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قديم 29-05-2013, 02:48 AM   #1
فيحاء العسل فيحاء العسل غير متصل
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هام (((تنبيه مهم ))) بالنسبه لقصائد يونت7





بالنسبة لقصائد يونت7 ... الي هم 3 قصائد بفقرة الكتابة من القلب + قصيدة دروثي بفقرة المرأة والطبيعة بالاضافه الى قصيدة شارلوت سميث تو ميلانكولي ... (لانه ممكن يجي نقاش على وحده منهم )


استاذ محسن اشار الى نقاش عن 3 قصائد بهذه الفقرة ان ارجعو لها بالكتاب

اقتباس:
Writing from the heart
الكتابة من القلب

This section in the book deals with three poems written by women writers who have as their subject another woman poet.The discussions are on pages pp.187,188,189,189,190,191,192,193,194,195 and 196.

نقاش بهذه الصفحات


وانا نقلتلكم هذا النقاش كامل من ملخص الاخت اشواق بارك الله فيها وجعله بموازين حسناتها
عشان تنتبهو له


وهذا هو النقاش ..


اسماء القصائد باللون الاحمر
ورح تلاقوه اوضح بملف الوورد للاخت الغاليه اشواق



Writing from the heart


3 main topics
1. The growth in number of poems about realm of domestic affections, poems designed to have a direct emotional effect on reader.
2. The Importance of virtue for women writers
3. The nature of relation between women writers

Felicia Hemans, ‘The Grave of a Poetess

• This is Felicia Hemans’s tribute to Mary Tighe, author of Psyche with Other Poems
• Acc to Hemans, Tighe’s ‘song’ (poetry) is characterized by ‘sorrow’ & her life by weeping
• Her poetic voice conforms to demands of feminine discourse in that it is ‘not loud, but deep’ (Deeply felt)
• Her thoughts are described as ‘tender’ & elevated (‘high’); they cannot find a home in everyday life.
• Significance of connection made between Tighe as a woman & as a poet, twice Hemans links gender & poetry explicitly e.g. ‘Now peace the woman’s heart hath found,/And joy the poet’s eye’. Parallel syntax binds woman & poet, and the pun on ‘eye’ (‘I’) enforces a parallel between the poet’s identity & female heart
• The organ that generates women’s poetry, in view of poets themselves & their reviewers, is the heart
• Mary Tighe is enshrined in this poem as a paradigm of suffering femininity (she had delicate constitution & premature death). Her tender poetic voice was seen as biologically grounded in her frail body.
• Hemans’ asserts that she is ‘mournful’ but what we really notice about poem is its metrical & formal regularity. To display powerful meaning is to risk being unladylike (To be a tidy lady is one who is disciplined in meter also)
• Anna Baubauld posits a direct connection between a poet & her poem. In this model, metrical neatness, a regular rhyme scheme & polished language represent feminine fashion & confirm female good manners
How Hemans relates herself to the other poet?
• Hemans’s ‘mourning’ is also an act of identification: ‘And mournful grew my heart for thee’
• Politics of sisterhood rather than rivalry inform Hemans’s elegy on Tighe, as they inform the volume as a whole which is dedicated to another woman writer, Joanna Baillie.





L.E.L., ‘Stanzas on the Death of Mrs Hemans
• L.E.L.’s reaction to Hemans’s death (& her poetry) is overtly emotional
• This is an example of affectional poetics that is a defining characteristic of women’s
writing during this period


• The poem reflects selfconsciously on nature & role of poet, for L.E.L. & other women poets, question of poetic identity is related to question of gender identity
• The key term in L.E.L.’s characterization of her fellow poet: an ‘angel’, the de******ion of woman as ‘angel’ emphasizes women’s purity & suggests that they have inborn religious inclinations.
• L.E.L.’s use of a masculine pronoun in line 40 is not an act of linguistic cross-dressing, but a way of suggesting an androgynous (genderless) asexuality
Side note
• In ‘The Rights of Woman’, Anna Barbauld alluded to ‘That angel pureness which admits no stain
• Barbauld praised ‘angel pureness’ that Mary Wollstonecraft saw as a limited & limiting virtue in A Vindication of the Rights of Woman

