ФЕДЕРАЛЬНОЕ АГЕНТСТВО ПО ОБРАЗОВАНИЮ

Пензенский государственный педагогический университет

имени В. Г. Белинского

УЧЕБНО-МЕТОДИЧЕСКИЙ КОМПЛЕКС

ПО ДИСЦИПЛИНЕ

«Литература страны изучаемого языка 20 века»

Специальность 050303. Иностранный язык

Факультет иностранных языков

Кафедра английского языка

Пенза, 2008 2 Квалификационные требования Специальность утверждена приказом Министерства образования Российской Федерации № 686 от 02. 03. 2000 г.

Выпускник, получивший квалификацию учителя иностранного языка (в соответствии с дополнительной специальностью) должен быть готовым осуществлять обучение и воспитание обучающихся с учётом специфики преподаваемого предмета, способствовать социализации, формированию общей культуры личности, использовать разнообразные приёмы, методы и средства обучения; обеспечивать уровень подготовки обучающихся, соответствующий требованиям Государственного образовательного стандарта, осознавать необходимость соблюдения прав и свобод учащихся, предусмотренных Законом Российской Федерации «Об образовании», Конвенцией о правах ребёнка, систематически повышая свою профессиональную квалификацию, участвовать в деятельности методических объединений и в других формах методической работы.

Квалификация выпускника – учитель иностранного языка и _ (в соответствии с дополнительной специальностью).

Нормативный срок освоения основной образовательной программы подготовки учителя иностранного языка и _ (в соответствии с дополнительной специальностью) по специальности 050303. 00 Иностранный язык с дополнительной специальностью 5 лет при очной форме.

Область профессиональной деятельности:

Среднее общее (полное) образование.

Объект профессиональной деятельности:

Обучающийся.

Виды профессиональной деятельности:

учебно-воспитательная;

социально- педагогическая;

культурно-просветительсевая;

научно-методичекая;

организационно-управленческая.

Выпускник, получивший квалификацию учителя иностранного языка и _ (в соответствии с дополнительной специальностью), подготовлен к выполнению основных видов профессиональной деятельности учителя иностранного языка и _ (в соответствии с дополнительной специальностью), решению типовых задач профессиональной деятельности в учреждениях среднего общего (полного) образования.

Возможности продолжения образования выпускника:

Выпускник подготовлен для продолжения образования в аспирантуре.

Цели и задачи курса Цель курса:

- ознакомить студентов с лучшими образцами современной английской литературы, а также с теоретическим аспектом изучаемых ими явлений.

Задачи курса:

- рассмотрение основных направлений в развитии английской литературы 20 века и творчество выдающихся писателей;

- ознакомить студентов с новейшими исследованиями литературоведов в области современной английской литературы.

Место дисциплины в профессиональной подготовке студентов Данный курс входит в цикл дисциплин предметной подготовки, является дисциплиной национально-регионального (везовского) компонента (ДПП. Р 02) Национально-региональный (вузовский) компонент (ДПП. Р.) Распределение времени на изучение дисциплины

Л ПЗ СР Л ПЗ СР

Реалистический роман конца 19 в.

Литература неоромантизма. Декаданс.

начала 20 в. Критический реализм и натурализм.

тенденции в английской литературе.

Экзистенциалистские черты в английской литературе 20 века.

Роман антиколониальной направленности.

5. Британская поэзия 20 века.

6. Британская драматургия 20 века.

конца 20 и начала 21 вв.

8. Русско-зарубежные связи 1. Общая характеристика и литературные направления данного периода.

Реалистический роман конца 19 в. (Творчество Т. Гарди, Г. Уэллса, Дж.

Голсуорси, Б.Шоу). Литература неоромантизма (Творчество Р. Л., Э. Л.

Войнич, Стивенсона, Дж. Конрада, Р. Киплинг). Декаданс (Творчество О.

Уайльда).

2. Особенности реалистического романа начала 20 в. (Дж. Мередит, С.

Батлер, Дж. Голсуорси, Т. Гарди, Э. М. Морган, С. Моэм, Р. Олдингтон).

Натурализм ( Дж Гиссинг, Дж. Мур, Г. Грин,) 3. Основные принципы модернистской и пост-модернистской литературы.

Творчество Дж. Джойса, Т. С. Элиота, В. Вульф, Д. Г. Лоуренса, О. Хаксли, Д.

Линдсея).

Экзистенциалистские черты в английской литературе ( У. Голдинг, А.

Мердок. И. Во) 4. Идейно-художественное своеобразие творчества представителей «рассерженной молодёжи» (К. Эмис, Д. Брейн, Д. Осборн, А Силитоу).

Роман антиколониальной направленности. Творчество Дж. Олдриджа, Д.

Стюарта, Н. Льюиса).

5. Британская поэзия 20 в. (Т. С. Элиот, Э. Ситуэл, Д. Томас, Р. Грейвз, Ф.

Ларкин, Дж. Уэйн).

6. Британская драматургия 20 в. (Б. Шоу, Дж. Голсуорси, Дж. Б. Пристли, Ш.

О’Кейси, Д. Осборн, Г. Пинтер, А. Уэскер, Р. Болт).

7. Реализм и экспериментализм в литературе конца 20 и начала 21 вв. (Ч. П.

Сноу, Н. Симпсон, М. Спарк, Дж. Фаулз, Ф. Ларкин, И. Уэлш, К. Эмис, М.

