الكتب المطبوعة:

 

معالم الحضارة العربية في القرن الثالث الهجري \ أحمد عبدالباقي

طريقة التوثيق:

أحمد عبدالباقي, معالم الحضارة العربية في القرن الثالث الهجري, الوحدة العربية

يتبع

Discuss the idea of the rebel in Children's Literature focusing on works and texts you studied in Block 1 or Block 2.

مناقشة فكرة التمرد في واحدة من الروايات المقررة طبعا اتوقع بتختارون:
NORTHERN LIGHTS
ما يمديكم على الباقين فشرحي بكون على

NORTHERN LIGHTS

هذي الاسئلة مهمة للفهم وممكن تكونون منها بارقرافات البدي
· How has the figure of the non-conformist child developed?
· What is the significance of the rebel figure in Children's Literature or in a specific work you are examining?
· Do you think that these figures are important because they destabilize some of the existing cultural values or because they promote consciousness and new awareness?
· How is this rebel figure constructed? And why is he / she constructed in such a way?
· What is that this rebel figure is trying to rise up against? What it that he / she is trying to achieve?
· What sort of negotiations does this figure initiate with his / her own culture and immediate environment? To what extent is this figure successful in his or her mission?
· Do these figures assimilate at the end to the existing cultural values and ideologies? Or do they manage to live up to the new model they propose and envision for themselves?
· How do you think different readers may respond to such figures and to the ideological alternative they proposing?
· Should writers present to their young readers characters who are non-conformist rebels? Why? Why not?



introduction
بتتكلم عن وجود فكرة rebellion في ادب الطفل بشكل عام من خلال مفهوم construction
child
شلون تم مناقشة هالفكرة عبر الزمن في ادب الطفل
وشلون وصلتنا اليوم
يعني سبب ظهور هالشي في ادب الطفل واهميته
وبعدين توضحون انكم بتناقشون هالشي من خلال الرواية المختارة

How has the figure of the non-conformist child developed?
· What is the significance of the rebel figure in Children's Literature or in a specific work you are examining?

واهني احب انبه لنقطة يغلط فيها الكثير

المقدمة والخاتمة مو مجرد هوامش هم اساس المقالة
وبتنقصون وايد عليهم لو ما كتبتوهم بشكل صحيح

وبينهم فرق كبير وهم مو مثل بعض ابدا
المقدمة هي تمهيد للقارئ عن شنو انت بتتكلم؟ وشنو الهدف من المقالة؟
الخاتمة هي النتيجة النهاية من اللي كتبتوه الزبدة اللي طلعتو منها واللي ارتكزت عليها المقالة

بالنسبة حق body
اهني تطلعون من التعميم وبتبدون تخصصون اجابتكم في الرواية

paragraph 1
اهني تناقشون شخصية لايرا
شلون تم بناء هالشخصية << خصائص التمرد فيها
+
ليش؟ (توضيح الهدف + ضد منو صار هالشي؟)


Do you think that these figures are important because they destabilize some of the existing cultural values or because they promote consciousness and new awareness?
· How is this rebel figure constructed? And why is he / she constructed in such a way?



paragraph 2
اهني تناقشون دور الشخصية في الرواية وانجازاته كشخصية متمردة؟
هل اثرت ونجحت في مهمتها

What is that this rebel figure is trying to rise up against? What it that he / she is trying to achieve?
What sort of negotiations does this figure initiate with his / her own culture and immediate environment? To what extent is this figure successful in his or her mission?


paragraph 3
اهني تشرحون هالشخصية من ناحية الايدولوجي اللي انرسمت خلالها حسب ما وظفها الكاتب ورد الفعل القارئ تجاه هالنوعية من الشخصيات

· How do you think different readers may respond to such figures and to the ideological alternative they proposing?
· Should writers present to their young readers characters who are non-conformist rebels? Why? Why not?


conclusion
مثل ما وضحت لكم هي زبدة الللي حبيتو توصلونه من هالمقالة
الهدف الحقيقي من الطفل المتمرد ودوره لان مو بس بالادب دوره كتوجيه للطفل القارئ
انت تؤيد ام لا

هالشي تحليلكم كله معتمد عليه (طبعا المقالة مو طلبين اراء شخصية ولكن قضية لها اساس )

فلا تنسون الاقتباس من الرواية
لان 5 درجات بتحصلون بس بدون اقتباسات كافية

دعم ارائك بالمقالات الموجودة في الكتاب والنت

واي سؤال ان شاء الله بكون موجودة




وهم حاطين لكم المصادر واذا فيه وقت بحط لكم اهم اقتباسات

1. Hunt, Peter. "Instruction and Delight." Children's Literature: Approaches and Territories. Eds. Janet Maybin & Nicola J. Watson. Hampshire: Palgrave Macmillan, 2009. 12-25

