\n
Naziv \u00a02010\/11.<\/font><\/p>\n \nTrajanje<\/span><\/b>: \nStatus<\/span><\/b>: \nOblik nastave<\/span><\/b>: \nUvjeti<\/span><\/b>: \n\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \u00a0<\/span><\/p>\n \nC. Belsey and J. \n\u00a0<\/span><\/p>\n \nF.S. Fitzgerald:\u00a0 \nJudith Fetterley: \n\u00a0<\/span><\/p>\n \nV. Woolf: Mrs. \n1.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n\u00a0<\/span><\/p>\n \nThe Hours \n\u00a0<\/span><\/p>\n \nFay Weldon: \nA.S. Byatt: \nAngela Carter: \nAdrienne Rich:\u00a0 \nAdrienne Rich: \nGwendolyn \nZora Neale \n\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \nClaire Keegan \u201cA \nAnne Enright from \nAnne Fogarty: \ninserti iz filma Andrew \nLaura Mulvey: \u00abVisual \n\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \n\u00a0\u00a0<\/span><\/p>\n \n\u00a0<\/span><\/p>\n \n1.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n2.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n3.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n4.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n5.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \n\u00a0<\/span><\/p>\n
SYLLABUS<\/font><\/span><\/b><\/p>\n
\nkolegija:<\/font><\/span><\/b> <\/span><\/font>
\n
\nModerna anglofona \u017eenska knji\u017eevnost<\/span><\/i><\/b><\/span><\/font><\/p>\n
\nDr. sc. Ljiljana Ina
\nGJURGJAN, red profesor<\/span><\/b><\/p>\n
\nMODERNA ANGLOFONA \u017dENSKA
\nKNJI\u017dEVNOST<\/span><\/b><\/p>\n
\nLjetni semestar 2010\/11.<\/span><\/b><\/p>\n
\nPon 14.45-16.15. ut. 13.15
\n\u2013 14, A 105<\/span><\/b><\/p>\n
\nBritanska\/ ameri\u010dka moderna
\nknji\u017eevnost<\/span><\/b><\/p>\n
\nNaziv kolegija<\/span><\/b>:
\nModerna anglofona \u017eenska knji\u017eevnost<\/span><\/p>\n
\nJezik<\/span><\/b>:
\nengleski<\/span><\/span><\/p>\n
\n1 semestar<\/span><\/p>\n
\nizborni\/unutarnja izbornost\/<\/span><\/p>\n
\n1 sat predavanja i 2 sata seminara tjedno<\/span><\/p>\n
\nupisan 4\/6. semestar, polo\u017een uvod <\/span><\/p>\n
\n
\nIspit<\/span><\/b>:
\nKontinuirano pra\u0107enje. Tijekom seminara studenti\/ce trebaju izraditi jedan
\nseminarski rad te ga prezentirati na satu. Rad u seminaru, seminarski rad te dva
\nkolokvija konstitutivni su dio zavr\u0161ne ocjene. <\/span><\/p>\n
\nSadr\u017eaj<\/span><\/b>:
\nSeminar polazi od propitivanja tradicionalne reprezentacije \u017eenskosti (F.S.
\nFitzgerald, The Great Gatsby<\/i>) zatim analizira pomake u na\u010dinu
\nreprezentacije \u017eene i uspostavljanju \u017eenskoga o\u010di\u0161ta u djelima V. Woolf, Sylvie
\nPlath te Adrienne Rich. U pripovijetkama D. Lessing, F. Weldon, A.S. Byatt i A.
\nCarter i\u0161\u010ditavamo strategije subverzije kanonizirane vizualizacije i
\nkonceptualizacije \u017eenskosti. Tekstovi Gwendolyn Brooks i Zore Neale Hurston
\noprimjeruju potrebu da se govori o feminizmima, radije nego o feminizmu. U
\nzavr\u0161nom dijelu propituje se na\u010din na koji kultura oblikuje ideju \u017eenskosti.
\nTemeljem definicija rodnosti J. Lacana i J. Butler analizirat \u0107emo mehanizme
\npomo\u0107u koji se M. Monroe ustoli\u010duje u ikonu \u017eenskosti. U zavr\u0161nom dijelu
\npropitat \u0107emo prezentaciju \u017eene u suvremenoj\u00a0 kulturnoj produkciji na primjeru
\nfilmskih verzija Dnevnika Bridget Jones i \u0110avo nosi Pradu. <\/span><\/p>\n
\nCilj: <\/span><\/b>
\nSvrha kolegija je
\nkulturalno i historiografsko promi\u0161ljanje rodnih odnosa. Kolegij na taj na\u010din
\nosposobljava polaznice\/ke za bolje razumijevanje kulture te ih osvje\u0161tava za
\nproblematiku rodnih odnosa\u00a0 i kulturolo\u0161ku semiozu. <\/span><\/p>\n
\nWeek One: tjedan \u00a0Theoretical Background <\/span><\/b><\/p>\n
\nMoore: \u00a0\u201cIntroduction:\u00a0 The Story So Far\u201d<\/span><\/p>\n
\nWeek Two::<\/span><\/b>
\nConceptualization of Woman in Traditional Fiction<\/b> <\/span><\/p>\n
\nThe Great Gatsby <\/i>\u2013 inserts from the film <\/span><\/p>\n
\nThe Resisting Reader: A Feminist Approach to American Fiction, Indiana UP 1978,<\/span><\/p>\n
