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1 |
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السلام عليكم hello back everyone thank you for |
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2 |
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submitting your homework most of you if you didn't |
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3 |
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already submit your homeworkهي ليست جيدة ولكن |
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4 |
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00:00:35,450 --> 00:00:39,910 |
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سأعطيك فرصة حتى غدا في الساعة 11 وإذا لم تجدني في |
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5 |
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00:00:39,910 --> 00:00:43,390 |
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مكتبتي فانت فقط تنقلها تحت .. تحت الباب ولكن |
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6 |
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00:00:43,390 --> 00:00:48,030 |
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سأخبرك بمقالات منك إذا كنت متأخر لأن إذا كنت تشغّل |
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7 |
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في وقت طوال الوقت ستحصل على مقالات كامة لكي تشغّل |
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8 |
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في وقت طوال الوقت لذلك اليوم لدينا |
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9 |
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مدرسة تجارب سنرى |
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10 |
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أي أسئلة لديكabout the course هابدأ تانى لازم |
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11 |
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بس أعيد من الأول اه الان بدي أبدأ يالا again مافي |
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12 |
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شأن |
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13 |
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thank you |
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14 |
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So السلام عليكم again everyone thank you for |
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15 |
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00:02:20,630 --> 00:02:23,150 |
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submitting your first assignment for this course |
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16 |
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and I'm really looking forward to grading them I'm |
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17 |
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00:02:26,830 --> 00:02:29,730 |
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sure you did a good job answering questions about |
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18 |
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Shakespeare today I'll take a chance to give you a |
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19 |
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00:02:34,050 --> 00:02:40,280 |
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review session let's take a breakلنبدأ بقصة جديدة |
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20 |
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لأننا يجب أن نبدأ مع مارلو و بين جونسون كعاملين من |
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21 |
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التقريرات الإليزابية والبلاي رايتس وعاملين من |
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22 |
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التقريرات الإليزابية والبلاي رايتس وعاملين من |
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23 |
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التقريرات الإيزابية وعاملين من التقريرات الإيزابية |
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وعاملين من التقريرات الإيزابية وعاملين من |
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25 |
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التقريرات الإيزابية وعاملين من التقريرات الإيزابية |
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26 |
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00:02:53,280 --> 00:02:54,040 |
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وعاملين من التقريرات الإيزابية وعاملين من |
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27 |
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00:02:54,040 --> 00:03:02,240 |
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التقريرات الإيزابية وعاملين من التقريرات |
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28 |
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00:03:02,240 --> 00:03:10,080 |
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الإيزابية وعاملين من التقريرات الإيزابOkay, yes |
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29 |
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00:03:10,080 --> 00:03:12,640 |
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can you also .. everyone if you want to ask |
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30 |
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00:03:12,640 --> 00:03:17,680 |
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question please speak up When two lines of verse |
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31 |
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rhyme, we call them couple, right? Yeah In the |
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32 |
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00:03:20,420 --> 00:03:24,140 |
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cystic and octave, when the eight .. does the |
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33 |
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eight lines have to rhyme, so we're going to call |
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34 |
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00:03:26,020 --> 00:03:29,900 |
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them cystic and octave? Okay, so when we spoke |
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35 |
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about the sonnet, remember the Italian sonnet? Yes |
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36 |
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00:03:33,440 --> 00:03:39,890 |
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The sonnet was born in Italy with a Y not Iand we |
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37 |
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00:03:39,890 --> 00:03:43,870 |
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spoke about Dante in brief, we spoke also about .. |
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38 |
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about .. the other name, the other Italian |
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39 |
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sonneteer the father of the sonnet Petrarch is |
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40 |
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00:03:59,110 --> 00:04:03,030 |
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it a difficult name? is it difficult? so Petrarch |
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41 |
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00:04:03,030 --> 00:04:10,060 |
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CH Petrarch exactly how you spell itالان قد يسمى |
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42 |
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00:04:10,060 --> 00:04:16,380 |
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Petrarch كالصينيتيه الأهم الإيطالية، هناك أسماء |
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43 |
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00:04:16,380 --> 00:04:22,120 |
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أخرى في إيطاليا، ولكن هذا ما نريد أن نركز عليه لأن |
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44 |
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00:04:22,120 --> 00:04:24,180 |
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بسبب Petrarch، |
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45 |
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00:04:25,900 --> 00:04:28,840 |
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و سيد توماس ويت .. they brought .. they loved the |
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46 |
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00:04:28,840 --> 00:04:31,700 |
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sonnet and again remember we always talk about the |
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47 |
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influence of Europe, of Italy, France, mainly |
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48 |
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Italy and France Actually the renaissance started |
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49 |
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00:04:39,040 --> 00:04:43,230 |
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in Italy well before it started in Englandفإنجلترا |
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50 |
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00:04:43,230 --> 00:04:48,530 |
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كانت ما زلت تكون مفروضة من أوروبا، خاصة من |
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51 |
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إيطاليا، فالصونت الإيطالي هو عامة اتنين جزء، تذكر؟ |
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52 |
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00:04:55,810 --> 00:05:03,290 |
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الشكل، الشكل من الصونت هي اتن خطوط، ثم اتن خطوط، |
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53 |
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00:05:03,290 --> 00:05:10,810 |
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اتن خطوط، ثم اتن خطوط، اتن خطوط نسميها أكتف |
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54 |
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00:05:13,140 --> 00:05:18,160 |
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وهذا الـ Sestate ستة |
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55 |
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00:05:18,160 --> 00:05:23,700 |
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من ستة عقبس من أكتر من أكتر من أكتر من أكتر من |
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56 |
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00:05:23,700 --> 00:05:23,740 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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57 |