2. Bird, Anne-Marie. "Dust as ****phor in Philip Pullman." Children's Literature: Classic Texts and Contemporary Trends. Eds. Heather Montgomery & Nicola J. Watson. Hampshire: Palgrave Macmillan, 2009. 258-266


3. Wood, Naomi. "Obedience, Disobedience, and Storytelling in C. S. Lewis and Philip Pullman." Children's Literature: Classic Texts and Contemporary Trends. Eds. Heather Montgomery & Nicola J. Watson. Hampshire: Palgrave Macmillan, 2009. 266-276

4. Fetterley, Judith. "Little Women: Alcott's Civil War." Children's Literature: Classic Texts and Contemporary Trends. Eds. Heather Montgomery & Nicola J. Watson. Hampshire: Palgrave Macmillan, 2009. 18-31.


5. Parille, Ken. "'Wake up and be a man': Little Women, Laurie, and the Ethic of Submission." Children's Literature: Classic Texts and Contemporary Trends. Eds. Heather Montgomery & Nicola J. Watson. Hampshire: Palgrave Macmillan, 2009. 31-39.

بسم الله الرحمن الرحيم 

لم أسجل المادة  وهذا تلخيصي بعد توفر المادة العلميةبفضل من الله

أهديه لكل من طلب الملخص مني

وأشكر الاخ الفاضل (برنارد شو)

الذي قام بتوفير نسخة من الجابتر لي لا يرجو منكم إلا الدعاء

اعتذر على التاخير بس امس كان عندي الم في القلب ونمت بعد الاختبار على طول
فما مداني الا اني اقرا الملخص الساعة 3 الفجر تقريبا وانا اتمنى يكون فايدكم على الاقل لو تسهيل الترجمة

المهم جابتر 1 فيه اشياء مهمة :
مفهوم التراجدي وشلون تقدرون تشرحون هالشي بالنسبة للمسرحية
الكتاب حاطين لكم نقاط بس مراح تكفي

فانتو بحل هالسؤال :
لازم تكتبون اول شي تعريف التراجيدي
وشنو عناصر التراجيدي بشكل عام؟ (شخص من رتبة عالية - يرتكب خطا فادح هامتريا - يؤدي لموته) اتوقع اجابة السؤال من خلال الجابترين لان الهامتريا ذاكرينها في جابتر 2 بس في جابتر 1 حاطينها مثل الغيرة عدم الثقة بالنفس , الثقة بالاخرين هو معتبر ان كل الناس زينة
وهكذا

بعدين توضحون ان اوثيلو تعتبر تراجيدي لوجود هالعناصر والاخطاء تعرفونها
ولا تنسون تشرحون انه DOMESTIC TRAGEDY

الشي الثاني عندكم اللغة المستخدمة من تصوير وتشبيهات واستعارات
في اكتيفيتي مهم انا كتبت عنده انه مهم لازم تحفطون الكلمات اللي بالاحمر مثل BLACK RAM
وهالكلمات الصغيرة تنقصون عليها درجات


الشي الثالث عندكم موضوع الحب والموت مهم جدا
لان المسرحية تتكلم عن الحب والزواج وبالنهاية الموت

مثلا ممكن يجيكم سؤال غير مباشر
RENASCENCE LITERATURE FOCUS ON THE THEMES OF LOVE AND DEATH

او ONE OF RENASCENCE LITERATURE FEATURES OR CHARACTERISTICS ARE THE THEMES OF LOVE AND DEATH


DISCUSS THIS STATEMENT THROUGH ONE OF TEXTS YOU STUDIED

طبعا لاني راح تشرحونها من ناحية مسرحية اوثيلو

وفيه بعد موضوع الزواج




لغة اوثيلو مهم بعد وشلون وضحت شخصيته؟

لا تنسون ان لما بدا يشك في زوجته حتى لهجته وكلامه شوي تغيرت صارت بربرية

صار SHIFT

وبس 










ما من عبد مسلم يدعو لأخيه بظهر الغيب إلا قال الملك ولك بمثل

هذا موقع مهم SPARK NOTES

دايما ألجأ له في مواد المواد

http://www.sparknotes.com/lit/candide/

في الادب شي مهم انكم تعرفون CONTEXT اللي انكتب فيه النص والفترة الزمنية (تاريخيا واجتماعيا)
لان تساعد على فهم النص بشكل أفضل



the intellectual movement known as the Enlightenment was spreading ideas about the equality and basic rights of man and the importance of reason and scientific objectivity.


