 |
|
||||||
| E7 English Literature Students level seven Forum |
 |
|
|
أدوات الموضوع |
2015- 5- 8
|
#41 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
أفلاطون كان من اول المفكرين الي قالو انه اخبار القصص يكون عن طريق السرد وانه السرد ثلاثة انواع بسيط او محاكاه او الاثنين مع بعض
الكتاب العاشر من. الجمهورية (republic) أفلاطون قدم فكره جديده كان لها ردة فعل قويه في الأدب والنقد الغربي وكان فهمها صعب جدا ف أفلاطون طرد (ban)الشعر والشعراء من جمهوريته المثالية وبما ان الثقافه الغربية كأنو يحبون الشعر والفن ويقدرونه وكانت فنونهم ماخوذة من اليونانيين القدماء فلما يجي واحد من اكبر فلاسفة اليونان طرد الشعر والشعراء ورفض ممارسه هذا الفن هالشي كان صعب جدا يفهمونه *كرستوفر جانوري دافع عن أفلاطون فقال ان الغربيين احتجو وهاجمو وانتقدو أفلاطون بدون عدل واصلا لو قارنا حواره بهذا الكتابات بحواراته الثانية بيتضح لنا إنّو بهالحوار أفلاطون ماكتب رأيه الحقيقي |
|
2015- 5- 8
|
#42 |
|
أكـاديـمـي فـضـي
|
رد: تجمع النقد الادبي .... !!
ندى العالم
مشاركاتك جدا متازة استفدت منها قربت اخلص المحاضرة 3 استمرى اللة يعطيك العافية متابع |
|
2015- 5- 8
|
#43 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
المحاضرة 4 - Aristotle on Tragedy - Western scholars who dislike Plato’s discussion of poetry or disagree with it are usually full of praise for Aristotle. - One must keep in mind Plato’s devaluation of mimesis - Plato is known to have had shifting opinions on art depending on whether he thought art was useful for or detrimental to his ideal state. Aristotle’s was also an aesthetics of effect, but a more enlightened and dehumanised one The Czar and the Bible of Literary Criticism - Aristotle has, for centuries, been considered in Western cultures as the unchallenged authority on poetry and literature - Tragedy, is an imitation of an action that is serious - Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.” - Tragedy is the “imitation of an action (mimesis) according to the law of probability or necessity.” - Aristotle says that tragedy is an imitation of action, not a narration. Tragedy “shows” you an action rather than “tells” you about it. - Tragedy arouses pity and fear, because the audience can envision themselves within the cause-and-effect chain of the action. The audience identifies with the characters, feels their pain and their grief and rejoices at their happiness. Plot: The First Principle - Aristotle defines plot as “the arrangement of the incidents.” He is not talking about the story itself but the way the incidents are presented to the audience, the structure of the play. - Plot is the order and the arrangement of these incidents in a cause-effect sequence of events. - According to Aristotle, tragedies where the outcome depends on a tightly constructed cause-and-effect chain of actions are superior to those that depend primarily on the character and personality of the hero/protagonist. 4 Qualities of Good plots: - The beginning, called by modern critics the incentive moment, must start the cause-and-effect chain. - The middle, climax, must be caused by earlier incidents and itself causes the incidents that follow it - The end, or resolution, must be caused by the preceding events but not lead to other incidents. The end should therefore solve or resolve the problem created during the incentive moment. - Aristotle calls the cause-and-effect chain leading from the incentive moment to the climax the “tying up”, it’s called the complication. - He calls the cause-and-effect chain from the climax to the resolution the “unravelling” The plot: “complete” and should have “unity of action.” - By this Aristotle means that the plot must be structurally self-contained, with the incidents bound together by internal necessity, each action leading inevitably to the next with no outside intervention - According to Aristotle, the worst kinds of plots are “‘episodic - The plot must be “of a certain magnitude,” both quantitatively (length, complexity) and qualitatively (“seriousness” and universal significance). - Aristotle argues that plots should not be too brief Character - Character should support the plot Characters in tragedy should have the following qualities : • “good or fine” - the hero should be an aristocrat • “true to life” - he/she should be realistic and believable. • “consistency” - Once a character's personality and motivations are established, these should continue throughout the play. • “necessary or probable” - must be logically constructed according to “the law of probability or necessity” that govern the actions of the play. • “true to life and yet more beautiful,” - idealized, ennobled. - Aristotle says little about thought, and most of what he has to say is associated with how speeches should reveal character Song and Spectacle Song, or melody is the musical element of the chorus: - Aristotle argues that the Chorus should be fully integrated into the play like an actor; choral odes should not be “mere interludes,” but should contribute to the unity of the plot.
