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3.СОДЕРЖАНИЕ ПРАКТИЧЕСКОГО РАЗДЕЛА ДИСЦИПЛИНЫ

3.1.Тематика практических занятий

1.Shakespeare's major tragrdies and comrdies: ''Hamlet'', ''King Lear''. ''Much Ado about Nothing'', ''The Merchant of Venus'' the novels by Jane Austen ''Pride and Prejudice'', ''Emma'' (2 часа).

2.Women-novelists of the 19th century: Sisters Bronte: Charlotte Bronte and her novel ''Jane Eyre'', Psychological novel by Emily Bronte ''Wurthering Heights'' (2 часа).

3.Thomas Hardy. Four groups of his novels: Romances and Fantasies, Novels by Ingenuity, Novels of Character and Environment, special groop of Lyrics. The analysis of the novel ''Tess of the D'Urbervilles'' (2 часа).

4.КОНТРОЛЬНАЯ РАБОТА

4.1. Общие методические указания

Студенты в процессе изучения дисциплины «Литература страны изучаемого языка» должны выполнить одну контрольную работу. Контрольная работа включает в себя анализ художественного текста не только в аспекте проблематики, но и его художественного своеобразия, ответы на вопросы из теоретического раздела дисциплины, стилистический анализ отрывков из произведений, указанных в списке обязательных текстов, а также написание реферата на основе материала, предложенного для самостоятельного изучения.

При выполнении и оформлении контрольной работы, необходимо соблюдать следующие правила:

1.Контрольную работу следует выполнять в тетради, на внешней обложке которой должны быть указаны фамилия и инициалы студентов, его полный шифр, номер контрольной работы и дата ее отправки в университет.

2.Выполнение заданий контрольной работы располагаются в порядке номеров, указанных в заданиях, сохраняя номера заданий.

3.Если работа выполнена неудовлетворительно, то ее возвращают студенту, и он должен в короткий срок исправить ее, выполнив заново

втой же тетради задания, в которых допущены ошибки. По необходимости студент должен давать на зачете устные пояснения по всем или некоторым заданиям, содержащимся в контрольной работе.

Номер варианта контрольной работы определяется по последней цифре зачетной книжки студента, 0 соответствует 10-му варианту.

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4.2. Варианты контрольных заданий

Variant 1

1.Fifteen-century prose. A story of King Arthur and the Knights of the Round Table.

2.Dwell upon the philosophical background of the ''Pardoner's Tale'' (''Canterbury Tales'').

3.Analyze the extract.

Extract 1

Pip gives the convict the food and returns home. For Christmas lunch the Gargery household is joined by Mr Wopsle, a church clerk, Mr Hubble, a wheelwright (a person who makes wooden carts), Mrs Hubble and Uncle Pumblechook, Joe's uncle.

''Among this good company I should have felt myself, even if I hadn't robbed the pantry, in a false position. Not because I was squeezed in at an acute angle of the table-cloth, with the table in my chest, and the Pumblechookian elbow in my eye, nor because I was not allowed to speak (I didn't want to speak), nor because I was regaled with the scaly tips of the drumsticks of the fowls, and with those obscure corners of pork of which the pig, when living, had had the least reason to be vain. No; I should not have minded that if they would only have left me alone. But they wouldn't leave me alone. They seemed to think the opportunity lost, if they failed to point the conversation at me, every now and then, and stick the point into me. I might have been an unfortunate little bull in a Spanish arena, I got so smartingly touched up by these moral goads''.

Answer the following questions:

a)Which of the following alternatives is wrong? He was given the worst food/ignored, forced to be silent/taunted.

b)How does Dickens convey the gap between Pip and the adults?

4. Write the essay on Victorian novels (W.M. Thackeray's work ''Vanity Fair'' – a novel without a hero).

Variant 2

1.The Anonymous Old English Epic literature. The folk epic Beo-

wulf.

2.Read and analyze the sonnet 73 by Shakespeare.

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Sonnet 73

1.That time of year thou mayst in me behold

2.When yellow leaves, or none, or few, do hang

3.Upon those boughs which shake against the cold,

4.Bare ruin'd choirs, where late the sweet birds sang.

5.In me thou see'st the twilight of such day

6.As after sunset fadeth in the west,

7.Which by and by black night doth take away,

8.Death's second self, that seals up all in rest.

9.In me thou see'st the glowing of such fire

10.That on the ashes of his youth doth lie,

11.As the death-bed whereon it must expire

12.Consumed with that which it was nourish’d by.

13.This thou perceivest, which makes thy love more strong

14.To love that well which thou must leave ere long.

ASSIGNMENTS FOR STYLISTIC ANALYSIS

•Read the sonnet and be ready to translate and paraphrase any part of it.

•Speak on the structure of the sonnet.

•Speak on the idea of the sonnet and on the images the poet resorts to in describing his decline.

•Comment on the implication in the phrase ''consumed with that which it was nourish'd by''. Note the contrast between the words ''to consume'' and ''to nourish'', which are contextual antonyms here.

•Discuss the thought expressed in the epigrammatic lines of the sonnet.