• Here Hemans is not an angel who floats above daily life, but one ‘who sings of earth’ and ‘Whose cares are at his feet
• L.E.L. suggests that Hemans is a domestic angel, whose poetry deals with everyday ‘cares’.
• L.E.L. addresses Hemans as ‘weary one’ & writes, ‘They say that thou wert faint and worn/With suffering and with care’. She seems to be a prototype for that ideal Victorian figure, wife & mother described by Coventry Patmore in his verse-novel of the same name, as ‘the angel in the house’


• Many of the same words are used to describe both Hemans’s life & her poetry. The adjective ‘sweet’ is repeated several times
• WW also wrote about Hemans, using same terms as L.E.L.: ‘Mourn rather for that holy Spirit,/Sweet as the spring, as ocean deep
• L.E.L. marks distance b/w her and WW in conventional poetic terms: ‘Great poet, if I dare to throw/My homage at thy feet’. We know from her exaggerated humility her consciousness of her diff position.
• The permanent image of Hemans is of a domestic icon, whose moral life gave value to her poems. This ‘image’ was cultivated by Hemans herself. She adopted role of dutiful, suffering wife, & celebrated in her poems virtue of domestic affections which was autobiographical
• In this poem, female creativity is figured in terms of music, perfume & pulsations, breath & breezes
• Hemans poetry was as natural as breathing, a type of exhalation that her readers registered as a pervasive perfume.
• There was focus on woman’s body rather than her text.
• How Hemans reconcile public fame and private duties? L.E.L. isolates fame as an explicit problem. L.E.L.’s message is that currency of poetic genius is isolation rather than connection, fame at the expense of family. .In her own life, Felicia Hemans combined family & fame.
• L.E.L. cultivated quite another image. She was more like an actress than an angel.







Corinne
• Angela Leighton argues: Madame de Staël’s novel, Corinne: or Italy, created myth of woman poet & offered a possible model to several generations of women writers
• Corinne was pub in France in 1807, & had many English translations. The story concerns a spirited, Anglo-Italian heroine who progresses through Italy performing & improvising (singing, dancing & reciting verses) for adoring crowds, which include her English lover, Lord Nelvil.
• Corinne is beautiful & talented, but her life is tragic for she loses her lover to the angelic, English heroine, Lucile. Corinne dies after a final, inspired performance. Felicia Hemans commented on de Staël’s novel that ‘some passages seem to give me back my own thoughts & feelings, my whole inner being, with a mirror, more true than ever friend could hold up’
• Hemans wrote a poem called ‘Corinne at the Capitol’ (dealing with a famous scene in novel when Corinne is crowned in Rome)
• In this poem, Hemans celebrates power & beauty of heroine & joyful reception she is given.
• It concludes that ‘happier far’ than this laurelled figure is ‘She that makes the humblest hearth/Lovely but to one on earth!’ Hemans, then, rejects glamour of public admiration for virtues of home
• And yet paradox is that her (Hemans) choice of private & domestic respectability is made in a public statement
• L.E.L. was also drawn to Corinne story. She wrote The Improvisatrice (1824), a series of fatal love stories, narrated by an Italian woman poet, clearly a literary descendent of Corinne
• L.E.L. did not just treat Corinne myth poetically; she put it into practice.
• An unmarried, self-supporting woman writer, she lived in public gaze. Her life & career were spoiled by shameful accusations of connections with several men.
• L.E.L. could not contribute to domestic ideal espoused by Hemans, but she could contribute to alternative ideal of female beauty.
• Edmund Burke saw the characteristic effects of beautiful as ‘that sinking, that melting, that languor’ which inspired ‘melancholy’. Modern critics point out: Landon promoted herself & her poetry as an embodiment of Burke’s female beauty.
• Burke’ categories of ‘Subli e’ & ‘Beautiful’. The sublime was associated with vast objects, roughness, & experience of terror, while beautiful things were small, smooth & curvy. This opposition was mapped in gender terms as masculine/feminine
• L.E.L. cannot be seen as passively submissive to contemporary gender ideology. She was a clever businesswoman who marketed this image for her own ends.
• The use of initials encouraged interest in her work.

• Felicia Hemans & L.E.L. negotiated in diff ways demands of cult of ‘poetess’. Their poems cannot be read simply as submissions to ideology of femininity, for they are also capitalizing on those ideals.


