مادة النقد التطبيقي

[ملامح صوماليه]

مرحبااااااا

سؤال : فيه أحد من قبل أخذ كورس في هذي الماده ؟؟ أو يعرف عنها شي

ساعدوني الله يساعدكم

[ملامح صوماليه]

جزاك الله كل خير وبارك الله فيك اللهم صلِّ على سيدنا محمد و على آله وصحبه وسلم السلام عليكم ورحمة الله وبركاته

[M.o_o.N]

بحثت كثير ولا حصلت شي
بالنسبه لي مادرست هالمنهج
بس درست نقد أدبي انجليزي

متأكده الماده انجليزية؟ >_>

[ملامح صوماليه]

ايه ننقد شورت ستوري او اي شي نقد وجهات نظر

[ܟjust E]

هـــلآ خيتـــوو ^^


شوفي هنــآ معلومـــآت تسآعدكـ آشلون تنقدين النص اللي امآمكـ :



Reading literature such as novels and plays requires a different approach than
reading a textbook. Meaning in literature isn't often stated directly but is implied. You have to get a sense on your own of what the work means, instead of having the author explicitly saying, "This is idea 1, and this is idea 2."

Good writers do create stories that are organized and comprehensible. For example, a story usually follows some organization, whether it's told chronologically, in flashbacks, from different perspectives, and so on. In addition, writers provide many clues to the meaning or main ideas they want you to get from the work.

[In particular, the following points are important to consider when reading and analyzing literature
− − Characters: Who are the main
characters in the piece? What are the names and roles of the main characters? Who is the narrator, the person telling the story? Does this person have a bias? That is, can you trust what he or she is saying?

− Events and Interaction: What happens in the story? How do the characters interact? How are they related or connected? Why do the characters act or behave the way they do? Why do the events play out as they do?

− Organization: How is the story organized? Most commonly, stories are told chronologically, but in some works, you may find that the author moves back and forth (in time as well as place).

− Retelling of a Story: Many stories are in some way or form a retelling of a previous story. If you think about Huckleberry Finn's trip, you can find other trips from Greek mythology (Homer's Odyssey) to the Bible (the trip of the Magi) with similarities. These are just a few examples.

− Setting: Where does the piece take place? Is the setting critical to the story? Does the setting provide background? Does the setting give historical, physical, or other information that is key to the story?

− Symbolism: Symbolism can be tricky because, sometimes, as the saying goes: "A cigar is just a cigar." Other time, a journey represents something beyond the trip itself. For example, Huck Finn's trip was more about his development as a person than his trip down the river.

− Theme: What are the themes of the story? What elements or ideas are repeated or emphasized? Think about this throughout your reading, not just at the end. Notice what people, places, and events pop up repeatedly.

− Time: When does the story take place? Is it timeless? Is it grounded in a particular place and time?

− Writing Style: What does the writing style tell you about the story? Is the writing richly detailed? Is it sparse? (For example, Hemingway was famous for his Spartan writing style.) How does the writing style affect the meaning? Do you have to make assumptions or guesses because there are gaps?

This article has been adapted from "Improving Your Study Skills" by Shelley O'Hara. Check out this book for study strategies that can help you succeed in any class
:::



and this website has different info about literature

http://www.english-literature.org/resources
::




hope it helps ya

[Northie]

Hi
Here's what I got 4 u concerning your request about practical criticism ...hoping it will give u an idea about the course..Also,.you can search the net and find a lot of useful topics about it

Practical criticism

Practical criticism is that exercise in which you are given a poem, or a passage of prose, or sometimes an extract from a play, that you have not seen before and are asked to write a critical analysis of it. Usually you are not told who wrote the poem or passage, and usually, too, you are not given any indication of what you might look for or say


To criticize a piece of prose, you should:

1-Read it carefully.

2- Get the idea of the passage (to know if the writer succeeds or not in conveying it).

3-Study the style (to know whether the style suitable to the idea or not).

a) Study the vocabulary, find out the words; the parts of speech; verbs (action-static), nouns, adjectives ….etc.

b) Monosyllabic words (one syllable words), multi syllabic words or foreign sources.

c) The word order of the sentence, in most cases the writer makes a change in the order by which he means something, for emphasis for example.

d) The structure of the sentence: simple, compound, complex.

e) The structure of the passage (parallelism, contrast, comparison, examples).

f) Types of the sentence : statement ( declarative , descriptive ) , interrogative ( normal question , rhetoric question ) , imperative .

