Prowadzący: dr hab. Andrzej Diniejko
Nazwa przedmiotu: Literatura angielska
Wymiar i forma zajęć: 30 godzin ćwiczeń w semestrze III i IV 2011-2012
Forma zaliczenia: zaliczenie na stopień po IV semestrze
ZARYS TEMATYKI :
Celem kursu jest zapoznanie studentów z najważniejszymi zjawiskami i tendencjami w historii literatury angielskiej od czasów najdawniejszych (wczesne średniowiecze) do końca wieku XX w. Przedstawione zostaną najważniejsze osiągnięcia w poezji, prozie i dramacie brytyjskim, w kulturowym i społecznym kontekście danej epoki. Poszczególni twórcy będą przedstawieni i scharakteryzowani względem tradycji literackich, z jakich wyrastali i jakie tworzyli. Zalecana lista lektur (omawiana na ćwiczeniach) oraz zarys historii literatury angielskiej są obowiązkowym materiałem do zaliczenia. Studenci powinni wykazać się znajomością faktów z historii literatury (tj. epok literackich, autorów literackich ich dzieł, prądów literackich), umiejętnością określenia ich wzajemnych relacji, a także umiejętnością analizy wybranych dzieł literackich.
SZCZEGÓŁOWY WYKAZ TEMATÓW WYKŁADÓW:
Introduction: The history of English literature: the problem of periodisation.
I OLD ENGLISH LITERATURE TO MILTON
Old English heroic poetry. Themes, form and stylistic devices. The significance of Beowulf.
The dream vision convention in Old and Middle English poetry.
Medieval literary genres: romance, fabliau, exemplum, etc. Sir Gawain and the Green Knight as a reflection of Arthurian legends. Medieval ballads: structure and themes..
The structure and significance of The Canterbury Tales.
The origin and evolution of medieval drama. Types of plays and moral qualities presented. The allegorical meaning of Everyman.
Tudor poetry and poets: major genres, themes, imagery and poetic devices. The origin and development of the sonnet.
Characteristics of William Shakespeare's dramatic works. Shakespeare's tragic heroes and comic characters. Analysis of selected dramas.
The Elizabethan theatre. Other major Elizabethan and Jacobean dramatists: Thomas Kyd, Christopher Marlowe, Ben Jonson.
Features of Metaphysical and Cavalier poetry: John Donne, George Herbert. Andrew Marvell, Robert Herrick. Themes, form, stylistic devices.
John Milton's Paradise Lost as a major Christian epic about man's destiny. Its form and content.
II. THE 18TH CENTURY TO THE END OF THE 19TH CENTURY
The rise of the novel as a new literary genre in the 18th century. The contribution of Daniel Defoe's Robinson Crusoe as an archetypal Puritan novel of rising capitalism. The notion of formal realism. Jonathan Swift's Gulliver's Travels as a satire of human follies and a parody of the convention of formal realism; targets of satire in each of the four books. Henry Fielding's Tom Jones as a Bildungsroman. Lawrence Sterne's Tristram Shandy and Sentimental Journey as antecedents of the 20th century experimental novel.
Satire as the dominant literary mode in the Age of Reason. The achievement of Alexander Pope.
Features and themes of Gothic novels.
Features of Romantic poetry. The first generation of English Romanticism: The poetry of William Blake. Lyrical Ballads and the Preface to the Second Edition as the Manifesto of English Romanticism. William Wordsworth's treatment of nature and the child. The concept of the inward eye. The contribution of Samuel Taylor Coleridge.
The second generation of English Romanticism: Percy Bysshe Shelley as a Romantic rebel and idealist. George Gordon Byron as a lyricist and satirist. The poetry of John Keats.
The novels of Jane Austen. Themes, narration and features of style.
Themes, narration, realism and symbolism in the Brontë sisters' novels (Wuthering Heights and Jane Eyre).
Moral and social criticism in Charles Dickens's novels (Great Expectations). Social satire in William Makepeace Thackeray's Vanity Fair.
The individual and society in the novels of George Eliot and Thomas Hardy.
Features of Victorian poetry. Alfred Tennyson's poetry. Robert Browning's dramatic monologues. The significance of Matthew Arnold's “Dover Beach”. Dante Gabriel Rossetti and the Pre-Raphaelite Brotherhood. The poetry of Gerard Manley Hopkins.
The legacy of Lewis Carroll. Alice of Wonderland and fantasy literature.
Aestheticism of Oscar Wilde. Themes and motifs in The Picture of Dorian Gray.
III. MODERNISM TO THE PRESENT
Moral and existential problems in Joseph Conrad's novels Lord Jim and/or Heart of Darkness.
The philosophical and aesthetic background of Modernism. The achievement of James Joyce and Virginia Woolf. The psychological and social themes in D. H. Lawrence's Sons and Lovers and/or Women in Love.
Modernism in English poetry: W. B. Yeats and T. S. Eliot and the break with the Romantic tradition.
The First World War Poetry in England: Robert Owen and Rupert Brooke.
Major British poets after Modernism: W. H. Auden, Dylan Thomas, Philip Larkin, Ted Hughes, Seamus Heaney.
The English drama of the 20th century: G. B. Shaw, John Osborne and the Angry Young Men Movement, Samuel Beckett, Harold Pinter.
The utopian and dystopian themes in English fiction: G .H. Wells, Aldous Huxley, George Orwell and Anthony Burgess.
Major post-war and contemporary British novelists: the problem of evil in Graham Greene's Brighton Rock, William Golding's allegorical fiction, J. R. Tolkien and fantasy; John Fowles's magic realism; postmodern and postcolonial fiction Malcolm Bradbury, David Lodge, Kazuo Ishiguro, Salman Rushdie, Julian Barnes, Ian McEwan.