Elizabeth Barrett Browning ‘L.E.L.’s Last Question’
• The poem responds to one of 2 poems that L.E.L. wrote on her way to Africa in 1838 with her new husband, Captain Maclean
• Two months after her arrival there she died from prussic acid poisoning (probably suicide or an accident, but possibly murder)
• In L.E.L.’s poem ‘Night at Sea’: she addresses her ‘absent friends’, asking ‘Do you think of me, as I think of you?’ This is the refrain picked up by Barrett Browning in ‘L.E.L.’s Last Question’
• She expresses sympathy towards the other poet, but she also turns away from her.
• Barrett Browning’s main objections to L.E.L. At end of 4th stanza, Barrett Browning points out that L.E.L. asks. ‘Think ye of me, friends, as I of you?’ & not ‘Do you praise me, oh my land?’
• The effect is that L.E.L. asked wrong question. Her desire for personal remembrance diminishes in context of national recognition
• Barrett Browning’s larger viewpoint repeats in questions asked in penultimate stanza. The shift from ‘friends’ to ‘kindred’ to ‘brotherhood of whole world’ decreases importance of personal
• In final stanza, L.E.L.’s demand seems rash when placed against Christ’s love & sacrifice. Criticizing self-centredness of L.E.L.’s question (it is ‘Not much, and yet too much’), Browning separates herself from ‘one tune of love’ that marks L.E.L.’s poetry
• L.E.L.’s own statements locate love as essence of womanhood.
• Browning In her view, L.E.L. is not the disciple of a religion. L.E.L.’s poems ‘poured’ out from her heart, full of romantic visions of ‘knightly gestes & courtly pageantries’.
• The result is divorced from life. Like Narcissus falling in love with his own image in pool, poetry like L.E.L.’s is in love with subject of love & with its own language.
• It all sounds same – ‘one tune of love’ that recurs again & again like an ‘echo’.
• Such poetry refers only to itself; it just echoes other texts rather than engaging with contemporary reality.
• In her poetry, Browning breaks free from constraints of ‘feminine’ verse, challenging easy emotionalism of heart-focused poetry, & ‘smooth’ versification of her predecessors.
• Response of reviewers confirms that women’s poetry was always seen in terms of sexuality: Gilfillan, who voted Mrs Hemans ‘the most feminine writer of the day’, called Mrs Browning ‘the most masculine of our female writers’.
• John Lockhart comments on Caroline Norton’s work in his essay ‘Modern English Poetesses’. After praising intense personal passion which makes her ‘the Byron of our modern poetesses’
• Lockhart advises Mrs Norton to write ‘from the heart’ produces a poetic text that is heartfelt but outward-looking, while to write ‘about the heart’ implies a text that is self-fixated & inward-looking
• According to Lockhart, Norton’s poetry lacks ‘progress to any spiritual end, and ... retrospect to any moral source’

• The very term ‘poetess’, which comes into widespread usage in 1820s stress diff between male & female poetry


التعديل الأخير تم بواسطة فيحاء العسل ; 29-05-2013 الساعة 05:43 AM
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 04:08 AM   #2
فيحاء العسل فيحاء العسل غير متصل
مشرفة سابقة
 
الصورة الرمزية فيحاء العسل
افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7


رح انزلكم شرح مختصر يفيدكم لكل قصيده كل فترة


من ملخص اشواق

التعديل الأخير تم بواسطة فيحاء العسل ; 29-05-2013 الساعة 04:09 AM
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 04:27 AM   #3
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الصورة الرمزية فيحاء العسل
رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7



اول قصيدة



Felicia Hemans, ‘The Grave of a Poetess’
فيليسيا هيمنز (قبر الشاعرة )


This is Felicia Hemans’s tribute to Mary Tighe, author of Psyche with Other Poems
Acc to Hemans, Tighe’s ‘song’ (poetry) is characterized by ‘sorrow’ & her life by weeping

تشير الشاعرة فيليسيا بقصيدتها هذه الى شاعرة اخرى (ترثيها) و تدعى (مريم تيجي) مؤلفة العمل الادبي (الروح) السمة الاساسية للقصيدة هي الحزن

Her poetic voice conforms to demands of feminine discourse in that it is ‘not loud, but deep’ (Deeply felt)

صوتها الشعري يتوافق مع الخطاب الانثوي (فمنين دسكورس) ليس عاليا ولكن عميق

Her thoughts are described as ‘tender’ & elevated (‘high’); they cannot find a home in everyday life.