As a writer, François-Marie soon became legendary throughout France for his sharp epigrams.


Published in 1759, Candide is considered Voltaire’s signature work, and it is here that he levels his sharpest criticism against nobility, philosophy, the church, and cruelty. Though often considered a representative text of the Enlightenment, the novel actually savagely satires a number of Enlightenment philosophies and demonstrates that the Enlightenment was a far from monolithic movement.



Candide and the Enlightenment

“The Enlightenment” is the name for a movement that encompasses a wide variety of ideas and advances in the fields of philosophy, science, and medicine that began in the seventeenth century and peaked in the eighteenth century. Many historians mark the French Revolution as the crowning event of the Enlightenment era. The primary feature of Enlightenment philosophy is a profound faith in the power of reason and rational thought to lead human beings to a better social structure. The political ideology of Enlightenment philosophers is characterized by a spirit of social reform. The champions of the Enlightenment called for rebellion against superstition, fear, and prejudice. They attacked the aristocracy and the church.

Candide reflects Voltaire’s lifelong aversion to Christian regimes of power and the arrogance of nobility, but it also criticizes certain aspects of the philosophical movement of the Enlightenment. It attacks the school of optimism that contends that rational thought can curtail the evils perpetrated by human beings.

Voltaire strongly opposed certain Enlightenment ideas about social class. Some Enlightenment thinkers promoted the idea of the enlightened monarch as an alternative to a radical reformation of society. Instead of denying the divine right of kings, the concept of the enlightened monarch relied on the idea that rulers could use their power to ensure the protection of their subjects’ rights. The reach of the monarch’s power could be extended so that he or she could ensure this protection. Thus, the name of the Enlightenment could be used to legitimize despotism. Moreover, witch-hunts and organized campaigns of religious persecution continued well into the eighteenth century, and Enlightenment philosophy’s propagation of reason as a social antidote did not bring a halt to the ravages of superstition and fear. Candide illustrates this fact in the figure of the Grand Inquisitor who orders an auto-da-fé to ward off earthquakes, among many other examples. Voltaire’s work may be difficult for the present-day student to understand because it alludes to some very specific concerns of his contemporaries. To better understand his wit as well as his relevant context, readers may benefit from consulting supplementary readings such as a history of the Enlightenment, a biography of Voltaire, or the writings of other Enlightenment thinkers like Rousseau and Leibniz.

يعني عشان تفهمون كانديد
لازم تقرون وتعرفون عن
Enlightenment
وفولتير والفلاسفة اللي يعاصروه
لانه حاول يناقض الموجود بعصره هذاك الوقت
من الرابط السابق

الاشياء المهمة بشكل عام

انكم تعرفون الفترة التاريخية

RENAISSANCE \ ENLIGHTENMENT

+

ROMANTICISM

وتكونون فاهمين خواصهم لانها تشكل جزء من شرح بعض الاجابات
ممكن يجيكم سؤال خاص فيهم مع ذكر امثلة من اللي درستوه
لانه يعتبر SETTING


الشي الثاني المهم هو LITERARY GENRES
لكل نص ادبي

وهي الانواع الادبية

وتنقسم الى :
FICTION
POETRY
DRAMA\PLAYS

وكل نوع ادبي له انواع فرعية يطلق عليها SUB-GENRE
مثلا بالنسبة حق PLAYS ممكن تكون:
TRAGEDY OR COMEDY

POETRY:
LYRICS - PASTORAL - NARRATIVE

الخ

وفي انواع ادبية تقليدية ثانية مثلا عندكم كانديد يعنبرونها:
نوع من
TRAVEL WRITING
بس مو قائم على اساس الواقع وانما الخيال لانها اشياء فكرية الكاتب ما سافر فعلا لهذه الدول عشان جذي يطلقون عليها
PHILOSOPHICAL TALE
وبنفس الوقت تعتبر SATIRE

فلازم تحددون النص اللي جدامكم هو شنو بالضبط:
"هذا النص يعتبر تراجيديا مثلا"

الشي المهم الثالث هو THEME
لازم تعرفون THEME
سواء في الشعر او المسرحية او .....

