|
تجمع النقد الادبي .... !!
15 مرفق
السلام عليكم .. عزيزاتي و اعزائي الطلاب والطالبات .. !!:rose: بما اني ما شفت احد فتح موضوع لتجمع هالمادة .. اتمنى من الكل الافادة فيها وعدم تكرار المحتويات .. يعني ببساطة الي عنده شي مفيد يحطه و الله يفقنا جميعاً ب اعلا الدرجات .. انا بنزل الحين الملفات الي عندي .. واذا فيها اخطاء الرجاء التصحيح لاني مو متاكده منها !! ما بحط بذمتي يلا نبدء بسم الله ...:verycute: |
رد: تجمع النقد الادبي .... !!
5 مرفق
هذه كل الملفات الي عندي ..
ارجع اكرر كلامي اذا فيها شي مو صح الرجاء تصحيح لي ولكم ... يلا همتكم :(204)::(204): |
رد: تجمع النقد الادبي .... !!
اهلا وسهلا بالجميع
ناخذ فترة راحة ونقاها عن اختبار علم اللغة النفسي كيف طريقتكم في النقد ؟ من وين بتذاكرون ملخص او ملزمة او اسئلة؟ |
رد: تجمع النقد الادبي .... !!
انا عني رح اعتمدت ملخص الاخت هيفاء + اسئلة و كويزات .. والحين ببدء |
رد: تجمع النقد الادبي .... !!
اقتباس:
|
رد: تجمع النقد الادبي .... !!
اقتباس:
موجود في اول الملفات الموجودة ملفيين 1 الى 5 ومن 6 الى 14 |
رد: تجمع النقد الادبي .... !!
شكل المادة دسم وقبلها الفكر والثقافة يعني الله ييسر بس
|
رد: تجمع النقد الادبي .... !!
اليوم كان عندي علم اللغه النفسي والسبت علم اللغه الاجتماعي والاحد النقد الادبي ونحو وصرف !!!
فيه شي محذوف بالنقد الادبي ؟؟ |
رد: تجمع النقد الادبي .... !!
اقتباس:
ياااااااااا الاهي ليششش هالعذاب !!! :no::Looking_anim: انا مواد ورا بعض صعببببببب اخذ و اضل طول عمري ادرس ولا اخذ مواد ورا بعض حرام والله حرام .. والله انا ماعندي اي معلومة عن اي حذف بس اذا كذا اقري المحتوى بتركيز و حلي الاسئلة و كويزات ان شاء الله بتساعدك .. المحتوى صح طويل بس حسيتو مفهوم ومو معقد الله يساعدك ويوفقك |
رد: تجمع النقد الادبي .... !!
المقرر طويييييييل وكثيييير ومتعب
لكن ان شاء الله اسئلة الدكتور مباشره بدون لف ودوران وبين السطور |
رد: تجمع النقد الادبي .... !!
تتوقعون اذا ذاكرت المضلل فقط في المحتوى
يكفي؟؟؟؟ |
رد: تجمع النقد الادبي .... !!
9 مرفق
(اللهم لا سهل إلا ما جعلته سهلاً وأنت تجعل الحزن إذا شئت سهلاً)
قال تعالى: (قال رب اشرح لي صدري ويسر لي أمري واحلل عقدة من لساني يفقهوا قولي) بصراحة ملفات النقد كثير نصها متشابها عشان ماتتراكم عليكم فجمعت لكم أسئلة الاختبار اللي تقريبا صححوها الطلاب ورتبت الواجبات + أسئلة مراجعة :mh318: * على الاقل اقرأوا المحتوى (ترجمة مس هيفاء) في اول رد * يمكن بعض الاسئلة في الملفات اجوبتها غلط انتوا راجعوا *انطباع الطلاب كان نص نص أضغطو على نفسكم حبتين المادة ثلاث ساعات :16.jpg: كويزات: http://www.ckfu.org/vb/showpost.php?...33&postcount=4 دعواتكم :icon1: |
رد: تجمع النقد الادبي .... !!
2 مرفق
+ هذا ما تحمل
|
رد: تجمع النقد الادبي .... !!
وينكم احد يرد علي
|
رد: تجمع النقد الادبي .... !!
اقتباس:
يعطيكي العافية ..:(204): وشكرا لتصحيح بعض المعلومات .. انا من امس بس مخلصة 4 محاضرات .. :sm1::sm1: المعلومات كثيرة ومتشابهه تبغى تركيززز :no::no: باقي الطلاب اكيد ملتهيين مع مواد السبت :41jg: الله يعينهم ويوفقنا وياهم |
رد: تجمع النقد الادبي .... !!
اقتباس:
والله ما انصحك .. يعني الاحسن تقري المحتوى وفي وقت لمذاكرة المحتوى والاسئلة انا عني بذاكر محتوى الاخت هيفاء مع كل الاسئلة و الكويزات |
رد: تجمع النقد الادبي .... !!
بصراحه المرفقات كثيره وتضيع ماعرفنا وش المهم أتوقع نحتاج أسئلة الأعوام السابقة يكون حلها صحيح خصوصا فيه أسئلة مصورة لم يتم حلها الفصل الثاني 1434 وفيه أسئلة تم حلها (هل الحل صحيح) الفصل الأول 1435 اللي عنده الجواب لا يبخل علينا الله يسهل على الجميع |
رد: تجمع النقد الادبي .... !!
اقتباس:
صباحكم سكر الله يوفقنا ويساعدنا على المذاكرة :sm12: أولا أشكر الأخت just _ me على فتح الموضوع وأشكر كل من شارك بوضع ملفات:rose: مناقشة أسئلة الإختبار وتصحيحها في التجمع إلي سوته أختنا أم البواسل الله يجزاها خير :rose: |
رد: تجمع النقد الادبي .... !!
ممكن كوز الاختبار الفصل الاول
|
رد: تجمع النقد الادبي .... !!
