{"id":52,"date":"2011-10-20T13:37:29","date_gmt":"2011-10-20T13:37:29","guid":{"rendered":"http:\/\/www.ffzg.unizg.hr\/anglist\/test\/wp\/?p=52"},"modified":"2015-02-10T13:27:01","modified_gmt":"2015-02-10T12:27:01","slug":"shakespeare","status":"publish","type":"post","link":"https:\/\/anglist.ffzg.unizg.hr\/?p=52","title":{"rendered":"Shakespeare (diplomski)"},"content":{"rendered":"

Naslov kolegija: <\/span><\/strong> Shakespeare 2.<\/span><\/em>
Nastavnica: <\/span><\/strong>dr sc. Janja Ciglar-\u017dani\u0107.<\/span>
ECTS-bodovi: <\/span><\/strong>6 bodova.<\/span>
Jezik:<\/span><\/strong> engleski<\/span>
Status:<\/span><\/strong> izborni kolegij.<\/span>
Trajanje:<\/span><\/strong> 1 semestar (VIII ili X semestar)<\/span>
Oblik nastave:<\/span><\/strong> 1 sat predavanja i 2 sata seminara tjedno.<\/span>
Uvjeti za upis kolegija:<\/span><\/strong> upisan VIII ili X semestar.<\/span><\/span><\/p>\n

Opis\/ Sadr\u017eaj kolegija: <\/span><\/strong> Kolegij \u0107e biti posve\u0107en prou\u010davanju odabranog broja Shakespeareovih drama iz perspective novih teorija knji\u017eevnosti i kulture. Nove strategije \u010ditanja razvijene u nekoliko posljednjiih desetlje\u0107a (novi historizam, kulturni materijalizam, feminizam, postkolonijalizam) bit \u0107e u sredi\u0161tu interesa u uvodnom dijelu kolegija. Svaka od odabranih drama bit \u0107e popra\u0107ena insertima iz odgovaraju\u0107ih filmskih verzija, a diskusije \u0107e biti usredoto\u010dene na odnos izme\u0111u teksta i njegove vizualne prezentacije. Posebna pa\u017enja bit \u0107e posve\u0107ena reinskripcijskim praksama, kako u tekstualnoj kritici tako i u filmskim adaptacijama.<\/span><\/span><\/p>\n

Ciljevi kolegija: <\/span><\/strong> Osnovni je cilj kolegija rasvijetliti tradicionalno razumijevanje i \u010ditanje drama, kao i njihovo suvremeno tuma\u010denje. Dodatni je cilj preispitati kako Shakespeareovi tekstovi funkcioniraju izvan medija nedostupnog u Shakespeareovo doba i na koji su na\u010din i tekstualni i vizualni medij povezani s na\u0161im suvremenim interesima.<\/span><\/span><\/p>\n

Studentske obaveze: <\/span><\/strong> Rad u nastavi (redovito poha\u0111anje kolegija i aktivno sudjelovanje u nastavi); razli\u010diti pojedina\u010dni zadaci (jedno usmeno izlaganje)<\/span>; i kona\u010dni pismeni ispit na kraju semestra u obliku testa s kratkim faktografskim pitanjima o elizabetanskom razdoblju i tri eseja s temama kojih se doti\u010du drame.<\/span><\/span><\/p>\n

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

Sadr\u017eaj kolegija po tjednima:<\/span><\/strong><\/span><\/p>\n

Prvi tjedan: <\/span><\/strong> Uvod: <\/span>Strategije \u010ditanja.<\/span><\/p>\n

Drugi tjedan: <\/span><\/strong>Strategije \u010ditanja (nast.).<\/span><\/span><\/p>\n

Tre\u0107i tjedan: <\/span><\/strong>\u0160ekspirijansko kazali\u0161te.<\/span><\/span><\/p>\n

\u010cetvrti tjedan: <\/span><\/strong>Kralj Lear<\/em>: razli\u010dita \u010ditanja s naglaskom na kulturno-materijalisti\u010dkoj interpretaciji. Inserti iz filmova M. Elliotta i Petera Brooka te iz BBC-jeve produkcije.<\/span><\/span><\/p>\n

Peti tjedan: <\/span><\/strong>Kralj Lear <\/em>(nast.)<\/span>.<\/span><\/span><\/p>\n