•Comment on the following assertion made by a critic that ''Shakespeare thought in terms of metaphors''.

•Discuss the use of metaphors in the sonnet.

3. Discussion Questions for ''Vanity Fair'':

Chapters 1-11

1.What is the symbolic importance of Becky Sharp tossing the gift of Samuel Johnson's Dictionary out the window of her coach as she leaves Chiswick Mall?

2.What do you make of Thackeray's frequent descriptions of Joseph Sedley's physical appearance?

3.Throughout the novel, Thackeray frequently interjects his own commentary into the narrative. What is the effect of these interruptions and how do they contribute to the novel's narrative strategy?

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4.What is your impression of the differences between how Becky Sharp and Amelia Sedley are characterized by Thackeray in the early stages of the novel?

5.What do you think about the characterization of the various Crawley's? How does Thackeray set up a contrast between Sir Pitt's family and that of Bute Crawley? Between Queen's Crawley and Russell Square?

6.Is there any symbolic importance attached to Becky Sharp's frequent backgammon contests with Sir Pitt?

4. Write the essay on ''Our Mutual Friend'' by Ch. Dickens as the philosophical and religious novel.

Variant 3

1.The Renaissance (1485–1649). Historical background. Three periods in literature of the English Renaissance.

2.What can you deduce about Wilde's art and life from the following extract?

Extract 1

This extract is from the preface to The Picture of Dorian Gray (1891), a Gothic novel about a handsome young man in pursuit of sensual pleasure:

''The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.

The critic is he who can translate into another manner or a new material his impression of beautiful things.

The highest, as the lowest, form of criticism is a mode of autobiography. Those who find ugly meaning in beautiful things are corrupt without be-

ing charming. This is a fault.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.

They are the elect to whom beautiful things mean only Beauty.

There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

All art is at once surface and symbol.

Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril.

It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital.

When critics disagree the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it.

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The only excuse for making a useless thing is that one admires it intensely. All art is quite useless''.

For Wilde, art is deeply moral. True or false?

3.Assignments for stylistic analysis.

Sonnet 116

1.Let me not to the marriage of true minds.

2.Admit impediments. Love is not love.

3.Which alters when it alteration finds,

4.Or bends with the remover to remove:

5.O, no! it is an ever-fixed mark.

6.That looks on tempests, and is never shaken;

7.It is the star to every wandering bark,

8.Whose worth's unknown, although his height be taken.

9.Love's not Time's fool, though rosy lips and cheeks;

10.Within his bending sickle's compass come;

11.Love alters not with his brief hours and weeks,

12.But bears it out even to the edge of doom.

13.If this be error and upon me proved,

14.I never write, nor no man ever loved.

1.Be ready to paraphrase and interpret any part of the sonnet.

2.Speak on the idea of the sonnet.

3.Discuss the structure of the sonnet.

4.Find the modifiers of rhythm that are used in the sonnet and comment on them.

5.Speak on the rhymes of the sonnet: a) cases of imperfect rhyme;

b)the rhyme of the epigrammatic lines.

6.Discuss the idea of the epigrammatic lines.

7.Find cases of metaphors and metaphoric periphrases employed in the sonnet and comment on them.

8.Discuss the SD used by the poet in the description of Time.

9.Find cases of alliteration (and other sound repetition) that help to bring out the idea of the sonnet (lines 3, 4).

10.State the stylistic function of the interjections: ''O, no!'' (line 5).

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11. Summing up the analysis of the sonnet speak on the poet's conception of love and the various SDs used to bring the poet's idea home. Express your own attitude to the subject.

4. Write the essay on the works of Ph. Sidney: The Seguence ''Astrophel and Stella'' (the 41st Sonnet).

Variant 4

1.Henry Fielding – the greatest novelist of the 18th century. ''The History of Tom Jones, A Foundling'' – the comic epic in prose.

2.What can you deduce about Wilde's art and life from the following extract?

Extract 2

''The worship of the senses has often, and with much justice, been decried, men feeling a natural instinct of terror about passions and sensations that seem stronger than themselves, and that they are conscious of sharing with the less highly organized forms of existence. But it appeared to Dorian Gray that the true nature of the senses had never been understood, and that they had remained savage and animal merely because the world had sought to starve them into submission or to kill them by pain, instead of aiming at making them elements of a new spirituality, of which a fine instinct for beauty was to be the dominant characteristic. As he looked back upon men moving through History, he was haunted by a feeling of loss. So much had been surrendered! and to such little purpose!...

Yes: there was to be a new Hedonism that was to recreate life, and to save it from that harsh, uncomely puritanism that is having, in our own day, its curious revival. ... Its aim, indeed, was to be experience itself, and not the fruits of experience, sweet or bitter as they might be. Of the asceticism that deadens the senses, as of the vulgar profligacy that dulls them, it was to know nothing. But it was to teach man to concentrate himself upon the moments of a life that is itself but a moment''.

According to Dorian Gray, sensual passion should be respected. True or false?

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3. Read and analyze the sonnet by Ph. Sidney:

FIRST SONG BY SIR PHILIP SIDNEY

Doubt you to whom my Muse these notes intendeth,

Which now my breast o'ercharged to music lendeth?

