CHAPTER 8
الرواية تعد رواية واقعية (عن الحياة والشوؤن المنزلية) في جنوب البسيفيك. وتعبر عن العلاقة المعقدة ما بين home و abroad
· South Pacific domestic realist story
· The complicated relationship between 'home' and 'abroad'
· The complicated relationship between 'home' and 'abroad'
أي اكتيفيتي ترجعون تقرونه كامل من الكتاب بعدين التركيز في الملخص
بالنسبة للرواية حالي من حالكم ما ادري شالقصة ههههههه
Reading 'The Beach of Falesa'
هذه النقطة مهمة تتحدث عن تكوين الرواية الخليط والمتنوع من :
كونها ليست قصيرة لتكون قصة قصيرة ولا بالطول الذي يمكن اعتبارها من خلاله كرواية. لذلك هي تسمى نوفيلا(( رواية قصيرة : قصة قصيرة طويلة))
أيضا تنوعا من حيث كونها:
Romance + realist at the same time (mixture)
A hybrid form
· 'The Beach of Falesa' is best defined as a novellaor a short novel.
· It is a hybrid form-too short to be considered a novel, too long to be a short story.
· The unfamiliarity of the topic and the foreign words in the tide necessitated the addition of a subtide ('Being the Narrative of a South-Sea Trader') to make the story understandable to a mass British readership.
*** 'The Beach of Falesa' is a hybrid work not only because it is too short to be a novel and too long to be a short story, but also because of its content: it mixes realism with more romantic and poetic modes; it even gives a central place to the supernatural.
Stevenson: from adventure romance towards realism.
Elements of both the realist novel and the adventure romance in 'The Beach of Falesa'; in the opening section of the story.
_________________
سمعت ان عندكم close reading
اكتيفيتي 3 مهم جدا من هذه الناحية
Activity 3 important
استخدام لغة شعرية ووصفية
the poetic and descriptive language
الرواية المتحدث الاول
يعني الذي يقول لنا القصة يقولها كأنها تجربته وقصته ويستخدم فيها الضمير
I
first-person narrator = John Wiltshire
اللغة زاخرة وبقوة بالتصوير المرئي لجمال العالم الطبيعي يعني يخبرنا المشهد الذي يراها بكل دقة وجمال
· His language is full of strongly visual imagery conveying the beauty of the natural world: the 'broad and bright' moon, the pink dawn, and 'the daystar [that] sparkled like a diamond'.
استخدم حواسه لاعطاء انطباعه الاول عن الجزيرة
· Wiltshire engages all his senses in describing his first impressions of the island:the smell of the 'wild lime and vanilla', the cool temperature of the breeze blowing in his face, the prospect of hearing new words in a 'tongue [that] would be quite strange to me' (p. 3).
بهذه الطريقة استطاع ستيفنسون جعل القراء يتفاعلون مع المشهد وتخيله كأنهم موجودين مع الراوي
· Stevenson's opening paragraph sets the scene for his British readers, encountering this story about the Pacific on the other side of the world. He draws in his readers by letting them see Falesa for the first time as Wiltshire does, through the perspective of his first-person narration.
وهنا كيف وظف ستيفنسون (الكاتب) اللغة الشاعرية في تصوير اللقاء الاول للعديد من زوار البسيفيك
In his deployment of such poetic language in the opening paragraph, Stevenson is capturing as closely as possible the magical first encounter so many visitors to the South Pacific have related in fiction, travel writing, correspondence and memoirs.
ومن هنا نلاحظ ان القصة بدأت رومانسية ولكن بعد ذلك صور لنا احداثا حقيقة وهي ما يلقاه الزوار من مشاكل ومعضلات في ذلك المكان من خلال تجارب التجار السابقين
This opening section of the story draws the reader in through the romance of the first encounter with a Pacific island, and then presents us with a realist account of the problems of previous foreign traders on Falesa.Stevenson draws upon the adventure romance and travel writing traditions and the expectations of his readers before showing them the reality of life on Falesa, which, despite its beauty, is far from being an exotic island paradise.
الكاتب هنا وضع البداية وفقا لتصورات القراء من ناحية ان تكون القصة روامنسية وعن (خيال المغامرات) وهو ما يختص بأدب الرحلات كونه يعيش في جزيرة فعلا في البسيفيك ولكن نراه بعد ذلك يظهر حياة واقعية للحياة في فيليسا التي على الرغم من جمالها فهي أبعد من كونها جزيرة غريبة.