\nWeek Three:\u00a0
\nWoman\u2019s Voice<\/span><\/b><\/p>\n
\nDalloway (film), To the Lighthouse, Notes from Cideb edition \u201cT o the Lighthouse
\n\u201c \u201cV.Woolf and the Death of Modernism\u201d, <\/span>
\nBonnie Kime
\nScott: Digging out <\/i>Mrs. Dalloway (u: B. K. Scott: Refiguring
\nModernism, vol. 2:\u00a0 Postmodern Feminist Readings of Woolf, West, and Barnes<\/i>)<\/span><\/p>\n
\n\u00a0<\/span><\/b><\/p>\n
\nWeek Four:\u00a0
\nFeminist Subversions \/ Female Identity,<\/span><\/b><\/p>\n
\n<\/span><\/span>Sylvia Plath: The Bell Jar<\/i>, Daddy, Tulips, inserts
\nfrom the film Sylvia,<\/i> Jacqueline Rose: On Not Being Able to Sleep<\/i>,
\nLondon, Chatto and Windus, 2003, str. 49-72, Sandra M. Gilbert: \u00abA Fine, White
\nFlying Myth: The Life\/Work of Sylvia Plath\u00bb u Gilbert i Gubar (ur.):
\nShakespeare’s Sisters: Feminist Essays on Women Poets<\/i>, Indiana UP, 1979.<\/span><\/p>\n
\n\u00a0<\/span><\/i><\/p>\n
\nWeek Five<\/span><\/b>:
\nDorris Lessing: To Room Nineteen<\/span><\/p>\n
\n(inserts form the film) <\/span><\/p>\n
\nWeek Six:\u00a0 <\/span>
\n<\/b><\/p>\n
\nWeekend<\/span><\/p>\n
\nMedusa\u2019s Ankles, from The Djiin in The Nightingale\u2019s Eye<\/span><\/p>\n
\nThe Company of Wolves, Sally Keenan \u201cAngela Carter\u2019s the Sadeian Woman: Feminism
\nas Treason\u201d,Angela Carter<\/i> (ed. Alison Easton) pp. 20-35 <\/span><\/p>\n
\n\u00a0<\/span><\/b><\/p>\n
\nWeek Seven:
\nFeminisms<\/span><\/b><\/p>\n
\nselected poems,\u00a0 from Twenty-One Love Poems <\/span><\/p>\n
\n\u201cWhen We Dead \u00a0Awaken\u201d <\/span><\/p>\n
\nBrooks:\u00a0 \u201cThe Mother\u201d <\/span><\/p>\n
\nHurston:\u00a0 \u201cHow It Feels to Be Colored Me\u201d<\/span><\/p>\n
\nWeek Eight:
\n\u00a0Mid-term EXAM<\/span><\/b><\/p>\n
\n
\n\u00a0<\/span><\/b><\/p>\n
\nWeek Nine, Week
\nTen; \u00a0New Women\u2019s Writing \u2013 the case of Ireland <\/span><\/b>
\nEvan Boland ,
\n\u201cThe Other Woman and the Novelist, \u00a0\u201cAnna Liffey\u201d,\u00a0 \u201cOde to Suburbia, Suburbian
\nWoman\u201d,\u00a0 In Her\u00a0 Own Image<\/i> <\/span><\/p>\n
\nQuare Name for A Boy\u201d<\/span><\/p>\n
\nA Portable Virgin<\/i>,\u00a0 <\/span><\/p>\n
\n\u201cFaultlines: The Reception of Poetry by Irish Women\u201d <\/b><\/span><\/p>\n
\n\u00a0<\/span><\/b><\/p>\n
\nWeek Eleventh The
\nCultural Construction of Female Identity: \u00a0<\/span><\/b><\/p>\n
\nDominika Blonde<\/i>, MacCannell: \u00abMarilyn Monroe Was not a Man\u00bb, Diacritics,
\nsummer 1997, vol. 17,no. 2.\u00a0 Andy Warhol: Marilyn Monroe portofolio.<\/span><\/p>\n
\npleasure and Narrative Cinema\u00bb, Film Theory and Criticism, Slavoj \u017di\u017eek: \u00abPassionate
\nAttachments\u00bb to Dis-Identification\u00bb. \u00abThe Most Sublime of Hysterics: Hegel with
\nLacan\u00bb <\/span><\/p>\n
\nWeek Twelfth,
\nWeek Thirteen : How Far Have We Got?<\/span><\/b><\/p>\n
\nBridget Jones
\nDiary, The Devil Wears Prada (films) <\/span><\/b><\/p>\n
\nWeek Fourteen<\/span><\/b>
\nEXAM<\/b><\/span><\/p>\n
\n
\nPopis literature<\/span><\/b>:<\/span><\/p>\n
\nOBVEZATNA<\/span>
\n<\/span><\/b><\/p>\n\n
\n\tTekstovi u
\n\tReaderu (dostupan u fotokopiraonici Fakulteta kao \u017densko pismo, prof.
\n\tGjurgjan)<\/span><\/i><\/li>\n<\/ol>\n
\nDOPUNSKA<\/span><\/b><\/p>\n
\n<\/span><\/span>Catherine Belsey \u2013 Jane Moore (ur.): The Feminist Reader:
\nEssays in Gender and the Politics of Literary Criticism<\/i>, MacMillan Press
\nLtd, 1997.<\/span><\/p>\n
\n<\/span><\/span>Julie Rivkin \u2013 Michael Ryan: Literary Theory: An
\nAnthology<\/i>, Blackwell, 1998, str. 527-777<\/span><\/p>\n
\n<\/span><\/span>Toril Moi: Sexual\/Textual Politics: Feminist Literary
\nTheory<\/i>, Methuen, 1986<\/span><\/p>\n
\n<\/span><\/span>*** Contemorary Women\u2019s Writing, Oxford Journal, Humanities<\/span><\/p>\n
\n<\/span><\/span>*** The Norton Antology of Theory and Criticism<\/span><\/p>\n
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