To you, to you, all song of praise is due;

Only in you; my song begins and endeth.

Who hath the eyes which marry state with pleasure?

Who keeps the key of Nature's chiefest treasure?

To you, to you, all song of praise is due;

Only for you the heaven forgat all measure.

Who hath the lips where wit in fairness rejgneth?

Who womankind at once both decks and staineth?

Write the essay about Ph. Sidney – the author of the first English son-

nets.

4. Tasks for ''The Posthumous Papers of the Pickwick Club''.

1.Dwell upon the incident of the "baby-kissing" as an example of Dickens's grotesque realism.

2.Explain the reasons of Mr. Pickwick's bewilderment and distress at the ferocity of the crowd. In what way is Dickens's indignation at this unleashing of public passions made clear?

3.Analyse the syntactical structure of the final period. What clauses prevail – subordinate or independent ones?

4.Note the role of inversion in Dickens's narrative (e. g. in the period beginning with "Loud and long were the cheers" etc.).

5.Comment upon elements of cockney introduced into Sam Weller's speech characterization.

Variant 5

1.Literary qualities of Shakespeare's plays: Shakespeare's characters, Shakespeare attitudes, Shakespeare's stagecraft and language.

2.Discussion Questions for ''Vanity Fair'':

Chapters 12-25

1. What are your growing impressions of Amelia Sedley, on the one hand, and Captain Dobbin, on the other? Do you find yourself beginning ei-

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ther to like or understand these characters more or less as you observe their development?

2.What is your impression of that unrepentant old sinner, Miss Crawley? What do you think Thackeray's impression of her is?

3.Thackeray's subtitle for Vanity Fair is "A Novel Without a Hero". Do you feel that there is a hero or heroine in the early stages of the story, and if not, what does the lack of a hero contribute to Thackeray's novel?

4.Chapter 21 deals with "A Quarrel about an Heiress". What is to be made of George Osbourne's decided aversion to a match with Miss Schwartz?

5.Is there any connection between how Mr. Osbourne goes through George's old documents and how Amelia Sedley goes through his old letters earlier in the novel?

6.Why does Dobbin go out of his way to look after George's financial

affairs?

7.How do you feel the novel's serialized production has affected the narrative to this point?

3. Analyze the Sonnet 66 by Shackespeare:

Sonnet 66

Tired with all these, || for restful death I cry,

As, to behold desert || a beggar born,

And needy nothing || trimm'd in jollity,

And purest faith || unhappily "forsworn,

And gilded honour || shamefully misplaced,

And maiden virtue || rudely strumpeted,

And right perfection1 || wrongfully disgraced,

And strength || by limping sway disabled,

And art || made tonque-tied by authority,

And folly, doctor-like, || controlling skill,

And simple truth || miscalled simplicity,

And captive good || attending, captain ill:

Tired with all these, || from these would I be gone,

Save that to die, || I leave my love alone.

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4. Analyze the extract from "VANITY FAIR" by W.M. Thckeray:

(1847–1848) Part One

Chapter XIV

MISS CRAWLEY AT HOME

……………………………………………………………

On the morrow, as Rebecca was gazing from the window, she startled Miss Crawley, who was placidly occupied with a French novel, by crying out in an alarmed tone, "Here's Sir Pitt, ma'am!" and the baronet's knock followed this announcement.

"My dear, I can't see him. I won't see him. Tell Bowls1 not at home, or go down-stairs and say I'm too ill to receive any one. My nerves really won't bear my brother at this moment," cried out Miss Crawley, and resumed the novel.

"She's too ill to see you, sir," Rebecca said, tripping down to Sir Pitt, who was preparing to Ascend.

"So much the better," .Sir Pitt answered. "I want to see you, Miss Becky, Come along a me2 into the parlor," and they entered that apartment together.

"I want you back at Queen's Crawley, miss," the baronet said, fixing his eyes upon her, and taking off his black gloves and his hat with its great crape hat-band. His eyes had such a strange look, and fixed upon her so steadfastly, that Rebecca Sharp began almost to tremble.

"I hope to come soon," she said in a low voice, "as soon as Miss Crawley is better – and return to – to the dear children."

"You've said so these three months, Becky," replied Sir Pitt, "and still you go hanging on to my sister, who'll fling you off like an old shoe when she's wore you out. I tell you I want you. I'm going back to the vuneral3. Will you come back? Yes or no?"

"I daren't – I don't think – it would be right – to be alone – with you, sir," Becky said, seemingly in great agitation.

"I say agin, I want you," Sir Pitt said, thumping the table. "I can't git on without you. I didn't see what it was till you went away. The house all goes wrong. It's not the same place. All my accounts has fancied, to comprehend. "Well, Becky, come back if you like. You can't eat your cake and have it.

1Bowls – Miss Crawley's servant

2a me – with me (dial.)

3Sir Pitt's speech has some features of Hampshire dialect, such as the voicing of the initial f and s « (vuneral, vit, vinger, zatisfy, zee, zetclement), substituting i for e (agin, git) etc.

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