Fourth year ENGLISH students

[Wabel]

بنااااااات!!!! عندكم فكره متى الامتحانات النهائيه؟!

اي تاريخ؟!؟!

[كيلو تناحة]

عندي الخبر الأكيد،،
15 -2 تبدأ الإختبارات وبما أحنا رابع فراح نبدأ الأربعاء قبل السبت علشان نخلص مع الكلية
اليوم قالته د. نعيمة الغامدي،،،يعني نبدأ 12 تقريباً،،،

[Wabel]

كيلو تناحة

شكراً على المعلومه!

يا رب سهلها علينا

[mesho ~]

بكرا اخر يووم تسليم بحث اللغويات

لا تنسوووووووووووووووووووووووووووووووووووووون

[moon2]

اي معلومه عن الاختبارات اسدحوها هنا يا بناااااااااااااات

[mesho ~]

صبااااحكم سكر مع جو الاختبارات :g8:

جبتلكم جزئية مهمه في مادة البروز تخص المسرحيه الثانيه Mrs.dalloway

ــــــــــــــــــــــــــــــــــــــ

Privacy of the Soul and Communication in Mrs. Dalloway
By Jennifer Bress - April 01, 2008

Virginia Woolf’s novel Mrs. Dalloway is known for its flowing, stream-of-consciousness narrative form that connects external events and the thoughts of all of the characters. Ironically, one of the novel’s most prominent themes is that of individuals struggling with privacy of the soul. In particular, the main characters Clarissa Dalloway and Septimus Warren Smith serve as opposing yet connected personas that typify and develop the constant conflict between privacy and communication.
On an exterior level, Clarissa and Septimus have many distinctive traits, including gender, social class, and level of sanity. Clarissa is an older, upper-class woman struggling to maintain her private emotions while interacting reasonably with those around her. While contemplating how she interacts with others, Clarissa reflects that she “had tried to be the same always, never showing a sign of all the other sides of her- faults, jealousies, vanities, suspicions” (37). However, earlier she notes that “she had the oddest sense of being herself invisible; unseen; unknown… not even Clarissa any more; this being Mrs. Richard Dalloway” (10-11). The contrast between these two statements manifests Clarissa’s struggle between protecting the intimacy of her emotional state while fostering a sense of self among her social circles.
On the other hand, Septimus is a World War I veteran who has lost his sanity due to severe post-war depression. Septimus appears to have a similar struggle to that of Clarissa, yet he focuses more on achieving a stable state within his own mind rather than maintaining communication with others. Septimus’ wife, Rezia, attempts to stimulate his interest in the external world, “for Dr. Holmes had told her to make her husband… take an interest in things outside himself” (21). However, Septimus makes a different observation about himself, stating that “for now that it was all over, truce signed, and the dead buried, he had, especially in the evening, these sudden thunder-claps of fear. He could not feel” (87). Therefore, while Clarissa mainly struggles with attempting to communicate with others, Septimus avoids interactions with society and focuses on the presumed loss of his inner emotional state. The diversity between the two characters serves to strengthen the universality of the conflict they experience.
An early event in the **************** demonstrates the aforementioned differences between the two figures. When an official-looking vehicle passes through the streets, much excitement stirs as people wonder if the car contains the Queen or Prime Minister of England. Clarissa, who seems to have faith in her society and government, imagines “she had seen something white, magical, circular, in the footman’s hand, a disc inscribed with a name,- the Queen’s, the Prince of Wales’s, the Prime Minister’s?” (17). However, Septimus has a different take on the situation: “And there the motor car stood, with drawn blinds, and upon them a curious pattern like a tree… and this gradual drawing together of everything to one centre before his eyes, as if some horror had come almost to the surface and was about to burst into flames, terrified him” (15). Rather than arousing interest or excitement in Septimus, the car reminds him of the destruction and loss of faith associated with the government during the war, and he attempts to internalize his fears.
Despite their outward differences, many traits typify both Clarissa and Septimus during their development in the novel. For instance, both characters have an inclination towards literature, particularly that of Shakespeare. Clarissa views two lines of a Shakespeare play through a store window in the exposition of the plot: “Fear no more the heat o’ the sun/ nor the furious winter’s rages” (9). These lines are repeated and reflected upon often by both Clarissa and Septimus later on, and Clarissa particularly adapts the lines to her own fear of aging. Similarly, Septimus often analyzes his life by referring to Shakespeare, such as his statement after remembering his experiences in the war: “Here he opened Shakespeare once more. That boy’s business of the intoxication of language-Antony and Cleopatra- had shriveled utterly” (88). Like Clarissa, Septimus is able to apply literature to his own development. The characters’ inclination towards such writing implies that they are prone to analyzing people and events on a more in-depth level than those that are ignorant of literature, such as Clarissa’s husband.
Eventually, both Clarissa and Septimus reach a moment where each character faces the respective side of the conflict that they have been contemplating. Interestingly, this moment takes place at the same time for both characters. With Rezia’s constant imploring, Septimus eventually yields to her desire for him to see a psychiatrist: “At last, with a melodramatic gesture which he assumed mechanistically and with complete consciousness of its insincerity, he dropped his head on his hands. Now he had surrendered; now other people must help him” (90). Soon after this statement, the reader realizes that Clarissa undergoes a similar transition: “twelve o’clock struck as Clarissa Dalloway laid her green dress on her bed, and the Warren Smiths walked down Harley Street. Twelve was the hour of their appointment” (94). Just as Septimus must communicate with other members of society, Clarissa puts down her social dress, actions symbolizing an exchange between privacy of the soul and social interactions.
