روابط وملفات لمنهج الفكشن 342 الجديد- لعام 2012/1432 (الفصل الأول)

[ali2006]

E. M. Forster's

A Room with a View

At the beginning of A Room with a View, when he overhears Lucy Honeychurch and Miss Bartlett complaining that they did not get the rooms with views they had been promised in the Pension Bertolini, another guest interrupts, saying, "I have a view, I have a view. . . . This is my son . . . his name's George. He has a view , too." Mr. Emerson is speaking of their views of the river, but the Forsterian text has a double meaning. The Emersons' view has to do with more than the quality of their accommodations; they have what for Forster is a superior view of life. This philosophical view which the Emersons offer and which Lucy eventually accepts, is implied in the literal view that the Emersons relinquish with their room:

It was pleasant . . . to lean out into sunshine with beautiful hills and trees and marble churches opposite, and, close below, Arno, gurgling against the embankment of the road. Over the river men were at work. . . . Platforms were overflowing with Italians. . . . Then soldiers appeared . . . Beside them walked officers . . . and before them went little boys.

The literal view, then, is of monuments and scenery and of the Italian people who live amidst these things under the Italian sun. The average middle-class English person who looks out this window appreciates the scenery and disdains the people. Only the unconventional Mr. Emerson treats the Italians equally as human beings and sees that they possess the unencumbered emotion, the lack of which makes the English incomplete. In Chapter Five, "Possibilities of a Pleasant Outing," Mr. Eager, the resident English chaplain, praises a view that select Bertolini tourists could see from the hills on the way to Fiesole--a "view that Alessio Baldovinetti is fond of introducing into his pictures." Mr. Eager's connections with the English residential colony also allow the possibility of having tea at a Renaissance villa with one of those Englishmen who, "living in delicate seclusion, . . . read, wrote, studied, and exchanged ideas, thus attaining to that intimate knowledge, or rather perception, of Florence which is denied to all who carry in their pockets the coupons of Cook." Of course, these people do not have an "intimate" perception of Italy at all; for they, like the inferior tourists of the Bertolini, see only a part of what Italy is; their "delicate seclusion" keeps them from the hearty reality of the Italian people. Mr. Eager, commenting on the murder the previous day in the Piazza Signoria, reveals his affinity with these privileged ones:

This very square--so I am told--witnessed yesterday the most sordid of tragedies. To one who loves the Florence of Dante and Savonarola there is something portentous in such desecration--portentous and humiliating.

The irony is obvious. The Italy of Dante and Savonarola was full of passion and murder; the very spirit that engendered Renaissance high culture produced violence like that Mr. Eager deplores. In the novel Italy represents the proper balance between intellect and emotion, between culture and simple humanity. This balance was presented in Where Angels Fear to Tread in the scene at the opera. At one point in A Room with a View Mr. Emerson says that love is "not the body, but of the body." Equally, its culture is not Italy, but of Italy. This is the broader view that Mr. Emerson has and that Lucy eventually acquires. Both of them appreciate the art and the scenery of Italy, but they also love the people and share their emotional life.

In Chapter Six the tourists go on the drive they had planned the day before: "The Reverend Arthur Beebe, . . . [etc.], Drive out in Carriages to See a View: Italians Drive them." They do not, however, go for tea at a villa, because Mr. Eager would be mortified to introduce the improper Emersons to the Florentine elite. When the Italian driver brings his girl along for the ride, the English are confronted with the side of Italy they usually manage to ignore. The two lovers "were sporting disgracefully" behind the backs of Miss Bartlett and Mr. Eager, who is busy pointing out a villa in which some critics believe a scene from The Decameron was set. Of course many of the goings on in Boccaccio's work make the sporting of the driver and his girl friend seem pale. When the driver pays more attention to his girl than to his driving, the carriage lurches forward and Mr. Eager turns to find the Italians kissing. Although Mr. Emerson defends them, Mr. Eager makes the girl get down and declares, "Victory at last." Mr. Emerson, with his comprehensive vision, replies, "It is not victory. . . . It is defeat. You have parted two people who were happy." Lucy remains silent, but she envies the Italians their bliss, for the previous day she had had an experience that began to awaken her to the Emerson view.
The day before, on the way home from a shop where she had bought a photograph of Botticelli's "Birth of Venus," Lucy entered the Piazza Signoria thinking, "Nothing ever happens to me." The Piazza is beautiful in the twilight of evening, but:

