1) The Development of the English novel (Richardson’s epistolary method, Fielding’s comic epic).
2) “The History of Tom Jones, A Foundling” – the comic epic in prose.
3) Jane Austen – the greatest novelist of the Age of Reason.
Intermediate control № 3
1) Henry Fielding – the greatest novelist of the 18th century.
2) The Victorian Period ( Historical background, Victorian novels).
3) Analyze the extract:
Pip gives the convict the food and returns home. For Christmas lunch the Gargery household is joined by Mr. Wopsle, a church clerk, Mr. Hubble, a wheelwright (a person who makes wooden carts), Mrs. Hubble and Uncle Pumblechook, Joe's uncle.
“Among this good company I should have felt myself, even if I hadn't robbed the pantry, in a false position. Not because I was squeezed in at an acute angle of the table-cloth, with the table in my chest, and the Pumblechookian elbow in my eye, nor because I was not allowed to speak (I didn't want to speak), nor because I was regaled with the scaly tips of the drumsticks of the fowls, and with those obscure corners of pork of which the pig, when living, had had the least reason to be vain. No; I should not have minded that if they would only have left me alone. But they wouldn't leave me alone. They seemed to think the opportunity lost, if they failed to point the conversation at me, every now and then, and stick the point into me. I might have been an unfortunate little bull in a Spanish arena, I got so smartingly touched up by these moral goads”.
Answer the following questions:
a) Which of the following alternatives is wrong? He was given the worst food/ignored, forced to be silent/taunted.
b) How does Dickens convey the gap between Pip and the adults?
7.2. Итоговый контроль
Цели: проверка качества усвоения студентами теоретических знаний и практических умений по данной дисциплине.
Форма: студенты получают зачет путем активной работы на занятиях (и выполнении СРС) в течение семестра и выполнения заданий в период двух конференц-недель.
Максимальное количество баллов за зачёт – 40, из них:
в первую конференц-неделю:
12 баллов – за представленную презентацию,
8 баллов – выступление (защита презентации),
во вторую конференц-неделю:
12 баллов – за письменное выполнение практических заданий,
8 баллов – за выступление (защита практического задания).
Пояснения:
Структура ответа | Выступление | Практ. задание/презентация |
1. Содержание/ полнота ответа | 2 | 4 |
2. Логичность изложения материала | 2 | 2 |
3. Использование метавокабуляра | 2 | 3 |
4 Наличие примеров | 2 | 3 |
ИТОГО: | 8 | 12 |
7.2.1. Требования к содержанию зачётного задания:
Зачётное задание состоит из 2 частей:
1. практическое выполнение задания (в первую конференц-неделю – выполнение презентации, во вторую конференц-неделю – выполнение индивидуального практического задания)
2. публично выступление – защита письменной части.
7.2.2. Список вопросов для практических заданий:
1. The origin of the Earliest Anglo-Saxon literature (VII – XI century).
2. The typical features of the Old English poetry
3. The Anonymous Old English epic literature. The folk epic Beowulf.
4. Middle English Literature (1150 – 1485).Chivalrous Lyrics.
5. Fifteen-century prose. A story of King Arthur and the Knights of the Round Table.
6. Three periods of Chaucer’s works.
7. Chaucer’s “Canterbury Tales” – the highest point of English medieval literature.
8. The philosophical background of the “Pardoner’s Tale” (“Canterbury Tales”).
9. The Renaissance (1485 -1649). Historical background. Three periods in literature of the English Renaissance.
10. The poetry of Renaissance (Elizabethan poetry).
11. The works of Ph. Sidney: The Sequence “Astrophel and Stella” (the 41st Sonnet).
12. The life of Ph. Sidney - the author of the first English sequence of sonnets.
13. Shakespeare’s sonnets (21, 24, 33, 66, 73, 90).
14. The Elizabethan Theatre.
15. The phenomenon of Shakespeare’s mystery. Stratfordian and non - Stratfordian versions of Shakespeare’s biography.
16. Shakespeare’s comedies “Much Ado about Nothing”, “The Merchant of Venice”, “As You Like It”.
17. Shakespeare’s development as a dramatist (“Hamlet”, “Mackbeth”, Richard III”).
18. The Development of the English novel (Richardson’s epistolary method, Fielding’s comic epic).
19. Henry Fielding – the greatest novelist of the 18th century.
20. “The History of Tom Jones, A Foundling” – the comic epic in prose.