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00:05:23,740 --> 00:05:23,940 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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58 |
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00:05:23,940 --> 00:05:27,600 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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59 |
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00:05:27,600 --> 00:05:27,600 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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60 |
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00:05:27,600 --> 00:05:27,740 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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61 |
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00:05:27,740 --> 00:05:29,980 |
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أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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62 |
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00:05:29,980 --> 00:05:30,520 |
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أكتر |
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63 |
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four lines, remember the four lines, the quatrain؟ |
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64 |
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your question is does this count as a rhyme, sorry |
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65 |
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00:05:50,880 --> 00:05:55,800 |
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as a rhyming couplet? no you know why? because |
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66 |
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00:05:55,800 --> 00:05:59,080 |
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generally this stops here, even does this count as |
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67 |
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00:05:59,080 --> 00:06:04,540 |
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a couplet? no it's part of the octave or the group |
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68 |
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00:06:04,540 --> 00:06:10,780 |
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of the stanza or the quatrainإذا في مجلسك أو أنك |
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69 |
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00:06:10,780 --> 00:06:14,080 |
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تجد اي شخص يحب فقط هذه الاتصالات وانت تنظر إليهم |
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70 |
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00:06:14,080 --> 00:06:19,260 |
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في حفرة، يمكنك أن تسميهم كابلت، انه بخير، يمكنك، |
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71 |
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00:06:19,260 --> 00:06:22,720 |
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إذا كانوا في حفرة، لأنك لا تعرفين المجلس، لا |
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72 |
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تعرفين .. ولكن عاملاً، هذا مهم، عاملاً، هنا لا |
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73 |
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00:06:28,700 --> 00:06:32,600 |
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يعطيوا واحدة فكرة، هذا هو أهم شيء عن الكابلت، |
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74 |
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00:06:32,600 --> 00:06:37,470 |
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أتذكر؟it's like a paragraph, a prose paragraph, |
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75 |
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00:06:37,510 --> 00:06:40,270 |
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what is a paragraph? a group of related sentences |
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76 |
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00:06:40,270 --> 00:06:44,790 |
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about one topic, one idea. Now the couplet, two |
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77 |
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00:06:44,790 --> 00:06:50,260 |
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rhyming lines, two rhymes, two lines that rhymeانا |
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78 |
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.. they are about the same thing always remember |
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79 |
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00:06:52,740 --> 00:06:55,860 |
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Shakespeare's couplet at the end so long as this |
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80 |
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00:06:55,860 --> 00:06:59,540 |
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.. so long as men can breathe or eyes can see so |
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81 |
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00:06:59,540 --> 00:07:02,540 |
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long lives this and this gives life to thee what |
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82 |
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00:07:02,540 --> 00:07:06,180 |
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happens in the first four lines here the quadrant |
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83 |
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00:07:06,180 --> 00:07:10,100 |
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is the author develops an idea if you stop here |
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84 |
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00:07:10,100 --> 00:07:13,140 |
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the idea is not complete if you stop here it's |
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85 |
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00:07:13,140 --> 00:07:15,600 |
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usually not complete if you stop here it's usually |
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86 |
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00:07:15,600 --> 00:07:21,250 |
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not completeعندما تنتهي أول أربع رقم، فهناك جزء من |
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87 |
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00:07:21,250 --> 00:07:23,350 |
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فكرة تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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88 |
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00:07:23,350 --> 00:07:24,330 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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89 |
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00:07:24,330 --> 00:07:25,130 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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90 |
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00:07:25,130 --> 00:07:25,630 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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91 |
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00:07:25,630 --> 00:07:26,210 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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92 |
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00:07:26,210 --> 00:07:28,110 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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93 |
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00:07:28,110 --> 00:07:43,070 |
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تقدر تقدر تقدر تقدر تقدر تقدر تقد |
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94 |
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00:07:45,930 --> 00:07:50,090 |
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نحن لدينا ثلاثة كواترين، تذكرين؟ ثلاثة .. ماهو |
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95 |
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00:07:50,090 --> 00:07:58,270 |
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كواترين؟ أربعة خطوط، حسنًا؟ ومجموعة، ومجموعة |
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96 |
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00:07:58,270 --> 00:08:02,630 |
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الأولى |
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97 |
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00:08:02,630 --> 00:08:09,810 |
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أربعة خطوط عادة تكون لديها فكرة واحدة فكرة واحدة |
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98 |
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00:08:09,810 --> 00:08:14,710 |
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وثم كواترين الثانيةتتحرك إلى فكرة أو صورة أخرى |
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99 |
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00:08:14,710 --> 00:08:18,570 |
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والثالث قواتر يتحرك إلى فكرة أخرى ولكن الثلاث |
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100 |
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00:08:18,570 --> 00:08:21,890 |
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قواترين لديهم نفس الموضوع، نفس المشكلة، نفس |
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101 |
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00:08:21,890 --> 00:08:24,950 |
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المصادر مثل ان شل اي compare thee to a summer's |
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102 |
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00:08:24,950 --> 00:08:29,430 |
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day فهو يقوم بالكتابة تقريبا 12 قطع ويقول لا، |
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103 |
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00:08:29,430 --> 00:08:34,090 |
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الحياة ليست ممتازة، كل حفر من حفر أحيانا يتخلص |
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104 |
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00:08:34,960 --> 00:08:37,400 |
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Summer is beautiful but sometimes there is rough |
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105 |
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00:08:37,400 --> 00:08:40,800 |
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winds right? Summer is beautiful but again the |
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106 |
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00:08:40,800 --> 00:08:44,440 |
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winds do shake the darling buds of May Summer is |
