Guia Litingl III2014-2015 PDF

2014-2015
Ddac Llorens Cubedo

Ana I. Zamorano Rueda (Coordinadora)
GRADO EN ESTUDIOS INGLESES: LENGUA, LITERATURA
Y CULTURA
UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA
Ana I. Zamorano Rueda

Ddac Llorens Cubedo
Isabel Castelao Gmez
GUA DE ESTUDIO DE LA
ASIGNATURA:
GRADO
LITERATURA INGLESA III:

PENSAMIENTO Y CREACIN
LITERARIA EN LA PRIMERA MITAD
DEL SIGLO XX
2 PARTE | PLAN DE TRABAJO Y ORIENTACIONES PARA SU
DESARROLLO

Ddac Llorens Cubedo
1. PLAN DE TRABAJO/ WORK PLAN

Each Course Unit of the Course is developed in a matching chapter of the manual
The Need to Make It New: English Literature and Thought in the First Half of the
20th Century (NMN hereafter).
This subject is divided into five Course Units, which make up five ECTS credits.
Each credit corresponds to 25 hours of work on the part of the student, involving
study and practice time. Thus the total number of hours the student will have to
devote to this subject is 125. This is one of the subjects in the Degree that are
specifically oriented towards the critical approach to literary texts in English,
which implies that a great part of the hours will have to be invested in reading
literary works and exercising text analysis.
STUDY BLOCK
UNIT ONE: The Discourse Between or the Need to Make It New:
Literature in an Ever-changing World.
UNIT TWO: The White
Imperialism in Literature
Mans
Burden:
Different
Approaches
to
UNIT THREE: Disillusion as Never Told in the Old Days: Literature and
War
UNIT FOUR: Life is a Luminous Halo: The Novel in the Twentieth
Century
UNIT FIVE: Tales of the City, Landscapes of the Mind: Modernist
Geographies and the Beyond

Ddac Llorens Cubedo
As stated in the Gua de la Asignatura-Parte I, UNEDs distance-learning
methodology distributes formative activities in autonomous work and interactive
work (online or in-class contact with tutors and teaching team). All Units share a
similar structure, containing the following sections and types of work which the
student should distribute according to the schedule in the following table (please
bear in mind that some Units may take you longer, or you might need to read the
set texts several times):
WORK
SECTIONS
FOR EACH
UNIT
ACTIVITIES IN EACH UNIT

SECTION
APROX. TIME
FOR EACH UNIT
SECTION
Presentation
- Reading introductory sections of each Unit

in NMN
1 hour
Approaching
the text
- Reading APPROACHING sections in NMN
2 hours
Reading the
text
- First reading of set literary text
Revisiting the
text
- Reading REVISITING sections in NMN
- Getting prepared for the texts difficulties

10 hours
2 hour
- Subsequent readings of set literary text

- Answering micro-exercises as you read
along
Exercises
- Doing Test yourself questions (on set

text and Unit) in NMN
2.5 hours
- Doing Explore questions (further

analysis) in NMN
- Working on Key terms (glossary) in NMN
- Doing online multiple-choice exercises
Further study
- Reading recommended texts in NMN
1.5 hours
- Reading material posted on virtual course

- Relating above material to the Units

Ddac Llorens Cubedo
contents
Interactive
work
- Making/answering questions online
2 hours
- Making/answering questions in class

- Proposing and debating ideas with
mates/teachers/tutors regarding set texts
Mock exam /PEC
- Practicing skills/contents learned in the

Unit
2 hours
TOTAL: 25
HOURS
2. ORIENTACIONES PARA EL ESTUDIO DE LOS CONTENIDOS/

ORIENTATIONS FOR THE STUDY OF THE COURSE CONTENTS
This course is intended to develop the students interaction with the literary text.
The learning outcomes for each Unit are specified at the beginning of each
chapter of NMN.
Please note that most of the titles included in the compulsory reading of the
course can be found in The Norton Anthology of English Literature: Volume II
(2000). The ones not included in The Norton Anthology are:
Foster, E.M., [1924] 1989 A Passage to India. London & New York: Penguin
Books.
Lawrence, D. H. [1913] (2000). Sons and Lovers. London & New York:
Penguin Twentieth Century Classics.
Woolf, Virginia Mrs Dalloway [1925] (1992) London & New York: Penguin
Modern Classics.