In addition, at some point in the narrative both Clarissa and Septimus undergo a brief moment of clarity. Clarissa’s moment occurs early in the ****************, after she contemplates her husband’s lunch appointment with a woman friend. The narrative describes this moment:
It was a sudden revelation, a tinge like a blush which one tried to check and then, as it spread, one yielded to its expansion, and rushed to the farthest verge and there quivered and felt the world come closer, swollen with some astonishing significance, some pressure of rapture, which split its thin skin and gushed and poured with an extraordinary alleviation over the *****s and sores! Then, for that moment, she had seen an illumination; a match burning in a crocus; an inner meaning almost expressed (32).
Clarissa appears to be experiencing a deep reflection on how the soul can, at times, connect to that of another person, such as when one is in love. The images of the revelation as an “illumination” or a “match,” similar to the fire that Septimus saw when the car drove by, connote a moment of intense emotional experience. During this moment, Clarissa realizes that it is possible to share the intricacies of the soul with another person.
Similarly, Septimus experiences a moment of clarity when he is spending time with Rezia, right before he commits suicide. As he is helping Rezia make a hat for a friend, Mrs. Peters, Septimus feels a brief period of sanity: “None of these things moved. All were still; all were real … Miracles, revelations, agonies, loneliness, falling through the sea, down, down into the flames, all were burnt out” (142-143). He helps Rezia fix the hat, and afterwards describes how “never had he done anything which made him feel so proud. It was so real, it was so substantial, Mrs. Peters’ hat” (144). The stillness of Septimus’ visions asserts that he is temporarily returned to sanity, and the images of the flames burnt out imply an absence of the inner turmoil that earlier had haunted him. In the same way Clarissa experiences an emotional connection, Septimus feels a connection to his wife and the outside world, away from the private thoughts of his soul. He realizes it is possible to communicate and produce “substantial” accomplishments, an idea juxtaposed to his earlier ignorance of society and inability to relate to others in any meaningful manner. These moments of clarity help each character by balancing their constant reflection on one side of the conflict with a truth about the other.
Clarissa and Septimus also share similar moments of reflection when they observe an elderly woman or man from afar. Clarissa views an elderly woman neighbor who lives alone and contemplates: “she watched out of the window the old lady climbing upstairs. Let her climb upstairs if she wanted to; let her stop…Somehow one respected that- that old woman looking out of the window, quite unconscious that she was being watched. There was something quite solemn in it” (126). Though the woman has complete privacy of her soul, “solemnity” most likely stems from the fact that the woman is alone and is unable to communicate with others, the other part of life that is necessary for humans as social beings. The woman withdrawing and climbing the stairs symbolizes her removal from any sort of connection to the outside world. Clarissa respects this act because she has been incapable of entirely avoiding communication, and instead spends the day throwing a party to stimulate further social interaction.
Likewise, Septimus views an old man descending a staircase out of a house before he throws himself over a balcony to commit suicide. Septimus’ death is described: “Coming down the staircase opposite an old man stopped and stared at him. Holmes was at the door. “I’ll give it you!” he cried, and flung himself vigorously” (149). While the old woman Clarissa observed was ascending stairs and hiding from the outside world, the old man is descending the stairs and exposing himself to society. Septimus cries “I’ll give you!” to assert that he has maintained control over his own private soul, and only will expose it when he wants to, rather than when the doctor probes him. Septimus commits suicide by leaving the house, an action symbolic of leaving the privacy of the soul and revealing himself to others. Thus, Septimus’ death is his final method of communicating with the world while keeping his interior protected. The old man and old woman that Clarissa and Septimus watch help clarify relations with either one’s soul or outside society by typifying experiences that other people have that relate to the protagonists, and have similar views with respect to privacy and communication.
A final connection is made directly between Clarissa and Septimus in the climax of the novel, when Clarissa comments on Septimus’ suicide. She decides that: “Death was defiance…an attempt to communicate; people feeling the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart; rapture faded, one was alone. There was an embrace in death” (184). Clarissa feels responsible for the suicide: “Somehow it was her disaster- her disgrace. It was her punishment to see sink and disappear here a man, there a woman, in this profound darkness, and she forced to stand there in her evening dress” (185). It appears that Clarissa and Septimus have decided to handle their private lives in different ways. While Septimus made one final communication with society while still preserving the privacy of his own soul, Clarissa has forgone much privacy for the societal figure that she has become by marrying Richard, symbolized by the reference to her dress. Interestingly, both figures realize that preserving one side of the conflict involves somewhat sacrificing the other; however, the choice over which is more important is left up to the character, as well as the reader, to decide.