Дрэбл).

8. Русско - зарубежные связи (В. Набоков, И. Бродский, И. Шмелёв, И.

Бунин) Учебно-методическое обеспечение дисциплины Рекомендуемая литература Обязательные художественные произведения Барри Дж..Питер Пэн.

Во. Э. Пригоршня праха.

Вонич Э. Л. Овод.

Вульф В. Мисс Деллоуэй.

Гарди, Т. Тэсс из рода Дэрбервиллей.

Голдинг, У. Повелитель мух.

Голсуорси, Дж. Собственник.

Грин, Г. Тихий американец.

Джойс, Дж. Дублинцы.

Кингсли Э. Счастливчик Джим.

Киплинг, Р. Книга джунглей.

Конрад, Дж. Лорд Джим.

Конан Дойл, А. Собака Баскервлей.

Кристи, А. Рассказы.

Кронин, А. Цитадель.

Моэм, С. Луна и грош.

Мердок, А. Под сетью.

Олдингтон Р. Смерть героя.

Олдридж, Дж. Последний дюйм. Морской орёл.

Орвел Г. Скотный двор.

Осборн Дж. Оглянись во гневе.

Пристли, Дж. Б. Дорога ангелов.

Силитоу А. Ключ от двери.

Стивенсон, Р. Л. Остров сокровищ.

Сноу, Ч.П. Коридоры власти.

Спарк М. Общественное мнение.

Уайльд, О. Портрет Дориана Грея.

Уэллс Г. Борьба миров. Россия во мгле.

Шоу, Б. Пигмалион. Дом, где разбиваются сердца.

Шон О’ Кейси. Алые розы для меня. Юнона и павлин.

Основная учебная литература Амелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе 20 в.: Учеб. пособ. – М.: Английская литература (1945 – 1980). – М.: 1987.

Аникин Г. В., Михальская Н. П. История английской литературы Аникст А. А. история английской литературы. – М.: 1956.

Бабенко В. Г. Драматургия современной Англии. Учеб. пособ. – М.: 1981.

Геккер М., Волосова Т., Дорошевич А. Английская литература: Учеб. пособ.

Жантиева Д. Г. английский роман 20 века (1918 – 1939). – М.: 1965.

Ивашева В. В. Литература Великобритании 20 века: Учеб. для филол. спец. вузов. – М.: 1984.

История английской литературы. В 3-х т. – М.: 1943 – 1956.

Позднякова Л. Р. История английской и американской литературы.

English and American Literature/ A Course of Lectures for Schools and Universities. - St. Petersburg: 2002.

Sainsburg G. A. A Short History of English Literature. – London: 1927.

Алексеев М. П. Из истории английской литературы.- М.–Л.: 1960.

Балашов П. С. Джеймс Олдридж. Очерк творчества. Изд. 2-е. – М.: 1977.

Белов С. Бойня номер «Х»: Литература Англии и США о войне и военной Гражданская З. Т. Бернард Шоу. – М.: 1979.

Дэниел К. Англия. История страны. – М.: 2007.

Дубашевский И. А. «Сага о Форсайтах» Джона Голсуорси. – М.: 1979.

Ивашева В. В. Английский реалистический роман 19 века в его Ивашева В. В. Эпистолярные диалоги. – М.: Ивашева В. В. Новые черты реализма на западе. – М.: 1986.

Ивашева В. В. Судьбы английских писателей. – М.: 1989.

Ионикс Г. Э Английская поэзия 20 века (1917 – 1945). – М.: 1970.

История английской литературы: В 3-х томах. – М.: 1943 – 1958.

Колдуэлл К. Иллюзия и действительность. Об источниках поэзии. – М.:1969.

Николюкин А. Н. Массовая поэзия в Англии конца 17 – начала 20 вв. – М.:

Путеводитель по английской литературе. Под ред. М. Дрэббл и Современная английская драматургия. – М.: 1976.

Таратута У. Э. Л. Войнич. Судьба писателя и судьба книги. – М.: 1960.

Тугушева М. П. Джон Голсуорси. – М.: 1973.

Урнов М. Томас Гарди. Очерк творчества. – М.: 1969.

Урнов Д. М. Джозеф Конрад. – М.: 1977.

Филюкина С. Н. Современный английский роман. – Воронеж: 1988.

Шестакова Д. П. Современная английская драма (Осборновцы). – М.: 1968.

Brodey K., Malgsretti F. Focus on English and American literature. M.: 2003.

The Brief Encyclopedia of English Literature. – Vol. 1. – Kiev: 1998.

Требования к уровню освоения программы В результате изучения данной дисциплины студент должен знать:

- основные понятия, связанные с литературоведением;

- основные направления современной английской литературы;

- жизнь и творчество видных писателей, представляющих основные направления в английской литературе 20 века;

- методы анализа литературных произведений различных жанров;

Примерный перечень вопросов для зачёта:

Английская литература конца 19 и начала 20 в.: основные тенденции и направления.

Жизнь и творчество Т. Гарди.

Проблематика произведений Т. Гарди.

Женские образы в произведениях Т. Гарди.

Творчество Мередита и батлера.

Роль Г. Уэллса в развитии фантастических произведений в английской литературе.

Тема перехода от феодализма к капитализму в произведениях Дж. Голсуорси.

Б. Шоу – поэт, новеллист и драматург.

