كتابة النص: الأستاذ الدكتور يوسف أبو العدوس - جامعة جرش قراءة النص: الدكتور أحمد أبو دلو - جامعة اليرموك مونتاج وإخراج : الدكتور محمد أبوشقير، حمزة الناطور، علي ميّاس تصوير : الأستاذ أحمد الصمادي الإشراف العام: الأستاذ الدكتور يوسف أبو العدوس
فيديو بمناسبة الإسراء والمعراج - إحتفال كلية الشريعة بجامعة جرش 2019 - 1440
فيديو بمناسبة ذكرى المولد النبوي الشريف- مونتاج وإخراج الدكتور محمد أبوشقير- كلية تكنولوجيا المعلومات
التميز في مجالات التعليم والبحث العلمي، وخدمة المجتمع، والارتقاء لمصاف الجامعات المرموقة محليا واقليميا وعالميا.
المساهمة في بناء مجتمع المعرفة وتطوره من خلال إيجاد بيئة جامعية، وشراكة مجتمعية محفزة للابداع، وحرية الفكر والتعبير، ومواكبة التطورات التقنية في مجال التعليم، ومن ثم رفد المجتمع بما يحتاجه من موارد بشرية مؤهلة وملائمة لاحتياجات سوق العمل.
تلتزم الجامعة بترسيخ القيم الجوهرية التالية: الإلتزام الإجتماعي والأخلاقي، الإنتماء،العدالة والمساواة، الإبداع، الجودة والتميّز، الشفافية والمحاسبة، الحرية المنظبطة والمستقبلية.
سيرة ذاتية وعلمية موجزة
الدكتور فؤاد عبد المطلب
الشهادات العلمية
الخبرات العملية:
The present study offers a critical analysis of post-colonial feminism in Tayeb Salih's Season of Migration to the North (1969) and Chinua Achebe’s Things Fall Apart (1958). I analyzes the notion of double colonization as portrayed through marginalization and subordination of women in the novels. It shows the relationship between the colonizer and colonized and the purpose of colonization. In addition, it examines the status of the colonized women in relation to customs, traditions, and race where customs are obviously against women in their society and women characters appear as an inferior class and have no recognized status and view in that society. The method used can be described as descriptive and analytical relying mainly on the texts of the two novels and the critical literature produced on them that sheds more light on the problem in question.
In this paper, I shall be trying to investigate the nature of the English Renaissance drama through two prominent examples: Thomas Kyd's The Spanish Tragedy (1556-1857) and Christopher Marlowe's Doctor Faustus (1588-1593). In order to carry out this aim Kyd's play (probably performed 1586–7), will be looked at as the first successful English example of tragedy, for its force and originality was widely acknowledged, and Marlowe's play (probably performed 1592) as an artistic expression of the Renaissance spirit, a recreation of the Faust legend. The English idea of a Renaissance tragedy seems here to be a mixture of the ideas of Aristotle, Seneca, and English medieval tradition but with a significant step ahead necessitated by the Renaissance artistic and intellectual achievements. Thus to illuminate this process of transformation, the paper will start by tracing the development of the conception of tragedy, from classical times until the Renaissance period, and then spotlighting the close link between the native dramatic tradition and the classical influence with an eye on the English contribution. The critical approach followed can be described as descriptive and sometimes as historical in certain aspects. The texts of the two plays will be used as a primary source and other relevant critical works as a secondary source that sheds some light on the main topic
This work examines some war poems written by the English soldier and poet Wilfred Owen. It deals with the writing of the poet by relevantly presenting some of his biographical details and poetic productions before and during the war. The paper provides some analysis of Owen's poems in thematic and artistic perspectives. The poems discussed are “Dulce et Decorum Est,” “Futility,” and “Strange Meeting.” The endeavor here is to discern the themes of the poems and try to link them to the poet's implied message. The main objective of the present study is to analyze these war poems of Owen so as to achieve a critical estimation at the end. Moreover, this paper in relying on the respective studies, will try to discern the message of Owen behind his works: his protest against war. He ironically views war as evil, and he expresses an attitude against the notion of mobilization in literature which urges men to join the front lines of war in search for honor. Through a close reading of the poems as primary sources and the use of the available critical works as secondary sources, an attempt is made to conduct a critical evaluation of these war poems in order to point out the main ideas and experiences reflected in his poems. The method which will be followed can be described as descriptive and analytical.
Shakespeare wrote Hamlet at the very beginning of the seventeenth century, at the height of his creative powers. It is arguably the most popular and famous play ever written, and its hero seems to have exerted a huge fascination over theatre audiences of every age, nation, colour and creed. Shakespeare often borrowed plots and ideas from different sources, but they were transformed by his poetry and his dramatic talents, and this applies largely to Hamlet. He used an early version of Hamlet and rewrote it to suite his own idea and artistic purpose. It seems that he was casting an eye on the throne of Queen Elizabeth I while creating his paly. A lot has been said and written about this subject matter; therefore, some critical and theoretical views were introduced to discuss and consolidate the argument about the transformation of the type and the drama. In the same way Shakespeare anglicized the type of Hamlet and made it a representation of the Renaissance spirit and man. Anton Chekhov, on the other hand, in his full- length plays, russified it and made it a representation of the Russian life and characters of the intellectuals of the last two decades in the nineteenth century. The main point of this work is trying to put forward, critically and comparatively, is how the Hamlet- type was manipulated by two prominent dramatists, Shakespeare and Chekhov, to express their own feelings, intellectual questionings, and artistic concerns.
مؤتمرات وندوات علمية:
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دراسات معمقة في الأدب الأمريكي ماجستير 2:00- 5:00
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