مادة الادب الحديث 449 افضل موقع لشرح القصص ؟

[ali2006]

1- قصة الرجل العجوز و البحر THE OLD MAN AND THE SEA

على حسب كلام الدكتور 50% من الاختبار يعتمد على القصه

http://www.novelguide.com/oldmanandt...ies/chap1.html



2- قصة THE BEAST IN THE JUNGLE

http://www.novelguide.com/The_Beast_...elsummary.html

ملخصه ومختصرة
ملاحظة احفظ الشخصيات و الثيم اهم شي و الباقي تحتاج فهم فقط

3- قصة BELOVED المحبوب
http://www.novelguide.com/Beloved/novelsummary.html

4- THE SKIN OF OUR TEETH
لم احصل لها على اي ملخص او متعلق

فمن اراد المشاركه فلا يبخل علينا بما تجود به نفسه

5- LAST ORDER http://www.readinggroupguides.com/gu...st_orders1.asp



1. The title of the novel is a play on the "last orders" taken by a bartender

in the pub [p. 6], and, of course, the "last orders" given by Jack concerning the disposal of his ashes. Why does Swift choose to make this link between the end of a night in the pub and the end of a life?

2. Last Orders has an unusual narrative structure: in each section characters speak for themselves, recounting past and present actions. There is no omniscient narrator, no stand-in for the author, no one who knows more than any one character. What effect does this narrative structure have upon your experience as a reader? What happens to your expectation of the traditional "exposition"-being filled in, at the outset of a novel, on setting, character, and what has happened before? How do you, as the reader, gather and sort through information given by each of the speakers?

3. In addition to the characters who are engaged in the novel's main action, there are three other narrators: Jack's widow Amy, Vince's wife Mandy, and Jack himself. What does the addition of these three contribute to the building up of the story? Are they necessary, and if so, why?

4. Given that the narrative point of view is shifting and necessarily subjective, how does Graham Swift give Ray a different status from the other narrators? Do you find as a result that you feel closer to, or more sympathetic with, Ray's experience than any of the others?

5. What is the relationship between what the characters do for a living and the alternative careers they wished for, but did not take up? How is "what might have been" an issue in the lives of each of the characters in the novel, including the women?

6. The carrying on of the family business is important to Jack Dodds: he has followed in the path of his father, but his adopted son, Vince, refuses to join him in "Dodds & Son, Family Butchers." Why is it so vital to Jack that Vince join him, and why is it so vital to Vince that he resist? What other causes are there for the difficulties between Jack and Vince?

7. Jack, Lenny, Ray, and Vince each has a single daughter. Jack's daughter, June, has been institutionalized from a very early age and he has never visited her; Ray's daughter lives in Australia and he hasn't heard from her in years; Lenny's daughter, Sally, is now a prostitute married to a jailbird; Vince has pimped his daughter to a rich Arab businessman. Why have these men failed so miserably in their relationships with their daughters? Do you suppose that they might have managed relationships with sons better?

8. The friendship between Jack and Ray was forged in North Africa in World War II. Lenny, too, served in the war and still thinks of himself as "Gunner Tate." Vic served in the navy, and the trip to Margate includes a stop at the Naval Monument at Chatham. How has the memory of the war shaped how these men think of themselves? Is their shared experience of war partly the reason for their friendship? Does having lived through the war create a barrier between them and their children's generation?

9. If Vince and Lenny are the most unhappy characters in the novel, why do you think they've become this way? How is their unhappiness translated into anger and violence? What is the effect of the fight between them-comic? ludicrous? a relief? Does it change anything?

10. How has Vic's profession shaped his personality? How does Vic differ from the other characters?

11. We can think of the place names at the head of certain sections as a dotted line on a map of England: they mark the progress of the friends as they make their way to Margate. The fact that they stop at Canterbury Cathedral reminds us that in his Canterbury Tales Chaucer, too, chose to have his pilgrims tell stories and talk about themselves as they made their way along the road to Canterbury. In what ways is the journey in Last Orders like a pilgrimage? What sort of knowledge or illumination results from this trip?