A new realism
فعلى الرغم من وجود امور فوق العادة مثل
the taboo around Wiltshire's house, and the islanders' belief in Tiapolo or the devil),
الا ان القصة وضعت لتكون واقعية
Despite the fact that the plot of 'The Beach of Falesa' deliberately uses the supernatural,Stevenson's narrative deals with these phenomena in a realist fashion.
فعلى الرغم من كون الجزيرة غير حقيقة في (عالمنا) وانها من خيال الكاتب ولكن الكاتب من خلاله تصويره لها والحياة فيها ومالمعتقدات وغيرها لقاطنيها اعطاها ميزات حقيقة من خلال حياته التي قضاها في جزيرة ساموون التي عاشرها بشكل يومي
While Falesa is an imaginary island, Stevenson took great pains to make his representation of island life as accurate as possible, basing many of the attitudes, practices, beliefs and aspirations of the islanders on the Samoans whom he interacted with on a daily basis.
من النقاط التي تختص ايضا بكون القصة واقعية هو استخدام اللهجة dialect الخاصة باهل الجزيرة للتفاهم مع التجار الانجليزي
There are two other aspects of realism in Stevenson's story the use of dialect in the narrative, and the circulation of books.
New forms of English
هذه اللهجة تعتبر نوع من انواع اللغة الانجليزية تستخدم في اماكن لا يتحدث سكانها بهذه اللغة وهي خالية من النحو مجرد كلمات للتفاهم والتعاون التجاري
- Stevenson's use of dialect and slang
- Stevenson's story attempts realistically to represent a new, evolving, and still unstable dialect of English, broadly called Pidgin, which emerged as a new language out of the trading relationships on the beach between different communities (Europeans, Americans, Chinese, various Pacific islanders) across the Pacific.
مثالا على ذلك استخدام اوما زوجة راوي القصة لهذه اللهجة للتواصل والتفاهم مع زوجها
Lacking a language in common, Uma uses the English-based island Pidgin trading language to communicate with her husband, Wiltshire.
من خلال وصفه للحياة العائلية لكلا من ويلتشاير و اوما فان القصة بدلت مابين مفهوم
Home + abroad
Linguistically, in this depiction of the domestic life of Wiltshire and Uma, 'The Beach of Falesa' swaps the categories of home and abroad for its Victorian British readers.
Wiltshire and Uma's domestic life:
صور الكاتب التعقيدات التي تخص الحياة الزوجية ومشاكلها
· the complications of Wiltshire's home life.
· Stevenson's commitment to realism is at its clearest here in its depiction of an everyday marital argument.
دعم اوما لزوجها واتباعها له يوضح ان زواجهم ليس مجرد ورقة قانونية ولكن ايضا روحي
Uma's unconditional support for Wiltshire, and demonstrates their marriage in the spirit as well as the letter of the law.
الرواية توضح لنا الرباط بين الامبراطورية (الاستعمارية) و التجارة . هذا الرباط كما تظهره حياة ويلتشاير و اوما العائلية فأن له مشاكله و ايضا فرصه. من هذه المشاكل الخلط بين الاعراق وتهميش القيم البريطانية (عاداتهم) والقناعات نتيجة لذلك.
'The Beach of Falesa' reminds us of the increasing interconnectedness brought about by trade and empire. This interconnectedness, as Wiltshire and Uma's domestic life shows, brought with it problems as well as opportunities. Chief among these perceived problems was the prospect of the mixing of the races and the dilution of British values and certainties that may occur as a result.
Stevenson in the South Pacific
استخدمت الناقدة ماري برات مصطلح:
Contact zone
first-person narrator = John Wiltshire
اللغة زاخرة وبقوة بالتصوير المرئي لجمال العالم الطبيعي يعني يخبرنا المشهد الذي يراها بكل دقة وجمال
· His language is full of strongly visual imagery conveying the beauty of the natural world: the 'broad and bright' moon, the pink dawn, and 'the daystar [that] sparkled like a diamond'.
استخدم حواسه لاعطاء انطباعه الاول عن الجزيرة
· Wiltshire engages all his senses in describing his first impressions of the island:the smell of the 'wild lime and vanilla', the cool temperature of the breeze blowing in his face, the prospect of hearing new words in a 'tongue [that] would be quite strange to me' (p. 3).