\u0160esti tjedan: <\/span><\/strong>Hamlet<\/em>: razli\u010dita \u010ditanja s naglaskom na psihoanaliti\u010dkoj, neohistori\u010dkoj i politi\u010dkoj interpretaciji. <\/span>Inserti iz filmova Sir Laurencea Oliviera, G. Kozintseva i K. Branagha.<\/span><\/span><\/p>\n

Sedmi tjedan: <\/span><\/strong>Hamlet <\/em>(nast.).<\/span><\/span><\/p>\n

Osmi tjedan: <\/span><\/strong>San ivanjske no\u0107i<\/em>: razli\u010dite reinskripcijske prakse u tekstualnoj kritici i izvedbama. Inserti iz filmova A. Noblea, M. Hoffmana i A. Popovskoga (Dramsko kazali\u0161te Gavella).<\/span><\/p>\n

Deveti<\/span>tjedan<\/span>: <\/strong>San ivanjske no\u0107i <\/em>(nast<\/span>.).<\/span><\/p>\n

Deseti<\/span>tjedan<\/span>: <\/strong>Oluja: <\/em>razli\u010dita \u010ditanja s naglaskom na postkolonijalnoj<\/span> interpretaciji<\/span>. Inserti<\/span>iz<\/span>filmova<\/span>D<\/span>. Jarmana<\/span>i<\/span>P<\/span>. Greenawaya<\/span> (Prospero<\/span>\u2019s<\/span>Books<\/span><\/em>) te<\/span>iz<\/span>BBC<\/span>–jeve<\/span> produkcije<\/span>.<\/span><\/p>\n

Jedanaesti<\/span>tjedan<\/span>: <\/strong>Oluja <\/em>(nast<\/span>.).<\/span><\/p>\n

Dvanaesti<\/span>tjedan<\/span>: <\/strong>Antonije i Kleopatra<\/em>: razli\u010dita \u010ditanja s naglaskom na feministi<\/span>\u010dkoj<\/span> interpretaciji<\/span>. Inserti<\/span>iz<\/span>filma<\/span>J<\/span>. Scoffield<\/span>.<\/span><\/p>\n

Trinaesti<\/span>tjedan<\/span>: <\/strong>Antonije i Kleopatra <\/em>(nast.).<\/span><\/p>\n

\u010cetrnaesti<\/span>tjedan<\/span>: <\/strong> Zaklju<\/span>\u010dak<\/span>: reinskripcijskim prakse u tekstualnoj kritici i u filmskim adaptacijama<\/span>.<\/span><\/p>\n

Petnaesti<\/span>tjedan<\/span>: <\/strong> Pismeni<\/span>ispit<\/span>.<\/span><\/p>\n

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

Obavezna literatura:<\/strong><\/span><\/p>\n

Orgel<\/strong>, Stephen, i A. R. Braunmuller (ur), The Complete Pelican Shakespeare<\/em>, New York: Penguin, 2002.<\/span><\/p>\n

Barker<\/span><\/strong>, Francis, i Peter Hulme, \u201cNymphs and Reapers Heavily Vanish: The Discursive Con–Texts of The Tempest<\/em>\u201d, u: Drakakis<\/strong>, John <\/strong>(ed), Alternative Shakespeares<\/em>. London i New York: Routledge, 1985; 191-205.<\/span><\/span><\/p>\n

Carter<\/span><\/strong>, Ronald, \u00abThe Renaissance: 1485-1660\u00bb, u: Carter<\/strong>, Ronald, i John McRae (ur). The Routledge History of Literature in English<\/em>. London & New York: Routledge, 1997; 57-126.<\/span><\/span><\/p>\n

Ciglar-\u017dani\u0107, <\/span><\/strong> Janja, \u201cAntikolonijalna Oluja<\/em>: teorija i praksa suvremenih reinskripcija Shakespearea\u201d, u: Neka ve\u0107a stalnost: Shakespeare u tekstu i kontekstu<\/em>, Zagreb: Zavod za znanost o knji\u017eevnosti Filozofskog fakulteta, 2001; 125-151.<\/span><\/span><\/p>\n

Coddon<\/strong>, Karin S, \u00ab\u2018Suche Strange Desygns\u2019: Madness, Subjectivity, and Treason in Hamlet <\/em>and Elizabethan Culture\u00bb, u: Wofford<\/strong>, Susanne L (ur), Case Studies in Contemporary Criticism: William Shakespeare, \u2018Hamlet\u2019<\/em>. New York: Bedford Books, 1994; 380-402.<\/span><\/p>\n

