a sense-metaphor the shift is
due to a similarity or analogy between the original object and the new one. In an emotive metaphor the shift is due to a similarity between the feelings the new situation and the normal situation arouse. The same word in different contexts may be a sense-metaphor or an emotive one.

“Metaphor,” says Richards, “is a semi-surreptious method by which a greater variety of elements can be brought into the fabric of the experience. With the help of a metaphor, the writer can crowd into the poem much more than would be possible otherwise. The metaphorical meaning arises from the inter-relations of sense, tone, feeling and intention.”
“A metaphor is a point at which many different influences may cross or unite. Hence its dangers in prose discussions and its treacherousness for careless readers of poetry, but hence, at the same time, its peculiar quasi-magical sway in the hands of a master. Certain conjunctions of metaphors—through their history partly and through the collocation of emotional influence that by their very ambiguity they effect—have a power over our minds that nothing else can exert or perpetuate.”

[M.A.S]

بنات اللي ما سووا برزنتيشن وما سلمو البروجكت شيسوون؟
د. سلوى ما جت يوم الاربعاء