21. Jane Austen – the greatest novelist of the Age of Reason.
22. Helen Fielding as a popular British novelist, journalist and documentary film maker. “Bridget Jones Diary”.
23. The works of Jane Austen: “Pride and Prejudice”, “Emma”.
24. The Victorian Period (Historical background, Victorian novels).
25. Charles Dickens’s life and literary heritage (Dickens as a creator of “social novel”.
26. The works of Ch. Dickens: “Great Expectations” – a psychological and autobiographical novel.
27. “Our Mutual Friend’ – the philosophical and religious novel.
28. W. M. Thackeray’s work “Vanity Fair” – a novel without a hero.
29. E. Bronte’s Wuthering Heights” (the novel’s narrative strategy).
30. Thomas Hardy as a last of the “Victorians” and the first of the “Moderns” (the philosophy of his works).
31. Narrative technique in “Tess of the D’Urbervilles”.
32. T. Hardy and his “novels of character and environment” (“Tess of the D’Urbervilles” – the main achievement of Hardy’s realism).
33. Oscar Wild’s aesthetic theory.
34. The problems of the relationship between art and reality in “The Picture of Dorian Gray”.
35. Wilde’s literary works (“The Importance of Being Earnest”).
36. Why is Dreiser considered one of the Leading writers of the first half of the 20th century
37. What features of Fitzgerald’s outlook are revealed in "The Great Gatsby?"
38. Comment on Hemingway’s style of narration.
39. Characterize the Post-War period in American Literature.
40. Give a brief account of literary form Salinger used for his novel "The Catcher in the Rye".
41. Tell about formation the basis of Ken Kesey writing “One Flow Over the Cuckoo’s Nest”.
7.2.3. Образец практического задания
In the following extract Catherine Linton has just died in childbirth.
From the extract, try to work out:
the narrator's feelings and character; the relationship between Heathcliff and Catherine; Heathcliff s feelings and character.The master looked asleep, and I ventured soon after sunrise to quit the room and steal out to the pure refreshing air. The servants thought me gone to shake off the drowsiness of my protracted watch; in reality, my chief motive was seeing Mr Heathcliff. If he had remained among the larches all night, he would have heard nothing of the stir at the Grange; unless, perhaps, he might catch the gallop of the messenger going to Gimmerton. If he had come nearer, he would probably be aware, from the lights flitting to and fro, and the opening and shutting of the outer doors, that all was not right within. I wished, yet feared, to find him. I felt the terrible news must be told and I longed to get it over; but how to do it, I did not know. He was there - at least a few yards further off in the park; leant against an old ash tree, his hat off, and his hair soaked with the dew that had gathered on the budded branches, and fell pattering round him. He had been standing a long time in that position, for I saw a pair of ousels passing and repassing scarcely three feet from him, busy in building their nest, and regarding his proximity no more than that of a piece of timber. They flew off at my approach, and he raised his eyes and spoke - 'She's dead!' he said; 'I've not waited for you to learn that. Put your handkerchief away - don't snivel before me. Damn you all! she wants none of your tears!'
I was weeping as much for him as her; we do sometimes pity creatures that have none of the feeling either for themselves or others. When I first looked into his face, I perceived that he had got intelligence of the catastrophe; and a foolish notion struck me that his heart was quelled and he prayed, because his lips moved and his gaze was bent on the ground.
'Yes, she's dead!' I answered, checking my sobs and drying my cheeks. 'Gone to heaven, I hope; where we may, every one, join her, if we take due warning and leave our evil ways to follow good!'
'Did she take due warning, then?' asked Heathcliff, attempting a sneer. 'Did she die like a saint? Come, give me a true history of the event. How did' -
He endeavoured to pronounce the name, but could not manage it; and compressing his mouth he held a silent combat with his inward agony, defying, meanwhile, my sympathy with an unflinching ferocious stare. 'How did she die?' he resumed at last - fain, notwithstanding his hardihood, to have a support behind him; for, after the struggle, he trembled, in spite of himself, to his very finger-ends.
'Poor wretch!' I thought; 'you have a heart and nerves the same as your brother men! Why should you be anxious to conceal them? Your pride cannot blind God! You tempt Him to wring them, till he forces a cry of humiliation.'
'Quietly as a lamb!' I answered aloud. 'She drew a sigh, and stretched herself, like a child reviving, and sinking again to sleep; and five minutes after I felt one little pulse at her heart, and nothing more!'
|
Из за большого объема этот материал размещен на нескольких страницах:
1 2 3 4 5 |
