Naziv kolegija: Shakespeare
Nastavnik: dr. sc. Tomislav Brlek, docent (Odsjek za komparativnu književnost)
ECTS-bodovi: 6
Jezik: engleski
Trajanje: 4. ili 6. semestar
Status: izborni kolegij
Oblici nastave: 1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija: položen Uvod u studij engleske književnosti ili Uvod u studij engleske književnosti 1 i 2

Kolegij je organiziran kao analiza djela Williama Shakespearea s posebnim obzirom na činjenicu da je pisano za kazališnu izvedbu. Kolegij se bavi pomnim čitanjem i analizom šest drama, uz diskusiju odabrane kritičke literature relevantne za interpretaciju tog aspekta. Glavni je cilj kolegija istaknuti središnje poetičke značajke Shakespeareova dramskog stvaralaštva, koje je od osobite važnosti u povijesti engleske književnosti, kao osnovu za upoznavanje i čitanje njegova opusa.
(http://theta.ffzg.hr/ECTS/Predmet/Index/5619 )

Syllabus: SHAKESPEARE

1. Introduction
   • Eliot, “Introduction”
2. A Midsummer Night’s Dream
   • Frye, On Shakespeare, 34-50
   • Girard, Theater of Envy, 29-79; 167-173; 234-242
3. A Midsummer Night’s Dream
   • Kott, “Titania and the Ass’s Head,” ShOC, 171-190
   • Kott, “The Bottom Translation,” BT, 29-68
4. The Tempest
   • Frye, On Shakespeare, 171-186
   • Kott, “Prospero’s Staff,” ShOC, 237-278
5. The Tempest
   • Kott, “The Tempest, or Repetition,” BT, 69-106
   • McGuire, “Shakespeare’s Tempest: Rhetoric and Poetics”
6. Measure for Measure
   • Frye, On Shakespeare, 140-153
   • Stevenson, “Design and Structure in Measure for Measure”
7. Measure for Measure
   • Kott, “Head for Maidenhead, Maidenhead for Head: The Structure of Exchange in Measure for Measure”
   • Schanzer, “Measure for Measure”
8. Macbeth
   • Kott, “Macbeth or Death-Infected,” ShOC, 68-78
   • Byles, “Macbeth: Imagery of Destruction”
   • Nevo, “Macbeth,” TF, 214-257
9. Macbeth
   • Knight, “Macbeth and the Metaphysic of Evil,” WF, 140-159
   • Knight, “The Milk of Concord,” IT, 125-153
   • Garber, “Macbeth: the Male Medusa,” GW, 116-165
10. Richard III
    • Kott, “The Kings,” ShOC, 3-46
    • Campbell, “The Tragical Doings of King Richard III”
11. Richard III
    • Rossiter, “Angel with Horns: the Unity of Richard III,” AwH, 1-22
    • Brooke, “Richard III (1593?)”
    • Garber, “Descanting on Deformity: Richard III and the Shape of History,” GW, 39-68
12. Coriolanus
    • Knight, “The Royal Occupation,” IT, 154-198
    • Nevo, “Coriolanus,” TF, 356-404
13. Coriolanus
    • Kott, “Coriolanus or Shakespearean Contradictions,” ShOC, 141-167
    • Rossiter, “Coriolanus,” AwH, 235-252
    • Brlek, “Ill Seen, Well Said”

READING LIST

Northrop Frye, On Shakespeare, ed. Robert Sandler (New Haven: Yale University Press, 1986)

Marjorie Garber, Shakespeare’s Ghost Writers: Literature as Uncanny Causality (London: Routledge, 1987; 2010) = GW

René Girard, A Theater of Envy: William Shakespeare (Oxford: Oxford University Press, 1991)

1. Wilson Knight, The Wheel of Fire: Interpretations of Shakespearian Tragedy with three new essays (London: Methuen, 1930; 1962) = WF
2. Wilson Knight, The Imperial Theme: Further Interpretations of Shakespeare’s Tragedies including the Roman Plays (London: Methuen, 1931; 1965) = IT

Jan Kott, Shakespeare Our Contemporary [1964], tr. Boleslaw Taborski (London: Routledge, 1991) =ShOC

Jan Kott, The Bottom Translation : Marlowe and Shakespeare and the Carnival tradition, tr. Daniela Miedzyrzecka and Lillian Vallee (Evanston, Ill.: Northwestern University Press, 1987) = BT

Ruth Nevo, Tragic Form in Shakespeare (Princeton: Princeton University Press, 1972) = TF

A.P. Rossiter, Angel with Horns and Other Shakespeare Lectures, ed. Graham Storey (London: Longmans, 1962), = AwH

_______________________

Tomislav Brlek, “Ill Seen, Well Said (On the Uses of Rhetoric in Julius Caesar and Coriolanus),” Studia Romanica et Anglica Zagrabiensia 43 (1998): 161-171

Nicholas Brooke, “Richard III (1593?),” Shakespeare’s Early Tragedies (London: Methuen, 1968), 48-79

Joan M. Byles, “Macbeth: Imagery of Destruction,” American Imago 39(1982)2: 149-164

Lily B. Campbell, “The Tragical Doings of King Richard III,” Shakespeare’s ‘Histories’: Mirrors of Elizabethan Policy (London: Methuen, 1947; 1964), 306-334

T.S. Eliot, “Introduction” in Knight, WF, xiii-xx

Jan Kott, “Head for Maidenhead, Maidenhead for Head: The Structure of Exchange in Measure for Measure,” Theater Quarterly 8.31 (1978): 18-24

Jerry D. McGuire, “Shakespeare’s Tempest: Rhetoric and Poetics,” American Imago 39 (1982)3: 219-37

Ernest Schanzer, “Measure for Measure,” The Problem Plays of Shakespeare (Routledge, 1963), 71-131

L. Stevenson, “Design and Structure in Measure for Measure,” Shakespeare: Measure for Measure: A Casebook, ed. C.K. Stead (London; Macmillan, 1971), 213-232

 

 

Course title: American Literature: Cross-Cultural Contact and Exchange (A, 20)
Instructor: Dr. Catherine M. Eagan (Fulbright guest professor)
ECTS credits: 6
Language of instruction: English
Semester: Summer 2017
Tue 11:00 – 12:30, A 105
Thu 11:45 – 12:30, A 105

Status: elective
Form of instruction: lecture (1 hour) + seminar (2 hours)
Enrollment requirements: Introduction to the Study of English Literature; enrollment in the 2^nd or 3^rd year.
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Course description: This course will analyze American literature of the late 20^th and early 21^st century that engages with the idea of cross-cultural contact and exchange. Cultures can meet in productive and destructive ways, but rarely is the division so clear; meetings across cultures are always complex. As a class, we will read literature that reflects on these meetings critically, discussing how authors around the turn of this millennium are reexamining paradigms for cultural connection and conflict that are as old as America itself. The instructor will lecture on and share samples of literature from earlier centuries to review in class, but the readings will be concentrated in contemporary literature. We will spend the first part of the class exploring the questions of how culture will be/should be/could be defined for this course: we will have to think about how culture relates to race, ethnicity, class, and religion, how it is shaped by nation and immigration, and how it is often defined by hybridity instead of purity or authenticity. The concepts that will frame our study of cross-racial relationships in American contexts are listed in the week-by-week schedule below: as we move forward, we will be treating each new text with attention to the current and previous framing concepts. In addition, my hope is that we will complete the course with an ability to apply these concepts to current “culture wars” in American, transnational, and perhaps even personal contexts.

Course requirements: Regular attendance; participation in class discussions; in-class and home assignments; continuous evaluation (a mid-term and final, mandatory for all students); seminar paper (5-7 double-spaced pages in 8^th edition MLA style). It is essential to observe the deadlines set down for your readings and for particular assignments; if not, this can adversely affect your grade. Grade breakdown: tests (midterm and final)—30%; journal responses—20%; seminar paper—40%; class participation—10%.

Syllabus (subject to change):

Week 1: Introductions, First Contact

Weeks 2-3: Struggles to Assimilate and Acculturate

Weeks 4-6: Cross-Racial Solidarity—Barriers and Possibilities

Weeks 7-9: Interracial Love Relationships

Weeks 10-11: Mixed-Race and Hybrid Identities

Weeks 12-14: White Guilt, Ally-ship, and Multicultural Utopias and Dystopias

Novels:
Sherman Alexie, Reservation Blues (1995)

Wesley Brown, Darktown Strutters, excerpts (1994)

Chang-Rae Lee, Native Speaker (1995)

Adam Mansbach, Angry Black White Boy (2005)

Mat Johnson, Loving Day (2015)

Short Stories:
Junot Diaz, “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie” (1996)

Louise Erdrich, “The Flower” (2015)

MeiMei Evans, “Gussuk,” (1989)

Gish Jen, “In the American Society” (1986)

Marjan Kamali, “The Gift” (2013)

Thomas King, “Borders” (1996)

Reginald McKnight, “Quitting Smoking” (1991)

Bharti Mukherjee, “A Wife’s Story” (1988)

Z.Z. Packer, “Brownies” (2003)

 

Films:
Crash. Dir. Paul Haggis. Starring Don Cheadle, Sandra Bullock (2005)

Ethnic Notions. Dir. Marlon Riggs. California Newsreel (1987)

Secondary Readings:
Gloria Anzaldua, “La Conciencia de la mestiza/Towards a New Consciousness” (1987)

George Frederickson, “Models of American Ethnic Relations”

Mary Louise Pratt, “Arts of the Contact Zone” (1991)

Peggy McIntosh, “White Privilege: Unpacking the Invisible Knapsack” (1988)

Naziv kolegija: African American Literature: 1800-Present
Nastavnik: Dr. sc. Mark Metzler Sawin, red. prof.  (gostujći profesor)
ECTS-bodovi: 6
Jezik: engleski
Trajanje: 1 semestar,  IV. ili VI. semestar, ljetni – KUMULATIVNA NASTAVA, ožujak i travanj 2017.
Status: Izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara na tjedan
Uvjeti za upis kolegija: Položen kolegij Uvod u studij engleske književnosti ili Uvod u studij engleske književnosti 1 i 2

____________________________________________________________________________________

download syllabus (.PDF)

COURSE DESCRIPTION & OBJECTIVES:
In the first chapter of his monumental work The Souls of Black Folk (1903) W.E.B. Du Bois wrote: …the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world,—a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

   The history of the American Negro is the history of this strife,—this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face. This, then, is the end of his striving: to be a co-worker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius.