لان من خلاله حنا نقدر نجاوب ونحلل


الشي المهم الرابع هم الشخصيات CHARACTER + CHARACTERIZATION
وتطورهم وتغيرهم خلال النص الادبي
طبعا مو كل الشخصيات الشخصيات الرئيسية بس

في اوثيلو:
OTHELLO
DESDEMONA
Iago

في كانديد:
Candide
Pangloss
Martin

والباقين ممكن يكون لهم اهمية جانبية
مثل حبيبته والمراة العجوز والناس اللي صادفهم في تركيا اخر شي

الشي المهم الخامس CLOSE READING
سؤال التحليل وتفهمون طريقته شلون
بالنسبة لكانديد انتبهو لتقنية IRONY
اما الشعر فبكون التشبيهات والتشخيص والاستعارات
بالنسبة لاوثيلو ممكن يجي مقطع ويقول اشرح من خلال هالمقطع شخصية اياجو
وانتو تشرحون تركيزكم بكون على النص + اقتباس كلمات من النص الاصلي وانتو تشرحون

عندكم:
GENDER
RACE
SOCIETY


وكل شي تمام ان شاء الله





  

---

EXAMPLES OF IRONY ON THE INTERNET




Ch. 19 - Candide meets a slave missing an arm and a leg. When he asks the man how this happened, the man replies, "It is the price we pay for the sugar you eat in Europe." The irony in this statement is perhaps a little convoluted, but there nonetheless. There is irony in the fact that those responsible for producing the sugar are paying for it, and not just the consumer's in Europe. This irony serves to emphasize the injustice that slaves faced for European wants. This was not a major issue in Candide, but was mentioned on this occasion and a few others, usually in relation to prostitution or impressed mistresses.

In this same chapter, in the same scene, Candide's servant Cacambo asks him what Optimism is, to which Candide responds, "it is the mania for insisting that all is well when all is by no means well." The irony there is obvious.





Ch. 17 - When Candide and Cacambo enter Eldorado, they assume that this is "probably the land where all is well, for clearly such a place has to exist." That kinda comes right out and smacks you in the face too, if you have any wit. As evidenced by this book, such a perfect place does not have to exist, and in reality doesn't. There is also irony in the fact that the only good place is also the only fictitious one.




Ch. 22 - ""Why is the wool of this sheep red?" The prize was awarded to a scholar from the North, who proved by means of A plus B minus C divided by Z that the sheep must of necessity be red, and must in due course die of sheep-pox." That seems very logical. You can explain why the sky is blue with simple equation like that too, right?




Ch. 21 - "I have seen so many extraordinary things that nothing seems extraordinary to me any more." An excellent witticism, this quote creates a paradox that defines Martin's character and his philosophy.

---

الفكرة الاساسية اللي قامت عليها الاحداث هي تنقيض اراء الفيسلسوف بانجلوس عن التفاؤل
وان هذا العالم هو افضل عالم وان كل شي يصير لاحسن سبب

optimism
or
ideal optimism


فمهم تعرفون هالفكرة من اين اتت؟
وراي فولتير الخاص فيها.
موجودين في ملخص الجابتر الفيلسوف ليبنز

عشان جذي مهم تنتبهون لشيين:
الرحلة من خلال الاماكن
الرحلة من خلال الفكر

physical + mental journeys

وشلون ان الحياة مو مجرد كلام وان التجربة والواقع اكبر برهان على اثبات شي صحيح او خاطئ

طبعا انتو غير مطالبين تحددون منو الصح فيهم.

كل اللي عليكم تفهمون كل واحد وفكرته وشلون كانت هالاشياء موجودة في الحكاية (لانهم ابتعدوا عن مسمى رواية )


شي جدا مهم تعرفون كانديد وين كان كفكر ووين انتهى وشنو استفاد
لانه تعلم بالتجربة مو بس من منطلق التفكير
التفكير الصحيح يكون مدعوم بتجربة
وطبعا كل الاحداث اثبتت ان بانجلوس كان خاطئ بكلامه عن التفاؤل


عندكم fate + will

الانسان المؤمن بالقدر او المصير بمنظور فولتير لا يمكن ان يكون حر وسهل استعباده

اما الانسان اللي يطالب بالحرية فهو اسرع واكثر قضاء على الظلام لانه مراح يستسلم لهم بصفة انه قدر

(طبعا اهني شكل الغرب فاهم القضاء والقدر عن الشرق بشكل خاطئ)

---

الاشياء اللي بضيفها من الرابط الللي حطيته لكم


Both Pangloss and Leibniz claim that this world must be the best possible one, since God, who is perfect, created it. Human beings perceive evil in the world only because they do not understand the greater purpose that these so-called evil phenomena serve. Leibniz’s concept of the world is part of a larger intellectual trend called theodicy, which attempts to explain the existence of evil in a world created by an all-powerful, perfectly good God. Voltaire criticizes this school of philosophical thought for its blind optimism, an optimism that appears absurd in the face of the tragedies the characters in Candide endure

At the beginning of the novel, Candide’s education consists only of what Pangloss has taught him. His expulsion from the castle marks Candide’s first direct experience with the outside world, and thus the beginning of his re-education. Candide’s experiences in the army and the war directly contradict Pangloss’s teaching that this world is the best of all possible worlds. The world of the army is full of evil, cruelty, and suffering. Powerful members of the nobility start wars, but common soldiers and subjects suffer the consequences. Neither side of the conflict is better than the other, and both engage in rape, murder, and destruction.

