چطور با خواندن، انگلیسی خود را تقویت کنیم؟

چطور با خواندن، انگلیسی خود را تقویت کنیم؟
سریع خوانی



معمولاً افراد هنگام مطالعهی یک متن (مثلاً یک روزنامه) سعی میکنند با حداقل تلاش و حداکثر سرعت به مضمون اصلی مطلب پی ببرند. شاید بتوان این استراتژی را «سریع خوانی» نامید. در این استراتژی مغز تلاش میکند تا جای ممکن کلمات کمتری را بخواند و تنها کسری از ثانیه روی هر کلمه توقف میکند. ممکن است زبانآموزان نیز این استراتژی را برای خواندن متون انگلیسی بکار بگیرند.

حال باید دید این استراتژی (سریع خوانی) چه ویژگیهایی دارد:

کلمات گرامری از قبیل حروف اضافه و حروف تعریف دیده نمیشوند. چشم تنها روی کلماتی از قبیل اسمها، فعلها، صفات و قیدهای اصلی توقف میکند.

وجوه کلمه دیده نمیشود (مانند قسمت دوم یا سوم بودن یک فعل).

به املای دقیق کلمه دقت نمیشود. دانسته شده است که مغز کل کلمه را از روی شکل آن تشخیص میدهد و آن را بصورت حرف به حرف تجزیه و تحلیل نمیکند.

Valentine's Day

Saint Valentine's Day (commonly shortened to Valentine's Day)^[1][2][3] is an annual commemoration held on February 14 celebrating love and affection between intimate companions.^[1][3] The day is named after one or more early Christian martyrs named Valentine and was established by Pope Gelasius I in 500 AD. It was deleted from the Roman calendar of saints in 1969 by Pope Paul VI, but its religious observance is still permitted. It is traditionally a day on which lovers express their love for each other by presenting flowers, offering confectionery, and sending greeting cards (known as "valentines"). The day first became associated with romantic love in the circle of Geoffrey Chaucer in the High Middle Ages, when the tradition of courtly love flourished.

Modern Valentine's Day symbols include the heart-shaped outline, doves, and the figure of the winged Cupid. Since the 19th century, handwritten valentines have largely given way to mass-produced greeting cards.^[]

ضرب المثل

ُtake heart:روحیه گرفتن

have a free hand:اختیار کاری رو داشتن

be in hot water:تودردسر افتادن

see eye to eye:تفاهم داشتن

a white elephant:بیهوده بودن

wet blanket:ایینه دق بودن

Ode

Ode (from the Ancient Greek ὠδή) is a type of lyrical verse. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also exist. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually rather than emotionally.

Contrary to a few scholars, the Greek odes did not lose their musical quality; they were originally symphonic orchestras accompanied by a poem sung. As time passed on, they gradually became known as simple poems whether sung or recited (with or without music). Most likely the instrument of choice was the aulos. The written ode, as it was practiced by the Romans, returned to the lyrical form of the Lesbian lyricists. This was exemplified, exquisitely, by Horace and Catullus; the odes of Horace deliberately imitated the Greek lyricists such as Alcaeus and Anacreon, and the poetry of Catullus was particularly inspired by Sappho.

satire

satire: a literary term used to ridicule or make fun of human vice or weakness, often with the intent of correcting, or changing, the subject of the satiric attack.

A piece of literature designed to ridicule the subject of the work. While satire can be funny, its aim is not to amuse, but to arouse contempt. Jonathan Swift's "Gulliver's Travels" satirizes the English people, making them seem dwarfish in their ability to deal with large thoughts, issues, or deeds.

Satire The literary art of ridiculing a folly or vice in order to expose or correct it. The object of satire is usually some human frailty; people, institutions, ideas, and things are all fair game for satirists. Satire evokes attitudes of amusement, contempt, scorn, or indignation toward its faulty subject in the hope of somehow improving it. See also irony, parody

http://www.tnellen.com/cybereng/lit_terms/satire.html

.

Psychoanalytic literary criticism

Psychoanalytic literary criticism refers to literary criticism which, in method, concept, theory, or form, is influenced by the tradition of psychoanalysis begun by Sigmund Freud. Psychoanalytic reading has been practiced since the early development of psychoanalysis itself, and has developed into a rich and heterogeneous interpretive tradition.

