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1 | MODERN BRITISH LITERATURE. Lectures: | 82 | of pride in identity, so the novel proudly |
Mgr. Jana Javor??kov?, PhD. (lectures, Fhv | wears its demonic title. The purpose is | ||
– seminars) Seminars: Mgr. Martin Kubu? | not to suggest that the Qur'an is written | ||
(Fif – seminars) PaedDr. Jana Javor??kov?, | by the devil; it is to attempt the sort of | ||
PhD. (Fhv – seminars) (Externists). | act of affirmation that, in the United | ||
2 | Where to find texts of lectures and | States, transformed the word black from | |
seminars: http://www.fhv.umb.sk katedry | the standard term of racist abuse into a | ||
Katedra anglick?ch a americk?ch ?t?di? | "beautiful" expression of | ||
?t?dium Kurzy denn?ho ?t?dia Kurzy v | cultural pride. | ||
odbore u?ite?stvo ... Mgr. Jana | 83 | Other novels by Salman Rushdie. | |
Javor??kov?, PhD. Modern? britsk? | Concepts: NEWNESS – CHANGE (IDENTITY | ||
literat?ra 1. PASSWORD: mbl1 or mbl2. | POLITICS): FOREIGNERS –ALIENS – UNSPOILED | ||
3 | THE CULTURAL AND HISTORICAL SETTING OF | NATIVES CENTRAL AND MARGINAL CULTURES. | |
THE POST-WAR BRITISH LITERATURE. BEFORE. | Novels: The Book of the Pir, 1971 Midnight | ||
WWII. AFTER. ECONOMICS The slump The | Children, 1981 Shame, 1983 The Satanic | ||
economics of the gold standard. Full | Verses, 1989. | ||
employment Keynes? and Beveridge?s | 84 | Kazuo Ishiguro “What is history to a | |
economics. John Maynard Keynes: American | nation, memory is to the individual” b. in | ||
economist – believed in econ. stimulus | 1954 in Nagasaki, Japan moved to Britain | ||
William Beveridge: British economist and | in 1960 depicts cultural gap between two | ||
social reformer. | cultures graduated from the Univ. of East | ||
4 | THE CULTURAL AND HISTORICAL SETTING OF | Anglia, lives in London. POSTCOLONIAL AND | |
THE POST-WAR BRITISH LITERATURE. BEFORE. | POSTIMPERIAL LITERATURE IN ENGLISH. | ||
WWII. AFTER. POLITICS Conservative | 85 | Ishiguro’s style: “It is perhaps a | |
hegemony “Government of men”. Labour | sign of my advancing years, that I have | ||
victory (1945) “administration of things”. | taken to wandering into rooms for no | ||
Labour victory in 1945: Clement Atlee won | purpose.” (Masuji Ono, in: Artist of the | ||
over W. Churchill (Cons.) Atlee: Welfare | F.V.) Characters wander through the | ||
State: “from craddle to grave“ or “from | “rooms“ of their memories (ellipses, | ||
womb to tomb“. | meanders) Distortion of the past and | ||
5 | THE CULTURAL AND HISTORICAL SETTING OF | present Ironical deceptions of memory. | |
THE POST-WAR BRITISH LITERATURE. BEFORE. | 86 | Ishiguro’s major novels. Novels: A | |
WWII. AFTER. SOCIETY Class system | Pale view of Hills, 1982 An Artist of the | ||
Aristocratic privilege and glitter “THEM” | Floating World, 1985 The Remains of the | ||
dependence of women dual system of | Day, 1989 The Unconsoled, 1995 Concepts: | ||
education. Classless society Egalitarian | FLOATING WORLD – “the night time of | ||
way “US” feminism of the 60?s tripartite | pleasure, entertainment and drink.” | ||
system of education (Butskellism) status | JOURNEY – the “journey“ motif. | ||
revolution. BUTSKELLISM: blend of Butler | 87 | The Remains of the Day. Set in pre and | |
and Hugh Gaitskell?s political thought. | post-war Britain Narrator: aging butler | ||
6 | BUTLER EDUCATION ACT. 1944 – Butler | Stevens who serves for Lord Darlington. | |
Education Act passed: (Richard Austen | Mrs Kenton – love subdued to duty. THE | ||
Butler, 1902-82) – compulsory education | ESSENCE OF BRITISHNESS. Lord Darlington – | ||
under 15 – system of sponsorship for the | abosolute loyalty. Stevens’ father – | ||
underprivileged students; | latent love. Mr. Farraday – new American | ||
7 | Characteristics of British | master. | |
Universities of the 1960’s. Formal, | 88 | The Prophet?s Hair. Set in: India, 19- | |
traditional, conservative, abstract | Characters: wealthy moneylender Hashim, | ||
(virtual character of Oxford). Redbrick | his son Atta, daughter Huma Plot: Hashim | ||
provincial universities opposed to | finds a relic, decides to keep it. Instead | ||
Oxbridge. vs. | of good fortune, it brings his family ill | ||
8 | THE CULTURAL AND HISTORICAL SETTING OF | fortune: Hashim turns a bigot, forces his | |
THE POST-WAR BRITISH LITERATURE. BEFORE. | family to ultraorthodox Muslim life. | ||
WWII. AFTER. CULTURE “high vs. low” | Contribution: Developing cultural | ||
culture. common culture equalisation | awareness: shikara, khichri, phial, | ||
nationalisation decentralisation | purdah, mulahs (no endnotes, explanation) | ||
Americanisation Racial integration | Combines fantasy and magic (reclic = | ||
Multiculturalism. | prophet?s hair – its miraculous powers) | ||
9 | RESULTS OF BUTLER ACT. POSITIVES: More | Satire of religious bigotry | |
democratic access to education NEGATIVES: | (countereffects of the relic, mullahs | ||
ANGRY YOUNG MEN. | wanted to lynch Atta for the loss of | ||
10 | DAVID LODGE (b. 1935). BIOGRAPHY | relic, Sheikh?s crippled children were | |
teacher at the University of Birmingham | healed which “ruined them for life“). | ||
(1960 – 1987) His university studies | 89 | Roman fleuve Stream novel River novel. | |
portrayed in a combination of an | Saga. Bildungsroman. LITERATURE OF THE 60’ | ||
autobiographical novel, Bildungsroman Out | s , 70’s AND 80’s. After experiment with | ||
of Shelter, 1970) and H. James’ | new topics (post-imperialism) Experiment | ||
international novel (setting: London – | with the form. | ||
Heidelberg). | 90 | Saga Novel. a narrative or a tale of | |
11 | LODGE?S STYLE. master of parody (The | heroic achievements or extraordinary or | |
British Museum is Falling Down, 1965; | marvellous adventures, e.g. Beowulf a | ||
Changing Places, 1975); parody of V. W.; | narrative about the life of a large | ||
J. J.; D. H. L; F. K. Often depicts the | family, written over a long period and | ||
Anglo-American cultural gap (Small World, | linked together by a character or place, | ||
1984); motivations: sexual intrigue and | e.g. Forsyte Saga. | ||
the drive for power; Also wrote | 91 | OTHER EXPERIMENTS WITH FORM. Roman | |
theoretical handbooks (The Language of | Fleuve – stream novel – “river novel“ a | ||
Fiction, 1967) – explaining the | term used for a series of novels, each of | ||
methodology of structuralism and | which exists as a separate novel but all | ||
empiricism. | of which are related because the | ||
12 | Synopsis of Small World. Setting: | characters reappear in each succeeding | |
Rummidge, everywhere : late 1970?s –early | work. roman fleuve was established by E. | ||
1980?s Characters: professors and scholars | Zola, H. Balzac and M. Proust the most | ||
in humanities (Perssy McGarrigle, Angelica | popular variants: trilogy, tetralogy | ||
Pabbst, Morris Zapp, Phillip Swallow) | Bildungsroman - the term used widely by | ||
Genre and tone: academic romance, ironic. | German critics, referring to a novel which | ||