افكارها وصفت با(العطاء) والرفعه بانهن لا يجدون منزلا لحياتهم اليومية

Significance of connection made between Tighe as a woman & as a poet, twice Hemans links gender & poetry explicitly e.g. ‘Now peace the woman’s heart hath found,/And joy the poet’s eye’. Parallel syntax binds woman & poet, and the pun on ‘eye’ (‘I’) enforces a parallel between the poet’s identity & female heart


اهمية الاتصال بين تيجي كأمراه وكشاعرة الارتباط بين النوع (الجنس) والشعر الصريح مثل (الان السلام وجد قلب المرأة والسعادة بعين الشاعر" الجمل متوازية نحويا يربط امرأة وشاعرة التورية بكلمة (عين) موازية لقلب الشاعرة وهوية الانثى

التوريه هنا بين I \ الضمير و eye العين

the pun on ‘eye’ (‘I’

The organ that generates women’s poetry, in view of poets themselves & their reviewers, is the hear
الجهاز (الشيء) الذي يولد شعر النساء بنظر الشاعرات انفسهن ونقادهم

Mary Tighe is enshrined in this poem as a paradigm of suffering femininity (she had delicate constitution & premature death). Her tender poetic voice was seen as biologically grounded in her frail body.
ماري بهذه القصيدة مرثي عليها وهذه نموذج لمعاناة المرأة (الانثى) (لديها دستور الاحساس والموت المبكر) الصوت الشعري الرقيق (الناعم) اسس بشكل بيلوجي بجسمها النحيل
Hemans’ asserts that she is ‘mournful’ but what we really notice about poem is its metrical & formal regularity. To display powerful meaning is to risk being un ladylike (To be a tidy lady is one who is disciplined in meter also)

هيمانز تؤكد انها حزينة ولكن ما نلاحظها في القصيدة هو النظم المتري الرسمي وهذا يوضح خطورة كونها سيدة مهذبه راقيه انيقة (الانضباط المتري يوضح كونها سيدة انيقة

Anna Baubauld posits a direct connection between a poet & her poem. In this model, metrical neatness, a regular rhyme scheme & polished language represent feminine fashion & confirm female good manners

اننا بابلد تفترض وجود صلة مباشرة بين الشاعرة وقصيدتها القافية الشعرية واللغة المصقولة تؤكد حسن خلقها (الاخلاق الرفيعه للمرأة)


How Hemans relates herself to the other poet?

كيف توصف الشاعرة نفسها بشاعرة اخرى؟


Hemans’s ‘mourning’ is also an act of identification: ‘And mournful grew my heart for thee’

الحداد لهيمنز (يحدد هويتها) حزينة من قلبي لها

Politics of sisterhood rather than rivalry inform Hemans’s elegy on Tighe, as they inform the volume as a whole which is dedicated to another woman writer, Joanna Baillie.

سياسة الاخوة اكثر من الخصومه برثاء هيمنز لتيجي. وكان صوتهن واحد تكرس نفسها لكاتبة اخرى امرأة

التعديل الأخير تم بواسطة فيحاء العسل ; 29-05-2013 الساعة 05:30 AM
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 05:21 AM   #4
فيحاء العسل فيحاء العسل غير متصل
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الصورة الرمزية فيحاء العسل
افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7


هذه القصيدة حسيت مصطلحاتها شوية معقده حاولت ابسطها قدر الامكان


(طبعا هنا انه القصيدة توصف المرأ وتحتوي على خصائص الكتابة النسوية .. تركز على مشاعر المرأة )


L.E.L., ‘Stanzas on the Death of Mrs Hemans’

() L.E.L و مقاطع شعرية حول وفاة السيدة هيمنز

L.E.L.’s reaction to Hemans’s death (& her poetry) is overtly emotional

ردة فعل ال اي ال لموت هيمزن (وشعرها) عاطفية بشكل عام


This is an example of affectional poetics that is a defining characteristic of women’s writing during this period

تعتبر مثال للشعر العاطفي (المشاعرية بالشعر) وهي السمه المميزة للكتابة النسائية بتلك الفترة

The poem reflects selfconsciously on nature & role of poet, for L.E.L. & other women poets, question of poetic identity is related to question of gender identity

تعكس القصيدة الوعي العام عن الطبيعة ودور الشاعر، لال اي ال والشاعرات الاخريات مسالة هوية الشعر ترتبط بهوية الجنس (النوع الانساني

The key term in L.E.L.’s characterization of her fellow poet: an ‘angel’, the de******ion of woman as ‘angel’ emphasizes women’s purity & suggests that they have inborn religious inclinations.

