Introducin Literatura Inglesa
Introducin Literatura Inglesa
Introducción á Literatura
Inglesa
J. Manuel Barbeito Varela
Margarita Estévez Saá
Jorge Sacido Romero
Prerrequisitos:
a) Normativos: Dominio medio del inglés escrito, leído y hablado.
Conocimiento adecuado de castellano y/o gallego.
7) Recuerda siempre: no basta con aprenderse los temas de forma más o menos
memorística. Debes aprender a manejar lo que sabes. Mantén siempre presente
el argumento general del curso explicado en el punto 1.
8) No olvides esto: un objetivo básico de todo aprendizaje es aprender a
estudiar.
IV. El conocimiento de la relación entre el texto y su contexto fomentará una actitud
crítica y te invitará a relacionar la producción literaria con otras manifestaciones
artísticas y culturales de cada momento. Te iniciarás, además, en el comentario del texto
literario.
Empezarás a familiarizarte con un vocabulario y unas prácticas que te capacitarán para
aproximarte con espíritu crítico a cualquier manifestación cultural.
Observa que el examen te exige capacidad de síntesis, una capacidad que el curso te
ayudará a adquirir: deberás aprender a seleccionar los datos más relevantes y a exponer
de forma clara las ideas más importantes de cada tema.
Estas destrezas podrás emplearlas en el futuro en tareas de organización y
procesamiento de datos, comentario crítico general, análisis e información cultural,
análisis textual, edición, revisión de textos etc.
V. Los conocimientos y destrezas que te proporciona esta asignatura se consideran
fundamentales en las Universidades europeas más prestigiosas en el ámbito de las
Humanidades y los Estudios Ingleses.
OBJETIVOS
• El estudio de los principales autores, géneros y movimientos, atendiendo
especialmente a: I. El contexto social, económico y cultural; II. Las condiciones
materiales de la producción literaria (producción, circulación y recepción de la
obra de arte); III. Poéticas y función de la literatura; IV. Géneros, temas y
cuestiones técnicas; y V. Otras manifestaciones artísticas de la época
• Proporcionar una visión panorámica del desarrollo de la literatura inglesa
(ideas, ideologías, tendencias artísticas y movimientos literarios) desde sus
orígenes hasta la actualidad.
• Estudio de los orígenes de los diferentes géneros literarios y de las condiciones
sociopolíticas en las que emergen.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 6
COMPETENCIAS
CG3, CG5, CG8, CB1, CB3, CB5, CE5, CE6, CE7
• Conocimiento diacrónico de la historia de la literatura inglesa.
• Conocimiento de los acontecimientos histórico y culturales relevantes para la
comprensión de la tradición literaria inglesa.
• Capacidad de relacionar los períodos y movimientos literarios con el contexto
social, cultural y político en el que surgieron.
• Comprensión de las implicaciones culturales e históricas de los distintos estilos
y recursos técnicos literarios, teniendo en cuenta las características estéticas y
temáticas de los distintos géneros.
• Capacidad de aprovechar los conocimientos adquiridos.
• Capacidad de reunir, organizar e interpretar datos relevantes.
• Dominio del vocabulario crítico que permita analizar e interpretar documentos
literarios desde un punto de vista filológico.
• Capacidad de análisis de documentos culturales, principalmente literarios y
dominio de las técnicas de análisis de textos necesarias para ello.
• Capacidad de organización de las ideas, desarrollo coherente de las mismas,
habilidad de argumentar y sustentar opiniones.
• Sensibilidad lingüística. Capacidad de entender el pensamiento encerrado las
palabras y su sentido histórico.
• Capacidad de síntesis, de análisis y de organización de datos.
• Capacidad de escribir con claridad y precisión.
• Capacidad de tomar notas.
• Desarrollo de la autonomía.
• Competencia lingüística.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 8
4. Contenidos de la Materia:
Panorámica de la historia de la literatura inglesa (ideas, ideologías, tendencias
artísticas y movimientos literarios). Estudio de los orígenes de los diferentes
géneros literarios y de las condiciones sociopolíticas en las que emergen. Análisis
de los principales autores, géneros y movimientos, atendiendo especialmente a: I.