13 | Post-war modernisation of the old | is an account of the youthful development | |
class-ridden and antiquated British | of a hero or heroine (David Lodge: Out of | ||
society. END OF LECTURE NO. 1. | Shelter). | ||
14 | BRITISH POST-WAR LITERATURE. VARIOUS | 92 | NOVELISTS OF THE 50?s ANTHONY POWELL, |
GENRES, TOPICS, STYLES, MOVEMENTS OR | ANGUS WILSON, C. P. SNOW. Novelists of the | ||
MISFITS. | 50?s – achieved considerable reputation in | ||
15 | Six periods/groups according to | the 50?s – unique category Common | |
Gilbert Phelps: “Survivors“ of the 1930’s | Features: satiric interest in the changes | ||
: Virginia Woolf, James Joyce “Already | in the Great Britain in the 50?s and 60?s | ||
active novelists“ Leslie Paul Hartley | disgust with the spread of Western | ||
Post-colonial or anti-colonial novelists: | civilisation genre (roman fleuve). | ||
Paul Scott; James G. Farrell; Hanif | 93 | NOVELISTS OF THE 50?s ANTHONY POWELL, | |
Kureishi Female writers: Muriel Spark, | ANGUS WILLSON and CHARLES PERCY SNOW. | ||
Beryl Bainbridge Angry Young Men: John | stories of “upper-class hard-heads“ | ||
Osborne, J. Wain, J. Braine “Misfits“: | started publishing in the 30?s. | ||
John Fowles, David Lodge, Ian McEwan. | 94 | ANTHONY POWELL. (1905 - 2000). Style: | |
16 | SUBJECT CLASSIFICATION: Serious | universal: - 4 volumes of memoirs 3 | |
novels: Graham Greene Comic novels: G. | volumes of diaries 2 volumes of literary | ||
Greene Linguistic experimens: Anthony | criticisms. educated at prestigious Eton | ||
Burgess Traditionalists: August Wilson | Balliol College (Oxford) a friend of | ||
Detective novels: A. Christie Spy novels: | Evelyn Waugh, Graham Greene started as a | ||
John Le Carr? Political allegories: George | film script-writer critic and book | ||
Orwell Sci-fi: Aldous Huxley. | reviewer for: the Daily Telegraph; the | ||
17 | CHRONOLOGICAL CLASSIFICATION: The | Times Literary Supplement; Punch; the | |
30?s: All the Fun: Carpe Diem philosophy | Spectator. Nicolas Poussin’s picture which | ||
of the Jazz Age/Roaring 20?s The 40?s: | gives name to the novel. | ||
Extravagance and Reason: war-time escapism | 95 | ANTONY POWEL’S MAJOR WORKS: Novels: | |
The 50?s: Anger and Fear The 60?s and | Afternoon Men, 1931 Venusberg, 1932 A | ||
70?s: Dreams Revived: back to colonial | Dance to the Music of Time slowly | ||
past and its effects. | developing narrative (narrator: Nicholas | ||
18 | Before we talk about movemements and | Jenkins), set between the 20?s and 50?s a | |
groups... TWO PROBLEMS: | chronicle of British upper middle class a | ||
Self-classification of authors | fictionalised war memoir a prose elegy for | ||
POSTMODERNISM - “ownership of the text“. | the decline and fall of a ruling class. | ||
19 | 1. Self-classification of authors: | 96 | A Dance to the Music of Time. 1. A |
Alan Sillitoe (Writer) Author of the | Question of Upbringing 2. A Buyer?s Market | ||
original novel and scriptwriter of the | 3. The Acceptance World 4. At Lady Molly?s | ||
screenplay for the film. A bestselling | 5. Casanova?s Chinese Restaurant 6. The | ||
novelist for the past 40 years, Alan | Kindly Ones 7. The Walley of Bones 8. The | ||
Sillitoe has lately produced his | Soldier?s Art 9. The Military Philosophers | ||
long-awaited sequel to that first novel, | 10. Books do Furnish a Room 11. Temporary | ||
Birthday (Flamingo, 2002). Classification | Kings 12. Hearing Secret Harmonies. | ||
of authors is not easy. Take, for example | 97 | A Dance to the Music of Time. | |
Alan Sillitoe. He is a “typical“ | Metaphor: Conformism of those who „dance | ||
representative of the literary group | to the music of time“ Parody of English | ||
called “Angry Young Men“ : Sillitoe | political, social and military life. | ||
himself was born to a working class family | 98 | A painting by Nicolas Poussin. Seasons | |
but was able to pursue in his studies at a | hand in hand Symbolising: Passing of time, | ||
university due to a state sponsorship His | Human mortality. Dance Symbolises | ||
main representatives followed the same | Partmership – its twists and turns. | ||
carreer (e.g. Arthur Seeton) He wrote most | 99 | Charles Percy Snow Baron Snow of | |
of his novels during the highlights of the | Leicester (1905 - 1980). educated as a | ||
„Angry Young Men“ period. However, he | chemist and physicist at the Univ. of | ||
refused to be labeled an “angry young | Leicester held important positions in the | ||
man“. | British Government. Style: rational, | ||
20 | 2. MODERNISM vs. POSTMODERNISM. | atheistic, scientifically exact, | |
MODERNISTS: James Joyce; V. W.; Edward M. | influenced by the genre of detective | ||
Foster; G. G.; J. Conrad POSTMODERNISTS: | stories - conflict between the sciences | ||
Muriel Spark; Beryl Bainbridge; David | and the humanities (The Two Cultures). | ||
Lodge CHRONOLOGY: End of the 19th ct. – | 100 | NOVELS BY CHARLES PERCY SNOW. | |
MODERNISM 1920?s – highlights of MODERNISM | Strangers and Brothers, 1940 – 1970 - | ||
1940?s – POSTMODERNISM 1960?s – highlights | eleven novels in the series - narrated by | ||
of POSTMODERNISM POSTMODERNISM: deflection | 'Lewis Eliot'. - follows his life and | ||
from established rules: double names, | career from humble beginnings in an | ||
characters conventions, form: pastiche | English provincial town, to London lawyer, | ||
style: syntax, sentence structure. | to Cambridge don, to wartime service in | ||
21 | POSTMODERNISM – BASIC THOUGHTS. | Whitehall, to senior civil servant and | |
MODERNISM: STRUCTURALISM Language is a | finally retirement. The Masters, 1951 The | ||
system of signs. Writing is encoding, | New Men, 1954 Last Things, 1970. | ||
Reading is decoding. Text has THE MEANING. | 101 | ANGUS WILSON. b. 1913 Style: -restless | |
MODERNIST EXPERIMENT: sub-trends: | experimentation with: REALISM (Hemlock and | ||
surrealism, old avant-garde POSTMODERNISM: | After, 1952) FABLE, ALLEGORY (The Old Man | ||
POSTSTRUCTURALISM,DECONSTRUCTION Language | at the ZOO, 1961) Topics: criticised | ||
is asystematic. Every decoding is another | SOCIETY ; society understood holistically | ||
encoding. Text has A MEANING. POSTMODERN | favoured NATURE – source of stable values | ||
EXPERIMENT Novel ? anti-novel, noveau | Characters: (3 groups) PRINCIPAL PLAYERS | ||
roman Poetry ? concrete poetryDrama ? | SUPPORITNG ROLES ADDITIONAL CAST. | ||
total theatre LITERARY CRITICISM: Marxist | 102 | NOVELISTS OF THE 50?s - GRAHAM GREENE. | |
criticism, Feminist criticism, New | b. in 1904 to the family of a Headmaster; | ||
criticism. | studied at Balliol College, Oxford; editor | ||
22 | Introduction to postmodernism - Diego | of the Oxford Outlook, The Times, The | |
Rodr?guez de Silva y Vel?zquez. LAS | Spectactor; during WWII an employee of the | ||
MENINAS: THE MAIDS OF HONOUR. 1599-1660. | Ministry of Information. Style: 1. | ||
23 | Who/what are the people in the | Catholicism; 2. Exotic settings (Cuba, | |