- Aristotle argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear; those who rely heavily on spectacle “create a sense, not of the terrible, but only of the monstrous |
|
2015- 5- 8
|
#44 | |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
اقتباس:
أبشر ولا يهمك الله يسهلها أحس إني آخذ وقت في مذاكرة المحاضرة
 سرا الليل وتوني مخلصة الرابعة  |
|
|
2015- 5- 8
|
#45 |
|
أكـاديـمـي نــشـط
|
رد: تجمع النقد الادبي .... !!
اسئلة المحاضره الرابعة 55-……………find Aristotle's analysis of literature ,arts and poetry more enlightened than Plato a-John Jones (1962) b-Adorno (1986), c-none of them 56-Gerald Else says Aristotle is the ‘………………… a- the ‘czar of literary criticism b- the ‘king of literary criticism c-none of them 57-Aristotle defines Tragedy is an imitation of an action that present in the form of action not narration that arousing pity and fear and accomplish its katharsis a-correct b-wrong 58-who says that Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Diction, Thought, Spectacle, Melody.” a-Plato b-Aristotle c-none of them 59-Aristotle defines plot as “the arrangement of the incidents.” He is not talking about the story itself but the way the incidents are presented to the audience, the structure of the play. a-wrong b-correct 60-Aristotle says The plot must be “a whole,” with ………… a- end b- beginning c- a beginning, middle, and end. • 61-The beginning, called by modern critics the …….., must start the cause-and-effect chain. a- incentive moment b-end moment c-none of them • 62-The end should therefore solve or resolve the problem created during the …….. a- end moment b- incentive moment c- none of them 63-Aristotle calls the cause-and-effect chain leading from the incentive moment to the climax the “……….” (desis). In modern terminology, it’s called the complication a-drive up b- tying up c-none of them 64-Aristotle calls the cause-and-effect chain from the climax to the resolution the “……………..” a-tying up b- unravelling c-none of them 65-Character should support the plot, i.e., personal motivations of the characters should be intricately connected parts of the cause-and-effect chain of actions that produce pity and fear in the audience. a-correct b-wrong 66-one of the Characters qualities is “good or fine” and mean …….. a-he/she should be realistic and believable • b-the hero should be an aristocrat c-none of them 67- one of the Characters qualities is “true to life” and mean …….. a-he/she should be realistic and believable • b-the hero should be an aristocrat c-none of them 68-Aristotle says Thought is associated with how speeches should reveal character a-wrong b- correct 69…………-is “the expression of the meaning in words” which are proper and appropriate to the plot, characters, and end of the tragedy: a-Thought b-Diction c-none of them 70-……….. should contribute to the unity of the plot. a-the plot b-the Chorus c-none of them 71-Aristotle argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear a-correct b-wrong 72-Tragedy arouses the emotions of pity and fear in order to purge away their excess, to reduce these passions to a healthy, balanced proportion. That is what Aristotle mean by …….. a-Spectacle b-Katharsis c-none of them |
|
التعديل الأخير تم بواسطة JUST--ME ; 2015- 5- 8 الساعة 10:21 PM |
|
|
2015- 5- 8
|
#46 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
محاضرة خمسة
In Ancient Greece: - Homer’s poetry was not a book that readers read; it was an oral culture that people - The great Greek tragedies of Aeschylus, Sophocles and Euripides were not plays that people read in books - Greek culture was a “living culture” In Ancient Rome - Greek culture became books that had no connection to everyday life and to average people
- Greek books were written in a language (Greek) that most of the Romans didn’t speak and belonged to an era in the past that Romans had no knowledge of. - In Rome, Greek culture was not a living culture anymore. It was a “museum” culture. Some aristocrats used it to show off, - Roman literature and criticism emerged as an attempt to imitate that Greek culture that was now preserved in books. - The Romans did not engage the culture of Greece to make it inform and inspire their resent; they reproduced the books. - Florence Dupont makes a useful distinction between “Living Culture” (in Greece) and “Monument culture” |
|
2015- 5- 8
|
