03 #14217 Poesia

00 Listado de autores:

This is the shortlisted choice of authors you can choose from. If you want to add a different author please make sure you will have enough material available to produce a significant website around that author.

British Literature

 

La lista actualizada de los poetas y poemas que van para el examen la
encontraréis aquí:
http://www.uv.es/~fores/poesiauvp.html
Sólo entran en el examen los autores en azul y subrayados y allí sólo los poemas marcados con *.


The Romantic Era 32 – Romanticism 32 – Romantic poetry 45 –

Lake Poets:

Robert Southey 51
Samuel Taylor Coleridge 56

William Wordsworth 67

Second Generation Romantics

John Keats 75
Lord Byron 87
Percy Bysshe Shelley 108
William Blake 122

The Victorian Era 143 – Victorian literature 143

Alfred, Lord Tennyson 148
Robert Browning 155
Elizabeth Barrett Browning 163
Gerard Manley Hopkins 171

Pre-Raphaelite Brotherhood 179
Dante Gabriel Rossetti 187
Christina Rossetti 196

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01  Listado de Textos de “Teoría” para los

Tests de Poesia

artículos a discutir en clase y leer en casa

(procedencia http://www.uv.es/fores/teoriauvp.html)

01 Moulthrop, Stuart – Hypertext and the Laws of Media ( A ) 20 pages

02 Malloy, Judy – Interactive Stories: Writing Public Literature (A) 12 pages

03 Coover, Robert – The End of Books (A) 6 pages

04 Kendall, Robert – The Birth of Electronic Literature ( A ) 10 pages

05 Bolter, Jay David – Degrees of freedom ( A ) 32 pages

06 Joyce, Michael – The Ends of Print Culture ( A ) 9 pages

07 McGann, Jerome – Comp[u/e]ting Editorial F[u/ea]tures ( A ) y 8 pages

(para subir nota) Visible and Invisible Books: Hermetic Images in N-Dimensional Space ( A ) 13 pages

Los 7 textos (01 al 07) se incluyen para el 1st Test de 25 Q(uestions), para el 2nd Test 50 Q(uestions) entran TODOS los textos de esta lista.

08 Lye, John – Contemporary Literary Theory ( A )09 Tim O’Reilly – What is Web 2.0? Design Patterns and Business Models ( A )

10 Kendall, Robert The Birth of Electronic Literature ( A )

11 Pixy Ferris, Sharmila Writing Electronically The Effects of Computers on Traditional Writing ( A )

12  J. Yellowlees Douglas – Understanding the Act of Reading (A) 13  pages

13  Klastrup, Lisbeth – Why Death Matters: Understanding Gameworld Experiences (A)  9 pages

14 Landow, George – Alt-X Interview with George Landow: Hypertext 2.0 (I) 6 pages

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02 Cover page to copy/paste “First/Second Paper”

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SECOND PAPER


Subject :# 14217 Poesia Inglesa desde el siglo XVIII

Student´s name: apellido apellido, nombre

Title of the paper:ñaldñlajfañljf añlfañljf añldjañlsjdalñ

Author or topic: nombre del autor


Abstract: Elkja sñadjalksjdf añlfkañfl Introduction Elkja sñadjalksjdf añlfkañfl akfñalfk ñlfkafñl añlfkañlfasfñljafñ dljf añlfañljf añldjañlsjdalñ añljfdal njkahsfjajhdh01añladfjañlfj ñaldñlajfañljf añlfañljf añldjañlsjdalñ añljfda njkahsfjajhdh02 fñl añlfkañlfasfñljafñ dldlkjdlñddñkasdlñaslkd añdjj añfa añladfjañlfj ñaldñlajfañljf añlfañljf añldjañlsjdalñ añljfdanjkahsfjajhdh03fñl añlfkañlfasfñljafñ dldañldjañlsjdalñ añljfdanjkahsfjajhdh04 we cannjkahsfjajhdh05 ee tfñl añlfkañlfasfñljafñ dldlkjdlñddñkasdlñaslkd añdjj añfa añladfjañlfj ñaldñ añljfdahe Conclusion fñl añlfkañlfasfñljafñ dldlkjdlñddñkasdlñaslkd añdjj añfa añladfjañlfj ñaldñlajfañljf añlfañljf.