Voltaire makes his ideological priorities clear in Candide. Pangloss’s philosophy lacks use and purpose, and often leads to misguided suffering, but the Inquisition’s determination to suppress dissenting opinion at any cost represents tyranny and unjust persecution. The Inquisition authorities twist Pangloss’s words to make them appear to be a direct attack on Christian orthodoxy, and flog Candide for merely seeming to approve of what Pangloss says. This flogging of Candide represents exaggeration on Voltaire’s part, an amplification of the Inquisition’s repressive tactics that serves a satirical purpose. Along with outrage at the cruelty of the Inquisition, we are encouraged to laugh at its irrationality, as well as at the exaggerated nature of Candide’s experience.

Cunégonde’s situation inspires a similarly subversive combination of horror and absurdity. Her story demonstrates the vulnerability of women to male exploitation and their status as objects of possession and barter. Cunégonde is bought and sold like a painting or piece of livestock, yet the deadpan calm with which she relates her experiences to Candide creates an element of the absurd. Candide takes this absurdity further; as Cunégonde describes how her Bulgar rapist left a wound on her thigh, Candide interrupts to say, “What a pity! I should very much like to see it.” In the middle of this litany of dreadful events, Candide’s suggestive comments seem ridiculous, but the absurdity provides comic relief from the despicably violent crimes that Cunégonde describes.

The old woman is pessimistic but acutely aware of the world she lives in. Direct experience dictates her worldview, and her pragmatism lends her more wisdom and credibility than any of her travel companions. The old woman chides Cunégonde for making judgments about the world based on her limited experience, and urges Candide and Cunégonde to gather knowledge through investigation before making judgments. Through her character, Voltaire reiterates the importance of actual, verifiable evidence and the limited value of judgments based on empty philosophical rhetoric.

Eldorado is Voltaire’s utopia, featuring no organized religion and no religious persecution. None of the inhabitants attempts to force beliefs on others, no one is imprisoned, and the king greets visitors as his equals. The kingdom has an advanced educational system and poverty is nonexistent. This world is clearly the best of the worlds represented in Candide and seems to be the “best of all possible worlds” in which Pangloss believes.

The word “utopia,” coined by Sir Thomas More in his book of the same name, sounds like the Greek words for both “good place” and “no place.” For the suffering inhabitants of the real world, Eldorado might as well not exist. It is almost completely inaccessible from the outside. Riches enough to end world poverty lie untouched on the ground. Its residents refuse to initiate any contact with the outside world because they know that such contact would destroy their perfect country. After some time there, even Candide wants to return immediately to the deeply flawed world outside. The Eldorado “pebbles” will only be of value to him in the outside world. The jewels that make Eldorado beautiful serve to inspire greed and ambition in Candide, whose only previous interests have been survival and his love for Cunégonde.

Candide’s attempt to acquire a companion for his voyage reveals the futility of trying to compensate someone for misery and suffering. There are so many miserable people in the world that giving away a little bit of money does virtually nothing to reduce this overall misery. Voltaire implies that the basis for misery is the social structure itself, which needs to be changed before any real compensation can occur.

Candide’s new pessimism also owes something to his conversation with the slave whom he encounters on the road to Surinam. Voltaire illustrates social injustice and systematic cruelty many times in the novel. However, many of these situations, such as Candide’s conscription into the Bulgar army and the consumption of the old woman’s buttock, are exaggerated, absurd, or even comical. The slave’s life story, on the other hand, is quite realistic and has no element of humor to it. In dealing with slavery, Voltaire comes up against an evil so powerful that even his considerable satiric wit cannot make light of it.

Martin is a foil to Pangloss. He does not believe that everything is for the best in this world, nor does he believe in some natural “good.” He acknowledges the evil side of human nature. For Martin, the presence of evil in the world does not inspire convoluted logical justification. Candide tries to counter Martin’s arguments by citing the idea of free will. However, free will does not solve the dilemma of the presence of evil in a world created by a perfectly good, omniscient, omnipotent Christian God.