بهذه الطريقة استطاع ستيفنسون جعل القراء يتفاعلون مع المشهد وتخيله كأنهم موجودين مع الراوي
· Stevenson's opening paragraph sets the scene for his British readers, encountering this story about the Pacific on the other side of the world. He draws in his readers by letting them see Falesa for the first time as Wiltshire does, through the perspective of his first-person narration.
وهنا كيف وظف ستيفنسون (الكاتب) اللغة الشاعرية في تصوير اللقاء الاول للعديد من زوار البسيفيك
In his deployment of such poetic language in the opening paragraph, Stevenson is capturing as closely as possible the magical first encounter so many visitors to the South Pacific have related in fiction, travel writing, correspondence and memoirs.
ومن هنا نلاحظ ان القصة بدأت رومانسية ولكن بعد ذلك صور لنا احداثا حقيقة وهي ما يلقاه الزوار من مشاكل ومعضلات في ذلك المكان من خلال تجارب التجار السابقين
This opening section of the story draws the reader in through the romance of the first encounter with a Pacific island, and then presents us with a realist account of the problems of previous foreign traders on Falesa.Stevenson draws upon the adventure romance and travel writing traditions and the expectations of his readers before showing them the reality of life on Falesa, which, despite its beauty, is far from being an exotic island paradise.
الكاتب هنا وضع البداية وفقا لتصورات القراء من ناحية ان تكون القصة روامنسية وعن (خيال المغامرات) وهو ما يختص بأدب الرحلات كونه يعيش في جزيرة فعلا في البسيفيك ولكن نراه بعد ذلك يظهر حياة واقعية للحياة في فيليسا التي على الرغم من جمالها فهي أبعد من كونها جزيرة غريبة.
A new realism
فعلى الرغم من وجود امور فوق العادة مثل
the taboo around Wiltshire's house, and the islanders' belief in Tiapolo or the devil),
الا ان القصة وضعت لتكون واقعية
Despite the fact that the plot of 'The Beach of Falesa' deliberately uses the supernatural,Stevenson's narrative deals with these phenomena in a realist fashion.
فعلى الرغم من كون الجزيرة غير حقيقة في (عالمنا) وانها من خيال الكاتب ولكن الكاتب من خلاله تصويره لها والحياة فيها ومالمعتقدات وغيرها لقاطنيها اعطاها ميزات حقيقة من خلال حياته التي قضاها في جزيرة ساموون التي عاشرها بشكل يومي
While Falesa is an imaginary island, Stevenson took great pains to make his representation of island life as accurate as possible, basing many of the attitudes, practices, beliefs and aspirations of the islanders on the Samoans whom he interacted with on a daily basis.
من النقاط التي تختص ايضا بكون القصة واقعية هو استخدام اللهجة dialect الخاصة باهل الجزيرة للتفاهم مع التجار الانجليزي
There are two other aspects of realism in Stevenson's story the use of dialect in the narrative, and the circulation of books.
New forms of English
هذه اللهجة تعتبر نوع من انواع اللغة الانجليزية تستخدم في اماكن لا يتحدث سكانها بهذه اللغة وهي خالية من النحو مجرد كلمات للتفاهم والتعاون التجاري
- Stevenson's use of dialect and slang
- Stevenson's story attempts realistically to represent a new, evolving, and still unstable dialect of English, broadly called Pidgin, which emerged as a new language out of the trading relationships on the beach between different communities (Europeans, Americans, Chinese, various Pacific islanders) across the Pacific.
مثالا على ذلك استخدام اوما زوجة راوي القصة لهذه اللهجة للتواصل والتفاهم مع زوجها
Lacking a language in common, Uma uses the English-based island Pidgin trading language to communicate with her husband, Wiltshire.
من خلال وصفه للحياة العائلية لكلا من ويلتشاير و اوما فان القصة بدلت مابين مفهوم
Home + abroad
Linguistically, in this depiction of the domestic life of Wiltshire and Uma, 'The Beach of Falesa' swaps the categories of home and abroad for its Victorian British readers.
Wiltshire and Uma's domestic life:
صور الكاتب التعقيدات التي تخص الحياة الزوجية ومشاكلها
· the complications of Wiltshire's home life.
· Stevenson's commitment to realism is at its clearest here in its depiction of an everyday marital argument.
