نقاش + تجميع ملخصات a230b المادة يكون هنا 2013\2014

[خلود السكافي]

هنا تلخيص مسرحية dancing at lughnasa

[يارب ارزقني]

المشاركة الأصلية كتبت بواسطة خلود السكافي

هنا تلخيص مسرحية dancing at lughnasa

وووووينه

[لوليتا لامبيكا]

هذي مقدمة بارت 1 من الكتاب الثالث

Introduction to Part 1


· Texts from the first half of the twentieth century are linked by their interest in the city, real and imagined.


· We begin with Dubliners by James Joyce (1882—1941), a collection of short stories published in 1914 and set in the Irish capital at the turn of the century.


· In 1944 the writer Elizabeth Bowen called the short story 'the child of this century' (quoted in Trotter, 2007, p. 1) because of the numbers of influential writers who contributed to its development from the turn of the twentieth century onwards.


· In addition to introducing you to city texts of the twentieth century, this part of the book will examine a concept central to literary studies -'period'. Historical events and cultural artefacts relate to one another in important ways, and placing texts in context usually involves employing some notion of 'period'.


· Our theme in Part 1 is the twentieth-century city. Since the Greek philosopher Plato (c.428-348 bce) produced his treatise known as The Republic (V.360 bce), the city has been a source of inspiration for, and backdrop to, Western literature.


· Urbanisation \ Economic developments generated transformations of almost every other kind — cultural, social and artistic — sited primarily, and increasingly self-consciously, in the newly energised, expanding great cities. Artists and thinkers experienced, interpreted and re-theorised the city, concentrating on the ways that this material and social environment affected the human subject.


· Futurism tethered the idea of the expanding city to a visionary and action-filled future, explicitly rejecting the past. To the Futurists, the city represented only opportunity', violent freedom and pleasure.


· Many writers of the period worked with the idea of throwing light into dark places — particularly urban spaces — borrowing modernity's symbolic energy as they re-formulated their ambitions for representing the new age.


· The city is the dominant modern global social structure.
· Futurism may well bring Metropolis immediately to mind.


· The short story offered particular potential in this last respect. 'Make it new', the American poet Ezra Pound (1885—1972) said, in the slogan of the period


ملخص جابتر 1 شبه منتهي غدا ان شاء الله يكون جاهز
تقريبا حسب ما ارى لتركزو عليه حتى انتهي
الاهتمام بالمدن في القرن العشرين
مفهوم الحداثة modernism

وكيف ينطبع على قصص جيمس جويس هذا المفهوم

النواحي التي اهتم بها من ناحية المدينة

كالحياة الاجتماعية والمفاهيم الدينية السائدة وبعض الطموحات الخاصة بالسكان

استخدامه لتقنيات معينة ساعدته في ذلك

مثل: (الملاحظ\ الانسان الذي يختبر ما حوله) خاصة ان دبلن مدينة يعرف كل من فيها ما يدور فيها


عندكم مسألة النور والظلام ايضا تقنية مهمة

موفقين





_______________________________




مساء الخير


اول شي بحط الملخص بعدين لما اخلص نحط اهم النقاط وشرح العربي


القصص كلهم مهمين احتمال كبير تجي مقارنة بين القصص


فيرجى:

معرفة التقنيات جيدا

SYMBOLISM \ REALISM
EPIPHANY
DOUBLE MEANINGS
COLOR \ TONE \ PERSPECTIVE (NARRATOR)


CHILD NARRATOR

DUBLINERS AS A MODERN TEXT

PARALYSIS
SIMONY
GONOMON



THEMES



http://lolita-aou.blogspot.com/2014/...chapter-1.html





__________________________



الله يعافيكم يا رب ويوفقكم

ملخص جابتر 2

http://lolita-aou.blogspot.com/2014/...chapter-2.html

ملاحظة :

انا بشرح بالعربي ان شاء الله بس اخلص جابتر 7

+

ضفت في نفس الرابط

رابط تحميل ملف وورد تحميل مباشر عشان اللي عندهم صعوبة في التحميل من وضع العرض


الاشياء المهمة:

WOMEN IN DUBLIN
NARRATOR STYLE
FIRST + THIRD PERSON NARRATOR
FREE INDIRECT SPEECH
(OMNISCIENT )

THE THEME OF PARALYSIS

MEMORY

RURAL URBAN DUBLIN + MODERNISM

EPIPHANY

PAST + PRESENT TENSE USE

[لوليتا لامبيكا]

وهذا الملخص الاخير والحمدلله

المهم فيها :
موضوعين \ الهجرة و الذاكرة

وبعض الجوانب التاريخية والاجتماعية

+

الاستخدام اللغوي والتقنيات


http://lolita-aou.blogspot.com/2014/...-7-book-3.html


موفقين


ان شاء الله الخميس نبتدي شرح اهم النقاط


وعذروني على التقصير

واحب انبهكم ان لازم تكونين قارين وفاهمين هالقصص
وتقرون الاكتيفيتي في الكتاب مع الملخص

(الاكتيفيتي بس)


الباقي الملخص كافي

[لوليتا لامبيكا]

أنا قاعدة أقرا وأشرح ان شاء الله اليوم اضيف
بس هذي معلومات تهمكم واتمنى تطلعون عليها
يعني تشكل الفهم العام لـ dubliners




Joyce worked and played in Dubliners at plotting and characterization, de******ion and dialogue, and (especially) point of view (the technical term for who is telling a story, to whom, and with what limitations).