12. In the opening scene of the novel, Ray compares the Coach pub to a church, with the bottles ranged like organ pipes above the bar. Later, the characters find themselves in Canterbury Cathedral. What, if any, are the connections in this novel between the pub and the cathedral? What moods and/or revelations does each place nurture or inspire? How does the novel make us meditate upon the relationship between the mundane and the spiritual?

13. Why does Graham Swift locate Jack's butcher shop directly across the street from Vic's funeral home, so that the two shops mirror each other? How do images of meat, bodies, and ashes create a web of meaning in the novel?

14. Jack is present, corporeally speaking, in the jar of ashes as his friends take him down to the seaside. How does Jack's presence elicit comedy in the novel? Tenderness? How does the handling of the jar tell us about the power of friendship?

15. Why does Vince, against the wishes of the others, scatter some of the ashes over the hill at Wick's Farm? Why does this place have a particular meaning for him, so that this becomes a necessary and fitting action?

16. Consider Graham Swift's handling of time in this novel. In approximately what year is the novel's "present" action taking place? How much time has passed since the affair between Ray and Amy? What are some other instances in which specific remembered events work to build up the reader's sense of time passing in the lives of these characters? By the end of the novel, would you be able to situate roughly all of its events on a time line?

17. Swift's challenging narrative structure illuminates the problem of partial knowledge: as readers, we discover only gradually, and in bits and pieces, information we need in order to understand the characters and their histories. We have no more insight than the characters themselves, and come to the same dawning realizations that they do, at the same time. At times this effect is the result of crucial information being held back. Which characters conceal important information from others, and why? How is this issue of partial knowledge-and the keeping of secrets and the telling of lies-important to the overall plan and meaning of the novel?

18. How successful are the marriages and love relationships in this novel? What are the limits to understanding between men and women? Is love a redemptive force here, or merely a painful misunderstanding, a botched effort? Do we wish to believe that Amy and Ray will take up their love affair again, now that Jack is gone and Amy has decided to stop visiting June?

19. Ray's friends depend upon his luck-or skill-in betting on horses when they need ready cash, usually because of major crises in their lives. How large a role does random fortune play at these moments? What does it mean to be "lucky" in this novel?

20. In a novel in which each character speaks without the intervention of a narrator, the issue of individualized voices becomes crucial. How do you come to distinguish the characters' voices? How successful is Swift in differentiating between voices? How important is the role of British slang in creating the illusion of reality in this novel?

21. Consider the first epigraph (from the seventeenth-century writer Sir Thomas Browne) that Swift has chosen for his novel: "But man is a Noble Animal, splendid in ashes, and pompous in the grave..." Do you read this epigraph ironically or seriously? What does your choice indicate about your response to the overall effect of the range of detail and meaning in this novel, from the tawdry to the profound?
والملف المرفق

[askar55]

اخي الكريم السلام عليكم ممكن تعطينا لو سمحت الدكتور في الدوره حذف بعض القصص وحدد مواضيع وحذف اخري ودي اعرف عشان نذاكر الي بيكون علينا ولك مني الشكر والاحترام

[ابو راويه]

لبى قلبك ياشيخ الف شكر عندي صديق ازعجني يبغى يذاكر الماده له يومين وطفش منها من كبر قصصها بيجيك يرد بعد شوووي من الفرحه هههههههههههههههه

[ali2006]

المشاركة الأصلية كتبت بواسطة askar55 اخي الكريم السلام عليكم ممكن تعطينا لو سمحت الدكتور في الدوره حذف بعض القصص وحدد مواضيع وحذف اخري ودي اعرف عشان نذاكر الي بيكون علينا ولك مني الشكر والاحترام

الدورة والمطلوب تجده هنا من الاخوان اللي حضروا الدورة جزاهم الله خير الجزاء


http://www.skaau.com/vb/showpost.php...9&postcount=18

[ali2006]

