لو سمحتم .. ابي مقال ادبي

اللغة الأنجليزية

السلام عليكم ورحمة الله وبركاته

لو سمحتم مطلوب مني مقالين ادبية وترجمتها سواء من العربي للانجليزي

او من الانجليزي للعربي..

مايكون طويل يعني هو وترجمته صفحة..او صفحة ونص

سواء عن اديب عربي او عن الشعر العربي او عن الادب الانجليزي

مو مهم .. المهم انه عن الادب...

بليز ضروري حتى لو تجيبون لي المقالات وانا اترجمها لان المشكلة ماني لاقية

شي ابد :angry:
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يلزم عليك تسجيل الدخول أولًا لكتابة تعليق.

تسجيل دخول

amoonmoon14
amoonmoon14
مقال ادبي عن الادب الانجليزي
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When we dip into the rich variety of novels, poems, and plays which constitute English Literature we are reading works which have lasted for generations, or centuries, and they have lasted because they are good. These works say something worth saying, and say it with artistry strong enough to survive while lesser works drop into obscurity.

Literature is part of our cultural heritage which is freely available to everyone, and which can enrich our lives in all kinds of ways. Once we have broken the barrier that makes studying literature seem daunting, we find the works can be entertaining, beautiful, funny, tragic. They convey profundity of thought, richness of emotion, insight into character. They take us beyond our limited experience of life to show us the lives of other people at other times. They stir us intellectually and emotionally, and deepen our understanding of our history, our society, and our own individual lives.

In great writing from the past we find the England of our ancestors, and we not only see the country and the people as they were, but we also soak up the climate of the times through the language itself, its vocabulary, grammar, and tone. We would only have to consider the writing of Chaucer, Shakespeare, Boswell, Dickens, and Samuel Beckett side by side to see how the way writers use language embodies the cultural atmosphere of their time.

Literature can also give us glimpses of much earlier ages. Glimpses of Celtic Ireland in the poetry of Yeats, or of the Romans in Shakespeare's plays, for example, can take us in our imaginations back to the roots of our culture, and the sense of continuity and change we get from surveying our history enhances our understanding of our modern world.

Literature can enrich our experience in other ways too. London, for example, is all the more interesting a city when behind what we see today we see the London known to Dickens, Boswell and Johnson, or Shakespeare. And our feeling for nature can be deepened when a landscape calls to mind images from, say, Wordsworth, Thomas Hardy, or Ted Hughes.

But good works of literature are not museum pieces, preserved and studied only for historical interest. They last because they remain fresh, transcending as well as embodying the era in which they were written. Each reader reading each work is a new and unique event and the works speak to us now, telling us truths about human life which are relevant to all times.

We don't have to read far before we find that a writer has portrayed a character who is in some way like us, confronting life-experiences in some way like our own, and when we find ourselves caught up with the struggles of a character perhaps we are rehearsing the struggles to come in our own lives. And when we are moved by a poem it can enrich us by putting words to feelings which had lain dormant for lack of a way of expressing them, or been long-forgotten in the daily round of the workplace, the supermarket, the traffic jam, and the TV News.

We can gain a lot from literature in many ways, but the most rewarding experiences can come in those moments when we feel the author has communicated something personally to us, one individual to another. Such moments can help validate our personal experience at a depth which is rarely reached by everyday life or the mass media.

So why do we need to study English Literature, instead of just reading it? Well, we don't need to study it, but when visiting a country for the first time it can help to have books by people who have been there before by our side.

When we start to read literature, particularly older works, we have to accept that we are not going to get the instant gratification that we have become used to from popular entertainment. We have to make an effort to accommodate to the writer's use of language, and to appreciate the ideas he is offering. Critics can help us make that transition, and can help fill out our understanding by telling us something about the social climate in which a work was written, or about the personal circumstances of the author while he was writing it.

We are not going to enjoy every literary work, and there may be times when we find reading a critic is more interesting than reading the actual work. Reading the work of a good critic can be edifying in itself. Making the effort to shape our own thoughts into an essay is also an edifying experience, and just as good literature lasts, so do the personal benefits that we gain from studying it.