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107 |
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00:08:44,440 --> 00:08:48,100 |
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beautiful but summer is sometimes what? Short and |
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108 |
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00:08:48,100 --> 00:08:52,040 |
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hot. Sometimes the clouds destroy the beauty of |
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109 |
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00:08:52,040 --> 00:08:56,020 |
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this So he moves from one image to the other like |
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110 |
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00:08:56,020 --> 00:08:59,540 |
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in Sonnet 73 I guess where he speaks in the first |
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111 |
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00:08:59,540 --> 00:09:03,120 |
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quatrain he speaks about the end of the year |
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112 |
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00:09:03,120 --> 00:09:07,540 |
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autumnWhat happens in autumn؟ Yellow leaves, |
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113 |
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00:09:08,100 --> 00:09:13,360 |
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right؟ The end of the circle In the second |
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114 |
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00:09:13,360 --> 00:09:16,600 |
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quadrant we've got the end of the day, the sunset |
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115 |
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00:09:16,600 --> 00:09:21,220 |
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So the day is good, we start active, energetic, we |
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116 |
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00:09:21,220 --> 00:09:23,960 |
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have all hopes and you know dreams We want to go |
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117 |
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00:09:23,960 --> 00:09:26,640 |
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to school, to attend classes, to meet friends, to |
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118 |
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00:09:26,640 --> 00:09:30,190 |
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go to the cafeteria, to eat pizza, you knowفي |
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119 |
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00:09:30,190 --> 00:09:33,770 |
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نهاية اليوم، كل شيء يأتي إلى نهاية، لا شيء يستمر |
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120 |
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00:09:33,770 --> 00:09:39,510 |
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أبدًا، ثم في الثالث قطر، يتحدث عن نهاية حرارة، |
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121 |
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00:09:39,510 --> 00:09:44,890 |
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حرارة، هل تعرفين؟ حرارة، لكنها تنتهي بـAshes، |
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122 |
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00:09:44,890 --> 00:09:47,450 |
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اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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123 |
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00:09:47,450 --> 00:09:48,050 |
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اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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124 |
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00:09:48,050 --> 00:09:51,250 |
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اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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125 |
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00:09:51,250 --> 00:09:57,300 |
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اشيس، اشيس، اشيس، اشيس، اشيسin a way this is the |
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126 |
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00:09:57,300 --> 00:10:01,880 |
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crisis، this is the issue of time، but what does |
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127 |
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00:10:01,880 --> 00:10:05,660 |
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he do in the couplet؟ in a way he twists، there's |
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128 |
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00:10:05,660 --> 00:10:08,040 |
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something called a volta، the volta is a twist |
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129 |
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00:10:09,120 --> 00:10:13,880 |
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وكذلك في الصينيت 18 مرة أخرى قال شيء مثل .. لا |
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130 |
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00:10:13,880 --> 00:10:18,040 |
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أستطيع أن أتذكر ذالك قصة مثل 18 مرة، قال إن كذلك، |
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131 |
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00:10:18,040 --> 00:10:22,420 |
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ولكن عيوني ستعيش دائما، عيوني ليس مات، صينيتي ليس |
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132 |
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00:10:22,420 --> 00:10:28,520 |
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مات، يذكرنا مرة أخرى كيف يؤمن في عيونه، يعطينا نوع |
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133 |
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00:10:28,520 --> 00:10:33,030 |
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من الأمل أو مقفلة أو نهايةSo long as men can |
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134 |
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breathe or eyes can see, so long lives this and |
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135 |
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this gives life to thee So the couplet has one |
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136 |
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idea، so again going back to your question، can we |
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137 |
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call this here a couplet؟ Generally no، if you |
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138 |
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find them alone wandering aroundyou could say that |
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139 |
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but when you read them they are not going to give |
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140 |
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you a full idea like the idea of so long as men |
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141 |
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can breathe or eyes can see, so long as this or |
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142 |
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this gives lifein other words in your exam I'm not |
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143 |
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00:11:08,330 --> 00:11:10,550 |
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going to give you two lines from here and ask you |
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144 |
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whether this is a couplet I'll give you a full |
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145 |
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stanza either two lines if it's complete couplet |
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146 |
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00:11:18,530 --> 00:11:23,610 |
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or quatrain four lines or six or maybe eight lines |
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147 |
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but we usually because you're still beginning to |
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148 |
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00:11:26,590 --> 00:11:29,390 |
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learn English in English literature I usually only |
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149 |
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focus on two lines okay |
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150 |
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any any other question about the sonnet, does |
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151 |
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00:11:38,860 --> 00:11:41,100 |
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anyone want to ask questions about the sonnet, the |
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152 |
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rhyme scheme, the importance of the sonnet, |
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153 |
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Shakespeare and the sonnet please |
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154 |
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do ask sorry not the sonnet, so no more sonnet |
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155 |
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okay |
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156 |
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I'll ask you a question hereفي .. في .. في .. في |
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157 |
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00:12:06,450 --> 00:12:07,410 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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158 |
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00:12:07,410 --> 00:12:07,970 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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159 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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160 |