More Alike Than Not: Septimus Smith and Clarissa Dalloway
By Anonymous - March 02, 2006

Eric Auerbach writes in Mimesis that one of the characteristics of the realistic novel of the era between the two world wars is the multi-personal representations of consciousness. In Virginia Woolf’s Mrs. Dalloway, first published in 1925, the novel delves into the consciousness of many characters. However, one character stands out more than any other: Septimus Smith, a WWI veteran who suffers constantly from the terrible repercussions of trench warfare. The extensive period of time Woolf dwells in his mind is both interesting and puzzling. Why does Woolf choose a secondary character who is insane – what does she hope to accomplish by this decision? Septimus has often been described as Mrs. Dalloway’s double, and on the surface, the comparison could not be stranger. For one, Septimus comes from a poor working background whereas Mrs. Dalloway is the wife of a rich upper-middle class politician. Not only is there a clear social divide, but a psychological one as well. Septimus is insane, whereas Mrs. Dalloway is not. Septimus’ madness seems to serve as a driving edge that crystallizes the distinction between the two characters. However, if we look closer, it becomes clear that the two characters are more similar than different and Septimus’ madness, rather than differentiating the two, only helps to illuminate the similarities more. Thus, Septimus needs to be insane because his insanity helps to show that Mrs. Dalloway and he are actually parallel characters.
One way in which we can use our knowledge of Septimus to understand Mrs. Dalloway is by examining their social roles. Even though the two characters may at first appear very unalike, they share many similar traits and experiences. In the novel, Septimus’ experience in the war and his struggle with the terrifying consequences of trench warfare is juxtaposed with Mrs. Dalloway and her struggle with gender roles and being a stereotypical housewife or hostess. Though the two struggles are ostensibly very different, they are the same at the core – both are fighting against societal conventions and expectations. In the case of Septimus Smith, his experiences in the trenches of World War I and the death of his good friend, Evans, cause him to lose his mind. But, the social order of Britain in the 1920s was not equipped with dealing with insanity – it was frowned upon and largely ignored by society. No one wants to acknowledge the horrifying effects of trench warfare and ****************lshock, even though the war was the most formative experience of men of Septimus’ generation. Septimus, as an able-bodied young man, is still expected to be a contributing member of society, despite suffering the terrible repercussions of war. This unwillingness to acknowledge and deal with the issue of insanity and ****************lshock is reflected in opinions of people like Dr. Holmes, who insist “There was nothing whatever the matter” (90). In fact, Holmes suggests to Septimus’ wife, Reiza, that the solution to her husband’s “moodiness” was to go to the Music Hall or take a day off and play golf together (90). Even Sir William Bradshaw, a highly respected physician, suggests sending Septimus off to an asylum because he violated societal norms and standards.
Septimus’ struggle with insanity and the consequences of trench warfare is juxtaposed against Mrs. Dalloway’s struggle against gender stereotypes. In Virginia Woolf’s time, a woman’s identity was made up of largely her relations with others: as daughter, wife, or mother. In fact, the novel begins and is titled Mrs. Dalloway – an acknowledgement of Clarissa’s defining role as the wife of Mr. Dalloway, a prominent politician. Clarissa feels a sort of entrapment in the roles society has given her, “she had the oddest sense of being herself invisible, unseen…this being Mrs. Dalloway; not even Clarissa anymore; this being Mrs. Richard Dalloway” (11). She feels acutely the need for private development and refuses to be cast simply as someone’s wife or a party hostess. In a way, her house can be seen as an ********************alent of Septimus’ asylum – both institutions are society’s methods of confinement. Clarissa’s struggle for individuality can be viewed as a reflection of Septimus’ struggle for sanity – both violate the traditional structures of society. The social order of the time created standards and forced individuals into rigid roles with certain expectations – that of a wife and a soldier. While Septimus’ struggle for sanity is obvious in the story, Clarissa’s is not. Therefore Septimus and his insanity are needed to show that both characters have a private self that diverges from public expectations of them. Perhaps, the final victory is achieved by Mrs. Dalloway who, when she comes down the stairs at the end of the novel, is finally recognized by Peter Walsh and by others as an individual in herself: “What is this terror? What is this ecstasy? … What is it that fills me with extraordinary excitement? It is Clarissa” (194).
Septimus’ madness also serves an aesthetic purpose. Woolf uses his insanity to point out the modernist notion that reality is disordered rather than structured. She achieves this through her use of style, syntax, and form. The novel employs the stream of consciousness style, which is inherently without order. Not only is it without order, though, it also blurs the distinction between sanity and insanity. When examining passages of consciousness in the novel, if we were to remove all clues that reveal the person whose consciousness we are in, it would be very hard to identify the character being described. That is not to say, of course, everyone’s consciousness is the same as Septimus’ but that the intrinsic qualities of the stream of consciousness style blurs the distinction – almost everyone’s thoughts are without a logical structure, some (Septimus’) more illogical than others. Virginia Woolf purposely chooses this style because it helps to reinforce the similarities between Septimus and Clarissa. For instance, Mrs. Dalloway describes one of her revelations as: “whether it was pity, or their beauty, or that she was older, or some accident – like a faint scent, or a violin next door…she did undoubtedly then feel what men felt” (32) How do pity, beauty, being older, or a violin connect and contribute to her understanding of what men feel? This quotation delves into the heart of the novel, which is not action or dialogue, but rather, moments of time. By focusing on the “moment”, Woolf rejects traditional structures of storytelling with their organized form. Mrs. Dalloway is neither a comedy or a tragedy, or drama or a romance. Woolf also uses syntax, specifically the semicolon, to place free-standing and independent entities into one sentence without logical connection. This also supports the idea of a disordered reality without inherent logic or connection. The semicolon is used adroitly in the following observation by Mrs. Dalloway:
