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MODERN BRITISH LITERATURE (C. 1900 to 1950) READING LIST
MODERN BRITISH LITERATURE (c. 1900 to 1950) READING LIST Please note that there are two lists below. The first is the full list with the core readings in bold; the second is the core list separated out. You are responsible for all core readings and may incorporate readings from the full list into your tailored list. Unless otherwise noted, selections separated by commas indicate all works students should know. A. FICTION Beckett, Samuel. One of the following: Murphy, Watt, Molloy Bennett, Arnold. Clayhanger Bowen, Elizabeth. The Heat of the Day Butler, Samuel. The Way of All Flesh Chesterton, G.K. The Man Who Was Thursday Conrad, Joseph. Heart of Darkness AND one of: Lord Jim, The Secret Agent, Nostromo, Under Western Eyes Ford, Ford Madox. The Good Soldier Forster, E. M. Howards End, A Passage to India (plus the essays “What I Believe” and “The Challenge of Our Times” in Two Cheers for Democracy) Galsworthy, John. The Man of Property Greene, Graham. One of: Brighton Rock, The Power and the Glory, The Heart of the Matter Huxley, Aldous. Brave New World Joyce, James. Dubliners, A Portrait of the Artist as a Young Man, Ulysses Kipling, Rudyard. Kim Lawrence, D. H. Two of: Sons and Lovers, Women in Love, The Rainbow, The Plumed Serpent Lewis, Wyndham. Tarr, manifestos in BLAST 1 Mansfield, Katherine. “Prelude,” “At the Bay,” “The Garden Party,” “The Daughters of the Late Colonel” (in Collected Stories) Orwell, George. 1984 (or Aldous Huxley, Brave New World) Wells, H. G. One of the following: Ann Veronica, Tono-Bungay, The New Machiavelli West, Rebecca. -
VS. Naipaul: a Bibliographical Update (198 7-94)
VS. Naipaul: A Bibliographical Update (198 7-94) KELVIN JARVIS JLHIS IS A bibliographical update of my V. S. Naipaul: A Selective Bibliography with Annotations: 195J-198J, covering the period 1987-94. Since 1 g87 (when An Enigma of Arrival: A Novel in Five Sections appeared), Naipaul has published three books—A Turn in the South ( 1989), India: A Million Mutinies Now ( 1990), and A Way in the World ( 1994)—and more than 18 substantial pieces, in addition to delivering various lectures and acceptance speeches. This checklist is arranged in six parts. Part I contains Naipaul's most recent writings and comments, listed under three head• ings: published books, articles, and interviews, with entries given chronologically. Part II covers recent bibliographical listings of his work. Part III includes 16 full-length books written about him. Part PV lists articles on him in books, reference volumes, journals, and magazines. Part V has book reviews and critical studies of his individual books. And Part VI itemizes doctoral theses exclu• sively or partly on him. Conference papers have featured prominently in the spate of attention Naipaul continues to generate; these papers are usu• ally quite elusive to trace, particularly if they are not published collectively and within a reasonably short time frame. Thus this checklist omits offerings on Naipaul from conferences and all foreign-language citations. It also excludes newspaper articles with imprints prior to 1987. The Enigma of Arrival spans Naipaul's life in England and echoes a finality in his writing career. The protagonist of this novel writes: "with time passing, I felt mocked by what I had already done; it seemed to belong to a time of vigour, now past for good. -
Post-War English Literature 1945-1990
Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards ....................................... -
2013 Summer Reading List
SUMMER READING LIST 2013 TABLE OF CONTENTS INTRODUCTION 2 MIDDLE SCHOOL Grades 6 and 7 3 Grade 8 11 UPPER SCHOOL General Requirements 16 New International Students 17 Literature and Composition I Required 18 Literature and Composition I Recommended 19 Literature and Composition II Required 26 Literature and Composition II Recommended 26 Grades 11 and 12 Required 35 Literature and Composition III 35 AP English Language 37 The Short Story: Read It and Write It 38 The Tradition of the Novel 38 Found Voices 39 AP English Literature 39 Grades 11 and 12 Recommended 40 Language Books 57 Social Studies Books 60 INTRODUCTION ••••••••••••••••••••••••••••••••••••••••••••••••••••• All students at Dana Hall are required to complete summer reading. The books you read will be used in your English class during the first few weeks of the first trimester. As you read, we urge you to remember that the art of reading is a creative act, a collaboration between reader and writer. Hold a dialogue with these books: question, argue, disagree; underline those passages that exhilarate you as well as those that infuriate you. Keep a notebook to jot down your imme- diate responses to each of these works and write questions that you want to discuss in your English classes. Encourage your family and friends to join you in these reading experiences. A number of the books on this list have been made into movies, many of them wonderful in their own right. Seeing a movie instead of reading the book, however, will not prepare you for your teacher’s assignment related to that book, nor will it replace the unique experience of interacting with a specific text. -
Tristram Shandy: an Original and Profound English Novel of The
