{"id":19003,"date":"2011-10-20T13:08:20","date_gmt":"2011-10-20T13:08:20","guid":{"rendered":"http:\/\/anglist.ffzg.unizg.hr\/?p=19003"},"modified":"2015-04-07T09:59:27","modified_gmt":"2015-04-07T08:59:27","slug":"etika-i-estetika-britanskoga-i-irskoga-modernizma-en","status":"publish","type":"post","link":"https:\/\/anglist.ffzg.unizg.hr\/?p=19003&lang=en","title":{"rendered":"Etika i estetika britanskoga i irskoga modernizma (en)"},"content":{"rendered":"

\n

<\/p>\n

SYLLABUS<\/span><\/b><\/span><\/p>\n<\/p>\n

Naziv
\nkolegija:<\/span><\/b> <\/span><\/span>
\nEtika i estetika britanskoga i irskoga modernizma<\/span><\/i><\/span><\/b><\/span><\/p>\n


\ndr. sc. Ljiljana Ina
\nGJURGJAN, redoviti profesor<\/span><\/b><\/p>\n


\nNaziv kolegija: Etika i
\nestetika britanskoga i irskoga modernizma <\/span><\/b><\/p>\n

\n7<\/span><\/b><\/span>.\/9. semestar<\/span><\/b><\/p>\n

\nJezik<\/span><\/b>:
\nengleski<\/span><\/p>\n

\nTrajanje<\/span><\/b>:1
\nsemestar, zimski<\/span><\/p>\n

\nStatus<\/span><\/b>:
\nizborni<\/span><\/p>\n

\nOblik nastave<\/span><\/b>:
\n1 sat predavanja i 2 sat seminara tjedno<\/span><\/p>\n

\nUvjeti<\/span><\/b>:
\nUpisan 7.\/9. semestar<\/span><\/p>\n

<\/p>\n

\n

\nIspit<\/b>: Kontinuirano pra\u0107enje. Tijekom
\nseminara studenti\/ce trebaju izraditi jedan seminarski rad te ga prezentirati na
\nsatu. Rad u seminaru, seminarski rad te dva kolokvija konstitutivni su dio
\nzavr\u0161ne ocjene. Svi dijelovi ocjene moraju biti pozitivni da bi student\/ica
\ndobio\/la zaklju\u010dnu ocjenu.<\/span><\/p>\n


\nSadr\u017eaj: <\/b>Na odabranom korpusu modernisti\u010dkih tekstova analizirat \u0107emo
\nosobine i tematiku modernizma. U zavr\u0161nom dijelu seminara usporedit \u0107emo
\nmodernizam s nekim djelima kasnijega razdoblja. \u2013 Audenovom pjesmom \u00abU sje\u0107anje
\nna W. B. Yeatsa\u00bb, Cunninghamovim romanom Sati<\/i> i pripovijetkom iz
\nBarnesove zbirke pripovijedaka Stol od \u010deturnovine<\/i>\u00bb <\/span><\/p>\n

Cilj: <\/b>Cilj kolegija je
\nproblemski pristupiti razdoblju modernizma. Uz upoznavanje dijela kanona
\nbritanskoga i irskoga modernizma, u kolegiju \u0107e se raspraviti i temeljna pitanja
\no ulozi knji\u017eevnosti. ali i njezinoj ulozi u \u00a0artikulaciji osobnoga i
\nnacionalnoga identiteta u tom razdoblju. U kolegiju \u0107emo se tako\u0111er upoznati s
\nrelevantnim kriti\u010dkim metodama za promi\u0161ljanje modernizma (psihoanaliti\u010dka,
\npoststrukturalisti\u010dka, feministi\u010dka, postkolonijalna\/kulturolo\u0161ka kritika).
\n<\/span><\/p>\n