This course is a study of African American literature and culture through the 19th and 20th centuries and up to today, however, if it succeeds, it will go far deeper than this, becoming an insightful investigation of the “double consciousness” that Du Bois alluded to over 110 years ago.  Themes for this course will include the Construction of Race, Slavery, Emancipation, Jim Crow, Lynching, Jazz, Urbanization, the Harlem Renaissance, Desegregation, Civil Rights, R&B & Rock n’ Roll, the Sports and Entertainment Industries, Victimization, White-guilt, Political Correctness, Affirmative Action, and Hip-Hop Culture.

Because of its combined literary and cultural foci, the methodology of this course will be somewhat unconventional, using not only literary texts and documents, but also many cultural creations (film, music, etc.) to examine the story of Black America. This is necessary because this subject is complex and culturally loaded—the construction, enforcement, reconstruction, and slow transformation of “Black” and “White” America is at the center of the dynamic tension that has driven much of American history, from the ravages of Slavery and the Civil War to the creation of the amazing and distinctive African American culture that heavily impacts the global culture of the 21st century. Each week will include a lecture on the context & culture of Black America for the given era, and then a discussion of the assigned text. Learning to examine, explain, and understand the vibrant literary and cultural creations of Black America is the goal of this course.  

 EVALUATION:  Reading Responses: During this class you will be responsible for seven Reading Responses — one for each of the 7 weeks we meet. These should be at least 1000 words and I will expect an insightful analysis of the work written in clean, crisp, concise prose. I will drop the lowest scoring response.  Class Participation: You will all be expected to attend each lecture, to read each assigned text well, and to actively participate in class discussions. 

 ASSIGNMENTS & SCORING
Reading Responses (6 x 15%) = 90% Class Participation   = 10%
Grades will be based on a ten-point scale: 5 = 100-90%; 4 = 89-80%;  3 = 79-70%; 2 = 69-60%; 1 = 59-0%  
Assignments turned in late will be penalized 10%

 TEXTS: (the course will consider the following texts—students will address one selection from each section) 

 Week 1. Slavery & the American Civil War
– Folktales & Spirituals (early 1800s)
– Martin Delany. The Condition, Elevation, Emigration & Destiny of the Colored People of the United States (selections) (1852)
– Frederick Douglass. My Bondage and My Freedom (selections) (1855)
– Harriet Jacobs. Incidents in the Life of a Slave Girl (selections) (1861)
– Sojourner Truth. “Ar’n’t I a Woman?” (1864)
Week 2. Reconstruction & the Rise & Fall of Black Rights
– Charles Chesnutt. “The Wife of His Youth” (1898)
– Booker T. Washington. “The Atlanta Exposition Address” (1895)
– W.E.B. Du Bois. The Souls of Black Folk (selections) (1903)
Week 3. Segregated America
– James Weldon Johnson. Autobiography of an Ex-Colored Man (1912)
Week 4. The Harlem Renaissance
– Poetry of the Harlem Renaissance (1920s)
– Langston Hughes. The Big Sea (selections)
– King Vidor film. Hallelujah! (1929)
Week 5. The Civil Rights Era
– Ralph Ellison. Invisible Man (selections) (1952)
– Martin Luther King Jr., Malcolm X, & Stokely Carmichael (selections) (1960s)
– Poetry of the Black Arts Era (1960-70s)
Week 6. All Funked Up: Hip Hop America
– Blaxploitation film. Shaft (1971)
– Early Hip Hop film. Wild Style (1983)
– Spike Lee film. Do the Right Thing (1989)
– John Singleton film. Boyz n the Hood (1991)
– Spike Lee film. Bamboozled (2000)
Week 7. Black Lives Matter?!: Race in America Today
– Ta-Nehisi Coates. Between the World & Me (2015)

 

Professor Russell Reising
Office B-008
Office hours: from March 3, Thursday 14:00-15:00, Friday 12:00-13:00
Email: russreising@gmail.com
Phone: 99 7952930 (Not after 10 PM or before 9 AM!)
All poems indicated are easily available online. Use links I have provided when possible.

March 3-4
Introduction and business

TEACHING STRATEGIES AND COURSE POLICIES/COURSE EXPECTATIONS:
I approach my literature course with two primary goals: to teach certain works of literature (subject matter) and to help students improve their reading, writing, and analytical skills. In my opinion, the second of these goals is the real function of my presentations and our class discussions. Students who are not dedicated to improving these skills rarely do well in my classes. Students who are passionate about their studies will find that I am willing to go to extraordinary lengths to help, focus, provoke, challenge, and inspire you. Students who do not do the work will find that I have little patience or respect for those who squander their educational opportunities. Even if the particular subject matter we are studying does not greatly interest you, use the course to improve your communication and analytical skills.
I expect students to have finished all readings by the first class for which they are assigned, and I expect students to have given some thought to these works’ primary themes, mysteries, styles, etc. before coming to class. Students who have done these two things do much better in my classes than do students who don’t. I do not regard it as my responsibility to explain our works to students who haven’t done the reading. I do not accept late papers!
I assume you all know the plot, and, unless you tell me otherwise, I will assume you have a comfortable understanding of the work on the literal level. It is completely up to students to ask questions about works and/or issues that trouble or elude them. I would love it if each class could be spent with me responding to students’ questions, problems, provocations, etc.   I believe that students who struggle with the meanings of works of literature and try out their own interpretive ideas learn much more than do students who sit back and simply expect to have the materials explained. That might do in some courses or in some disciplines; I can’t imagine it being responsible pedagogy or student behavior in upper-division literature courses.
I will very rarely spend time discussing the biographical and/or historical contexts of the works we study unless they bear directly on the discussions we are having or on the analytical points I want to make. Nor should students spend time in their formal essays simply rehearsing the biography of the author or some irrelevant historical data. My courses stress issues much more than they do historical or biographical factoids. Given the richness of many internet sources for such information, I regard it as irresponsible to waste your time with insignificant details that anyone can easily find with a well-focused google search! This is not to say that students aren’t encouraged to probe the biographical or historical contexts of our materials, only that I won’t dwell inordinately on them unless they are truly germane to our approach.
I tend not to use highly organized class notes for our discussions, as I try to make each class responsive to students’ needs. This results in class discussions that some students find less organized than those they are used to or prefer. All students, therefore, are strongly encouraged to ask questions as they arise and also to take good notes.
I do not assign topics for your formal essays, but I will help you in any way necessary as you formulate and refine your topics and approaches. I believe that struggling with the material, coming up with a topic, refining that topic, and then writing and revising a paper are all crucial elements in how/what students learn when they approach a writing assignment. Professors who assign specific topics are simply giving so many take home essay exam assignments. I believe that people all learn in many different ways, reading the assigned works of literature, consulting secondary sources, participating in class discussions, and in all facets of composing a formal essay. Some students like to join in class discussions and/or ask questions; others prefer quietly processing what goes on in class. I try to make room for all learning styles, but I do, as I say above, expect students to work hard and to complete all the assignments on time.

Russ’s World Weary Guidelines for Writers of Academic Papers
(These guidelines constitute the basis of what I expect in your written work!)
1. Unless instructed otherwise, you should assume that your audience knows the work you are writing about at the literal level, but that they can be enlightened about important themes, characters, interconnections, and other significant stylistic elements in the work. As a writer, you reveal something not obvious about the work(s) you write about. Plot summary is almost never good, and almost the only times you should be discussing the plot of the work is to provide evidence for the analytical point you are making.
2. A good, analytical essay will begin with a thesis section in which you articulate what you are writing about and provide some sense of what is significant about the position you will be advancing. A good thesis is argumentative, i.e., it advances a position that is debatable and not merely obvious to any one who has experienced the same work of art. A good thesis teaches your reader what to expect and pay attention to, and it helps guide and discipline your own writing. Think of it as a contract between you and your reader, committing you to perform a specific analytical task.
3. A good conclusion should never merely repeat the “main points” of your paper. Repetition and redundancy rarely characterize a good conclusion. Read almost any substantial article in almost any quality periodical; their conclusions NEVER merely repeat, summarize, or restate their main points. A good conclusion should sound conclusive, not repetitious! Good conclusions can do many things; experiment with different ways of “concluding” your paper on a strong note, not with a throw-away paragraph that merely repeats what you have already done.
4. An analytical essay should represent the highest level of sophistication and specificity you have reached in your consideration of a work. In other words, it should report your conclusions, not your “thinking in progress.” You should never include passages that merely rehearse your encounters with the poem, as in:

“When I first read this poem, I thought it meant X, but, after deeper reading and more careful consideration, I now believe it means Y.”