Tristram Shandy : An Original and Profound English Novel of the Eighteenth Century Oana-Roxana Ivan West University of Timişoara [email protected] Abstract Although Tristram Shandy holds a place among the English novels, it is hard to call it an eighteen century novel. Nevertheless, Sterne’s novel shares with much other eighteenth-century English prose two important formal elements, the publicly oriented narrator and the conversational style. Tristram Shandy is a typical eighteenth-century work, first, in its being told by a self-conscious narrator who is publicly and socially oriented. A further way in which Sterne’s novel is in keeping with its time is the wonderfully conversational style – one proper, of course, to the narrators’ public and social orientations. However, the present paper proves that the author has employed these common devices of the century in two crucially different ways which make the novel as unconventional as always. Key words: anti-novel, anti-hero, ‘order in disorder’, innovation, style Laurence Sterne is considered to be an unconventional writer who has attracted the most diverse opinions from both his readers and literary critics. His mostly appreciated work is the novel The Life and Opinions of Tristram Shandy, Gentleman , a nine volume work published during a period of ten years (1759-1769). While it was criticized for its boring structure, bawdy tales and ludicrous dialogue, Tristram Shandy is appreciated for its wit, satire, fun, pathos and humanism. Twentieth century critics have added appraisals for its musical structure, digressive art, and subversive post-modernist techniques. The character’s faith has been as strange and whimsical as the novel itself. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
Book Review: Reading Style: a Life in Sentences, 24 Perspectives: Teaching Legal Res
Perspectives: Teaching Legal Research and Writing | Vol. 24 | No. 1 & 2 | Summer 2016 32 Cite as: Deborah L. Borman, Book Review: Reading Style: A Life in Sentences, 24 Perspectives: Teaching Legal Res. & Writing 32 (2016). Book Review: Reading Style: A Life in Sentences “To become better writers, By Deborah L. Borman Davidson defines the concept of transcendent students need 2 Deborah L. Borman is Clinical Assistant Professor of Law reading as the “high glimmer factor.” to read great at Northwestern Pritzker School of Law in Chicago, Ill. Davidson’s book consists of a series of lectures authors. Set the scene: you are hunkered down to grade a set on literature she gave in 2009. Each chapter ” of student briefs. Before long before your eyes glaze stands alone as a unique lesson students can over, your lids grow heavy and you start to doze glean from literature to better inform their because of the dull, uninspired writing. Suddenly you legal writing. While Davidson’s book analyzes find yourself going micro and writing this sentence fiction writing (and a little bit of nonfiction in in the margin: “make the subject more compelling.” the last chapter), and some concepts are more Legal writers, especially novices, are often so focused relevant to crafting good legal communication on technical details that they forget good written than others, she offers many writing techniques communication begins with sentences that engage, that are adaptable to legal communication, “glimmer,” and at their best transport the reader. particularly when it comes to advocacy. To become better writers, students need to read The first step to crafting better sentences great authors. -
Terms: Definitions
Broken Arrow Public Schools 3rd Grade Literary Terms Alliteration- The repetition of the same sounds or the same kinds of sounds at the beginning of words or in stressed syllables. Autobiography- the story of a person’s life written by that person, telling the story of your own life is an autobiography. Beat- a sound or similar sounds, recurring at regular intervals, and produced to help musicians keep rhythm or give a pattern of rhythm to a poem as it is read Biography- the story of a person’s life. Cadence- balanced; rhythmic flow, as of poetry or speeches. A falling inflection of the voice, as at the end of a sentence. People who do not have any cadence to their voice speak in a dry, boring monotone. Cause and Effect- the reason (cause) something happened and what happened (effect) to it. (example: The Titanic hit an iceberg and sank, with the loss of over 1,000 lives. Cause—hitting an iceberg; Effect—Titanic sank and people died) Character- any of the people, animals, or creatures who are involved with the story. Compare and Contrast- to look at two events, time periods, people or almost any two things and tell how they are alike and different. Conflict- A struggle or problems between opposing forces which is the main force of a story and its plot. It is what keeps the reader reading. Conflicts can exist between characters (called man vs. man), between a character and society (called man vs. society), between a character and any aspect of nature (called man vs. -
Discovery Writing and Genre