SKIN OF OUR TEETH

Themes

Absurdity

Much of the humor in

The Skin of Our Teeth derives from Wilder's use of bizarre

juxtapositions which place the characters in absurd situations and highlight the

ludicrous aspects of seemingly ordinary events. Combining elements of

twentieth-century suburban America with events from the historical and mythological
past creates an odd world where a middle-class family can have a dinosaur and
mammoth for pets, the Antrobuses can celebrate their 5,000th wedding anniversary,
and the children can recite poems even though their father has only just invented the
alphabet.

American Exceptionalism

By presenting his allegorical parents of the human race as a conventional American

middle-class couple, Wilder reinforces Americans' belief in the exceptional nature of

their country and its citizens. Mr. Antrobus's virtues of inventiveness, resilience, and
diligence are those of the ideal American entrepreneur, and the family's continued
ability to start from nothing and achieve greatness is the essence of the American
dream. The play suggests the best human characteristics are also the best American
qualities.

Illusion vs. Reality

While traditional realistic plays try to create a "real" world on the stage, encouraging

viewers to forget that they are watching actors play roles in a fictional drama, Wilder

constantly interrupts this sort of theatrical illusion to remind the audience that they are
watching a drama. When actors step out of their roles and speak directly to the

audience, they highlight the fact that this is a
performance taking place on a stage, a

fictional world that can be altered and adapted by the ordinary people who are putting

it together. Wilder repeatedly reminds the audience of the realities of sets, actors, and

s, disrupting the conventions of naturalistic theater.

Cycle of History

The Skin of Our Teeth

emphasizes the repetitive nature of human history. The

Antrobuses have faced disasters in the past, overcome more disasters during the

course of the drama, and are ready to engage in further struggles at the performance's

end. Wilder emphasizes the circular quality of the characters' lives, each act finds
them starting over again. The play concludes with the exact same words and situation
with which it began--another reminder that the cycle of history (and human existence)
is on-going.

Family

Wilder's play both parodies and idealizes the image of the nuclear family. George and

Maggie Antrobus are extreme examples of the masculine provider and the feminine

caregiver. His enthusiasm for his inventions and books and her single-minded
devotion to her children might be viewed as humorously exaggerated. Yet, their
adherence to their stereotypical gender roles seems to contribute to the survival of the
human race in each act, suggesting that the perpetuation of civilization depends upon
the perpetuation of a traditional family structure in some form.

Good and Evil

The character of Henry, formerly known as Cain, emphasizes the constant presence of

evil in the world. The angry and violent Henry is part of the human family--and

appears in every act--suggesting that evil can never be left behind. Henry's fight with

his father towards the end of the play illustrates the on-going struggle between good

and evil. Wilder interrupts this fight, however, leaving it unresolved (as real world

clashes between such forces often end). The play suggests that as humanity enters

each new era, it always brings both its good and evil impulses along.

Human Condition

Wilder's characters exemplify basic human qualities and encounter basic human

experiences. They illustrate the unchanging facts of the human condition.

Representing in turn intelligence, maternal love, violence, lust, selfishness, and
determination, the Antrobuses and Sabina endure work, betrayal, natural disaster, and
war. In his depiction of them and their strangely timeless world, Wilder underscores
the best and worst aspects of the human condition: humanity possesses the will and
ability to survive and yet must repeatedly confront (and overcome) its own destructive

tendencies.

الجلد من أسناننا

المواضيع


سخافة


الكثير من روح الدعابة في الجلد من أسناننا مستمد من استخدام وايلدر للغريب

تجاورات الذي وضع الأحرف في حالات العبث وتسليط الضوء على

المضحك جوانب أحداث عادية على ما يبدو. يجمع بين عناصر من

في القرن العشرين في الضواحي الأمريكية مع الأحداث من والتاريخية والأسطورية

الماضي يخلق عالم غريب حيث لعائلة من الطبقة المتوسطة يمكن أن يكون لديناصور و

العملاقة للحيوانات الأليفة، يمكن للAntrobuses بعيد زواجهما ال 5000،

ويمكن للأطفال يقرأ قصائده على الرغم من والدهم للتو فقط اخترع

الأبجدية.