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00:12:08,330 --> 00:12:09,450 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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161 |
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00:12:09,450 --> 00:12:09,950 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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162 |
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00:12:09,950 --> 00:12:12,310 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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163 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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164 |
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00:12:12,590 --> 00:12:12,850 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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165 |
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00:12:12,850 --> 00:12:12,850 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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166 |
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00:12:12,850 --> 00:12:12,850 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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167 |
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00:12:12,850 --> 00:12:13,930 |
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.. في .. في .. في .. في .. في .. في .. في .. في .. |
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168 |
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00:12:13,930 --> 00:12:15,730 |
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في .. في .. في .. في .. في .. في .. في .. في .. في |
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169 |
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00:12:15,730 --> 00:12:22,170 |
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.. في .. في .. في .. في .. |
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170 |
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في .. في .. |
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171 |
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00:12:30,600 --> 00:12:33,600 |
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Do they rhyme? Is there rhyme here? This doesn't |
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172 |
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count generally, unless the sounds before it have |
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173 |
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something similar to drop, like hops for example, |
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174 |
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hops, drops and hopsلكن drop و box لا يتعرفون، |
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175 |
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التعرف غالبا ليس الأصوات الأخيرة، عادة 2 أو أحيانا |
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176 |
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3، يجب أن ننظر إلى هذا بطيئة مرة أخرى، ماذا تفكر |
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177 |
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00:12:58,740 --> 00:13:08,400 |
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بهذا؟ قصة مشهورة من مالو، سنقرأها لاحقا، يبدأ قصته |
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178 |
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يقول come |
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179 |
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00:13:13,380 --> 00:13:21,740 |
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Live with me and be my love and |
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180 |
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Notice when you begin a line of verse, you begin |
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181 |
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with capital. That's the rules when you write |
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182 |
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poetry. The first word, you capitalize the first |
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183 |
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letter of the first word of each and every line. |
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184 |
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And this is how you distinguish sometimes verse |
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185 |
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from prose in Shakespeare. If it is capitalized, |
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186 |
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then it's poetry. If it's not, it's prose. But |
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187 |
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more important than this is the musicنحن رأينا |
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188 |
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كمان شايلوف لا يستخدم الكتابة في have not a true |
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189 |
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00:13:54,940 --> 00:14:06,440 |
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eyes و سوف نستخدم كل المعجزات هذا |
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190 |
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00:14:06,440 --> 00:14:16,520 |
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قصة مشهورة جدا هنا هل هي قصة مشهورة؟ لا لدينا |
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191 |
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00:14:16,520 --> 00:14:19,600 |
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love and |
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192 |
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Prove Okay we have O V E and also O V E if you |
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193 |
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00:14:28,910 --> 00:14:33,750 |
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know how to do transcription this is love and this |
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194 |
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is prove probably next year what do you think of |
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195 |
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this is this a couplet do we have rhyme here what |
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196 |
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00:14:45,090 --> 00:14:50,130 |
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do you think it's not a couplet because the sound |
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197 |
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is differentThe sounds are different, we have love |
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198 |
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like dove, cut, hot, but and this is prove What do |
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199 |
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00:15:03,400 --> 00:15:05,180 |
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you think? Does anybody have something? |
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200 |
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00:15:08,260 --> 00:15:12,920 |
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If you look at the words, if you look at the |
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201 |
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00:15:12,920 --> 00:15:18,340 |
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words, they look similar They look similar O V E O |
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202 |
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00:15:18,340 --> 00:15:23,860 |
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V EThe V sound is the same but the one before, so |
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203 |
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00:15:23,860 --> 00:15:25,960 |
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if you look at it from a distance, if you don't |
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204 |
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know the words, how they are pronounced, you think |
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205 |
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they rhyme, but in reality they don't perfectly |
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206 |
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00:15:32,280 --> 00:15:37,720 |
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rhymeهم يراميين بشكل محدد، نسمي هذا .. لديه إسمات |
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207 |
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00:15:37,720 --> 00:15:41,820 |
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مختلفة، يسميها رامي غير ممتاز أو أحيانًا يسميها اي |
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208 |
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00:15:41,820 --> 00:15:45,940 |
|
رامي، هل تعرفين اي رامي؟ لأنك تنظر إليها، تبدوا |
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209 |
|
00:15:45,940 --> 00:15:50,380 |
|
كما لو كانوا يراميين، لكنهم لا يراميين بشكل ممتاز، |
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210 |
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00:15:50,380 --> 00:15:55,940 |
|
لذلك، ماهو هذا؟ إنه ما زلت كابلت، هذا كابلت، لأنه |
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211 |
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00:15:55,940 --> 00:15:59,260 |
|
لديه فكرة واحدة، تعالي تعيشي معي و تكون حبيبي و |
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212 |
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00:15:59,260 --> 00:16:00,260 |
|
سنقوم بجمع جمهور |
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213 |
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00:16:02,820 --> 00:16:06,480 |
|
Is there a rhyme here? yes but the rhyme is |
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214 |
|
00:16:06,480 --> 00:16:14,060 |
|
imperfect imperfect still a rhyme now imperfect |
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215 |
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00:16:14,060 --> 00:16:16,940 |
|
rhyme is still a rhyme they rhyme but they don't |
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216 |
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00:16:16,940 --> 00:16:18,980 |
|
rhyme one hundred percent they rhyme like what |
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217 |
|
00:16:18,980 --> 00:16:22,780 |
|
sixty fifty percent now there is a justification |
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218 |
|
00:16:22,780 --> 00:16:28,660 |
|
for here sometimes the poet uses imperfect rhyme |
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219 |
|
00:16:28,660 --> 00:16:33,630 |
|
to tell us there's something wrong hereانظر إلى |
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220 |
|