Bibliography, URL’s


Auto-evaluation:

¿¿¿ 5 – 7 – 9- 10, Aprobado – Notable – Sobresaliente – M.H.

ñaldñ lajfañljf añl fañljf añld jañls jdalñ …. (literaria) ???



Academic year 2010/2011
© a.r.e.a./Dr.Vicente Forés López
© aquí tu nombre
usuario@alumni.uv.es

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03 Módulo de lectura

 

El presente módulo (ficha) contiene muchos datos, características y algunos aspectos que sirven para el análisis y comentario de cualquier texto, en un principio, por lo tanto, también para poesia. Si el modelo adjunto no te sirve o crees que es mejorable no dudes en modificarlo.

 

Reading Module

Header:
Autor, título de la obra, subtítulo, editorial, año de publicación, lugar de publicación.
(ficha bibliográfica mínima)

Writing about poetry for GCSE English and English literature

(from: http://www.universalteacher.org.uk/anthology/aqaanthology.htm#section2 )
This part of the guidance will help you write about poetry generally.

You may find these basic questions helpful:

  • What is a poem? Is it the same as verse?
  • What is poetic language? Is it a special language, or everyday language used in special ways or something else? Is it the same in all times and cultures?
  • How is a poem different from prose? Is there always a clear difference?
  • What is a poem for? Why might the poet write it? Do poets have different purposes?
  • What is the nature of the poet’s craft? Are there techniques that all poets need? How does this show in a particular poem?
  • How does a poem work? How does the reader respond? How many times should we read a poem to appreciate it?
  • What has poetry to do with other things in the reader’s and writer’s background, like culture, age, sex and personality?
  • Does good poetry go out of date?

Poems do not write themselves: be aware of the poet.

  • Don’t write: “It says that…”
  • Do write: “The poet writes/claims/argues/states that…” Refer to “the poet” or “the author” or identify him or her by name (but check spelling of this).

If the poem is about a person, decide if this person is meant to be:

  • the poet (literally or autobiographically),
  • someone a bit like him or her, or
  • someone wholly different.

Avoid writing pronouns like “he” or “her” as these are confusing – the reader may not know whom you mean. Instead write “the man in the poem” or “the poet’s friend” or whoever.

You should also understand about grammatical person. This refers to pronouns:

  • First person: singular = I/me ; plural = we/us
  • Second person: singular = you [and old fashioned or regional thou/thee]; plural = you
  • Third person: singular = he,/she,it/ him,her; plural = they/them

A text may be written in the first person if the author writes “I” and “me”. In this case, decide if the “I” is really the poet or some other person. If the words “I” or “me” are within speech marks, the whole poem may not be in the first person, just the speech which is quoted.

A text may be written in the second person. This may seem odd, but many poets do this when writing as if speaking to someone. Love poems and religious poems (and prayers) often speak to the beloved (the one who gets the love) or to God in the words “you” or “thou”.

A text may be written in the third person if the author refers to someone by a name or description or a third-person pronoun such as “she” or “them”. This is quite common. Sometimes, though it may seem odd, a writer will write about himself or herself in the third person – usually this has a distancing effect.

When you write about your chosen poems you are quite likely to find that the poet’s use of first, second or third person is important in creating a particular effect. Thinking about this may also help you not to confuse the poet with the people he or she writes about.

When you name the poet, you may use the full name, but this may be a lot to write. It is quite acceptable (and saves you time) to use the surname only (in some cultures this is the first name). Do not use a given name (like Simon or Grace) on its own, unless you are a personal friend of the poet.