El contexto social, económico y cultural; II. Las condiciones materiales de la
producción literaria (producción, circulación y recepción de la obra de arte); III.
Poéticas y función de laliteratura; IV. Géneros, temas y cuestiones técnicas; y V.
Otras manifestaciones artísticas de la época.
Temario:
AULA VIRTUAL
Para el seguimiento de esta asignatura es imprescindible utilizar el aula virtual
donde encontrarás puntualmente los esquemas de las diferentes unidades que figuran
en el programa así como la selección de textos que se comentan en las clases
interactivas. No deberás confundirte y pensar que los esquemas sustituyen la
toma de apuntes.
Es fundamental que, un par de días antes de las sesiones interactivas, consultes el
Aula Virtual, descargues los documentos correspondientes a esas sesiones y
prepares la taducción de los textos a comentar en los seminarios.
TEXTBOOKS:
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2ª edición. London & New York: Routledge, 2006.
Sanders, Andrew. The Short Oxford History of English Literature. Oxford: Oxford
University Press, 1994.
Ackroyd, Albion. The Origins of the English Imagination (London: Chatto and
Windus, 2002).
Cornwell, Neil. The Literary Fantastic: From Gothic to Postmodernism. New York:
Harvester, 1990.
Drabble, Margaret, ed. The Oxford Companion to English Literature. 5th edition.
Oxford: Oxford University Press, 1985.
Ford, Boris, ed. The Pelican Guide to English Literature. 8 vols. Harmondsworth:
Penguin, 1988.
Fowler, Alastair. A History of English Literature: Forms and Kinds from the Middle
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 11
Rogers, Pat, ed., The Oxford Illustrated History of English Literature. Oxford:
Oxford University Press, 1987.
Anglo-Saxon Literature. The Fusion of Two Cultures:
Germanic and Christian.
CLASES EXPOSITIVAS:
Compulsory Reading:
(Reading prior to class is required)
Compulsory Activity:
Following the instructions that you will find in the file 'Your portfolio,' you must
write the first sheet of your portfolio to be revised and collected in the assigned
seminar.
Recommended Editions:
Heaney, Seamus, trans. Beowulf: A New Translation. London: Faber & Faber,
1999.
Treharne, Elaine, ed. Old and Middle English. An Anthology. Oxford: Blackwell,
2000.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2ª edición. London & New York: Routledge, 2006.
Galván Reula, J. F., ed. Estudios literarios ingleses: Edad Media. Madrid: Cátedra,
1985.
Medieval Literature. Continental Influence. From anonymity
to Individualism.
CLASES EXPOSITIVAS:
I. General context.
I.1. The High Middle Ages (1001–1300). The Norman invasion (1066). Towards the
UK: the conquest of Ireland (Henry II, 1154–1189); the invasion of Scotland by
Edward I (1296) and the following wars of independence. Social organisation:
Feudalism; Kings and nobles; the fragmentation of power; the Magna Carta (1215).
Population increase. Towns. The translations of Aristotle (Toledo). The first
universities. Politics and religion: religious conflicts (the Crusades; Heresies; the
Western Schism); the religious orders (Cistercians, Franciscans); the invention of
Purgatory (late twelfth century). Pilgrimages. New values.
I.2. The Late Middle Ages (1300-1492). Hundred Years War (1337-1453). War of
the Roses (1455-1485). The Black Death or Bubonic Plague (1348 and 1350).
Population crisis. Peasants’ Revolts. The rise of European Universities (1250-1350).
New values.
II. The material conditions of the production of literature. The formation of a new
language. Oral and written Literature. Courts. Monasteries. Universities. The
troubadours. Women inside and outside the convent. A new audience. The theatre.
III. Poetics. Authorship; from anonymity to individualism. Educational and
entertaining literature. Courtly Love. The Quest myth. Allegory.
IV. Lyrics and Ballads. The Medieval romance. The beginnings of the theatre:
Mystery and Morality plays. Tales. Fabliaux. Sermons. Exempla.