00:16:33,630 --> 00:16:41,370 |
|
هذا، هذا قصة من رجل يقابل حبيبه لحبه و يعيش معاه، |
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221 |
|
00:16:41,370 --> 00:16:46,870 |
|
لماذا؟ كيف يحاول أن يثبتها؟ هو يقول لها نحن سنحصل |
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222 |
|
00:16:46,870 --> 00:16:50,990 |
|
على جمهورنا جميعا، نحن لدينا جمهورنا جميعا في |
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223 |
|
00:16:50,990 --> 00:16:54,830 |
|
العالم، في الحقيقة لا أحد لديه جمهوره جميعا في |
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224 |
|
00:16:54,830 --> 00:16:59,170 |
|
العالم، لا أحد لديه جمهوره جميعا في العالم، |
|
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225 |
|
00:17:02,990 --> 00:17:07,870 |
|
في الحقيقة هو لا يخبر الحقيقة و هذا الصوت اللي |
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|
226 |
|
00:17:07,870 --> 00:17:15,130 |
|
يظهر هنا هو يخبرنا أنه يحكي لأنه يحاول أن يوصف |
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227 |
|
00:17:15,130 --> 00:17:21,080 |
|
الحياة للمرأة كمفتاحperfect life, but even the |
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228 |
|
00:17:21,080 --> 00:17:24,080 |
|
rhyme doesn't rhyme perfectly, that's the trick |
|
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|
229 |
|
00:17:24,080 --> 00:17:27,020 |
|
here, so the rhyme .. the imperfect rhyme here |
|
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|
230 |
|
00:17:27,020 --> 00:17:31,280 |
|
tells us something about the idea, so there is |
|
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231 |
|
00:17:31,280 --> 00:17:33,940 |
|
imperfection in the poem and the imperfection is |
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|
232 |
|
00:17:33,940 --> 00:17:38,070 |
|
reflected in the imperfect rhymeولكن ماذا يقول |
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|
233 |
|
00:17:38,070 --> 00:17:42,570 |
|
الراجل؟ هو يقول الحياة ممتازة، أنا أملك كل شيء، كل |
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|
234 |
|
00:17:42,570 --> 00:17:44,970 |
|
شيء بخير، أنا أملك كل شيء، نحن نستطيع أن نحصل على |
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|
235 |
|
00:17:44,970 --> 00:17:48,830 |
|
كل المعجزات في العالم وصوت القصة تخبرنا أنه يحكي |
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|
236 |
|
00:17:48,830 --> 00:17:53,710 |
|
لأن خطة الـ rhyme ليست ممتازة، إنها تشكل شيء غير |
|
|
|
237 |
|
00:17:53,710 --> 00:17:58,830 |
|
ممتاز في المعنى، في الفكرة أو بسيطة، بعض الناس |
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|
|
238 |
|
00:17:58,830 --> 00:18:02,690 |
|
يقولون، ولكن هذه إجابة غير ممتازة، ربما في وقت |
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|
239 |
|
00:18:02,690 --> 00:18:08,550 |
|
شكسبير أو مارلو، ربما هذه الكلماتcould have the |
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|
240 |
|
00:18:08,550 --> 00:18:12,810 |
|
same rhyme could have rhymed in the past like |
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241 |
|
00:18:12,810 --> 00:18:16,330 |
|
three four hundred years ago maybe they rhymed I |
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242 |
|
00:18:16,330 --> 00:18:19,910 |
|
don't know how which is better to say love and |
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|
243 |
|
00:18:19,910 --> 00:18:25,710 |
|
prove or love and prove love or prove yeah in my |
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244 |
|
00:18:25,710 --> 00:18:28,750 |
|
opinion I think it's harsh to destroy love saying |
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245 |
|
00:18:28,750 --> 00:18:34,630 |
|
provemaybe you can play with but I don't know how |
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|
246 |
|
00:18:34,630 --> 00:18:37,210 |
|
they pronounce it maybe we can check this later on |
|
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|
247 |
|
00:18:37,210 --> 00:18:41,690 |
|
so what's the point here sometimes this is not |
|
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|
248 |
|
00:18:41,690 --> 00:18:45,790 |
|
rhyme because the S here doesn't make rhyme you |
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249 |
|
00:18:45,790 --> 00:18:50,070 |
|
need to check the letter the sound before here we |
|
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|
250 |
|
00:18:50,070 --> 00:18:53,710 |
|
check the sound before and they don't perfectly |
|
|
|
251 |
|
00:18:53,710 --> 00:18:59,860 |
|
rhyme we call it imperfect rhyme or I rhymeهل هذا |
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|
252 |
|
00:18:59,860 --> 00:19:06,200 |
|
مهم في القصة؟ نعم لأنها تظهر شيء عن القصة ومعنى |
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|
|
253 |
|
00:19:06,200 --> 00:19:11,060 |
|
القصة نفسها القصة تقول انتظر لحظة هناك موسيقى |
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|
|
254 |
|
00:19:11,060 --> 00:19:16,340 |
|
وممتع ولكن هنا لا يوجد موسيقى ممتعة لا يوجد موسيقى |
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|
|
255 |
|
00:19:16,340 --> 00:19:19,720 |
|
ممتعة لأن هناك شيء غير صح ماهي غير صح هنا؟ قصد |
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|
256 |
|
00:19:19,720 --> 00:19:26,720 |
|
يكذب على زوجته واسم القصة هنا The Shepherdsالشيبرد |
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|
257 |
|
00:19:26,720 --> 00:19:31,000 |
|
ال .. the .. the speaker, the character, the man |
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258 |
|
00:19:31,000 --> 00:19:33,000 |
|
saying come live with me and be my love is a |
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259 |
|
00:19:33,000 --> 00:19:37,200 |
|
shepherd and a shepherd is generally a poor man |
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260 |
|
00:19:37,200 --> 00:19:42,080 |
|
who takes care of sheep if you are a shepherd you |
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261 |
|
00:19:42,080 --> 00:19:45,700 |
|
.. it's impossible for you to have all .. all the |
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262 |
|
00:19:45,700 --> 00:19:49,780 |
|
pleasures in life etc okay |
|
|
|
263 |
|
00:19:50,950 --> 00:19:52,690 |
|
No more questions about the sonnet, please do ask |
|
|
|
264 |
|
00:19:52,690 --> 00:19:55,170 |
|
if you have any. The sonnet, go. So I didn't get |
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|
265 |
|
00:19:55,170 --> 00:19:59,170 |
|
it clearly, but is a rhyme scheme focused more on |
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|
266 |
|
00:19:59,170 --> 00:20:01,890 |
|
the letters rather than the sound? The sound of |
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|
267 |
|
00:20:01,890 --> 00:20:05,150 |
|
course, no, the sound. When it comes to the rhyme, |
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|
268 |
|
00:20:05,770 --> 00:20:13,990 |
|
we care about the sound, not the letter. But verbs |
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269 |
|
00:20:13,990 --> 00:20:17,230 |
|
and verbs like, must be clearer than love and |
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|
270 |
|
00:20:17,230 --> 00:20:21,740 |
|
rules.this one? no yeah no sometimes yes like why |
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|
271 |
|
00:20:21,740 --> 00:20:25,080 |
|
why why wouldn't this rhyme? like because more |
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|
272 |
|
00:20:25,080 --> 00:20:27,240 |
|
important this is an additional letter like it |
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|
273 |
|
00:20:27,240 --> 00:20:31,740 |
|
just comes and goes drop |
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|
274 |
|
00:20:31,740 --> 00:20:39,120 |
|
and book? no way drop book book book |
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|
275 |
|
00:20:42,220 --> 00:20:52,000 |
|
even if we say for example drop |
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|
276 |
|
00:20:52,000 --> 00:20:59,720 |
|
drop drop drop it still doesn't rhyme drop and بق |
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|
277 |
|
00:20:59,720 --> 00:21:06,000 |
|
no way there is no rhyme here but with the S does |
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278 |
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00:21:06,000 --> 00:21:10,290 |
|
it rhyme no I don't think it rhymes hereلكن إذا |
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279 |
|
00:21:10,290 --> 00:21:16,130 |
|
كنت تقلق، لا بأس، ليس مشكلة كبيرة، نعم؟ إذا كان |
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280 |
|
00:21:16,130 --> 00:21:21,710 |
|
هناك تقصير و طلبنا أن نكتب عنه، هل يجب أن نكتب |
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281 |
|
00:21:21,710 --> 00:21:25,730 |
|
drop A و box B؟ نعم، لكن إذا لم تكن تكتب عنه، لأنك |
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282 |
|
00:21:25,730 --> 00:21:29,770 |
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ما زلت مبدأ، ليس هذا نهاية العالم نفس الشيء مع |
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283 |
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00:21:29,770 --> 00:21:33,090 |
|
love and war، هل يجب أن نكتب عنه؟ لا، لكن هناك رمز |
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284 |
|
00:21:33,090 --> 00:21:37,580 |
|
هنا، هناك رمز هناbut it's imperfect, this is |
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285 |
|
00:21:37,580 --> 00:21:43,160 |
|
clearer than this in many ways, good question, so |
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286 |
|
00:21:43,160 --> 00:21:46,480 |
|
because this is not year four, you're not about to |
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287 |
|
00:21:46,480 --> 00:21:48,780 |
|
graduate, you're still starting your life learning |
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288 |
|
00:21:48,780 --> 00:21:50,500 |
|
English, English poetry and you're not native |
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289 |
|
00:21:50,500 --> 00:21:53,120 |
|
speakers, so sometimes there's a lot of |
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290 |
|
00:21:53,120 --> 00:21:59,480 |
|
flexibility, yesgo on next I wanna ask something |
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291 |
|
00:21:59,480 --> 00:22:04,560 |
|
are the questions about history for example who |
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292 |
|
00:22:04,560 --> 00:22:07,780 |
|
invaded England are they included in the exam? |
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293 |
|
00:22:08,740 --> 00:22:13,000 |
|
listen this is a course about the literature |
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294 |
|
00:22:13,000 --> 00:22:16,620 |
|
itself or the situation we are not studying |
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295 |
|
00:22:16,620 --> 00:22:19,080 |
|
history we are studying literature this is an |
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296 |
|
00:22:19,080 --> 00:22:22,900 |
|
introduction to English literature course for |
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297 |
|
00:22:22,900 --> 00:22:27,300 |
|
beginnersوقد قلت في البداية أننا سنقوم بتجارب قصص |
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298 |
|
00:22:27,300 --> 00:22:33,720 |