المصطلع او (العبارة الاساسية) لوصف ال اي ال لزميلاتها الشاعرات هي (الملاك) وصفت المراة بالملاك وهنا تؤكد ان المرأة لديها ميول دينية فطرية


L.E.L.’s use of a masculine pronoun in line 40 is not an act of linguistic cross-dressing, but a way of suggesting an androgynous (genderless) asexuality

استخدام ال اي ال للضمير الذكوري في البيت (السطر) رقم40 ليس سمة على تغيير (خلع) الشكل اللغوي ولكن تدل على صراع الانثى ضد التمييز بين الجنسين



Side note
ملاحظة جانبية


In ‘The Rights of Woman’, Anna Barbauld alluded to ‘That angel pureness which admits no stain

في (حقوق المرأة) انا باربلد تلمح الى ان الملاك غير معروف ذكر ام انثى

Barbauld praised ‘angel pureness’ that Mary Wollstonecraft saw as a limited & limiting virtue in A Vindication of the Rights of Woman

ماري ولستنكرافت ب(تاكيد باربلد لصفاء الملاك) اعتبرتها فضيله محدودة (التبرئة) وتحد من حقوق المرأة

Here Hemans is not an angel who floats above daily life, but one ‘who sings of earth’ and ‘Whose cares are at his feet

هنا هيمنز ليست ملاك تبدو فوق الحياة اليومية ولكنها تغني فوق السماء ومن يهتم عند قدميها

L.E.L. suggests that Hemans is a domestic angel, whose poetry deals with everyday ‘cares’.

ال اي ال تبين ان هيمنز ملاك منزلي شعرها يتعامل مع اهتمامات الحياة اليومية

L.E.L. addresses Hemans as ‘weary one’ & writes, ‘They say that thou wert faint and worn/With suffering and with care’. She seems to be a prototype for that ideal Victorian figure, wife & mother described by Coventry Patmore in his verse-novel of the same name, as ‘the angel in the house’

تنظر اليها بانها تحمل صفة الفيكتوري المثالي


Many of the same words are used to describe both Hemans’s life & her poetry. The adjective ‘sweet’ is repeated several times


استخدمت العديد من الكلمة التي تصف هيمز وشعرها تكررت صفة (الحلاوة) عدة مرات

WW also wrote about Hemans, using same terms as L.E.L.: ‘Mourn rather for that holy Spirit,/Sweet as the spring, as ocean deep

الشاعرة .... كتبت ايضا عن هيمنز واستخدمت نفس مصطلحات ال اي ال الحداد بدلا عن الروح المقدسة ، الحلاوة كالربيع كاعماق المحيط


L.E.L. marks distance b/w her and WW in conventional poetic terms: ‘Great poet, if I dare to throw/My homage at thy feet’. We know from her exaggerated humility her consciousness of her diff position.

بالغت في التواضع بوعيها مقارنة بوضعها المختلف


The permanent image of Hemans is of a domestic icon, whose moral life gave value to her poems. This ‘image’ was cultivated by Hemans herself. She adopted role of dutiful, suffering wife, & celebrated in her poems virtue of domestic affections which was autobiographical

الصورة الواضحة بهذه القصيدة (الحياة الاخلاقية) تبنت دور الزوجة المطيعة التي تعاني وتحتفي بالاخلاق والعواطف بقصيدتها



In this poem, female creativity is figured in terms of music, perfume & pulsations, breath & breezes

في هذه القصيدة يظهر الابداع الانثوي في مصطلحاتها الموسيقى والعطور والنبضات، والتنفس والنسائم

Hemans poetry was as natural as breathing, a type of exhalation that her readers registered as a pervasive perfume.

شعر هيمنز كان عن الطبيعة كالتنفس نوع من استنشاق العطر المنتشر

There was focus on woman’s body rather than her text.

التركيز كان على جسد المرأة اكثر من نصها

How Hemans reconcile public fame and private duties? L.E.L. isolates fame as an explicit problem. L.E.L.’s message is that currency of poetic genius is isolation rather than connection, fame at the expense of family. .In her own life, Felicia Hemans combined family & fame.


L.E.L. cultivated quite another image. She was more like an actress than an angel.

