Filologia 2010-2011 - Gredos - Universidad de Salamanca

720
Guía Académica 2010-2011 Facultad de Filología
Universidad de Salamanca
• Radical Experiments in Narrative Techniques: Elizabeth Smart (from By Grand Central Station I Sat Down and Wept (1945)) and Sheila
Watson (from The Double Hook (1959))
6. THE 1960S AND THE CONSTRUCTION OF A NATIONALIST LITERATURE
• Introduction to the Social, Political and Cultural Background of the 1960s in Canada
• Poetry: East Coast: Mythopoeics and Beyond; West Coast: The Tish Poets
• The Rise of Short Fiction as a National Form: Alice Munro (“Who Do You Think You Are” (1978)) and Mavis Gallant
• Canadian Nationalist Fiction: Robertson Davies, Leonard Cohen, Margaret Atwood (Surfacing (1972)), Margaret Laurence
7. BEYOND THE 1960S: CANADIAN LITERATURE AND MULTICULTURALISM
• Introduction to the Social and Cultural Implications of Multiculturalism
• Joy Kogawa (from Obasan), Marlene Nourbese Philip (“Discourse on the Logic of Language” (1989)), Rohinton Mistry (“Swimming Lessons”
(1987))
8. CONTEMPORARY CANADIAN THEATRE
• James Reaney, George Ryga, Thomson Highway
The assigned poems and short stories can be found in one of the following anthologies: Bennett and Brown (1983), Gustafson (1991), Kamboureli
(1996), Lecker y David (1988); the novels as well as Moodie’s and Ryga’s works are included in McClelland & Stewart’s collection New
Canadian Library.
14968-RECURSOS, CATEGORÍAS Y GÉNEROS Y SU PROYECCIÓN EN LA LITERATURA INGLESA
Asignatura Optativa. Primer Semestre. 6 créditos
Profs. Mercedes Peñalba García
mpg@usal.es
COURSE DESCRIPTION
This course is designed to relate and confront a series of theoretical perspectives that are rarely subject to a comprehensive critical comparison.
We will examine major aesthetic discourses on comedy, satire, parody and irony and read a transhistorical selection of texts by accomplished
writers. We will study satire and humor in their historical, social, aesthetic, and intellectual contexts. Humor has been one of humanity’s
persistent modes of thought, of action, of self awareness—indeed, Louis Kronenberger has observed that “comedy itself is ... criticism”—so the
subject matter of this course will help to enhance your understanding of the principles and techniques of analysis and interpretation.
COURSE OBJECTIVES
• At the conclusion of the course, you will be able to:
• Identify theories of comedy and read the play critically to recognize their use;
• Identify stages of the comic ladder;
• Recognize the relationship of characterization to different types of comedy;
• Identify techniques of comedy including irony, satire, hyperbole, wit, epigram, incongruity, inconsistency of character, plot devices, and physical
comedy;
• Recognise the interplay of parody, satire and irony;