painting looking at? How many figures are | Estonia); 3. Spy novels, double agents; 4. | ||
there? /Notice the sources of light/ 3. | Greenland. | ||
Where are you standing? A passer by - you. | 103 | GRAHAM GREENE’S STYLE. Greenland – the | |
c) Another painter. b) Somebody else, e.g. | term describing specific atmosphere in | ||
a royal couple, infant’s parents, a joker, | Greene?s novels: “… the sweat and | ||
etc. | infection, the ill-built town which is | ||
24 | A passer by. The passer by, be it you | beautiful for a few minutes at sundown, | |
or whoever else, represents the OBSERVER | the brothel where all men are equal, the | ||
of the scene. Metaphorically, he | vultures… the snobbery of the 2nd class | ||
symbolises the READER while the scene | public schools, the law which all can | ||
represents the TEXT. | evade, the everpresent haunting underworld | ||
25 | How many figures are there? 8. 9. 7. | of gossip, spying, bribery, violence and | |
1. 4. 2. 6. 3. 5. | betrayal…“ Evelyn Waugh Technique of | ||
26 | How many figures are there? 9 10. 8. | writing/narration: Camera Eye – recording | |
9. 7. 1. 2. 6. 3. 5. MEANING. you. you. | significant details (absolutely objective | ||
MIRROR. 4. | narrative, no judgemental voice). | ||
27 | Jacques Foucault: Words and Objects | 104 | HAVANA. atmosphere of greenland. |
PAINTING SERVES AS A METAPHOR... THE | ...the sweat and infection, the ill-built | ||
PAINTING = THE TEXT YOU = THE READER THE | town which is beautiful for a few minutes | ||
NUMBER OF PEOPLE IN THE PAINTING = THE/A | at sundown, the brothel where all men are | ||
MEANING OF THE PAINTING/ TEXT SOMETHING | equal, the vultures… the snobbery of the | ||
THE READER HAS TO ADD BYTHE PROCESS OF | 2nd class public schools, the law which | ||
THINKING, REFLECTING, ETC. | all can evade, the everpresent haunting | ||
28 | MODERNISM vs. POSTMODERNISM. | underworld of gossip, spying, bribery, | |
Postmodernism is a new trend in arts that | violence and betrayal…“ Evelyn Waugh. | ||
expands to many genres, for example to | 105 | GRAHAM GREENE’S MAJOR WORKS. Novels: | |
architecture, painting, music, fashion or | Early Years: 1929, The Man Within Pre-WWII | ||
literature. „. “Postmodern attitude“can be | novels: 1938, Brighton Rock 1939, The | ||
well illustrated by a paining by Diego | Confidential Agent 1940, The Power and the | ||
Velasquese. | Glory. Post-WWII novels: 1948, The Heart | ||
29 | POSTMODERNISM and FASHION. Lacroix | of the Matter 1951, The End of the Affair | |
Goes Giddy for The Kitsch and Kiddy | 1955, The Quiet American 1958, Our Man in | ||
Lacroix likes to dress his women like a | Havana 1969, Travels with my Aunt 1973, | ||
fantastic mix between Peter Pan, Alice In | The Honorary Consul. | ||
Wonderland and A Mid-Summer Nights Dream. | 106 | Our Man in Havana. Parody of a spy | |
If you’re looking for a lighthearted dress | novel Based on G. G’s experience during | ||
that oozes childhood sentimentality then | WWII Set in Cuba Story of an underdog | ||
Lacroix is your man. I like this dress the | Wormold Selling vacuum cleaners mistaken | ||
best, it so reminds me of Alice – are you | for military plans of nuclear bombs | ||
ready for the rabbit hole? | Becomes Secret Agent 5920015. | ||
30 | POSTMODERNISM and FASHION. EXPERIMENT. | 107 | There were eight Japanese gentlemen |
COLAGE OF STYLES (fairy tale vs. ballet | having a fish dinner at Bentley?s. They | ||
vs. surrealist wedding dress). AMBIGUITY. | spoke to each other rarely in their | ||
EXISTENCIALISM. mockery. QUESTIONS | incomprehensible tongue, but always with a | ||
TRADITIONAL VALUES. | courteous smile and often with a small | ||
31 | POSTMODERNISM and FILM. EXPERIMENT. | bow. All but one of them wore glasses. | |
COLAGE OF STYLES (detective story vs. love | Sometimes a prety girl who sat in the | ||
story vs. pulp fiction). AMBIGUITY. | window beyond gave them a passing glance, | ||
EXISTENCIALISM. QUESTIONS TRADITIONAL | but her own problem seemed too serious for | ||
VALUES. PARODY OF A TRADITIONAL GANGSTER | her to pay any real attention to anyone in | ||
FILM. | the world except herself and her | ||
32 | POSTMODERNISM and MUSIC. EXPERIMENT. | companion. a) Objective narrator b) | |
COLAGE OF STYLES. AMBIGUITY. | Subjective narrator c) 1st person narr. d) | ||
EXISTENCIALISM. QUESTIONS TRADITIONAL | 3rd person narrator. | ||
VALUES. | 108 | LITERATURE OF THE 50?S AND 60?S - | |
33 | POSTMODERNISM and ARCHITECTURE. | EXOTIC NOVELS. 50’s – 60’s – Period of the | |
EXPERIMENT. COLAGE OF STYLES. AMBIGUITY. | “Dreams revived“ Inspiration by the | ||
EXISTENCIALISM. QUESTIONS TRADITIONAL | colonial past, (Lawrence Durrell) exotic | ||
VALUES. | countries, (William Golding) utopia, | ||
34 | ...meaning is not: inherent to the | dystopia and sci-fi (Eric Arthur Blair – | |
text “given“ or “pre-conceived“ by the | George Orwell) – George Orwell). | ||
writer controlled by renowned literary | 109 | Lawrence Durrell (1912 - 1990). b. in | |
critics. | Jullundur, northern India to his English | ||
35 | ...meaning is: WHAT READERS ADD TO THE | father and Irish-English mother result: | |
TEXT YOUR INTERPETATION BASED ON YOUR | inclination toward “Tibetan mentality“; | ||
UNIQUE PERSONAL EXPERIENCE. END OF LECTURE | mixed nationality sent to England at the | ||
NO. 2. | age of 11 to be formally educated there | ||
36 | ANGRY YOUNG MEN - NOVELISTS WHEN WERE | missed Southern climate and way of life, | |
THEY ACTIVE? 2. WHO WERE THEY? 3. WHAT/WHO | moved to Corfu fled Greece in 1941 just | ||
DID THEY WRITE ABOUT AND AGAINST? LECTURE | ahead of Nazi army Press attach? in the | ||
NO. 3. | British Information Office in Alexandria, | ||
37 | 1. WHEN WERE THEY ACTIVE? Active in | Egypt (Belehrad and Rhodes) A teacher of | |
the 50?s: 1951: Leslie Paul?s | English literature in Cyprus Deeply | ||
autobiography: The Angry Young Men 1956: | touched by the death of his wife and | ||
8th May – premi?re of Look Back in Anger | daughter. | ||
Characteristics of the period: “the | 110 | Lawrence Durrell (1912 - 1990). Style: | |
individual has been devalued, like the | Influenced by Henry Miller (naturalism), | ||
pound“ (L. P. Hartley) people still | H. D. Lawrence (sexual openness) | ||
feeling the hangover of the war culture | Fascination for the Far East (oriental | ||
was in crisis: narrowness and pessimism of | folklore, habits) Modernist fiction | ||
novels. John Osborne. | (philosophical point of view) Novels: Pied | ||
38 | 2. WHO WERE THEY? The writers | Piper of Lovers (pseudonym: Charles | |
themselves and their characters were: • | Norden) Panic Spring, 1937 Bitter Lemons. | ||
Young, needy, intellectuals • | 111 | The Alexandria Quartet. The Alexandria | |
Disillusioned • Displaced • Conformists | Quartet: Justine, 1957 Balthazar, 1958 | ||
(contrast to the Beat Generation). Defined | Mountain Olive, 1958 Clea, 1960 Subject: | ||
themselves against: a blend of homely | the expression of love: pure love, incest, | ||