Desmet<\/span><\/strong>, Christy, \u201cCharacter Criticism\u201d, u: Wells<\/strong>, Stanley, i Lena Cowe Orlin (eds), Shakespeare: An Oxford Guide<\/em>, Oxford: Oxford UP, 2003; 351-372.<\/span><\/span><\/p>\n

Dollimore<\/span><\/strong>, Jonathan, \u201cKing Lear<\/em> (c. 1605–06) and Essentialist Humanism\u201d, in Radical Tragedy: Religion, Ideology, and Power in the Drama of Shakespeare and his Contemporaries<\/em>, Brighton: Harvester Press, 1984; 189-203.<\/span><\/span><\/p>\n

Fitz<\/span><\/strong>, Linda T, \u201cEgyptian Queens and Male Reviewers: Sexist Attitudes in Antony and Cleopatra<\/em> Criticism.\u201d, u: Drakakis<\/strong>, John (ur), New Casebooks: Antony and Cleopatra<\/em>, Houndmills [itd.]: Macmillan, 1994; 182-211.<\/span><\/span><\/p>\n

French<\/span><\/strong>, Marilyn, \u201cAntony and Cleopatra\u201d, u Shakespeare’s Division of Experience<\/em>, London: Abacus, 1983; 251-265.<\/span><\/span><\/p>\n

Girard<\/span><\/strong>, Ren\u00e9, \u201cThe Course of True Love\u201d, u A Theater of Envy: William Shakespeare<\/em>; New York & Oxford: Oxford UP, 1991; 29-79.<\/span><\/span><\/p>\n

Greenblatt, <\/span><\/strong> Stephen J, \u201cLearning To Curse: Aspects of Linguistic Colonialism in the Sixteenth Century\u201d, u Learning to Curse: Essays in Early Modern Culture<\/em>, New York & London: Routledge, 1992, 16-39.<\/span><\/span><\/p>\n

Gurr<\/strong>, Andrew, \u00abThe Shakespearean Stage\u00bb, u: Greenblatt<\/strong>, Stephen (ur), The Norton Shakespeare<\/em>, New York i London: W. W. Norton and Company, 1997; 3281-3301.<\/span><\/p>\n

Harrison<\/span><\/strong>, G. B, \u201cMaterials for the Life of Shakespeare\u201d, in Introducing Shakespeare<\/em> (3. izd), Harmondsworth: Penguin Books, 1966; 29-75.<\/span><\/span><\/p>\n

Holderness<\/strong>, Graham, \u00abBardolatry: or, The cultural materialist\u2019s guide to Stratford\u2014upon\u2014Avon\u00bb, u: Holderness<\/strong>, Graham (ur), The Shakespeare Myth<\/em>, Manchester: Manchester UP, 1998; 02-15.<\/span><\/p>\n

Jones<\/span><\/strong>, Norman, \u201cShakespeare\u2019s England\u201d, u: Kastan<\/strong>, David Scott (ur), A Companion to Shakespeare<\/em>, Oxford: Blackwell Publishers, 1999; 25-41.<\/span><\/span><\/p>\n

Kott<\/span><\/strong>, Jan, \u201cKing Lear<\/em>, or Endgame\u201d, u Shakespeare Our Contemporary<\/em>, prev. Boleslaw Taborski, New York: Doubleday, 1966.<\/span><\/span><\/p>\n

Kott<\/span><\/strong>, Jan, \u201cTitania and the Ass\u2019s Head\u201d, u: Shakespeare Our Contemporary<\/em>, prev. Boleslaw Taborski, New York: Doubleday, 1966; 213-236.<\/span><\/span><\/p>\n

Loomba<\/span><\/strong>, Ania, \u201c\u2018Travelling thoughts\u2019: Theatre and the Space of the Other\u201d, u: Drakakis<\/strong>, John (ur), New Casebooks: Antony and Cleopatra<\/em>, Houndmills [itd]: Macmillan, 1994; 279-307.<\/span><\/span><\/p>\n

Neill<\/span><\/strong>, Michael, \u201cHamlet<\/em>: A Modern Perspective\u201d, in Mowat<\/strong>, Barbara A. & Paul Werstine (eds), The Tragedy of Hamlet, Prince of Denmark<\/em>, New York [etc]: The New Folger Library Shakespeare, 1992; 307-326.<\/span><\/span><\/p>\n