V. Visual theology: The Romanesque (Christ in majesty: the Pantocrator) and the
Gothic (the suffering Christ). The Norman castles. Tapestries. The Music of the
Troubadours. Motets.
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
Note that the literary production was, at this time, written in Middle English,
which is still quite different from contemporary English. The texts you will have to
read include a glossary that will help you to understand the language employed.
Compulsory Activity:
Following the instructions that you will find in the file 'Your portfolio,' you must write
the second sheet of your portfolio to be revised and collected in the assigned seminar.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 14
Recommended Editions:
Coghill, Nevil, ed. The Canterbury Tales. London: Penguin Books, 1977.
Grigson, Geoffrey, ed. The Penguin Book of Ballads. Harmondsworth: Penguin, 1975.
Kolve, V. A. and Glending Olson, eds. The Canterbury Tales. Nine Tales and the
General Prologue. New York & London: W. W. Norton, 1989.
Millett, Bella and Jocelyn Wogan-Browne, eds. Medieval English Prose for Women.
Selections from the Katherine Group and Ancrene Wisse. Oxford: Clarendon
Press, 1992.
Sisam, Celia and Kenneth Sisam, eds. The Oxford Book of Medieval English Verse.
Oxford: Clarendon Press, 1973.
Stone, Brian, trans. Sir Gawain and the Green Night. London: Penguin Books, 1977.
Treharne, Elaine, ed. Old and Middle English. An Anthology. Oxford: Blackwell, 2000.
Vantuono, William, ed. The Pearl Poems: An Omnibus Edition. Volume 2: Patience
and Sir Gawain and the Green Knight. New York & London: Garland
Publishing, Inc., 1984.
---, ed. “Sir Gawain and the Green Knight”: A Dual-Language Version. New York:
Garland, 1991.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2ª edición. London & New York: Routledge, 2006.
Galván Reula, J. F., ed. Estudios literarios ingleses: Edad Media. Madrid: Cátedra,
1985.
The following chapters are especially relevant for this unit:
-Patricia Shaw, “Elementos humorísticos en la literatura medieval inglesa, 800-1400”
(85-106)
-José Luis Caramés Lage, “El ritual simbólico y mítico de Sir Gawain and the Green
Knight” (139-164)
-J.F. Galván Reula, “El movimiento aliterativo en inglés medio: Pearl” (165-182)
S. González Corrugedo “Piers Plowman, tradición y reforma en el siglo XIV” (183-
202)
-Mª José Crespo Allue, “Génesis del teatro religioso medieval en Inglaterra: del drama
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 15
The Renaissance.
3.1. Humanism. The Reformation.
3.2. Elizabethan Literature
3.3. Stuart Literature (before the Revolution)
CLASES EXPOSITIVAS:
I. General context. The decline of the Middle Ages. The beginning of a new
period. End of the Byzantine empire. The "encounter" with America. The
Gutenberg Bible. Humanism. The Reformation. Protestant preachers. Henry VIII,
head of the Church of England. Towards the "modern" state. London. The
introduction of the cannon and the use of powder. The union of two crowns with
James I. Tudor and Stuart ideology.
II. The material conditions of the production of literature. The printing press.
Patrons and poets, audiences and playwrights. The stage. Political and religious
censorship. Women translators.
III. Poetics. The moral and political function of literature. The defence of poetry.
Elizabethan rhetoric. Paradoxical and hyperbolic presentation of love. Fame and
posthumous reputation. The centrality of the human being. Education.
IV. Genres, movements, writers. Comedia dell´arte (1545). Utopia. Translations
of the Bible. Epic poetry. The sonnet. Elizabethan and Metaphysical poetry.
Theatre. The masque. Prose: The new science. Pamphlets.
V. The arts. Pictorial perspective. Polyphony. Architecture: Inigo Jones.
Compulsory Reading:
(Reading prior to class is required)
Compulsory Activity:
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 16
Following the instructions that you will find in the file 'Your portfolio,' you must write
the third sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Gardner, Helen, ed. The Metaphysical Poets. London: Penguin Books, 1968.