بصراحه انا اتشائم من فوزي سليسلي الله يوفقه ويعطينا اسئله سهله ومكرره
|
رد: تجمع النقد الادبي .... !!
السلام عليكم
ابي مساعدتكم في المنتداء اكثر من حل لاسئلة الاختبار وش اعتمد منها للمذاكره خصوصا مافي وقت اجلس ادور الاجابه في المحتوى |
رد: تجمع النقد الادبي .... !!
توضيح الفرق بين Mimesis ( و ال) Diagesi
imitation (mimesis). I am showing you the story في المسرحيات (first person ) لو أخبرتك القصة من المنظور الأول ) بصيغةالمُتحدّث الاول كما لو أنني (نابليون : " أبحرت إلى الأسكندر ةٌ برفقه 30 ألف جندي بعد ذلك زحفت إلى القاهرة " سيكٌون هذا محاكاة " mimesis أقوم بعرض القصّة لك a narration (diagesis). I am telling you the story في القصص (therd person) لو أخبرتك قصة عن غزوا ناب لٌون لمصر بضم رٌ الغابب فقلت : أبحر نابيلوٌن إلى الإسكندريةٌ برفقة 30000 جندي و زحف بعد ذلك إلى القاهرة ..الخ . "س كٌون ذلك سرد اً ) diagesis ) بمعنى أنني أتلوا عليكٌ قصّة |
رد: تجمع النقد الادبي .... !!
Drama with characters is usually a mimesis;
stories in the third person are usually a diegesis. المسرحية بالشّخصياٌت عادةً ما تكون محاكاة ) mimesis ( , و القصص من المنظور الثالث تكون سرد) (diegesis) أتمنى إني أفدتكم :rose: |
رد: تجمع النقد الادبي .... !!
اقتباس:
|
رد: تجمع النقد الادبي .... !!
اقتباس:
|
رد: تجمع النقد الادبي .... !!
اقتباس:
شكرا عزيزتي وب انتظار المهم في المحاضرات الباقي .. والله انا جمدت في المحاضرة الرابعة :Cry111: |
رد: تجمع النقد الادبي .... !!
شرايكم انا بعتمد ملخص انصاف واسئله المراجعه والسنوات الماضيه
وبالتجمع وان شاء الله بتفيدننا انتوا ايش رايكم ملخص مس هيفاء طوويل وغثيث م بستفيد لو بداكر منه بضيع وقتي |
رد: تجمع النقد الادبي .... !!
The Greek term for Art and its Latin equivalent (ars) do not specifically denote the “fine arts” in the modern sense, but were applied to all kinds of human activities which we would call crafts or sciences .... مهمة ...عندي احساس بتجي سوال في الاختبار من المحاضرة ال 3 |
رد: تجمع النقد الادبي .... !!
اقتباس:
توني أخلص محاضرة 3 :Cry111: يارب سهلها ملخص إنصاف ممتاز كمراجعة وتثبيت معلومات بعد الإنتهاء من المحتوى |
رد: تجمع النقد الادبي .... !!
نبي الاسئله المصححه تكفففووووووووووووووووون
|
رد: تجمع النقد الادبي .... !!
هل التواريييخ معننا او لا ي لييت احد يفيدني
|
رد: تجمع النقد الادبي .... !!
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 مهمةةةة المحاضرة ال 4 |
رد: تجمع النقد الادبي .... !!
اقتباس:
يا الاهي هالمحاضرة ما اكرهااا يوم كامل بس بالمحاضرة الثالثة ... يلا انا سابقتك ب محاضرة بس انا في بداية الخامسة :icon120: |
رد: تجمع النقد الادبي .... !!
اقتباس:
عبقريينوووو .. والله على حسب علمي الدكتور ما قال شي ولا حذف شي بس الاكيد ان القرون مهمة واهم التطورات الي صارت فيها |
رد: تجمع النقد الادبي .... !!
ملخص المحاضرة الأولى - Because European and Western literature and cultures were produced as a recreation, a revival of the classical cultures of Greece and Rome. - education, politics, fashion, architecture, painting,Sculptures were ALL produced in imitation of classical antiquity (Greece and Rome). - Roman poet Horace writes: “Captive Greece took its wild conqueror captive” - Horace expresses a sense of inferiority and ambivalence because Rome conquered Greece politically and militarily but Rome could never produce a refined culture - find this sense of ambivalence and inferiority everywhere in Roman - The Romans conquered Greece militarily, but they always felt that the culture of Greece remained infinitely more sophisticated and refined in poetry, in philosophy, in rhetoric, in medicine, in architecture, in painting, in manners and in refinement - Education in Rome consisted simply in IMITATING Greek masterpieces in literature, rhetoric, painting, etc. Horace, for example, advised his readers to simply imitate the Greeks and never try to invent anything themselves because their inventions will be weak and unattractive - Imitation cannot produce originality. As Seneca puts it with bitterness, “a man who follows another not only finds nothing; he is not even looking by Seneca. - The Romans were a simple rural and uncultivated people who became successful warriors |
رد: تجمع النقد الادبي .... !!
Lecture 2 - The only written language was Latin and people who could read Greek, like Erasmus - The logic was this: Great empires needed great literature, just like the Romans and the Greeks had. - the study of classical learning, literature and criticism all emerged with the purpose of giving the emerging European states written and “civilized” languages comparable to those of Rome and Greece. - Europeans saw poems and plays and books and stories like they were national monuments - European writers called for the “imitation of the classics. Imitation doesn’t lead to Originality : - In Rome, imitation led to frustration and produced a plagiaristic culture. Europeans simply ignored these complications. The desire to produce poetic monuments to go with their political and military power was more important. - As long as imitation produced “textual monuments” in the form of books, poems and plays, European writers were happy with it. - Europeans thought that they were imitating the classical cultures of Greece and Rome. In reality they imitated mostly the Romans. Very few Greek texts were available in Europe before the 19th century . European classicism, for example, always claimed to be based on the ideas of Aristotle - European classicism, for example, always claimed to be based on the ideas of Aristotle, but research shows that they knew very little of Aristotle’s work. - “A first hand knowledge of Aristotle, even in translation, seem to have been exceptional: Walpole mentions him five times in his letters – usually coupled with Bossu and the ‘Rules’; and Cowper, at the age of fifty-three, had ‘never in his life perused a page of Aristotle.’ The Poetics were mush reverenced, but little read.” - European writers knew Greek works “only… through the praise of (Roman) Latin authors.” |
رد: تجمع النقد الادبي .... !!