You may have pretty good ideas of your own about these things, and have gone way beyond these questions. You will find some more advanced and sophisticated guidance below, on how to explore and reflect on poetry. Here are some ideas suggested by experienced readers.
Write about:

  • how the poets bring out the culture they are writing about
  • how the language affects you
  • what you found interesting about the structure of the poet
  • what the poems describe
  • the poets’ attitudes to nature
  • how the poets use language, structure and other effects to bring out what they are saying

For each poem, make sure that you comment on the particular features that the readers ask for (such as the poet’s attitude to love, or to time and change). Start by stating what the poem is about both obviously or on the surface and at a deeper level:

“This poem (Stealing) seems on the surface to be about a man who has stolen a snowman. Carol Ann Duffy explores the difference between law-abiding ordinary people like herself (and her readers) and the anti-social criminal depicted in the poem…”

Make sure you refer to interesting or relevant points of detail – very general answers are unlikely to attract the reader´s interest. It is not enough to point things out and “translate” them – make sure you explain how they work.

Where possible, make comparisons within and between poems. For example, show how the end contrasts with what goes before it, or show how a similar theme receives different treatment in two poems. Do not waste time on pointing out the very obvious (such as that poems are different because one is spoken by a woman who came to England from Pakistan while the other is a funny version of a news broadcast in a Glaswegian accent .

On the other hand, you could usefully compare two poems by stating that they each explore different  ideas . And you could contrast them by showing how one poet looks at ways in which people want to be more like the English while the other challenges the idea that Englishness is right or normal.

Always end with a brief statement about whether you like each poem and why. Often (but not always) the reader will invite you to do this anyway. A clear personal response earns respect for you.

Quote briefly – use a single word or phrase – to support your comments. You may refer to a whole stanza or longer section but should not copy this out: there are no marks for copying the text in the Anthology . Show you are quoting by using inverted commas (speech marks or quotation marks – you may call them “quotes”). If you quote a whole line or more (if you really must) you should start on a new line, and indent. Whenever you quote, always explain in your own words what the quotation means (unless it is really self-evident) and comment on its effect. Merely repeating the poet’s words is no use, as you have not shown the examiner that you have understood.

A good pattern or model to use (in this case based on Tatamkhulu Afrika’s Nothing’s Changed) might be as follows:

  • Make a statement: Tatamkhulu Afrika thinks that nothing has changed for the better in his country.
  • Quote evidence: He describes the experience of pressing his nose to the glass of the “whites only inn”, knowing in advance what he will see. And he contrasts the luxury of the linen tablecloth and the rose on the table with the working man’s café where people take their food out, or eat off a plastic table top, and have nowhere even to wash their hands.
  • Explain this evidence: The glass pane becomes a symbol of the way the black working people are still shut out from sharing in the wealth of South Africa.
  • Comment on its effect: The reader sympathizes with, and maybe even shares, the writer’s wish to “shiver down the glass” – that is, to bring about a real change.

Putting the poems together

As you study the poems, you will see how they have certain things in common – perhaps the same subject, or theme, or maybe something less obvious like their interesting use of language and some features of form or structure . It is important to see as many such connections as possible, so that you can choose suitable poems on which to write in an exam. The readers may ask you to write about poems with a quite specific link (such as poems about parents and children) or something much more general (such as poems which show strong feelings). This guide lists some connections, but the number is potentially vast. You cannot guess in advance all the things the reader might ask about. Prepare a range of poems, then pick the question that lets you write on those you know best.

Aspects to be covered by any analysis (most important aspects):

Subject
Write a short description (one sentence) of what each poem is about.

Theme
What are the main ideas in the poems?

Meaning
Is each poem straightforward or ambiguous in meaning? What do you think it means?

Viewpoint
What is the viewpoint?

Tone and mood
Comment on each poem’s tone and mood. Does either poem make any use of humor or irony?