CONTEXT:

· The setting of Dubliners is in and around the city of Dublin, Ireland. It was a kind of third-world nation, really, before the term existed. Though Dublin was a genuinely urban locale, with electric lights and streetcars, competing daily newspapers and even a museum, the city remained fairly unsophisticated at the time when Joyce wrote about it.


· In Dubliners, Joyce holds the Roman Catholic Church accountable for the failure of the Irish to advance in step with the rest of Europe. He was particularly bitter about the way in which the Church often recruited intellectuals like himself to serve in the priesthood — rather than encouraging them to use their minds in the service of progress, as doctors, scientists, or engineers.



· The Irish Revival, a movement begun in the 1880s to foster understanding and respect for Celtic and Gaelic language and culture, is referred to in Dubliners in "The Dead".


· The stories of Dubliners are united by the city itself. The other aspect that unites these disparate works of narrative prose is shared themes. All these stories are united by the ideas that the tales dramatize: paralysis, corruption, and death. Finally, Dubliners begins with a death and ends with a death (in a story titled, logically enough, "The Dead"), with numerous deaths either dramatized or referred to in between.


· Dubliners contains fifteen portraits of life in Dublin. Joyce focuses on children and adults who skirt the middle class, such as housemaids, office clerks, music teachers, students, shop girls, swindlers, and out-of-luck businessmen.


· In most of the stories, Joyce uses a detached but highly perceptive narrative voice that displays these lives to the reader in precise detail. Rather than present intricate dramas with complex plots, these stories sketch daily situations in which not much seems to happen—a boy visits a bazaar, a woman buys sweets for holiday festivities, a man reunites with an old friend over a few drinks. Though these events may not appear profound, the characters’ intensely personal and often tragic revelations certainly are.



· The stories in Dubliners peer into the homes, hearts, and minds of people whose lives connect and intermingle through the shared space and spirit of Dublin. A character from one story will mention the name of a character in another story, and stories often have settings that appear in other stories. Such subtle connections create a sense of shared experience and evoke a map of Dublin life that Joyce would return to again and again in his later works.




____________________________



Themes



The Prison of Routine

Restrictive routines and the repetitive, mundane details of everyday life mark the lives of Joyce’s Dubliners and trap them in circles of frustration, restraint, and violence. Routine affects characters who face difficult predicaments, but it also affects characters who have little open conflict in their lives. The young boy of “An Encounter” yearns for a respite from the rather innocent routine of school, only to find himself sitting in a field listening to a man recycle disturbing thoughts.
The most consistent consequences of following mundane routines are loneliness and unrequited love. In “A Painful Case” Mr. Duffy’s obsession with his predictable life costs him a golden chance at love. Eveline, in the story that shares her name, gives up her chance at love by choosing her familiar life over an unknown adventure, even though her familiar routines are tinged with sadness and abuse. The circularity of these Dubliners’ lives effectively traps them, preventing them from being receptive to new experiences and happiness.



The Desire for Escape

The characters in Dubliners may be citizens of the Irish capital, but many of them long for escape and adventure in other countries. Such longings, however, are never actually realized by the stories’ protagonists. The schoolboy yearning for escape and Wild West excitement in “An Encounter” is relegated to the imagination and to the confines of Dublin, while Eveline’s hopes for a new life in Argentina dissolve on the docks of the city’s river. More often than offering a literal escape from a physical place, the stories tell of opportunities to escape from smaller, more personal restraints. Eveline, for example, seeks release from domestic duties through marriage. Mr. Doran wishes to escape marrying Polly in “A Boarding House,” but he knows he must relent. The impulse to escape from unhappy situations defines Joyce’s Dubliners, as does the inability to actually undertake the process.



The Intersection of Life and Death

Dubliners opens with “The Sisters,” which explores death and the process of remembering the dead, and closes with “The Dead,” which invokes the quiet calm of snow that covers both the dead and the living. These stories bookend the collection and emphasize its consistent focus on the meeting point between life and death. Encounters between the newly dead and the living, such as in “The Sisters” and “A Painful Case,” explicitly explore this meeting point, showing what kind of aftershocks a death can have for the living. Mr. Duffy, for example, reevaluates his life after learning about Mrs. Sinico’s death in “A Painful Case,” while the narrator of “The Sisters” doesn’t know what to feel upon the death of the priest. In other stories, including “Eveline,” “Ivy Day in the Committee Room,” and “The Dead,” memories of the dead haunt the living and color every action. In “Ivy Day,” for example, Parnell hovers in the political talk.

The dead cast a shadow on the present, drawing attention to the mistakes and failures that people make generation after generation. Such overlap underscores Joyce’s interest in life cycles and their repetition, and also his concern about those “living dead” figures like Maria in “Clay” who move through life with little excitement or emotion except in reaction to everyday snags and delays. The monotony of Dublin life leads Dubliners to live in a suspended state between life and death, in which each person has a pulse but is incapable of profound, life-sustaining action.




Paralysis

In most of the stories in Dubliners, a character has a desire, faces obstacles to it, then ultimately relents and suddenly stops all action. These moments of paralysis show the characters’ inability to change their lives and reverse the routines that hamper their wishes. Such immobility fixes the Dubliners in cycles of experience. Eveline freezes like an animal, fearing the possible new experience of life away from home. These moments evoke the theme of death in life as they show characters in a state of inaction and numbness. The opening story introduces this motif through the character of Father Flynn, whose literal paralysis traps him in a state suspended between life and death. Throughout the collection, this stifling state appears as part of daily life in Dublin, which all Dubliners ultimately acknowledge and accept.