Lecture 3 - Greek thought influenced, in one way or another, every single literary form that developed in Europe and the West, but the differences between the two cultures remain significant. - Plato’s most important contributions to criticism appear in his famous dialogue the Republic. Two main ideas appear in this dialogue that have had a lasting influence - Plato makes the very important distinction between Mimesis and Diagesis, two concepts that remain very important to analyse literature even today - Drama with characters is usually a mimesis; stories in the third person are usually a diegesis Mimesis-Diegesis (imitation-narration) - Plato was the first to explain that narration or story telling (in Arabic al-sard) can proceed by narration or by imitation Book X of the Republic - This is Plato’s famous decision in Book X of the Republic to ban poets and poetry from the city - Western cultures have always claimed that their practice of literature and art are based on Greek antiquity Oral Society - “The Greek term for Art and its Latin equivalent (ars) do not specifically denote the “fine arts” in the modern sense, but were applied to all kinds of human activities which we would call crafts or sciences.” - The Western institution of “Fine Arts” or “les Beaux Arts” or Aesthetics”, as a system that includes on the basis of common characteristics those human activities [painting, architecture, sculpture, music and poetry] and separates them from the crafts and the sciences, are all products of the mid eighteenth century: Arts is an 18th Century Invention - The basic notion that the five “major arts” [painting, sculpture, architecture, music and poetry] - that Plato does not use the words “literature” or “art.” He uses the word “poetry.” - They poet could be a tragedian like Sophocles or Euripides - The poet that Plato describes in the Republic, as Eric Havelock shows, is a poet, a performer and an educator. The poetry that Plato talks about was main source of knowledge in the society. - It is only in an oral society that poetry becomes the most principal source of knowledge and education - Because poetry uses rhyme, meter and harmony and those make language easy to remember (like proverbs are easy to remember) Poetry Cripples the Mind >>> - Plato accuses the poetic experience of his time of conditioning the citizens to imitate and repeat, uncritically, the values of a tradition without grasping it. - The citizens, Plato says, are trained to imitate passively the already poor imitations provided by the discourse of poetry. - The poet is only good at song-making. His knowledge of the things he sings about like courage, honour, war, peace, government, education, etc., is superficial. He only knows enough about them to make his song. - The poet produces only a poor copy of the things he sings about, and those who listen to him and believe him acquire a poor education. - Poetry excites the senses and neutralizes the brain and the thinking faculties. It produces docile and passive imitators. - Plato blames the traditional education given to the youth. It does not meet the standards of justice and virtue. Then he blames the parents and teachers as accomplices. If parents and tutors tell their children to be just, it is "for the sake of character and reputation, in the hope of obtaining for him who is reputed just some of those offices, marriages and the like" - People are encourage to 'seem' just rather than 'be' just. And the authorities to whom people appeal for these views are, of course, the poets. Homer, Masaeus and Orpheus are all cited for illustration. 3 - It would be fine, he says, if people just laughed at these tales and stories, but the problem is that they take them seriously as a source of education and law. - How are people’s minds going to be affected, he asks, by the poetic discourse to which they are exposed night and day, in private and in public, in weddings and funerals, in war and in peace? - What is the impact especially on those who are young, “quick-witted, and, like bees on the wing, light on every flower?” - How are they going to deal with this dubious educational material poured into their minds? They are “prone to draw conclusions, _________________________________________________ - Plato saw the poet as a big danger to his society. The Colors of Poetry: Rhythm, Harmony and Measures - Plato analyses two aspects of poetry to prove his point: style and content. - Style: Plato observes that the charm of poetry and its power reside in its rhythm, harmony, and measures. These are what he calls the ‘colours’ of poetry. Seeming Vs. Being Poetry creates a culture of superficiality. People want only to “seem” just rather than “be” just |
رد: تجمع النقد الادبي .... !!
النقد الأدبي
الواجب الأول Which poet said: “A man who follows another not only finds nothing; he is not even looking”? Seneca - Who was the first philosopher/critic to make the distinction between Mimesis and Diegesis? Plato - Aristotle says that a good tragedy must have: Six parts - الواجب الثاني “Defamiliarization” or “The Making Strange” is a technique that became famous among: Russian Formalists. - Russian Formalists had an ambition to: To establish an autonomous science of literature - According to Roman Jackobson, “the subject of literary science is not literature, but… literariness - الواجب الثالث In literary criticism, Structuralism… Continued the work that was done before by Russian Formalism - According to structuralist critics, literary criticism should focus exclusively on: The text - Structuralism tries to analyze literature from: A scientific point of view - The Actantial Model was developed by: A.J. Greimas |
رد: تجمع النقد الادبي .... !!
المحاضره الثالثه أفلاطون. كان نقده مؤثر جدا extremely influential وأسيء فهمه جدا extremely misunderstood أفلاطون كتب حوارات dialogue في كل أشعاره كان أفلاطون مهوس obsessed بالشعر طول حياته لكن الأدباء والنقاد الغربيين في عصرنا الحاضر ماهم عارفين شنو سبب هوسه بالشعر بعض النقاد حبوه وبعضهم كرهوه لكن كلهم احترموه |
رد: تجمع النقد الادبي .... !!