التعديل الأخير تم بواسطة فيحاء العسل ; 29-05-2013 الساعة 05:23 AM
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 06:02 AM   #5
فيحاء العسل فيحاء العسل غير متصل
مشرفة سابقة
 
الصورة الرمزية فيحاء العسل
افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7


هذه القصيدة ما حسيتها مهمة مره

قصيدة ترد فيها الشاعرة على الشاعرة ال اي ال باحد قصائدها (ان هذه الشاعرة انانية وتكلمة عن نفسها فقط عن ماتريده واننا لازم نتكلم عن الحب والتضحية وتنتقد الانانيه هنا ..



Elizabeth Barrett Browning ‘L.E.L.’s Last Question’


The poem responds to one of 2 poems that L.E.L. wrote on her way to Africa in 1838 with her new husband, Captain Maclean

هذه القصيدة ترد على قصيدة من اثنين ل ال اي ال كتبها بطريقها الى افريقيا مع زوجها الجديد والنقيب ماكلين

Two months after her arrival there she died from prussic acid poisoning (probably suicide or an accident, but possibly murder)

توفيت بعد شهرين من وصولها بالتسمم بحامض البروسي او ربما انتحرت او قُتلت


In L.E.L.’s poem ‘Night at Sea’: she addresses her ‘absent friends’, asking ‘Do you think of me, as I think of you?’ This is the refrain picked up by Barrett Browning in ‘L.E.L.’s Last Question’

بقصيدة ال اي ال (ليلة في البحر) كتبت فيها عن اصدقائها الغائيبين هنا ال اي ال بها سؤال ‘Do you think of me, as I think of you?’ يتفق مع (Last Question’ ) بقصيدة اليزابيث

She expresses sympathy towards the other poet, but she also turns away from her.
Barrett Browning’s main objections to L.E.L. At end of 4th stanza, Barrett Browning points out that L.E.L. asks. ‘Think ye of me, friends, as I of you?’ & not ‘Do you praise me, oh my land?’

عبرت عن تعاطفها تجها الشعراء الاخرين ولكنها تحولت من الموضوع الاساسي باعتراضها على ال اي ال بنهاية المقطع الرابع

The effect is that L.E.L. asked wrong question. Her desire for personal remembrance diminishes in context of national recognition

الاثر ان ال اي ال سالت السؤال الخاطئ. رغبتها بتذكرها الشخصي يقلل من اعترافها بالرفض

Barrett Browning’s larger viewpoint repeats in questions asked in penultimate stanza. The shift from ‘friends’ to ‘kindred’ to ‘brotherhood of whole world’ decreases importance of personal



In final stanza, L.E.L.’s demand seems rash when placed against Christ’s love & sacrifice. Criticizing self-centredness of L.E.L.’s question (it is ‘Not much, and yet too much’), Browning separates herself from ‘one tune of love’ that marks L.E.L.’s poetry
L.E.L.’s own statements locate love as essence of womanhood.


تحدثت عن الحب والتضحية بالمقطع الاخير .. تنتقد الانانية بسؤال ال اي ال

Browning In her view, L.E.L. is not the disciple of a religion. L.E.L.’s poems ‘poured’ out from her heart, full of romantic visions of ‘knightly gestes & courtly pageantries’.

بروننينغ بوجهة نظرها ال اي ال ليست مريدة للدين (تلميذة متدينة) قصيدة ال اي ال تخرج من قلبها بكامل الرؤية الرومانسية


The result is divorced from life. Like Narcissus falling in love with his own image in pool, poetry like L.E.L.’s is in love with subject of love & with its own language.
It all sounds same – ‘one tune of love’ that recurs again & again like an ‘echo’.




Such poetry refers only to itself; it just echoes other texts rather than engaging with contemporary reality.

بهذه القصيدة تشير الى نفسها فقط .. تردد صدى النصوص الاخرى اكثر من معاصرة الواقع

In her poetry, Browning breaks free from constraints of ‘feminine’ verse, challenging easy emotionalism of heart-focused poetry, & ‘smooth’ versification of her predecessors.

بقصيدتها، بروننج تكسر الحرية بقيود الانوثه بالشعر تتحدى العواطف اللينة

Response of reviewers confirms that women’s poetry was always seen in terms of sexuality: Gilfillan, who voted Mrs Hemans ‘the most feminine writer of the day’, called Mrs Browning ‘the most masculine of our female writers’.