Epiphany

Characters in Dubliners experience both great and small revelations in their everyday lives, moments that Joyce himself referred to as “epiphanies,” a word with connotations of religious revelation. These epiphanies do not bring new experiences and the possibility of reform, as one might expect such moments to. Rather, these epiphanies allow characters to better understand their particular circumstances, usually rife with sadness and routine, which they then return to with resignation and frustration. Sometimes epiphanies occur only on the narrative level, serving as signposts to the reader that a story’s character has missed a moment of self-reflection. For example, in “Clay,” during the Halloween game when Maria touches the clay, which signifies an early death, she thinks nothing of it, overlooking a moment that could have revealed something about herself or the people around her. “Eveline,” “A Painful Case,” and “The Dead” all conclude with epiphanies that the characters fully register, yet these epiphanies are tinged with frustration, sadness, and regret. At the end of “The Dead,” Gabriel’s revelation clarifies the connection between the dead and the living, an epiphany that resonates throughout Dubliners as a whole. The epiphany motif highlights the repeated routine of hope and passive acceptance that marks each of these portraits, as well as the general human condition.




Betrayal

Deception, deceit, and treachery scar nearly every relationship in the stories in Dubliners, demonstrating the unease with which people attempt to connect with each other, both platonically and romantically. In “The Boarding House,” Mrs. Mooney traps Mr. Doran into marrying her daughter Polly, and Mr. Doran dreads the union but will meet his obligation to pursue it. In “The Dead,” Gabriel feels betrayed by his wife’s emotional outpouring for a former lover. This feeling evokes not only the sense of displacement and humiliation that all of these Dubliners fear but also the tendency for people to categorize many acts as “betrayal” in order to shift blame from themselves onto others.


Religion

References to priests, religious belief, and spiritual experience appear throughout the stories in Dubliners and ultimately paint an unflattering portrait of religion. In the first story, “The Sisters,” Father Flynn cannot keep a strong grip on the chalice and goes mad in a confessional box. This story marks religion’s first appearance as a haunting but incompetent and dangerous component of Dublin life. The strange man of “An Encounter” wears the same clothing as Father Flynn, connecting his lascivious behavior, however remotely, to the Catholic Church. The presence of so many religious references also suggests that religion traps Dubliners into thinking about their lives after death.




Symbols


Windows

Windows in Dubliners consistently evoke the anticipation of events or encounters that are about to happen. For example, the narrator in “The Sisters” looks into a window each night, waiting for signs of Father Flynn’s death. The suspense for these young boys centers in that space separating the interior life from the exterior life. Windows also mark the threshold between domestic space and the outside world, and through them the characters in Dubliners observe their own lives as well as the lives of others. Both Eveline and Gabriel turn to windows when they reflect on their own situations, both of which center on the relationship between the individual and the individual’s place in a larger context.


Dusk and Nighttime

Joyce’s Dublin is perpetually dark. No streams of sunlight or cheery landscapes illuminate these stories. Instead, a spectrum of grey and black underscores their somber tone. Characters walk through Dublin at dusk, an in-between time that hovers between the activity of day and the stillness of night, and live their most profound moments in the darkness of late hours. These dark backdrops evoke the half-life or in-between state the characters in Dubliners occupy, both physically and emotionally, suggesting the intermingling of life and d eath that marks every story. In this state, life can exist and proceed, but the darkness renders Dubliners’ experiences dire and doomed.

[لوليتا لامبيكا]

قصص دبلنرز لم تكن مجرد قصص تخص بعض المواقف لمجموعة من الشخصيات ولكنها احتوت على مواضيع تخص المجتمع الايرلندي انذاك وهي قد تكون جذرية أي تمس عمق المجتمع رغبة في تحريره أو تغيره


Catholic agenda


Political and social agenda


وكذلك الماضي والحاضر


________

هذه المجموعة القصصية متكونة من مجموعة قصص منفصلة من وجهات نظر مختلفة


وقد اتجه الكاتب لتفصيل اجزاء المدينة (أي شرح تركيباتها) وتخصيصه للمدينة فقط


حتى يقوم بتعميم مواضيعه على الدولة كلها فتأخذ الطابع العام


وذلك من خلال تصويره الحياة بالتدرج في قصصه فبدأ من الطفولة إلى المراهقة حتى النضوج فالحياة العامة.


ومن هنا يظهر لنا بإن المدينة تنمو وتتطور وهذا يتضح من ناحية الاشخاص الذين يرون القصة من ناحية الموضوع والتقنيات المستخدمة كلها استخدمت لتظهرها بهذا الشكل


(((لو نرجع للسياق التاريخي نجد ان دبلن تأخرت كثيرا في نهضتها عن بقية المدن الأوروبية ولم تتطور ولا ننسى ان توجه الكاتب هو انتقاد الاسباب التي عرقلت نمو المدينة)))


ومن هنا نجد ان الكاتب كان ناقدا للاخلاقيات التي كانت بادية له في المدينة من سكان

· Dubliners is made up of separate stories, offering multiple perspectives.
· Joyce's tendency is to anatomise his city rather than to generalise in broad terms.
· Joyce presents [Dublin] to the indifferent public under four of its aspects: childhood, adolescence, maturity and public life. The stories are arranged in this order.
· So Dublin 'grows up' in Dubliners according to Joyce, and everything in each of the stories, from narrator, to subject, to formal technique, is designed to show its place in this order.
***Joyce was intensely critical of what he saw as the narrow morality of many of its inhabitants.