الأمريكي الاستثنائي


من خلال تقديم والديه استعاري للجنس البشري بوصفه الأميركي التقليدي

الطبقة المتوسطة الزوجين، وايلدر يعزز الاعتقاد لدى الأميركيين في الطبيعة الاستثنائية لل

هذه البلاد ومواطنيها. السيد أنتروبوس في فضائل الابتكار والمرونة، و

العناية هي تلك الاعمال الاميركي المثالي، واستمرار الأسرة

القدرة على البدء من لا شيء وتحقيق العظمة هو جوهر الأمريكية

حلم. المسرحية يوحي أفضل الصفات البشرية هي أيضا أفضل الأميركي

الصفات.


الوهم مقابل الواقع


في حين يلعب واقعية التقليدية في محاولة لخلق "حقيقي" العالم على المسرح، وتشجيع

المشاهدين أن ننسى أنهم يشاهدون ممثلين تلعب أدوارا في مسرحية خيالية، وايلدر

المقاطعات باستمرار هذا النوع من الوهم مسرحي لتذكير الجمهور بأنهم

يشاهد الدراما. عندما الفاعلين الخروج من أدوارها والحديث مباشرة الى

جمهور، فإنها تسلط الضوء على حقيقة أن هذا هو

أداء تجري على خشبة المسرح، وهو

خيالية العالم والتي يمكن تعديلها وتكييفها من قبل الناس العاديين الذين يضعون

معا. وايلدر تذكر مرارا وتكرارا على جمهور من واقع مجموعات، والجهات الفاعلة، و

مخطوطات، وتعطيل الاتفاقيات من مسرح طبيعي.

دورة التاريخ


الجلد من أسناننا يؤكد الطبيعة المتكررة من التاريخ البشري. و

Antrobuses واجهت الكوارث في الماضي، والتغلب على مزيد من الكوارث خلال

بالطبع من الدراما، ونحن على استعداد للانخراط في نضالات أخرى في أداء

نهاية. وايلدر يؤكد على جودة دائري من حياة الشخصيات، كل فعل وجد

عليهم البدء من جديد. المسرحية يختتم الكلمات بالضبط نفس والوضع

والتي بدأت مع ذلك - تذكرة أخرى أن دورة التاريخ (وجود الإنسان)

وعلى ما يجري.


عائلة

ولعب كل من وحشية الباروديا ويماثل صورة العائلة النووية. جورج و

أنتروبوس ماجي أمثلة صارخة من مزود المذكر والمؤنث لل

الرعاية. له الحماس لاختراعاته وكتب، ولها واحدة في التفكير

من الممكن أن ينظر تفان لأولادها كما مبالغ فيه بخفة دم. حتى الآن، على

الانضمام إلى أدوارهم النمطية للجنسين ويبدو أن تسهم في بقاء

الجنس البشري في كل عمل، مما يوحي بأن استمرار الحضارة يتوقف

إدامة بنية الأسرة التقليدية في شكل ما.


الخير والشر

شخصية هنري، المعروف سابقا باسم قابيل، ويؤكد على وجود مستمر لل

الشر في العالم. هنري غاضب وعنيف هو جزء من الأسرة البشرية - و

يظهر في كل عمل - مما يشير إلى أن الشر لا يمكن أبدا أن تترك وراءها. هنري المعركة مع

والده في نهاية المسرحية ويوضح الصراع الجاري بين الخير

والشر. المقاطعات وحشية هذه الحرب، ومع ذلك، وترك دون حل (كما هو العالم الحقيقي

اشتباكات بين قوات من هذا القبيل غالبا ما ينتهي بهم). المسرحية كما يشير إلى أن البشرية تدخل

كل عهد جديد، في ان يجلب دائما على حد سواء جيدة والدوافع الشريرة على طول.