Martin claims that he is not a Socinian, but a “Manichee.” Manichaeism is an ancient religion founded by the sage Mani. The Manichaeans see the universe in terms of the dual forces of good and evil. They believe that these two forces are equally powerful in the world and are continually in conflict. Manichaeans believe that through spiritual knowledge, human beings can conquer the evil side of their natures. Christians, whose doctrines hinge on a belief in a good and all-powerful god who is more powerful than the evil represented by Satan, fiercely reject Manichaeism. The precepts of Manichaeism also directly conflict with Pangloss’s optimism, since a world dominated in part by evil cannot be perfect or perfectible.

The emphasis on gaining knowledge through experience is strongly characteristic of Voltaire’s own thinking. Thus, it is probable that Voltaire is in some ways sympathetic to the count’s critical point of view. The count’s discernment certainly seems preferable to Candide’s mindless reverence for the authors he has been taught to regard as good. At the same time, the count’s character illustrates Voltaire’s skepticism at the idea that anything, even great art, can make human beings happy.

Money, leisure, security, peace, and life with his beloved do not make Candide happy. Martin declares that humans are bound to live “either in convulsions of misery or in the lethargy of boredom.” The way out of this dilemma, it seems, lies in the lifestyle of the farmer and in Candide’s garden. Candide manages to find a tolerable existence through self-directed improvement and work. Practical action is the only solution Voltaire can find to the problem of human suffering. Each member of the household finds a skill to hone and then uses it to contribute to the support of the household. Without any leisure from their toil in the garden, the characters have no time or energy to trade empty words about good and evil. Candide’s new solution seems to alleviate some of their suffering. Pangloss points out that the garden in which everyone finds solace is reminiscent of the biblical Garden of Eden, but there are crucial differences. The characters of Candide are ending their adventures in a garden, not beginning them there as Adam and Eve did; and instead of enjoying the free bounty of nature as Adam and Eve did, they must work tirelessly in order to reap any benefits from their garden.

The sincerity of Voltaire’s endorsement of this solution is questionable. It seems unlikely that, after having poked malicious fun at countless belief systems, Voltaire should decide to give his readers an unqualified happy ending. The characters finally realize their desires, but misery still reigns in the world outside their garden. Candide and his friends are wealthy and secure—in a perfect position to try to change the world for the better. Yet, rather than engaging the world in an attempt to improve it, they withdraw from it in an attempt to escape their own petty unhappiness. Voltaire, who became very active in political and social causes later in his life, may see withdrawal into a garden as the only wise and viable solution for creatures as weak as human beings. However, it is unlikely that he sees it as the best of all possible solutions

       

Desdemona’s handkerchief

The handkerchief is a very convenient device within this theatrical dynamic: a ‘feminine’ prop, and one that could signify the feminine nature of the character in both its pure white unsoiled origins and its sexual associations.
In some sense, we can see the development of Desdemona’s situation in the play in the development of the handkerchief ‘s significance. Whilst Desdemona speaks her mind freely in the opening of the play and acts to please herself, she later plays the role of wife, gradually begging to act less freely and react instead to the actions and accusations of men.
The handkerchief functions, at one level, like a character introduced to take the blame that Othello and Iago are quick to attach to its owner but are very slow to admit of themselves. Although the action of the play is dominant by the male characters, we can see that the ‘signifier’ of the handkerchief has a place within the visual symbolic framework of the play, and also has an impact on character development, and our understanding of the characters’ interactions and reactions.




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the inclusion of the speech does open up explicitly the whole question of ‘how historically wife’s behaviour was perceived in relation to her husband’s treatment to her’
Desdemona is the character about whom the other argues, around whom they plot and plan and whisper and desire, and who, ultimately, falls victim to the competition between men in the play.



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The visual sign system used in the play to designate the gender role that Desdemona seems to represent is her handkerchief. Desdemona is the least well developed of the three central characters: her lines rarely reveal her thoughts or ideas about herself – as Othello’s do – but rather her perceptions of what the man do and say.
Desdemona is an interesting character throughout the play, but her interest to modern readers and audiences arises in two ways:
At first, she is intriguing precisely because she is willful, proclaiming and displaying her love and sexual desire for Othello, despite all social conventions. Then, as the theme of sexual jealousy develops through the interaction of Othello and Iago, Desdemona fades as an individual character, becoming instead a stock figure for the wronged wife – pure, loyal, undeservedly punished.


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The designation of the play’s setting in Venice also ‘signalizes’ otherness, or ‘outsider’ status, for the character Othello.
With the semiotics in theatre, we consider two particular concerns of the play: race and gender, both of which can be analysed in terms of the visual sign systems used to designate them in performance.
The most obvious ‘sign’ of racial difference in the play is emphasized in performance when we see Othello played by a black actor. Conversely for many years black stage make-up or ‘blackface’ was used as a way of designating ‘blackness’ when the part of Othello was played by white actors.