اهم مساهمات (contribution) أفلاطون في النقد كانت في حواره الشهير الجهورية (republic) حيث كانت فيه فكرتين رأسيتين اثرت ع النقد تأثير واضح
أفلاطون في كتابه الثالت من الجمهورية (republic) وضع الفروقات الرأسييه بين المحاكاة (mimesise) والسرد (diagesis) * السرد أني أقولك قصه عن واحد بضمير الغائب فلان ذهب وفعل وترك .... هنا قاعده اسرد عليك حكايه narration diagesis * المحاكاة اذا كنت أقول عن نفسي انا رحت وفعلت والخ هنا انا قاعده احاكي القصه mimesise الشخصيات الي بالمسرحيه غالبا تكون محاكاه اما القصص ف الأغلب فيها هو السرد |
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 |
رد: تجمع النقد الادبي .... !!
ندى العالم
مشاركاتك جدا متازة استفدت منها قربت اخلص المحاضرة 3 استمرى اللة يعطيك العافية متابع |
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 |
رد: تجمع النقد الادبي .... !!
اقتباس:
أبشر ولا يهمك الله يسهلها أحس إني آخذ وقت في مذاكرة المحاضرة :rose: سرا الليل وتوني مخلصة الرابعة:verycute: |
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 |
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” |
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 |
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. |
رد: تجمع النقد الادبي .... !!
just_me :d5: حلوة الأسئلة
أول سؤال ما كنه مر علي :007: يارب سترك |
رد: تجمع النقد الادبي .... !!
اقتباس:
احس الاسئلة ت ثبت المعلومة اكثر من narration (السرد) :hahahahahah:متاثرة من المادة !! |
رد: تجمع النقد الادبي .... !!
:bawling:احس ما كأني جالسة اذاكر
|
رد: تجمع النقد الادبي .... !!
الله يعين الماده غثيثه
اقترح نقراها بالعربي ونفهم قصصها وانتهينا؟؟؟ |
رد: تجمع النقد الادبي .... !!
هو شاااطر يجيب من بين السطور :o
|
رد: تجمع النقد الادبي .... !!
اقتباس:
السرد :71: زين للي زهقوا من الملزمة وللي ببغون النقاط المهمة شامل المادة يبغالها :sdfgdsf: |
رد: تجمع النقد الادبي .... !!
نحفظ اسماء الأدباء؟ يعني هل مثلا ممكن يجيبنا لنا كلام ويسال من القائل؟
|
رد: تجمع النقد الادبي .... !!
اسئلة المحاضرهالخامسة 73-Homer’s poetry was an oral culture that people ………….. in the street and in the market place a-read b- sang c-none of them 74-Greek culture was a “………….” that sprang from people’s everyday life. All the Greeks – old and young participated in producing this culture a- living culture b-dead culture c-none of them 75-Greek culture became books that had no connection to everyday life and to average people. a-In Ancient Greece b-In Ancient Rome c-none of them 76- In Rome, Greek culture was not a living culture anymore. It was a “…………….” culture. Some aristocrats used it to show off a- museum b-dead c-none of them 77-Horace, was …….. a-a poet writing advice in the form of poems b-a philosopher-critic like Plato c-none of them 78-Horace’s hatred of the popular culture of his day is apparent in his “…………….” a- Letter to Senca b- Letter to Augustus c-none of them 79-as Horace advised the poem should be conceived as a form of ……… similar to a painting a- movable beauty b- static beauty c-none of them 80-Each one of these principles that Horace advised would become central in …………. a- shaping European literary taste b- shaping Greeks literary taste c-none of them 81-Horace tells writers that a play should not be shorter or longer than ………… acts a-four b-five c-six 82-Horace advises, that poetry should ………… and please a-enjoy b- teach c-none of them 83-Whenever Horace talks about the laws of composition and style, his model of excellence that he wants Roman poets to ……………… a- imitate the western b- imitate the Greeks c-one of them 84-I hate the profane crowd and keep it at a distance,” he says in his Odes a-Horace b-Plato c-Aristotle v 85- 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. a-correct b-wrong 86-Study Greek models night and day,” was Horce legendary advice in the …….. a- Ars Poetica (270). b-Ode c-none of them 87-Horace wants Roman authors to imitate the Greeks night and day and follow in their footsteps, but he does not want them to be …… a-inventors b- mere imitators c-none of them v 88-In the “Epistle to Maecenas” Horace complains about the slavish ……… who ape the morals and manners of their betters: a- imitators b-writer c-none of them 89-In the process of following and imitating the Greeks, Horace differentiates himself from those who “mimic” the ancients and slavishly attempt to reproduce them a-wrong b-correct 90-In imitating the Greeks, Horace claims …….. a-revival b- originality c-none of them 91-In Ars Poetica, Horace also advises the aspiring poet to make his tall…… a-unbelievable b- believable c-none of them 92-Horace’s ideas about imitating the Greeks and about poetry imitating real life models were both ……. a- imprecise b-precise c-none of them 93-From 68 to 88 C.E, he was the leading teacher of rhetoric in Rome. He wrote the Institutio as a help in the training of orators a-Horace b-Plato c-Quintilian 94-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. a-correct b-wrong 95- ( The imitator should consider carefully whom to imitate and He should not limit himself to one model only - He should not violate the rules of genres and species of writing, and should be attentive to his models’ use of decorum, disposition and language ) this written by a-Horace b- Quintilian c-Seneca 96-Latin authors never discuss poetry or literature as an imitation (mimesis); they only discuss them as ………….. a- an imitation of the Greeks b- an imitation of the Arab c-none of them 97- Latin authors are 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: a-wrong b-correct 98-Latin authors used poetry and literature for…………..: a- To improve eloquence b- To sing the national glories of Rome and show off its culture c-all of them |
رد: تجمع النقد الادبي .... !!