Неоромантизм в английской литературе и его представители.

Морально-нравственная проблематика в творчестве Дж. Конрада.

Жизнь и творчество а. Конан Дойля.

Английский декаданс и его представители. Творчество О. Уайлда.

Жизнь и творчество Р. Киплинга и его лучшие произведения.

Революционная и морально-нравственная тематика в романе Э. Л.

Войнич «Овод».

Английская поэзия начала 20 века.

Реализм в литературе 20-х годов 20 века.

Критический реализм 30-х годов.

Литература модернизма и основные представители.

Писатели «рассерженной молодёжи».

Британская поэзия второй половины 20 века.

Английская драма второй половины 20 века.

Представители английского экзистенциализма.

Английская литература рубежа 20 – 21 вв.

Literature of the transition period (from the 19th to the 20th century) The realistic novel of the late years of the 19th century. The final years of the 19th century were concluding the Victorian era – the era of global power and accomplishment. The Victorian period had contained conflicts and sobering reality.

The country began to suffer from the negative aspects of the factory system and other social problems.

The England reflected in the literature of the period between 1880 and World War I is an empire in the process of self-discovery. Continuing the traditions of Ch.

Dickens, Joseph Conrad, perhaps one of the most important novelists of the period created his brilliant works. Conrad’s life and work reflect the fragmented and unsettling conditions of modern life. As an artist, he possessed a vision of irony, the darkly comic, and the grotesque.

The England reflected in the literature of the period under discussion is an empire in the process of self-discovery and acknowledging its power and the controversies growing within it. and insofar as this was a period of social, cultural, and ideological change, it natured a wide range of artistic responses by writers who also shared an insistent sense of exploration. They tried to perform a deep psychological analysis of the characters they portrayed, and a keen observation of their inner world.

Other writers could not find a way out of the severe reality. Some of them were influenced by all kinds of philosophical ideas; others put forward their own ideas. For instance, R. Kipling was influenced by the philosophy of the “right of the strong”, R.

L. Stevenson, the representative of the Neo-Romanticism, and J. Conrad offered escape from the unattractiveness of everyday life into a romantic adventure world.

The writers of the regressive trend by way of protest against severe reality tried to lead the reader away from life into the world of dreams and beauty. At the end of the 19th century this theory found its expression in Decadence. This trend in literature first appeared in France. The French word “decadence” means “decline” (of art or of literature). The decadent writers rejected realism in art, they created their own cult of beauty and proclaimed the theory of “pure art”. Their motto was “art for art’s sake”.

The supporters of this theory were representatives of aestheticism. They considered the beautiful form to be more important than the contents. In their opinion art was isolated from life. Aestheticists rejected both the social and moral function of art. One of the best-known English aestheticists was O. Wilde who is regarded as the leader of the English aesthetic movement.

Another, more enduring artistic development was Symbolism. The Symbolists explored the subtle changes in the human nature and conveyed them with symbols and metaphor rather than by direct statement. Most remarkable in this context was W.

B. Yeats – the greatest poet in England of the 20th century. Here we can note that J.

Conrad, taking up the psychological emphasis of modern thought, experimented and projected it into his greatest stories and novels, among them “Heart of Darkness”, “The Secret Sharer”, and “Lord Jim”.

Neo-Romanticism. It was a British movement in painting, illustration, literature and theatre. Neo-Romantic artists and writers focused on a personal, poetic vision of the landscape and world in general. It was based on the revival of romanticism in art and literature. The works of this period include plays, poems, essays, criticisms, travelogues, romances, adventure stories, etc. the writers wrote inn a careful, almost poetic style and provocatively combined this with an interest in popular genres. Out of all the representatives of this trend R. L. Stevenson enjoyed and continues enjoying a greater popularity because of his clear and careful style. His stories are exciting and give a bright picture of the action. His popularity came to him with the publication of his famous novel “Treasure Island”. His other popular books are “The Black Arrow”, “Kidnapped”, “The Strange Case of Dr. Jekyll and Mr. Hyde”. He is also known as the author of a charming collection of verses for children (“A Child’s Garden of Verse”).

Many of the great figures of the 20th – century English fiction were not English:

Shaw, Yeats, Joyce, O’Casey, Beckett were Irish; Dylan Thomas was Welsh, T. S.

Eliot was born in America, and Conrad was Polish. The traditions of the 19th – century novel lived on in the work of A. Bennett, W. H. Hudson, J, Galsworthy, H.

James, H. G. wells.

The early 20th – century realistic novel In the early 20th century, the traditions of critical realism that had developed in the 19th century were continued and developed further. Several names were popular among the authors who continued the traditions of realism. They were G. B. Shaw, J.

Galsworthy, Th Hardy S. Maugham. R. Aldington. E. Morgan and others.

All of them possessed remarkable individual talent and developed the trend of critical realism along their individual lines. They sought for new ways and means of revealing the truth of life in their compositions, and their criticism of the bourgeois world reaches considerable width and depth. G. B. Shaw criticized the narrowmindedness, hypocrisy and stupidity. J. Galsworthy reaches high levels in revealing the characters from a psychological point of view. Moreover, H. Wells is often called a new type of writer who thinks about the future of humanity.

The leading genre of the above-mentioned period was the novel.