Discovery Writing and Genre Submitted by Richard James Heeks, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Education, December 2012. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ……………………………………………………………………………… 1 Abstract This study approaches ‘discovery writing’ in relation to genre, investigating whether different genres of writing might be associated with different kinds of writing processes. Discovery writing can be thought of as writing to find out what you think, and represents a reversal of the more usual sense that ideas precede writing, or that planning should precede writing. Discovery writing has previously been approached in terms of writers’ orientations, such as whether writers are Planners or Discoverers. This study engages with these previous theories, but places an emphasis on genres of writing, and on textual features, such as how writers write fictional characters, or how writers generate arguments when writing essays. The two main types of writing investigated are fiction writing and academic writing. Particular genres include short stories, crime novels, academic articles, and student essays. 11 writers were interviewed, ranging from professional fiction authors to undergraduate students. Interviews were based on a recent piece of a writer’s own writing. Most of the writers came from a literary background, being either fiction writers or Literature students. -
Grade Literary Terms
Broken Arrow Public Schools 4th Grade Literary Terms Alliteration- The repetition of the same sounds or the same kinds of sounds at the beginning of words or in stressed syllables. Autobiography- the story of a person’s life written by that person, telling the story of your own life is an autobiography. Beat- a sound or similar sounds, recurring at regular intervals, and produced to help musicians keep rhythm or give a pattern of rhythm to a poem as it is read Biography- the story of a person’s life. Cadence- balanced; rhythmic flow, as of poetry or speeches. A falling inflection of the voice, as at the end of a sentence. People who do not have any cadence to their voice speak in a dry, boring monotone. Cause and Effect- the reason (cause) something happened and what happened (effect) to it. (example: The Titanic hit an iceberg and sank, with the loss of over 1,000 lives. Cause—hitting an iceberg; Effect—Titanic sank and people died) Character- any of the people, animals, or creatures who are involved with the story. Climax- the point of the story that has the greatest suspense—the moment before the crime is solved or killer revealed in a mystery story. The story parts are exposition, rising action, climax, and resolution. Compare and Contrast- to look at two events, time periods, people or almost any two things and tell how they are alike and different. Conflict- A struggle or problems between opposing forces which is the main force of a story and its plot. -
A History of the Indian Novel in English
A HISTORY OF THE INDIAN NOVEL IN ENGLISH EDITED BY ULKA ANJARIA Brandeis University' · ,, CAMBRIDGE ::: UNIVERSITY PRESS CAMBRIDGE UNIVERSITY PRESS 32 Avenue of the Americas, New York, NY IOOI3-2473, USA Cambridge University Press is parr of the University of Cambridge. Ir furthers che University's mission by disseminating knowledge in the pursuit of education, learning, and research ar the highest international levels of excellence. www.cambridge.org Information on chis tide: W\VW".cambridge.org/978II0707996o © Ulka Anjaria 2015 1his publication is in copyright. Subject ro staturory exception and ro the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2015 Printed in the United Scates of America A catalog record for this publication is available .from the British Library( Library ofCongress Cattdoging in Publication Data A history of the Indian novel in English I edited by Ulka Anjaria, Brandeis University. pages em ISBN 978-1-107-07996-o (hardback) 1. Indic fiction (English) -History and criticism. I. Anjaria, Ulka, 1979- editor. PR9492.2.H57 201) 823.009 1954-dc23 201)004873 ISBN 978-I-107-07996-o Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLS for external or third-party Internet Web sites referred to in this publication and does nor guarantee that any content on such 'Web sites is, or will remain, accurate or appropriate. Contents List ofFigures page viii -
Boots Book-Lovers' Library and the Novel: the Impact of a Circulating Library Market on Twentieth-Century Fiction
Boots Book-lovers' Library and the novel: The impact of a circulating library market on twentieth-century fiction Article Wilson, N. (2014) Boots Book-lovers' Library and the novel: The impact of a circulating library market on twentieth-century fiction. Information and Culture: A Journal of History, 49 (4). pp. 427-449. ISSN 2164-8034 doi: https://doi.org/10.7560/ic49402 Available at http://centaur.reading.ac.uk/31358/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://utpress.utexas.edu/index.php/journals/information-culture To link to this article DOI: http://dx.doi.org/10.7560/ic49402 Publisher: University of Texas All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online 1 Boots Book-lovers’ Library and the novel: The impact of a circulating library market on twentieth-century fiction Nicola Wilson University of Reading Department of English Literature Whiteknights University of Reading Reading RG6 6AH [email protected] This is the final author-copy of an article published in Information and Culture 49.4 (Nov/Dec 2014), 427-49. This version is under a 12 month embargo period as agreed with the publisher of the journal until Nov/Dec 2015.