Teaching English Literature 16 – 19 is an essential new resource that is suitable for use both as an introductory guide for those new to teaching literature and also as an aid to reflection and renewal for more experienced teachers. Using the central philosophy that students will learn best when actively engaged in discussion and encouraged to apply what they have learnt independently, this highly practical new text contains: discussion of the principles behind the teaching of literature at this level; guidelines on course planning, pedagogy, content and subject knowledge; advice on teaching literature taking into account a range of broader contexts, such as literary criticism, literary theory, performance, publishing, creative writing and journalism; examples of practical activities, worksheets and suggestions for texts; guides to available resources. Aimed at English teachers, teacher trainees, teacher trainers and advisors, this resource is packed full of new and workable ideas for teaching all English literature courses.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding truths by which to define the permanent meaning of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of irony as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the Old and New Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
Lockwood, the new tenant of Thrushcross Grange on the bleak Yorkshire moors, is forced to seek shelter one night at Wuthering Heights, the home of his landlord. With the narration of Nelly Dean, he discovers the history of the tempestuous events that took place years before; of the intense passion between the foundling Heathcliff and Catherine Earnshaw, and her betrayal of him. As Heathcliff's bitterness and vengeance is visited upon the next generation, their innocent heirs must struggle to escape the legacy of the past.
Or: Raising Jane Austen for 1990s Film a Film-Historic and Film-Analytical Study of the 1995 Films Sense and Sensibility and Persuasion
Author: Martina Anzinger
Publisher: Peter Lang Pub Incorporated
Category: Performing Arts
In the 1990s U.S. and British adaptations of Jane Austen novels enjoyed unprecedented popularity. To find out why, one has to revise and go beyond what has dominated in the discussion of these films: the «fidelity-to-the-novel»-discourse and the «influence-of-national-cinema»-discourse. Thus, in this book film theory, film history, various kinds of film analysis (structural, feminist, Marxist) and literary analysis are combined. From these angles, the 1990s and previous Austen films are studied and compared, two of them in detail: the 1995 «U.S.» feature film Sense and Sensibility and the 1995 «British» telefilm Persuasion. This analysis shows: the 1990s Austen films, though reflecting certain features of British and Hollywood cinema and not greatly deviating from the novels, are independent works of art; also, they are products of their time, displaying, for instance, a liberal feminist attitude and criticism of class distinctions.