The 20th – century literature is remarkable for a great diversity of artistic values and artistic methods. Following the rapid introduction of new modes of thought in natural science, sociology and psychology literature has naturally reacted to absorb and transform the material into literary communication. At the beginning of the 20th century English literature was also greatly influenced by writers who wished to break away from established conventions.

However, we are obliged to state that the outstanding names of the immediate post-war years were still those of pre-1914. H. Wells continued to write until his death in 1946; A. Bennett being advanced in age continued to write his novels (“Riceyman Steps” – 1923); G. Galsworthy completed his “Forsyte Saga” and “Modern Comedy” (another trilogy) in 1920’s and 1930’s. He was a novelist, dramatist, short-story writer and essayist. In his works, he created brilliant realistic pictures of life and typical characters. In his novels, he presented a great panorama of English life. Galsworthy’s mastery lies in his realistic depiction of life and characters and exciting plots. A bourgeois himself, Galsworthy nevertheless clearly sees the decline of his class and truthfully portrays this in his works. His art was greatly influenced by Russian and French literature (Turgenev and Maupassant).

The early years of the 20th century witnessed an unusual contrast between R.

Kipling and H. Wells, particularly in such works as “Barrack Room Ballads” and “Plain Tales from the Hills”, in which Kipling conveyed the heroism of the British “Tommy” as justification for the British presence in India and Africa. Ere he demonstrated himself as a product of late Victorianism. Wells being a social critic was unafraid to direct irony and even satire at “modern” failings. His writing reflects the shift from modern, industrial England to the world of the technological future.

Between Kipling and Wells as writers with new subjects and themes were numerous others, such as A. E. Houseman, G. Gissing. The latter was concerned with the depressing conditions of urban existence, and especially the tenuous, peripheral status of the alienated writer; he voiced these concerns in such a novel as “New Grub Street”. Houseman, a classics scholar and poet who seemed equally doomed by love and fate, confronted the sense of fatality he shared with Gissing, Conrad, and others with a subdued stoicism which he found necessary despite the compensations of human society and the consolations of the natural world. Hardy, often as pessimistic as Gissing and as devoted to the English rural landscape as Houseman, wrote several remarkable novels which treated earthy and, to some audiences, shocking themes and subjects: “The Mayor of Casterbridge” and “Tess of the D’Urbervilles”. Some critics tend to view Hardy’s character as a psychologically weak one, but it seems fair to say that Hardy saw human downfall not primarily as personal weakness, but rather as the result of of an unwilling conflict with a hostile, meaningless universe.

New tendencies in the English literature of the 20th century:

The 20th century was a century of great changes in all the spheres of human activity including literature. Important historical events, such as the First World War, the Russian revolution, the birth of Fascism gave arts an important role: to oppose the dominant political power. At the beginning of the century there were various artistic movements: Futurism, Dadaism, Surrealism and the

Abstract

Movement. Writers didn’t believe in science and technology, but in a man who fought to survive if he found himself in crisis. Loneliness and solitude were the characteristics of the then modern literature.

The First World War shook England to the core. The changes and the new era called for new forms, new presentations of reality. Among such writers was Th. S.

Eliot – the author of the poem “The Wasteland” (1922). Its difficulty, formal invention, and bleak anti-romanticism were to influence poets for decades.

Equally important was the novel “Ulysses” by J. Joyce, also published in 1922.

Joyce’s revolution in narrative form, the treatment of time, and nearly all other techniques of the novel made him a master to be studied. Decadence marks his works. Mystification on contemporary society is to be traced in the works of A.

Huxley.

V. Woolf was a perceptive literary theorist, critic and reviewer. Like Conrad, Joyce and Lawrence, she placed her stories as much in what the novelist H. James called “the chamber of consciousness” as in the world of “things”.

The second period in the development of English literature was the decade between 1930 and World War II. This period is marked by an acute struggle of the writers realists representing different generations against decadent and modernist tendencies in English literature.

The first modernists were the “imagists” – a group formed by E. Pound. This movement was short-lived and by 1919, most of the poets began to pursue broader ideas.

The self-proclaimed apostle of new literary and moral freedoms, D. H. Lawrence proclaimed the novelist to be superior to the saint or philosopher. The innovations of modernism between the two World Wars touched the English drama too. inter-war drama is represented by O’Casy, Coward and Priestly.

After World War II most English writers chose to focus on aesthetic or social rather than political problems. The novelists tended to cultivate their own distinctive voices. While the post-war era was not a great period of English literature, but it was also marked by a number of highly individual novelists, including W. Golding with his existential ideas, and Iris Murdoch in whose works one can trace the features of modernism, existentialism and even those of the gothic novel.

The “angry young men’ were a group of British writers of the late 1950s. The trend emerged in J. Wain’s novel “Hurry on Down” and in “Lucky Jim” (1954) by K.

Amis. It was crystallized in 1956 in J. Osborn’s play “Look Back in Anger”. The term was extended later to other writers with a similar way of writing – expressing deep dissatisfaction with British society, combined with despair that anything could be done about it. Osborne’s play became the representative work of the movement, which includes the work of J. Braine and A. Sillitoe’s novel “Saturday Night and Sunday Morning”.

The action in these works takes place in some rural place around a solitary mail protagonist who is of working class or of lower middle -class origin. He is rootless, displeased individual and he is full of resentment against the existing traditions and norms.

Another group of writers are usually sited when they start speaking about the socalled anti-colonial novel. among them are J. Aldridge, B. Davidson, D. Stewart, N.