Tatspaugh<\/span><\/strong>, Patricia, \u201cPerformance history: Shakespeare on the stage 1660-2001\u201d, u: Wells<\/strong>, Stanley, & Lena Cowe Orlin (eds), Shakespeare: An Oxford Guide<\/em>, Oxford: Oxford UP, 2003; 525-549.<\/span><\/span><\/p>\n

Welsford<\/span><\/strong>, Enid, \u201cThe Fool in King Lear<\/em>\u201d, in: Kermode<\/strong>, Frank (ed), Shakespeare: King Lear<\/em>, 1969; 137-149.<\/span><\/span><\/p>\n

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

Preporu\u010dena literatura:<\/strong><\/span><\/p>\n

Barber<\/span><\/strong>, C. L, Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Relation to Social Custom<\/em>, Princeton: Princeton UP, 1972.<\/span><\/span><\/p>\n

Bradley<\/span><\/strong>, A. C, Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth<\/em>, London: Macmillan, 1904.<\/span><\/span><\/p>\n

Brooker, <\/span><\/strong> Peter, i Peter Widdowson (ur), A Practical Reader in Contemporary Literary Theory<\/em>, Harlow [etc.]: Prentice Hall, 1996.<\/span><\/span><\/p>\n

Bulman<\/span><\/strong>, James C (ur), Shakespeare, Theory and Performance<\/em>, London i New York: Routledge, 1996.<\/span><\/span><\/p>\n

Ciglar-\u017dani\u0107<\/span><\/strong>, Janja, Domi\u0161ljato stvoren svijet: Barok u engleskoj knji\u017eevnosti<\/em>, Zagreb: Slap, 2008.<\/span><\/span><\/p>\n

Ciglar-\u017dani\u0107<\/span><\/strong>, Janja, Neka ve\u0107a stalnost: Shakespeare u tekstu i kontekstu<\/em>, Zagreb: Zavod za znanost o knji\u017eevnosti Filozofskoga fakulteta u Zagrebu, 2001.<\/span><\/span><\/p>\n

Cox<\/span><\/strong>, John D, i David Scott Kastan (ur), A New History of Early English Drama<\/em>, s uvodnom rije\u010dju Stephena J. Greenblattaa, New York: Columbia UP, 1997.<\/span><\/span><\/p>\n

De Grazia<\/span><\/strong>, Margreta, i Stanley Wells (ur), The Cambridge Companion to Shakespeare<\/em>, Cambridge: Cambridge UP, 2001.<\/span><\/span><\/p>\n

Dollimore<\/span><\/strong>, Jonathan; i Alan Sinfield (ur), Political Shakespeare: Essays in Cultural Materialism<\/em>, Manchester i New York: Manchester UP, 1985.<\/span><\/span><\/p>\n

Frye<\/span><\/strong>, Northrop, Anatomy of Criticism: Four Essays<\/em>, Princeton: Princeton UP, 1957.<\/span><\/span><\/p>\n

—\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/strong> A Natural Perspective: The Development of Shakespearean Comedy and Romance<\/span><\/em>, New York i London: Columbia UP, 1965.<\/span><\/span><\/p>\n

—\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/strong> Fools of Time: Studies in Shakespearean Tragedy<\/span><\/em>, Toronto [itd]: University of Toronto Press, 1996.<\/span><\/span><\/p>\n

Greenblatt<\/span><\/strong>, Stephen (ur), The Norton Shakespeare<\/em>, New York and London: W. W. Norton, 1997.<\/span><\/span><\/p>\n

Harrison<\/span><\/strong>, G. B, Introducing Shakespeare <\/em>(3. izd), Harmondsworth: Penguin Books, 1966.<\/span><\/span><\/p>\n

Hattaway<\/span><\/strong>, Michael; Boika Sokolova, i Derek Roper (ur), Shakespeare in the New Europe<\/em>. Sheffield: Sheffield Academic Press, 1994.<\/span><\/span><\/p>\n

Kastan<\/span><\/strong>, David Scott (ur), A Companion to Shakespeare<\/em>. Oxford: Blackwell Publishers, 1999.<\/span><\/span><\/p>\n

Kermode<\/span><\/strong>, Frank (ur), Shakespeare: King Lear<\/em><\/span>. 1969.<\/span><\/span><\/p>\n