Kalstone, David, ed. Sir Philip Sidney. Selected Poetry and Prose. New York and
London: Signet Modern Classic, 1970.
Steane, J. B., ed. Christopher Marlowe. The Complete Plays. London: Penguin Books,
1976.
Van Dorsten, J. A., ed. Sir Philip Sidney. Defense of Poetry. Oxford: Oxford University
Press, 1971.
Ten essays that deal with the material conditions for the production, performance and
reception of the plays as well as with the existence of different genres.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2ª edición. London & New York: Routledge, 2006.
Waller, Gary. English Poetry of the Sixteenth Century. London and New York:
Longman, 1993.
Additional bibliography will be provided at the beginning of
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 17
each unit.
Revolution, Commonwealth, and Restoration Literature.
CLASES EXPOSITIVAS:
I. General Context.
The English Revolution. Royalists vs. Parliamentarians. The Commonwealth.
The Restoration. Religion and politics. Reason and faith. Antinomianism (love
vs. law, faith vs. reason). Scepticism, relativism, experimentation. The
question of social order. Colonialism and the idea of the good savage. Plagues
and fires.
II. The material conditions of the production of literature. The theatre (closed
between 1642 and 1669). Censorship. Bourgeois audience and entertainment
literature.
III. Poetics. Change of style. Literature, religion, and politics. Ideas of human
nature and social order.
IV. Genres and writers. Political Theory. The epic poem. The allegorical
narrative. The Restoration theatre. Satire. Letters. Travel literature. Journalism.
Biography and autobiography. The Cambridge Platonists.
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
John Milton, Paradise Lost (Selected passages: invocations to the muse; Eve by the
pond; the temptation of Eve)
Dryden, From Annus Mirabilis; Earl of Rochester, “A Satyr Against Mankind”
Note that paying good attention to the religious and political conflicts that took
place in England at this time will help you to understand many of the attitudes adopted
and the topics dealt with in the literary production of this period.
Compulsory Activity:
Browse through Internet and choose an academic web page which you consider to
be interesting for the study of Revolution and Restoration Literature. Print the main
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 18
page and in an assigned seminar explain it to the teacher. You must also show that you
are able to quote an Internet bibliographical source following the MLA Style Manual.
Following the instructions that you will find in the file 'Your portfolio,' you must write
the forth sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Carey, John and Alastair Fowler, eds. The Poems of John Milton. London: Longmans,
1968.
Graham, Elspeth, Hillary Hinds, Elaine Hobby and Helen Wilcox, eds. Her Own Life:
Autobiographical Writings by Seventeenth-Century Englishwomen. London &
New York: Routledge, 2002.
Latham, Robert, ed. The Diary of Samuel Pepys. A new and Complete Transcription.
London: G. Bell and Sons, 1973-1983.
Sharrock, Roger, ed. The Pilgrim’s Progress. London: Penguin Books, 1977.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2ª edición. London & New York: Routledge, 2006.
Barbeito, Manuel, ed., Paradise Lost. The Word, the words, the world. Santiago:
Servicio de Publicaciones de la Univ. de Santiago, 1991.
The Enlightenment. Eighteenth Century Literature.
5.1. The Enlightenment, rationalism and sentimentalism.
5.2. Augustan literature.
5.3. The Rise of Aesthetics.
CLASES EXPOSITIVAS:
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
Daniel Defoe’s Preface to Moll Flanders and the beginning of Robinson Crusoe.
Laurence Sterne, Tristram Shandy (Selected passages)
You should pay especial attention to the different theories that explain the origins,
the antecedents and the rise of the novel as a distinctive literary genre in England.
Compulsory Activity:
Following the instructions that you will find in the file 'Your portfolio,' you must write
the fifth sheet of your portfolio to be revised and collected in the assigned seminar.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 20
Recommended Editions:
Ackroyd, Peter, The English Ghosts: Specters Through Time. Chatto & Windus 2010.
The Casebook of Victor Frankenstein. Chatto & Windus, 2008.