It is a literary approach where critics see the text as if it were a kind of dream. This means that the text represses its real (or latent) content behind obvious (manifest) content. The process of changing from latent to manifest content is known as the dream work, and involves operations of concentration and displacement. The critic analyzes the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying latent thoughts.

Freud wrote several important essays on literature, which he used to explore the psyche of authors and characters, to explain narrative mysteries, and to develop new concepts in psychoanalysis (for instance, Delusion and Dream in Jensen's Gradiva and his influential readings of the Oedipus myth and Shakespeare's Hamlet in The Interpretation of Dreams). His followers and later readers, such as Carl Jung and Jacques Lacan, were avid readers of literature as well, and used literary examples as illustrations of important concepts in their work (for instance, Lacan argued with Jacques Derrida over the interpretation of Edgar Allan Poe's "The Purloined Letter").

Jung and another of Freud's disciples, Karen Horney, broke with Freud, and their work, especially Jung's, led to other rich branches of psychoanalytic criticism: Horney's to feminist approaches including womb envy, and Jung's to the study of archetypes and the collective unconscious. Jung's work in particular was influential as, combined with the work of anthropologists such as Claude Lévi-Strauss and Joseph Campbell, it led to the entire fields of mythocriticism and archetype analysis.

The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character. In this directly therapeutic form, it is very similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's The Interpretation of Dreams. But many more complex variations are possible. The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by Lacan's remark that "the unconscious is structured like a language"). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freud's texts frequently resemble detective stories, or the archaeological narratives of which he was so fond).

Like all forms of literary criticism, psychoanalytic criticism can yield useful clues to the sometime baffling symbols, actions, and settings in a literary work; however, like all forms of literary criticism, it has its limits. For one thing, some critics rely on psychocriticism as a "one size fits all" approach, when in fact no one approach can adequately illuminate a complex work of art. As Guerin, et al. put it in A Handbook of Critical Approaches to Literature

http://en.wikipedia.org/wiki/Psychoanalytic_literary_criticism

Marxist literary criticism

Marxist literary criticism is a loose term describing literary criticism informed by the philosophy or the politics of Marxism. Its history is as long as Marxism itself, as both Karl Marx and Friedrich Engels read widely (Marx had a great affection for Shakespeare, as well as contemporary writings like the work of his contemporary Heinrich Heine). In the twentieth century, many of the foremost writers of Marxist theory have also been literary critics, including Georg Lukács, Leon Trotsky, Franz Mehring, Raymond Williams, and Fredric Jameson.

The English literary critic and cultural theorist Terry Eagleton defines Marxist criticism this way:

"Marxist criticism is not merely a 'sociology of literature', concerned with how novels get published and whether they mention the working class. Its aim is to explain the literary work more fully; and this means a sensitive attention to its forms, styles and meanings. But it also means grasping those forms, styles and meanings as the product of a particular history."^[]

The simplest goals of Marxist literary criticism can include an assessment of the political "tendency" of a literary work, determining whether its social content or its literary form are "progressive"; however, this is by no means the only or the necessary goal. From Walter Benjamin to Fredric Jameson, Marxist literary critics have also been concerned with applying lessons drawn from the realm of aesthetics to the realm of politics, as originated in the Frankfurt School's critical theory

http://en.wikipedia.org/wiki/Marxist_literary_criticism

.

TO SPRING

TO SPRING

by: William Blake (1757-1827)

 THOU with dewy locks, who lookest down

Through the clear windows of the morning, turn

Thine angel eyes upon our western isle,

Which in full choir hails thy approach, O Spring!

 

The hills tell one another, and the listening

Valleys hear; all our longing eyes are turn'd

Up to thy bright pavilions: issue forth

And let thy holy feet visit our clime!

 

Come o'er the eastern hills, and let our winds

Kiss thy perfumèd garments; let us taste

Thy morn and evening breath; scatter thy pearls

Upon our lovesick land that mourns for thee.

 

O deck her forth with thy fair fingers; pour

Thy soft kisses on her bosom; and put

Thy golden crown upon her languish'd head,

Whose modest tresses are bound up for thee

http://www.poetry-archive.com