أكتيفيتي 2 في الكتاب مهم :
يوضح كيف استخدم الراوي وصل للقارئ اللون ودرجة الاضاءة الخاصة بدبلن؟

· Specific shades of light and darkoccur regularly through the story; they create the mood, and formsome of the patterned contraststhat are also a notable feature. The reflected half-lightof the opening helps to establish a religious tone and a heavy, near-death atmosphere.

مجموعة معينة من ظلال النور والعتمة تكررت بانتظام خلال القصة. خلقا جو المدينة. وشكلا تناقضا. فنصف الضوء في البداية ساعدت في ترسيخ الانطباع الديني ومحيط عميق لاقتراب الموت.

· But as the narrator walks afterwards down the alliterative, and allusive, 'sunny side of the street', he muses that it is 'strange'that neither he nor the day is in a 'mourning mood' (p. 4). His feelings are not in line with what seems appropriate - narrator has an oblique, even irreverent relationship to the events he recounts.
·

نلاحظ لاحقا أن الراوي وهو يهبط الشارع المشمس (لاحظ الحناس في نكرار الحرف الاول من العبارة) كان يفكر بان هذا غريب كونه هو اليوم (يوم وفات المحترم جميس) في مزاج صباحي. مشاعره لم تكن مناسبة مع ما يجري ويقول. الراوي يعاني انحرافا وعلاقة لا تتسم بالاحترام للاحداث التي يرويها.


· He tells his tale in the first person (using I), the "I" belongs to a child, a boldly questioning, though also fearful character is discernible from the start. Because our narrator is outside the house, rather than inside, we also know we are not in the hands of a centrally placed narrator, but someone more peripheral instead. The effect seems an unusual or destabilising technique.


الرواية يخبرنا القصة باستخدام الضمير أنا أي أنه متحدث أول وأيضا من يروي القصة هو طفل. اذا فأن الشخصية الوقحة المتسائلة والخائفة قد شكلت لنا منذ البداية. استخدام هذه التقنية تأثيره غير اعتيادي وولد نوعا من الزعزعة.





The three words contribute a great deal to Dublin's 'colour and tone'. The narrator draws further attention to them, relating them to one another.
الراوي الطفل ذكر 3 كلمات الاولى تعتبر موضوع القصة والمجموعة كلها الكلمتين الاخرتين ترمزان للدين ولدبلن الاولى هي 'Paralysis' الشلل والشلل هنا كون المحترم جيمس الذي توفي كان مشلولا.
((ولكن الشلل ايضا يرمز لشلل المدينة بسبب تحكم الكنيسة الكاثوليكية ورغبتها في ان يكون مستقبل كل فرد فيها كاهنا أي لا دعم لان يكون الفرد أي شي اخر مما عرقا نموها ونلاحظ لاحقا ان الطفل كان مستغربا بشعوره بالحرية بعد وفاة هذا الرجل على الرغم انه علمه الكثبر)))
'Simony' It both stresses Joyce's interest in religion in the city, specifically in what happens when the material world collides with the spiritual, and is linked to 'paralysis' by our narrator, as is the final word, 'gnomon', which means the pointer on a sundial.
الكلمة الثانية كما وضحنا معناها ديني ولكن الكاتب استخدمها ليوضح ماذا يحدث حينما يتصادم العالم المادي مع العالم الروحي وهو ما له علاقة بالشلل كما وضح الراوي. وبالمثل بالنسبة للكلمة الاخيرة وتعني مؤشر الساعة الشمسية.

· The narrator is a child - who does not know it all. The name of the youthful narrator is unknown, he himself did not know every relevant detail of the story he tells.The narrator is interested, alert and intensely involved in his story — but he is young, and cannot or will not process all that he feels and sees. He lacks a panoramic vision. The first-person point of view limits the matter of the narrative to what the first-person narrator knows, and our narrator might be described as particularly 'limited' in some ways.
وكما هو واضح ان الراوي الطفل لا يعرف كل شيء أي محدود العلم كما أن اسمه غير معروف. وهو مهتم ومتيقظ ومشترك بقصته ولكنه صغير ولا يستطيع البوح بكل ما يشعر به ويراه (تعبيره غير متمكن وادراكه كذلك) عديم الرؤية الشاملة لما حوله. هذا الرواية المتحدث الاول – جعل القصة محدودة بما يعرفه الراوي فقط.




انتهت القصة الاولى

لا تنسو انه ممكن في بقية الجابرتز هناك معلومات اضافية للقصة


يتبع>>>>

[خلود السكافي]

اسفه بس اتوقع اني ما عرفت انزلو هلا بحاول

[لوليتا لامبيكا]

Dubliners: modernity and modernism


مفهوم الحداثة مهم ممكن سؤال عن شرح النص كمودرن او ما هي التقنيات التي جعلت منه كذلك؟



· 'Modernism', as a literary term, became current around the time Dubliners was published to describe new and experimental literature, including that written by Joyce.
· Modernism can also be defined as the aesthetic and cultural reaction to and context of modernity. Modernism and urbanism go together.

الحداثة كمصطلح ادبي وقت نشر دبلنرز ارتبط بالاساليب التجريبية (تعتمد على الابتكار \ابتداع كتقنية كتابية اساسية) وهو ما اتصفت به كتابات جيمس جويس. وتعرف (الحداثة) أيضا كردة فعل جمالية وثقافية في السياق الحداثة. وأتت جنبا لجنب مع حركة التمدن


***Georg Simmel regarded the metropolitan city of the early twentieth century as the site of a new kind of urban consciousness.