#47 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
Horace : Ars Poetica - Very influential in shaping European literary and artistic tastes - Horace, though, was not a philosopher-critic like Plato or Aristotle. He was a poet writing advice in the form of poems with the hope of improving the artistic effort of his contemporaries. - In Ars Poetica - He tells writers of plays that a comic subject should not be written in a tragic tone, and vice versa. - He advises them not to present anything excessively violent or monstrous on stage, and that the deus ex machina should not be used unless absolutely necessary (192-5). - He tells writers that a play should not be shorter or longer than five acts (190), and that the chorus “should not sing between the acts anything which has no relevance to or cohesion with the plot” (195). - He advises, further, that poetry should teach and please and that the poem should be conceived as a form of static beauty similar to a painting: ut pictora poesis. (133-5). - Each one of these principles would become central in shaping European literary taste. - Ars Poetica, in Classical Literary Criticism. Reference to line numbers “Sensibility” - At the centre of Horace’s ideas is the notion of “sensibility.” - A poet, according to Horace, who has “neither the ability nor the knowledge to keep the duly assigned functions and tones” of poetry should not be “hailed as a poet.” - Horace talks about the laws of composition and style, his model of excellence that he wants Roman poets to imitate are the Greeks. - The notion of “sensibility” that he asks writers to have is a tool that allows him to separate what he calls “sophisticated” tastes (which he associates with Greek books) from the “vulgar,” which Horace always associates with the rustic and popular: hate the profane crowd and keep it at a distance,” he says in his odes |
|
2015- 5- 8
|
#48 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
In the Satires, he refers to “the college of flute-players, quacks, beggars, mimic actresses, parasites, and all their kinds.” - Horace’s hatred of the popular culture of his day is apparent in his “Letter to Augustus” where he writes - Horace, “A Letter to Augustus,” in Classical Literary Criticism This passage how Horace saw the contact between the Greek heritage and his Roman world: - It was a relationship of force and conquest that brought the Romans to Greece. As soon as Greece was captive, however, it held its conqueror captive, charming him with her nicely preserved culture (books). - Horace shows prejudice to the culture of everyday people, but he does not know that the culture of Greece that he sees in books now was itself a popular culture. - Horace equates the preserved Greek culture (books) with “elegance” and he equates the popular culture of his own time with “venom.” - Horace’s hatred of the popular culture of his day was widespread among Latin authors. - Poetry for Horace and his contemporaries meant written monuments that would land the lucky poet’s name on a library shelf next to the great Greek names. It would grant the poet fame, a nationalistic sense of glory and a presence in the pedagogical curriculum. - Horace’s poetic practice was not rooted in everyday life, as Greek poetry was. He read and reread the Iliad in search of, as he put it, what was bad, what was good, what was useful, and what was not. - In the scorn he felt towards the popular culture of his day, the symptoms were already clear of the rift between “official” and “popular” culture that would divide future European societies. - The “duly assigned functions and tones” of poetry that Horace spent his life trying to make poets adhere to, were a mould for an artificial poetry with intolerant overtone. - Horace’s ideas on poetry are based on an artificial distinction between a “civilized” text-based culture and a “vulgar” oral one. Imitating the Greeks - In all his writing, Horace urges Roman writers to imitate the Greeks and follow in their footsteps. “Study Greek models night and day,” was his legendary advice in the Ars Poetica (270). - This idea, though, has an underlying contradiction. Horace wants Roman authors to imitate the Greeks night and day and follow in their footsteps, but he does not want them to be mere imitators. - In the process of following and imitating the Greeks, Horace