This might be an accurate history of your experience with the poem/novel/story/ play/film/song/etc., and it might well be an important consideration as you plan your paper, but it has no place in a finished, formal essay. Similarly, almost all references to “I think,” “I feel,” “In my opinion,” etc. should be strictly avoided. They are useless.
5. I will evaluate your formal essays with attention to all possible elements of the written language, from the content to syntactic, grammatical, mechanical, organizational and other rhetorical elements of your work. Please note: error free writing is not necessarily good writing! Good writing will engage the reader with solid content, logical analysis, coherent organization at the paragraph and essay level, and with lively, varied sentences that don’t lull the reader with monotonous, repetitious words, sentence structures, sentence lengths, or ideas.
6. Most importantly, your essay should communicate your ideas about a work. Your thesis (not the “plot” of the work) will be the driving force of your paragraphs and of your entire essay. Most of your paragraphs should begin by indicating how this particular paragraph furthers the analytical thesis you advanced in your thesis/introductory section. Papers and paragraphs that begin with plot summary rarely do more than merely summarize.
7. I will fail any student who plagiarizes any work in this course, and I will pursue their expulsion from the university. If you have any doubt at all about what constitutes academic dishonesty, please contact me before turning in any work.

 Russ’s Absolute Guidelines for Reading Poetry

1. For the purpose of this class, I am offering the following definition of poetry: Poetry is a kind of literary language that maximizes the meaning-creating potential of every single element of the text. This includes obvious things like the poem’s title, multiple word definitions, and grammar to line and stanza breaks, poetic techniques, rhymed words, etc. The shorter the poem, the more potentially volatile becomes every element within the poem.
2. “ Sometimes a bird is just bird!” Always begin by understanding the poem in the most literal and linear way possible. Make sure you can find some necessity, invitation, or some other plausible reason for moving from a literal understanding to any figurative or metaphorical interpretation of a poem. For example, if a poem mentions the word “big” and you believe that the god you believe in is “big,” that doesn’t mean that the word “big” can automatically be read as a reference to your god.
3. Always read the poem out loud to yourself and pay attention to how it allows itself to be read. For example, lots of punctuation or some alliterative chains of words require us to slow down, sometimes almost to a halt, while reading the poem. This will strongly alter our experience and interpretation of the poem. Also, try to formulate a good paraphrase of the “narrative” of the poem. Make sure you can follow its logic and story (if there is one).
4. Use your dictionaries, and pay close attention to the meaning(s) of every single word in the poem!!! You really need to understand every word of a poem to understand the poem. In the case of older poems, the Oxford English Dictionary (OED) is an indispensable tool. Learn how to access and use it in the library or over the internet through the Carlson Library webpage.
5. If you have trouble reading poetry, pretend it isn’t a poem. Read it as though it were prose. Many students are surprised to learn that almost all poems follow the general syntactic rules of the English language. Start with a sentence-beginning capital letter and then find the final punctuation for that sentence. Granted, poems maximize the meaning-creating potential of those rules, but you can get a very clear sense of the poem’s literal/linear level by reading it as though it were prose. Forget about lines; forget about stanzas; forget about poetic techniques: just understand the poem in terms of its sentences. THEN move on to study and appreciate it more fully, i.e., more poetically.
6. Always try to understand the context of the poem. How is the historical context important? What kind of speaker might be uttering this poem, and under what kinds of circumstances? Don’t automatically assume that the “I” of the poem is identical with the poet, and don’t automatically assume that a woman poet writes from a woman’s point of view (ditto for male poets). Very few things restrict our analytical energies with poetry; however, what a poem “can” mean is limited by what words and phrases meant at the time the poem was written. For example, if Shakespeare uses the word “groovy,” he couldn’t possibly mean “cool” or “out of sight,” as he might have meant had he written in the 1960s.

March 10-11
Reading week

March 17-18
Puritan poetry and poetics
http://www.calvinistcorner.com/tulip.htm
From Mary Rowlandson’s captivity narrative:

Before I knew what affliction meant, I was ready to sometimes wish for it. When I lived in prosperity […] I should be sometimes jealous least I should have my portion in this life, and the Scripture would come to my mind, Heb, 12.6 For whom the Lord loveth he chasteneth, and scourgeth every Son whom he receiveth. But now I see the Lord had his time to scourge and chasten me.  The portion of some is to have their afflictions by drops, now one drop then another; but the dregs of the Cup, the Wine of astonishment: like a sweeping rain that leaveth no food, did the Lord prepare for my portion.  Affliction I wanted, and affliction I had, full measure (I thought) pressed down and running over; yet I see, when God calls a Person to any thing, and through never so many difficulties, yet he is fully able to carry them through and make them see, and say they have been gainers thereby.  And I hope I can say in some measure, as David did, It is good for me that I have been afflicted. (112)

From Cotton Mather’s Wonders of the Invisible World:

Hence tis, that the Happiness of NewEngland, has been, but for a Time, as it was foretold, and not for a Long Time, as ha’s been desir’d for us. A Variety of Calamity ha’s long follow’d this Plantation; and we have all the Reason imaginable to ascribe it unto the Rebuke of Heaven upon us for our manifold Apostasies; we make no Right use of our Disasters, if we do not, Remember whence we are fallen, and Repent, and Do the first works. But yet our Afflictions may come under a further Consideration with us: there is a further cause of our Afflictions, whose Due must be Given him.

Poems by Anne Bradstreet:
“To My Dear and Loving Husband”
“The Author to Her Book”
“Upon the Burning our Our House”

Three Elegies:
In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665, Being A Year and a Half Old

Farewell dear babe, my heart’s too much content,
Farewell sweet babe, the pleasure of mine eye,
Farewell fair flower that for a space was lent,
Then ta’en away unto eternity.
Blest babe, why should I once bewail thy fate,
Or sigh thy days so soon were terminate,
Sith thou art settled in an everlasting state.

By nature trees do rot they are grown,
And plums and apples thoroughly ripe do fall,
And corn and grass are in their season mown,
And time brings down what is both strong and tall.
But plants new set to be eradicate,
And buds new blown to have so short a date,
Is by His hand alone that guides nature and fate.

In Memory of My Dear Grandchild Anne Bradstreet, Who Deceased June 20, 1669, Being Three Years and Seven Months Old

With troubled heart and trembling hand I write,
The heavens have changed to sorrow my delight.
How oft with disapoinment have I met,
When I on fading things my hopes have set.
Experience might ‘fore this have made me wise,
To value things according to their price.
Was ever stable joy yet found below?
Or perfect bliss without mixture of woe?
I knew she was but as a withering flower,
That’s here today, perhaps gone in an hour;
Like as a bubble, or the brittle glass,
Or like a shadow turning as it was.
More fool then I to look on that was lent
As if mine own, when thus impermanent.
Farewell dear child, thou ne’er shall come to me,
But yet a while, and I shall go to thee;
Meantime my throbbing heart’s cheered up with this;
Thou with thy Savior art in endless bliss.

On My Dear Grandchild Simon Bradstreet, Who Died on 16 November, 1669, Being But a Month, and One Day Old

No sooner came, but gone, and fall’n asleep.
Acquaintance short, yet parting caused us weep;
Three flowers, two scarcely blown, the last i’ th’ bud,
Cropped by th’ Almighty’s hand; yet is He good.
With dreadful awe before Him let’s be mute,
Such was His will, but why, let’s not dispute,
With humble hearts and mouths put in the dust,
Let’s say He’s merciful as well as just.
He will return and make up all our losses,
And smile again after our bitter crosses.
Go pretty babe, go rest with sisters twain;
Among the blest in endless joys remain.

March 24-25
Puritan poetry and poetics, cont.d
Edward Taylor Poems:
“Upon a Wasp Chilled With Cold”
“Upon a Spider Catching a Fly”
“The Ebb and the Flow”
“Upon Wedlock and the Death of Children”
“Huswifery”

 March 31/ April 1
Poems By Phillis Wheatley
http://docsouth.unc.edu/neh/wheatley/wheatley.html
This download has all her poems and a nice memoir about her. The poems we will focus on include:
“On Being Brought from Africa to America”
“On Imagination”
“An Hymn to the Morning”
“An Hymn to the Evening”
“On Recollection”
“On Virtue”

 April 7-8
Wheatley, cont’d
Freneau
Philip Freneau, “To An Author”
To an Author
by Philip Freneau
Your leaves bound up compact and fair, 
In neat array at length prepare, 
To pass their hour on learning’s stage, 
To meet the surly critic’s rage; 
The statesman’s slight, the smatterer’s sneer– 
Were these, indeed, your only fear, 
You might be tranquil and resigned: 
What most should touch your fluttering mind; 
Is that, few critics will be found 
To sift your works, and deal the wound. 

Thus, when one fleeting year is past 
On some bye-shelf your book is cast– 
Another comes, with something new, 
And drives you fairly out of view: 
With some to praise, but more to blame, 
The mind returns to–whence it came; 
And some alive, who scarce could read 
Will publish satires on the dead. 

Thrice happy Dryden, who could meet 
Some rival bard in every street! 
When all were bent on writing well 
It was some credit to excel:– 

Thrice happy Dryden, who could find 
A Milbourne for his sport designed– 
And Pope, who saw the harmless rage 
Of Dennis bursting o’er his page 
Might justly spurn the critic’s aim, 
Who only helped to swell his fame. 