رد النقاد يؤكد ان شعر النساء دائما يرى بحدود الجنس (تتكلم عن المراة فقط)

John Lockhart comments on Caroline Norton’s work in his essay ‘Modern English Poetesses’. After praising intense personal passion which makes her ‘the Byron of our modern poetesses’

Lockhart advises Mrs Norton to write ‘from the heart’ produces a poetic text that is heartfelt but outward-looking, while to write ‘about the heart’ implies a text that is self-fixated & inward-looking

According to Lockhart, Norton’s poetry lacks ‘progress to any spiritual end, and ... retrospect to any moral source’

فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 06:16 AM   #6
So wHaT! So wHaT! غير متصل
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ربي يقويك ويوفقك يالغالية
So wHaT! غير متصل   رد مع اقتباس
قديم 29-05-2013, 07:11 AM   #7
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وهنا هذه القصيدة حسيتها مهمة جدااا وممكن تجي بالاختبار اهتمو بتحليلها

‘Floating Island at Hawkshead’
الجزيرة العائمة على هاوكشد للشاعرة دروثي

• 1st stanza of poem summed up by word ‘harmonious’

اول مقطع بالقصيدة نلخصه بكلمة (التناغم

• No specific speaker is identified. We see neutral tones of commonplace quasi-religious thoughts

لا تميل الى شيء معين : ينظر الى القصيدة بالنغمات المحايدة من الافكار الدينية تقريبا

• Nouns in 2nd line receive more or less equal stress, suggesting balance of nature.

الاسماء بالسطر الثاني بها الااسترس متساوي\ ما يعني توازن الطبيعة

• Connectives in 3rd line bring apparent polarities of ‘Sunshine and storm’ & ‘whirlwind and breeze’ into agreement

حروف العطف بالسطر ال3 تقدم تناقضات واضحة مثل الشمس المشرقة والعاصفة \ الريح الدوامية والنسيم

• Subtitle of poem: ‘An Incident in the Schemes of Nature’. The word ‘schemes’ points to a deliberate pattern

العناوين الجانبية بالقصيدة: مثل "حادثة وقعت في مخططات الطبيعة كلمة المخططات تشير الى النمط المتعمد

• In 2nd stanza there is shift from general to particular, & from neutrality to emotion. The poet’s ‘I’ is invoked for 1st time when floating island comes into being

بالمقطع الثاني هنالك تحول من العام الى الخاص ومن الحياد الى العاطفة. صوت الشاعرة (انا) يظهر لاول مرة عندما تطفو الجزيرة \ تاتي الى حيز الوجود

• Undermining of ‘a slip of earth’, its separation from security of shore, & subjection to needs of wind, is similar to marginalization & subjection of women in male-dominated society,

التفويض في (زلة الارض) انفصالها عن امن الشاطئ وخضوعها لاحتياجات الريح تشبهها بهميش النساء واخضاعهن للمجتمع الذي يسيطر عليه الذكور

• The personal displacements of Dorothy WW’s own life (she only lived with her brother WW once an adult and then his attention turned to his wife)

التشرد الشخصي لدروثي بحياتها الشخصية (عاشت مع اخيها فقط الذي تحول انتباهه الى زوجته عندما كبرت

• In this poem, island’s survival is weak in context of nature’s arbitrary powers. .The fragile place – island, or, ****phorically, speaker’s identity – which is created out of displacement, severing of a piece of earth, is ultimately dispersed.

في هذه القصيدة نلاحظ بقاء الجزيرة الضعيفة بسياق قوى الطبيعة التعفسية وهنا في صور مجازية عديده ان الجزيرة تشير الى هوية الشاعرة التي تشردت

• This is not a solitary experience. In penultimate stanza, poet invokes the reader (‘you’) to witness absence of island. The very act of noticing its absence creates a memorial to lost island.

هنا التجربة ليست انفرادية. في المقطع ما قبل الاخير تستخدم الشاعرة الضمير (لكم\انتم) ليشهدو على غياب الجزيرة الفعل الملاحظ جدا خلق ذكرى (نصب تذكاري) عن الجزيرة المفقودة

• The shift in pronouns through the poem from ‘I’ to ‘all’ & ‘you’ posits a network of relations, locating individual within a community.

التحول بالضمائر بهذه القصيدة من (انا) الى ال(الكل) وانتم تفترض شبكة من العلاقات تحديد مكان الفرد بالمجتمع

• Island has ‘passed away’ –suggests something more than mere disappearance (death, ‘Buried’)

الجزيرة (وافتها المنية) تفترض شيئا ما اكثر من الاختفاء الموت\ الدفن

• Working against sense of extinction is poet’s writing about continuance of ‘lost fragments’ which though unseen ‘remain/To fertilize some other ground’. Vision is ‘undermined’, but island & viewing self are integrated into larger schemes of nature.