sensibility; upper class aloofness; | rape, infant prostitution, lesbian love, | ||
liberal politics; avant-garde literary | homosexuality. Specific expressions of L. | ||
device. | G. Dartley?s love to Justine (passion), | ||
39 | Wrote about : An angry young | Melissa (affection), Clea (healing love), | |
anti-hero: working class origin boorish | Mount Olive (friendship). The Revolt of | ||
rather than well behaved rudely angry | Aphrodite: 1. Tunc, 1968 2. The Avignon | ||
rather than angry philistine rather than | Quintet, 1974-85. | ||
arty Other dominant topics: rise of a | 112 | William Golding (1911 - 1993). b. in | |
working class man into the upper middle | Newquay, Cornwall graduated from Oxford | ||
class hurdles of education, upbringing and | University during WWII joined the military | ||
accent. 3. WHO/WHAT DID THEY WRITE ABOUT | service 1983 - Nobel Laureate in | ||
AND AGAINST? | Literature Style: influenced by Greene?s | ||
40 | ANGRY YOUNG NOVELISTS – | religiosity: original sin, evil in people | |
REPRESENTATIVES John Barrington Wain - b. | Interested in existential rather than | ||
1925 in the English Midlands graduated | national issues: “I should have thought | ||
from Oxford - professor of poetry at | that a pack of British boys… would have | ||
Oxford (1973 – 78) a member of the | been able to put up a better show than | ||
Inklinks (an Oxford literary group) Hurry | that”. called his writings “fables“ or | ||
on Down, 1953 – a picaresque novel Living | “myths“; also writing moral allegories: | ||
in the Present, 1955 The Contenders John | post Darwinist and post Wellsian pessimism | ||
Braine b. 1922 in Bedford, Yorkshire; d. | excessively using symbolism. | ||
1986 Room at the Top, 1957; Life at the | 113 | Novels by W. Golding. Poems, 1934 The | |
Top, 1962; The Jealous God, 1964; Stay | Inheritors, 1955 Pincher Martin, 1965 Free | ||
with Me till Morning, 1970; Writing a | Fall, 1959 The Spire, 1964 The Lord of the | ||
Novel, 1974; Finger on Fire, 1977. | Flies, 1954. EVIL IN MEN. OUTSIDERISM. | ||
41 | ANALYSIS OF MAJOR NOVELS BY ANGRY | CORRUPTION OF POWER. INNER SAVAGERY. | |
YOUNG MEN: John Wain: Hurry on Down - | SOCIAL RULES AND ABSENCE THEREOF. | ||
bestseller. Genre: picaresque novel, | 114 | Novels by W. Golding. „Man produces | |
partly autobiographical. Main character: | evil like a bee produces honey“ An | ||
Charles Lumley – university graduate | outsider often draws attention away from | ||
unable to fit in. Jack of all trades: | predators’ mistakes People need an | ||
smuggler. driver. bouncer. hospital | absolute monarch. EVIL IN MEN. | ||
orderly. | OUTSIDERISM. CORRUPTION OF POWER. INNER | ||
42 | ANALYSIS OF MAJOR NOVELS BY ANGRY | SAVAGERY. SOCIAL RULES AND ABSENCE | |
YOUNG MEN: John Brain: Room at the Top – | THEREOF. | ||
bestseller Life at the Top – sequel. | 115 | Lord of the Flies. Subject: collapse | |
Style: open – X-rated in the USA. Main | of civilisation: transition from civilised | ||
character: Joe Lampton – an army vet, | to barbaric Inspired by Robert | ||
town-hall clerk. “the running fight | Ballantyne?s Coral Island (1858), Jules | ||
between himself and society had ended in a | Verne, Daniel Defoe and sci – fi Setting: | ||
draw“. Not unlike Clyde Griffits (American | unspecified - Indian – Pacific Ocean – | ||
Tragedy, Theodore Dreiser). Loves two | time: WWII (?). | ||
women. rich Susan Brown - Seduces and | 116 | Lord of the Flies = inborn evil in | |
marries her. poor Alice Aisgill. | people. Nemesis (in Greek, ???????), was | ||
43 | ANGRY YOUNG NOVELISTS – OTHER | the spirit of divine retribution against | |
REPRESENTATIVES. Colin Wilson: The | those who succumb to hubris, vengeful fate | ||
Outsider; Kingsley Amis: Lucky Jim; Allan | personified as a remorseless goddess. The | ||
Sillitoe: Loneliness of the Long Distance | name Nemesis is related to the Greek word | ||
Runner Stan Barstow: A Kind of Loving | ???????, meaning "to give what is | ||
David Storey: This Sporting Life Keith | due". The Romans equated one aspect | ||
Waterhouse. | of Greek Nemesis, which might be | ||
44 | ANGRY YOUNG MEN - DRAMATISTS. John | interpreted as "indignation at | |
Osborne Life: (b. 1929 in London) educated | unmerited advantage", as Invidia | ||
at "a rather cheap boarding | (Aronoff 2003). Nemesis is now used as a | ||
school" former actor in provincial | term used to describe one's worst enemy, | ||
repertory companies founding member of the | normally someone or something that is the | ||
"A. Y. M." group. | exact opposite of oneself but is also | ||
45 | ANGRY YOUNG MEN - DRAMATISTS. John | somehow similar. For example, Professor | |
Osborne Characteristics of Osborne's style | Moriarty is frequently described as the | ||
primitive dramatic skills; "kitchen | nemesis of Sherlock Holmes. | ||
sink" drama; mood of frustration: | 117 | Post Darwinist and post Wellsian | |
anarchic, cynical, nihilistic anti-heroes, | pessimism. LoF shows the downfall of | ||
social misfits. Major plays and novels The | civilisation (from civilised to barbaric). | ||
Entertainer, 1957 - comic Archie Rice; | Herbert Spencer had published The | ||
Luther, 1961; Inadmissible Evidence, 1964; | principles of biology in 1864. In that he | ||
A Patriot for Me, 1965 Autobiography: A | referred to 'survival of the fittest' | ||
Better Class of Person. | twice. Charles Darwin Origin of Species | ||
46 | Look Back in Anger. Richard Burton as | (1869) The Survival of the Fittest. | |
Jimmy Porter, the speaker of the | 118 | Golding’s Post Darwinist and post | |
generation: "Nobody thinks, nobody | Wellsian pessimism. Herbert George Wells | ||
cares, no beliefs, no convictions and no | „The Father of Sci-fi“ Author of: The Time | ||
enthusiasm“ MAJOR ISSUES: conflict of | Machine The War of Worlds The Invisible | ||
generations, social classes and opposite | Man The Island of Doctor Moreau. Believed | ||
sexes: conflict of the "sycophantic, | that technology does not make a man | ||
phlegmatic and pusillanimous” world of | happier. | ||
upper class and Jimmy's private, | 119 | Symbolism in Lord of the Flies. | |
"loose" morality. John Osborne. | English cathedral choir schoolboys - | ||
47 | ? JIMMY PORTER: A tall, thin young man | microcosm Piggy, glasses: intelligence | |
about 25. A mixture of sincerity and | Ralph, the conch – democracy Simon – Jesus | ||
cheerful malice, of tenderness and | Roger – Evil, Satan Jack – anarchy The | ||
freebooting cruelty, restless, | island – a microcosm The beast – evil, | ||
importunate, full of pride, a combination | residing within everyone Lord of the Flies | ||
which alienates the sensitive and the | – the Devil Other authors: Malcolm Lowry: | ||
insensitive alike. Jim hates: Jim loves: | Under the Volcano. | ||
ALISON PORTER: Tall, slim, delicate, with | 120 | BRITISH POST-WAR POETRY. SEVERAL | |
surprising reservation in her eyes “I was | MOVEMENTS EMERGED. THE MOVEMENT. THE | ||
wrong! I don’t want to be saint. I want to | GROUP. THE MARTIANS. THE REVIEW. THE | ||