|
الكتابة في مجالها التاريخي، وسنقوم بتدري كيف كانت |
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299 |
|
00:22:33,720 --> 00:22:36,480 |
|
التاريخ أو الأحداث التاريخية تأثير على الكتابة |
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300 |
|
00:22:36,480 --> 00:22:41,740 |
|
وكيف تأثير الكتابة على الحياة، تغيير الحياة بطريقة |
|
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301 |
|
00:22:41,740 --> 00:22:46,160 |
|
ما أو باختصار آخر، لكن التركيز، 80% من تركيزنا على |
|
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302 |
|
00:22:46,160 --> 00:22:51,150 |
|
الكتابةبعض الأحداث في التاريخ مهمة جدًا مثل الـ |
|
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303 |
|
00:22:51,150 --> 00:22:55,930 |
|
printing press يجب أن تتعرف على هذا هذا مصطلح علمي |
|
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304 |
|
00:22:55,930 --> 00:23:00,070 |
|
انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه |
|
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305 |
|
00:23:00,070 --> 00:23:01,450 |
|
مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح |
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306 |
|
00:23:01,450 --> 00:23:02,550 |
|
علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي |
|
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307 |
|
00:23:02,550 --> 00:23:02,650 |
|
انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه |
|
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308 |
|
00:23:02,650 --> 00:23:06,610 |
|
مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح |
|
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309 |
|
00:23:06,610 --> 00:23:12,710 |
|
علمي انه مصطلح |
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310 |
|
00:23:12,710 --> 00:23:13,470 |
|
علمي |
|
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311 |
|
00:23:17,620 --> 00:23:24,780 |
|
1 سنة 200 صحيحة مثلا الانفجار الفرنسي النارماني |
|
|
|
312 |
|
00:23:24,780 --> 00:23:28,700 |
|
عندما جاءوا لإنجلان انفجروا اللغة في الكتابة |
|
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313 |
|
00:23:28,700 --> 00:23:33,680 |
|
فالركز على الكتابة ولكن يجب أن تكون مهم أن تعرف |
|
|
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314 |
|
00:23:33,680 --> 00:23:38,920 |
|
الأحداث التاريخية المهمة مثلا بريطانيا تم انفجارها |
|
|
|
315 |
|
00:23:38,920 --> 00:23:42,500 |
|
الكثير من الناس من أوروبا انغلومر، ساكسن، جويت، |
|
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316 |
|
00:23:42,500 --> 00:23:46,700 |
|
هذا ليس موجود يجب أن تعرف هذاOkay are you gonna |
|
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|
317 |
|
00:23:46,700 --> 00:23:50,480 |
|
put a question in the exam? maybe but the question |
|
|
|
318 |
|
00:23:50,480 --> 00:23:53,860 |
|
here is in their .. in the literary context in the |
|
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319 |
|
00:23:53,860 --> 00:23:57,000 |
|
sense that remember when we spoke about old |
|
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320 |
|
00:23:57,000 --> 00:24:01,880 |
|
English we saidat that time we didn't have a clear |
|
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321 |
|
00:24:01,880 --> 00:24:05,380 |
|
idea of what England is even the literature was |
|
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322 |
|
00:24:05,380 --> 00:24:08,740 |
|
not pure English in the sense we have now or even |
|
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323 |
|
00:24:08,740 --> 00:24:12,640 |
|
the sense Shakespeare composed because people |
|
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324 |
|
00:24:12,640 --> 00:24:16,340 |
|
still had .. came from different countries across |
|
|
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325 |
|
00:24:16,340 --> 00:24:21,160 |
|
Europe and they were using different languagesSo |
|
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326 |
|
00:24:21,160 --> 00:24:23,880 |
|
did this .. they know the invasions .. did this |
|
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327 |
|
00:24:23,880 --> 00:24:26,420 |
|
influence the culture, the language, the |
|
|
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328 |
|
00:24:26,420 --> 00:24:29,080 |
|
literature؟ Yes and that's the focus So at that |
|
|
|
329 |
|
00:24:29,080 --> 00:24:32,060 |
|
time we said England was trying to shape its |
|
|
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330 |
|
00:24:32,060 --> 00:24:36,300 |
|
identityفي السنة المتوسطة، السنة المتوسطة |
|
|
|
331 |
|
00:24:36,300 --> 00:24:40,940 |
|
الإنقليزية، بعد 3، 4، 500 عاماً، بدأنا نتحدث عن |
|
|
|
332 |
|
00:24:40,940 --> 00:24:43,340 |
|
الكتابة الإنقليزية، الكتابة الإنقليزية الحقيقية |
|
|
|
333 |
|
00:24:43,340 --> 00:24:46,320 |
|
عندما نتحدث عن Chaucer نقول، في Chaucer، هناك |
|
|
|
334 |
|
00:24:46,320 --> 00:24:50,080 |
|
دائما هذا الانتقال في أن نكون مختلفين، بدأ حياته |
|
|
|
335 |
|
00:24:50,080 --> 00:24:52,500 |
|
بالطريقة التي كان يمثل بعض الكتابات الإيطالية |
|
|
|
336 |
|
00:24:52,500 --> 00:24:57,820 |
|
والفرنسية، لكن بعد ذلك، فإنشغل طريقته وركز على |
|
|
|
337 |
|
00:24:57,820 --> 00:24:59,180 |
|
كتابة الإنقليزية |
|
|
|
338 |
|
00:25:03,090 --> 00:25:05,710 |
|
because when you have your own country you want to |
|
|
|
339 |
|
00:25:05,710 --> 00:25:07,590 |
|
have your own culture and literature, you want to |
|
|
|
340 |
|
00:25:07,590 --> 00:25:09,870 |
|
be different, you want to create your identity, |
|
|
|
341 |
|
00:25:10,010 --> 00:25:12,590 |
|
remember we spoke about the English identity when |
|
|
|
342 |
|
00:25:12,590 --> 00:25:16,730 |
|
we mentioned Skelton, Philip Sparrow, vengeance I |
|
|
|
343 |
|
00:25:16,730 --> 00:25:21,490 |
|
ask and cryقلنا إن جون سكيلتون كان شخصًا مهمًا في |
|
|
|
344 |
|
00:25:21,490 --> 00:25:26,330 |
|
ذلك الوقت لأنه كان يساعد في شكل اعتبار الإنقليزية |
|
|
|
345 |
|
00:25:26,330 --> 00:25:30,270 |
|
الإنقليزية وفي قصته يمكننا أن نجد قصة مختلفة من |
|
|
|
346 |
|
00:25:30,270 --> 00:25:37,310 |
|
قصة أوروبا وخاصة إيطاليا وفرنسا في قصته هناك شعور |
|
|
|
347 |
|
00:25:37,310 --> 00:25:40,710 |
|
قوي لإنقليزية الإنقليزية ماهي إنقليزية الإنقليزية؟ |
|
|
|
348 |
|
00:25:40,710 --> 00:25:44,370 |
|
ماذا يعني أن تكون إنقليزيا؟ ماذا يجعلك مختلفا من |
|
|
|
349 |
|
00:25:44,370 --> 00:25:52,020 |
|
الإيطاليين والفرنسا؟number one your language |
|
|
|
350 |
|
00:25:52,020 --> 00:25:57,620 |
|
right? number two your literature, your poetry, |
|
|
|
351 |
|
00:25:57,960 --> 00:26:00,160 |
|
the stories, the narratives, the customs, the |
|
|
|
352 |
|
00:26:00,160 --> 00:26:03,700 |
|
habits, so they were focusing on the things that |
|
|
|
353 |
|
00:26:03,700 --> 00:26:08,390 |
|
make them differentهذه الانفجارات مهمة لأن |
|
|
|
354 |
|
00:26:08,390 --> 00:26:12,990 |
|
الإنجليزية كلغة في الواقع موجودة من كلمات مختلفة، |
|
|
|
355 |
|
00:26:12,990 --> 00:26:18,670 |
|
هناك طريقات اللاتين، طريقات ألمانيا، كلمات فرنسية، |
|
|
|
356 |
|
00:26:18,670 --> 00:26:20,750 |
|
الكثير من الكلمات فرنسية، حتى كلمات عربية، |
|
|
|
357 |
|
00:26:20,750 --> 00:26:24,730 |
|
الإنجليزية طبعاً هي كلمة مستقلة جداً، تتخلص من كل |
|
|
|
358 |
|
00:26:24,730 --> 00:26:30,950 |
|
الكلمات، لذلك الانفجارات مهمة لكي تفهمها، لأن هذا |
|
|
|
359 |
|
00:26:30,950 --> 00:26:33,730 |
|
هو طريقة انتصار إنجليزيا إلى إنجليزيا، انتصار |
|
|
|
360 |
|
00:26:33,730 --> 00:26:39,680 |
|
مختلفةهناك حركة قوية في إنجلترا و في الولايات |
|
|
|
361 |
|
00:26:39,680 --> 00:26:42,700 |
|
المتحدة التي تسمى بـ white supremacy، حيث الناس |
|
|
|
362 |
|
00:26:42,700 --> 00:26:47,560 |
|
يقولون إن إنجلترا هي للبلايين، فقط الناس البلايين |
|
|
|
363 |
|
00:26:47,560 --> 00:26:53,590 |
|
و أمريكا هي للبلايين، هذا غريب حقًاRacism, because |
|
|
|
364 |
|
00:26:53,590 --> 00:26:55,910 |
|
of racism, yeah, but also because England and |
|
|
|
365 |
|
00:26:55,910 --> 00:26:59,070 |
|
America, they started on diversity in a sense, |
|
|
|
366 |
|
00:26:59,490 --> 00:27:01,530 |
|
people from across Europe came there, people from |
|
|
|
367 |
|
00:27:01,530 --> 00:27:04,690 |
|
across Europe went to America, and there was this |
|
|
|
368 |
|
00:27:04,690 --> 00:27:09,690 |
|
reconstructuring of, they found a body of 10,000 |
|
|
|
369 |
|
00:27:09,690 --> 00:27:13,390 |
|
years ago in England, and when they did |
|
|
|
370 |
|
00:27:13,390 --> 00:27:15,790 |
|
experiments and tests, they realized that one, |
|
|
|
371 |
|
00:27:16,230 --> 00:27:21,940 |
|
he's a black manفي إنجلترا، كان هناك 10 ألف عامًا |
|
|
|
372 |
|
00:27:21,940 --> 00:27:26,220 |
|
قبل ذلك وكان أعتبر .. أعتقد أنه أبطال من 20% من |
|
|
|
373 |
|
00:27:26,220 --> 00:27:30,820 |
|
الناس الإنجليزية الآن فالفكرة |
|
|
|
374 |
|
00:27:30,820 --> 00:27:34,980 |
|
عن مجتمع صحيح هو مخطط، ليس صحيحًا، إنها تصميم، |
|
|
|
375 |
|
00:27:34,980 --> 00:27:38,400 |
|
الناس دائمًا تتعامل مع بعضها البعض، لماذا هذا |
|
|
|
376 |
|
00:27:38,400 --> 00:27:42,760 |
|
الرجل بلقه بلقه في إنجلترا؟ لأن الناس عبرت حوارات |
|
|
|
377 |
|
00:27:42,760 --> 00:27:46,260 |
|
تبحث عن حماية أو طعام تتعامل مع بعضها البعض بطريقة |
|
|
|
378 |
|
00:27:46,260 --> 00:27:51,570 |
|
أو أخرىsome of the names are really hard to spell |
|
|
|
379 |
|
00:27:51,570 --> 00:27:54,650 |
|
if you misspell some .. no worries about spelling |
|
|
|
380 |
|
00:27:54,650 --> 00:27:59,930 |
|
but like Machiavelli for example okay not easy to |
|
|
|
381 |
|
00:27:59,930 --> 00:28:02,890 |
|
spell but try to train it to get as close as |
|
|
|
382 |
|
00:28:02,890 --> 00:28:05,710 |
|
possible don't give me for example don't spell |
|
|
|
383 |
|
00:28:05,710 --> 00:28:11,450 |
|
spaghetti Machiavelli is Machiavelli what |
|
|
|
384 |
|
00:28:11,450 --> 00:28:14,430 |
|
difficult names but again most importantly I don't |
|
|
|
385 |
|
00:28:14,430 --> 00:28:16,250 |
|
want you to misspell Shakespeare |
|
|
|
386 |
|
00:28:19,130 --> 00:28:22,870 |
|
I feel sad that's shakes you know shake shakes |
|
|
|
387 |
|
00:28:22,870 --> 00:28:28,030 |
|
shaking shake before use she shakes the I don't |
|
|
|
388 |
|
00:28:28,030 --> 00:28:32,790 |
|
know the juice before use it's shake and then or |
|
|
|
389 |
|
00:28:32,790 --> 00:28:35,730 |
|
shake spear I don't know how you would do this |
|
|
|
390 |
|
00:28:35,730 --> 00:28:40,630 |
|
either shake or shakes and then or spear because |
|
|
|
391 |
|
00:28:40,630 --> 00:28:45,260 |
|
spear is another word but this E is extraهل أخبرتك |
|
|
|
392 |
|
00:28:45,260 --> 00:28:50,040 |
|
أن شيكسبيرز قمت بتسمية إسمه في 17 طرق |
|
|
|
393 |
|
00:28:50,040 --> 00:28:54,860 |
|
مختلفة؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟طبعا |
|
|
|
394 |
|
00:28:54,860 --> 00:28:59,520 |
|
لا يوجد |
|
|
|
395 |
|
00:28:59,520 --> 00:29:11,120 |
|
طرق مختلفة لتسمية |
|
|
|
396 |
|
00:29:11,120 --> 00:29:16,270 |
|
إسمكلم يكن هناك قوانين لـ Spelling الناس كانت |
|
|
|
397 |
|
00:29:16,270 --> 00:29:18,390 |
|
تسميها بطريقات مختلفة فقط في السنة السادسة |
|
|
|
398 |
|
00:29:18,390 --> 00:29:21,050 |
|
الواحدة، الناس بدأت لديها قوانين، افعل هذا، افعل |
|
|
|
399 |
|
00:29:21,050 --> 00:29:23,570 |
|
ذلك، لا تفعل ذلك، اترك هذا، تغير هذا، تغير ذلك، |
|
|
|
400 |
|
00:29:23,570 --> 00:29:24,170 |
|
تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
|
401 |
|
00:29:24,170 --> 00:29:24,650 |