30. Contemporary British poets: Philip Larkin, Seamus Heaney, Ted Hughes.
TEXTS:
Beowulf (fragment)
Caedmon, Hymn
The Dream of the Rood (fragment)
Chaucer, The Canterbury Tales: The Prologue (fragments), The Nun's Priest's Tale.
Cuckoo Song
Summer Is Icumen
Lord Randal
Ch. Marlowe, “The Passionate Shepherd to His Love”
Sir Walter Raleigh: “The Nymph's Reply To the Shepherd”
Thomas Wyatt, “I Find No Peace”.
Henry Howard, Earl of Surrey, “Love that doth reign”
Philip Sidney, from Astrophel and Stella: sonnet I: “Loving in truth.”
E. Spenser, Amoretti (three sonnets 1,26,75)
William Shakespeare, Romeo and Juliet; Hamlet, A Midsummer Night's Dream;
Sonnets: 18, 63,130, 138; “O Mistress Mine Where Are You Roaming” (from Twelfth Night); [fakultatywnie: The Tempest, Much Ado About Nothing].
John Donne, “The Flea”, “The Good Morrow”, one poem from Holy Sonnets: “Death be not proud” or “Batter my heart”.
Ben Jonson, “To Celia”
Andrew Marvell, “To His Coy Mistress”
Rober Herrick, “To the Virgins, To Make Much of Time”
Richard Lovelace, “To Lucasta, on Going to the Wars”
George Herbert, “The Pearl” or “The Collar”
John Milton, Paradise Lost (fragments)
Daniel Defoe, Robinson Crusoe
Jonathan Swift, Gulliver's Travels (two books)
Henry Fielding, Tom Jones (fragments)
Robert Burns, “O my Luve's like a red, red rose”; “My Heart's in the Highlands”
William Blake, “The Lamb”, “The Tyger”, “The Chimney Sweeper”, “London”
William Wordsworth, “Tintern Abbey”, “The Daffodils”.
Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” or “Kubla Khan”
Percy Bysshe Shelley, “Ode to the West Wind”
John Keats, “Ode to a Nightingale”, or “Ode on a Grecian Urn”
George Gordon Byron, “She Walks in Beauty”, “When We Two Parted”, “So, we'll go no more
a-roving”, from Child Harold's Pilgrimage: “Adieu Adieu! My Native Shore”, Don Juan (fragment).
Jane Austen: Pride and Prejudice or Sense and Sensibility
Emily Bronte: Wuthering Heights and/or Charlotte Bronte, Jane Eyre
Charles Dickens: Pickwick Papers (fragments), Oliver Twist (film), Great Expectations or David
Copperfield
George Eliot: The Mill on the Floss;
Thomas Hardy: Tess of the d'Urbervilles; “Neutral Tones”
Oscar Wilde: The Picture of Dorian Gray;
Poezja wiktoriańska: Alfred Tennyson: “The Lady of Shalott” (fragment)
Elizabeth Browning: Sonnets from the Portuguese: 43;
Robert Browning: “My Last Duchess” (fragment), “Home Thoughts from Abroad”;
Gabriel Dante Rossetti: “I Have Been Here Before”; “A Sonnet”;
Christina Rossetti: “Life and Death”;
Lewis Carroll: Alice in Wonderland (fragment), “Humpty Dumpty's Song”;
Gerard Manley Hopkins: “Pied Beauty”
20th CENTURY:
William Butler Yeats: “Sailing to Byzantium”
T.S. Eliot: “The Love Song of Alfred J. Prufrock”
Robert Brooke: “The Soldier: If I Should Die”
Wilfred Owen: “Disabled”, “Dulce et decorum est”
Dylan Thomas: “Do Not Go Gentle Into That Good Night”;
J. Conrad: Lord Jim or The Heart of Darkness
J. Joyce: Ulysses (fragment) “Araby”;
Virginia Woolf, Mrs Dalloway
Aldous Huxley, Brave New World
George Orwell, Animal Farm or Nineteen Eighty-Four
William Golding: Lord of the Flies
John Fowles, The French Lieutenant's Woman
[OPTIONS: David Lodge: The British Museum Is Falling Down albo: Malcolm
Bradbury: History Man albo Kazuo Ishiguro: Remains of the Day; Ian McEwan, Atonement
S. Beckett, Waiting For Godot
[fakultatywnie: jeden współczesny poeta, np. Larkin, Heaney]
MATERIAŁY:
Barańczak, Stanisław, “Wstęp” to Antologia poezji metafizycznej XVII wieku (1984).
Burgess, Anthony: English Literature, Longman 1974.
Daiches, D., A Critical History of English Literature
Diniejko, A. Introduction to the Study of Literature and Film in English. Warszawa, 2010.
Drabble, Margaret: The Oxford Companion to English Literature, OUP 1985.
Kermode, F. et al., ed. Oxford Anthology of English Literature
Kott, Jan: Szekspir współczesny, Warszawa 1965.
Ousby, Ian (ed): The Cambridge Guide to English Literature, London 1988.
Sikorska, Liliana. An Outline of English Literature. Poznan 2005
Stamirowska, Krystyna, (ed.) Współczesna powieść brytyjska, Kraków: Universitas, 1997.
Zbierski, Henryk: 'Literatura angielska' , w: Dzieje literatur europejskich, Warszawa 1982.
INTERNET resources
WYMAGANIA : zaliczenie każdego semestru (test, identyfikacja i interpretacja tekstów oraz tła historycznego i kulturowego - 2 krótkie eseje)
Uniwersytet Warszawski, Uniwersyteckie Kolegium Kształcenia Nauczycieli Języka angielskiego