literary indebteness and comparative literary studies[/b




- literary indebteness is an important branch of literary research in comparative literature.
يعتبر التداين الادبي فرع هام من فروع البحث الادبي في الادب المقارن


the source hunting has been deprecated as having been too frequently practiced incautiously and as an end in itself.
تعرض البحث عن مصدر العمل الفني لانتقاص شديد لكونه يجري غالب الاحيان دون عناية ولكونه اصبح بحد ذاته غاية
ملاحظة:(البحث عن المصدر هو مصطلح يظهر التداين الادبي)


the study of literary influence has been uder attack from several directions:
دراسة التاثير الادبي قد تعرضت للهجوم من اتجاهات متعددة
التاثير هو ايضا مفهوم يظهر التداين الادبي))

1- sme consider the concept of influence "positivistic" and reject it on that ground.
البعض اعتبر مفهوم التاثير "وضعيا: ورفضه على هذا الاساس


2-some deterministic schools have rejected the concept of influence:
بعض اتباع المدرسة الحتمية رفضت مفهوم التاثير

one arguing for determinism in purely literary matters, has maintained that the study of literature should be merely of the craft as such
يؤكد احدهم في منقشته للحتمية في قضايا ادبية بحتة ان دراسة الادب يجب ان تشمل الحقل ذاته فقط
and that the"historical necessity" in a native literary tradition determines all within it, including any foreign importations,
وان "الحاجة التاريخية " في تراث ادبي قومي هي التي تحدد كل شيء في داخله بما في ذلك اي اقتباسات اجنبية
and that the concept of foriegn influence is meaningless.
ولهذا فان مفهوم التاثير الاجنبي لا معنى له.

3- another recent interpretation insists that influence may properly be considered only with regard to the personality and psychology of the author as a person but that his literary works are properly studied only in terms of the literary tradition,considered as largely autonomous.
ثمة تفسير حديث اخر يصر على ان التاثير يمكن ان يؤخذ بعين الاعتبار تماما فيما يخص شخصية المؤلف ونفسيته باعتباره فردا, ولكن اعماله الادبية لايمكن ان تدرس دراسة وافية الامن خلال التقاليد الادبية والتي تعد على نحو كبير مستقلة استقلالا تاما
--------------------------------------------------
certain influence studies try to know how shakespear transmutes materilas taken from Boccaccio or from holinshed.
بعض دراسات التاثسر حاولت معرفة كيف حول شكسبير المواد التي اخذها من بوكاشيو او من هولنشيد
سؤال دورة))

the poupularity of shakespear , Byron, and Scott in Europe in the nineteenth century followed in various literature by the prodution of works which it is difficult to imagine having been within as they were, either in form or content, if these English authors had not become known.
شعبية شكسبير وبايرون وسكوت في اوربا القرن التاسع عشر ادت الى انتاج اعمال في اداب متنوعة كان من الصعب تخيل كتابتها سواء من حيث الشكل او المضمون لولا شهرة هؤلاء


literary studies should account for such relashionships as these between Don Quixote and the novels of Henry fielding.
(سؤال دورة)


some scholars and critics feel that to suggest an author`s literary debts diminshes his originality.
بعض البحثين و النقاد يشعرون ان يعترف بدين الكاتب الادبي ينقص من اصالته

but originality should not be understood in terms of innvation.
لكن الاصالة يجب ان لاتقهم على انها الابتكار


many greats authors (who have literary debts) seem to have felt that originality consists, not in innovations in materials or of style and mmaner, but in the genuineness and effectiveness of the artistic moving power of the creative work.
بعض الكتاب العظماء علىمايبدو شعروا ان الصالة لاتكمن في ابتكارات لمواد او اسلوب او طريقة معينة وانما في عبقرية وتاثير القوة الفنية المحركة للعمل الابداعي

only the formalist interest in the innovation which does not move aethtically.
اتباع الشكلانية هم فقط الذين يهتمون بالابتكار الذي لايثير جماليا

the original author is not necessarily the innovator but rather the one who succeeds in making all his own,in subordiating what he takes from others to the new complex of his own artistic work.
المؤلف الاصيل ليس بالضرورة المبتكر بل هو المؤلف الذي ينجح في جعل كل شيء له وذلك بصياغة كل ما ياخذه من الاخرين في مركب جديد لعمل فني خاص به



يتبع-------------------------

translation

-translation is itself a creative act,the translator beings into his contemporary native literary tradition a work written in another language and often at a different time..(يعني المترجم جاب عمل مكتوب بلغة غير لغة بلدو وبوقت غير لي هو عايش فيه وضافو لتقليده الادبي المحلي المعاصر.