In people’s eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars…brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June (4).
This juxtaposition of random and weakly connected objects (swing, carriages, barrel organs, aeroplane, etc.) exemplifies the chaotic reality that Woolf believed we lived in. However, that is not to say there is no order or that stream of consciousness style is solely a random rambling of thoughts and impressions. Although Woolf rejected the traditional forms of order, such as chapter breaks and plot, she employs a much subtler form of organization that draws its inspiration from still-life paintings, namely composition. Reiza’s hat and Clarissa’s party can both be seen as compositions that create coherence from disorder and chaos. Big Ben is another form of order in the novel, dividing the story into hours. Woolf also uses symmetry as a method of organization – the novel is at its midway point when it is midday. Although there are some attempts at organizing the novel, the underlying argument is still that reality is without inherent order – Septimus’ character helps us achieve this understanding. His insanity is the physical manifestation of the chaos in the natural world. Virginia Woolf intentionally blurs the distinction between reality and imagination, order and disorder, to show the intrinsic similarities between Septimus and Clarissa.
Septimus’ insanity can also help us in a psychological analysis of the novel, especially in studying the theme of privacy of soul. Mrs. Dalloway, even as an 18-year-old, yearns for privacy. In fact, she married Richard because “in marriage a little licence, a little independence there must be between people living together day in day out in the same house, which Richard gave her, and she him” (7). She craves private development and is offended when Peter Walsh casts her as merely a hostess. Others identify her primarily in her social role as Richard’s wife, as Mrs. Richard Dalloway, and do not see her as an individual. In a way, Clarissa envies the old lady across from her for her privacy and believes that “love and religion would destroy that, whatever it was, the privacy of soul” (127) because love and religion would require sharing and communication.
Septimus is perhaps the best example of someone who has privacy – indeed, he has complete privacy of soul. Even Reiza, his wife, does not know what he thinks most of the time. Virginia Woolf uses the scene in Regent’s park where the couple sits side-by-side on a park bench to show how distant Septimus is from Reiza, despite their physical proximity. In fact, the only time Septimus appears sane in the novel is when he helps Reiza make a hat. He begins by “putting odd colors together – for though he had no fingers, could not even do up a parcel, he had a wonderful eye” (143). Working together with his wife in creating a hat – taking ribbons and beads and wool and making a coherent whole out of the pieces – “was wonderful. Never had he done anything which made him feel so proud. It was so real, it was so substantial, Mrs. Peter’s hat” (144). In making the hat, he inevitably has to share a part of him – his thoughts and opinions – with Reiza and in doing so, extracts himself from isolation and insanity. In the end, Septimus succumbs to madness and in his last act, throws himself out of the window to preserve his privacy of soul against the encroaching figure of Dr. Holmes.
Septimus’ death is necessary in the story because it helps Clarissa realize that extreme privacy of soul in a relationship is not desirable because it is also isolating. At the end of her party, when she goes upstairs, she sees the old lady again. This time, however, rather than envying her privacy, Clarissa comes to realize that although the old lady has privacy, she is also undeniably alone. As Mrs. Dalloway watches the lady get ready for bed, she is suddenly reminded of Septimus’ death: “the young man had killed himself…There! The old lady had put out her light! The whole house was dark now” (186). The juxtaposition of Septimus’ suicide and the old lady going to bed alone help Mrs. Dalloway realize that “she must go back to them [the party]” (186). Clarissa finally understands that it is not desirable to aim for that kind of extreme privacy and reconciles herself with her role as a hostess. Septimus’ insanity and ultimate death help her realize the need for both a social and private self.
Woolf’s desire to portray “consciousness in its natural and purposeless freedom” (Auerbach) is manifest in the characters of Septimus Smith and Clarissa Dalloway. In Mrs. Dalloway, she uses Septimus’ struggle with sanity to illuminate Clarissa’s struggle for individuality in a largely patriarchal society. His death at the end also demonstrates to Clarissa the necessity for both a public and private self. Woolf uses Septimus’ madness to blur the distinction between sanity and insanity and her clever use of the stream of consciousness style – a style without inherent order – strengthen the parallels between the two main characters. Throughout the story, Virginia Woolf uses Septimus to write about Clarissa. Ultimately, we realize that his madness, rather than acting as a wedge between the two characters, juxtaposes them and reveals their inherent similarities.