On these bleak climes by Fortune thrown, 
Where rigid Reason reigns alone, 
Where lovely Fancy has no sway, 
Nor magic forms about us play– 
Nor nature takes her summer hue 
Tell me, what has the muse to do?– 

An age employed in edging steel 
Can no poetic raptures feel; 
No solitude’s attracting power, 
No leisure of the noon day hour, 
No shaded stream, no quiet grove 
Can this fantastic century move; 

The muse of love in no request– 
Go–try your fortune with the rest, 
One of the nine you should engage, 
To meet the follies of the age:– 

On one, we fear, your choice must fall– 
The least engaging of them all– 
Her visage stern–an angry style– 
A clouded brow–malicious smile– 
A mind on murdered victims placed– 
She, only she, can please the taste!

 http://www.poetrynook.com/poem/author-2
“The Wild Honey-suckle”
“The Indian Burying Ground”

April 14-15
Bryant
William Cullen Bryant
“Thanatopsis”
“A Forest Hymn”
“Inscription for the Entrance to a Wood”
“To a Waterfowl”

 April 21-22
Emerson
Essay: “The Poet”
Poems:
“Each and All”
“The Snow-Storm”
“Concord Hymn”
Whitman
http://www.poemhunter.com/walt-whitman/
“When I First Heard the Learned Astronomer”

April 28-29
Emily Dickinson
“’Faith’ is a fine invention”
“These are the days when birds come back”
“I know that He exists”
“This World is not Conclusion”
“I heard a fly buzz when I died”
“Those dying then”
“The bible is an antique volume”
“If you were coming in the fall”

May 5-6
Dickinson, cont’d
TBA

 May 12-13
Dickinson, cont’d
TBA

May 19-20
Holiday, no classes

 May 26-27
Stephen Crane
Frances Harper
Edgar Lee Masters
All TBA

June 2-3
Robert Frost
“Design”
“Desert Places”
“Mending Wall”
“Birches”
“Two Look at Tao”
“After Apple-Picking”
“Directive”

June 9-10
Frost, cont’d

 

Naslov kolegija: Viktorijanski roman. Poetika i politika
The Victorian Novel. Poetics and Politics
(Raniji naziv kolegija: Viktorijanski roman – poetika i kulturna politika)
Nositelj/nastavnik: Prof. dr. sc. Tatjana Jukić
ECTS bodovi: 6
Jezik: engleski
Oblik nastave: 1P+2S
Uvjeti za upis: Položen Uvod u studij engleske književnosti 1 i 2
Trajanje: 3. ili 5. semestar

Opis kolegija: U kolegiju ćemo opisati i analizirati poetiku i politiku viktorijanskoga romana, uz pretpostavku da i poetika i politika ovise o vezama koje viktorijanski roman uspostavlja s diskursima prirodnih znanosti, društvene i političke teorije, te vizualnih umjetnosti. Usredotočit ćemo se na izabrane romane Charlotte Brontë, Charlesa Dickensa i George Eliot. Studentima se preporučuje da uz njih pročitaju i jedan roman Anthonyja Trollopea i/ili Thomasa Hardyja.

Način polaganja ispita: Konačnu ocjenu sačinjava uspjeh iz dviju pismenih provjera znanja (jedne sredinom i druge krajem semestra, 30% + 30% konačne ocjene), te iz eseja na zadanu temu (30% konačne ocjene), uz redovito pohađanje nastave i aktivno sudjelovanje u njoj (10% konačne ocjene).

Način praćenja kvalitete i uspješnosti izvedbe predmeta: Anonimna studentska anketa na kraju semestra.

SADRŽAJ KOLEGIJA PO TJEDNIMA
TJEDAN 1 Viktorijanska kultura i roman.
TJEDAN 2 Viktorijanski roman i prirodne znanosti. Lyell i Darwin.
TJEDAN 3 Viktorijanski roman i viktorijanske društvene i političke teorije (1). Spisateljice.
TJEDAN 4 Viktorijanski roman i viktorijanske društvene i političke teorije (2). Bentham i utilitarizam.
TJEDAN 5 Viktorijanski roman i vizualne umjetnosti (1). Panoptizam. Pripovjedač i fokalizacija.
TJEDAN 6 Viktorijanski roman i vizualne umjetnosti (2). Predrafaeliti.
TJEDAN 7 Kolokvij.
TJEDAN 8 Charlotte Brontë, Jane Eyre (1).
TJEDAN 9 Charlotte Brontë, Jane Eyre (2).
TJEDAN 10 Charles Dickens, Great Expectations (1).
TJEDAN 11 Charles Dickens, Great Expectations (2).
TJEDAN 12 George Eliot, Felix Holt, the Radical (1).
TJEDAN 13 George Eliot, Felix Holt, the Radical (2).
TJEDAN 14 Završna diskusija.
TJEDAN 15 Kolokvij. Evaluacija.

Obavezna literatura:
Charlotte Brontë, Jane Eyre, 1847.
Charles Dickens, Great Expectations, 1861.
George Eliot, Felix Holt, the Radical, 1866.

Izborna literatura:
George Eliot, Middlemarch, 1871.
John Fowles, The French Lieutenant’s Woman, 1969.
Thomas Hardy, Far from the Madding Crowd, 1874.
Antohony Trollope, Doctor Thorne, 1858.
Nancy Armstrong, Fiction in the Age of Photography: The Legacy of British Realism. Cambridge (Mass.): Harvard UP. 2000. 75-124.
Gillian Beer, Darwin’s Plots: Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction. London: Routledge & Kegan Paul. 1983. 236-258.
Peter Brooks, Reading for the Plot. Design and Intention in Narrative. Cambridge (Mass.): Harvard UP. 1992. 113-142.
Tatjana Jukić, Zazor, Nadzor, sviđanje. Dodiri književnog i vizualnog u britanskom 19. stoljeću. Zagreb: Zavod za znanost o književnosti Filozofskog fakulteta u Zagrebu. 2002. 157-208, 291-320.
J. Hillis Miller, Victorian Subjects. New York: Harvester Wheatsheaf. 229-235, 289-302.
Griselda Pollock, Vision and Difference. Femininity, Feminism and the Histories of Art. New York i London: Routledge. 1988. 91-114.
Elaine Showalter, A Literature of Their Own: British Women Novelists from Brontë to Lessing. Princeton: Princeton UP. 1977. 37-72.
Herbert F. Tucker (ur.). Victorian Literature and Culture. Oxford: Blackwell. 1999. 307-404.425-437.

 

Naziv predmeta: Američka književnost
Naziv kolegija: Američki modernizam EN1K08
Nastavnik: Hrvoje Tutek
ECTS bodovi: 6 bodova
Jezik: engleski
Trajanje: 1 semestar
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Uvjeti: upisan 4. ili 6. semestar
Ispit: Ocjena se temelji na redovitom pohađanju i aktivnom sudjelovanju na satu i jednom pismenom radu tijekom semestra (pet do šest kartica teksta) te na pismenom ispitu na kraju semestra.
Sadržaj: Ovaj kolegij studente uvodi u razne aspekte američkog modernizma: ideološke, tematske, naracijske i stilske. Popis literature obuhvaća tekstove nekih od najznačajnijih pripovjedača i pjesnika ovoga razdoblja s posebnim obzirom na novelu i roman. Kolegij će između ostalog pokušati prikazati neke od središnjih tema tog razdoblja u SAD-u, a to su: Prvi svjetski rat, sekularizacija i urbanizacija, emancipacija žena i etničkih grupa, egzodus američkih pisaca u Europu dvadesetih godina, nagli razvoj potrošačkog društva, ekonomska kriza i skretanje ulijevo uz  porast društvene kritike tridesetih godina (npr. John Steinbeck i Richard Wright). Kolegij se također bavi naracijskim i stilskim eksperimentima koji su obilježili (američki) modernizam u užem smislu riječi (Sherwood Anderson, F. S. Fitzgerald, Ernest Hemingway, John Dos Passos, a posebno William Faulkner). Rad u seminaru odvijat će se kroz pomno čitanje formalnih i povijesnih odrednica tekstova (pet mahom kraćih romana i pregršt novela i eseja te primjeren broj sekundarnih tekstova).
Cilj: Kolegij stavlja naglasak na angažiran rad studenata u susretu s književnim tekstom kako bi studenti ovladali vještinama i metodologijom analize književnih tekstova. Jedan od važnih ciljeva ovog kolegija je i vježbanje sposobnosti studenata za pismenu analizu književnih tekstova.

Popis literature:
OBVEZATNA:
F.S. Fitzgerald: The Great Gatsby, “The Crack-Up”
Sherwood Anderson: tri novele iz Winesburg, Ohio
Ernest Hemingway: 5 novela iz In Our Time , The Sun Also Rises
William Faulkner: The Sound and the Fury (s kraćenjima)
Richard Wright: Native Son, “The Blueprint for Negro Writing”
John Dos Passos: eksperimentalni i društveno angažirani ulomci iz USA Trilogy
John Steinbeck: In Dubious Battle (kraći tekstovi uključeni u Reader)
DOPUNSKA:
Tekstovi za Reader:
Baym, Nina et al, eds. The Norton Anthology of American Literature. 4th ed. New York, London: WW Norton, 1994. (izabrani tekstovi)
Bradbury, Malcolm and James McFarlane, eds. Modernism. Harmondsworth: Penguin Books, 1976.
Elliott, Emory, gen. ed. Columbia Literary History of the United States. New York: Columbia UP, 1988. (izabrani kritički tekstovi)
McQuade, Donald et al., eds. The Harper American Literature. New York: Harper Collins College Publishers, 1994. (izabrani tekstovi)

Naziv kolegija:  Starija engleska književnost
Nastavnik:  Vladimir Brljak
ECTS bodovi:  6 bodova
Jezik:   engleski
Status:   izborni kolegij
Trajanje:  1 semestar (2. ili 4. semestar)
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Uvjeti za upis kolegija:   položen Uvod u studij engleske književnosti
Opis kolegija: Kolegij daje pregled engleske književnosti od sedmog do sedamnaestog stoljeća, s posebnim naglaskom na sadržaje koji nisu zastupljeni u drugim kolegijima iz odsječke ponude.
Sadržaj po tjednima:

1. Uvod
2. Beowulf; pjesme iz rukopisa Exeter Book
3. Sir Gawain and the Green Knight
4. Chaucer, The Canterbury Tales
5. The Castle of Perseverance (1)
6. The Castle of Perseverance (2)
7. More, Utopia
8. Wyatt; Surrey
9. Shakespeare, Venus and Adonis; soneti
10. Spenser, The Faerie Queene (1)
11. Spenser, The Faerie Queene (2)
12. Marlowe, Doctor Faustus (1)
13. Marlowe, Doctor Faustus (2)
14. Shakespeare, The Merchant of Venice (1)
15. Shakespeare, The Merchant of Venice (2)