يصف المدن العاصمية (بانها نوع من انواع الوعي المتحضر)

· Modern cities offered the ideal situation for the linked figure of the flaneur, literally a stroller, a wanderer, but also an observer.
· This figure was key to the literature of the period Dublin's small scale, the open and public intimacy of its streets, provided Joyce with an arena, in which the flaneur was particularly susceptible to all the visual and aural stimuli the developing city could offer.
· The discourse of modernity often focuses on speed and light and travel,on the technological advances of the early twentieth century.

المدن الحديثة وفرت الحالة المثلى لما يسمى بـ flaneur. ادبيا يعرف بـ المتجول \ التائه والملاحظ. هذه الشخصية كانت مفتاح الادب في هذه الفترة من الزمن. ولان دبلن صغيرة المساحة فان الحياة العامة المفتوحة التواصل في شوارعها زودت الكاتب بميدتكون فيه هذه الشخصية متعرضة للمؤثرات السمعية والبصرية التي يوفرها تطور المدينة . وكان التركيز على السرعة والضوء والترحال

· Joyce designed the stories in Dubliners to reflect the city's wide streets as open locations of financial/social exchange as well as their sometimes intimidating possession by individual characters.

صمم جويس القصص لتعكس شوارع المدينة الواسعة كاماكن مفتوحة للتواصل المالي والاجتماعيز


***Joyce's interest in modernity is clearly signalled in Dubliners.
Added to his choice of an urban theme, and use of the short story genre, aspects of his technique are fundamental and features such as: his experimentation with the mix between realism and symbolism, for example, and the challenge of uncertainty posed by all of the stories in their different ways.

اهتمام جويس بالحداثة واضح في مجموعته القصصة دبلنرز. فبالاضافة لاختياره لموضوع التمدن واستخدامه للقصة القصيرة. ايضا جوانبا من تقنيته التجريبية وخصائصها الهامة مثل الجمع بين الواقعية والرمزية في كتاباته, و تحدي الغموض الناجم عن كل قصصه على اختلاف وسائلها.


**The short story was becoming an increasingly popular genre in the period.The tight focus demanded by a short story made it easier to 'anatomise' a city.
القصة القصيرة كانت ذات شعبية كبير في هذا الوقت (عكس ما كان الاهتمام بالروايات في القرنين السابقين) وهذا ساعد في تجزئي المدينة لتسهل دراستها.



يتبع<<<

[So wHaT!]

يعيطك ألف عافية يا احلى لوليتا ماقصرتي حبيبتي :*

[لوليتا لامبيكا]

عفوا حبيبيتي


الله يوفق الجميع

تم الانتهاء

http://lolita-aou.blogspot.com/2014/05/1-a230b.html


من جابتر 1

[لوليتا لامبيكا]

شرح جابتر 2 الكتاب 3

'Clay'

في هذه الفترة مصير النساء كان مقدرا بالزواج والامومة وتعد العنوسة فشلا وفي القرن العشرين اصبح هنالك ازديادا في فرص التعليم والعمل للنساء

In this period, a woman's destiny was largely regarded as marriage and motherhood, and spinsterhood as a failure. However, from the turn of the twentieth century, increasing numbers of women had begun to press for access to education and to wider employment opportunities, and to envisage lives for themselves beyond marriage.

بطلة قصة كلاي معتمدة على نفسها وتعمل ولكنها وحيدة

- Maria clearly reflects on this as she confidently 'arranged in her mind all she was going to do and thought how much better it was to be independentand to have your own money in your pocket' .

__________________________________________________ ____________________

'Clay' has a third-person narrator. This informs us to several different aspects of Maria's physical appearance, character and life, (omniscient (or all-seeing and all-knowing) style)

الراوي في القصة كما ايفلين متحدث الثالث ولكنه متحدث عالم بكل شيء وليس محدود العلم
*** The term 'point of view' signifies the perspective from which a story is told.
مصطلح وجهة النظر يعني من أي زاوية تروى الاحداث؟ من خلال تفكير شخصية ام يتحدث عن كل الشخصيات؟ في هذه القصة وجهة النظر هي ماريا لاننا نعرف عن ماريا وافكارها ومشاعرها...
Joyce was using a third-person narrator. The narrator tells the story for the most part from the protagonist's point of view. The narrator rarely seems to be 'omniscient'. The narrative is often filtered through Maria's consciousness: what we get is her particular view of reality, and events are ordered according to her experience of them.

هذه التقنية (حيث يكون هنالك ارتباط بين صوت الراوي وصوت الشخصية) يعرف باسلوب غير المباشر الحر. وهي تمكن من تمثيل كلام وافكار الشخصية

مثالا من عندي بدلا من ان نقول: قالت ماريا أنها ليست بخير \ نقول\ قالت ماريا: أنا لست بخير

· This technique, which involves a very close correlation between the narrative voice and the voice of a character, is usually known as free indirect style (sometimes called 'free indirect speech').
- Free indirect style is one of the forms of representing characters' speech and consciousness.
- The effect of free indirect speech is to locate the narrative in the character's consciousness.