differentiates himself from those who “mimic” the ancients and slavishly attempt to reproduce them. Obviously, he does not have much esteem for this kind of imitation and saw his own practice to be different - In imitating the Greeks, Horace claims originality, but the bold claim he makes of walking on virgin soil strongly contradicts the implied detail that the soil was not virgin, since Greek predecessors had already walked it. - In addition, as Thomas Greene notes, the precise nature of what Horace claims to have brought back from his “walk” is not clear. Horace and Stylistic Imitation - Horace also advises the aspirant poet to make his tale believable - This use of imitation denotes a simple reality effect idea. Horace simply asks the writer to make the tale believable, according to fairly common standards. His use of the term and the idea of imitation are casual and conventional. If you depict a coward, Horace advises, make the depiction close to a real person who is a coward. - But Horace only had a stylistic feature in mind. As Craig La Drière notes, Horace could not even think of poetry, all poetry, as an imitation, the way the idea is expressed in Book X of the Republic, or in Aristotle’s Poetics. - Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both imprecise, but they will become VERY influential in shaping European art and literature - the principles of taste and “sensibility” (decorum) he elaborates to distinguish what he thought was “civilized” from “uncivilized” poetry will be instrumental in shaping the European distinction between official high culture and popular low one. - Poetry in Horace’s text was subordinated to oratory and the perfection of self-expression. Homer and Sophocles are reduced to classroom examples of correct speaking for rhetoricians to practice with. - The idea of following the Greeks, as Thomas Greene notes, only magnified the temporal and cultural distance with them. Quintilian advocates two contradictory positions - First that progress could be achieved only by those who refuse to follow, hence the undesirability of imitating the Greeks. - At the same time, Quintilian continues to advocate imitation, and goes on to elaborate a list of precepts to guide writers to produce “accurate” imitations - Seneca - Seneca singles out the process of transformation that takes place when bees produce honey or when food, after it is eaten, turns into blood and tissue. He, then, explores the process of mellification and its chemistry - Latin authors never discuss poetry or literature as an imitation (mimesis); they only discuss them as an imitation of the Greeks. - Latin authors are not familiar with Plato’s and Aristotle’s analysis of poetry. The Poetics or Republic III and X do not seem to have been available to the Romans: - “Unfortunately, Aristotle’s Poetics exerted no observable influence in the classical period. It appears likely that the treatise was unavailable to subsequent critics.” - Latin authors used poetry and literature for two things only : - - To improve eloquence - - To sing the national glories of Rome and show off its culture. |
|
التعديل الأخير تم بواسطة ندى العالم ; 2015- 5- 8 الساعة 10:25 PM |
|
|
2015- 5- 8
|
#49 |
|
أكـاديـمـي مـشـارك
|
رد: تجمع النقد الادبي .... !!
just_me
 حلوة الأسئلة أول سؤال ما كنه مر علي  يارب سترك
|
|
2015- 5- 8
|
#50 | |
|
أكـاديـمـي نــشـط
|
رد: تجمع النقد الادبي .... !!
اقتباس:
احس الاسئلة ت ثبت المعلومة اكثر من narration (السرد)  متاثرة من المادة !!
|
|
|
التعديل الأخير تم بواسطة JUST--ME ; 2015- 5- 8 الساعة 10:34 PM |
||
|
| مواقع النشر (المفضلة) |
| الذين يشاهدون محتوى الموضوع الآن : 1 ( الأعضاء 0 والزوار 1) | |
| أدوات الموضوع | |
|
|
المواضيع المتشابهه
|
||||
| الموضوع | كاتب الموضوع | المنتدى | مشاركات | آخر مشاركة |
| [ النظام الأفتراضي ] : تجمع مادة التذوق الادبي | samo0oy | المستوى الثاني - الدراسات الاسلامية وعلم اجتماع | 119 | 2015- 5- 24 07:51 AM |
| [ مذاكرة جماعية ] : %% تجمع النقد الادبي مراجعة اسئلة ابو بكر شاملة المنهج %% | Another day | E7 | 310 | 2014- 12- 21 02:53 PM |
| [ المستوى الخامس ] : تجمع مادة تاريخ الخليج العربي القديم | Abu Yazeed | التاريخ | 86 | 2014- 5- 17 07:32 PM |
| [ متنوعة ] : العالمي نصر الارقام القياسيه | المندوب السامي | ملتقى الرياضة | 55 | 2014- 3- 2 07:43 AM |
| [ مذاكرة جماعية ] : علم الاجتماع الحضري | أولى متعثره | اجتماع 5 | 14 | 2013- 12- 31 11:25 AM |