4-Get to know the subjectivity (point of view) or objectivity of the writer (universality of his ideas).

5-Get to know the gender of the writing whether masculine (direct , sometimes crude , sometimes pompous , concrete and not emotional ) OR feminine (more emotional and observational , less forceful ) .

6-Get to know the choice of images.

7-The attitude of presentation:

a) Traditional ( like Shakespeare's plays ) .

b)Experimental ( new attractive things )

c) Image of style (good or bad






Also check this website ; it's a whole book (219 pages) on practical or applied criticism


http://books.google.com.sa/books?id=...age&q=&f=false

practical criticism,

in the general sense, the kind of criticism that analyses specific literary works, either as a deliberate application of a previously elaborated theory or as a supposedly non‐theoretical investigation. More specifically, the term is applied to an academic procedure devised by the critic I. A. Richards at Cambridge University in the 1920s and illustrated in his book Practical Criticism (1929). In this exercise, students are asked to analyse a short poem without any information about its authorship, date, or circumstances of composition, thus forcing them to attend to the ‘words on the page’ rather than refer to biographical and historical contexts. This discipline, enthusiastically adopted by the Cambridge school, became a standard model of rigorous criticism in British universities, and its style of ‘close reading’ influenced the New Criticism in America.

Explication the attempt to analyse a literary work thoroughly, giving full attention to its complexities of form and meaning. The term has usually been associated with the kind of analysis practised in the USA by New Criticism and in Britain under the name of practical criticism. Explication in this sense is normally a detailed explanation of the manner in which the language and formal structure of a short poem work to achieve a unity of form and content; such analysis tends to emphasize ambiguities and complexities of the text while putting aside questions of historical or biographical context. A less thorough form of analysis is the French school exercise known as explication de texte, in which students give an account of a work's meaning and its stylistic features.
[/SIZE]

[ملامح صوماليه]

الله يفتح لكم أبواب رزقه يااااارب ولا يحرمكم أجر العلم


أي أحد بعد عنده معلومات نقد يتفضل :)

[The Soul Of hope]

This map shows loosely where the critical approaches fall.





Map Explanation:

The work itself is placed in the center because all approaches must deal, to some extent or another, with the text itself. Formalism and deconstruction are placed here also because they deal primarily with the text and not with any of the outside considerations such as author, the real world, audience, or other literature. Meaning, formalists argue, is inherent in the text. Because meaning is determinant, all other considerations are irrelevant. Deconstructionists also subject texts to careful, formal analysis; however, they reach an opposite conclusion: there is no meaning in language.

A historical approach relies heavily on the author and his world. In the historical view, it is important to understand the author and his world in order to understand his intent and to make sense of his work. In this view, the work is informed by the author's beliefs, prejudices, time, and history, and to fully understand the work, we must understand the author and his age.

An intertextual approach is concerned with comparing the work in question to other literature, to get a broader picture.

Reader-Response is concerned with how the work is viewed by the audience. In this approach, the reader creates meaning, not the author or the work.

Mimetic criticism seeks to see how well a work accords with the real world. Then, beyond the real world are approaches dealing with the spiritual and the symbolic--the images connecting people throughout time and cultures (archetypes). This is mimetic in a sense too, but the congruency looked for is not so much with the real world as with something beyond the real world--something tying in all the worlds/times/cultures inhabited by man.

The Psychological approach is placed outside these poles because it can fit in many places, depending how it is applied:
(1) Historical if diagnosing the author himself
(2) Mimetic if considering if characters are acting by "real world" standards and with recognizable psychological motivations
(3) Archetypal when the idea of the Jungian collective unconscious is included
(4) Reader-Response when the psychology of the reader--why he sees what he sees in the text--is examined.

Likewise, Feminist, Minority, Marxist, and other such approaches may fit in:
(1) Historical if the author's attitudes are being examined in relation to his times (i.e. was Shakespeare a feminist for his times, though he might not be considered so today?)
(2) Mimetic--when asking how well characters accord with the real world. Does a black character act like a black person would, or is he a stereotype? Are women being portrayed accurately? Does the work show a realistic economic picture of the world?



The Purpose of Criticism:

Literary criticism has at least three purposes.

(1) To help us solve a problem in the reading.

(2) To help us choose the better of two conflicting readings.