Lucy desired more. She fixed her eyes wistfully on the tower of the palace which rose out of the lower darkness like a pillar of roughened gold. It seemed no longer a tower, no longer supported by earth, but some unattainable treasure throbbing in the tranquil sky. Its brightness mesmerized her, still dancing before her eyes when she bent them to the ground and started towards home. Then something did happen.

Lucy wants sexual fulfilment. She has bought the photo of Venus in spite of Charlotte Bartlett's declaring the nakedness a "pity." And with that symbol of the exposed female she walks into the shadow of the male ower. Lucy faints at the sight of blood and wakes in the arms of George Emerson: an Italian dies and English people are born into love. In the course of the murder Lucy's photographs have been stained with blood; there is blood on the naked Venus. She has--symbolically--lost her virginity. Her tourist souvenirs--and her socially conditioned response to Italy--have come into contact with the real Italy. This "symbolic moment" does not result in immediate change in Lucy's life, but a seed has been planted. It takes the last three-quarters of the novel to work out in social terms the marriage that has been symbolically consummated here.

In A Room with a View the day after her experience in the plaza, Lucy goes on the carriage drive and finds herself envying the Italian lovers' embrace; however, at the end of Chapter Six her own experience of the day before is reinforced. The tourists have descended from their carriages and broken into groups to see the view from the hillside. Lucy and George accidentally meet in a profusion of flowers:

He saw radiant joy in her face, he saw the flowers beat against her dress in blue waves. The bushes above them closed. He stepped quickly forward and kissed her. Before she could speak, almost before she could feel, a voice called, "Lucy! Lucy! Lucy!" The silence of life had been broken by Miss Bartlett, who stood brown against the view.

In the rest of the novel Lucy is caught in a conflict between the forces of middle-class repression--represented here by Miss Bartlett--and the force of her own passionate self, which Italy and the Emersons have made her begin to see.

Aided by Charlotte, Lucy resists her love for George, fleeing to Rome and thence to England, where she becomes engaged to Cecil Vyse. In England those people who had found the non-human aspect of Italy--the art and the scenery--most important, integrate this warped view into their lives, using Italian phrases and comparing English things to things Italian. Cecil likes Lucy because she is "leonardesque"; Miss Bartlett calls Lucy "Lucia." Lucy, however, has returned to England with a different experience of Italy.

Life, so far as she troubled to conceive it, was a circle of rich, pleasant people, with identical interests and identical foes. In this circle one thought, married and died. Outside it were poverty and vulgarity, for ever trying to enter, just as the London fog tries to enter the pine-woods, pouring through the gaps in the northern hills. But in Italy, where anyone who chooses may warm himself in equality, as in the sun, this conception of life vanished. Her senses expanded; she felt that there was no one whom she might not get to like, that social barriers were irremovable, doubtless, but not particularly high. You jump over them just as you jump into a peasant's olive-yard in the Apennines, and he is glad to see you. She returned with new eyes. . . . For Italy was offering her the most priceless of all possessions--her own soul.

It takes Lucy a while to accept what Italy offers her; but she eventually breaks off her engagement to Cecil when she finally realizes he is pompous and insufferable. She is saved from going to Greece with two old maids--a course of action that would confirm her in the spinsterly ways of Charlotte Bartlett--by a last minute meeting with Mr. Emerson, who convinces her to admit and act upon her love for George.

He had robbed the body of its taint, the world's taunts of their sting; she had shown her the holiness of direct desire. She "never exactly understood", she would say in after years, "how he managed to strengthen her. It was as if he had made her see the whole of everything at once."

That Lucy has indeed attained the inclusive vision of Mr. Emerson is confirmed at the very end of the novel, when--from the same window in the Pension Bertolini--Lucy answers the appeal of an Italian coach driver, not with the brusqueness of an Eager or Bartlett, but with simple human kindness. As the story ends, the love of George and Lucy is associated with the larger forces of the earth: ". . . they were conscious of a love more mysterious . . . they heard the river, bearing down the snows of winter into the Mediterranean."