احب اطمنكم اني اختبرت مادة للدكتور فوزي يوم الخميس الاسئله جات مكرره بنسبة ٩٥٪
يعني لاتشيلون هم ان شاء الله سهالات ،،، انتبهو ما اقولكم كذا عشان تعتمدون ع الاسئله خلوها كـ مراجعه بس بشكل عام الدكتور فوزي اسئلته في تحسن كان اسلوبه قبل بالاسئلة يتوه الحين واضحه الاسئله ،، |
رد: تجمع النقد الادبي .... !!
اقتباس:
:mh001::mh001::mh001::mh001::mh001: الله يجزاك خير ويبشرك بالتفوق يارب الحمد لله ماعنيت قبل من إختباراته بس ذي المادة مرة دسمة وغيثة ولا كني أذاكر :sm1: نمر على الاختبارات السابقة |
رد: تجمع النقد الادبي .... !!
اختبار النقد مع الترجمة
اولا اسئلة ابو جنى السوال 1 "The subject of literary science," according to Roman Jackobson, "is not literature but… A. Grammar B. Metaphor C. Literary Style D. Literariness موضوع العلم الادبي وفقا لرومان جاكوبسون ليس ادبيا لكن Literariness السوال 2 Structuralist criticism continues the work of A. Formalism B. Symbolism C. Linguistics D. Marxism النقاد البنائيون يواصلون عمل الشكليونFormalism السوال 3 :In his study of fairy tales, Vladimir Propp established A. Twenty character types B. Sixty character types C. Thirty-one character types D. Seven character types في دراسته للحكايات الخرافية فلاديمير بروب انشئ 7انواع للشخصيات |
رد: تجمع النقد الادبي .... !!
السوال 4 How many Actants are there in the Actantial Model? A. Sixteen B. Thirty C. Six D. Twenty-one كم عدد الحدثيات في النوذج الحدثي 6 السوال 5 What discipline or school of criticism did A.J. Greimas belong to? A. Linguist B. Structuralism C. Marxism D. Formalism مالمدرسة التي انتقدت فعل اي جي جيرماز لانظمامه اليها ؟ البنائية السوال 6 Who developed the Actantial Model? A. Michel Foucault B. A.J. Greimas C. Gerard Gennette D. Roland Barthes من اللذي طور النموذج الحدثي ؟ اي جي جيرماز |
رد: تجمع النقد الادبي .... !!
السؤال 7 Who wrote "The Death of the Author"? A. Michel Foucault B. Jacques Derrida C. Roland Barthes من اللذي كتب "وفاة المؤلف" رونالد بارثز السؤال 8 "The death of the Author" asks the reader to A. Kill the author B. Reestablish the importance of the author C. Dismiss the author from the analysis of literature D. Disrespect the author وفاة المؤلف يسأل القراء عن ؟ استبعاد المؤلف من تحليل الادب السؤال 9 How does Gerard Gennette define the "Time of the Story"? A. An imaginary time B. Any past time C. The time of the Narration D. The time in which the story happens كيف عرف جينيتي وقت القصة؟ هو الوقت اللذي تحدث فيه القصة السوال10 The "Time Zero", according to Gerard Gennette, is A. The time in which the story is being told B. The time in which the story happens C. An ideal time D. An impossible time وقت الصفر وفقا لجرارد جينيتي هي الساعة التي تبدا فيها رواية القصة |
رد: تجمع النقد الادبي .... !!
السؤال 11 Vladimir Propp develops his 31 functions in order to apply them on A. Literature B. Novels C. Folktales D. Short stories فلاديمير بروب طور 31 وظيفة في ترتيب وطبقه على؟ الحكايات الشعبية |
رد: تجمع النقد الادبي .... !!
السؤال 12
؟ What types of literature does the Actantial Model apply on A. Plays B. All literature C. Short stories D. Films ماهي الانواع الادبية التي طبق عليها النموذج الحدثي؟ كل الادب السؤال 13 ؟What is the definition of the "Plot" in Aristotle's theory of Tragedy A. The story of the play B. It is the sequence of events C. The cause-effect chain that connects the events D. The actions of the hero بماذا عُرفت الحبكة في نظرية ارسطو للتراجيدية؟ سلسلة السبب-والتأثير التي تربط الحدث السوال14 : The question of "Voice" for Gerard Gennette, is about ؟A. Who sees the action ؟B. Who narrates the action ؟ C. Who witnesses the action D. The audience ان مسألة الصوت لجيرارد جينتي هي حول الذي يروي العمل |
رد: تجمع النقد الادبي .... !!
نكمل بكرة:bawling: |
رد: تجمع النقد الادبي .... !!
اقتباس:
يعطيكي العافية حبيبتي ..:rose: وانا كمان رح نام الحين .. واصحى الصباح نكمل .. الله يسهل يارب :verycute: |
رد: تجمع النقد الادبي .... !!
ندى العالم و Just -me الله يعطيكن العافيه و ربي يوفقكن في الدينا والأخر
|
رد: تجمع النقد الادبي .... !!
السلام عليكم ابغي اسئلة نقد ادبي 1436 ليست مصورة يعني مكتوبة كمبيوتر شاكرين
|
رد: تجمع النقد الادبي .... !!
http://www.ckfu.org/vb/showthread.php?t=640847&page=6
هنا كان موضوع زملانا الترم الماضي في الصفحه الاولى الاسئله مصوره وحلوها في الردود |
رد: تجمع النقد الادبي .... !!
السلا عليكم ورحمة الله وبركاته الله يقويكم على طاعته وويفوقكم بالنسبه للاساله اللي تحلون الحين اي ترم .
|
رد: تجمع النقد الادبي .... !!
=ندى العالم; نكمل بكرة
"خليك على الطريقة هذي في الحل مع الترجمة Pleaseeee ]We are waiting for you tomorrow |
رد: تجمع النقد الادبي .... !!
ماشاللة عليكم ندى وزميلتها
استمر والاسلة حلوووة مررة واللة يسهلها الدكتور لو بغاء يجيب 2000 سؤال من المحاضرات يقدر اللة يعيننا |
رد: تجمع النقد الادبي .... !!
