Universidad de Jaén

1. INTRODUCTION. LITERARY DISCOURSE AS FORM OF HUMAN BEHAVIOUR:

1.1. What is literature?

1.2. Strategies for interpreting literature

1.3.  Reading literary texts:

1.3.1. The reading process and the critical reader

1.3.2. Reading and response

1.3.3. Specialised approaches to interpreting literature

1. LITERARY GENRES: AN EVOLUTIONARY PERSPECTIVE

2.1. Genres in English literature

2.2. Creation, evolution and extinction of genres

1. NARRATIVE IN ENGLISH LANGUAGE

3.1. Narrative as discourse

3.2. Narrative as fiction

3.3. Semantic and syntactic analysis

3.4. Narrative and ideology

3.5. Narrative and intertextuality

1. DRAMA IN ENGLISH LANGUAGE

4.1. The nature of drama

4.2. Drama and theatre

4.3. Analysis of conversation

4.4 Drama and ideology

1. POETRY IN ENGLISH LANGUAGE

5.1. Approaches to poetry

5.2. The sound of poetry

5.3. Structure, diction, syntax

1. 4. Poetry and ideology
2. NON FICTION IN ENGLISH LANGUAGE

6.1. Features of non-fiction texts in the literary canon

6.2. Classification of non-fiction texts in the literary canon

6.3. The literary value of non-fiction texts

Topics will be accompanied with the following short poems or excerpts from narratives or plays. They will be the basis for literary appreciation and where appropriate for commentary practice.

• Una serie variable de letras de canciones modernas comparadas con poesías líricas del periodo del Inglés Medio con su correspondiente acompañamiento musical: " Westrond Wynde", "Summer is ycumen in"
• Ben Jonson, "Epitaph on Elizabeth L.H."
• Seamus Heaney, "North" (from    North)
• Percy Byshee Shelley, "Ozymandias"
• James Joyce, excerpt from "Calipso" Chapter 4 of    Ulysses (Penguin edition)
•  William Butler Yeat, "Her anxiety" & "Leda and the Swan"
•   Wystan Hugh Auden, "Song IX", también conocido como "Funeral Blue"
• Philip Larkin, "The Trees"
• Dylan Thomas, "In my Craft or Sullen Art" & "Do Not Go Gentle Into That Good Night"
• Christina Rossetti, "The Goblin Market"
• Truman Capote, "A Christmas Memory"
• Angela Carter. "The Werewolf" (from   The Bloody Chamber)
• Katherine Mansfield, "The Garden Party"
• Tom Stoppard, excerpt from   Rosencrantz and Guilderstern are Dead
• Edward Albee, excerpt from    Who is Afraid of Virginia Woolf (finale)
• James Joyce, "The Dead" (from   Dubliners)

The will be divided in theory classes (attendance of the whole group) and practice classes (2 different groups). During the theory classes the theoretical aspects of the subject will be explained and commented, which will be then studies in a practical way through the reading of the selected texts. At the beginning of the course the lecturer will provide the students a list of compulsory readings for the development of the syllabus content. Besides these readings, the lecturer can include other texts which s/he considers relevant for the study of the subject.

Students with special educational needs should contact the Student Attention Service (Servicio de Atención y Ayudas al Estudiante) in order to receive the appropriate academic support

Final grading will be obtained taking into account the aspects of assessment described in the previous section. In order to get a pass students must get at least 50 % after the total sum of the different parts assessed. 

The assessment method will be ruled by what is established in the Royal Decree 1125/2003 of September 5th, by which the European Credit System is adopted in the official university degree system.

The following competences will be taken into account: CB1, CB2, CB3, CB4, CB5, E.19, E.27, E.28, G.01, G.02.

The following learning outcomes will be taken into account: R19, R21, R26, R27, R28, R42.