***Dubliners is well known for its use of free indirect style.

عرفت هذه المجموعة القصصية باستخدماها لهذه التقنية حيث لما مكان للتعليق او الحكم على الاحداث او التصرفات في القصص. وايضا الكاتب بدا بالراوي المتحدث الاول ومع تغير عمر بطل او بطلة القصة بدأ باستخدام المتحدث الثالث وقلة الحكم او التعليق هي من ميزات نصوص الحداثة (يعني تقنية جديدة اضيفت لبقية التقنيات)

· One major effect of Joyce's employment of free indirect style is that there is no narrator passing comment, or making overt moral judgements, on events as they unfold.
· Joyce switches from first-person narration as his main characters 'grow up', and therefore might reasonably be expected to know more about their world, and their narratives.
· By then choosing in later stories to present the action through the consciousness of the older characters, he also denies to his third-person narrators the God-like knowledge of the omniscient narrator.
· The lack of omniscience and overt moral judgement are notable features of all the tales in this collection, and, apply to modernist narrative styles.
· Joyce rejected omniscience, in the main, along with any idea that readers had to be told what to think.

ومع ذلك نلاحظ ان وجهة نظر ماريا محدودة فالقارئ يعلم اكثر منها مما يدور في القصة
Maria's perspective is limited, we are able to see more than she sees, or at least to suspect that her perception of events going on around her is less than acute.
· The limited point of view helps to ensure that frequently in this story. Joyce's skilful deployment of the third-person narrator and devices like free indirect style give to the story the opacity for which the collection as a whole is famous.

وفي نهاية القصة يبدو كما لو ان ماريا عالمة في بعض المستويات انها فقدت حياتها


Joyce complicates the narrative perspective at the story's conclusion, suggesting that Maria is aware on some level that she has missed out on life.

__________________________________________________ ____________________

'A Painful Case'

· Point of view is more telling. Mr Duffy's is the central consciousness of the story.

Mrs Sinico كانت مسيطر عليها من الرجال كاي امراة

Men controlled her life, and they narrate her death:

- The Deputy Coroner, the train driver, the railway porter, the policeman, the doctor, the newspaper reporter and her husband combine with a powerful and patriarchal eloquence.
- (((male verdict on a constrained female life)))

موضوع الشلل في هذه القصة مختلف قليلا ففي البداية قد يكون دفي متماسكا ومتحكما بحياته ولكن مشلول بخوفه من التواصل مع الاصدقاء. وتحليله الغريب عن استحالة علاقات الحب ليس الا وسيلة ليسامح نفسه على أي تواصل بشري. وقد اتيحت له فرصة للسعادة لكنه لم يستغلها مثل ايفلين

***The theme of paralysis is employed by Joyce in a slightly different manner from the way he uses it elsewhere in the collection.
- He is paralysed by fear of contact, of what a close friendship, let alone a lover, might mean in his emotionally impoverished life.



على الرغم من الالفة والتواصل في دبلن كانا متاحين الا انه وضع صورة مقنعة لنمو الالفة خارج جدران المدينة. عقدة الحداثة واضحة في هذه القصة. فابطال القصة يرغبان بالعدودة للماضي والذكريات. والذاكرة كانت الدالة للحظة الابفاني في القصة

· Despite the 'intimacy' of Dublin, and the ways in which social interaction is eminently possible in this period for Joyce's observant, wandering characters, he places this compelling portrayal of growing intimacy outside the city walls.
· The complexity of modernity, when Dublin is the context, is at its clearest in this late tale (important, too, in The Dead').
· Once Duffy's revulsion has been indulged, the way is open to the operation of a more interesting human process: memory. Memory - by its nature more obviously relevant as Dublin 'grows up' — leads to the epiphany in this story, and though it is limited, personal, and ultimately questioned by Mr Duffy



يتبع... the dead

[لوليتا لامبيكا]

هنا كاملا شرح جابتر 2

http://lolita-aou.blogspot.com/2014/05/2-a230b.html




وان شاء الله مفيد

[لوليتا لامبيكا]

شرح جابتر 7 الكتاب الثالث

المسرحية بها موضوعين مهمين الذاكرة و الهجرة وكذلك يتم نقاش اللغة والاداء (لان المسرحية لا تعتبر شيئا دون اداء) طبعا لا نزال في ايرلندا

- The main themes \ migration and memory

- Language and performance in the play.

__________________________________________________ __________________________________________

يقول براين فريل الكاتب المسرحي \ ان انهاء الاستعمار من الخيال مهم جدا لظهور الشخصية الايرلندية الجديدة (تكلمنا عن ايرلندا ووضحنا انه تم استعمارها من الانجليز ولكنها حصلت على استقلالها طبعا ولكن في (للحين يكرهونهم) على الاستعمار واكيد الاستعمار يؤثر على الشخصية الوطنية وبالتالي لازم تكون فيه عودة لهذه الشخصية وان خلاص ينسون اللي راح) وكثيرين هاجرو في تلك الفترة لاسباب عديدة (مثل ما لحظنا في دبلنرز الرغبة في الهروب كانت موجودة في اكثر من قصة وباشكال مختلفة) لذلك هذه المسرحية ارتكزت على مفهومي الذاكرة والهجرة.

Friel: 'The decolonization process of the imagination [which] is very important if a new Irish personality is to emerge'.

In particular, Dancing at Lugbnasa seems to express /perform the nuances of memory and migration in ways that both resonate with and stand out as distinctive within the body of Friel's plays.

Memory

****The role of memory in Dancing at Lughnasa has received considerable critical attention, especially in relation to the sense of history that is evident in it.
دور الذاكرة في المسرحية كان موضعا للنقد خاصة من خلال علاقته بالتاريخ. فالتاريخ هو طريقة لفهم الماضي, أما الذاكرة طريقة سلسلة وفردية في استدعاء الماضي.

History is a mode of understanding the past in a structured and consensual way, whereas memory is a somewhat fluid and individual way of recalling the past.