العمل ضد الشعور بالانقراض كتابة الشاعرة عن الاستمرارية (الشظايا المفقودة) على الرغم من غيابها تبقى لتسميد بعض الاراضي الاخرى رؤية "التفويض" تدمج الجزيرة ومشاهدة النفس بمخططات اكبر من الطبيعة

• She is not interested in claiming a special place in Nature’s schemes or in asserting authority of her poetic ‘I’ as privileged reader of Nature.

ليست مهتمه بالحصول على مقعد خاص بمخططات الطبيعة تؤكد سلطتها (انا) كقارئ متميز بالطبيعة

• This imaginary ‘floating island’ is presented clearly as an image for poet’s own identity, which has no centre & security. Such a fractured self cannot imaginatively appropriate & transcend external world.

وها خيالي (الجزيرة العائمة) بشكل واضح هي صورة لهوية الشاعرة نفسها
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 07:13 AM   #8
فيحاء العسل فيحاء العسل غير متصل
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اقتباس:
المشاركة الأصلية كتبت بواسطة so what! مشاهدة المشاركة
ربي يقويك ويوفقك يالغالية
ويقويـــــــــــك ويوفقك ان شاءالله ^.^

يسلموو
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 12:31 PM   #9
Eiroka Eiroka غير متصل
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افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7




جزاكِ الله كل خير

و إن شاء الله في موازين حسناتك
Eiroka غير متصل   رد مع اقتباس
قديم 29-05-2013, 12:46 PM   #10
Ashwaq S Ashwaq S غير متصل
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افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7


يعطيك ألف عافيه فيحاء

الله يوفقك
Ashwaq S غير متصل   رد مع اقتباس
قديم 29-05-2013, 06:48 PM   #11
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افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7


جزانا وياكم خير ان شاءالله

والله يعافيكم وموفقين ان شاءالله

والجميــــــــــــع

شكراا ... ^_^
فيحاء العسل غير متصل   رد مع اقتباس
قديم 29-05-2013, 07:16 PM   #12
فيحاء العسل فيحاء العسل غير متصل
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افتراضي رد: (((تنبيه مهم ))) بالنسبه لقصائد يونت7




بالنسبة لجابتر7 بشكل عام هذه اسئلة واجوبه عن اليونت وفيه توضيح للقصائد المهمه بشكل مختصر



Chapter Seven: Gender and Poetry

Gender and poetry (Wordsworth: a poet is 'a man speaking to men')

In the masculine tradition, women were located as passive, quasi-natural objects. They were passive objects while men are active speaking subjects.

To Melancholy by Charlotte Smith

Q What is the setting of the poem?

The setting is (a gothic landscape of shadows and strange sounds) and it's very important to the mood of the poem.

Q Hoe did the poet used nature in the poem?

Nature reciprocates the speaker's feelings. Smith used personification 'autumn spreads her … veil'; 'the wood 'sights', the wind is 'saddened'. Therefore nature became a mirror for the speaker, in reflecting and fostering her melancholy.

Q Who is the speaker in Charlotte Smith poem?

The speaker is a proponent of sensibility (the poet) because the poem itself has been generated out of a personal negative experience.

The Grave of Poetess by Felicia Hemans's tribute to Mary Tighe

Q After reading the poem 'The grave of poetess', describe what Hemans thinks are the most important characteristics of Tighe's writings?

According to Hemans, Tighe's poetry 'song' is characterized by 'sorrow' and her life by weeping 'How often didst thou weep'. Her poetic voice conforms to the demands of feminine discourse in that it is 'not loud, but deep' as in deeply felt. Her thoughts are described as 'tender' and elevated 'high'.

Floating Island by Dorothy Wordsworth

Q How is nature represented in the first stanza of the poem?

It could be summed up by the word 'harmonious' with a balance in in nature.

Q what is the relationship between the speaker and the neutral scene in the second and third stanzas?

The poet shifts from the general to the particular and from neutrality to emotion. The poet's 'I' is invoked for the first time when the floating island comes into being, which suggests that the speaker's subjectivity may in some way be identified with the existence and fate of the island.
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