Friedman, Arthur, ed. Collected Works of Oliver Goldsmith. Vol. 4. Oxford: Clarendon
Classics, 1966.
Melville, Lewis, ed. A Tale of a Tub and Other Satires. Jonathan Swift. London:
Everyman’s Library, 1966.
Petrie, Graham, ed. Laurence Sterne/The Life and Opinions of Tristram Shandy,
Gentleman. London: Penguin Books, 1980.
Ross, Angus, ed. Richard Steele and Joseph Addison/ Selections from The Tatler and
The Spectator. Harmondsworth, Middlesex: Penguin Books, 1988.
Starr, G. A., ed. The Fortunes and Misfortunes of the Famous Moll Flanders. Oxford &
New York: Oxford University Press, 1981.
Bakhtin, M M. The Dialogical Imagination: Four Essays. University of Texas Press: Austin,
TX, Bakhtin, M M. 1986.
Bernstein, J. M. The Philosophy of the Novel: Lukacs. Marxism and the Dialectics of Form.
Brighton: Harvester Press; and Minneapolis: University of Minnesota Press, 1984.
Booth, Wayne C. A Rhetoric of irony. Chicago: The University of Chicago Press, 1974.
Carter, Ronald and John McRae, The Routledge History of Literature in English. Britain and
Ireland. 2nd edition. London & New York: Routledge, 2006.
Hunter, J. Paul. Before Novels: The Cultural Contexts of Eighteenth-Century English Fiction.
New York: Norton, 1990.
Leavis, F. R. The Great Tradition: George Eliot, Henry James, Joseph Conrad, Chatto &
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 21
Lukacs, Georg. The Theory of the Novel. Cambridge: MIT Press, 1971.
Medrano Vicario, Isabel. “Los orígenes de la novela inglesa y su desarrollo en el siglo XVIII,
1660-1760”, in José Antonio Álvarez Amorós, ed., Historia crítica de la novela
inglesa. Salamanca: Ediciones Colegio de España, 1998. 11-63.
Spencer, Jane. The Rise of the Woman Novelist: From Aphra Behn to Jane Austen. Oxford:
Blackwell, 1986.
Watt, Ian. The Rise of the Novel. Studies in Defoe, Richardson and Fielding. Berkeley, C.A,
University of California Press, 1957.
Additional bibliography will be provided at the beginning of each unit.
Romantic and Early Victorian Literature. From the French
Revolution to the Communist Manifesto.
CLASES EXPOSITIVAS:
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
Compulsory Activity:
Choose a representative short poem, or select some lines from a longer poem, written
by an English “romantic” writer and learn it by heart. You may be asked to recite it or
to write it down.
Following the instructions that you will find in the file 'Your portfolio,' you must write
the sixth sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Wright, David, ed. The Penguin Book of English Romantic Verse. London: Penguin
Books, 1971.
Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition.
New York: Norton & Company, 1958.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2nd edition. London & New York: Routledge, 2006.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 23
Eagleton, Terry. The English Novel. Malden (MA): Blackwell Pub., 2005.
Estévez Saá, Margarita. “La literatura gótica en lengua inglesa: avatares de un género
popular.” Garoza (Revista de la Sociedad Española de Estudios Literarios de
Cultura Popular). Nº3 (2003): 67-88.
Houghton, W.E. The Victorian Frame of Mind: 1830-1870. New Haven: Yale
University Press, 1971.
Victorian Literature. Victorian period of peace.
CLASES EXPOSITIVAS:
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 24
Compulsory Activity:
Following the instructions that you will find in the file 'Your portfolio,' you must write
the seventh sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Byatt, A. S., ed. George Eliot/The Mill on the Floss. Harmondsworth, Middlesex:
Penguin Books, 1985.
Cecil, David Lord, ed. A Choice of Tennyson’s Verse. London: Faber & Faber, 1971.
Glorney Bolton, John Robert and Julia Bolton Holloway, eds. Elizabeth Barret
Browning/ Aurora Leigh and Other Poems. Harmondsworth, Middlesex:
Penguin Books, 1995.