حالة الإنسان



شخصيات وايلدر في تجسيد الصفات الإنسانية الأساسية، وتواجه الإنسان الأساسية

الخبرات. وهي توضح الحقائق لا تتغير من حالة الإنسان.

التي تمثل بدورها المخابرات، حب الأم، والعنف، شهوة، والأنانية، و

تقرير وAntrobuses وسابينا تحمل العمل، وخيانة، والكوارث الطبيعية، و

حرب. في تصويره منهم وعالمهم الغريب الخالدة، وايلدر يؤكد

الجوانب أفضل وأسوأ من الوضع البشري: الإنسانية تمتلك إرادة و

يجب أن القدرة على البقاء على قيد الحياة وبعد مواجهة مرارا وتكرارا (وتغلب) المدمرة الخاصة بها

الاتجاهات.

[askar55]

والله اخي الكريم كانت الماده متعبتني بس شكلك بتسهلها علينا الله يسهل امورك

[ali2006]

المشاركة الأصلية كتبت بواسطة askar55 والله اخي الكريم كانت الماده متعبتني بس شكلك بتسهلها علينا الله يسهل امورك

الاخ الكريم عسكر

اسعد الله مساك بكل خير

انا اول مرة ادرس الادب الحديث و لكن هو نوع من الطقطقه على النت والبحث وراء المفيد.

لتعلم اخي الكريم ان هذه الماده جديدة على المنهج اي اول مرة تدرس لنا فنحن كبش الفداء في هذه المعركة بل نحن ابطالها انا وانت وكل من اختبر مناطق . أضف الى ذلك دكتورها جديد وليس لديه الكم الكافي من هذه المادة و اعتقد انه لن يضع اسئلة الاختبار .
وممكن نتواصل معه عبر تلفون المكتب
هاتف: 6952000 تحويلة. 65057
بريد الكتروني: malqussayer@kau.edu.sa

المنهج مكون من عشر قصص

لتعلم ان الدكتور قال للزملاء الذين حضروا الدوره انه اول مرة يدرس المنهج و انه حذف خمس قصص و اكتفي بخمس فقط . على باله جاب راس غليص . يعنى بصراحه ان اشوف ما سوى شي .

ملاحظه : مواد الادب تحتاج الى جهد كبير وابداع في اللغه وتمكن من الكلمات كما تعلم .

النقاط المتبعه لهذه الماده هي :

احضار دفتر ابو اربعين ورقه بريال من ابو ريالين هههههه واكتب قدر ما تسطيع .

المهم تحفظ الرجل العجوز والبحر هذا الفلم حاول تشوفه

فيلم الرجل العجوز و البحر 449 the old man and the sea
http://www.skaau.com/vb/showthread.php?t=558785

وتكتب عن
المؤلف مهم جدا


سؤال : هل عندك الكتب المقررة للمنهج ؟؟

عشان نتابع مع بعض اذا فيه جديد .

واعلم اخي انما هو الجنون ان ندرس مثل هذه الكتب ولكن ؟؟؟ حدونا ربعنا !!! ههخخهخخخههه


سلام

و اذا فيه جديد لا تبخل علينا




دمت و الأبداع

[thyab]

اخ ali2006 ياشيخ انت طلعت لي من السماء انا لي يومين احاول بذا الماده عيت تجي معي من يمين يسار مافيش الله يوفقك يابرنس ونعدي كلنا ذا الماده ياررررررررررررررررررررررررب

[عبوود955]

المادة دسمة وأعتقد مثل هذه المواد تعتمد على مدرس المادة يمديه يسهلها ويمديه يعقدها

بالتوفيق للجميع

[البارع]

من هو الدكتور الفاضل
انا درسني يوسف بدر االله يحفظة