Министерство образования Российской Федерации

Поволжская Государственная Социально-гуманитарная Академия

Семинарские занятия по зарубежной литературе Великобритании и США для изучающих английский язык как вторую специальность.

Методические разработки

для студентов языковых факультетов

Составитель: Щукина Галина Олеговна

Самара 2011

УДК 372.882(1-87):821.(111.0+111(73).0):378

Семинарские занятия по зарубежной литературе Великобритании и США для изучающих английский язык как вторую специальность.

Настоящие учебно-методические рекомендации предназначены для студентов институтов и факультетов иностранных языков, изучающих английский язык как вторую специальность. В данных материалах содержатся основные сведения о наиболее важных этапах развития литературы Великобритании и США. Задания и упражнения нацелены закрепить знания студентов, полученных в ходе лекционных занятий, а также активизировать речевые умения и навыки общения на английском языке.

Все авторские права представленных материалов принадлежат соответствующим правообладателям.

Основные разделы курса:

1. Творчество Шекспира как вершина английского Возрождения.

2. Эпоха Просвещения.

3. Английский романтизм.

4. Критический реализм XIX века.

5. Литература США. Американский романтизм.

6. Американский роман XX в.

Seminars on British and American Literature: Practical Guide for Students Learning English as a Second Foreign Language is designed to assist students of Foreign Languages Departments in enlarging their knowledge of milestones of English and American Literature. The materials presented in the manual enable the readers to apply the theoretical knowledge gained in the lecture course to practice.

All copyrights that appear in the manual belong to their respective owners. Unless otherwise noted these materials may not be reproduced without seeking permission from the copyright holder.

Topics for discussion:

1. Major Works by William Shakespeare.

2. The Age of Enlightenment: English Literature

3. English Romanticism.

4. English Realism in Literature of the 19^th Century.

5. The Romantic Movement in American Literature

6. American Novelists of the 20^th Century

Рецензенты:

доктор культурологии, кандидат филологических наук,

профессор М.А. Кулинич (Поволжская Государственная Социально-

Гуманитарная Академия)

кандидат филологических наук, доцент кафедры германских языков

И.А. Бельцер (НОУ ВПО Международного института рынка)

1 Семинар Творчество Шекспира как вершина английского Возрождения

Вопросы для обсуждения:

1. Гуманизм как философия эпохи Возрождения.

2. Комедии Шекспира как проявление гуманистического начала.

3. Сонеты и их переводы на русский язык (Чтение наизусть любого сонета в русском переводе).

4. Понятие о трагедии и трагическом у Шекспира (на материале «Отелло», «Король Лир», «Макбет»). Специфика трагического характера в эпоху Возрождения.

5. Конфликт в «Гамлете», его развитие и разрешение.

6. Характер Гамлета. Понятие «гамлетизма».

Рекомендованная литература.

1. Аникст А.А. Шекспир. Ремесло драматурга. М., 1974.

2. Лосев А.Ф. Эстетика возрождения. М, 1978.

http://www.koob.ru/losev/estetika_vozrojdeniya

3. Морозов М.М. Шекспир. Серия «ЖЗЛ». М., 1966.

http://www.litru.ru/bd/?b=122102

4. Уильям Шекспир. Сонеты. М., Радуга. 1984. Предисловие «Лирика Шекспира».

5. М.В. Урнов. Шекспир и его время. М., Наука, 1964.

6. Барг М.В. Шекспир и иcтория. М. , Наука, 1976.

7. Белинский В.Г. «Гамлет - драма Шекспира. Собр. Соч. в 3-х томах, Т.1.М., 1948.

8. Бартошевич А.Н. Шекспир на английской сцене. М., Наука, 1985.

9. Бояджиев Г. От Софокла до Брехта за сорок театральных вечеров. М., Просвещение, 1981. Глава «Театр Английского Возрождения».

10. Английский сонет 16-19 веков. М., Радуга, 1990.

11 .Бернард Шоу. Смуглая леди сонетов.

http://www.litru.ru/?book=84011&page=1

Задания для выполнения в классе:

1. Read the text and answer the questions.

The Elizabethan Age

In England, the Renaissance is known as The Elizabethan Age. This period was named after the powerful English ruler Queen Elizabeth I, who ruled Great Britain for forty-five years, from 1558 to 1603. Elizabeth’s reign began a period of English history during which language and literature flourished. At the heart of the English Renaissance was the love of language and the art of theatre. Several developments during Elizabeth’s reign helped the theatre to thrive. As one example, acting changed from an amateur to a professional status.