Osnovna literatura:
1. “A Reader in English Literature, 700-1700”, ur. V. Brljak (izbor iz primarne i sekundarne literature)

Dodatna literatura:

1. Medieval English Literature, ur. J. B. Trapp (Oxford: Oxford UP, 1973)
2. The Literature of Renaissance England, ur. J. Hollander i F. Kermode (Oxford: Oxford UP, 1973)
3. The Cambridge Companion to Old English Literature, ur. M. Godden and M. Lapidge (Cambridge: Cambridge UP, 1991)
4. A Companion to Medieval English Literature and Culture, ur. P. Brown (Malden: Blackwell, 2009)
5. A Companion to English Renaissance Literature and Culture, ur. M. Hattaway (Malden: Blackwell, 2003)
6. I. Rivers, Classical and Christian Ideas in English Renaissance Poetry: A Student Guide (New York: Routledge, 1992)

 Ishodi učenja:

1. Temeljno poznavanje starije engleske književnosti (rani srednji vijek, kasni srednji vijek, renesansa
   ili rani novi vijek), uključujući niz iznimno važnih djela i autora iz navedenih perioda (npr. Beowulf, Chaucer, Spenser, Marlowe, Shakespeare), te vezanih književnopovijesnih i filoloških sadržaja.

2. Sveobuhvatnije poimanje engleske književne i intelektualne povijesti te uvid u srednjovjekovne i renesansne izvore kasnijih književnih i intelektualnih tradicija.
3. Temeljni uvid u filološke specifičnosti rada na starijoj engleskoj književnosti, npr. ranije varijante engleskog jezika (staroengleski i srednjoengleski, uz pomoć modernih prijevoda), aspekti rada s rukopisima i ranim tiskom (uz pomoć digitalnih reprodukcija).

4. Sposobnost daljnjeg samostalnog rada na sadržajima iz istog perioda te kompetentne upotrebe relevantnih tiskanih i elektroničkih izvora.

 Metode nastave:
Predavanja i seminari. Pisanje seminarskog rada uz konzultacije s nastavnikom.

Metode ocjenjivanja:
Kontinuirana evaluacija: dva kolokvija, seminarski rad, participacija i pohađanje nastave.

Nositelj: dr. sc. Sven Cvek
Nastavnik: dr. sc. Sven Cvek, Hrvoje Tutek
ECTS-bodovi: 6
Jezik: engleski
Trajanje: 1 semestar, III. ili V., IV. ili VI. semestar, zimski, ljetni
Status: Izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara na tjedan
Uvjeti za upis kolegija: Položen kolegij Uvod u studij engleske književnosti ili Uvod u studij engleske književnosti 1 i 2
Obaveze studenta: aktivno i redovito sudjelovanje u radu seminara; pismeni kolokviji kao način kontinuirane evaluacije; seminarski rad.
____________________________________________________________________________________

Sadržaj: Kolegij nastoji ukazati na neke bitne probleme američkog postmodernizma, kao što su redefiniranje odnosa između “popularne” i “visoke” kulture, preispitivanje odnosa povijesti i fikcije, te mogućnost iznalaženja kritičke pozicije u kasnokapitaklističkom društvu. Kolegij će se baviti odabranim romanima američkog postmodernizma i njihovim interpretacijama i interakcijama s popularnim formama (tekstualnim, vizualnim, glazbenim) koje mogu biti shvaćene ili kao polje za iščitavanje autentičnog izraza “naroda” ili kao bitno neautentičan izraz otuđujuće kulturne industrije. Problemi koji će se provlačiti kroz kolegij uključuju pitanje distinkcije masovne i popularne kulture; konzumerizma; kulturne industrije i kulturne amnezije; simulakra; kulture kao pitanja identiteta; globalizacije i amerikanizacije, utopije.

Cilj: Upoznati student/ic/e s povijesnim periodom američkom postmodernizma, relevantnom teorijskom literaturom i problemima. Studenti/ce trebaju steći znanje o osnovnim kulturnim, društvenim i političkim kretanjima razdoblja te to znanje primijeniti na kritičko čitanje odabranih romana.

Literatura: (4-5 od navedenih naslova)
Ishmael Reed, Mumbo Jumbo
Willam Gibson, Neuromancer
Don DeLillo, White Noise
Art Spiegelman, Maus
Douglas Coupland, Generation X
Sherman Alexie, Reservation Blues
Octavia Butler, Parable of the Sower
Colson Whitehead, Zone One
Thomas Pynchon, Vineland
Hunter S. Thompson, Fear and Loathing in Las Vegas
Ursula LeGuin, The Dispossessed
George Saunders, In Persuasion Nation

Uz navedene romane, studenti/ce moraju redovito čitati tekstove iz Readera koji će biti dostupan prije početka nastave. Reader će sadržavati izbor književnopovijesnih i teorijskih tekstove relevantnih za problematiku kolegija. Ti su tekstovi temelj za pismene kolokvije putem kojih će se kontinuirano evaluirati studentski rad.

Način polaganja ispita: Ocjena se temelji na jednom pismenom radu tijekom semestra, te na kontinuiranoj evaluaciji putem kolokvija.

Naziv kolegija: Britanski romantizam: proza
(od ak. god. 2016./17. kolegij se više ne predaje na preddiplomskom studiju)
Nastavnik: dr. sc. Martina Domines Veliki
ECTS bodovi: 6
Jezik: engleski
Trajanje:  4. ili 6. semestar
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Uvjeti: položen Uvod u studij engleske književnosti
Okvirni sadržaj predmeta:
Na ovom kolegiju studenti će se upoznati s ključnim temama britanskog romantizma u širem povijesnom, kulturnom i političkom kontekstu. Polazna točka biti će nam društveno-povijesni kontekst (škotsko prosvjetiteljstvo, Francuska revolucija, ženska prava) na primjeru onih tekstova koji su bili značajni za rađanje romantizma. U nastavku ćemo se baviti proznim žanrovima reprezentativnim za razdoblje romantizma, od gotičkog romana i škotskog povijesnog romana do ispovjedne romantičke književnosti. Svi će primarni tekstovi biti popraćeni književno-teorijskim tekstovima iz čitanke.

Studentske obveze: kontinuirano praćenje (prvi kolokvij sredinom semestra i drugi u zadnjem tjednu nastave), u konačnu ocjenu ulazi i seminarski rad, pohađanje nastave, te aktivnost na satu.

Sadržaj kolegija po tjednima:
1. tjedan: Društveno-povijesni kontekst, od škotskog prosvjetiteljstva do engleskog romantizma, čitanja ulomaka iz ključnih društveno angažiranih tekstova (Edmund Burke: Reflections on the French Revolution, Thomas Paine: Rights of Man, Mary Wollstonecraft: A Vindication of the Rights of Women)

2. tjedan: gotički roman – razvoj žanra (Horace Walpole (1764)The Castle of Otranto)
3. tjedan: ženski doprinos žanru (Ann Radcliffe (1794) The Mysteries of Udolpho)
4. tjedan: Marry Shelley (1818) Frankenstein
5. tjedan: Frankenstein, nastavak; gledanje ulomaka iz filma Frankenstein (2004) dir. Kenneth Branagh
6. tjedan: rađanje povijesnog romana, škotski nacionalni identitet
7. tjedan: Sir Walter Scott (1814) Waverley
8. tjedan: Kolokvij; raspodjela tema za pisanje seminarskih radova; academic writing skills
9. tjedan: autobiografija – pitanje žanra, ispovjedna romantička proza (povijesni pregled konfesionalne književnosti od Sv. Augustina do Jean-Jacques Rousseaua)
10. tjedan: Thomas de Quincey (1821) Confessions of an English Opium-Eater
11. tjedan: Confessions of an English Opium-Eater, nastavak
12. tjedan: James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
13. tjedan: Dorothy Wordsworth (1800) The Grasmere Journal
14. tjedan: Zaključna rasprava
15. tjedan: kolokvij

 Popis literature:

Obvezatna:

Horace Walpole (1764), The Castle of Otranto
Ann Radcliffe (1794) The Mysteries of Udolpho
Marry Shelley (1818) Frankenstein
Sir Walter Scott (1814) Waverley
Thomas de Quincey (1821) Confessions of an English Opium-Eater
James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
Dorothy Wordsworth (1800) The Grasmere Journal
+
Čitanka s odabranim kritičkim tekstovima

 Dopunska:

– Anderson, Linda. Autobiography. New York & London: Routlege, 2001
– Broadie, Alexander. The Scottish Enlightenment: The Historical Age of the Historical Nation. Birlinn, 2001.
– Clery, E. J. Women’s Gothic: from Clara Reeve to Mary Shelley. Tavistock, 2004
– Crawford, Robert (ed.). The Scottish Invention of English Literature. Cambridge UP, 1998
– De Groot, Jerome. The historical novel. London, New York: Routledge, 2010
– Duncan, Ian. Scott’s Shadow: the novel in Romantic Edinburgh. Princeton and Oxford: Princeton University Press, 2007
– Eakin, Paul John. How are lives become stories: making selves. Ithaca, London: Cornell University Press, 1999
– Olney, James. Memory and Narrative: the weave of life-writing. Chicago: University of Chicago Press, 2000
– Punter, David (ed.) A Companion to the Gothic. Oxford: Blackwell Publishers, 2008
– Smith, Joanna M. (ed.) Frankenstein: complete authoritative text with biographical and historical contexts, critical history and essays from five contemporary critical perspectives. Boston: Bedford Books of St Martin’s Press, 1992
– Smith, Sidonie, Julia Watson (eds.) Women, Autobiography, Theory: a Reader. Madison: Unversity of Wisconsin Press, 1998
– Townshend, Dale. The Orders of Gothic: Foucault, Lacan and the subject of Gothic writing, 1764 – 1820. New York: AMS Press, 2007