Lewis, etc. In their works they wrote about the colonialist policy of the UK, the poor living conditions of the oppressed peoples in the British colonies: J. Aldridge (“The Diplomat”); B. Davidson (“Black Mother”); D. Stewart (“The Unsuitable Englishman”); N. Lewis (“A Single Pilgrim”).

To the greatest representatives of English poetry of the past century belongs Thomas Stern Eliot (1888 – 1962) who was born in America. Being a Harvard student, timid and solitary, he developed interest in poetry. The French Symbolism influenced him. In 1910, he moved to Paris to study at the Sorbonne. In 1914, Eliot went to Oxford and began to write and publish verses. During the inter-war period he gained his reputation of a great poet and critic. He is the author of poems like “The Wasteland”, “Ash Wednesday” (a spiritual poem, a poetic drama “The Four Quartets” (on a religious topic). In 1947 he was awarded the Nobel Prize for literature.

R. Kipling is known not only as a novelist and a short-story writer, but as a poet as well. Conservatism, optimism, self-assurance marked his poetry. He wrote on racial and imperial topics. He became one of the most famous poets in English Literary History.

Early in the 1950s there were signs that a new generation of poets was about to appear. The most widely admired of all the Movement poets Ph. Larkin published his first volume “The North Ship” in 1945. In his remark, he tells that he was infatuated with the poetic music of Yeats, and that poetic talent came to him from Th. Hardy’s poetry. Larkin’s poems present with a rare accuracy the social climate of suburban England in the 1950s.

It would be misleading to claim that the Movement comprised everything that was vital in the poetry of the decade. As at all times, there were few poets working in solitude, indifferent o current literary disputes. R. S. Thomas’s first two volumes “The Stones of the Field” (1946 and “An Acre of Land” (1952) were printed by small firms in Wales, and it was only in 1955 when he made his mark with “Song at the Year’s Turning”, a selection of poems.

A much younger poet, Ted Hughes, published his first collection “The Hawk in the Rain”, in 1957. it is interesting to compare him with his Cambridge contemporary, Thom Gunn, who is usually associated with the Movement. Both are anatomists of violence; but whereas Gunn is concerned with its operation in society, Hughes broods on violence as a principle of the universe and, in particular, of the animal kingdom.

Charles Tomlinson who was first more admired in the US but ignored in his own country, gradually won recognition in Britain. His poetry is notable for clarity of outline and precision. He believes that symbolism was the major poetic achievement in the 19th century, admiring not only the French Symbolists, but the work of Tyutchev, whom he has translated in collaboration with Henry Gifford.

There are other poets who deserve more than a passing mention. Thomas Blackburn, whose early verse draws on myth and legend. Geoffrey Hill writes poetry of unusual concentration on purity. Burns Singer and Edward Lowbury, two fine undervalued poets, have wrestled with the metaphysical problems of time, death and nothingness.

English literature, including poetry, in the 20th century reflected a world far different from that which Queen Victoria knew; it is a world not of the British Empire but of the Commonwealth, a world of international community that has altered the idea of what being “English” is. The modern world in all its complexity is described with compassion and bitterness, humour and irony, cynicism and hope.

The revival of the drama is a characteristic feature of the later part of the 19th century and the beginning of the 20th century. On the morrow of the First World War, the influence of playwrights such as Sir Games Barrie and S. Maugham was rather positive. Moreover, during the first half of the 20th century theatres in Britain staged the brilliant plays of B. Shaw, G. Galsworthy, S. O’Casy and other authors who had continues the line and stile of the Victorian drama. Later J. Osborne’s plays dominated the stage. In the middle of the 1960s, in Britain there began to show its signs the so-called ‘new revolution in modern English drama’ headed by David Mercer – a representative of the working-class. After his first trilogy “The Generations”, he changed his subject and became known as a supporter of existential ideas.

Harold Pinter – a modern dramatist is best known for plays like “Caretaker”, which shows the strangeness of ordinary lives and family relationships. The plays of Pinter have a central theme – the impossibility of communication between characters in a closed situation.

Another celebrated playwright of the 1970s started his career by writing naturalistic plays is E. Bond. Later he produced allegoric and symbolic works. In his plays the author is less concerned with the daily details of people’s lives and more with the rules of right and wrong that they have made for themselves. Moreover, his plays are on a heroic scale, with the theme that the world is badly organized and must be changed. In his plays, man’s self-destructiveness is often made clear in his violent actions. (“The Narrow Road to the Deep North”).

Among the contemporary playwrights are J. Arden, Arnold Wesker, Tom Stoppard, T. Griffiths. The latter is interested in social themes but his plays make clearer political statements than Wesker’s plays do. Tom Stoppard uses the play of words to explore as well as to express ideas about life and death, right and wrong (“Rozenkrantz and Guildenstern are dead” – 1966) Carrel Churchill’s plays have been staged in many theatres of the world. Her main themes are connected with social and political problems (”Relatives”, “Big Money”, “Top Girls”- about feminism).

When discussing modern drama, one should recognize the positive role of television, which contributes to the popularity of gifted playwrights.