دعم اوما لزوجها واتباعها له يوضح ان زواجهم ليس مجرد ورقة قانونية ولكن ايضا روحي
Uma's unconditional support for Wiltshire, and demonstrates their marriage in the spirit as well as the letter of the law.
الرواية توضح لنا الرباط بين الامبراطورية (الاستعمارية) و التجارة . هذا الرباط كما تظهره حياة ويلتشاير و اوما العائلية فأن له مشاكله و ايضا فرصه. من هذه المشاكل الخلط بين الاعراق وتهميش القيم البريطانية (عاداتهم) والقناعات نتيجة لذلك.
'The Beach of Falesa' reminds us of the increasing interconnectedness brought about by trade and empire. This interconnectedness, as Wiltshire and Uma's domestic life shows, brought with it problems as well as opportunities. Chief among these perceived problems was the prospect of the mixing of the races and the dilution of British values and certainties that may occur as a result.
Stevenson in the South Pacific
استخدمت الناقدة ماري برات مصطلح:
Contact zone
لتشير الى المسافات الاجتماعية التي تلتقي بها الثقافات وتتضارب وتتصارع خاصة في سياق ومحيط فيه قوى غير متماثلة مثل الاستعمار والعبودية او تداعياتهم.
· Critic Mary Louise Pratthas used the term 'contact zone'to refer to 'social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery-, or their aftermaths as they are lived out in many parts of the world today' (1991, p. 33).
الرواية قامت على هذا الاساس فعلى الرغم من كون تجربة الكاتب مع ثقافة البسيفيك كانت ايجابية ليس كل من واجه مثل هذه الثقافة لم يتعرض للمشكلات مثالا على ذلك case
· In 'The Beach of Falesa', the entire narrative is played out on this contact zone.While Stevenson's engagement with Pacific culture and its contact zones was emotionally and creatively positive, not all encounters were quite so unproblematic. for example, Stevenson's depiction of Wiltshire's first encounter with his adversary Case, which takes place on the contact zone of Falesa's leeward-facing, and un-tabooed, beach.
كيف؟
Activity 5 important
كيف؟
Activity 5 important
· Wiltshire's initial response to Case is one of instinctive racial and national solidarity. Wiltshire is deprived of contact with his countrymen: 'I was sick for white neighbours', he tells us (p. 4).
الكاتب باستخدامه لتقنية الراوي متحدث الاول دعلنا نرى كيس بعيني او وجهة نظر ويتلشاير فهو في البداية غير متأكد من ناحية مكانة كيس اجتماعيا واخلاقيا و وطنيا
· Stevenson's first-person narration allows us to see Case through Wiltshire's eyes.The initial excitement at meeting a fellow Briton on Falesa is replaced by a growing sense of uncertainty about Case's social, national and moral standing.
ويلتشاير ادرك ان كيس لا يمثل أي مبادئي او قيم للـ home
· Wiltshire's own racial solidarity gives way to the recognition that Case does not represent the values or principles of home.
وهذا فسر مشاكل الاستعمار الاوروبي الذي امتد في القرن التاسع عشر الخاصة بالافكار الثابتة حول العرق والوطنية
Wiltshire's engagement with Case highlights one of the central problems that European imperial expansion in the nineteenth century presented for fixed ideas about race and nationality.
- On the one hand, British traders, missionaries and settlers were expected to be ambassadors of British virtues, and to remain faithful to those values however long they spent 'abroad'.
الكاتب باستخدامه لتقنية الراوي متحدث الاول دعلنا نرى كيس بعيني او وجهة نظر ويتلشاير فهو في البداية غير متأكد من ناحية مكانة كيس اجتماعيا واخلاقيا و وطنيا
· Stevenson's first-person narration allows us to see Case through Wiltshire's eyes.The initial excitement at meeting a fellow Briton on Falesa is replaced by a growing sense of uncertainty about Case's social, national and moral standing.
ويلتشاير ادرك ان كيس لا يمثل أي مبادئي او قيم للـ home
· Wiltshire's own racial solidarity gives way to the recognition that Case does not represent the values or principles of home.
وهذا فسر مشاكل الاستعمار الاوروبي الذي امتد في القرن التاسع عشر الخاصة بالافكار الثابتة حول العرق والوطنية
Wiltshire's engagement with Case highlights one of the central problems that European imperial expansion in the nineteenth century presented for fixed ideas about race and nationality.