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From the start of Act IV Scene 4, Othello is a changed man:
When he overhears Cassio’s conversation with Iago and then Bianca, he is fired further to kill Desdemona in bed by smothering her. From then the die is cast, in spite of Desdemona’s protestations of innocence. She knows the signs of extreme anger in Othello and tells him she fears he is ‘fatal ten/When your eyes roll so’ (V.2. 37-8).

The theme of displacement is a crucial factor in coming to an understanding of Othello’s character. He is a general who is not a ‘native’ of the land he must govern; his ‘outsider’ status burdens him with doubts, making him feel anxious about his position in Venetian society. This makes him over-sensitive to the possibility that he might lose his power, or control, at any time. In this way, Othello can be seen not only as an individual but also as a type – as an ‘outsider’ who has gained entry into a culture but who remains concerned and aware of the possibility of being rejected, excluded, cast back out.

In all the accounts of Othello’s character and cultural status, it is important to note that the character is described, not ‘the man’. (Othello, the fictional character not a real person)

That said, it is very interesting to consider Othello’s two main roles – as general and as husband. For instance, had Othello not been such a proud man, so concerned with matters of state, prestige and authority, he might have been better husband. Conversely, had he loved his wife less, he had not have been duped into believing ill of her, and his attention might have been much more constructively focused on the larger political situation, outside his marriage. Perhaps the greatest ‘tragedy’ of Othello is Desdemona’s, for she is the character who suffers because of her husband’s inability to distinguish between the true facts and the backstage artifice, constructed and manipulated by Iago.

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Othello give us a lot of information about himself: he is of royal descent and values his freedom (I.2.21-8); he is self-possessed and confident that, in front of her father, his standing and his innocence will defend his action in marrying Desdemona (‘My arts, my title, and my perfect sol/Shall manifest me rightly’, I.231-2). When he appears before the Venetian Senate, we learn that he considers himself a plain-speaking, professional solider who has devoted most of his life to his profession, having been rescued from slavery in the course of his life of adventure.
Iago attests in a soliloquy that his General is ‘of a constant, loving, noble nature’(II.1.280). Othello is conscious of being an ‘outsider’ because of his race, colour and birth but feels accepted by the Venetian establishment because of his personal qualities and abilities.




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The word ‘honest’ in Othello

The word ‘honest’, or ‘honesty’, is used repeatedly throughout the play, almost to the point of obsession.
In general use, of persons, it gives the word as meaning ‘of moral good character, Virtuous, upright’, but for women it gives the specific meaning of ‘chaste’.

How Shakespeare employs the two usages of the word ‘honesty’ in a deliberate way?

The number of time ‘honest’ or ;honesty’ is spoken by the main characters in the play:
Iago is the first to use the term when telling Roderigo his view of masters and servants, dismissing those are faithful with the contemptuous phrase, ‘Whip me such honest knaves’ (I.1.49). This makes it especially ironic that the next usage is by Othello, describing Iago (his Ancient and therefore inferior) to the duce as ‘A ma he is of honesty and trust’ (I.3.282). From the outset, therefore, the term is inverted and devalued.
As a result, when Othello repeatedly uses it in Act III, Scene 3, the word brings to sound like a parody of itself. By this time, ‘honest’ is also being used in the gender-specific sense. When Othello, who is visibly disturbed, relies to Iago: ‘No, not much moved. I do not think but Desdemona’s honest’(III.3.222-3), he uses the word to mean ‘faithful’.
At this point, because it is correctly applied, the word ‘honest’ stabilizes for a moment in value before being plunged back into ironic loss of meaning by Othello’s frenzied description of Iago to Emilia as ‘thy husband, honest, honest Iago’ ( V.2.153).





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Understanding Iago

Although Shakespeare’s play is entitled Othello, it would not be absurd if someone claimed that Iago rather than Othello was the central character: in fact, the play has sometimes been produced upon this assumption. Iago has more lines than Othello. There are some important surprises in the characterization of Othello, but there are even more surprises in that of Iago, and it can hardly be said even by the end of the play that we completely ‘know’ him. Moreover, the entire action of the play derives from him. He succession of events and the dramatic action begin, as we saw earlier, not with Desdemona’s elopement with Othello, but with Iago’s decision to exploit this elopement for all the possible harm he may do with it. Iago plans harm to his General, Othello, and – as an incidental bonus – he also plans to revenge himself upon his crony Roderigo, and to injure Desdemona.