translations have perhaps been insufficiently studied as literary works because of:
الترجمات لم تدرس (انتبهوا تدرس مبني للمجهول)بشكل كاف على انها اعمال ادبية بسبب
the modern translator`s attempt to give himself up entirely to the form and matter of the original work and to reproduce it to the best of his ability in the new language.
محاولة المترجم الحديث انو يدخل حالو بشكل كامل بشكل ومادة العمل الاصلي ويعيد صياغتو قد ما بيقدر بلغة جديدة تانية


any translator adapts the translated work to the taste of his own time<and he modernizes the older work he undertakes to translate.
(اي مترجم يكيف العمل المترجم مع روح عصره و يحدث العمل القديم الذي يتولاه


old theory and practice of translation admitted relative freedom of excision, addition,paraphrase, and change of form and often style.

النظرية والممارسة القديمة للترجمة تعترف بالحرية النسبية في الحذف والاضافة وتغيير الشكل وغالبا الاسلوب
(يعني بيسمحو بشوية تغيير بالشكل والاسلوب)



the selection of a work for translation,if not execution, is likely to reflect what Professor Poggioli has
called the elective affinity of the translator for the work.
عملية اختيار عمل للترجمة ان لم يكن عملية تنفيذها(الترجمة )تعكس مايدعوه البرفيسور بيجولي
(صلة المترجم الاصطفائية(الاختيارية) للعمل)
(سؤال دورة)


translations provide the best intermediaries between the work of the foreign and native authors,
الترجمات تقدم افضل الوسائط بين عمل المؤلفين الاجانب والمحليين)

and it is often the form and content of its transmuted,translated form which has the greatest effect upon the native literature, for in this form it is directly assimilable into, and indeed already a part of the literary tradition.
غالبا ما يكون لشكل ومضمون المادة المترجمة والمحولة اعظم التاثير في الادب المحلي لانه بهذه الصيغة يسهل مباشرة استيعابه في التقليد الادبي كما يصبح بالفعل جزء منه

معلومة:
the detailed fidelity expected in translation.or the transloter is not free from the detailed fidelity
الامانة في اتباع التفاصيل متوقعة في عملية الترجمة
او المترجم ملزم بالامانة في اتباع التفاصيل

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imitation
in the case of imitations the autor gives up his creative personality to that of another author, and usually aparticular work, while at the same time being freed from the detailed fidelity expected in translation.
في حالة المحاكاة يتخلى المرء عن شخصيته المبدعة لتذوب في شخصية مؤلف اخر وعادة في عمل معين في حين انه يكون متحررا من الامانة في اتباع التفاصيل.
انتبهو علفرق بلترجمة الكاتب عم يبدع عمل جديد اما بلمحاكاة فشخصيتو عم تذوب بكاتب او عمل اخر

imitations have often been used as a pedagogic device in an artist`s development.غالبا ما استخدمت المحاكاة كوسيلة تعليمية في تطور الفنان.
( سؤال في الدورة الماضية)

imitations have often been contemned by scholars and critics, but they may have independent aesthetic merit of their own.
المحاكاة (مابعرف كيف بدي اعملها جمع) غالبا حقرت من قبل الباحثين والنقاد لكنها (كمان هون لازم تكون جمع)ربما تتمتع بميزة جمالية مستقلة خاصة بها.


Pushkin points out :
imitations do not necessarily indicate`intelectual poverty`
يشير بوشكين
ليس من الضروري ان تدل المحاكاة على "بؤس فكري"

but they may show a
لكنها ربما تدل غلى
"noble trust in one`s own strength,
ثقة نبيلة في قوى مرء

the hope of discovering new worlds,
املا في اكتشاف عوالم جديدة
followin in the footsteps of agenius,
اثناء تتبع خطى احد العباقرة
or feeling in its humility even more elevated,
او شعورا بتواضعها ولكنه رفيع اكثر
the desire to master one`s model and give it a second life"
الرغبة في تبني طريقة احد ما واعطائها حياة ثانية



an imitation may be of an entire work or apart.
المحاكاة ممكن ان لعمل باكمله اوجزء منه

an imitation may be the general style and manner of another writer, without specific debts.المحاكاة يمكن ان تكون للاسلوب العام ولطريقة كاتب اخر دون ديون محددة.

