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| E7 English Literature Students level seven Forum |
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أدوات الموضوع |
2016- 3- 28
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#21 |
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مميزة مستوى 8 E
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محاضرة ( 11 )
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.  شرح دودي كول  المحاضرة 11 Greimas: The Actantial Model قريماس: صاحب Actantial Model ماهي؟؟Actantial Model؟؟ اداة لتحليل اي عمل حقيقي وتشمل جميع الاعمال الادبية actantial model is a tool that can theoretically be used to analyze any real or thematized action for all literature (جا سؤال عليها قبل قسمت Actantial Model الى 6 اقسام وقسمت هالActantial Model 6 الى 3 تعارضاتAxes The axis of desire - Subject – Object The axis of transmission – Sender – Receiver The axis of power – Helper – Opponent  : أسئلة عيوش  lecture 11 1) what did A. J. Greimas propose? the actantial model 2)when was that ? during the sixties 3)what was it based on? the theories of Vladimir Propp 4)what is the actantial model ? a tool that can theoretically be used to analyze any real or thematized action 5)In the actantial model an action may be broken down into how many components? 6 6)what are those components called? actants. 7) what are actants? Actantial analysis consists of assigning each element of the action being described to one of the actantial classes 8) what are the Actantial Models ? the subject (the hero of the story, who undertakes the main action ) the objects (what the subject is directed toward ) the helper (helps the subject reach the desired object ) the opponent (hinders the subject in his progression ) the sender (initiates the relation between the subject and the object) the receiver (the element for which the object is desired) 9)The actants must not be confused with characters because ? 1)An actant can be an abstraction (the city, Eros, God, liberty, peace, the nation, etc), a collective character (the soldiers of an army) or even a group of several characters. 2)A character can simultaneously or successively assume different actantial functions 3)An actant can be absent from the stage or the action and its presence can be limited to its presence in the discourse of other speakers 10) what does Greimas say about actant? an extrapolation of the syntactic structure of a narrative. An actant is identified with what assumes a syntactic function in the narrative. 11)how many axes are there ? 3 12) The six actants are divided into what ? three oppositions, each of which forms an axis of the actantial description 13) what is the axis od desire? subject and object 14) the axis of power? helper and opponent 15)axis of transmission ? the sender and receiver 16) what is the relationship between the subject and the object called ? junction. 17) what kind of junction is the Prince wanting the Princess ? conjunction 18) what kind of junction is a murderer succeeds in getting rid of his victim's body ? disjunction : كويزات محاضرة 11 النقد الادبي (11 -12 ) النقد الادبي لayosha م11 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11468 |
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2016- 3- 28
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#22 |
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مميزة مستوى 8 E
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محاضرة ( 12 )
. lecture 12.  شرح دودي كول  المحاضرة 12 Poststructuralism مابعد البنيوية هذكر كل المحاضرة على شكل نقاط *هي فلسفة فرنسية للقرن العشرين outcome of Twentieth-century French philosophy *تهتم بالثقافة والتاريخ وانه جزء مهم من المعنى sees culture and history as integral to meaning *هي ثورة ضد البنيوية ‘rebellion against’ structuralism *logo-centrism was develop by: Poststructuralism مهم جا في اختبارات سابقة *اهتمت بدراسة كيف تنتج المعرفة study of how knowledge is produced *رفضت ان فكرة النص تكون مفردة بالهدف او المعنى او الوجود Rejects the idea of a literary text having one purpose, one meaning or one singular existence - *بدلو الكاتب (المؤلف)وجعلو القارئ هو المحور الاساسي والموضوع الرئيسي Poststructuralism displaces the writer/author and make the reader the primary subject of inquiry *ترفض هيكلة ثابتة للنص rejects that there is a consistent structure to texts أسئلة عيوش 1)what is Poststructuralism ? a broad historical description of intellectual developments in continental philosophy and critical theory 2)when and where does it come from ? Twentieth-century French philosophy 3)what does the prefix "post’ mean ? primarily that it is critical of structuralism 4)Structuralism tried to deal with meaning as what ? complex structures that are culturally independent 5) what does Post-structuralism see culture and history as ? integral to meaning 6) what was Poststructuralism a ‘rebellion against ? structuralism 7) what was a critical and comprehensive response to the basic assumptions of structuralism ? Poststructuralism 8)what does Poststructuralism study? the underlying structures inherent in cultural products (such as