    \n
  1. tjedan.<\/b> Uvod
    \n\t<\/b>Karakteristike modernizma, razgrani\u010denje pojmova dekadentizam,
    \n\testeticizam, impresionizam, modernizam, modernitet, avangarda. Filozofske
    \n\tpretpostavke modernizma (Mach, Bergson, Nietzsche, Freud) <\/span><\/li>\n
  2. \n\ttjedan. Esteticizam i dekadentizam <\/b>W.B.
    \n\tYeats: \u00abSaling to Byzantium\u00bb, \u00a0<\/b>Oscar Wilde: The Picture of Dorain
    \n\tGray<\/i> (ulomak), \u00a0<\/span><\/li>\n
  3. \n\ttjedan. Estetizacija nasilja <\/b>W.B. Yeats:
    \n\tCathleen ni Houlihan<\/i>, \u00abEaster 1916\u00bb, Roland Barthes: Mythologies
    \n\t(ulomak), \u00a0<\/span><\/li>\n
  4. \n\ttjedan. Modernisti\u010dki antijunak: <\/b>T.S.
    \n\tEliot: \u00abThe\u00a0 Love Song of\u00a0 J. Alfred\u00a0 Prufrock\u00bb, James Joyce: \u00abCounterparts\u00bb,<\/b>
    \n\tUlysses <\/i>(odabrane scene iz filma)<\/span><\/li>\n
  5. \n\ttjedan.<\/b> S. Beckett: Waiting for Godot<\/i>:
    \n\t(ulomci) \u00a0\u00a0<\/span><\/li>\n
  6. \n\ttjedan. Modernisti\u010dki subjektivizam: <\/b>
    \n\tJoseph Conrad: Heart of Darkness<\/i>,\u00a0 analiza eseja \u00a0<\/b>Ian
    \n\tWatt: \u201cConrad in the Nineteenth Century\u201d,<\/span>\u00a0 <\/b>V. Woolf: Mrs.
    \n\tDalloway<\/i> (film)<\/span><\/li>\n
  7. \n\ttjedan Modernisti\u010dki subjektivizam\/nast. <\/b>
    \n\tV. Woolf: <\/b>To the Lighthouse<\/i> Analiza eseja
    \n\tErich Auerbach: \u201cSme\u0111a \u010darapa\u201d ili (u: E. Auerbach: Mimesis: Prikazivanje
    \n\tstvarnosti u zapadnoj knji\u017eevnosti<\/i>) Bonnie Kime Scott: \u201cDigging out Mrs.
    \n\tDalloway\u201d (u: B. K. Scott: Refiguring Modernism, vol. 2:\u00a0 Postmodern
    \n\tFeminist Readings of Woolf, West, and Barnes<\/i>)<\/span><\/span><\/li>\n
  8. \n\ttjedan. nastavak<\/b> MIDTERM PAPER<\/span><\/li>\n
  9. \n\ttjedan. <\/b>Postkolinijalna kritika: Joyce,
    \n\t\u00abCounterparts\u00bb, \u00abEveline\u00bb (konstrukcija identiteta\u00a0 u kolonijalnim uvjetima-
    \n\tMullin), eseji Chinua Achebea i\u00a0 Edwarda\u00a0 Saida o <\/b>\u00a0Heart
    \n\tof Darkness<\/span><\/i> (u: A Practical Reader in
    \n\tContemporary Literary Theory<\/i>, Edited by P. Brooker and P. Widdowson)
    \n\tChapter 4: Conrad: The Presentation of Narrative (u: Edward W. Said: The
    \n\tWorld, the Text, and the Critic<\/i>)<\/span><\/span><\/li>\n
  10. \n\ttjedan. <\/b>Feministi\u010dko \u010ditanje romana V.
    \n\tWoolf’s: To the Lighthouse<\/i>. Analiza eseja <\/b>\u00a0Bonnie
    \n\tKime Scott: \u201cDigging out Mrs. Dalloway\u201d (u: B. K. Scott: Refiguring
    \n\tModernism, vol. 2:\u00a0 Postmodern Feminist Readings of Woolf, West, and Barnes<\/i>)<\/span><\/span><\/li>\n
  11. \n\ttjedan.\u00a0 <\/b>Psihoanaliti\u010dko \u010ditanje To the
    \n\tLighthouse (the Oedipal complex)<\/span><\/li>\n
  12. \n\ttjedan. <\/span><\/b>
    \n\tPostmodernisti\u010dka reinskripcija Mrs. Dalloway<\/i>: Michael Cunningham:
    \n\tThe Hours<\/i><\/span><\/li>\n
  13. \n\tW. H. Auden: \u00abIn Memory of W. B. Yeats\u00bb, Julian
    \n\tBarnes: from \u00abThe Lemon Table\u00bb<\/span><\/li>\n
  14. \n\tRezervno vrijeme za nadoknade ili daljnje
    \n\trazgovore o temama prema izboru studenata<\/span><\/li>\n
  15. \n\tEND TERM PAPER<\/span><\/li>\n<\/ol>\n