|
تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
|
402 |
|
00:29:24,650 --> 00:29:25,990 |
|
تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
|
403 |
|
00:29:25,990 --> 00:29:30,470 |
|
تغير ذلك، |
|
|
|
404 |
|
00:29:30,470 --> 00:29:39,650 |
|
تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
|
405 |
|
00:29:39,650 --> 00:29:43,430 |
|
تغير ذthis we want to really appreciate |
|
|
|
406 |
|
00:29:43,430 --> 00:29:46,590 |
|
Shakespeare for what he does what other names do |
|
|
|
407 |
|
00:29:46,590 --> 00:29:47,330 |
|
you find difficult? |
|
|
|
408 |
|
00:29:53,310 --> 00:30:00,690 |
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Bewolf؟ لسه |
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409 |
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00:30:00,690 --> 00:30:06,570 |
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if it is something I skipped you just skip it if I |
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410 |
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00:30:06,570 --> 00:30:09,790 |
|
skip names of authors names of texts you just skip |
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411 |
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00:30:09,790 --> 00:30:14,170 |
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thembut other than this, the background, the talk, |
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412 |
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00:30:14,270 --> 00:30:16,150 |
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the brief description about the age, about the |
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413 |
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00:30:16,150 --> 00:30:19,150 |
|
writer, about the text please go through them and |
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414 |
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00:30:19,150 --> 00:30:20,970 |
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I want you to read what is in the book because |
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415 |
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00:30:20,970 --> 00:30:24,150 |
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this is how you improve your writing and your |
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416 |
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00:30:24,150 --> 00:30:27,590 |
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English the |
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417 |
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00:30:27,590 --> 00:30:30,370 |
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name, the authors, the texts we study, we examine, |
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418 |
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00:30:30,610 --> 00:30:35,510 |
|
we mention in this class if I skip something, any |
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419 |
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00:30:35,510 --> 00:30:40,440 |
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name, any text, you just skip itplease are we |
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420 |
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00:30:40,440 --> 00:30:43,500 |
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going to be asked about .. يعني to summarize what |
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421 |
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00:30:43,500 --> 00:30:47,480 |
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they place on Shakespeare? generally no you wont |
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422 |
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00:30:47,480 --> 00:30:51,720 |
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but maybe for example in one of your questions is |
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423 |
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00:30:51,720 --> 00:30:58,700 |
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going to ask you to contextualize anyway |
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424 |
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00:30:58,700 --> 00:31:00,380 |
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I shouldn't be speaking about this now because |
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425 |
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00:31:00,380 --> 00:31:03,580 |
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we'll talk about this when we approach the exams |
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426 |
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00:31:03,580 --> 00:31:10,460 |
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you know contextto contextualize a text so I'll |
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427 |
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00:31:10,460 --> 00:31:14,280 |
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ask you for example if I bring you five extracts |
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428 |
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00:31:14,280 --> 00:31:18,340 |
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from poems or texts we studied and I ask you to |
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429 |
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00:31:18,340 --> 00:31:22,020 |
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contextualize three or four of them I usually give |
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430 |
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00:31:22,020 --> 00:31:26,860 |
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you more choices so more flexibility okay question |
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431 |
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00:31:26,860 --> 00:31:30,240 |
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number one is to be or not to be that is the |
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432 |
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00:31:30,240 --> 00:31:34,500 |
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question so number one you put it in its context |
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433 |
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00:31:34,500 --> 00:31:41,340 |
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you tell meThis is by Hamlet from Hamlet by |
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434 |
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00:31:41,340 --> 00:31:48,800 |
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Shakespeare Hamlet is a tragedy of a young prince |
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435 |
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00:31:48,800 --> 00:31:54,780 |
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who wanted to take revenge because his uncle |
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436 |
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00:31:54,780 --> 00:32:00,640 |
|
killed his fathermost importantly focus on the |
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437 |
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00:32:00,640 --> 00:32:04,020 |
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text I give you however because hamlet is a modern |
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438 |
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00:32:04,020 --> 00:32:09,560 |
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man a university student he is in conflict to kill |
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439 |
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00:32:09,560 --> 00:32:12,040 |
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or not to kill, to be or not to be, to die or not |
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440 |
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00:32:12,040 --> 00:32:18,120 |
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to die and this is hamlet's tragic flow you know |
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441 |
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00:32:18,120 --> 00:32:25,810 |
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tragedy, tragic his weakness is hesitationهزيتشان |
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442 |
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00:32:25,810 --> 00:32:29,550 |
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تعرفين هزيتشان؟ ان تكون او لا تكون، ان تقتل او لا |
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443 |
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00:32:29,550 --> 00:32:34,410 |
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تقتل، ان تلعب او لا تلعب، انه يهزيت، هذا كله، هذا |
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444 |
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00:32:34,410 --> 00:32:40,310 |
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يسمى كونتكستوليزيات، ولكن على الرغم من أنه فلسوفر، |
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445 |
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00:32:40,310 --> 00:32:46,930 |
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على الأقل، لديه قليل من الجمال في صندوقه، هذا من |
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446 |
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00:32:46,930 --> 00:32:52,850 |
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قصص الـCanterbury by Chaucer، هذه اللعبة، هذه |
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447 |
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00:32:52,850 --> 00:32:53,890 |
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اللعبة اللعبية الصحيحة، |
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448 |
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00:32:56,840 --> 00:32:59,580 |
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Okay has irony but probably before this give me |
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449 |
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00:32:59,580 --> 00:33:02,880 |
|
the context it tells the story of a philosopher |
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450 |
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00:33:02,880 --> 00:33:08,700 |
|
who instead of collecting knowledge is collecting |
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451 |
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00:33:08,700 --> 00:33:13,400 |
|
money there is irony here because Chaucer is |
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452 |
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00:33:13,400 --> 00:33:19,820 |
|
making fun of the new habits of the society short |
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453 |
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00:33:19,820 --> 00:33:22,840 |
|
paragraphs like these okay clear to explain the |
