تحميل مباشر  WORD

http://www.gulfup.com/?lEdVWE 

أو
 عرض + تحميل

word 

PDF

E303B - UNIT 20

Critical discourse analysis (CDA):

· This approach has been developed by linguists with an interest in the rhetorical potential of texts – the potential of texts to influence societal beliefs, values and expectations.

· It is an approach concerned with the ways in which texts may influence public opinion in relation, for example, to politics, international relations, the economy, religion and the environment.

· Moreover, it is an approach concerned with the potential of texts to shape a society’s more basic beliefs and assumptions about the way the world is and the way it ought to be.

· Much of the research within this critical framework has been directed towards those texts which have the most obvious potential for influencing social attitudes – mass media journalism and the speeches and statements of political leaders. (In exploring the persuasive strategies employed in the texts of politicians and political parties, or the role of the mass media in shaping community attitudes and beliefs).

· This is why the critical approach has been applied to texts from a great diversity of fields including expert and popular science, advertising, public administration, history, economics, education policy, and various types of literature including popular children’s fiction.

____________________________

CRITICAL LINGUISTIC APPROACH: SOME KEY CLAIMS AND ASSUMPTIONS

**Ideology**

· At the heart of the critical linguistic approach is the notion of ideology. It is generally used to refer to the notion of world view or value system. It refers to the fact that all speakers and writers necessarily operate with assumptions, beliefs and expectations about the way the world is, and the way it ought to be.


(E.g.: The assumptions and beliefs by which the members of any community develop views)

- what is right and wrong or good and bad

- what is normal or natural human behaviour and what is abnormal or aberrant

- what are the appropriate roles for human individuals to perform according to such factors as their age, gender and education

- what it means to be an integral member of that community

- what it means to be an outsider or an alien.


· These sets of socially-based assumptions and beliefs are termed ideologies and, accordingly, all texts can be seen as ideological in that they are shaped by, reflect, and hence potentially perpetuate, such value systems or ways of thinking .

· Much of critical linguistic work is directed towards relating specific lexicogrammatical features to these underlying world views (or ideologies). Each particular view of the world is most firmly based in what is assumed by the people holding that view to be common knowledge or common sense.

· There are some researchers within critical linguists who reserve the terms ‘ideology’ and ‘ideological’ for a particular type of world view or value system which they see as acting to support or perpetuate social inequality, exploitation, discrimination or oppression.

DOWNLOAD WORD

DOWNLOAD PDF

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

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'

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

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

 · 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'.

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 

· 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.

بالتوفيق لكم جميعا

شرح جابتر 7


At home with the Victorians: London life

مثلما عرفنا كان من اهتمامات المجتمع الفيكتوري المنزل الآمن الصالح ورواية هنا شرحت بعض المخاوف تجاه هذه القيم وما يمكن أن يدمرها

  Creating a safe and morally righteous home was the most important expression of Victorian social values.
  The Sign of Four is a detective novel, and also a domestic novel
  الرواية رغم أنها رواية تحقيقات الا انها ايضا رواية منزلية وهذه ممكن يكون سؤال
في الاختبار


Domesticity of 221B Baker Street:
باركر ستريت المنزل الاساسي في الرواية تم وصفه بطريقة مألوفة من خلال الأنشطة التي تحدث فهي موجودة في المنازل ذلك الوقت جعلته يبدو كحقيقة وليس مجرد منزل خيالي (وهو فعلا مكان غير موجود)
familiar to many readers in late Victorian Britain.


مثل :
a convivial dinner with fine wines, reading; the newspaper over breakfast, practising the violin, taking afternoon tea

As well as describing a domestic interior familiar to many of its readers, the level of domestic detail in The Sign of Four is designed to 'flesh out' the character of Holmes, and make him a realistic and believable personality.


The descriptions of 221B Baker Street are cluttered with details of a domestic interior that readers grew to think of as real, rather than imaginary.


***221B Baker Street embodies much of the cosiness that Victorian readers would have known from their own homes.

ومع ذلك كما وضحنا فهذا المنزل كان به من الامور غير الودية وغير الاعتيادية ايضا

عدم وجود عالم خارجي آمن وهو ما يؤثر على المنزل من الداخل وما يؤدي لوجود الجريمة داخل المنزل وأيضا لدينا البطل هولمز مدمن مخدرات هذه النقاط موجودة في الملخص

____________________________ Detective fiction

كرواية تحقيق أو بوليسية . ممكن هنا سؤال؟ ما هي رواية التحقيق وشرح الرواية كرواية تحقيق وجريمة؟
Detective fiction is a predominantly modern genre. It a development of the Victorian age; typically, from its beginnings, a single criminal case (almost always a murder or theft, or both) was solved through the concerted action of a consulting detective. Based around the solution of a particular crime that is unravelled through the narrative, detective fiction from the start encouraged the reader to engage with the text in a meticulous way.