- On the one hand, British traders, missionaries and settlers were expected to be ambassadors of British virtues, and to remain faithful to those values however long they spent 'abroad'.
من جهة ان كان من المتوقع ان التجار البريطانيين والمبشرين(بالمسيحية) والمستعمرين ان يحافظو على ولائهم للقيم الخاصة بهم ممهما قضو وعاشو من وقت في Abraod أي الخارج
On the other hand, their increasing distance and dislocation from the values of 'home', and the fact that the contexts of social class and kinship meant far less, resulted in the inevitable dissipation of the racial and national attitudes that they had brought with them.
ومن جهة اخرى بقائهم بعيدا عن الوطن والحكومة و الطبقة الاجتماعية قد بدد مواقفهم العرقية والوطنية التي جلبوها معهم مثالا على ذلك case
هو عاش في الجزيرة فترة طويلة ولم يتبقى منه ما يدل على هويته سوى تخدثه بالانجليزية
· In 'The Beach of Falesa', Case has spent so long in the Pacific that he no longer has a discernible nationality beyond the fact that he is English-speaking.
· Racial and national categories, as with the ideas of home and abroad, were increasingly destabilised by the realities of trade, imperial expansion, and emigration and settlement
Ironically, the further the British ventured from home, the more strictly they tried to live by the ideals and principles of the mother country; and yet, making a new home abroad invariably meant creating a new, mixed way of life.
انشاء home في الخارج يعني انشاء طريقة مختلطة وجديدة للحياة
Activity 6
ومن جهة اخرى بقائهم بعيدا عن الوطن والحكومة و الطبقة الاجتماعية قد بدد مواقفهم العرقية والوطنية التي جلبوها معهم مثالا على ذلك case
هو عاش في الجزيرة فترة طويلة ولم يتبقى منه ما يدل على هويته سوى تخدثه بالانجليزية
· In 'The Beach of Falesa', Case has spent so long in the Pacific that he no longer has a discernible nationality beyond the fact that he is English-speaking.
· Racial and national categories, as with the ideas of home and abroad, were increasingly destabilised by the realities of trade, imperial expansion, and emigration and settlement
Ironically, the further the British ventured from home, the more strictly they tried to live by the ideals and principles of the mother country; and yet, making a new home abroad invariably meant creating a new, mixed way of life.
انشاء home في الخارج يعني انشاء طريقة مختلطة وجديدة للحياة
Activity 6
· Wiltshire's life on Falesa: Wiltshire's own racial prejudices are clear throughout the story; he is dismissive of the islanders for their alleged lack of logic, and frequently uses racially offensive terms('Kanaka').
· In addition, he makes it clear that he does not want his daughters to marry Pacific islanders, despite their own mixed ancestry
· However, he has been successful in making a home for himself and his family in the Pacific. Revealingly, Wiltshire no longer refers to Britain as home, but rather as 'a white man's country'(p. 71).
Conclusion
· Set in an exotic, fictionalised and unidentifiable location, with a plot involving an interracial romance, the supernaturaland a fight to the death between good and evil, The Beach of Falesa' was as far from the domestic world of most late Victorian readers as can be imagined.
· Stevenson combines elements of the adventure story with romance and travel narrative, while Wiltshire's sometimes sardonic first-person narration helps maintain the reader's interest.
· However, 'The Beach of Falesa' is also a domestic story — the account of Wiltshire's establishment of a life with Uma — written in an increasingly realist style.
· In addition, he makes it clear that he does not want his daughters to marry Pacific islanders, despite their own mixed ancestry
· However, he has been successful in making a home for himself and his family in the Pacific. Revealingly, Wiltshire no longer refers to Britain as home, but rather as 'a white man's country'(p. 71).
Conclusion
· Set in an exotic, fictionalised and unidentifiable location, with a plot involving an interracial romance, the supernaturaland a fight to the death between good and evil, The Beach of Falesa' was as far from the domestic world of most late Victorian readers as can be imagined.
· Stevenson combines elements of the adventure story with romance and travel narrative, while Wiltshire's sometimes sardonic first-person narration helps maintain the reader's interest.
· However, 'The Beach of Falesa' is also a domestic story — the account of Wiltshire's establishment of a life with Uma — written in an increasingly realist style.
بالتوفيق لكم جميعا