be a lost cause. I want to be corrupt and | UNDERGROUND. TED HUGHES. SEAMUS HEANEY. | ||
futile“. Sundays Sunday ironing | 121 | THE MOVEMENT. - dominated in the 40's | |
Pretentionus editorials Sycophantic, | - 50's; - manifesto of THE MOVEMENT: | ||
pusillanimous people. | collections: "Poets of the | ||
48 | WORKING CLASS NOVELISTS | 50's", 1955 and "New | |
Representatives: 1. Working-class origin | Lines", 1956 P. Larkin: I believe a | ||
writers 2. novelists writing about the | poet has to enjoy writing poetry and the | ||
working class. Allan Sillitoe b. 1928 in | readers enjoy reading it, or they are both | ||
Nottingham son of an illiterate tannery | wasting their time. (The Times, 1964). | ||
laborer father unemployed during | 122 | I had suggested, in exasperation, that | |
Depression - financial problems left | he finds Something other to write about | ||
school at 14 - earned money in RAF | the moon, and flowers and birds, and | ||
(Malaya) Style: versatile author: plays, | temples, And the bare hills of the once | ||
poems (The Rats and Other Poems, 1960) | holy city - Through the leprous lakes of | ||
over 50 essays, children?s books: | mud. (Changing the Subject). The poet. | ||
character of Marmelade Jim labelled also | Should seek more serious topics. Struggle | ||
as an AYM advocate of the social function | with life. | ||
of novels (like J. Galsworthy, E. Zola) | 123 | Artistic manifesto of the Movement. | |
realistically portrayed working-class | Philosophy of the Movement. Influences: | ||
heroes. | W.Butler Yeats; W.H.Auden; Edwin Muir; * | ||
49 | Allan Sillitoe Style: versatile | Disillusionment * Empirism * Subjectivity, | |
author: plays, poems (The Rats and Other | intimacy, privacy * Intellectualism * | ||
Poems, 1960) over 50 essays, children?s | Specific target: poets, churchgoers, | ||
books: character of Marmelade Jim labelled | mourners * Rational, logical language * | ||
also as an AYM advocate of the social | Representatives: educated, Oxbridge | ||
function of novels (like J. Galsworthy, E. | graduates. | ||
Zola) realistically portrayed | 124 | Intimacy. Existential topics. Sharp | |
working-class heroes. | observations on life. And why should this | ||
50 | WORKING CLASS NOVELISTS – A. SILLITOE | chain of miracles be easier to believe | |
Major writings: The Saturday Night and | Than that my darling should come to me as | ||
Sunday Morning, 1958 depicts a weekend of | naturally As she trusts a restaurant not | ||
a young laborer Arthur Seaton (an | to poison her?" This man I knew Only | ||
anti-hero) local colour Loneliness of a | a little, by his death Shows me a love I | ||
Long-Distance Runner, 1959 a collection of | thought I lacked... For finished work, | ||
stories (Uncle Ernest) Raw Material, 1972 | like answered prayer, makes death taste | ||
autobiographical features. | sweet. Vivid SIMILES. | ||
51 | Allan SILLITOE: Loneliness of a | 125 | MEMBERS OF THE MOVEMENT. 1. Robert |
Long-Distance Runner, 1959 Style: – rich | Conquest “A World of Difference“, 1955; | ||
in inner monologues – slang – local colour | "Arias from a Love Opera", 1969 | ||
(dialects, regionalisms) - Symbol of | "Forays", 1979 2. Philip Larkin: | ||
protest against those in power – upper | Whitsun Weddings 3. D. J. Enright 4. | ||
classes. Shows inner rebelion. | Elisabeth Jennings “Poems“, 1953; “A Way | ||
52 | Allan SILLITOE: Loneliness of a | of Looking“, 1955; A Sense of the | |
Long-Distance Runner, 1959 Style: – rich | World" 5. Kingsley Amis Poems: | ||
in inner monologues – slang – local colour | "The End" 6. John Wain | ||
(dialects, regionalisms) -. “Come on , | "Mixed Feelings", 1951; "A | ||
Smith“, Roach the sports master called to | Word Carved on a Sill", 1956; Weep | ||
me, “we don?t want You to be late for the | before God, 1961 7. Thom Gunn "On the | ||
big race, eh? Although I dare say you?d | Move", 1966; "The Sense of | ||
catch them up if you were“ ... So the big | Movement" 8. John Holloway - literary | ||
race it was, for them, watching from the | criticism 9. Donald Davie - literary | ||
grandstand under the fluttering Union | criticism. | ||
Jack, a race for the governor, that he has | 126 | PHILIP LARKIN. - b. 1922 in Coventry, | |
been waiting for, and I hoped he and all | died 1985; - studied at Oxford, St. John's | ||
The rest of his pop-eyed gang were busy | - librarian in Belfast, Leicester. Style: | ||
placing big bets on me, hundred to one to | Days What are days for? Days are where we | ||
win, all the money they had in their | five. They come, they wake us Time and | ||
pockets All the wages they were going to | time over They are to be happy in: Where | ||
get for the next five years and the more | can we live but Ah, solving that question | ||
they placed , the happier I?d be. | Brings the priest and the doctor In their | ||
53 | Allan SILLITOE: Saturday Night and | long coats Running over the fields. | |
Sunday Morning. Saturday nights. Sunday | Collections: “The North Ship", 1945 | ||
mornings. wild parties, drinking, dating | “The Less Deceived“, 1955 “The Whitsun | ||
women. repenting – gone fishing. | Weddings“, 1964 “High Windows“. | ||
Conformist lifestyle: No motivation | 127 | Days What are days for? Days are where | |
ambitions, enthusiasm, beliefs. Shows | we live. They come, they wake us Time and | ||
nihilism, resignation of WC. ARTHUR | time over They are to be happy in: Where | ||
SEATON. married, older – Brenda. younger | can we live but Ah, solving that question | ||
Doreen. | Brings the priest and the doctor In their | ||
54 | WORKING CLASS NOVELISTS – OTHER | long coats Running over the fields. MOTIFS | |
REPRESENTATIVES Sid Chaplin b. 1916, | OF PANTA REI. ANAPHORA. METAPHYSICAL | ||
Shildon, Durham - d. 1980 the son of a | FOUNDATIONS. TABOO QUESTIONS. RHETORIC | ||
coal miner, working in mines at 15 | QUESTION. | ||
obtained education from the worker?s | 128 | DENNIS JOSEPH ENRIGHT - b. 1920. | |
Educational Association (Durham) writing | Style: comic, funny verses Collections: | ||
since 1950?s Durham mining community | "The Laughing Hyena", 1953 | ||
writings: The Leaping Lad, 1964 The Thin | "Bread Rather than Blossoms", | ||
Seam, 1950 The Day of the Sardine, 1961 | 1956 “The Old Adam", 1965 | ||
The Mines of Alabaster, 1971 Other | "Unlawful Assembly", 1968 “The | ||
writers: Mervyn Jones: Holding On. | Terrible Shears", | ||
55 | WORKING CLASS NOVELISTS – OTHER | 129 | MINOR MOVEMENTS AND LITERARY TRENDS: |
REPRESENTATIVES Sid Chaplin Durham mining | THE UNDERGROUND. Loose groups also called | ||
community writings: The Day of the | “The Liverpool Poets” Representatives: | ||
Sardine, 1961 ARTHUR HAGGARSTON: – his | Adrian Henri, Roger McGough TOPICS: | ||
journey to adulthood – conflict between | Criticism of “the Establishment” Formed | ||
him and his tedious, repressive employer – | since the 1960?s Influenced by the Beat | ||
the only way out of stereotype: gangs, | Generation, jazz, William Blake, dadaism, | ||
