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Literature and Culture. 1st and 2nd. Semesters. This is a one-year-undergraduate-level overview of British literature in key texts, with lectures focusing on issues of present interest in the construction of theoretical models for freshmen studying literature: a) the negotiations between literary texts and other discourses of the age (social, scientific, political, philosophical) as contexts of culture; b) epistemological frames and tropes supporting the idea of cultural dialogue: students will get accustomed to juxtaposing writings from different literary periods or "schools" and discussing them comparatively; c) aspects of genre, intertextuality, authority structures, gendered, classed and raced representations; d) historically shifting conditions of production and reception and their impact on literary form and structure (including the politics of canon formation). The course will be chronological, but it will re-examine the period terms from the positions constructed by the new literary history, which realigns history and aesthetics, exploring the way style develops as an indicator of historical change in the negotiations between culture, history and aesthetics. When looked at in light of Brian McHale's classification of literary histories in his book, Constructing Postmodernism, this is a narrative type of literary history (it constructs a canon on the basis of some legitimating story), and the methods is culturalist (literature is being considered as part of the entire cultural manifold of the age). Our legitimating story pivots on the construction of historical world-models and, consequently, of the conventions of repersenting that human individuality which sums up in itself the summum bonum (what a society considers to be of utmost value) which is called a hero in the world and a literary character in a text.
I. The Anglo-Saxon Age. From aristeia to aristobios during the heroic age. . Niggers in Space, with Lasers . The orally composed epic fixed in writing by Christian monks. . The heroic versus the elegiac assessment of life. . Generic types (courtly epic, elegies, scriptural and devotional poetry, dream vision, allegorical bestiary, aphoristic and gnomic kinds, historiography).
III. political discourses. Shakespearean negotiations with other discourses (Erasmus.II. construction of plots and characters. Edward Hall. Cultural and racial conflicts of the early modernity (Marlowe. The The Century of Revolutions. Formal and rhetorical aspects of Renaissance drama. . Shakespeare's generic innovations (histories. music. Machiavelli. . Social subversion versus hierarchical location in Chaucer. .) of the age. Shakespeare). . High Renaissance (The Elizabethan Age). . sword and tongue". . Religious drama (mystery/miracle and morality plays). Shakespeare). warrior and poet. Spenser. prose. The generic medley. . . The revival of ancient literary kinds and continental borrowings ushering in the Renaissance: the first sonneteers. Metrical romances and the Harley Lyrics. Sonnet sequences (Samuel Daniel. The Renaissance utopian project at both ends of the century: More and Bacon. romances. Bacon. Vives. Late mediaeval literature. sermons etc. . Humanism and Reformation. Early Tudor drama. Versions of the Christian pilgrim. Morus. the new scientific theories. The London Reformers: Collet. . The code of chivalry. Lipsius. Erasmus. . choreography etc. Montaigne. . A medieval lover's discourse. Morus. Pollydore Vergil. mixture of verse. dark comedies. chronicle plays. The hero of the "eye.). From Court and Church to Inn and Road. Courtly epic (The Faerie Queene). . . Sidney. The courtier as scholar. The metaphysical and the neoclassic schools of poetry in the 17th century.
Plot and character from Defoe to Fielding. Characteristic literary kinds: satire. or the social energies of Romantic aesthetics. Blake: "Annotations to Sir Joshua Reynolds". periodical essay. Late Romantic anarchists: Shelley and Byron. Bearings of the French Revolution ideology upon British fiction: the polarisation of the literary scene between Jacobins and anti-Jacobins. A hero of the imagination. The rise of the Gothic novel. . mock-heroic. or a sense of an ending (of the "ancien regime". Court versus City.. . Coleridge: "clerisy". Hogg. . The neoclassic poetics of John Dryden and Alexander Pope. . John Milton's use of genre and his imaginative refashioning of the Civil War. The Restoration scene and the onset of the Augustan Age. Shelley and J. . . Romantic drama. travelogue. THE NEOCLASSIC AGE. Aphra Behn. Coleridge: Biographia Literaria (Chap. The poetry and fiction of sentiment. The politics of late Gothic fiction: M. . William Wordsworth: Preface to Lyrical Ballads. 13). . of Augustan ideology and of the Enlightenment trust in reason and the civilizing mission). Restoration comedy. . or the order of aesthteic objects. The Romantics. argumentative poetry (philosophical and poetic epistles). or the Age of Reason. . V. Keats. Wordsworth: the myth of the developmental self. pamphlet. Novel versus romance ? The Post-Augustan Age: an age of sensibility. or the anatomy of passions. . 2nd Semester . Blake: mythology politically revised. the first professional woman writer. character progress. praise and descriptive poetry. Romantic poetics. IV.