 

Naziv kolegija: Suvremena kanadska književnost na engleskom jeziku
Nastavnica:  dr. sc. Vanja Polić, izv. prof.
ECTS-bodovi:  6
Jezik:  engleski
Trajanje:  4. ili 6. semestar
Status:  izborni kolegij
Oblici nastave:  1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija:  položen Uvod u studij engleske književnosti; upisan 4. ili 6. semestar
Okvirni sadržaj predmeta: Kolegij kao polazišnu točku uzima žanr vesterna i mit o Divljem Zapadu te promatra načine na koje se oni preispisuju u suvremenoj kanadskoj književnosti s ciljem progovaranja o dijelovima kanadske povijesti koji nisu odviše prisutni u dominantnom kanadskom diskursu. Posebice će biti riječi o kulturnopovijesnim aspektima kanadskog društva kao što su naseljavanje i kolonijalna povijest zapadne Kanade; zatim marginalni ili ušutkani glasovi u mitu o Divljem Zapadu poput žena, Prvih Naroda i doseljenika; te stvarnost života na Zapadu naspram prikaza života u mitu o Divljem zapadu. S književnoteorijskog aspekta kolegij će se baviti postmodernizmom u kanadskoj književnosti kroz očište metamorfoze „tradicionalnog“ žanra vesterna kao trivijalne/zabavne književnosti u ozbiljnu književnost kao što su historiografska metafikcija i historiografski roman.
Cilj: Upoznavanje studenata s novijom kanadskom kulturom i poviješću kroz relevantna djela suvremene kanadske književnosti.
Studentske obveze: ispunjavanje elemenata kontinuirane provjere znanja, koji obuhvaćaju redovito pohađanje nastave, provjeru čitanja odabranih književnih djela i gledanja odabranih filmova, kraće pisane zadatke u okviru nastave, pravovremenu predaju seminarskog rada i obvezno polaganje 2 kolokvija. Seminarski rad nosi 35%, dva kolokvija 50% i ostali elementi kontinuirane provjere znanja 15% zaključne ocjene iz kolegija. Za prolaz na kolegiju nužno je zadovoljiti sve elemente kontinuirane provjere znanja.

Točni termin 1. kolokvija utvrđuje se u dogovoru sa studentima. Raspodjela tema za seminarske radove je u 8. tjednu nastave.

Sadržaj kolegija po tjednima:
1. tjedan: uvod u Kanadu: povijest i zemljopis Kanade
2. tjedan: mit o Divljem zapadu i pogranična teorija – SAD vs. Kanada
3. tjedan: G. Bowering, Shoot! – uvod u 19.st. društvo, Prve Narode
4. tjedan: G. Bowering, Shoot! –Kanada kao postkolonijalna zemlja?
5. tjedan: historiografska metafikcija (Hutcheon) i rasvjetljavanje povijesti
6. tjedan: G. Vanderhaeghe, The Englishman’s Boy – stvaranje mita o naciji
7. tjedan: G. Vanderhaeghe, The Englishman’s Boy – nastavak
8. tjedan: prvi kolokvij + raspodjela tema za seminarske radove
9. tjedan: F. Stenson, Lightning – povijesni pristup kaubojima i Divljem Zapadu
10. tjedan: G. Bowering, Caprice – Divlji Zapad kao priča
11. tjedan: G. Bowering, Caprice – nastavak
12. tjedan: P. deWitt, The Sisters Brothers –ironiziranje Divljeg Zapada
13. tjedan: P. deWitt, The Sisters Brothers – nastavak
14. tjedan: zaključne opaske, ponavljanje i drugi kolokvij.

Primarna literatura:
Bowering, George. Caprice
Bowering, George. Shoot!
deWitt, Patrick. The Sisters Brothers
Vanderhaeghe, Guy. The Englishman’s Boy
Stenson, Fred. Lightning – odabrana poglavlja
Sekundarna literatura:
American Review of Canadian Studies, special issue: The West. 33, no. 4 (Winter 2003)
Hutcheon, Linda. “Historiographic Metafiction”, The Canadian Postmodern.
Turner, F. J. The Frontier in American History, odabrana poglavlja
See. Scott W. The History of Canada
Slotkin, Richard. Gunfighter Nation: the myth of the frontier in twentieth-century America – odabrana poglavlja
Kritički članci o romanima

Naziv kolegija: Cool Britannia? Britanska drama u razdoblju od 1956. do 2008
Nastavnica: dr. sc. Tihana Klepač, izv. prof.
ECTS bodovi: 6
Jezik: engleski
Trajanje: 4. ili 6. semestar
Status: izborni kolegij
Oblici nastave nastave: 1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija: Položen Uvod u studij engleske književnosti; upisan 4. ili 6. semestar
Okvirni sadržaj kolegija: Kolegij sagledava britansku dramu u razdoblju koje započinje premijerom Osebornove Osvrni se gnjevno i završava Pinterovom smrću na Badnjak 2008. godine u svjetlu njezina doprinosa formulaciji britanskog nacionalnog identiteta. Proučavajući djela dolje navedenih autora istražit ćemo način na koji se britanski dramatičar kroz tri generacije gnjevnih ljudi (izvornu u pedesetima i šezdesetima, drugu u devedesetima kroz dramaturgiju «krvi i sperme», te treću kroz Verbatim dramaturgiju– dokumentarni politički teatar na početku 21. stoljeća) odnosi prema imperijalnoj britanskoj metanaraciji, te nastojati ukazati na puknuća u doživljaju nacije kao Cool Britanije.
Cilj kolegija: Ukazati na ulogu britanske drame u formuliranju viđenja uloge Velike Britanije u postimperijalističkom razdoblju.
Studentske obveze: Kontinuirano praćenje. Studentice i studenti pišu seminarski rad (dio ocjene), aktivno sudjeluju u radu seminara (dio ocjene) te pišu dva kolokvija tijekom semestra. Ocjena se temelji na trajnom praćenju rada. Svi dijelovi ocjene moraju biti pozitivni da bi student/ica dobio/la zaključnu ocjenu

Sadržaj kolegija po tjednima:
1. TJEDAN
Ideja da književnost konstituira diskurse s pomoću kojih suvremeno doba tumači svijet (Marion Halligan, J. Hillis Miller); preispitivanje metanaracija (Lyotard, White, Foucault)
2. TJEDAN
Moć i identitet (Hall, Bhabha, Anderson, Duara, Balibar, Spivak); odnosi moći i pravo na reprezentaciju (Foucault); kraj metanaracija i relativizacija Istine (Baudrillard)
3. TJEDAN
Povijesna kontekstualizacija dramaturgije «gnjevnih mladih ljudi», dramaturgije «krvi i sperme», te Verbatim dramaturgije: Britanija u drugoj polovici 20. stoljeća i u prvom desetljeću 21. stoljeća; utjecaj Samuela Becketta i teatra apsurda
4. TJEDAN
Pokret «gnjevni mladi ljudi»; John Osborne: Look Back in Anger, 1956; sraz klasnih kultura s dominantnom temom bespomoćnosti i ljutnje: otkriće da je idealizirana Britanija za koju se žrtvovalo tijekom rata lažna, a s time u skladu formuliran nacionalni identitet izdaja;  isječci iz televizijske adaptacije drame iz 1976. u okviru programa «BBC Play of the Month»
5. TJEDAN
Harold Pinter: The Dumb Waiter, 1960; sraz individualnog i kolektivnog identiteta kroz političku metaforu, tema «Velikog brata»; isječci iz intervjua s Michaelom Billingtonom i Karelom Reiszom
6. TJEDAN
Edward Bond: Saved, 1965; kulturno siromaštvo i frustracija mladih na socijalnoj pomoći, pitanje cenzure
7. TJEDAN
Tom Stoppard: Rozenkrantz And Guildenstern Are Dead, 1966: sraz individualnog i kolektivnog identiteta u društvu u kojem su tradicionalne vrijednosti izvrnute, postmodernistička igra riječima, reinskripcija britanskog kanona; isječci iz filma Rozenkrantz And Guildenstern Are Dead (1990)
8. TJEDAN
Kolokvij
Tematika prekooceanske kolonizacije u britanskoj drami (Kidd, Tylor, Kipling)
9. TJEDAN
Timberlake Wertenbaker: Our Country’s Good
10. TJEDAN
Dramaturgija «krvi i sperme» (In-Yer-Face Theatre); Sarah Kane: Blasted, 1995; tragedija povijesti; usporedba recepcije s Look Back in Anger i Saved
11. TJEDAN
Mark Ravenhill: Shopping and Fucking, 1996; konzumerizam koji briše sve moralne kodove; snimka predstave izvedene u kazalištu &TD, Zagreb, premijera 7. svibnja 2004.
12. TJEDAN
Verbatim dramaturgija: političari na pozornici; David Hare: Stuff Happens; odnos prema britanskoj vanjskoj politici, igre moći, reprezentacija i samoreprezentacija
13. TJEDAN
Verbatim dramaturgija: drame o suđenjima; Richard Norton – Tylor: Bloody Sunday: Scenes from the Saville Inquiry; postkolonijalna Irska
14. TJEDAN
Završna diskusija.
15. TJEDAN
Kolokvij.