خصائص هذا GENRE

الربط بين المعلومات والتفريق بين المتعلق بالقضية وغير متعلق بها . ما هو مهم وما هو غير مهم لايجاد حل منطقي للمعضلة او اللغز وبالتالي الوصل لنهاية صحيحة ومقبولة.

· Central to the plot development of detective fiction is the ability of the detective to amass data from the case, distinguish between relevant and irrelevant information, eliminate scenarios that are illogical or implausible, and draw the correct conclusion: there can, of course, be only one conclusion.
في الرواية كان هولمز يشرح الطريقة التي يسير على نهجها في التحقيق اذا كان لديك
· 'when you have eliminated the impossible, whatever remains, however improbable, must be the truth' (p. 84).

في هذا النوع من الادب نجد ان هنالك علاقة تعزيز ما بين التفاصيل المهمة وغير المهمة .

فحينما تكون التفاصيل المهمة لتزويدنا بمعلومات خاصة بحالة او حدث لو شخص او قضية.

فإن التفاصيل غير المهمة تكون لتكوين الرواية من اوصاف واحداث ولا تكون لها قيمة في عملية التحقيق وتمكن القارئ من ابداء رأيه الخاص حيال اللغز وتشغل تفكيره.

****** Detective fiction abounds in significant and insignificant detail.
- Significant detail provides valuable information about a case, a sequence of events, or a person. Insignificant detail fleshes out the scene, place, person or event described; it has no first-hand value as evidence, but can help to form our opinions as readers. For detective fiction to work as a satisfying read, some of the significant detail should come across as insignificant, and vice versa.


******Writers of detective fiction use significant and insignificant detail to develop and resolve the plot, but they also manipulate this device to maintain our interest right until the end of the narrative. This tactic relates closely to the ways in which detective fiction was both published and read.

____________________________

Publishing detective fiction

على عكس الرواية الواقعية رواية التحقيق تكون لإيجاد حل للأحداث وليس التطور المتدرج لشخصية معينة.

أي أن الاعتماد الكلي على PLOT .

وهذا الادب ظهر بعدظهور العالم الصناعي المتمدن من ثورة اقتصادية وعدم المساواة الاجتماعية نتيجة لذلك مما كان يظهر المخاوف تجاه الجريمة (الفقر – السرقة وهكذا... )

· Unlike the realist novel, detective fiction is driven by the resolution of the plot, rather than the gradual development of character. The structure is repetitive and predictable, with the narrative always offering a definitive resolution in a preordained trajectory.
· Detective fiction was written for (and often described) readers who inhabited a newly industrialised urban world, stuffed with the new wealth of commerce, wracked with social inequality, and filled with anxiety about crime.

في اكتيفيتي 3 يشرح لنا اهمية قراءة الصحف في ذلك الوقت ممما وضح الاهتمام بالصحف كنوع من انواع التزود بالمعلومات وهو ما يعرف وقتها باقتصاد المعلومات. نتيجة ازدياد أعداد الناس المتعلمين. وهو كان واضحا في الرواية ان كل الشخصيات ما عدا الشخصيات غير المحلية كالهنود و تونغا هم متعلمين.

· Different types of reading practice are mentioned in The Sign of Four, but it is newspaper reading that is the most prevalent.
· All of the action of the novel takes place over just ninety-six hours, and all the major figures in the story read newspapers regularly, strongly suggesting that Victorian readers depended heavily upon newspapers for up-to-date information.
· Britain in the Victorian era is entering what 'information economy', one in which increasing numbers of people were literate, and had ready access to information, and where information itself had an intrinsic economic value.
· All the characters in the novel, with the notable exception of the Andamanese Tonga, and Small's three Indian co-conspirators in Agra, are presented as literate and engaged in the world of print.

____________________________

The Victorians and abroad

وضحنا ان الاستعمار امتد في الهند وكان في عهد الملكة فيكوتوريا كما اظن (لذلك يطلق على فترة او حقبة ملكها بالعصر الفيكتوري)