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I. Literature and Psychology by Leon Edel:
1.One of the listed personalities is incorrect: Erik Erikson wrote on "crises of identity" focusing religious and political figures: A. Luther B.Gandhi C. Hitler D. Peter the Great.
2.A striking adaptation to criticism of Jung's ideas is to be found in the critical writings of Northrop Frye, notable in his: A. Archetypal Patterns in Poetry B. Anatomy of Criticism C. Literature and Symbols D. Archetypal Criticism of Myth.
3.Raskolnikov is the protagonist of: A. Tolstoy's Anna Kerenin B. Dostoevsky's Crime and punishment C. Pushkin's Boris Godunov D. Gogol's Dead Souls.
4.One of the following contributions is not correct: psychoanalysis has contributed important aids to three facets of literary study: A. to criticism itself B. to the study of the creative process C. to the writing of autobiography D. to the writing of the biography.
5.Thomas Mann acknowledged in 1936 his debt to Freud in an essay entitled: A. Freud and the Subjective Novel B. Freud and the Inner Vision C. Freud and the Future D. Freud and Literary Criticism.
6.The protagonist in Dorothy M. Richardson's novel Pilgrimage is a woman named: A. Miriam Henderson B. Marcel Proust C. Virginia Woolf D. Maud Bodkin.
7.The founder of surrealism came under Freud's influence during the First World War: A. C. J. Young B. Andre Breton C.
Ernest Jones D. Henry Bergson.
8.Leon Edel in his essay tries to argue: A. that psychoanalysis forms the basis of all critical approaches B. that psychology can and should be applied in the analysis of every artistic work C. that psychology contributes only to the writing of biography D. that psychology and literature stand upon the same ground.
9.The year ... saw the publication of Sigmund Freud's The Interpretation of Dreams: A. 1900 B. 1901 C. 1902 D. 1903.

10.Man's observation of his inner self and his emotion is as old as: A. Seneca B. Rousseau C. Goethe D. Aristotle.

II. The Art of Translation by Horst Frenz:

11. One of the remarkable translations of Cervantes's Don Quixote was achieved by: A. Rex Warner B. H. D. P. Lee C. Samuel Johnson D. John Butt.
12.One of the following translators did not translate The Odyssey: A. W. H. D. Rouse B. Christopher Isherwood C. E. V. Rieu D. T. E. Laurence.
13.Dorothy Sayers uses the original ... for her translation of Dante's Divine Comedy: A. terza rima B. blank verse C. heroic couplet D. heroic quatrains.

14.... discussed the translation of the poetic form: A. T. S. Eliot B. William Carlos Williams C. Emily Dickenson D. Edna St. Vincent Millay.
15.The American war play What Price Glory? Was written by: A. Eugene O'Neill B. Thoronton Wilder C. Maxwell Anderson and Laurence Stallings D. Carl Zuckmayer.
16.... is known more for his translation of Goethe's Faust than for his own writings: A. Anna Swanwick B. Bayard Taylor C. Edward FitzGerald D. Charles Eliot Norton.
17.Schlegel was the disciple of a great poet, Goethe, and the representative of an important movement, ... : A. romanticism B. classicism C. impressionism D. expressionism.
18.The German Shakespeare translation commonly referred to as the Schlegel-Tieck translation was between the years: A. 1799 and 1812 B. 1798 and 1811 C. 1797 and 1810 D. 1796 and 1809.
19.Through the art of translation many of the literary achievements of one country have become " ..." in other countries: A. known B. naturalized C. spread D. well known.
20.The main point of Horst Frenz in this article is: A. to examine problems of translation emphasizing that translating should be considered an art in itself B. to consider certain translations in foreign languages and evaluate them from a literary viewpoint C. to stress the point that a student of comparative literature should be acquainted with a number of foreign languages D. to increase the attention towards the problems that face the general translator.