Hayward, John, ed. The Oxford Book of Nineteenth-Century English Verse. Oxford:
Clarendon Press, 1970.
Jennings, Elizabeth, ed. A Choice of Christina Rossetti’s Verse. London: Faber &
Faber, 1970.
Karlin, Daniel, ed. The Penguin Book of Victorian Verse. Harmondsworth, Middlesex:
Penguin Books, 1999.
Lucie-Smith, Edward, ed. A Choice of Browning’s Verse. London: Faber & Faber,
1967.
Madina, Alex and Valerie Lynn, eds. Introducing Dickens. Cambridge School
Anthologies. Cambridge: Cambridge University Press, 1999.
Carter, Ronald and John McRae, The Routledge History of Literature in English.
Britain and Ireland. 2nd edition. London & New York: Routledge, 2006.
Trilling, Leonard and Harold Bloom, eds., Victorian Prose and Poetry. New York and
London: Oxford University Press, 1973.
Reading of section “Victorian Prose” (pages 3-13)
From Naturalism and Decadentism to Modernism.
Edwardian, Georgian and Modernist Literature; the Thirties.
CLASES EXPOSITIVAS:
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
James Joyce, “The Dead”; passages from Ulysses and from Finnegans Wake.
Virginia Woolf, From Mrs Dalloway; “The Haunted House”
Poetry: W. Butler Yeats, “Easter 1916”
W. H. Auden, “Our Bias”
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 26
Compulsory Activities:
Following the instructions that you will find in the file 'Your portfolio,' you must write
the eighth sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Amstrong, W. A., ed. The Playboy of the Western World and Two Other Irish Plays.
Harmondsworth, Middlesex: Penguin Books, 1987.
Dick, Susan, ed. Virginia Woolf. The Complete Shorter Fiction. London: Grafton,
1991.
Eliot, T. S. Selected Poems. London & Boston: Faber and Faber, 1990.
Jeffares, A. Norman, ed. Yeats’s Poems. London: Gill and Macmillan, 1989.
Johnson, Jeri, ed. James Joyce. Ulysses. The 1922 Text. Oxford: Oxford University
Press, 1993.
Mendelson, Edward, ed. W. H. Auden. Collected Poems. London: Faber and Faber,
1976.
Post-War and Postmodernist Literature.
CLASES EXPOSITIVAS:
I. General context. The end of the Empire. The atomic era. The landing on the
moon. The cold war and the collapse of the eastern block. The welfare state.
The mass media. Consumerism. Relativism: truth, ethics and politics. Virtual
reality. Postmodernism. Feminism and ecology. ‘Glocalization’. Terrorism.
The protagonist of Islam.
II. The material conditions of the production of art. Paperbacks and best-
sellers. Department stores. The mass media. The Web. From the printing
press to the e-book. The visual text and the written text.
III. Poetics. The Death of the author. Literary mimesis, parody, meta-fiction, and
the subversion of myths. Rhetoric and undecidability. Alternative endings.
IV. Genres and movements. The theatre of the absurd. Magic realism. Migrant
writers.
V. Cyborgs.
SESIONES INTERACTIVAS:
Compulsory Reading:
(Reading prior to class is required)
Compulsory Activity:
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 28
Following the instructions that you will find in the file 'Your portfolio,' you must write
the ninth sheet of your portfolio to be revised and collected in the assigned seminar.
Recommended Editions:
Tuma, Keith, ed. Anthology of Twentieth-Century British and Irish Poetry. Oxford:
Oxford University Press, 2001.
Wyhdham, Francis, ed. Jean Rhys. Wide Sargasso Sea. Harmondsworth, Middlesex:
Penguin Books, 1968.
Beery, Ralph. The Research Project: How to Write It. London: Routledge, 1995.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 5th ed. New York:
MLA, 1999.
The Holy Bible. King James Version. New York: Harper, 1995.
Jones, Daniel. English Pronouncing Dictionary. 14th ed. London: Dent, 1980.