Formal features: the generic hybrids of poetry. Graham Swift. . . . Victorian representations of gender. . psychology and phylosophy: Woolf. inspired by recent developments in science. Existentialism and its aesthetic effects: Becket. . Huxley. or the World without a Hero. Periodisation. . . Harrison. Gothic and impressionist novel. . or re-writing wrong: Golding. Structural devices of modernist poetry and fiction. Fowles. radicals. Auden. the end of closure. . Victorian essayists: conservatists. From Self to Other. Modernism. The Victorian Age. Dabydeen. from Author to Scriptor. Murdoch.The narrative of the decaying West: Yeats. Shaw. Deconstructing Genesis: the unmaking of the world through the word. realist novel. Eliot. Ackroyd. or the new voices of concern: Greene.The abyss of textuality. Hughes. Positivism as the self-awareness of the alienated society. from World to Text. Civilization and its discontents: Conrad. fantasy.VI. class. Hellenism and Decadence.. VII. and race. or the death of the world and the birth of discourse: scriptors and bricoleurs. Stoppard. Phillips. . cultural phenomenologists. The thirties and early forties. . Fictional kinds: historical novel. the abyss of subjectivity: Fowles. Joyce. . Bildungsroman. . omniscience and monologism in fiction. Eliot. Joyce. society and Empire. Rushdie. Orwell. Waugh. Reverse colonization (the Empire within Britain): Naipaul. The homo faber of the positivist age and his counters. Rebellious others within Britain: Heaney. The poetics of the grotesque and the technique of the dramatic monologue. Postmodernism. Paradigms of Victorian poetry: The poetry of sensation. Crace. Postmodernist identities. aesthetes. as epistemological-stylistic symptoms of metaphysical crisis. Lawrence and Forster mounting up a resistance to the repressive policies of family. VIII. Ishiguro. The hero as artist. alternative worlds.
To His Mistress Going to Bed. Daniel Defoe: Robinson Crusoe Jonathan Swift: Gulliver's Travels Henry Fielding: Tom Jones Laurence Sterne: Tristram Shandy Horace Walpole: The Castle of Otranto William Blake: The Lamb.Northanger Abbey. Coleridge: The Rime of the Ancient Mariner. The Black Boy. Tintern Abbey S. Measure for Measure. Mansfield Park. and one tale). Chaucer: The Canterbury Tales (The General Prologue.T. The Tyger. The Tragedy of King Richard II. The Taming of the Shrew. Jane Austen: Pride and Prejudice . King Lear. Alexander Pope: The Rape of the Locke. The Bard. William Wordsworth: Intimations of Immortality. The Seafarer C. Kubla Khan. Hamlet. Othello. A Midsummer Night's Dream. .Set Reading *: Beowulf The Wanderer. The Dunciad. The Tempest. John Donne: The Sun-Rising. John Milton: Paradise Lost (A) John Dryden: Alexander's Feast. Christopher Marlowe: The Tragic History of the Life and Death of Dr Faustus William Shakespeare: Sonnets.
Yeats: The Second Coming. G. Shelley: Ozymandias G. Barnaby Rudge. A. Pater: Preface and Conclusion to Studies in the History of the Renaissance Oscar Wilde: The Picture of Dorian Gray. W. . The Windhover Ch. Byron: Childe Harold (A). John Keats: Ode on a Grecian Urn Mary Shelley: Frankenstein. Charlotte Brontë: Jane Eyre Emily Brontë: Wuthering Heights George Eliot: Middlemarch. Jude the Obscure W.B. Jekyll and Mr Hyde Lewis Carroll: Alice's Adventures in Wonderland Thomas Hardy: Tess of the Durbervilles. M. Bleak House. Tennyson: Marianna: The Lady of Shalott. David Copperfield. Joseph Conrad: Heart of Darkness. Charles Dickens: Great Expectations. Among Schoolchildren. Swinburne: The Garden of Proserpine R. A. D. Hopkins: Pied Beauty.(Protus). Fra Lippo Lippi. The Bishop Orders His Tomb. B.. Ulysses.H. Rossetti: The Blessed Damozel. William Morris: The Defence of Guenevere G. G. Stevenson: The Strange Case of Dr.L. Browning: My Last Duchess.P. R. Sailing to Byzantium.
Rushdie: Shame. S. Woolf: (Mrs. Digging Tony Harrisson: THEM &/ UZ Harold Pinter: The Caretaker. Naipaul: The Mimic Men.S.S. Aldous Huxley: Brave New World V. James Joyce: A Portrait of the Artist as a Young Man. Tom Stoppard: Rosencrantz and Guildenstern Are Dead * The titles in regular type are optional. To the Lighthouse. Dalloway. Peter Ackroyd: Chatterton Graham Swift: Out of This World. Ishiguro: The Remains of the Day David Dabydeen: The Intended Ted Hughes: Crow Seamus Heaney: Punishment. . Ulysses William Golding: Lord of the Flies John Fowles: The French Lieutenant's Woman. V.T.) The Waves. K. M. Eliot: The Waste Land E. Forster: A Passage to India George Orwell: Nineteen Eighty-Four.
.B.B. Part I. Basil Blackwell 1990 Marshall Walker: Scottish Literature Since 1707.U. Idem: British Literature. . Longman 1996. II. An Overview . to Shakespeare Studies. E.Critical Reference (optional) All Cambridge Companions (to English Renaissance Drama.) Norman Vance: Irish Literature. to Milton. to English Restoration Theatre.U. etc. 2006. A Social History. E. 2005 Idem:The New Literary History.
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