The citizens who had performed the medieval religious plays and the plays in the homes of nobility were replaced by companies of professional actors who played regularly around London and throughout the country. This development gave playwrights a more stable and experienced group of performers.

Along with this rise in the profession of acting came the building of permanent theatres, public buildings where all classes of people could attend performances. These permanent buildings began to replace the temporary stages that had been set up in the town squares or in cathedral yards. The new theatre buildings created spaces dedicated specifically to the presentation of theatrical events. Because of the church’s earlier policy, which looked at all theatre that was not religious in nature as an evil activity, the city of London did not permit theatre buildings to be erected inside the city limits. Therefore, the permanent theatres so popular during the Elizabethan period were located outside the city, across the Thames River, and audience members had to leave the city to see a play. The audience knew that a play was going to be presented at one of the theatres across the river by seeing a flag fly from high atop the theatre, which was the signal that there would be a performance that day. Of these theatre spaces, the most famous was the Globe Theatre, which was the location for the presentation of Shakespeare’s plays.

Most Elizabethan theatres were circular or octagonal structures of about three stories, with an open roof. We know that the Globe was such a building. The raised platform stage was surrounded by the audience on three sides, and was closer to a contemporary thrust stage than to a proscenium arch stage, which was so popular at this same period in time in Italy. Behind the platform stage was a stage house, known as a tiring house, which served as a backdrop for the action.

This structure served as backstage space for changing and storing costumes and props and the few scenic pieces used in the productions. At the back of the platform was an area called the inner stage, a roofed area that could be separated from the front of the platform to suggest an interior setting. Above this, on the roof of the inner stage, was a second playing space, a sort of balcony where some of the scenes might be played. This was, no doubt, where Shakespeare’s famous balcony scene in Romeo and Juliet would have been played. There was a third level of platforming above this balcony stage space, which was called the musicians’ gallery, where a small group of musicians might be stationed to provide music during the play. There was usually a roof coming out from the top of the stage house to protect the various layers of playing space from direct sunlight or rain.

The form of the English plays written in this period was different from the plays being written in Italy and on the European continent. The English did not follow the new neoclassical ideal (which required their plays to observe strict unities of time, place, and action). Instead, the English dramas of the period were structured in a series of brief scenes, which frequently changed location from place to place. These quick shifts in action required that the Elizabethans adopt a much freer use of stage space. They didn’t use the perspective painting and wings used by the Italians. Instead, the Elizabethan stage was an open platform with little or no scenery placed on it. This platform was a neutral playing area, which could become many different locations in the same play. When one group of characters left the stage and another group entered, the audience knew that the scene was changing. An actor might carry on a single piece of furniture to suggest the location of the next scene. A throne, for example, might indicate a palace setting; a table and a few props might indicate a dining hall. At other times, a character might signal the next location by announcing it in the early lines of the scene. This type of signal to the audience is called spoken decor. Language was important in Elizabethan plays in all respects, even scenery!

Another noted feature of Elizabethan drama was the use of poetry. Christopher Marlowe (1564–1593) was one of the first playwrights to utilize a special type of dramatic poetry called iambic pentameter, which is written to contain five beats or stress points per line. Words in iambic pentameter have two syllables to each beat and when spoken, stress is placed upon the second beat. This makes the language almost musical in nature. By far the most important playwright during this period was William Shakespeare. [18]

1. What helped the theatre of the Renaissance to thrive?

2. Why were the theatres located outside the city of London?

3. How did the audience knew that a play was going to be presented?

4. How different were the English plays of the Elizabethan age?

5. Who was the pioneer in using the iambic pentameter?

2. Render the following text.

William Shakespeare

“All the world’s a stage,

And all the men and women merely players:

They have their exits and entrances;

And one man in his time plays many parts,

His acts being seven ages.”

You can’t study theatre without hearing the name William Shakespeare. He is considered by many to be the greatest dramatist of all time. As hinted at in the lines above from his play, As You Like It, his plays portray the many stages of man throughout life. Although he lived almost 400 years ago, his plays are still read and produced throughout the world today, more so than the plays of any other playwright. Like many, you may at first be fearful of studying Shakespeare’s work.

The difficult language—poetic and figurative dialogues, and allusions to the time in which he lived, will be difficult to understand. But putting some time and effort into appreciating Shakespeare’s plays can pay off. He had a keen awareness of human nature, and it is this awareness that makes his plays relevant and enjoyable today. The best way to experience Shakespeare is not just through the reading of his plays, but through the seeing of them. This is when his characters truly come to life.