Interesting details
Comment on any details which you find interesting in the poems

Structure and form
Describe the structure and form of the poems – look at such things as rhyme, meter/rhythm, stanza form

Key images
Look for the key images in each poem. In each case say
∑ what the image is
∑ what it means
∑ how it works in the poem

Other technical features
Are there any other technical features, such as sound FX, contrast, colloquialism or wordplay?

Personal response
Give your own response to the poems, with reasons based on the poem you are analysing.


Módulos Multi Media
© Copyright 1995-2005  by Dr. Vicente Forés
Valencia, 06/10/2005

Last years (2010 – 2011)

First Papers:


Subject :# 14217 Poesia Inglesa desde el siglo XVIII Grupo A / B /

Lake Poets:

Robert Southey

/ rajemar/B/ somagil/egalja/

John Clare

/B/ nafecar/

Samuel Taylor Coleridge

/ carbavi/ imarpo/ samarpa/ magor/B/ paugria/ aesri2/

William Wordsworth

/ mardelpo/etimc/ marasuic/ majuan8/ concorma/B/ dzdondon/ anira/ chmuyes/ susojor/ emke/

Second Generation Romantics

John Keats

apascar/ rododo/ sanrore2/ marosi/matope/ gontrisi/

Lord Byron

silmoi + culoi/ lausodie/raperu2/ huademi/ rugama/ olzana/ romisa/ mizpa/B/ lucad/ raulcapi/ eresjua/ evak/ sapefel/ estmarpa/

Percy Bysshe Shelley

/ samaca2/saformo/ bercuen2/B/  anmubou/ serlloga/ alsanca/ margimin/ nusispas/

Mary Shelley

/B/ liruiz/

William Blake

/ cursil/ elmares/ diagon/ vadelhie/ meterego/ amevic/ estesta/ garbaso/B/ tacue/ amapema + imonmar/ sasanm/ maraul/ esderi+ jomarhe5?/anesica/ perna/ ruizes/ madocon

The Victorian Era – Victorian literature

Alfred, Lord Tennyson

/ madepeto/ B/ emnaca/ espemo2/

Robert Browning

/ jobasfer/B/ paucollo/ becero/

Elizabeth Barrett Browning

/ lehegar/ ainca/B/ sansabo/donaru/ jemebre/ diamarpi/

Gerard Manley Hopkins

/ mapujomu/ silcoro/ olsanber/B/  peroca/ judagar/ marferm2 + ebrupe + atolu/ marbripe/ escojo/ ainalsan

Rudyard Kipling

/B/ nipea/

Lewis Carroll

/B/ mablanbe + isuco/

Pre-Raphaelite Brotherhood

Dante Gabriel Rossetti

/ jousa/ mamgabe + cinfusme/
Christina Rossetti

/ femam/ atolu + majoesco B + pauoqui B + vamero B/ B/ vamenro/ majoesco/

  1. imarpo’s avatar

    Student´s name: Inés Martín.
    Course and group: English poetry, group A.
    Author: Dante Gabriel Rossetti.
    Topic: Vision of nature in his work.

  2. Helena’s avatar

    Student’s name:Elena Albiach Domingo
    Course group:English Poetry A
    Author: Lord Byron
    Topic: Love and lack of love
    Poem:When we Two parted

  3. aidelato’s avatar

    Student’s name: Ana Isabel De la torre Gallur
    Course group: English Poetry A
    Name of the author: Samuel Taylor Coleridge
    Topic: Imagery

  4. pauizfer’s avatar

    Paula Izquierdo
    William Butler Yeats.
    How his poems show the influence that his childhood in Sligo had on him and his poems.

    In what poem?
    Dr. Forés

  5. TALENS Lara’s avatar

    Hello everyone,

    I am Lara Talens and I would like to base my 1 paper on Elizabeth Barrett Browning, the victorian aspects of her poetry and mainly her fight against slavery. Than you.

Reply