ماده تدبل الكبد
متى اخلص من موادك يافوزي وافتك منك |
رد: تجمع النقد الادبي .... !!
اقرأ ولا كأني اقرأ !! تعبت خلاص يأست ما في امل , مالي الا احفظ الاسئله السابقه
>> لو الدكتور ما كرر اسئلة الترم الماضي انا برسب بهالمقرر 100% |
رد: تجمع النقد الادبي .... !!
والله بالنسبه لي اقرا ولا حفظت شيء وصلت المحاضره ٩ وانا اسرد سرررد
الله يسهلها بس ماده غثيثه ( فتى المملكه اخوي انت جاامعي المفروض تعرف تفرق بين الله و اللة) |
رد: تجمع النقد الادبي .... !!
|
رد: تجمع النقد الادبي .... !!
صباحكم نجااح ب اذن الله أسئلة المحاضرة الأولى 1-Literature and literary criticism in Western cultures cannot be understood without understanding its relationship to a-Greek b- roman c-classical antiquity – Greek and Roman. 2-European and Western literature and cultures were produced as a ……….. of the classical cultures of Greece and Rome a-revival b- recreation, a revival c- recreation 3-Western cultures considered Greece and Rome the most perfect civilizations from the……. a-15th to the 20th b-16th to the 20th c-17th to the 20th • 4-Western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting, sculpture were ALL produced in ……….. of classical antiquity (Greece and Rome). a-changing b- imitation c-none of them • 5-West’s relationship with antiquity is not simple. It is full of …..... a- ambivalence b- contradictions c- contradictions and ambivalence. 5-“Captive Greece took its wild conqueror captive” was written by Roman poet …….. a-Seneca b- Horace c-none of them 6-in this verse “Captive Greece took its wild conqueror captive” Horace described the relationship between ……… a-Roman and Greece b-Greece and western c-none of them 7-The Romans conquered Greece militarily, but they always felt that the culture of Greece remained infinitely more sophisticated a-correct b-wrong 8-No past life has been lived to lend us glory, and that which has existed before us is not ours.” Witten by a-Horace b- Seneca c-none of them 9-“[A] man who follows another not only finds nothing; he is not even looking.” Witten by a-Horace b- Seneca c-none of them 10- Why Horace advised his readers to simply imitate the Greeks and never try to invent anything themselves a-Because they do not have the ability to invention b-because their inventions will be weak and unattractive c- none of them 11-The Romans so desperately wanted to imitate the Greeks and so constantly failed to match them Why? a-Imitation cannot produce originality b- Imitation is something experienced before c-none of them 12-The Romans were a simple rural and uncultivated people who became successful warriors, and at the height of their success when they ruled the biggest empire in the world, they still felt that they were inferior culturally to their small province Greece a-correct b-wrong |
رد: تجمع النقد الادبي .... !!
أسألة آلمحآضره آلثآنيه 13-In the Renaissance, Europeans rediscovered the books of the Greeks and Romans and that allowed them to …………. a- develop machines b- develop a literature and a culture. c-none of them 14- The period is called the Renaissance because……. a- across Europe people wanted to “revive” the ancient learning of Arab b- across Europe people wanted to “revive” the ancient learning of Rome and Greece. c-none of them 15-During the Renaissance, Europe was a- more sophisticated than Rome and Greece b- far less sophisticated than Rome and Greece c-none of them 16-during the renaissance The only written language was a-French b-German c-Latin 17- During the Renaissance people who could read Greek, like Erasmus, were …………….. a- very much b- very rare c-none of them 18-What we call today literature emerged because Europeans were becoming politically and militarily powerful. They were conquering lands and taking over trade routes, and as the passage of du Bellay cited indicates, poetry and literature were necessary accessories of political power. a-wrong b-correct 19-the study of classical learning, literature and criticism all emerged with the purpose of giving the emerging European states written and “civilized” languages comparable to those of Rome and Greece. a-correct b-wrong 20- Europeans saw books, poems, plays and literature as monuments of the greatness of ……... a-thought b- nations c- none of them 21-to imitate Rome and Greece and develop “civilized” languages and cultures to go with their newly acquired military and political power, Europeans found a ready-made model to follow: the Romans. a-correct b-wrong 22-No other concept has had a strong formative and foundational influence in modern European cultures like these concepts of imitation. a-correct b-wrong 23-In Rome, imitation led to ………… and produced a plagiaristic culture a-prosperity b- frustration c- none of them 24-Du Bellay advised his contemporaries not to be “…………” to write in their native language in imitation of the ancients. a-ashamed b- conceited c-none of them |
رد: تجمع النقد الادبي .... !!