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454 |
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00:33:22,840 --> 00:33:26,040 |
|
linefocus on the line what do we have in the line |
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455 |
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00:33:26,040 --> 00:33:28,300 |
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when you tell me this is a couplet you save |
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456 |
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00:33:28,300 --> 00:33:30,500 |
|
yourself a lot of time instead of saying the rhyme |
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457 |
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00:33:30,500 --> 00:33:32,240 |
|
and there is a rhyme in one topic you say a |
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458 |
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00:33:32,240 --> 00:33:39,000 |
|
couplet اه excellent okay |
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459 |
|
00:33:39,000 --> 00:33:44,680 |
|
again this extract is taken from canterberry tales |
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460 |
|
00:33:44,680 --> 00:33:50,400 |
|
by Chaucer that's number oneفي هذا المجلد، في هذه |
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461 |
|
00:33:50,400 --> 00:33:56,220 |
|
المجلة، Chaucer يتكلم عن طرق جديدة المجتمع، هنا |
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462 |
|
00:33:56,220 --> 00:34:02,460 |
|
لدينا فلوسفر مهتم بجمع المال أكتر من جمع المعرفة، |
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463 |
|
00:34:02,460 --> 00:34:09,960 |
|
هناك عرنية في قليل الجمهور، لأن قليل الجمهور مستمر |
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464 |
|
00:34:09,960 --> 00:34:17,700 |
|
في جمع الكثير من المال، شيء مثل هذاthis is called |
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465 |
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00:34:17,700 --> 00:34:21,300 |
|
contextualization, you don't have to memorize the |
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466 |
|
00:34:21,300 --> 00:34:24,880 |
|
lines but if you do it will really be fun for you, |
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467 |
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00:34:24,980 --> 00:34:28,620 |
|
just .. I will not ask you to recite something or |
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468 |
|
00:34:28,620 --> 00:34:31,760 |
|
write complete a line or something but when you |
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469 |
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00:34:31,760 --> 00:34:34,380 |
|
memorize line .. does anyone memorize anything |
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470 |
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00:34:34,380 --> 00:34:38,360 |
|
other than have not a juwais or something?it's |
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471 |
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00:34:38,360 --> 00:34:42,120 |
|
really fun for god's sake or shall I compare thee |
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472 |
|
00:34:42,120 --> 00:34:44,980 |
|
to summers day you feel like oh my god I know more |
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473 |
|
00:34:44,980 --> 00:34:47,220 |
|
English than anyone else you feel proud of |
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474 |
|
00:34:47,220 --> 00:34:50,820 |
|
yourself you feel confident so long as men can .. |
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475 |
|
00:34:50,820 --> 00:34:54,060 |
|
and listen very easy seriously one of the students |
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476 |
|
00:34:54,060 --> 00:34:57,300 |
|
was like .. the boy was telling me the other day |
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477 |
|
00:34:57,300 --> 00:34:59,600 |
|
that Shakespeare is difficult I hate Shakespeare |
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478 |
|
00:34:59,600 --> 00:35:02,880 |
|
عشان this is a misconception this is a prejudice |
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479 |
|
00:35:02,880 --> 00:35:05,580 |
|
did you study anything about Shakespeare did you |
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|
480 |
|
00:35:05,580 --> 00:35:08,600 |
|
read anything about Shakespearenot much, when you |
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481 |
|
00:35:08,600 --> 00:35:10,840 |
|
read his poetry to be or not to be that is the |
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482 |
|
00:35:10,840 --> 00:35:15,360 |
|
question, yes it's not this simplistic but it's |
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483 |
|
00:35:15,360 --> 00:35:18,280 |
|
easy to understand, so long as men can breathe or |
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484 |
|
00:35:18,280 --> 00:35:20,360 |
|
eyes can see, so long lives this and this gives |
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485 |
|
00:35:20,360 --> 00:35:22,060 |
|
life to it, that's why I usually advise my |
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486 |
|
00:35:22,060 --> 00:35:23,600 |
|
students when you learn things about poetry, |
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487 |
|
00:35:23,740 --> 00:35:28,080 |
|
Shakespeare, go, all of you use social media, post |
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488 |
|
00:35:28,080 --> 00:35:30,560 |
|
this on your Facebook, on Twitter, on Instagram, |
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489 |
|
00:35:31,080 --> 00:35:36,200 |
|
Snapchat, use them in your lifeToday I want all of |
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490 |
|
00:35:36,200 --> 00:35:39,240 |
|
you to go home and when you have electricity, if |
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491 |
|
00:35:39,240 --> 00:35:43,780 |
|
you have electricity, you just type and every fare |
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492 |
|
00:35:43,780 --> 00:35:46,200 |
|
from fare sometime declines, one of the most |
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493 |
|
00:35:46,200 --> 00:35:51,210 |
|
beautiful lines everبدأ بالتغيير من حياتك، |
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494 |
|
00:35:51,210 --> 00:35:53,870 |
|
فيسبوكك، الانصار الاجتماعي، كل شيء إلى اللغة |
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495 |
|
00:35:53,870 --> 00:35:57,910 |
|
الإنقليزية و انا متأكد انك ستستفيد منها كثيرًا، |
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496 |
|
00:35:57,910 --> 00:36:01,170 |
|
لذا عندما الناس تسألك ما يعني هذا؟ سيكون عمك أو |
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497 |
|
00:36:01,170 --> 00:36:08,170 |
|
عمك مثلًا واو، نحن فخورين منك عندما الناس تسألك |
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498 |
|
00:36:08,170 --> 00:36:13,890 |
|
مايعني هذا، فانت فقط تشرحه لهم تشرح |
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499 |
|
00:36:13,890 --> 00:36:20,950 |
|
أو فقط تشرحyes more questions more please I always |
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|
500 |
|
00:36:20,950 --> 00:36:24,690 |
|
know that Shakespeare's style is three verse I |
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501 |
|
00:36:24,690 --> 00:36:26,350 |
|
never know that his poems |
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502 |
|
00:36:29,180 --> 00:36:34,220 |
|
Okay Shakespeare mainly wrote in verse, his |
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503 |
|
00:36:34,220 --> 00:36:38,940 |
|
sonnets are classical English verse, but his plays |
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504 |
|
00:36:38,940 --> 00:36:42,180 |
|
because when you write a five thousand line play, |
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505 |
|
00:36:42,700 --> 00:36:45,580 |
|
you can't make them rhyme in any particular way, |
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506 |
|
00:36:46,300 --> 00:36:50,640 |
|
so generally this is called blank verse What's |
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|
507 |
|
00:36:50,640 --> 00:36:54,260 |
|
blank verse?It's a verse but doesn't rhyme. |
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508 |
|
00:36:54,840 --> 00:36:57,740 |
|
Generally in the play because it's very difficult |
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509 |
|
00:36:57,740 --> 00:37:00,940 |
|
to make the whole play rhyme a b a b or a b c a b |
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510 |
|
00:37:00,940 --> 00:37:04,600 |
|
c or something and this is totally different from |
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511 |
|
00:37:04,600 --> 00:37:10,800 |
|
totally different from free verse free verse is |
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512 |
|
00:37:10,800 --> 00:37:13,440 |
|
something that appeared probably 200 years ago في |
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513 |
|
00:37:13,440 --> 00:37:17,260 |
|
شعر الحرب free verse generally in in blank verse |
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514 |
|
00:37:17,260 --> 00:37:20,200 |
|
we have music we have rhythm but we don't have |
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515 |
|
00:37:20,200 --> 00:37:26,010 |
|
rhymeWe don't have rhyme. Three verses, generally |
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516 |
|
00:37:26,010 --> 00:37:33,090 |
|
no music and no rhyme. It's the poetry that most |
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517 |
|
00:37:33,090 --> 00:37:36,610 |
|
people write nowadays, 20th century, 21st century |
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|
518 |
|
00:37:38,990 --> 00:37:43,610 |
|
في مقالته شيكسبير و مارلو قاموا بإستخدام قصة غير |
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519 |
|
00:37:43,610 --> 00:37:49,950 |
|
موجودة لأنه إذا أردوا أن يركزوا على الرمز سيكون |
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520 |
|
00:37:49,950 --> 00:37:57,430 |
|
ذلك مغلقا جدا في نفس الوقتhave chosen or what any |
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521 |
|
00:37:57,430 --> 00:38:00,030 |
|
other literary works other than .. of course yeah |
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522 |
|
00:38:00,030 --> 00:38:03,690 |
|
of course many and that's why he is the father of |
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523 |
|
00:38:03,690 --> 00:38:05,630 |
|
English poetry or English literature you only |
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524 |
|
00:38:05,630 --> 00:38:08,450 |
|
study .. we only studying the Canterbury tales |
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525 |
|
00:38:08,450 --> 00:38:11,030 |
|
I'll stop here thank you very much for these |
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526 |
|
00:38:11,030 --> 00:38:14,610 |
|
questions if you have more questions feel free to |
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527 |
|
00:38:14,610 --> 00:38:16,470 |
|
ask thank you وطيكوا العافية |
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