Realism and Experimentalism in the late 20th-Century British Literature Creative literary movements have not necessarily depended upon extravagant or iconoclastic innovations for their productive energy. A more gradual process of evolution can be equally significant. At the beginning of the period, there was a principle of reaction against modernism in the emerging dominant style. J. Gindin’s account of the resurgent vitality of 1950s writing – particularly in the novels of Sillitoe, Amis, Wain, Murdoch - detect, in contrast to the impulse of the modernists, an ‘interest in man’s exterior relationships’ underpinned by the deliberate attempt ‘to re-establish older and more conventional prose techniques’. Through the remainder of the century, a dependence on some version of social mimesis. If this can no longer be seen as a reaction against modernism, it should be understood as a marker of the topical expansion of the novel in the UK. The dramatic social changes gave great scope for the reinvention and extension of existing forms, without the need for their radical overhaul. It is the very fact of social diversity that inspires the literary renaissance. Rather, concerns about the health of the novel have tended to concentrate on a simple division between realism and experimentalism, with individual practitioners choosing to come out in partisan support of one pole or the other. Thus C. P. Snow, K. Amis, M. Drabble stand on the side of realism, while B.

S. Johnson and others are the most prominent innovators. Interesting and significant novels are rarely ‘realist’ or ‘experimental’ in any simple sense.

Literary criticism, too, has assisted in this process of over-simplification. This has become apparent at the end of the period, as post-structuralist criticism has found more responsive ways of interpreting texts.

The process of reaction and influence can also be expressed in quite other terms. a good example of this is A. Wilson’s ‘The Middle Age of Mrs. Eliot’ (1958), a novel written in reaction to V. Woolf, but at the level of content rather than form. The focus of Wilson’s parody, however, is not form or technique.

When discussing the problem of realism and experimentalism, one should keep in mind the name of B. Johnson. He figures as the central example of the ‘experimental’ novelist in the British post-war scene. It should be noted that Johnson rejected that label ‘experimental’, though authors usually do resist the attempt to pigeonhole their work.. His importance can be judged from his most famous experimental book “The Unfortunates” (1969). Johnson’s purpose is to reproduce the chaotic, random, and fluid nature of life.

The remarkable changes in the social and political life in great Britain have had a great influence on the intellectual life and on literature in particular. It caused, for example, the birth of the absurd drama and the social drama. Experimenting with the absurd drama, the playwrights try to prove how meaningless our life is. to underline the spiritual and physical immobility of man pauses and silences are repeated in Absurd Drama.

If experimental writing has made only a minor appearance in post-war Britain, does this mean that postmodernism has bypassed British literary culture? This question needs further investigation based on the works, which will be written in the nearest future.

The essence of all these literary phenomena was and is the earnests search of the writers for their place in life, for a better future.

Links between the Russian and Foreign Literatures When studying the history and development of literature in Russia and England, one can easily trace certain links existing between the creative work of some writers of these countries. Many books written by English authors were translated into Russian and vice versa. Even British critics accept the idea that the impact of A.

Chekhov, L. Tolstoy, F. Dostoyevsky, I. Turgenev, A. Pushkin on the establishment of the creative work of some of the English writers is immense.

Moreover, many Russian authors who lived abroad, willingly or not, left an imprint on the picture of literature of the countries where they lived. In this case one should remember the lives and creative work of such celebrated writers as V.

Nabokov, J. Brodsky, I. Shmelyov, the Nobel prize winner I. Bunin.

I. S. Shmelyov (1873 – 1950), the author of such works as “A Man from a Restaurant” (1911), “The Wall” (1912), etc. in 1922 on I. Bunin’s invitation he left Russia for Berlin, and then moved to Paris. Such was the beginning of his life in emigration. Living abroad I. Shmelyov wrote much about his home – country: “O;d Valaam”, “Kulikovo Field”, “The Sun of the Dead”- about his only son who had been short in the Crimea. The latter work was immediately translated into many languages and brought fame to the author.

I. A. Bunin (1870 – 1953), the Nobel Prize winner, a poet, short-story writer and a novelist. He is the author of such collections of stories as “Pine-Trees” (1901), “Dreams” (1904), “Brothers” (1914), “The Grammar of Love” (1915); novels:

“Arsenyev’s Life” (1927 – 1933), etc. He expressed his negative attitude to the October Revolution in some of his compositions including “Hammer and Sickle”.

V. V. Nabokov (1899 – 1977) published his early works under the pseudonym Sirin. Since his youth when he had emigrated, he expressed a critical attitude to what was going on in Russia. His early works are “Mashenka” (1926), “Desperation” (1934), “An Invitation to an Execution” (1935 – 1936). Until 1940, Nabokov had been writing in Russian, then both in Russian and English. Beginning with the 1960s he wrote only in English. Among his best novels are “Lolita”, “Pnin”, etc. besides he is known as a translator (“Ann in the Wonderland”).

Talking about the mutual influence of Russian and foreign writers, we can put a rhetorical question: ‘The literature of what country is greater?’ And the answer to it definitely will be the following: This question has neither sense nor reason, because any cultured person should try to know if not all the writers of the world, which is next to impossible, but at least the greatest authors who belong to world culture. That is why many great Russian writers, being perfect translators, translated poems, stories, plays, novels, etc. by foreign authors into Russian. For example, Byron’s poems were translated by A. Pushkin, V. Zhukovsky, A. Block. M. Lermontov wonderfully translated poetry by German poets.

Материал для проведения практических занятий Literature of the transition period (from the 19th to the 20th century):

1. Give a survey of the transition period, point out the existing in literature trends, underlying their peculiarities.

2. Brief the life and creative work of S. Butler, J. Ruskin, and G.

Meredith, paying more attention to one of their works.