Othello’s and Desdemona’s qualities of character, turn the tables on Iago’s plans completely. He will inject jealously into Othello’s and Desdemona’s relationship, manipulating various other characters, including Roderigo, Cassio, Emilia and Bianca, for the purpose. He manages to exploit the personal weaknesses and vulnerabilities of Othello and Desdemona: Othello’s guilelessness and credulity; Desdemona’s inexperience; and the social pressure threatening any ‘mixed’ marriage. Iago can be said to dominate the play, in the sense that he instigates or manipulates most the play’s action.

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Othello as tragedy

The Greek philosopher Aristotle, in his Poetics, gave a famous definition of tragedy. ‘Tragedy’, he wrote, ‘is an imitation of some action that is important, entire, and of a proper magnitude, embellished by language, effecting through pity and terror he purgation of those emotions’.

According to Aristotle a tragedy must deal with people of high estate falling into misfortune, doing so because of some hamtaria or fatal error of judgement (of which hubris, or overweening pride, is one example), and its plot will feature one or more perpeteia (or surprising reversal of fortune) and an angorisis (r final recognition of some gravely unwelcome truth)
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What is the language doing here, and what does it suggest about Othello’s character? (I.2.17-28)

The way the language works is to give us a balanced yet mixed impression of Othello as a man. He ‘serves’ the state and knows his worth, yet, from modesty, he will not make his deeds known until ‘bossing’ becomes honorable. He comes from royal blood and e values his freedom which he s only giving up, willingly, because of his love foe Desdemona. The final four lines are deeply memorable. Hey start with a qualifying clause that leads the reader/listener/ viewer in expression to the main statement about his ‘free condition’, an idea that us amplified by the expansive notion of the ‘seas’ worth’ and set against the idea of enclosure, so powerfully embodied in the phrase
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What the opening scenes reveal to us about speakers and their characters

Iago, in the exposition of his ‘philosophy’ he uses for the first time the epithet ‘honest’, a word that is to recur frequently throughout the play. He despises, he says, ‘honest’ knaves, that is, those who are knaves but who do not look after their own interests properly. ‘Honest’ is a patronizing and contemptuous term here. Elsewhere, and with other characters, Iago will make much play of his own ‘honesty’ – his (supposed) plain speaking, feeling hear and hatred of all pretence. He ‘play-acts’ in all these senses in various degrees as the scene develops.
The exchanges between Iago and Roderigo tell us, by implication, a lot about their relatioshi. It would seem that Iago knows Roderigo is likely to be taken in by a show of intellectual cynicism because, as is becoming clear, he is rather easily duped. More importantly, Iago’s actions suggest a lack of respect for his ‘friend’ Roderigo. A few moments later, we learn that Iago gladly takes any opportunity to get his ‘friend’ into trouble. In making Roderigo act as his spokesman under Brabartio’s window, Iago is not only deliberately working off vindictive feelings against Othello, Desdemona and Brabartio, he is also taking the opportunity to do Roderigo harm.
The unpleasant relationship between Iago and Roderigo brings out an important issue in the play as a whole: that of Iago’s motivation. One interpretation suggest that Iago sees in Othello’s and Desdemona’s elopement a perfect opportunity to arouse racist prejudice and hysteria, partly for advantage to himself but perhaps also for its own sake. Roderigo describes Othello, insultingly, as ‘thick-lips’, an allusion to his race, and Iago goes on to exploit racist stereotypes even more crudely. In his speeches to Brabartio he refers to the marriage between Othello and Desdemona as a mating of two animals, describing Othello as ‘black ram’ and a ‘Barbary horse’, and also as ‘the devil’. By raising such a hue and cry beneath Brabartio’s windows, he manages, deliberately, to startle the bemused old man into similarly violent and instinctive racial prejudice. In the next scene Brabartio accuses Othello of having stolen Desdemona by sorcery. He thinks it is unlikely that she could have by her own volition ‘Run from her guardage to the sooty bosom/Of such a thing as thou’ (I.2.70-1).

بسم الله الرحمن الرحيم 

لم أسجل المادة  وهذا تلخيصي بعد توفر المادة العلميةبفضل من الله

أهديه لكل من طلب الملخص مني

وأشكر الاخ الفاضل (برنارد شو)

الذي قام بتوفير نسخة من الجابتر لي لا يرجو منكم إلا الدعاء

ما من عبد مسلم يدعو لأخيه بظهر الغيب إلا قال الملك ولك بمثل

ملخص حضارة عربية إسلامية - الوحدة الأولى

ملخص حضارة عربية إسلامية - الوحدة الثانية

ملخص حضارة عربية إسلامية - الوحدة الثالثة

السلام عليكم ورحمة الله وبركاته

هذا ملخصي وإن شاء الله ينفعكم 

 

الوحدة الثالثة

وادعولي