India in London
كثير من الكلمات والاحداث والاشخاص كانو يحملون الطابع الهندي مما يدل على انه امر مألوف لدى القارئ ولن يستصعبه. مثالا ثاديوس شولتو كان منزله يحمل الطابع الهندي من الاثاث والزخارف والانسجة. انسة مورسان كانت تعيش هناك قبل ارسالها للندن وكذلك والدها كان يعمل هناك
· References to indian place names: events, objects and people, often in Hindi or Urdu abound throughout the text, and suggest that many of the book's intended readers would have been familiar with these terms.
وهذا يظهر ادراك البطل هولمز في القصة عن اهمية الهند في الحياة البريطانية وعلاقته بالجريمة التي حدثت. ومن بين هذا اهتمامه ايضا في دراسة رماد السجائر كأدلة . وهنا يظهر اهمية معرفته بالسجائر التوباكو القادمة من الهند
****Although he is not an ex-colonial, Holmes is well aware of the importance of India to British life, and, particularly, its relationship to crime committed in the metropolitan centre of London.
*****Among his areas of specialised forensic study is the cigarette ash from various types of prepared tobacco, both British and Indian. For Holmes, the ability to identify a potential culprit by whether he is smoking an Indian cigar is of vital importance. Tobacco was one of the goods central to Britain's imperial trade; India is the world's second largest producer of tobacco.
· Not only is the novel peopled with Britons returned from India and stuffed with Indian goods, but Indian servants are also conspicuous in the London homes depicted in The Sign of Four.
الامر الاخير عن علاقة الهند ليس فقط الانتفاع بالموارد الهندية كالسجائر والانسجة والشاي وغيره وانما ايضا وجود الخدم الهنديوون في المنازل اللندنية

· There are at least three Indian servants in the employ of the Sholtos Working within the domestic sphere, the Indian butlers have information about the crimes committed inside Pondicherry Lodge
· Holmes's knowledge of India is a largely intellectual and theoretical one, derived from his reading, but Watson's experience is altogether more practical: he is another ex-colonial in the novel.
· The recurring cost in blood and treasure of holding on to India as the jewel in the crown of Britain's imperial possessions, Doyle reminds us at the very beginning of the narrative that Dr Watson is a veteran of a war on British India's borders.

فاذا كاننت لندن تظهر كعالم من الرفاهية المنزلية والمودة والعاطفة وامكانية الزواج السعيد فان الهند صورت على النقيض تماما كأرض شديدة الفقر والثروات, كخطر, الـ لا قانون وفرصة الحصول على المال. وكلا من الثروة و الخطر الهنديين أصبحو تهديدا وزعزة لاستقرار الحياة في لندن. فحينما جلبت الثروة من الهند الى لندن لتصبح الحياة اكثر راحة كان احتمال وجود وجلب العنف للمنازل في نفس الوقت خطر مترقب ومتوقع بشكل مستمر.

***If London in The Sign of Four represents, on the surface at least, the comfortable world of domestic interiors, conviviality, emotional order and the prospect of blissful marriage, India is depicted as its polar opposite: a land of extremes of wealth and poverty, danger, lawlessness and, above all, financial opportunity.
****Both the wealth and the danger of India constantly threaten to destabilise London life. While bringing home the wealth of India can make life in London extremely-comfortable, the prospect of retributive violence being brought home at the same time is an ever-present danger.

____________________________

The 'Mutiny'

علاقة الرواية بما حدث من تمرد فعليا في الهند

***Doyle's depiction of the murder of Achmet and the theft of the Agra jewels by Small and his sworn Sikh accomplices (pp. 141—4) during the 'Mutiny' in Agra is entirely plausible, but his trial and conviction is not.
قتل اشميت وسرقة كنز اغرا الذي قام به سمل وعصابته كان اثناء التمرد الذي حصل في اغرا

Literary responses to the 'Mutiny'

الكثير من الكتاب كتبو بمختلف انواع الادب عن هذه الحادثة وتوابعها

وتعتبر هذه الرواية أحد اسباب انشاء وعي تجاه هذا الحدث لدى القراء في المنازل الذين لم يرو ولا يعرفون كثيرا عنها. لذلك كان حديث سمول في الرواية موجها للقراء حتى يأخذوا فكرة في حين نجد ان بقية الشخصيات لم تكن تبدي تعجبا ولا دهشة أي انها تعرف وعلى علم بهذا الحدث بعكس القراء.

· Small's account of the 'Mutiny' is solidly aimed at British readers at home. Small's account describes the rebels in demonic terms: they are 'black fiends', 'dancing and howling', and a 'swarm of bees' (p. 136). His depiction of the atrocities he sees is in graphic, even pictorial terms. Mrs Dawson is described as being 'cut into ribbons', while Dawson is 'lying on his face, quite dead, with an empty revolver in his hand' (p. 136). Small explicitly mentions that he expects the British listeners to his confession (Holmes and Watson) to 'know all about. Implicitly, Doyle is expecting the same from his British readers. This suggests that more than thirty years after the events of 1857, the large number of British readers at home who had never witnessed the 'Mutiny' (as was the case with Doyle) could still be expected to know something about it.

More books were published about the 'Mutiny' in the 1880s and 1890s than at any other time, and Doyle is clearly tapping into his readers' awareness here.

Victorians at home could not have been indifferent to the perceived threat, as well as the real benefits, of empire.