    \u00a0<\/span><\/p>\n

    Popis literature<\/b>:<\/span><\/p>\n

    OBVEZATNA<\/b><\/span><\/p>\n

    A Reader \u2013 dostupan za
    \nfotokopiranje u fotokopiraonici Fakulteta pod nazivom Prof. Gjurgjan,\u00a0 Britanski
    \nmodernizam 2009\/10) <\/span><\/p>\n

    Joseph Conrad Heart of
    \nDarkness<\/i>, <\/span><\/p>\n

    James Joyce A Portrait o
    \nthe Artist as a Young Man<\/i>, Ulysses<\/i> (selected pages), <\/span><\/p>\n

    Virginia Woolf , To the
    \nLighthouse<\/i> Misses Dalloway (optional)<\/i><\/span><\/p>\n

    <\/p>\n

    SEKUNDARNA:<\/b><\/span><\/p>\n


    \nChapter 6: Joseph Conrad: Heart of Darkness<\/i> (u: A
    \nPractical Reader in Contemporary Literary Theory<\/i>, Edited by P. Brooker and
    \nP. Widdowson)<\/span><\/span><\/p>\n


    \nChapter 4: Conrad: The Presentation of Narrative<\/i> (u:
    \nEdward W. Said: The World, the Text, and the Critic<\/i>)<\/span><\/span><\/p>\n


    \nImpressionism<\/span><\/i> (u: Ian Watt:
    \nConrad in the Nineteenth Century<\/i>)<\/span><\/span><\/p>\n


    \nIvo Vidan: Punina trenutka u struji svijesti<\/i> (u:
    \nVirginia Woolf: Gospo\u0111a Dalloway <\/i>(preveo Mate Maras)) <\/span><\/span><\/p>\n


    \nVirginia Woolf: From \u201cByron and Mr. Briggs\u201d<\/i> (u: The
    \nGender of Modernism: A Critical Anthology, edited by Bonnie Kime Scott<\/i>)<\/span><\/span><\/p>\n


    \nErich Auerbach: Sme\u0111a \u010darapa<\/i> ili (u: E. Auerbach:
    \nMimesis: Prikazivanje stvarnosti u zapadnoj knji\u017eevnosti <\/i>ili engl. prijevod
    \n<\/i>)<\/span><\/span><\/p>\n


    \nBonnie Kime Scott: Digging out <\/i>Mrs. Dalloway (u: B. K.
    \nScott: Refiguring Modernism, vol. 2:\u00a0 Postmodern Feminist Readings of Woolf,
    \nWest, and Barnes<\/i>)<\/span><\/span><\/p>\n


    \nBan Wang: \u201cI\u201d on the Run: Crisis of Identity in <\/i>Mrs.
    \nDalloway (u: Modern Fiction Studies, Vol. 38, no. 1)<\/span><\/span><\/p>\n


    \nDeclan Kiberd: Inventing
    \nIreland: The Literature of the Modern Nation<\/i>, London: Vintage, 1996<\/span><\/span><\/p>\n


    \nMargot Norris: \u201cStephen
    \nDedalus, Oscar Wilde, and the Art of Lying\u201d u Joyce\u2019s Web<\/i>, Austen: U. of
    \nTexas Press, 1992.<\/span><\/span><\/p>\n

    \u00a0<\/span><\/p>\n

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