violence. | surrealism Collections: Love, love, love, | ||
56 | COMPARISON OF AYM and WCN. AYM Jim | love, 1968; Children of Albion, 1969. | |
Porter Jim Dixon (comic). WCN Smith Uncle | 130 | THE REVIEW. - Their manifesto: | |
Ernest (serious). Social rank/ education. | magazine - Reaction to the Movement - | ||
WC but univer. graduate. Little education | Confessional poetry and dramatic lyrics of | ||
- criminals. Family background Social | Alfred Alvarez. | ||
status. Do have a family/ misfits by | 131 | THE MAVERICKS. - Opposition to the | |
choice. No family, at the subsistance | Movement - their anthology: The Mavericks | ||
level. Reasons for their frustrations. | - representatives: Ian Silkin (Nature with | ||
Social misplacement anger. Impoverished | Man, 1965) TONE: reflexive, meditative | ||
life resignation. | poetry about the North of England and its | ||
57 | WHO HAD A BETTER REASON TO PROTEST? | nature. | |
Who did? COMPARISON OF AYM and WCN. ANGRY | 132 | - collection: A Martian Sends a | |
INTELLECTUALS “LOUDMOUTHS“. UNEDUCATED | Postcard Home, 1979 - representatives: | ||
WORKERS, WHO WERE OFTEN CRIMINALISED AND | Craig Raine. THE MARTIANS or THE MARTIAN | ||
DEMONISED. | SCHOOL. | ||
58 | POSTCOLONIAL LITERATURE IN ENGLISH. | 133 | SEAMUS HEANEY. “...poetry as |
PAKISTAN. CANADA. INDIA. CEYLON. MALAYSIA. | revelation of the self to the self, as the | ||
GUYANA. AUSTRALIA, NEW ZEALAND. TASMANIA. | restoration of the culture to itself, | ||
EGYPT, SUDAN, SOUTH AFRICA, NAMIBIA... | poems as elements of continuity...” (1976) | ||
http://images.google.sk/imgres?imgurl=http | - b. in Ireland (Conn Derry), 1939 - | ||
//www.scholars.nus.edu.sg/post/icons/post. | studied in Belfast at Queen?s University - | ||
if&imgrefurl=http://www.scholars.nus.e | teacher, later the Head of the Department | ||
u.sg/post/&h=255&w=428&sz=26&a | in Dublin 1995 – awarded the Nobel Prize | ||
p;hl=sk&start=71&tbnid=jZzvTNwkMbO | Style: - prolific, near-demonic poet - | ||
RM:&tbnh=75&tbnw=126&prev=/ima | simple but strong - anti-human - | ||
es%3Fq%3Dicons%2B%252B%2Bliterature%26star | reflections of the experience of human | ||
%3D54%26ndsp%3D18%26svnum%3D10%26hl%3Dsk%2 | cruelty - psychic drama. | ||
lr%3D%26sa%3DN. | 134 | SEAMUS HEANEY’s APOLITICAL POETRY. 1. | |
59 | NOVELISTS OF THE 50?s – DISSOLUTION OF | APOLITICAL POETRY: Traditionalist: images | |
THE EMPIRE 1. What were the reasons for | of farms, diligence, animals, nature | ||
decolonization and its results? Two | Language: robust, uses dialects, | ||
reasons for decolonization: 1. Imperialism | archaisms, experiments with assonance | ||
grew unpopular 2. Finance Milestones in | Prosody: unrhymed, American free verse | ||
decolonization: 1947 – independent India | form inspired by neonaturalism of Ted | ||
1956 – “Suez fiasco” 1960?s – conflicts in | Hughes, Robert Lowell Collections: - Death | ||
Malaya, Cyprus – Falkland Islands crisis | of a Naturalist, 1966 Wintering Out The | ||
Results of decolonization: 1. loose | North, 1975 Field Work, 1979. | ||
association - Commonwealth 2. mass | 135 | SEAMUS HEANEY’s POLITICAL POETRY. 2. | |
immigration (1950?s – 60?s). LECTURE. | POLITICAL POETRY influenced by Patrick | ||
60 | POST-COLONIAL WRITINGS 2. Who were the | Ravanagh rooted in Heaney?s Irish Catholic | |
major representatives of post-colonial | origin (Ulster Catholics) criticises | ||
literature? NOVELISTS OF THE 1950?s: | bigotry of the Protestant Extremists | ||
Post-Imperialists – predecessors: Rudyard | Military Images: Trout, Rookery | ||
Kipling (The Jungle Book), Edward Morgan | Collections: Whatever You Say, Say Nothing | ||
Forster (Passage to India) James Gordon | North, 1975. | ||
Farrell, Paul Scott 2. Anti- imperialists: | 136 | (Edward James) Ted Hughes. b. 1930 in | |
Doris Lessing, Nadine Gordimer. | the North of England (West Yorkshire); | ||
61 | Doris Lessing (b. 1919, Persia – | Studied at Cambridge; interested in | |
present-day Iran - ) Childhood spent in | folklore, D.H Lawrence, Shakespeare, Dylan | ||
Rhodesia, Africa Exposed to | Thomas; Many unusual jobs 1956 – married | ||
contradictions, illusions and pessimism | to a U.S. poet Sylvia Plath; founded Arvon | ||
Style: “...English writer without English | foundation; died 1984. | ||
tradition“ realism: ambiguous nature of | 137 | Ted Hughes’ style: individual; | |
African-English co-existence 1979 – | middle-English poetry – north-English | ||
psychoanalysis, (The Golden Notebook); | dialect; philosophical topics, questions; | ||
“space fiction“ The Grass is Singing, 1950 | neo-naturalist; 1st person narrator: „I | ||
Children of Violence African Stories, | sit in the top of the world, my eyes | ||
1961. | closed“. Topics/Themes: brutality vs. | ||
62 | Doris Lessing The Grass is Singing, | vitality : Symbolism: of Jaguar, Hawk, | |
1950 Collection of stories: Little Tembi, | Fox, Cat, Pike; pigs, apes, parrots Death | ||
No Witchcraft for Sale African English: | vs. life: symbolism of animal world, war | ||
Baas, Missus, Boss Boy. European | Horror, roughness: - ”silhouette of | ||
rationalism (Cartesian compulsion to think | horror“, “enraged jaguar”; “sudden sharp | ||
rationally. African rituals (faith | hot stink of fox” Determinism; Exercise of | ||
healing, taboo and code, miracles). VS. | power. | ||
63 | POST-COLONIAL WRITERS: James Gordon | 138 | Controversial poetry of Ted Hughes. |
Farrell (b. 1935, Liverpool – 1979) Spent | Exercise of power: I kill where I please | ||
a great deal of life abroad: France, North | because it is all mine... Nothing has | ||
America Won the Booker Prize in 1973 | changed since I began. My eye has | ||
Style: – “Blended English sensitivity and | permitted no change. I am going to keep | ||
Indian exoticism” – topics: Hindustan | things like this. (Hawk Roosting) | ||
life, trappings of civilisation The Siege | Collections of poems: - The Hawk in the | ||
of Krishnapur; 1973 A Girl In the Head The | Rain, 1957; - Lupercal, 1960; - Gandette, | ||
Singapore Grip, 1978 The Hill Station, | 1977; - Cave Birds, 1978; - Moortown, | ||
1981. Sabres and Dust by Chris Collingwood | 1979. | ||
British light cavalry and horsemen of | 139 | Written test. Content: lectures, | |
Skinners Horse fight Pindarn and Maratha | seminars, Look Back in Anger, Lord of the | ||
1826. In 1827 Skinners Regiment was known | Flies, dopl?uj?ce texty na sk??ku (see: | ||
as the 1st Regiment of Local Horse and had | web page) FORM: multiple choice, gap | ||
just been awarded the Battle Honour | filling, essay. | ||
'Bhurtpore' for its part in the reduction | 140 | Sample task 1. 1. Who wrote Dance to | |
of the fortress at Bharatpur. Skinner | the Music of Time? John Osborne Baron Snow | ||
himself being made a companion of the | of Leicester Doris Lessing Charles Percy | ||
Order of the Bath. | Snow None of these. | ||
64 | POST-COLONIAL WRITERS: James Gordon | 141 | Sample task 2. 1. What do Allan |
Farrell The Siege of Krishnapur; 1973 – | Sillitoe, Kingsley Amis and Sid Barstow | ||