Payne, Michael, ed. A Dictionary of Cultural and Critical Theory. Oxford: Blackwell,
1997.
Storry, Mike, and Peter Childs, eds. British Cultural Identities. London: Routledge,
1997.
The Victorian Web. Literature, History and Culture in the Age of Victoria. National
University of Singapore. http://www.victorianweb.org
"
5. Indicaciones metodológicas y atribución de carga ECTs:
Indicaciones metodológicas
Cada semana tendrás clases expositivas y sesiones interactivas. En las sesiones
teóricas tus profesores te explicarán el contexto social, ideológico y literario de cada
período. Las clases prácticas y los seminarios estarán dedicados a la realización de
comentarios orales y/o escritos, debates, análisis, etc., de textos y manifestaciones
artísticas del período en cuestión, en los que deberás participar activamente.
Al final de cada tema dedicaremos una clase interactiva al repaso. Al final de esa
clase deberás entregar unos ejercicios que habrás realizado siguiendo el modelo que
encontrarás en el aula virtual (archivo ‘your portfolio’). Hay dos apartados obligatorios.
En uno deberás formular preguntas sobre las dudas que tengas en relación con el tema
estudiado; en el otro deberás contestar a una pregunta semejante a cualquiera de las
aparecen en el modelo de examen final que puedes ver en esta guía (Este ejercicio te
ayudarán a familiarizarte con el modelo de examen final). En cuanto a los demás
apartados podrás elegir, salvo indicación expresa del profesor, aquel con el que prefieras
trabajar procurando variar tu elección de un tema a otro.
Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 31
Carga ECTs
Materia de 6 créditos ECTs (6 x 25 = 150 horas de carga de trabajo para
el alumno)
Trabajo presencial del alumno Horas Trabajo personal del alumno Horas
Estudio autónomo individual o en
Clases expositivas 32 70
grupo
Preparación de presentaciones orales,
Sesiones Interactivas 16 10
debates y similares
2 Preparación de las pruebas de
Pruebas de evaluación 20
evaluación
Total de horas de trabajo presencial Total de horas de trabajo personal
50 100
del alumno del alumno
Tus profesores te aconsejan que, por término medio, dediques unas 6 horas
semanales a la preparación de la asignatura –lectura de textos, realización de
actividades, preparación de sesiones interactivas, revisión de apuntes, etc.
examen escrito final (2.8 si el examen está puntuado sobre 7); solo en este caso la nota
del curso podrá hacer media con la del examen.
Como puedes ver en la siguiente tabla, se tendrán en cuenta TODAS y cada una de tus
aportaciones a lo largo del curso. Los profesores anotarán en tu ficha personal cada
actividad –individual y en grupo, escrita y oral, etc.− que realices y que computará para
tu calificación final.
7. Ficha individual
Nombre:
Participación:
- Lectura
- Traducción
- Comentario
Portfolio:
Calidad apuntes:
Examen:
Observaciones:
Name .......................................................
0. Preliminary question: Mention some of the objectives of this course
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I. Explain the main formal features of Old English Poetry. (1 point)
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VI. Explain the Benevolentist solution to the problem of social order. (1 point)
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Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 35
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Mention three types of novels of the first half of the nineteenth century. (0.5 point)
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VII. Mention the main differences between Realism and Modernism. (1 point)
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I was born in the Year 1632, in the City of York, of a good Family, tho' not of that
Country, my Father being a Foreigner of Breman, who settled first at Hull : He got a
good Estate by Merchandize, and leaving off his Trade, lived afterward at York, from
whence he had married my Mother, whose Relations were named Robinson, a very
good Family in that Country, and from whom I was call'd Robinson Kreutznaer ; but by
the usual Corruption of Words in England, we are now call'd, nay we
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“Our destiny, our being's heart and home,/ Is with infinitude, and only there; / With
hope it is, hope that can never die, / Effort, and expectation, and desire, / And something
evermore about to be.”
Translation...........................................................................................................................
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Commentary........................................................................................................................
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Guía Didáctica de la asignatura Introducción a la Literatura Inglesa 36
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