III. Literary Indebtedness and Comparative Literary Studies by J. T. Shaw:

21.... have often been used as a pedagogic device in an artist's development: A. Adaptations B. Translations C. Slylizations D. Imitations.
22.... , the writer helps himself to materials or methods, especially to aphorisms, images, figures of speech, motifs, plot elements: A. In the case of translation B. In the case of imitation C. In the case of borrowings D. In the case of stylization.
23.Lermontov was obviously influenced by: A. Shakespeare's plays B. Byronic traditions in Russia C. Schiller's works D. Aristotle's ideas.
24.The source of Pushkin's Boris Godunov is: A. Lermontov's Demon B. Vigny's Eloa C. Karamzin's History D. Byron's romantic verses.
25.The selection of a work for translation is likely to reflect what... has called the elective affinity of the translator for the work. A. Shaw B. Professor Poggioli C. Professor Zhirmunsky D. Byron.
26.One of the following literary terms was not discussed by Shaw: A. adaptation B. translation C. imitation D. influence.
27.English, German, and Italian literatures were known to Russian cultivated society in the eighteenth and nineteenth centuries largely through: A. Russian translations B. English translations C. Italian translations D. French translations.
28.Literary studies should account for such relationships as those between: A. Don Quixote and the plays of Shakespeare B. Don Quixote and the poetry of Milton C. Don Quixote and the Dialogues of Plato D. Don Quixote and the novels of Henry Fielding.
29.Certain influence studies try to know how Shakespeare transmutes materials taken from: A. Boccaccio and Holinshed B. Dante and Petrarch C. Sophocles and Homer D. Jonson and Marlowe.
30.The main purpose of J. T. Shaw in this chapter is: A. to study literary influence and literary indebtedness B. to study Anglo-Russian literary relations C. to speculate about the debt which many authors owe to their English predecessors D. to develop certain technique for research on literary influence.

IV.On Defining Terms by Edward Seeber:

31.According to Seeber, literary terms must be weighed against the background of: A. critical analysis B. historical interpretation C.psychological theories D. comparative outlooks.
32.Seeber considers in his essay certain problems of: A. criticism B. history C. psychology D. terminology.
33.The ... century, with its striking new patterns of literature, is the crowning point of the melancholy genre: A. seventeenth B. eighteenth C. nineteenth D. twentieth.
34.The term "mal du siecle" was properly associated with: A. classic rules B. symbolic diseases C. sentimental characterization D.romantic sensibilities.
35.Robert Burton published his Anatomy of Melancholy in ... : A. 1721 B. 1621 C. 1821 D. 1655.
36.The Gothic can be found in works such as: A. Shakespeare's sonnets B. the Faerie Queene C the Waste Land D. the Iliad.
37."Virtue" and "natural goodness" are two examples of the terms that may mean different things to the writer using them. These two terms are so common in the writings of: A. Rousseau B. Rabelais C. Pascal D. Balzac.
38.The Italian term "melodrama" connotes something equal to: A. drama in music B. English drama C. French drama D. sentimental comedy.
39.In his "Essay on Criticism",... equated nature with common sense, reason, the universal and classical values: A. John Dryden B. Samuel Johnson C. Ben Johnson D. Alexander Pope.
40.The term ... commonly meant: archaic, uncouth, ugly, even formidable is the adjective: A. Germanic B. Gaelic C. Celtic D. Gothic.
_____
V. Comparative Literature: Its Definition and Function by Henry Remak:

41.The essay that appeared in the Yearbook 1960, "Comparative Literature at the Crossroads" was written by A. Rene Wellek B. Henry Gifford C. Henry Remak D. Harry Levin.
42.Nouvelle Heloise is a work written by: A. Van Tieghem B. Richardson C. Rousseau D. Maupassant.
43.While " ... " courses and publications may afford an excellent basis for comparative studies, they are not necessarily comparative in themselves: A. world literature B. general literature C. international literature D. critical literature.
44. Courses devoted to the analysis of literary masterpieces from various countries mostly read in translation are designated by the term: A. comparative literature B. world literature C. general literature D. national literature.
45.Tracing a character in a novel by Henry James would be comparative if it developed a methodical view of this character in the light of the psychological theories of: A. Freud B. Marx C. Coleridge D. Darwin.
46.Despite academic compartmentalization, comparative literature has been able to occupy an important place in: A. French universities B. American universities C. British universities D. Italian universities.
47.These works and authors are eminently comparable regardless of whether or how much the one influenced the other: A. Moby Dick and Heart of Darkness B. Faust and Hard Times C. Thomas Mann and Marlowe D. Balzac and Dickens.
48.Influence studies contribute to our: A. understanding of literary criticism B. studying literary genres C. tracing the history of the theatre D. knowledge of literary history, creative process and of the literary work of art.
49.According to Remak, the French comparatists favour questions: A. which can be solved on a metaphysical basis B. taken directly from the domain of literary criticism C. related to influence studies and the location of sources D. which belong to arts, philosophy, history.
50.Professor Remak turns his attention in his essay to: A. defining comparative methods and approaches B. investigating the differences between comparative literature and other kinds of literature C. fixing the objectives and defining the scope of comparative literature D. exploring the backgrounds of the French and American schools.