texts) 9) what does it use for linguistics, psychology, and anthropology ? analytical concepts 10) what do poststructuralist study to understand a text? 1)The text itself 2)the systems of knowledge which interacted and came into play to produce the text 11) what kind of study is Post-structuralism? a study of how knowledge is produced, an analysis of the social, cultural and historical systems that interact with each other to produce a specific cultural product, like a text of literature, 12) how does Poststructuralism see the concept of “self” ? fictional construct, an illusion 13) what is the concept of “self” ? "self" a singular and coherent entity 14) what is “self “ to Poststructuralism? a mass of conflicting tensions + Knowledge claims (e.g. gender, class, profession, etc.) 15) what must the reader do to properly study a text ? the reader must understand how the work is related to his own personal concept of self and how the various concepts of self that form in the text come about and interact 16)what is Self-perception in poststructuralism ? Poststructuralism requires a critical attitude to one's assumptions, limitations and general knowledge claims (gender, race, class, etc) 17)for Poststructuralism what is secondary to the meaning that the reader can generate from the text ? Authorial intentions 18) what is Authorial intentions ? the meaning that the author intends to “transmit” in a piece if literature 19) who rejects the idea of a literary text having one purpose, one meaning or one singular existence ? Poststructuralism 20)who utilizes a variety of perspectives to create a multifaceted (or conflicting) interpretation of a text? Poststructuralism 21) who analyzes how the meanings of a text shift in relation to certain variables ? Poststructuralism 22)what are the Poststructuralist Concepts ? 1)Destabilized Meaning 2)Deconstruction 23) who does Poststructuralism displace ? the writer/author 24) who does it make the primary subject of inquiry ? the reader 25) what do they call this displacement? the "destabilizing" or "decentering" of the author 26) what does it disregard ? the essentialist reading of the content that look for superficial readings or story lines 27) what other sources of meaning are examined? readers, cultural norms, other literature, etc.) Such alternative sources promise no consistency, but might provide valuable clues and shed light on unusual corners of the text 28)what does Poststructuralism reject? that there is a consistent structure to texts, specifically the theory of binary opposition 29)what made the theory of binary opposition famous? that structuralism 30) what do Post-structuralists advocate ? deconstruction Meanings of texts and concepts constantly shift in relation to many variables. The same text means different things from one era to another, from one person to another 31) what is the only way to properly understand these meanings ? deconstruct the assumptions and knowledge systems which produce the illusion of singular meaning : كويزات محاضرة 12  النقد الادبي (11 -12 ) النقد الادبي لayosha م12 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11467 |
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2016- 3- 28
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#23 |
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مميزة مستوى 8 E
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محاضرة ( 13 )
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.  شرح دودي كول المحاضرة 13 Jacques Derrida Post-structuralism is a European-based theoretical movement that departs from structuralist methods of analysis. الحركة اللي مابعد البنيوية هي حركة اوروبيةقامت على الابتعاد عن التحليل الهيكلي و البنيوي...يعني ضد الحركتين اللي من قبل اخذناهم اهم الاسماء فيها Jacques Lacan (psychoanalysis) تحلسل نفسي Michel Foucault (history تاريخ واللي هو محور محاضرتنا Jacques Derrida (philosophy في الفلسفة ماهي اللغة عند Derrida language is unreliable اللغة غير واقعية ولا يمكن الاعتماد عليها وذكر ايضا There is no pre-discursive reality. Every reality is shaped and accessed by a discourse. انه لا يوجد واقع قبل الخطابي,,,وان كل الوقائع تتشكل وتتكون بالكلام... ((مهم جا في الاختبار سابقا أسئلة عيوش lecture 13 مختصره ما تحتاح أسئلة  : كويزات محاضرة 13  النقد الادبي (13-14) النقد الادبي لayosha م13 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11507 |
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2016- 3- 28
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#24 |
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مميزة مستوى 8 E
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محاضرة ( 14 )