3. Characterize Neo-Romanticism and the work of the NeoRomanticists: L. Stevenson, E. L. Voynich, and R. Kipling giving a detailed description of one of their works.

4. Define the term “decadence”, characterize the role of this trend in literature and speak on O. Wilde’s creative work.

Аникин Г. В., Михальская Н. П. История английской литературы.

Учеб. пособ. для студентов. – М.: 1957.

Аникст А. История английской литературы – М.: 1956.

История английской литературы. В 3-х т. – М.: 1943 – 1956.

Позднякова Л. Р. История английской и американской литературы.

– Ростов н\Д.: 2002.

Kipling R. “Jungle-Books” or any novel in the original.

Stevenson R. L. “Treasure Island” or any novel in the original.

Voynich E. L. “The Gadfly” or any other novel in the original.

Wilde O. 1) “The Picture of Dorian Gray”; 2) Any three-four short stories (in the original), 3) any play in the original.

The early 20th – century realistic novel:

1. Give a brief outline of the British novel and the short story of the early 20th century, pointing out the trends and problems discussed by the authors.

2. Characterize (briefly) the life and creative work of Th. Hardy, S.

Maugham, E. Morgan, R. Aldington, giving more facts about their best compositions.

3. Speak on the realistic features in G. Galsworthy’s trilogy “The Forsyte Saga” giving a more detailed analysis of “The Man of Property”.

4. Define the meaning of the term “naturalism” and speak about this trend in the English early 20th – century novel using the creative work of G. Gissing, G. Greene, and G. Moor.

Амелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе, ХХ: Уч. пособ. – М.: 1985.

Аникин Г. В., Михальская Н. П. История английской литературы.

Уч. пособ. – М.: 1975.

Дубашевский И. А. «Сага о Форсайтах» Джона Голсуорси: Уч.

пособ. – М.:1975.

Ивашева В. В. Новые черты реализма на Западе. – М.: 1986.

Позднякова Л. Р. История английской и американской литературы.

– Ростов н\Д.: Galsworthy J. “The Man of Property” – any edition in the original.

Hardy Th. – any novel in the original.

Maugham S. – any of his early novels in the original.

Morgan E., Aldington R. – summarize criticisms on their creative work.

New tendencies in the English 20th – century literature:

1. Explain the meaning of the terms “modernistic” and “postmodernistic”; speak on the main principles of this trend in literature and outline the problems the modernistic writers put in their creations.

2. Analyze the creative work ether of J. Joyce, T. Eliot, V. Woolf or D.

Laurence, O. Huxley, D. Lindsay.

3. Speak on the existential features of English fiction and the main representatives of this trend.

4. Brief the life and creative work of W. Golding, paying more attention to the novel “Lord of the Flies” and its existential features.

5. Summarize the criticisms on the creative work of I. Murdoch and I.

Vaugh.

Амелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе, ХХ : Уч. пособ. – М: 1985.

Английская литература (1945 – 1980). – М.: 1987.

Ивашева В. В. Литература Великобритании 20 века. Учеб. для филол. спец. Вузов. – М.: 1984.

Позднякова Л. Р. История английской и американской литературы.

– Ростов н\Д.: 2002.

Филюкина С. Н. Современный английский роман. – Воронеж:

1988.

Golding W. Lord of the Flies.

Joyce J. – any novel in the original.

Laurence D. – any two stories in the original.

Woolf V. – any novel in the original 1. The origin of the trend in the English literature and the problems the authors put forward in their works (D. Osborn, A. Silltoe, D. Braine, and others).

2. Speak on the life and creative work of K. Amis. Analyze the problems presented in his novel “Lucky Jim”.

3. Outline the main features of the anti-colonial novel in the English literature and the contribution of the leading authors of the trend.

4. Brief the life and creative work of J. Aldridge and speak on the problems of the novel “The Diplomat” or of another one.

Амелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе, ХХ. – Уч. пособ. – М.: 1985.

Балашов П. С. Джеймс Олдридж. Очерк творчества. Изд 2-е. – М.:

1977.

Жантиева Л. Г. Английский роман 20 века. – М.: 1965.

Ивашева В.В. литература Великобритании 20 века. – М.: 1984.

Aldridge J. “The Diplomat” or any other novel in the original.

Amis K. Lucky Jim. - Any edition in the original.

Realism and experimentalism in the late 20th – century 1. Characterize British poetry of the 20th century and the problems touched on in their poetic works.

2. Speak on the life and creative work of any British poet of the 20th century paying a closer attention to one of his major works.

3. Study the realistic and experimental features of the British fiction of the final period of the 20th century.

4. Characterize the creative work of Ch. P. Snow and analyze the problems, language and style of one of his novels.

5. Summarize the criticisms about M. Spark, G. Fowls, Ph. Larkin.

Brodey K., Malgaretti F. Focuse on English and American Literature. – M.: 2003.

English and American literature. A Course of Lectures for Schools and Universities. – St. Petersburg: 2002.

Fowls G. – “The Ebony Tower” or any other novel in the original.

Snow Ch. P. – Any novel in the original.

Spark M. – Any novel in the original.

Амелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе, ХХ: Уч. пособ. – М.: 1985.

Аникин Г. В., Михальская Н. П. История английской литературы.