[mesho ~]

This the questions for med-tearm exam for civilization


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good luck all:g8:

[إيزابيلا]

مرحبا صبايا ( fourth year)
كيفكم من بعد عناء وتعب الأختبارات ؟؟
عارفة إنو السؤال لسه بدري عليه بس حابه اعرف وياليت تفيدوني
هل بيتغير شي في طاقم التدرييس؟؟
يعني مثلا سمعت إنو د.فوزية ماراح تدرسنا وراح تجي مكانها د.حصة
و د.لمياء تجي مكانها د. علياء و د.بتول إحتمال يجي مكانها دكتور شبكة
ياليت أحد يفيدني وهل لي سمعته صحيح أو لأ ؟؟!!
ثانكــــس
موفقـــــات

[ŘỳờỞờḾ]

هـــــــــلا ايزابيلا يس بيتغيرون

الاكيد ان د. نعيمه بتتغير .. ويقولون م.بدريه الشريف بعد بتتغير .. وبتول . اما د. فوزيـــه ماسمعنــا

بالتـــــــــوفيق للجمــــــــيع ..

[Cuty LOLO]

دكتوره فوزيه يالبا قلبها ايه خلاص تغيرت اهيء اهؤ صارت بدلها د حصه

تقول الدكتوره ان د حصه طلبتها وماقدرت تقول لها لا

و استاذه بتول سمعت انها بتتغير بس هالخبر مو اكيد 100%

المقال 100% تغيرت ( استاذه بدريه الشريف ) هي قالت ماتبي تدرسنا الترم الجاي لانها مو فاضيه للمقال
ويبغاله شغل كثير

لمياء مااتوقع تتغير لانها قالت الترم الجاي اول محاضره راح نتفق على نيو ستراتيجي

مين بقى اممممممم

د نعيمه اللي سمعته من مصاردي بالاداره انو بيدرسنا شبكه + رئيسة القسم بيتقاسمونا

هذا والله أعلم