. .  يووووووه خلصناااااااااااااااااااااا  شرح دودي كول المحاضرة 14 Marxist Literary Criticism النقد الادبي الماركسي Karl Marx *born 1818 in Rhineland. وُلد كارل ماركس عام 1818 ف راينٌلاند *Known as “The Father of Communism.” عُرف كأب الشّيوٌُعيةٌّ *Marx died in 1883 مات في 1883 ------------------------------------------------------- Base-Superstructure من اهم افكار ماركس The Base: The material conditions of life, economic relations, labor, capita القاعدة:هي الالظروف المادية بالحياة..الاقتصاد..العلااقات The Superstructure: This is what today is called ideology الفوقية:هي الايدولوجي ------------------------------------- قال ماركس بأن الظروف المادية هي التي تحدد ضمائر الناس Marx said that it is people’s material conditions that determines their consciousness مهم جا في اختبار سابق ------------------------------------------------------------- Marx and Engels were political philosophers ماركس وانقلز كانو فلاسفة سياسيين مهم جا في اختبار سابق ------------------------------------------------------------ من افكار ماركس: بانه لايمكن فهم الادب من (روايات ومسرحيات) خارج الظروف الاجتماعية والاقتصادية والعلاقات والايدلوجيات Literary products (novels, plays, etc) cannot be understood outside of the economic conditions, class relations and ideologies of their time. مهم جا في اختبار سابق -------------------------------------------------------------- تم بحمد الله أسئلة عيوش lecture 14 1)when and where was karl Marx born? 1818 in Rhineland 2)what was he known as? “The Father of Communism.” 3) the was the “Communist Correspondence League” ? 1847 4)when was The “League” disbanded ? 1852 5)when did Marx die? 1883 6)what was on of karl Marx’s greatest ideas? base-superstructure 7) who came up with the idea that history was made of two main forces ? Marx 8) what are the two main forces? The Base The Superstructure 9) what is the base? The material conditions of life, economic relations, labor, capital, etc 10) what is the superstructure ? This is what today is called ideology or consciousness and includes, ideas, religion, politics, history, education, etc 11) who said it is people’s economic conditions that determines the ideas and ideologies that they hold ? marx Note: Ibn Khaldoun says the same thing in the Muqaddimah 12)Marxist criticism analyzes literature in terms of what? historical conditions which produce it while being aware of its own historical conditions 13)what is the goal of Marxist criticism ? to “explain the literary works more fully, paying attention to its forms, styles, and meanings- and looking at them as products of a particular history 14) what should the best literature reflect? the historical dialectics of its time 15) what does it mean to understand literature? understanding the total social process of which it is part 16)how do we understand ideology, and literature as ideology ? must analyze the relations between different classes in society. 17) what is ideology ? a set of ideas 18)Literary products (novels, plays, etc) cannot be understood outside of what ? the economic conditions, class relations and ideologies of their time 19)Truth is not eternal but what? institutionally created 20) give an example ? “private property” is not a natural category but is the product of a certain historical development and a certain ideology at a certain time in history 21)what are Art and Literature ? commodities (consumer products 22)what are Art and Literature ? Reflections of ideological struggle and can themselves be central to the task of ideology critique 23) what are the main schools of marxism? Classical Marxism: The work of Marx and Engels Early Western Marxism Late Marxism 24) when did Classical Marxist criticism flourish? in the period from the time of Marx and Engels to the Second World War 25) what do they consider the main forces of historical development ? materialism, economic determinism, class struggle, surplus value, reification, proletarian revolution and communism 26) what were Marx and Engels ? political philosophers 27) what did the few comments they made on literature enabled people after them to build ? a Marxist theory of literature 28)Marx and Engels were more concerned with what in literature? contents rather than the form 29)why? because to them literary study was more politically oriented and content was much more politically important 30) when did literary form have a place? when it served their political purposes 31)who was the first western Marxist ? Georg Lukács 32)what did he insist on? on the traditional Marxist reflectionist theory 33) what is the the traditional Marxist reflectionist theory ? Superstructure as a reflection of the base 34)who was attacking the traditional Marxist reflectionist theory? the formalists in the fifties 35)who wrote “Discourse in the Novel” ? Bakhtin 36) when? 1930s 37) who like Lukács tried to define the novel as a literary from in terms of Marxism ? Bakhtin 38) what does he say about the discourse of the novel ? it’s is dialogical 39) what does that mean? that it is not tyrannical and one-directional. It allows dialogue 40)what is the discourse of poetry ? monological tyrannical and one-directional 41) what does the laughter in the Medieval Carnival represent? “the voice of the people ‘ 42) where was that said? In Rabelais and His World 43)when was the Frankfurt School of Marxism founded ? 