Shakespeare, one of eight children, was born in 1564 in Stratford-upon-Avon, a town about 75 miles northwest of London, England. His parents, John and Mary Shakespeare, were prominent citizens in Stratford, and they were able to provide their son with a good education. Shakespeare married Anne Hathaway in 1582 and the marriage produced three children.

It is thought that Shakespeare left Stratford and his family in about 1587 to go to London. He probably got his start in the theatre by becoming a hireling for an acting company, and then working his way up to actor. He was a member of a very successful theatre company, The Lord Chamberlain’s Men, and became an expert in all areas of theatre. Eventually he even became a shareholder in the company and helped finance the building of the most famous of all Elizabethan theatres, The Globe Theatre. It was in The Globe that most of his best known plays were first produced. Scholars have raised questions about whether or not Shakespeare really wrote all the plays attributed to him. Did he put his name on someone else’s plays, just revise someone else’s work, or is he the actual author? Most Shakespearean experts agree that he borrowed stories from many sources, but that he reworked them until they became distinctly his own. He adapted and elaborated on stories from English and Roman history and from Italian literature to create his beautiful and original plays. Shakespeare returned to Stratford from time to time, especially when the theatres were shut down to prevent spreading of the plague. After The Globe Theater burned to the ground in 1613, Shakespeare retired permanently to Stratford-upon-Avon. He died in Stratford in 1616 at the age of 52, having written 38 plays and 154 sonnets. His plays represent a wide range of styles and types, such as tragedy, comedy, history, and fantasy. Some of the more familiar plays are Romeo and Juliet, Hamlet, and Julius Caesar. To this day, actors from all over the world consider it a credit to their careers to have performed Shakespeare. [19]

3. Study the text on the iambic pentameter and read aloud the extracts bearing in mind their intonation and rhythm peculiarities.

Пятистопный ямб – стихотворный размер, основанный на чередовании ударных и безударных слогов. Такой размер характерен для произведений У. Шекспира и является его отличительной чертой. Пятистопный ямб помогает автору выступить в роли «режиссера», руководить речью актеров. Диалог, произнесенный с соблюдением всех правил чтения, звучит как разговор обычных людей. Считается, что У. Шекспир указывает на особенность ритма своих произведений в трагедии «Гамлет»:

Scene II. A hall in the Castle. [Enter Hamlet and certain Players.] Ham. Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently: for in the very torrent, tempest, and, as I may say, whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul, to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who, for the most part, are capable of nothing but inexplicable dumb shows and noise: I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod: pray you avoid it. [29]

СЦЕНА 2 Зала в замке. Входят Гамлет и актеры. Гамлет Произносите монолог, прошу вас, как я вам его прочел, легким языком; а если вы станете его горланить, как это у вас делают многие актеры, то мне было бы одинаково приятно, если бы мои строки читал бирюч. И не слишком пилите воздух руками, вот этак; но будьте во всем ровны, ибо в самом потоке, в буре и, я бы сказал, в смерче страсти вы должны усвоить и соблюдать меру, которая придавала бы ей мягкость. О, мне возмущает душу, когда я слышу, как здоровенный, лохматый детина рвет страсть в клочки, прямо-таки в лохмотья, и раздирает уши партеру, который по большей части ни к чему не способен, кроме невразумительных пантомим и шума; я бы отхлестал такого молодца, который старается перещеголять Термаганта; они готовы Ирода переиродить; прошу вас, избегайте этого перевод М. Лозинский [32]

Таким образом, в данном стихотворном размере каждая стопа (строка) содержит 10 слогов, 5 из которых ударны, ритм прочтения таких строк следующий: _ ‘ _ ‘ _ ‘ _ ‘ _ ‘ (de-DUM de-DUM de-DUM de-DUM).

- Строка, содержащая одиннадцать слогов, называется женской (“feminine verse”). Одиннадцатый слог не ударен;

- Если в строке встречается стилистический прием (антитеза, метафора, аллитерация…), то его необходимо выделить при помощи смещенного ударения (“shifted stress”): DUM-DUM;

- Лишние слоги должны быть прочитаны «из-за такта»: DUM-de;

- Все долгие гласные ударны;

- Место пауз определяется по месту пунктуации (запятая, точка…). После запятых интонация повышается.

- Если в стопе более 10 слогов, необходимо применить элизию (звуки могут быть опущены с целью улучшения благозвучия). I will=I’ll, I have=I’ve, it is=’tis, on it=on’t.

- Если слогов в строке, напротив, не хватает, необходимо сместить ударение в близлежащих словах, либо добавить ударение к окончанию –ed в глаголах.