Literatura za kolegij:
Primarna
John Osborne: Look Back in Anger
Harold Pinter: The Dumb Waiter
Edward Bond: Saved
Tom Stoppard: Rozenkrantz And Guildenstern Are Dead
Timberlake Wertenbaker: Our Country’s Good
Mark Ravenhill: Shopping and Fucking
Sarah Kane: Blasted
David Hare: Stuff Happens
Richard Norton – Tylor: Bloody Sunday: Scenes from the Saville Inquiry
Sekundarna
– Christopher Innes: Modern British Drama: The Twentieth Century, Cambridge University Press, 2002
– Simon Trussler: The Cambridge Illustrated History of British Theatre, Cambridge University Press, 2000.

 

Zbog nedostupnosti relevantnih izvora Cool Britannia? Reader 2010 sadrži i književnokritičke i književnopovijesne tekstove preuzete iz sljedećih izdanja: Eley, Geoff and Suny, Ronald Grigor (eds.): Becoming National A Reader (1996), Bhabha, Homi K. (ed.). Nation and Narration (2002), Lyotard, Francois. The Postmodern Condition: A Report on Knowledge (1989 edition), Jean Baudrillard: Simulations (1981), John Smart: Twentieth Century British Drama (2002), Colin Wilson: The Angry Years: The Rise and Fall of the Angry Young Men (2007), Rebecca D’Monte and Graham Saunders: Cool Britannia? British political Drama in the 1990s (2007), Alex Sierz: In-Yer-Face Theatre. British Drama Today (2000), Will Hammond and Dan Stuart (ed): Verbatim Verbatim: Techniques in Contemporary Documentary Theatre (2008).

 

 

 

Naziv kolegija: Srednjovjekovni izvori engleske renesansne drame (2P/1S, 6 ECTS)
Naziv predmeta: Starija engleska književnost
Status: izborni u okviru ponude književnih kolegija; tip izbornosti: B; ECTS–bodovi: 6
Nositelj kolegija: dr. sc. Janja Ciglar-Žanić, red. prof.
Nastavnica: Tamara Petrić, asist.
Trajanje: Ljetni semestar (IV/ VI) 2012/ 2013.
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Jezik: engleski
Uvjeti za upis kolegija: upisan IV ili VI semestar
Način polaganja ispita: Ocjena se temelji na kontinuiranoj pismenoj evaluaciji (pišu se dva kolokvija i seminarski rad) te na redovnom pohađanju nastave i participaciji u diskusijama na satu.
Način praćenja kvalitete i uspješnosti izvedbe predmeta: Anonimna studentska anketa na kraju semestra.
Cilj kolegija: Historiografskom analizom dramskih tekstova i kazališne tradicije pokušat ćemo rekonstruirati društveni kontekst iz kojeg je iznikla engleska srednjovjekovna i renesansna drama te gospodarske i političke interese i stavove naručitelja odnosno autora. Ikonografskom analizom crkvene arhitekture i namještaja, nezaobilaznih u izvedbi uskrsne liturgije, prvog dramskog oblika u srednjovjekovnoj Evropi, pokušat ćemo dokazati da je napredna agrarna ekonomija benediktinskih samostana, u okrilju kojih je liturgijska drama iznikla u karolinško doba, bitno utjecala na razvoj trgovine vunom i tekstilom na kojemu će se i engleska ekonomija temeljiti još stoljećima. Naslijedivši iz liturgijske procesije prostornu konfiguraciju pozornice i gledališta, obrtnici i trgovci koji su o praznicima glumili u misterijima njome će se poslužiti da simbolički prisvoje vlast nad općinama slobodnih trgovišta gdje su posjedovni odnosi bili narušeni u korist redovnika i fratara koji su povrh toga od revoltiranih građana ubirali daće. Konotacije koje su s vremenom u engleskoj kulturi, pa tako i u mirakulima i hagiografijama, zadobili geografski pojmovi poput Levanta/ Bliskog Istoka i Istočnog Mediterana te Baltika dokazuju sve veću važnost tih trgovačkih koridora za englesku ekonomiju u petnaestom stoljeću, a iz tekstova šesnaestostoljetnih i sedamnaestostoljetnih komedija nadaje se i ključno mjesto prekooceanske trgovine robljem u to doba, kao i strah od turske flote, koja će Veneciji oduzeti trgovinski monopol na Mediteranu. Dok moraliteti tržišnoj ekonomiji i nacionalnim interesima suprotstavljaju idealiziranu sliku feudalnih odnosa, šesnaestostoljetne komedije izražavaju merkantilističku kritiku uvoza nauštrb izvozu u doba inflacije diljem Evrope, a sedamnaestostoljetna građanska drama kritizira uspon na društvenoj ljestvici trgovaca koji su se obogatili gusarenjem, prekooceanskom trgovinom i trgovinom robljem.
Uloga kolegija u ukupnom nastavnom planu: Proučavajući dramsku i kazališnu tradiciju polaznice će uvježbati vještinu tematske analize književnog teksta, steći naviku kontekstualiziranja dramskog teksta i kazališne izvedbe unutar društveno—političkih okolnosti te argumentiranog dokazivanja.
Metode: Kolegij kombinira metode predavanja i seminarskog rada, pri čemu se će se u učionici (u onom dijelu nastavnog procesa koji je zamišljen kao predavanje) kao i na ispitu polaznice i polaznici poticati na strukturiranu raspravu o unaprijed zadanim temama, omeđenu razumijevanjem prethodno zadanog materijala.

Sadržaj kolegija.
1. i 2. tjedan. Uskrsni igrokaz i uskrsna pantomima iz Durhama u sjevernoj Engleskoj.
– “The Quem Quaeritis Trope”, “A Pantomime for Easter Day”, “An Easter Resurrection Play”, and “The Orleans Sepulcher”, Medieval and Tudor Drama (1963), ur. John Gassner, New York: Bantam Books, 1987; 33—43.
– “The Crusades and Eastern Europe, ca. 1100—1550”, u Mortimer Chambers, Raymond Grew, David Herlihy et al, The Western Experience (1974), 2 toma, 5. izd, New York, St Louis, San Francisco et al: McGraw—Hill, 1991; 381—415.
– John M Wasson, “The English Church A Theatrical Space”, A New History of Early English Drama, ur. John D. Cox and David Scott Kastan, New York: Columbia UP, 1997; 25—37.
– Roger E. Reynolds, “The Drama of Medieval Liturgical Processions”, Revue de Musicologie, Vol. 86, No. 1 (2000); 127—142.
3. i 4. tjedan. Second Shepherds’ Play, misterij iz Yorkshirea
–Second Shepherds’ Play/ Secunda Pastorum, u ‘Everyman’ and Medieval Miracle Plays, ur . A. C. Cawley, London: J. M. Dent, 1956; 81—107.
– Edna Eileen Power, “The English Wool Trade in the Reign of Edward IV”, Cambridge Historical Journal, Vol. 2, No. 1 (1926); 17–35.
– Anne Higgins, “Streets and Markets”, A New History of Early English Drama, ur. John D. Cox and David Scott Kastan, New York: Columbia UP, 1997; 77—92.
5. i 6. tjedan. Play of the Sacrament, mirakul iz Istočne Anglije
– The Play of the Sacrament, u Early English Drama (An Anthology), ur . John C. Coldewey, New York, London: Garland Publishing, 1993; 274—305.
– Lisa Lampert, “The Once and Future Jew: The Croxton ‘Play of the Sacrament’, Little Robert of Bury and Historical Memory”, Jewish History, Vol. 15, No. 3 (2001), 235—255.
7. i 8. tjedan. The Summoning of Everyman; moralitet; prvi kolokvij.
– The Somonynge of Eueryman/ Summoning of Everyman, u An Anthology of English Drama Before Shakespeare, ur . Robert B. Heilman, New York, Toronto: Rinehart, 1954; 73—104.
– Roger Ladd, “‘My condicion is mannes soule to kill’ — Everyman’s Mercantile Salvation”, Comparative Drama, Vol. 41, No. 1 (2007), 57–78.
– Suzanne Westfall, “’A Commonty a Christmas gambold or a tumbling trick’: Household Theater”, A New History of Early English Drama, ed. John D. Cox and David Scott Kastan, New York: Columbia UP, 1997; 39—58.
9. i 10. tjedan. Christopher Marlowe, Tamburlaine the Great
– Christopher Marlowe, Tamburlaine the Great, ur . J. W. Harper. London: Ernest Benn, 1971.
– Jonathan Burton, “Anglo—Ottoman Relations and the Image of the Turk in Tamburlaine”, Journal of Medieval and Early Modern Studies, 30.1 (2000), 125—157.
11. i 12. tjedan. William Shakespeare, The Merchant of Venice
– William Shakespeare, The Merchant of Venice, u William Shakespeare: The Complete Works, ur . Stephen Orgel and A. R. Braunmuller, New York: Penguin Putnam, 2002; 293—323.
– Jennifer Rich, “The Merchant Formerly Known as Jew: Redefining the Rhetoric of Merchantry in Shakespeare’s Merchant of Venice.”, Early Modern Literary Studies, Vol. 13, No. 3 (January, 2008) 2. 01—19.
– Alan Stewart, “‛Come from Turkie’: Mediterranean Trade in Late Elizabethan London”, Remapping the Mediterranean World in Early Modern English Writings, ur. Goran Stanivukovic, New York: Palgrave Macmillan, 2007; 157—177.)
13. i 14. tjedan. Arden of Feversham
– Arden of Feversham, u English Renaissance Drama: A Norton Anthology, ur. David Bevington, Lars Engle, Katharine Eisaman Maus, and Eric Rasmussen, New York and London: W. W. Norton and Company, 2002; 421–482.
– Garrett A. Sullivan, Jr, “’Arden Lay Murdered in That Plot of Land’: Surveying, Land and Arden of Faversham”, English Literary History, Vol. 61, No. 2 (Summer, 1994), 231—252.
15. tjedan. Elizabetansko kazalište, ponavljanje gradiva; drugi kolokvij.
– John Orrell, “The Theaters”, A New History of Early English Drama, ur. John D. Cox and David Scott Kastan, New York: Columbia UP, 1997; 93—112.