1923 at the “Institute of Social Research” in the University of Frankfurt, Germany 44)who were some of the members ? Max Hirkheimer, Thoedor Adorno, Walter Benjamin, Erich Fromm and Herbert Marcuse, Louis Althussser, and Raymond Williams 45) what are some distinctive features of the Frankfurt School ? independence of thought, interdisciplinarity and openness for opposing views 46)who said There were at least three forms of Marxism: the writings of Karl Marx, the systems developed by later Marxists out of these writings, and Marxisms popular at given historical moments ? Raymond Williams 47) who said There were two Marxisms, one being the Marxian System developed by Karl Marx himself, and the other being its later development of various kind ? Fredric Jameson 48)In his Grundrisse, Karl Marx sees the abstract not as a lofty esoteric notion but as what? a kind of rough sketch of a thing 49) why is the notion of money abstract? because it is no more than a bare, preliminary outline of the actual reality. 50)who makes the makes of supposing that the concrete is simple and the abstract is complex ? the Anglo-Saxon كويزات محاضرة 14  النقد الادبي (13-14) النقد الادبي لayosha م14 http://www.ckfu.org/vb/quiz.php?do=take&quiz_id=11466 |
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2016- 3- 28
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#25 | ||
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مميزة مستوى 8 E
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معلومات عامة
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. شرح عيوش ل time zero في المحاضرة 8 Time zero. هو الوقت الي الراوي جالس يقول القصةً عندنا زمن القصة الي هو الوقت الي حدثت فيها الأحداث وزمن الراوي الوقت: الي هو جالس يقول لنا عن الأحداث والanachronies اختلافات في الزمن مثلا لو انا ابدء اقولكم قصة الحين قبل يومين قمت بدري وجلست أفكر بذكريات طفولتي Time zero الحين لأَنِّي انا الحين أقول القصة Time of the story من يومين لان الأحداث الي انا أتكلم عنها صارت من يومين طيب عندنا شي أسمه analepsis هذا الأحداث الي صارت قبل وقت القصة الي هي الذكريات حقت الطفولة ، الذكريات صارت قبل وقت القصة : اقتباس:
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2016- 3- 28
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#26 |
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مميزة مستوى 8 E
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كويزات مهة
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. اسئلة اختبار النقد الادبي الفصل الاول 1435 وهي نفسا الي تكررت السمستر الي راح 1437 الفصل الاول http://www.ckfu.org/vb/t718733.html#post12898939 / كويز 28 سؤال غير مكررة في النقد http://www.ckfu.org/vb/quiz.php?do=t...323#takeresult رد أحد الأعضاء باحد الانطباعات   مرحبا بالجميع واختبار موفق. لكن الدكتور مايخلي عادته الاجابات الصحيحه كالتالي وهي عكس المذكره. لكن الحمدلله مامشت علي. zero focalization: The character knows less than the narrator internal focalization : The character knows as much as the narrator external focalization : The characte knows more than the narrator |
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2016- 3- 28
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#27 |
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مميزة مستوى 8 E
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رد: ܟ♥ ( التجمع النهائي للنقد الأدبي والنظرية / د.فوزي سليسلي/ الأختبار الأحد 24.7.1437 - فترة أولى ) ♥ܟ
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.  بكرة ان شاء الله زبدة التجمعات 
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2016- 3- 28
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#28 |
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مميزة مستوى 8 E
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اهم ماجاء باغلب تجمعات المادة
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.  يا زين من سوا بكم كذا لان كالعادة بتجون داعسين وين ذا ووين ذاك  : 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 : 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) : 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 : 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 : 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 : 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 : 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 : 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 |
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2016- 3- 28
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#29 |
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مميزة مستوى 8 E
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. 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 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 : 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 : 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 : 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 : 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 |
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2016- 3- 28
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مميزة مستوى 8 E
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. 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 أسئلة 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 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 أسئلة 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 |
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