[الفتى]

سبحان الله اوليفر تويست , قبل سنتين قلت لنفسي خل اتدرب على سماع القصص علشان اتعود على سماعها

رحت لمكتبة العبيكان وانا اشتريه كتاب مع سي دي للقصة اوليفر تويست وجلس السي دي بسيارتي سنة ونص

لين حفظته حفظ عدد السيديات 2 وسبحان الله الحين صار مقرر علينا ههههههههههه

[ام حمدان]

المشاركة الأصلية كتبت بواسطة smart1111 ايضا هذه عدة مرفقات لم اطلع عليها لاكن ايما ملخص حلو لان قريت فيها شوي واذا احد اطلع عليها ممكن يفيدنا وان لم تكن لها فائده ابلاغ الجميع للفائده

يعطيك الف عافيه

اكيد تفيد
اول ملف اظن يفيد عن الخلفيه التاريخيه لroom with a view
والثاني ترجمه نص اوليفر تويست
والثالث نص اوليفر تويست
والرابع اظن سمري لايما

الله يكتبهم في ميزان حسناتك

المشاركة الأصلية كتبت بواسطة LAURA H يعطيكي العافية يارب وشي كتييير ممتاااااز.. تصدقوا فلم اوليفر تويست جابوه مليووون مرة على قناة mbc max بس ولا مرة شفته ياخسارة!!!

الحمدلله سبق وشفت اوليفر تويست +ايما من زمان وافلامهم تقريبا محترمه لكن الثالثه ماقد شفتها

ولقيتها في اليوتيوب وحامت كبدي من الي شفته استغفر الله

المشاركة الأصلية كتبت بواسطة الفتى سبحان الله اوليفر تويست , قبل سنتين قلت لنفسي خل اتدرب على سماع القصص علشان اتعود على سماعها رحت لمكتبة العبيكان وانا اشتريه كتاب مع سي دي للقصة اوليفر تويست وجلس السي دي بسيارتي سنة ونص لين حفظته حفظ عدد السيديات 2 وسبحان الله الحين صار مقرر علينا ههههههههههه

طيب الحمدلله ان عندك خلفيه عنها هي اطول روايه في الفكشن

الله يهون علينا وعليكم كل عسير

[LAURA H]

يا بنااات معليش ممكن تنسخولي الروايات المترجمة على ملف وورد؟؟ ماني عارفة ايش المشكله مو راضية تفتح معي شكله برنامج الادوبي مو شغال!!

[nour al3mr]

أحذفي برنامج الآدوبي وارجعي حمليه

HERE

[LAURA H]

نووور تسلمي يارب.. رجعت حملته بس رجعت لي نفس المشكله صار يعلق بنفس التحميل.. لو ماعليكي امر ممكن تنسخيها ع الوورد لانه اسهل واسرع,,
يعطيكي العافية..

[nour al3mr]

^
حاولت انسخها لك في وورد لكن مازبط لان الصور مسحوبة بسكـآنر و ليست نص مكتوب يسهل نسخه و نقله لوورد

حـآولي مرة أخرى في برنامج الآدوبي =)

[LAURA H]

اوكي شكرا نور ع المساعدة,, راح احاول مرة تانية في الادوبي!!

[white rose]

^^
لورا
طمنينا عنك اذا ضبط عندك الادوبي

smart1111
يعطيك العافيه وربي يسعدك ملفاتك مهمة وعقبال ما نشوفك متخرج بامتياز ان شاء الله

fatima idris
حلو الرابط واهم شي بالعربي

الفتى
كويس على كذا تعرف الاحداث ربي يزيدك من علمه وفضله

[LAURA H]

لورا
طمنينا عنك اذا ضبط عندك الادوبي

هلا قلبي والله نفس المشكله ماني عارفة ايش اعمل نفسي احد ينسخ ع الوورد بس نور قالت انه ع السكانر يعني ماتقدر تنسخه!!