[ مذاكرة جماعية ] : النقد الأدبي تلخيص على شكل اسئلة

[ayosha]

lecture 7 part1

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

[ayosha]

المشاركة الأصلية كتبت بواسطة kbj911

الله يوفقك

وان شاء الله فالنا a+

امين ويوفقك يارب

المشاركة الأصلية كتبت بواسطة loony

الله يعطيك العافية عيوشة ويبارك بوقتك
دخلت ودي في المحاضرة ال 12 اثبتها ان شاء يارب تكملين ؟

الله يعافيك
ان شاء الله أحاول اخلصها كامل

المشاركة الأصلية كتبت بواسطة مـرسال

افدتينا كثييييييير هذا المستوى اصعب ماده سهلتيها علينا ربي يسهل كل امورك ويعطيك العافيه


واااااصلي في انتظااارك

امين ويعافيك يارب

المشاركة الأصلية كتبت بواسطة طموح الأفق

يا رييييييييت اذا كملتي المحاضره السابعه تجمعيها بملف عشان ع الاقل نكمل ماكرة نص المنهج

الله يوفقك

اذا امداني بعد ما اخلص المحاضرات ان شاءالله احطها

[welo12]

لا والله لازم تكملينها انا اعتمدت عليك فيها
الله يبارك فيك ويعطيك الف عافية
الله يوفقك ساعدتي الكثير
يارب يمديك

[ayosha]

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

[ayosha]

المشاركة الأصلية كتبت بواسطة welo12

لا والله لازم تكملينها انا اعتمدت عليك فيها
الله يبارك فيك ويعطيك الف عافية
الله يوفقك ساعدتي الكثير
يارب يمديك

ويوفقك ويعطيك العافية

[nuna777]

يعطيك العافيه والله يجزيك خير ويسهل عليك ويوفقك وينجحك بالدنيا والاخره:)

[فيني ونة]

يا عرب لخصت جزء من الثامنه نتساعد بذا المادة ولا اقدر اتواصل مع عواش لقل المشاركات بخط يدي

[Goli5]

السلام عليكم

اخت عيوشه بالبدايه اسال الله انه يوفقك على مجهودك وحبيت اسالك هل اعتمد على اسالتك

[ayosha]

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

[ayosha]

المشاركة الأصلية كتبت بواسطة nuna777

يعطيك العافيه والله يجزيك خير ويسهل عليك ويوفقك وينجحك بالدنيا والاخره:)

امين يا رب ويوفقك ويجزاك خير

المشاركة الأصلية كتبت بواسطة فيني ونة

يا عرب لخصت جزء من الثامنه نتساعد بذا المادة ولا اقدر اتواصل مع عواش لقل المشاركات بخط يدي

اذا سويتيها على شكل اسئلة حطيها هنا كمشاركة

المشاركة الأصلية كتبت بواسطة goli5

السلام عليكم

اخت عيوشه بالبدايه اسال الله انه يوفقك على مجهودك وحبيت اسالك هل اعتمد على اسالتك

وعليكم السلام ورحمة الله وبركاتة
امين ويوفقك
اذا قصدك ماترجعين للمحتوي والمحاضرات
لا لازم ترجعين لها
انا حاولت احط كل المعلومات بس مع كذا ممكن يكون شي نقلته خطاء او جزء نسيت احطة
الاسئلة الهدف منها ترتب لك المعلومات عشان يسهل علك مذاكرة المحتوى