أسئلة المحاضره الثالثة 25-the two influential Greek thinkers who influenced the development of Western literature and criticism more than any other thinker in history:. a-Phidias and Sophocles b- Plato and Aristotle c-none of them 26-the Greek did not have a word of literature they have instead of literature a word …… a-Poetry b-theme c-none of them 27-He was obsessed with poetry throughout his life a-Sophocles b- Plato c-Aristotle 28-Plato’s most important contributions to criticism appear in his famous dialogue the …… a- Republic b-Country c-none of them v 29-Plato makes the very important distinction between Mimesis and Diagesis, two concepts that remain very important to analyse literature even today. They are often translated as imitation and narration or showing and telling: a-correct b-wrong 30- If I tell you the story of Napoleon’s invasion of Egypt in the third person: He sailed to Alexandria with 30 000 soldiers and then he marched on Cairo, etc.” That would be ………….I am telling you the story a-an imitation (mimesis) b- a narration (diagesis). c-none of them 31-if I tell you the story in the first person, as if I am Napoleon: “I sailed to Alexandria with 30 000 soldiers, and then I marched on Cairo, etc.” That would be ………………………………I am showing you the story a-an imitation (mimesis) b- a narration (diagesis). c-none of them 32-Plato was the first to explain that narration or story telling (in Arabic al-sard) can proceed by narration or by imitation:“And narration may be either simple narration, or imitation, or a union of the two” a- wrong b-correct 33- Plato’s famous decision in Book X of the Republic to ………… poets and poetry from the city a-confirm b- ban c-none of them 34………….. drew attention to the fact that the Greeks did not have anything similar to the Western ideas of art and literature. The Western ideas of art and literature did not exist in ancient Greece and Rome: a-Paul Kristller b-Christopher Janaway c-none of them 35-The Greek term for Art and its Latin equivalent (ars) do not specifically denote the “fine arts” in the modern sense, but were applied to all kinds of human activities which we would call …………….” a- crafts. b- crafts or sciences. c- sciences 36-the fine art made up of ................ in the mid of eighteenth century a-painting and architecture b-sculpture and music and poetry c-all of them 37-The discipline that we call today Literature is an ……. century European invention a-19th b-18th c-17th 38-In the ancient world, they had poetry, tragedy and comedy, but they were all known as “………..” a-literature b- poetry c-none of them 39-They poet could be a tragedian like Sophocles or Euripides, a comedian like Aristophanes, or an epic poet like Homer, but the Greeks never called any of these poets “artists” and they never called their poems and plays, “………….” a- literature b-Art c-none of them v 40-why in an oral society the poetry becomes the most principal source of knowledge and education. a-the poetry shows the knowledge v b- in an oral society does not have a system of writing, poetry becomes useful to record and preserve knowledge. c-none of them v 41-as Eric Havelock shows, is a poet, a performer and an educator. The poetry that Plato talks about was main source of knowledge in the society. a-wrong b-correct 42-in European and Western Literature is an interaction between a reader and a book a-wrong b-correct 43-Oral poetry is a communal performance. a- correct b-wrong 44-in European and Western Literature is an entertainment and pleasure a-wrong b-correct 45-Oral poetry teaches science, medicine, war and peace and social values a-correct b-wrong 46-The poet in an oral society is a leader, and educator, a warrior, a priest a-correct b-wrong 47- Plato accuses the poetic experience of his time of conditioning the citizens to …………., uncritically, the values of a tradition without grasping it. a-repeat b- imitate and repeat c- imitate 48-The poet produces only a poor copy of the things he sings about, and those who listen to him and believe him acquire a …. a-good education b- poor education. c-none of them 49-It would be fine, he says, if people just laughed at these tales and stories, but the problem is that they take them seriously as a source of …….. a-happiness b- education and law c-none of them 50-Plato observes that the charm of poetry and its power reside in its … a- rhythm b- harmony c- rhythm, harmony, and measures 51-Plato calls rhythm, harmony, and measures colours of …… a-poetry b-music 52-Oral societies, that do not have a system of ………., use poetry like modern societies use schools, libraries, newspapers and television a-reading b- writing c-none of them 53-Plato analyses two aspects of poetry to prove his point:……….. a-rhythm and harmony b- style and content. c-none of them 54-The poet’s craft, Plato says, demands only a ……… knowledge of things a- superficial b-perfect c-none of them |
رد: تجمع النقد الادبي .... !!
أسآلة آلمحآضره آلسآدسه 99-renaissance humanists was emerged in ……… and spread in the rest of Europe a-France b- Italy c-Spain 100-they call themself humanist because they want to investigate important question from human prospective a-correct b-wrong 101-Renaissance humanists realised that the Latin they spoke and inherited from the Middle Ages was ……. from classical Latin a- different b-same c-none of them 102-language was divinely instituted, and the connection of words and things and the rules of grammar were not arbitrary this saying belong ……. a-Dante b-Lorenzo c-one of them 103-By the 1440s, Italian humanists established the fact that meaning in language is created by ……….. and shaped by history, a-God b-nature c-humans 104-for the lessons of Rome to be properly grasped, humanists advocated ……… a- the revival of ancient Latin b- the revival of ancient Greeks c-none of them 105-. The central tactic in the attack on the monopoly of Latin was the production of grammar books for the vernacular. a-wrong b-correct 106-Jacques Peletier (in R. Waswo) said “What sort of nation are we, to speak perpetually with the mouth of another?” he refers to use ……. a-French b-Latin c-none of them 107-they developed the new European Language in imitation of Latin, by……. a-invent new vocabulary and grammar rules b-appropriating the vocabulary, grammar rules and stylistic features of Latin into the vernaculars c- none of them 108-“how the Latin tongue became abundant by deriving many words from the Greek this saying belong ….. a-Horace b-landino c- none of them 109-Cicero, Horace, Quintilian and Seneca, European writers also insisted that imitation should lead to ………, at least in principle a- originality b-development c-none of them 110-………. was the champion of Latin imitation. He advised his contemporaries to heed Seneca’s advice a-Horace b-Petrarch c- Quintilian 111-…………(1512) said that first “we should imitate the one who is best of all.” Then he added “we should imitate in such a way that we strive to overtake him.” Once the model is overtaken, “all our efforts should be devoted to surpassing him.” a-Landino b- Pietro Bembo c-Petrarch 112-……….. stressed that the imitative product should not be “the same as the ones we imitate, but to be similar to them in such a way that the similarity is scarcely recognised except by the learned.” a-Landino b- Pietro Bembo c-Petrarch 113-……….. started his Arte Poetica (1551) with the command: “direct your eyes, with mind intent, upon the famous examples of the ancient times.” a- Hieronimo Muzio b- Pietro Bembo c- Petrarch 114-a slight variation of expression and meaning “is necessary to make one a poet.” This saying belong... a- Bembo b- Hieronimo Muzi c- Petrarch 115-…………: said in his Discorsi (1554) that after patient study of “good” authors, the writer would find that “imitation [would] change into nature”, that his work would resemble the model not as a copy but “as father is to son.” a- Giraldi Cinthio b- Petrarch c- Hieronimo Muzi 116-the terms of the imitation discussions in Italy were almost a carbon copy of Roman discussions, the terms of the French debate, with minor variations, were also almost a carbon copy of the Italian debate a-correct b-wrong 117-despoil” Rome and “pillage” Greece “without conscience.” This saying belong …… a-Petrarch b-Joachim du Bellay c- Muzi 118-The humanists were not philosophers. They were a…….. a-class of professional teachers b-class of professional writers c-none of them |
رد: تجمع النقد الادبي .... !!