depicts 1857 – Sepoy rebellion in India – | have in common? They were awarded the | ||
the English struggling for their way of | Nobel prize They all use metaphors in the | ||
life The Singapore Grip, 1978. | titles of their novels They all use the | ||
65 | POST-COLONIAL WRITERS: Paul (Mark) | setting of Greenland They are working | |
Scott ( 1920- d. 1978) “brings to India | class novelists None of these. | ||
the fractious personality of the | 142 | Task 3 – Essay - Points for: Cultural | |
Westerner” India – a Lost Paradise, | and historical context Correct information | ||
Englishman’s India Raj Quartet: The Towers | from the piece (names, setting, plot) | ||
of Silence ; The Day of the Scorpion The | Active use of the story to illustrate your | ||
Jewel in the Crown; Staying On. Officer | point Independent thinking. | ||
Skinners Horse 1905 by Mark Churms The | 143 | Write a paragraph on the status revolt | |
Founder's Church of St. James, Dehli, | of a female protagonist in LBA The | ||
illustrates its association with this | character in LBA who represents the status | ||
famous regiment of Bengal Lancers. | rebellion is Alison Redfern, the daughter | ||
66 | TETRALOGY BY PAUL SCOTT. | of an India veteran, colonel Redfern. She | |
67 | LEGACY OF POST-COLONIAL WRITERS: | was born to a privileged upper class, | |
CRITICISM OF COLONIALISM AND ITS | however, for dubious reasons she decided | ||
PROPAGANDA CRITICISM OF DIRECT AND | to marry below her standard. She married a | ||
INDIRECT IMPACT OF COLONIALISM. | working class representative, Jim Porter, | ||
pictoresque. romantic. idealised. COLONIAL | who in spite of his education could not | ||
VISUAL ARTS: | find a proper job and worked in a candy | ||
68 | LEGACY OF POST-COLONIAL WRITERS: | stand. He represents a „typical“ angry | |
CRITICISM OF COLONIALISM AND ITS | young man, product of Butler’s educational | ||
PROPAGANDA CRITICISM OF DIRECT AND | law of 1944 which left many overqualified | ||
INDIRECT IMPACT OF COLONIALISM. The | young people unemployed. That, of course, | ||
British portrayed as (naturally) superior. | made Jim irritated and oversensitive and | ||
COLONIAL VISUAL ARTS: | he often relieved his anger on Alison. | ||
69 | VISUAL ARTS. Painters often showed the | Thus Alison, as a representative of the | |
Indians in subordinate positions. | upper class ended up in a depressive | ||
70 | VISUAL ARTS AND PROPAGANDA. | relationship with an upset and conformist | |
http://posters.nce.buttobi.net/. | young man. It is a good question what made | ||
71 | Rudyard Kipling. White Man's Burden | Alison rebell against her own class and | |
Take up the White Man's burden-- Send | parents – was it just a generation gap, | ||
forth the best ye breed-- Go bind your | natural teenage protest against | ||
sons to exile To serve your captives' | authorities, or more serious reasons? Or | ||
need; To wait in heavy harness, On | was it love that brought her to a tiny | ||
fluttered folk and wild-- Your new-caught, | attic room? John Osborne did not really | ||
sullen peoples, Half-devil and half-child. | answer the question in the play and let | ||
1865-1936. | the spectactor wonder about Alison’s true | ||
72 | Post-colonial literature reacts to | motivation. | |
myths, half-truths and the autocratic view | 144 | List of Sources Photos and Images: | |
of the world represented by the colonial | Books | ||
literature. | http://images.google.sk/imgres?imgurl=http | ||
73 | POST-COLONIAL WRITERS: PROPAGANDA AND | //www.wickedlady.com/tins/images/literatur | |
CRITICISM OF COLONIALISM IN POST-COLONIAL | .jpg&imgrefurl=http://www.wickedlady.c | ||
WRITINGS. 1. Direct Criticism: Doris | m/tins/literature.html&h=348&w=300 | ||
Lessing Nadine Gordimer. Indirect | amp;sz=36&hl=sk&start=18&tbnid | ||
criticism: Paul Scott In his novel The | qKxvZv6mYZBb_M:&tbnh=120&tbnw=103& | ||
Jewell in the Crown, Scott pays attention | mp;prev=/images%3Fq%3D%2Bliterature%26svnu | ||
to the propaganda taught at British | %3D10%26hl%3Dsk%26lr%3D%26sa%3DG | ||
colonial schools, run by British teachers. | www.newtherapist.com/diagnosis12.html | ||
Except for basics of algebra and reading, | Farrell, J. G. | ||
teachers often idealised the relationship | http://images.google.fr/images?svnum=10&am | ||
bethween India and Great Britain. Britain | ;hl=sk&lr=&q=j.+g.+farrell+%2B+wri | ||
was depicted as a “mother“, taking India | er&btnG=H%C4%BEada%C5%A5 Greene, | ||
under her protective wing, promoting | Graham | ||
education, religion, hygiene and culture. | http://en.wikipedia.org/wiki/Graham_Greene | ||
Indians, on the other hand, were depicted | Ishiguro, Kazuo | ||
as willing to offer their country as a | http://images.google.fr/images?q=kazuo+ish | ||
gift to their “Mother Country“, Britain. | guro&hl=sk&btnG=Vyh%C4%BEad%C3%A1v | ||
In visual arts, many painters also | nie+obr%C3%A1zkov Osborne, John | ||
depicted the harmonic relationship and | http://images.google.fr/images?q=john+osbo | ||
obedience or submissiveness of the | ne&hl=sk&btnG=Vyh%C4%BEad%C3%A1van | ||
Indians. | e+obr%C3%A1zkov Postmodernism | ||
74 | POST-COLONIAL WRITERS: PROPAGANDA AND | http://www.colorado.edu/English/courses/EN | |
CRITICISM OF COLONIALISM IN POST-COLONIAL | L2012Klages/pomo.html Rushdie, Salman | ||
WRITINGS. 1. Direct Criticism: Doris | http://images.google.fr/images?q=salman+ru | ||
Lessing Nadine Gordimer. Indirect | hdie&hl=sk&btnG=Vyh%C4%BEad%C3%A1v | ||
criticism: Paul Scott In his novel The | nie+obr%C3%A1zkov Sillitoe, Allan | ||
Jewell in the Crown, Scott pays attention | http://images.google.fr/imgres?imgurl=http | ||
to the propaganda taught at British | //www.open2.net/open2static/source/file/ro | ||
colonial schools, run by British teachers. | t/45/58/188077/allan_sillitoe.jpg&imgr | ||
Except for basics of algebra and reading, | furl=http://www.open2.net/castandcrew/snsm | ||
teachers often idealised the relationship | html&h=134&w=134&sz=30&hl= | ||
bethween India and Great Britain. Britain | k&start=4&tbnid=TBt2TYSuNpOLaM:&am | ||
was depicted as a “mother“, taking India | ;tbnh=92&tbnw=92&prev=/images%3Fq% | ||
under her protective wing, promoting | Dallan%2Bsillitoe%26svnum%3D10%26hl%3Dsk%2 | ||
education, religion, hygiene and culture. | lr%3D%26sa%3DG. Web-pages: | ||
Indians, on the other hand, were depicted | 145 | Postcolonialism | |
as willing to offer their country as a | http://www.britishempire.co.uk/art/artande | ||
gift to their “Mother Country“, Britain. | pire.htm super str?nka na kol umenie | ||
In visual arts, many painters also | Postmodernism | ||
depicted the harmonic relationship and | http://images.google.sk/imgres?imgurl=http | ||
obedience or submissiveness of the | //home.nc.rr.com/donaldwood/Society-BG.gif | ||
Indians. | amp;imgrefurl=http://home.nc.rr.com/donald | ||
75 | Salman Rushdie “Novels are not to lay | ood/Page%252010.htm&h=200&w=253&am | |
down rules but to ask questions.“ b. in | ;sz=5&hl=sk&start=322&tbnid=aw | ||