Suzanne Westfall, “’A Commonty a Christmas gambold or a tumbling trick’: Household Theater”, A New History of Early English Drama, ed. John D. Cox and David Scott Kastan, New York: Columbia UP, 1997; 39—58.

Naslov kolegija: Shakespeare
Nastavnica: dr sc. Janja Ciglar-Žanić, red. prof.
ECTS-bodovi: 6 bodova.
Jezik: engleski
Status: izborni kolegij.
Trajanje: 1 semestar (IV ili VI semestar)
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno.
Uvjeti za upis kolegija: završen III ili V semestar.
Opis/Sadržaj kolegija: Kolegij će biti posvećen proučavanju odabranog broja Shakespeareovih drama iz perspektive novih teorija književnosti i kulture. Nove strategije čitanja razvijene u nekoliko posljednjiih desetljeća (novi historizam, kulturni materijalizam, feminizam, postkolonijalizam) bit će u središtu interesa u uvodnom dijelu kolegija. Svaka od odabranih drama bit će popraćena insertima iz odgovarajućih filmskih verzija, a diskusije će biti usredotočene na odnos između teksta i njegove vizualne prezentacije. Posebna pažnja bit će posvećena reinskripcijskim praksama, kako u tekstualnoj kritici tako i u filmskim adaptacijama.
Ciljevi kolegija: Osnovni je cilj kolegija rasvijetliti tradicionalno razumijevanje i čitanje drama, kao i njihovo suvremeno tumačenje. Dodatni je cilj preispitati kako Shakespeareovi tekstovi funkcioniraju u mediju nedostupnom u Shakespeareovo doba i na koji su način i tekstualni i vizualni medij povezani s našim suvremenim interesima.
Studentske obaveze: Kontinuirano praćenje. Osim redovitog pohađanja kolegija i aktivnog sudjelovanja u nastavi, studentice i studenti tijekom semestra pišu po jedan seminarski rad (koji i izlažu na satu) te dva kolokvija (u obliku testa s kratkim faktografskim pitanjima o elizabetanskom razdoblju i po jednog ili dva eseja).

Sadržaj kolegija po tjednima:
1. tjedan: Uvod: Strategije čitanja.
2. tjedan: Strategije čitanja (nast.).
3. tjedan: Šekspirijansko kazalište.
4. tjedan: Hamlet: različita čitanja s naglaskom na psihoanalitičkoj, neohistoričkoj i političkoj interpretaciji. Inserti iz filmova G. Kozintseva.
5. tjedan: Hamlet (nast.). Inserti iz filmova L. Oliviera i K. Branagha.
6. tjedan: Antonije i Kleopatra: različita čitanja s naglaskom na feminističkoj interpretaciji.
7. tjedan: Antonije i Kleopatra (nast.).
8. tjedan: Prvi kolokvij.
9. tjedan: San ivanjske noći: različite reinskripcijske prakse u tekstualnoj kritici i izvedbama. Inserti iz filmova A. Noblea i M. Hoffmana te iz i predstave A. Popovskoga (Dramsko kazalište Gavella).
10. tjedan: San ivanjske noći (nast.). Inserti iz filmova M. Hoffmana i A. Popovskoga (Dramsko kazalište Gavella).
11. tjedan: Oluja: različita čitanja s naglaskom na postkolonijalnoj interpretaciji. Inserti iz filma D. Jarmana te iz BBC-jeve produkcije.
12. tjedan: Oluja (nast.). Inserti iz filma P. Greenawaya (Prospero’s Books).
13. tjedan: Oluja (nast.).
14. tjedan: Zaključak: reinskripcijske prakse u tekstualnoj kritici i u filmskim adaptacijama.
15. tjedan: Drugi kolokvij.

Obavezna literatura:
– Orgel, Stephen, i A. R. Braunmuller (ur), The Complete Pelican Shakespeare, New York: Penguin, 2002.
– Barker, Francis, i Peter Hulme, “Nymphs and Reapers Heavily Vanish: The Discursive Con–Texts of The Tempest”, u: Drakakis, John (ed), Alternative Shakespeares. London i New York: Routledge, 1985; 191-205.
– Carter, Ronald, «The Renaissance: 1485-1660», u: Carter, Ronald, i John McRae (ur). The Routledge History of Literature in English. London & New York: Routledge, 1997; 57-126.
– Ciglar-Žanić, Janja, “Antikolonijalna Oluja: teorija i praksa suvremenih reinskripcija Shakespearea”, u: Neka veća stalnost: Shakespeare u tekstu i kontekstu, Zagreb: Zavod za znanost o književnosti Filozofskog fakulteta, 2001; 125-151.
– Coddon, Karin S, «‘Suche Strange Desygns’: Madness, Subjectivity, and Treason in Hamlet and Elizabethan Culture», u: Wofford, Susanne L (ur), Case Studies in Contemporary Criticism: William Shakespeare, ‘Hamlet’. New York: Bedford Books, 1994; 380-402.
– Desmet, Christy, “Character Criticism”, u: Wells, Stanley, i Lena Cowe Orlin (eds), Shakespeare: An Oxford Guide, Oxford: Oxford UP, 2003; 351-372.
– Fitz, Linda T, “Egyptian Queens and Male Reviewers: Sexist Attitudes in Antony and Cleopatra Criticism.”, u: Drakakis, John (ur), New Casebooks: Antony and Cleopatra, Houndmills [itd.]: Macmillan, 1994; 182-211.
– French, Marilyn, “Antony and Cleopatra”, u Shakespeare’s Division of Experience, London: Abacus, 1983; 251-265.
– Girard, René, “The Course of True Love”, u A Theater of Envy: William Shakespeare; New York & Oxford: Oxford UP, 1991; 29-79.
– Greenblatt, Stephen J, “Learning To Curse: Aspects of Linguistic Colonialism in the Sixteenth Century”, u Learning to Curse: Essays in Early Modern Culture, New York & London: Routledge, 1992, 16-39.
– Gurr, Andrew, «The Shakespearean Stage», u: Greenblatt, Stephen (ur), The Norton Shakespeare, New York i London: W. W. Norton and Company, 1997; 3281-3301.
– Harrison, G. B, “Materials for the Life of Shakespeare”, in Introducing Shakespeare (3. izd), Harmondsworth: Penguin Books, 1966; 29-75.
– Holderness, Graham, «Bardolatry: or, The cultural materialist’s guide to Stratford—upon—Avon», u: Holderness, Graham (ur), The Shakespeare Myth, Manchester: Manchester UP, 1998; 02–15.
– Jones, Norman, “Shakespeare’s England”, u: Kastan, David Scott (ur), A Companion to Shakespeare, Oxford: Blackwell Publishers, 1999; 25-41.
– Kott, Jan, “Titania and the Ass’s Head”, u: Shakespeare Our Contemporary, prev. Boleslaw Taborski, New York: Doubleday, 1966; 213-236.
– Loomba, Ania, “‘Travelling thoughts’: Theatre and the Space of the Other”, u: Drakakis, John (ur), New Casebooks: Antony and Cleopatra, Houndmills [itd]: Macmillan, 1994; 279-307.
– Neill, Michael, “Hamlet: A Modern Perspective”, in Mowat, Barbara A. & Paul Werstine (eds), The Tragedy of Hamlet, Prince of Denmark, New York [etc]: The New Folger Library Shakespeare, 1992; 307-326.
– Tatspaugh, Patricia, “Performance history: Shakespeare on the stage 1660-2001”, u: Wells, Stanley, & Lena Cowe Orlin (eds), Shakespeare: An Oxford Guide, Oxford: Oxford UP, 2003; 525-549.

Preporučena literatura:
– Barber, C. L, Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Relation to Social Custom, Princeton: Princeton UP, 1972.
– Bradley, A. C, Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth, London: Macmillan, 1904.
– Brooker, Peter, i Peter Widdowson (ur), A Practical Reader in Contemporary Literary Theory, Harlow [etc.]: Prentice Hall, 1996.
– Bulman, James C (ur), Shakespeare, Theory and Performance, London i New York: Routledge, 1996.
– Ciglar-Žanić, Janja, Domišljato stvoren svijet: Barok u engleskoj književnosti, Zagreb: Slap, 2008.
– Ciglar-Žanić, Janja, Neka veća stalnost: Shakespeare u tekstu i kontekstu, Zagreb: Zavod za znanost o književnosti Filozofskoga fakulteta u Zagrebu, 2001.
– Cox, John D, i David Scott Kastan (ur), A New History of Early English Drama, s uvodnom riječju Stephena J. Greenblattaa, New York: Columbia UP, 1997.
– De Grazia, Margreta, i Stanley Wells (ur), The Cambridge Companion to Shakespeare, Cambridge: Cambridge UP, 2001.
– Dollimore, Jonathan; i Alan Sinfield (ur), Political Shakespeare: Essays in Cultural Materialism, Manchester i New York: Manchester UP, 1985.
– Frye, Northrop, Anatomy of Criticism: Four Essays, Princeton: Princeton UP, 1957.
– —  A Natural Perspective: The Development of Shakespearean Comedy and Romance, New York i London: Columbia UP, 1965.
– —   Fools of Time: Studies in Shakespearean Tragedy, Toronto [itd]: University of Toronto Press, 1996.
– Greenblatt, Stephen (ur), The Norton Shakespeare, New York and London: W. W. Norton, 1997.
– Harrison, G. B, Introducing Shakespeare (3. izd), Harmondsworth: Penguin Books, 1966.
– Hattaway, Michael; Boika Sokolova, i Derek Roper (ur), Shakespeare in the New Europe. Sheffield: Sheffield Academic Press, 1994.
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