ملاحظة إلي يذاكر من محتوى تجميع كومي وترجمة لا تحزني الملزمة فيها نقص في المحاضرة 7
|
رد: تجمع النقد الادبي .... !!
From the 16thto the 20th centuries, Western cultures considered Greece and Rome the most perfect civilizations, and Western drama, poetry, literary criticism, art, education, politics, fashion, architecture, painting, sculpture were
الجواب ALL produced in imitation of classical antiquity هذا كان سوال الترم اللي طاف |
رد: تجمع النقد الادبي .... !!
انا شكلي بفتر على اسئلة الاختبارات وريح بالي
على الاقل احفظ شيئ نبي نحلها نتسااااعد |
رد: تجمع النقد الادبي .... !!
...............................
:(298): بسم الله الرحمن الرحيم.. أما بعد :لقد إتخذت قراري الجميل والأخير بعد إنشغالي بالمحتوى الغثيث وأرى أنني ضيعت وقتي ولم إستفد كثيرا ونسيت أغلب ماحفظته لكثرة المعلومات , لذلك سوف أعتمد بعد الله على المحاضره 1و 3 و 4 و7 و8 مع حفظ الأسئله السابقه و توكلت على الحي الذي لايموت ..وأسأل الله أن يوفقني وإياكم.. ............................. |
رد: تجمع النقد الادبي .... !!
صراحه التجمع ناااااااااااااااايم مدري ليش ؟؟؟؟؟؟؟؟؟؟
والاعضاء اللي كانوا معي وفيهم نشاط وهمه معد شفتهم :(( لايكونو تخرجوا وخلوني:((( |
رد: تجمع النقد الادبي .... !!
اقتباس:
هو تجمع سابع نايم..شوف تجمعنا المستوى الثامن ماشاء الله شغالين.. أنا أصلا مستوى ثثامن لكن جيت هنا عشان العله النقد أجلته من الترم اللي راح ماألومهم الماده تحتاج وقت ومذاكره لذلك ماهم فاضين .. ............................ |
رد: تجمع النقد الادبي .... !!
الحين كم نموذج موجود للاختبار؟
|
رد: تجمع النقد الادبي .... !!
ههههههه انا ثامن وانقردت ورجعت لسابع عشان هالماده :((:000:
حياتي امواج اتوقع فيه نموذجين .,,, قاعد اصم اختبار الترم اللي طاف وحل انذر دي وام ليالي جزاهم الله خير :d5: |
رد: تجمع النقد الادبي .... !!
اقتباس:
انا بعد ثامن :16.jpg: سويعات وبجي عشان اصم اسئلة الاختبار:hahahahahah: |
رد: تجمع النقد الادبي .... !!
والله أنا ضايع في هذي المادة مو عارف ايش اسوي :mh12: وأنا بعد مستوى ثامن احد يعطيني حل ايش اسوي لي يومين في المحاضرة الثانية :Cry111: الله يسهل علينا وعليكم في الدنيا والاخرة |
رد: تجمع النقد الادبي .... !!
اخوي عبدالله خلك على اسئلة الاترام الماضيه وتوكل على الله :))
|
رد: تجمع النقد الادبي .... !!
ابو عمار وين الاسئله وهل هي مضمونه اجوبتها لو سمحت نزل الاسئله مالنا الا الله ثم هي
|
رد: تجمع النقد الادبي .... !!
جست مي الاسئله الي تنزلينها حلها اكيييد
|
رد: تجمع النقد الادبي .... !!
ابو عمار تكفى حط الاسئله اللي تذااكرها
انا بعد ثامن واجلت ذي الطلاسم للهترم:41jg: |
رد: تجمع النقد الادبي .... !!
اقتباس:
الله يعطيك العافية والنعم بالله :(204): تشوف كذا اخوي بوعمار نتوكل على الله اجل ونشوف الاسئلة بس هي كم نموذج :(107): فالنا +a جميعاً إن شاءالله |
رد: تجمع النقد الادبي .... !!
up
|
رد: تجمع النقد الادبي .... !!
2 مرفق
اقتباس:
و معها الحل |
رد: تجمع النقد الادبي .... !!
هذا الرابط فيه 12 صفحه تلقون الاسئله مصوره في الصفحه الاولى والحل في الصفحه السادسه حل another day
http://www.ckfu.org/vb/showthread.php?t=640847&page=6 |
رد: تجمع النقد الادبي .... !!
اقتباس:
اي صحيحة اتاكدت بنفسي منها .. توكل على الله و بصراحة انا لقيت ان الاسئلة هي تثبت المادة اكثر من قرائتها |
رد: تجمع النقد الادبي .... !!
just- me
اسلتك حلووووووة متابع معاك من وين تجيبينها |
رد: تجمع النقد الادبي .... !!
اقتباس:
ما قدرت أخلص توني بادية المحاضرة 9 9:sdfgdsf::sdfgdsf::sdfgdsf::sdfgdsf: شكلي بقرأ الباقي قراءة سريعة واجع على الاختبارات والأسئلة |
| All times are GMT +3. الوقت الآن حسب توقيت السعودية: 04:13 PM. |
Powered by vBulletin® Version 3.8.7, Copyright ©2000 - 2025, Jelsoft Enterprises Ltd.
Search Engine Optimization by vBSEO 3.6.1 جامعة الملك
الفيصل,جامعة الدمام