Kott<\/span><\/strong>, Jan, The Bottom Translation: Marlowe and Shakespeare and the Carnival Tradition<\/em>. Prev. Daniela Miedzyrzecka i Lillian Vallee. Evanston, Illinois: Northwestern UP, 1987.<\/span><\/span><\/p>\n

Loomba<\/span><\/strong>, Ania, Gender, Race, Renaissance Drama<\/em>, Bombay [itd]: Oxford UP, 1992.<\/span><\/span><\/p>\n

Lupi\u0107<\/span><\/strong>, Ivan, Prijetvorni subject: transtekstualni okviri Shakespeareovih soneta<\/em>, Zagreb: L biblioteka Zavoda za znanost o knji\u017eevnosti Filozofskog fakulteta Sveu\u010dili\u0161ta u Zagrebu, 2007.<\/span><\/span><\/p>\n

McDonald<\/span><\/strong>, Russ, The Bedford Companion to Shakespeare: An Introduction with Documents<\/em> (2. izd), Boston i New York: Bedford\/ St. Martin’s, 2001.<\/span><\/span><\/p>\n

Parker<\/span><\/strong>, Patricia, i Geoffrey Hartman (ur), Shakespeare and the Question of Theory<\/em>, London: Methuen, 1985.<\/span><\/span><\/p>\n

Schoenbaum<\/span><\/strong>, Samuel, William Shakespeare: A Compact Documentary Life<\/em>, New York i Oxford: Oxford UP, 1987.<\/span><\/span><\/p>\n

Selden<\/span><\/strong>, Raman; Peter Widdowson, i Peter Brooker (ur), A Reader’s Guide to Contemporary Literary Theory<\/em>, London [itd.]: Prentice Hall, 1997.<\/span><\/span><\/p>\n

Styan<\/span><\/strong>, John Louis, The Shakespeare Revolution: Criticism and Performance in the Twentieth Century,<\/em> Cambridge: Cambridge UP, 1977.<\/span><\/span><\/p>\n

Swift Lenz<\/span><\/strong>, Carolyn Ruth; Gayle Greene; i Carol Thomas Neely (ur), The Woman’s Part: Feminist Criticism of Shakespeare<\/em>. Chicago: University of Illinois Press, 1980.<\/span><\/span><\/p>\n

Tillyard<\/span><\/strong>, E. M. W, The Elizabethan World Picture<\/em>, London: Chatto & Windus, 1943.<\/span><\/span><\/p>\n

Torbarina<\/span><\/strong>, Josip, \u201cPredgovor\u201d, in Shakespeare<\/strong>, William, San ivanjske no\u0107i<\/em>. Transl. Milan Bogdanovi\u0107. Redigirao Josip Torbarina. Zagreb: Matica hrvatska, 1970.<\/span><\/span><\/p>\n

Vickers<\/span><\/strong>, Brian, English Renaissance Literary Criticism<\/em>, Oxford: Clarendon Press, 1999.<\/span><\/span><\/p>\n

Weimann<\/span><\/strong>, Robert, Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function<\/em>. Schwartz, Robert (ur). Baltimore & London: The Johns Hopkins UP, 1987.<\/span><\/span><\/p>\n

Wells<\/span><\/strong>, Stanley, i Lena Cowe Orlin (ur), Shakespeare: An Oxford Guide<\/em>, Oxford: Oxford UP, 2003; pp. 391-410.<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Naslov kolegija: Shakespeare 2.Nastavnica: dr sc. Janja Ciglar-\u017dani\u0107.ECTS-bodovi: 6 bodova.Jezik: engleskiStatus: izborni kolegij.Trajanje: 1 semestar (VIII ili X semestar)Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno.Uvjeti za upis kolegija: upisan VIII ili X semestar. Opis\/ Sadr\u017eaj kolegija: Kolegij \u0107e biti posve\u0107en prou\u010davanju odabranog broja Shakespeareovih drama iz perspective novih teorija knji\u017eevnosti i kulture. […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[13],"tags":[],"class_list":["post-52","post","type-post","status-publish","format-standard","hentry","category-8-i-10-semestar-knjizevni-kolegiji"],"_links":{"self":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/52","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=52"}],"version-history":[{"count":8,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/52\/revisions"}],"predecessor-version":[{"id":19021,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/52\/revisions\/19021"}],"wp:attachment":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=52"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=52"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=52"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}