Whether we choose to study it or read it for pleasure, when we look back over our literature we are looking back over incredible richness. Not just museum pieces, but living works which we can buy in bookshops, borrow from the library, or download from the internet and read today, right now.******************************************************
good luck
ارجوانية
ارجوانية
يعطيك العافية ياقلبي..

بس ممكن مقال ثاني .. يلا يابنات وينكم المطلوب مقالين

والاخت ماقصرت بواحد..والف شكر لها
amoonmoon14
amoonmoon14
مقال اخر عن المسرح في عهد الملكه اليزابيث
Elizabethan theatre is a general term covering the plays written and performed publicly in England during the reign (1558 - 1603) of Queen Elizabeth I. The term can be used more broadly to also include theatre of Elizabeth's immediate successors, James I and Charles I, until the closure of public theaters in 1642, with the onset of the Civil War.

Elizabethan theater derived from several sources. A crucial source was the mystery plays that were part of religious festivals in England and other parts of Europe during the Middle Ages. The mystery plays were complex retellings of legends based on biblical themes, originally performed in churches but later becoming more linked to the secular celebrations that grew up around religious festivals. Other sources include the morality plays that evolved out of the mysteries, the "University drama" that attempted to recreate Greek tragedy. Later, in the 17th century, the Commedia dell'arte and the elaborate masques frequently presented at court came to play roles in the shaping of public theater.

Temporary companies of players attached to households of leading noblemen and performing seasonally in various locations existed before the reign of Elizabeth I. These became the foundation for the professional players that performed on the Elizabethan stage. The tours of these players gradually replaced the performances or the mystery and morality plays by local players, and a 1572 law eliminated the remaining companies lacking formal patronage by labelling them as vagabonds. At court as well, the performance of masques by courtiers and other amateurs, apparently common in the early years of Elizabeth, was replaced by the professional companies with noble patrons, who grew in number and quality during her reign.

The local government of London was generally hostile to public performances, but its hostility was overmatched by the Queen's taste for plays and the Privy Council's support. Theatres sprang up in suburbs, especially in Southwark, accessible across the Thames to city dwellers, but not controlled by the London corporation. The companies maintained the pretence that their public performances were mere rehearsals for the frequent performances before the Queen, but while the latter did grant prestige, the former were the real source of the income professional players required.


Performances
The stage on which Elizabethan plays were performed was essentially a platform surrounded on three sides by the audience, only the rear being open for entrances, exits, and seating for musicians to accompany the frequent songs. Theatres built specially for plays, of which there were several by 1600, had an upper level which could be used as a balcony, as in Romeo and Juliet, or as a position for an actor to harangue a crowd as in Julius Caesar.

One distinctive feature of the companies was that they included only males. Until the reign of Charles II, female parts were played by adolescent boys in women's costume.


Writers
The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality, and extent. Although most of the plays written for the Elizabethan stage have been lost, over 600 remain extant.

The men (no woman, so far as is known, wrote for the stage in this era) who wrote these plays were primarily self-made men from modest backgrounds. Some of them had educations at either Oxford or Cambridge, but many did not. The university men often looked down on those writers who lacked education. Although William Shakespeare was an actor, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting.

They were not men who fit modern images of poets or intellectuals. Christopher Marlowe was killed in an apparent tavern brawl, Shakespeare had associates in the London underworld and supplemented his income with money-lending, while Ben Jonson killed an actor in a duel. Several probably were soldiers.

The writers were poorly paid for their labors. Once a play was sold to a company, the author received no further benefits from either performance or publication. Many supplemented their income writing pamphlets; in spite of this most who did not die young died poor.
ارجوانية
ارجوانية
الف شكر ياقمر ويعطيك الف الف الف عافية
المرجانه
المرجانه
السلام عليكم

إذا ممكن ياأخوات أبي مقال علمي ؟؟؟؟

وآسفه على الازعاج ..

تحياتي