Bombay, India to a prosperous family b. in | Cbk-iHKJ5bM:&tbnh=88&tbnw=111& | ||
1947, the year of political changes in | rev=/images%3Fq%3D%2Bpostmodernism%26start | ||
India Moved to England Received M.A. from | 3D306%26ndsp%3D18%26svnum%3D10%26hl%3Dsk%2 | ||
King?s College, Cambridge Worked as an | lr%3D%26sa%3DN. READING COUPLE – IMAGE | ||
actor, free-lance advertising copy-writer | http://images.google.sk/imgres?imgurl=http | ||
1989 - “FATWA” - Condemned by Ayatollah | //www.americanplacetheatre.org/stage/image | ||
Khomeni to death. POSTCOLONIAL AND | /stories/illustrations_icons/performances. | ||
POSTIMPERIAL LITERATURE IN ENGLISH. | if&imgrefurl=http://www.americanplacet | ||
76 | FATWA – SENTENCE TO DEATH. I inform | eatre.org/stage/index.php%3Foption%3Dcom_c | |
all zealous Muslims of the world that the | ntent%26task%3Dsection%26id%3D7%26Itemid%3 | ||
author of the book entitled The Satanic | 35&h=128&w=150&sz=3&hl=sk& | ||
Verses— which has been compiled, printed | mp;start=247&tbnid=7ZN3fPfAAUBvbM:& | ||
and published in opposition to Islam, the | tbnh=82&tbnw=96&prev=/images%3Fq%3 | ||
Prophet, and the Qur'an— and all those | icons%2B%252B%2Bliterature%26start%3D234%2 | ||
involved in its publication who were aware | ndsp%3D18%26svnum%3D10%26hl%3Dsk%26lr%3D%2 | ||
of its content, are sentenced to death. I | sa%3DN. | ||
call on all zealous Muslims to execute | 146 | Introduction – quick and easy. Think | |
them quickly, wherever they may be found, | of the play you liked (e.g. Look Back in | ||
so that no one else will dare to insult | Anger). Decide what was it?s theme: (e.g. | ||
the Muslim sanctities. God Willing, | social and historical changes can lead to | ||
whoever is killed on this path is a | personal tragedies and crises). Write your | ||
martyr. | thesis statement: John Osborne in his play | ||
77 | EFFECTS OF THE SATANIC VERSES. | Look Back in Anger demonstrates how social | |
Japanese translator Hitosh Igorashi | and historical changes can lead to many | ||
stabbed to death Italian translator Ettore | personal tragedies and crises. Expand your | ||
Capriolo – seriously injured Norweigan | thesis:John Osborne, a British playwright | ||
translator William Nygaard hardly survived | and an Angry young man in his 3-act play | ||
assassination attack. | Look Back in Anger demonstrates how social | ||
78 | Salman Rushdie’s Style: Influenced by | and historical changes can lead to | |
J. Joyce Combines fantasy and magic Uses | disastrous personal tragedies and crises. | ||
satire Attacks religious bigotry | 147 | Write the first and second sentence of | |
Criticism: Incoherent melange of plots, | your introduction: People who read in | ||
themes, characters. | books of history about historical, | ||
79 | The Satanic Verses – issues: Ispired | political and social turmoils tend to | |
by the life of Muhammad Attempts to be the | forget how these great changes influenced | ||
“false part of Qur’an“ Uses MAGIC REALISM | day-to-day lives of individuals. For | ||
(characters of angels, demons, | example, everybody remembers how the Nazis | ||
hybrids...). | seized Italy but few understand that they | ||
80 | Main characters: Indian expatriates in | were the first and the last ones in | |
England. PLANE CRASH. SALADIN CHAMCHA | history that made the Italian traffic run | ||
Voice-over in Indian films. GIBREEL | on time. Another example is the American | ||
FARISHTA Bollywood star. ARCHANGEL GIBREEL | space program that gave us not only te | ||
schizophrenia. DEVIL. Falls into | first man on the moon but also aluminium | ||
hallucinations. Understands his Indian | folio or the frying pan. John Osborne, a | ||
identity. | British playwright and an angry young man | ||
81 | Theme of The Satanic Verses: | in his play Look Back in Anger (1956) also | |
...“migration, metamorphosis, divided | demonstrates how social and historical | ||
selves, love, death, London and Bombay.„ | changes, namely the Butler?s educational | ||
Other concepts: faith BLASPHEMOUS | act in 1944 lead to many personal | ||
fanaticism revelation justifying God’s | tragedies and crises and how his main | ||
existence. | protagonist Jim Porter struggles with | ||
82 | Rushdie writes of the title of Satanic | personal and emotional paralysis. | |
Verses: You call us devils? It seems to | 148 | WARNING. Any non-academic behaviour | |
ask. Very well, then, here is the devil's | during the test will affect your grade. | ||
version of the world, of "your" | Talking to another student - 5 point | ||
world, the version written from the | penalty Use of cheat-sheets, cell phones, | ||
experience of those who have been | more talking to other students – test | ||
demonized by virtue of their otherness. | confiscated, F grade Lost test – minus 10 | ||
Just as the Asian kids in the novel wear | points. | ||
toy devil-horns proudly, as an assertion | |||
MODERN BRITISH LITERATURE.ppt |
«British Academic Centre» - Центральный офис. Первые школы. It’s time to speak English. Увеличение числа запросов в 2010 г. по отношению к 2009 г. более чем на 30%. Увеличение числа запросов в 2011 году по сравнению с 2010 годом в 2,3 (!) раза. Но франчайзинговая модель бизнеса сводит бизнес-риски до минимума. Методика. По ключевому словосочетанию «Курсы английского языка».
«Услуги» - Инвестиции в развитие новых услуг. Изменение капитализации за 2004 год. Капитальные вложения. Ввод линий передачи. Развитие Интернет-услуг. Выручка Затраты. ОАО «Ростелеком» - национальный оператор междугородной и международной связи. Компании ОАО «Связьинвеста» имеют уникальную инфраструктуру. Монтированная емкость.
«Ауди Центр Варшавка» - Факторы успеха Корпоративные продажи. Факторы успеха Выбор эффективных источников коммуникаций. Статистика по входящим звонкам в ОП. Факторы успеха Программы лояльности клиентов, обратная связь. Аудит клиентской базы. На основе данных ГК АвтоСпецЦентр. Ауди Центр Варшавка Результаты работы в 2009 году.
«Japan Airlines» - Токио - Ханэда (диспетчерская вышка). Кореи, В конце 2009 года, JAL объявили о банкротстве. Сегодня JAL не совершает международных перевозок. Салон эконом класса. Оаэ, Авиакомпании Германии, История. Также безопасность зависит от кресел. А также больше не входят в 5 самых крупных авиакомпаний. Множество наций.
«Веста Транс» - Веста-Транс. Перевозка бетонного завода. Фотогаллерея перевозок. Транспортная компания "Веста-Транс" (Владивосток) : перевозка грузов, доставка контейнеров. Транспортно-экспедиционная компания. Перевозка была осуществлена в самые сжатые сроки. Перевозка катеров. Успешно проведена перевозка катеров в центральную Россию.
«Компания Связьинвест» - Структура акционерного капитала (голосующие акции). Эффективная финансово-экономическая служба. Ростелеком. Создание операционной структуры МРК. Совершенствование системы стратегического управления. Собственная приватизация. Снижение затрат на закупки и логистику, повышение прозрачности. Внедрение соответствующей инфраструктуры ИТ для поддержки бизнеса.