Уч. пособ. – М.: 1975.

Ивашева В. В. Новые черты реализма на Западе. – М.: 1986.

Колдуэлл К. Иллюзия и действительность. Об источниках поэзии.

– М.: 1969.

Позднякова Л. Р. История английской и американской литературы.

– Ростов н\Д.: 2002.

Филюкина С. Н. Современный английский роман. – Воронеж:

1988.

1. Point out (briefly) the general characteristic features of the British drama of the first half of the 20th century (B. Shaw, J. Galsworthy, S.

O’Casy, S. Maugham, J. B. Priestley, S. Beckett, etc.) 2. Give a detailed analysis of the language and the problems presented in B. Shaw’s and J. B. Priestley’s plays.

3. Outline (briefly) the English drama of the second half of the 20th century; characterize the major themes touched on in the works of the leading playwrights.

4. Give a brief but critical description of the creative work of the playwrights (J. Auden, E. Bond, J. Osborne, H. Pinter, T. Stoppard, etc.) concentrating your attention on the major play of one of the authors.

Osborne J. “Look back in Anger” or any other play in the original.

Priestley J. B. “Dangerous Corner” or any other play in the original.

Shaw B. “Pygmalion”, “The Widower’s House” or any other 2 plays in the original.

Амкелина Т. А., Дьяконова Н. Я. Хрестоматия по английской литературе, ХХ. Уч. пособ. – М.: 1985.

Аникин Г. В., Михальская Н. П. История английской литературы.

Учеб. пособ. – М.: 1975.

Бабенко В. Г. Драматургия современной Англии. Уч. пособ. – М.:

1981.

Современная английская драматургия. – М.: 1976.

Хрестоматия по английской и американской литературе \ Сост. Е.

Г. Потапова, А. В. Киселева, М. В. Синельнекова. – СПб.: 2003.

Щестакова Д. П. современная английская драма (Осборновцы). – М.: 1968.

Links between the Russian and foreign literatures 1. Analyze the impact of Russian writers (A. Pushkin, L. Tolstoy, I.

Turgenev, A. Chekhov and others) on the creative work of foreign authors.

2. Find facts and examples to prove the impact of some foreign writers on the creative work of certain Russian authors (Aesop, Eskhil, Sophocles, Shakespeare, Zolya, Byron, Goethe, L. Carroll, etc.) 3. Brief the creative work of the Russian emigrant-writers (I. Bunin, V.

Nabokov, I Smelyov, I. Brodsky, etc.) Аникин Г. В., Михальская Н. П. История английской литературы.

Уч. пособ. для студ. – М.: 1975.

Аникст А. История английской литературы. – М. 1956.

Артамонов С. Д. история зарубежной литературы 17 – 18 вв. Уч.

пособ. 2-е изд. – М. : 1988.

Гиленсон Б. А. история литературы США. – М.: 2003.

Долинин А. А. История одетая в роман: Вальтер Скотт и его читатели. – М.: 1988.

История американской литературы. Под ред. Н. И. Самохвалова.

Уч. пособ. для студ. – М.: 1971.

История английской литературы: В 3-х томах. – М.: 1943 – 1958.

Манн Ю. В. и др. Мировая художественная культура 19 век.

Литература.- СПб: 2007.

С того берега. Писатели русского зарубежья о России. В 2 книгах.

– М.: 1992.

САМОСТОЯТЕЛЬНАЯ РАБОТА

СТУДЕНТОВ ОЧНОЙ

И ЗАОЧНОЙ ФОРМЫ ОБУЧЕНИЯ

Примерный перечень заданий для самостоятельной работы по дисциплине: «Литература страны изучаемого языка 20 века»

Британская литература 1900 – 1910 годов.

Британская литература 1910 – 1920 годов.

Жизнь, творчество и проблематика произведений Д. Лоуренса.

Презентация видения мира в произведениях О. Хаксли.

Декадентские и модернистские мотивы в произведениях Д.

Джойса.

Жизнь и творчество В. Вульф. Модернистские тенденции в её произведениях.

Проблематика в ранних произведениях Т. С. Элиота.

Британская литература 1920 – 1930 годов.

Характеристики социального романа 30-х годов 20 века.

Критический реализм в литературе Британии 30-х годов. (Г.

Уэллс, Б. Шоу, Ш. О’ Кейси и др.).

Ричард Олдингтон – выразитель идей своего времени.

Тематика ранних произведений Д. Б. Пристли.

Британские модернисты 30-х годов 20 века.

Британская литература 1930 – 1945 годов.

Британские писатели о Второй Мировой войне.

Тенденции и жанры в Британской литературе второй половины 20го века.

Романы Ч. П. Сноу о науке и политике.

Черты экзистенциализма в произведениях Г. Грина.

Социальные проблемы в произведениях писателей «рассерженной молодёжи.

Роман антиколониальной направленности (Дж. Олдридж, Н.

Льюис и др.) Социалистические идеи в рабочем романе 1958 – 1965 гг.

Философские и экзистенциалистские тенденции в произведениях У. Голдинга, А. Мердок и др.).

Британская поэзия первой декады второй половины 20 века.

Драматургия Англии начала второй половины 20 века.

Литература конца 20 века и переходного периода (М. Дрэббл, Дж.

Фаулз, ф. Ларкин, Т. Стоппард, Т. Хьюз и др.