Conclusion IMPORTANT
(أغلب الجمل هنا يمكن تحضيرها في مقدمة الاجابة في الاختبار او الشرح)

· The Victorian age was Britain's greatest period of imperial expansion abroad, and economic and social development at home.
· The narrative assumes an unproblematic relationship between Britain and India, never questioning the legitimacy of British rule.
· However, the entire plot of this detective novel is dependent upon the chaos brought about by the Indian 'Mutiny' of 1857, as well as the individual greed, treachery and criminality of a range of British colonists — Jonathan Small, Captain Morstan, Major Sholto, the prison guards on the Andaman Islands and Bartholomew Sholto.
· The narrative is driven by the plot rather than by character development, and the texture of reality is provided by Doyle's careful assembly of significant and insignificant recognisable details throughout the text: real places, objects, times, and the geography of London are plausibly referenced.
· As in all detective fiction, the triumphant plot resolution, complete with the prospect of Watson's marriage to Mary Morstan and a new phase of his domestic life, vindicates the investment of the reader in the book; they read detective fiction because they know that the crime will be exposed and the culprit punished.
· Holmes's ability to solve each case is as predictably reliable as the London fog or Watson's bouts of obtuseness. The Sign of Four shows us the Victorians at home at their most comfortable and reassured: living an ordered, secure, domestic life, with threats to their material and physical well-being systematically eliminated through the logical application of Holmes's famous and infallible maxim, 'when you have eliminated the impossible, whatever remains, however improbable, must be the truth' (p. 84).
· For all its interest in home, both literally and metaphorically, The Sign of Four is also a novel about the Victorian abroad. Written by a novelist who had never been to India and was born after the events of 1857, and for a domestic audience whose knowledge of the 'Mutiny' would have been shaped almost entirely books, newspapers and visual images, this detective novel articulates the anxiety about empire felt, but not always expressed, by so many British readers in the last decade of the nineteenth century.
· The Sign of Four clearly illustrates at least one potential blowback of empire — that the effect of crimes committed in India would be felt at home in Britain, even in suburban London.
· Many Victorians were uncomfortable with the increasingly intricate relationship between home and abroad.
- E.G: Dr Watson is only too pleased that the Agra treasure is at the bottom of the Thames, beyond the reach of all who seek to possess it, whether legitimately, or illegitimately. After all, by losing the treasure, he gains a wife.





بالتوفيق للجميع

E303B - UNIT 16

GRAMMATICAL COHESION:

1)   LINKING ADVERBIAL

2)   REPETITION OF MEANING:

-         REFERENCE

-         SUBSTITUTION

-         ELLIPSIS

____________________________

LINKING ADVERBIAL

Semantic categories of linking adverbials:

♦   introducing or contrasting viewpoints (contrast)

♦   adding information (addition)

♦   pulling ideas together (summation)

♦   listing pieces of information (enumeration)

♦   restating information (apposition)

♦   signalling results or consequences (result/inference)

♦   marking contrast or conflict (contrast/concession)

♦   signalling a transition to new information (transition)

***metalanguage*** – a language for talking about language

Differences between conjunctions and linking adverbials:

1)    Linking adverbials play a similar role to conjunctions in that they connect different parts of a text by explicitly signalling the semantic link (such as contrast or result).

2)    Unlike conjunctions, which are restricted to joining two clauses together, linking adverbials can bind together meanings across stretches of text.

The function of linking adverbials:

-  Adverbial linkers serve to weave together ideas and arguments.

-  These are to some extent register-sensitive.

-  They create bridges to previous sections of, and meanings in, a text.

-  Act as signposts in the development of a discussion.

____________________________

REPETITION OF MEANING:

1)   Reference: (cohesive reference):

Types of references:

1)    Pronouns: are one set of grammatical resources referred to as cohesive reference that serve to keep track of the participants in a text as it unfolds. They are used to signal that what they are referring to can be retrieved in a previous or subsequent section of the text (he, she, it,…).

2)    Definite articles (the) and demonstratives (this, those..).

3)    Indirect reference: the connection has to be inferred from the text (context)

- It makes it difficult for a reader to track what is being referred to.

- Another potential source of confusion when using or interpreting third person pronouns concerns gender and the issue of gender bias 

4)    Locational reference: Adverbials are used as a means to reference locations in time and place. (then, now, here, there, at the moment…)

5)    Comparatives reference: Comparative can function as a reference device. With comparatives, the identity of the presumed item is retrieved not because, it has already been mentioned (or will be mentioned in the text, but because an item with which it is being compared has been mentioned. (same, similar, different, other, such, more, less, bigger)

6)    Anaphora & Cataphora: Forward referencing is more technically known as cataphora   whereas backward referencing is referred to as  anaphora .

7)    Presuming & presenting references: Participants in a text may either be presented as ‘new’ or presumed as being retrievable from another part of the text. Whenever a writer/ speaker signals to the reader/listener that the identity of the participant is already known (i.e. retrievable from the text), the reference is said to be ‘presuming’.

***

COMPLETE IN THE FILE

Click to Download

 

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