من امثلة علاقة المسرحية بالذاكرة: هو ان الطفل مايكل غير موجود على المسرح (لان مايكل الكبير موجود يروي القصة ولانه يروي اشياء من ذاكرته فهو لا يمكن ان يوجد الطفل مايكال على المسرح معه وخاصة جعله طريقة روي القصة كمونولوج أي فقط شخص واحد يتحدث ويتحدث عن ذكرياته كذكريات يجعل موضوع الذاكرة واضح

The obvious theatrical device in the play which foregrounds the theme of memory is that of not having the boy Michael present onstage. (the boy's absent-presence onstage)
To underpin that device, in his narrative monologues Michael makes an explicit theme of memory. He speaks of his memories as memories, seeming to reflect on memory itself at times.

الشخصيات الموجودة هي شخصيات من عام اقدم من عام كتابة المسرحية أي شيء في الماضي وهو ما يدعم موضوع الذاكرة ايضا. في (باليبغ وهو مكان من خيال الكاتب ولا يوجد في الواقع مكان بهذا الاسم في ايرلندا) فالفتيات فكرن بالذهاب الى الرقص بسبب ذكرياتهن ايضا وكذلك ذكريات جاك في قرية كيانغا في اوغندا (دولة افريقية) هي نوع من الذكريات ايضا وان لم تكن في نفس الدولة. وهذا ما شكل اغترابه عن الحياة من حوله وخاصة عدم وضوح اللغة الانجليزية عنده. وحينما كان يستحضر ذكرياته كان يشير بانها كالصورة الفوتوغرافية في عقله. وهذا النوع من التفكير مالوف فيما يخص الذاكريات فهي كالصور التي تستدعي الماضي

Characters in the play make sense of their 1936 present in Ballybeg, and their relations to each other, by recalling their pasts. The sisters contemplate going to the harvest dance because of their memories. Jack's memories of his life in Kyanga village in Uganda are a separate matter from those memories in the point above. This sense of a discrete world of Jack's Kyanga memories is accentuated by his alienation from the surroundings and everyday life of Ballybeg, particularly by his uncertainties with the English language.When Jack recalls their mother and Chris as a baby, the memory comes to him, 'like a - a picture? - a camera-picture? - a photograph! - it's like a photograph in my mind' (p. 38). This is a familiar way of thinking about memories, in terms of still images that recall photographs just as photographs recall the past

In what ways is the past accounted for in historical terms in the play, that is, through references to historical periods, places, events and persons?

علاقة الماضي بالفترة التاريخية الخاصة بالمسرحية (الفترة التاريخية الاماكن الاحداث الاشخاص) \ اولا لدينا التريخ 1936 ولكن الجمهور لا يعلمون ما تاريخ الذي يتحدث فيه الراوي مايكل في سنة كل ما لدينا هو مجموعة ذكريات حدثت في هذا العام. لا يوجد أي شيء يدل على اداث تاريخية او تاريخ اجتماعي. كما ان الاحداث التاريخية التي حدثت حدثت خارج ايرلندا مثل مشاركة جاك في الحرب العالمية الاولى.

There is a specific period and place that the narrator
Michael recalls: August 1936 in the imaginary village of Ballybeg in
the real County. The audience isn't informed what year or place the narrator Michael is speaking from; they know only that it must be after the mid-1950s. Little mention is made of political events or socio-historical observations related to the village, county or Ireland generally in the play. There isn't any direct reference to recognisable events of Irish history. On the contrary, the historical events mentioned are deliberately outside the local sphere and even outside the nation: Jack's involvement in the First World War

في جزئيات بسيطة فقط تطرقت المسرحية للزمن ولكن بشكل عام بدون أي ادارك لتاريخ ايرندا الاجتماعي. مثل اهمية الراديو واستمرار الطقوس الوثنية(مهرجان لوغانسا) ولاء كيت للكاثوليكية الخ. هذه التفاصيل الصغيرة اليومية نقلت حس التاريخي الاجتماعي لسياق المسريحية وهو العملية الانتقالية من المجتمع الريفي الى حياة كفاح مع ظهور الحداثة.

It is in relatively small, everyday details that the play's sense of period
and location is created, details that hold in a general way with any
awareness of Ireland's social history that an audience may have. The importance of the radio; the persistence of pagan rituals like the Festival of Lughnasa; Maggie's Wild Woodbine cigarettes; Kate's allegiance to her Catholic heritage and neighbourhood. These small, everyday details accrue to convey a strong socio-historical sense of the context. It is evidently a context caught in transition; a rural society in which a passing way of life contends with the appearance of mechanisation and modernity.

هذه التفاصيل اليومية هي نوع من الذاكرة دمجت مع التاريخ

These everyday details are exactly of the sort where memories merge with history. These details may be recalled by those who lived then and such details have a place in historical narratives.

دور الذاكرة والتاريخ نجد فيه ان الاول طغى على الاخر (الذاكرة اكثر من التاريخ) فالمسرحية نظمت بحيث تكون حول الذاكرة واعمال الذاكرة بشكل اشد من ان تكون مجرد الرجوع لاحداث تاريخية. الذاكرة (سلسلة واكثر فردية (متعلقة بشخص مثلا) ) و التاريخ( مبرهنة و منظمة)

A close consideration of the role of memory and history in the play suggests that the former dominates over the latter. Dancing at Lughnasa is structured around memory and attends to the workings of memory considerably more emphatically than it dwells on historical events and narratives.
The manner of distinguishing between 'memory' (fluid and more individual) and 'history' (organised, evidenced and relatively consensual) may appear artificial.