(3) To enable us to form judgments about literature

[ملامح صوماليه]

the soul of hope

الصوره ماطلعت عندي :(

وشاكره لك تفاعلك الله يجعله بميزان حسناتك

[The Soul Of hope]

Historical / Biographical Approach:

Definition:

Historical / Biographical critics see works as the reflection of an author's life and times (or of the characters' life and times). They believe it is necessary to know about the author and the political, economical, and sociological context of his times in order to truly understand his works.

Advantages:

This approach works well for some works--like those of Alexander Pope, John Dryden, and Milton--which are obviously political in nature. One must know Milton was blind, for instance, for "On His Blindness" to have any meaning. And one must know something about the Exclusion Bill Crisis to appreciate John Dryden's "Absalom and Achitophel." It also is necessary to take a historical approach in order to place allusions in there proper classical, political, or biblical background.

Disadvantages:

New Critics refer to the historical / biographical critic's belief that the meaning or value of a work may be determined by the author's intention as "the intentional fallacy." They believe that this approach tends to reduce art to the level of biography and make it relative (to the times) rather than universal.

Moral / Philosophical Approach

:

Definition:

Moral / philosophical critics believe that the larger purpose of literature is to teach morality and to probe philosophical issues.

Practitioners:

Matthew Arnold -- argued works must have "high seriousness"
Plato -- insisted literature must exhibit moralism and utilitarianism
Horace - felt literature should be "delightful and instructive"

Advantages:

This approach is useful for such works as Alexander Pope's "An Essay on Man," which does present an obvious moral philosophy. It is also useful when considering the themes of works (for example, man's inhumanity to man in Mark Twain's Huckelberry Finn). Finally, it does not view literature merely as "art" isolated from all moral implications; it recognizes that literature can affect readers, whether subtly or directly, and that the message of a work--and not just the decorous vehicle for that message--is important.

Disadvantages:

Detractors argue that such an approach can be too "judgmental." Some believe literature should be judged primarily (if not solely) on its artistic merits, not its moral or philosophical content.

Mimetic Approach:

Definition:

This can be closely related to the moral / philosophical approach, but is somewhat broader. Mimetic critics ask how well the work of literature accords with the real world. Is it accurate? Is it correct? Is it moral? Does it show how people really act? As such, mimetic criticism can include some forms of moral / philosophical criticism, psychological criticism, and feminist criticism.




you can check the rest of these approaches on this link:

http://wwww.ksu.edu.sa/colleges/art/...cism%20Map.htm


نقــلاً عن موقع جآمعة الملك سعود

دعوآتي لك بالتوفيق والسدآد ،، أتمنى أن أكون قد أفدتك ولو بشيء يسير

[The Soul Of hope]

the soul of hope

الصوره ماطلعت عندي :(

وشاكره لك تفاعلك الله يجعله بميزان حسناتك

ستجدين مرآدك في هذا الرآبط

http://wwww.ksu.edu.sa/colleges/art/...cism%20Map.htm


ممتنــة لك طيب دعواتك عزيزتي

[M.o_o.N]

جزاكم الله خير وبارك لكم في جهودكم

موفقه أختي

[مجروحة الروح]

الله يسعد كل من اضاف معلومه هنا لاني كنت مره محتااااجه وحايسه


Thanks alot

[alzahebah]

هالماده غثيثه الله يعين عليها ومضيعه بها لأخر حد

يارب التوفيق...........

[بن منيس]

شكرا لك عالموضوع الرائع

[shreef2king]

ياااااااااااااااااااااه المادة دي درستها زمان وانا في الجامعة وبصراحة هي مادة سهلة ( علي ما اذكر ) وجميلة جدا ولكن في بدايتها هتلاقيها بايخة اويييييييييييييييييي ومليانة كلام كتير لكن لما تطبيقها علي القصص والروايات والنثر هتلاقيها ممتعة وعايزة دماغ انا افترك قصة عبارة عن صفحة واحدة اسمها cat in the rain الدكتور شرحها في اسبوع بطريق النقد التطبيقي وكان بيطلع منها حاجات عجيبة جدا لم تخطر لنا علي بال
لو احتجت شيء اطلبي وان شاء الله نساعد بكل ما اوتينا وبصراحة الجماعة اللي ردوا والله كفوا ووفوا بالنسبة لمقدمة في االنقد
ربنا يبارك فيكم ويكرمكم