- Сонеты имеют внутренний ритм. Это одна мысль, одно предложение, которое должно произноситься с наименьших количеством пауз. [1]

As You Like It

Act V, Epilogue - Prose

ROSALIND

It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, 'tis true that a good play needs no epilogue; yet to good wine they do use good bushes, and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me: my way is to conjure you; and I'll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you: and I charge you, O men, for the love you bear to women – as I perceive by your simpering, none of you hates them – that between you and the women the play may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me and breaths that I defied not: and, I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make curtsy, bid me farewell. [6]

Hamlet

Act II, sc. 1 (line 77)

OPHELIA

O, my lord, my lord, I have been so affrighted!

LORD POLONIUS

With what, i' the name of God?

OPHELIA

My lord, as I was sewing in my closet, Lord Hamlet, with his doublet all unbraced; No hat upon his head; his stockings foul'd, Ungarter'd, and down-gyvèd to his ankle; Pale as his shirt; his knees knocking each other; And with a look so piteous in purport as if he had been loosed out of hell To speak of horrors, - he comes before me.

LORD POLONIUS

Mad for thy love?

OPHELIA

My lord, I do not know; But truly, I do fear it.

LORD POLONIUS

What said he?

OPHELIA

He took me by the wrist and held me hard; Then goes he to the length of all his arm; And, with his other hand thus o'er his brow, He falls to such perusal of my face As he would draw it. Long stay'd he so; At last, a little shaking of mine arm And thrice his head thus waving up and down, He raised a sigh so piteous and profound As it did seem to shatter all his bulk And end his being: that done, he lets me go: And, with his head over his shoulder turn'd, He seem'd to find his way without his eyes; For out o' doors he went without their helps, And, to the last, bended their light on me. [8]

4. Report on Shakespeare’s sonnets. Read Sonnet 116 and compare it with its translation. Find another translation.

Sonnet 116 Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. [21]

Сонет 116 Мешать соединенью двух сердец Я не намерен. Может ли измена Любви безмерной положить конец? Любовь не знает убыли и тлена. Любовь - над бурей поднятый маяк, Не меркнущий во мраке и тумане. Любовь - звезда, которою моряк Определяет место в океане. Любовь - не кукла жалкая в руках У времени, стирающего розы На пламенных устах и на щеках, И не страшны ей времени угрозы. А если я не прав и лжет мой стих, То нет любви - и нет стихов моих! Перевод С.Маршака [30]

5. Translate into Russian.

The Tempest

Act I, sc. 2 (line 1)

MIRANDA

If by your art, my dearest father, you have

Put the wild waters in this roar, allay them.

The sky, it seems, would pour down stinking pitch,

But that the sea, mounting to the welkin's cheek,

Dashes the fire out. O, I have suffered

With those that I saw suffer: a brave vessel,

Who had, no doubt, some noble creature in her,

Dash'd all to pieces. O, the cry did knock

Against my very heart. Poor souls, they perish'd.

Had I been any god of power, I would

Have sunk the sea within the earth or ere

It should the good ship so have swallow'd and

The fraughting souls within her.

Glossary:

Art-magical powers,

pitch-black substance,

welkin’s cheek-sky’s face,

brave-fine,

vessel-the ship, body,

or ere-before,

fraughting – cargoed souls. [8]

5. Listen to the recording. Read the sonnet aloud.

Sonnet 130

My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damask'd, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

That music hath a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks, treads on the ground.

And yet, by heaven, I think my love as rare

As any she belied with false compare. [22]

6. Listen to the recording. Read the soliloquy aloud. Find Russian equivalents of the underlined expressions.

Hamlet, Act III, Sc.I

To be, or not to be: that is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And by opposing end them? To die: to sleep;

No more; and by a sleep to say we end

The heart-ache and the thousand natural shocks

That flesh is heir to, 'tis a consummation

Devoutly to be wish'd. To die, to sleep;

To sleep: perchance to dream: ay, there's the rub;

For in that sleep of death what dreams may come

When we have shuffled off this mortal coil,

Must give us pause: there's the respect

That makes calamity of so long life;

For who would bear the whips and scorns of time,

The oppressor's wrong, the proud man's contumely,

The pangs of despised love, the law's delay,

The insolence of office and the spurns

That patient merit of the unworthy takes,

When he himself might his quietus make

With a bare bodkin? who would fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death,

The undiscover'd country from whose bourn

No traveller returns, puzzles the will

And makes us rather bear those ills we have

Than fly to others that we know not of?

Thus conscience does make cowards of us all;

And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought,

And enterprises of great pith and moment

With this regard their currents turn awry,

And lose the name of action. [29]