من الممكن ان تكون السرد التاريخي سلسا ايضا فالتاريخ يعد جزءا من الذذاكرة(الذاكرية الجماعية) والفهم الصحيح للماضي والحاضر هو ادران لهاتين الذاكرتين (الفردية والجماعية) وكما وضحنا فان المسرحية تميل لكونها تؤكد على الذاكرة على التاريخ. ويرى النقد ريتشارد باين ان استخدام الذاكرة الحياة اليومية للمنزل في ايرلندا فهو يشدد على شكل من اشكال الحقيقة لمختلف انواع الذاكرة

It has been argued that historical narrative can be fluid too, and is often divisive, that history may be regarded as an aspect of memory (a sort of 'collective memory'), and that a reasonable understanding of the past or present should be aware of both the individual and the collective dimensions of memory.
Dancing at Lughnasa seemed to provide a pointed counterpoint in emphasising memory over history.
Richard Pine: using memory to articulate the everydayness of 'home' in Ireland: It concentrates on forms of truth, on different kinds of memory'.

((((The play's emphasis on memory)))

Dancing at Lugbnasa emphasizes memory
over history

الكاتب فريل مثلا استحضر الذاكرة الجماعية من خلال الحياة الريفية و مهرجان لوغاستا (المهرجان حقيقي)

Friel evokes the collective memory that persists in rural Ireland through pagan rituals, such as the Festival of Lughnasa.

المسرحية تتشابه مع مسرحية روسية للكاتب انتون تشيكوف. من ناحية تركيزها على الجانب الانثوي المنزلي الخاص بالاخوات كصورة واضحة لعمق عملية الانتقال دون أي تلميحات واضحة للاداث التاريخية وكذلك في طريقة توضيح الشخصيات لرغباتهم وعلاقاتهم وفقدهم من خلال شبكة الذكريات. التماثل الواضح هو في اختيار تقنية الراوي الذي يعود من الحاضرغير محددوغامض الى الوراء \ الراوي الذي هو ايضا شخصية في الاحداث التي تروى

Three Sisters by Anton Chekhov (1860-1904) comes to mind as resonating with Dancing at Lughnasa in various ways: in its focus on a predominantly female household of sisters; as a 'lucid picture of profound transition' without explicit allusions to historical events; and in the manner in which characters articulate their desires and relationships and losses through a web of memories. The obvious parallel is in using the device of a narrator looking back from an indefinite present, a narrator who is also a character in the events recalled onstage.

اختيار التعامل مع الواقع في مسرحية الذاكرة هو تقدر لقوة الذاكرة ففي المسرحية استخدم الكاتب المسرحي شكل مسرحية الذاكرة (تجلت في صورة واقعية ومنطقية للحياة المنزلي في منزل مندي بينما تشوه الذاكرة او اخفاقها قد صقل من خلال حديث الراوي مايكل المتصل)

The manner of dealing with reality in a 'memory play' is a reckoning with the operations of memory itself. In Dancing at Lughnasa Friel uses the form of the 'memory play': It presents a coherent and realistic picture of the domestic setting of the Mundy household while simultaneously foregrounding the slippages and distortions of memory -smoothed over by narrator Michael's linking speeches.

Identify examples where the realistic features of the play seem to be in tension with the role of memory? (Particular characters, conversations or the features of the setting of the Mundy household)

الامثلة الواقعية التي تبدو في شد مع الذاكرة. فنجد ان الذكريات هي في صيغة محادثات مسجلة في ذاكرة الطفل مايكال الذي يخبرنا بها الراوي مايكل بعد اعوام. ونرى ان الراوي فقط موجود كراوي اما وجوده في المسرحية فغير موجود وهو ما اعطى انطباع بالواقعية. كما وضح عالم طفولته وتخيلات الطفولة

· The memories of conversations recorded in the play are those witnessed by the boy Michael and recalled by the narrator Michael. It is odd that at times they both appear to be missing from the space where the conversations took place.
· It is implausible that the boy Michael would have the kind of photographic memory that his adult self would be able to recall accurately. This is particularly so since the boy lives in his own child-world, making kites and given to childlike imagining. The power of the child's imagination is vividly conveyed when he feels that he has actually seen the imaginary bird Maggie had pretended to let fly (p. 14).

وايضا بعض الذكريات تبدو كفوتوغراف فقط في بداية وهاية المسرحية فالذكريات التي تحدثت عنها الشخصيات في المسرحية مثل الحنين للوطن مشبعة اكثر بالمتعة التي تثيرها اكثر من الجروح الواقعية.

The flow of memories that the play seems to be set off by and returns to still photographic moments at the beginning and end of the play. The memories that characters speak of within the play are nostalgic, imbued more with the pleasure they evoke than the abrasions and equivocations of reality:
- Maggie's memory of her escapade with Bernie when she was sixteen (p. 20) is a memory of a youthful and exciting past; in Jack's memory everything to do with Ryanga is painted in idyllic colours, untainted by cultural and colonial conflicts; nothing about Chris's memories of Gerry sullies her love for him.





يتبع<<<<

[لوليتا لامبيكا]

http://lolita-aou.blogspot.com/2014/05/7-a230b.html


هنا الشرح كامل



اخر جزئية عن اللغة المستخدمة والتقنيات تعتمد على الحفظ فما وضحتها لان بعض نقاط
واكيد لازم ترجعون لاكتيفيت الكتاب للحصول على امثلة من القصص او المسرحية


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