Ddac Llorens Cubedo
Please note that these editions are the ones used as reference in the textbook
NMN, yet, as long as the text is complete and not an abridged version, you are
free to choose your own editions.
Below you can find the main contents, learning outcomes, and time schedule for
each Unit included in the course 2012-2013.
UNIT 1
THE DISCOURSE BETWEEN OR THE NEED TO MAKE IT NEW:
LITERATURE IN AN EVER-CHANGING WORLD
(NMN: Unit 1, The Discourse Between or the Need to Make It New: Literature in
an Ever-changing World)
1.
1.
1.
1.
1.
I Introduction
II The Crisis of Victorian Positivism
III The Interpretation of an Ever-changing World
IV What Does Woman Want: The Rise of the New Woman
V The Dystopian Earnestness to Break Free.
Compulsory Reading: Oscar Wilde's The Importance of Being Earnest

Due date: October 29th
Learning outcomes
Aims and Objectives:
This Unit sets out to establish the historical and
theoretical background behind the need felt by many
writers and artists during the first half of the twentieth
century to find a new mode of expression.
The many changes that took full form in this period had
been emerging during the latter half of the nineteenth
century, when a general disillusionment with the self
assertive optimism of Victorian positivism provoked a

Ddac Llorens Cubedo
crisis that had its artistic manifestation in the different
avant garde movements of the twentieth century.
This crisis was particularly intense for those Victorians
living at the turn of the century who were, however,
unable to explore it with the required perspective, and
passed it on to the generation coming to maturity in the
years following the First World War.
The First World War, or Great War, as it was called at the
time, was, in many ways, the expression of this crisis in
its most terrible, extreme and incomprehensible form.
Whilst the course subject for study this year is generally
devoted to literature and the interconnection between
literary discourse and other discourses present in the
social milieu, it is the aim of this Unit to make students
aware that literature and literary creativity are not
isolated entities but, as critic Terry Eagleton suggests,
form part of the social and political concerns of the
period in which the literary work is produced.
In this sense, literature not only reflects the world but
contributes to the debates that surround its
participants, and helps produce thought. In order to
achieve this aim, we shall study Oscar Wildes The
Importance of Being Earnest as a literary example of a
text that takes part in the debates of the period.
The main aim of this Unit is to make students not only
aware of, but also to participate in, the various
discourses that informed the consciousness of the
people inhabiting Great Britain in the first half of the
twentieth century.
Study Guidelines:
Perhaps the most immediate issue that will be encountered when studying
this chapter is that the student will confront fields of knowledge such as
political and philosophical thought, psychology and psychoanalysis,
anthropology, and scientific or medical discoveries that may seem

Ddac Llorens Cubedo
unfamiliar and off-putting. It has to be said that although this Unit is dealing
with complex issues, it is not expected that the student should have a
profound knowledge of these subjects. Yet it is important to become
familiar with the social and intellectual background that surrounds the
literary scene of the first half of the twentieth century. Ideally, the best
way fully to understand the many issues raised here is to go to the sources
and read some of the treatises and manifestos mentioned. In so doing the
student will realise that, apart from the struggle to understand the
theoretical and critical ideas presented in these writings, there is also
pleasure to be gained by reading them. In many cases, as for example in the
cases of the works of Darwin or Freud works, the narratorial component of
these writings helps to demystify the complexity of later explanations. It is
too challenging to try to collate the multiple sources that would be needed
to approach this subject. The Norton Anthology provides a selection of
texts dealing with some of the issues discussed here. A good source of
background material not only for this Unit but for the course at large is
Modernisms: An Anthology of Sources and Documents (2000) edited by
Vassiliki Kolocotroni et al.
Oscar Wildes The Importance of Being Earnest (Norton 2000: 1761-1805)
constitutes the compulsory reading for this Unit.
It is important to read The Importance of Being Earnest after the
theoretical sections of this Unit have been read and understood, and before
undertaking the study of section 1.v The Earnestness to Break Free.
During their reading, students should write down any connections they see
between what has been discussed up to that point and what happens in
Wildes play. They then should compare their notes with the discussion that
follows.
The best way to approach the contents of this Unit is by trying to enter
into the frame of mind of the ordinary citizen of the period. In this manner,
students should analyze their own responses to the different topics
explored. It is a good idea to write down these impressions and to draw
imaginatively a general picture of the many changes that the people of the
era went through. The questions at the end of the Unit will help students to
pin down the most important ideas and help them to understand the
relationship between these and the literature of the time.
UNIT 2

Ddac Llorens Cubedo
THE WHITE MANS BURDEN: DIFFERENT APPROACHES TO IMPERIALISM IN
LITERATURE. HEART OF DARKNESS AND PASSAGE TO INDIA
(NMN: Unit 2, The White Mans Burden: Different Approaches to Imperialism in
Literature. Heart of Darkness and Passage to India)

2. I Joseph Conrad and the Congo experience: Heart of Darkness
2. II E.M. Foster's Journey to India: Passage to India
Compulsory Reading: Joseph Conrads Heart of Darkness and E. M.

Forsters Passage to India
Due date: November 17th

Ddac Llorens Cubedo
Learning outcomes
Aims and Objectives:
This Unit sets out to explore the relationship between empire and literature,
elaborating on the question of Empire put forward in Unit 1.
The aim of this Unit is to discern the way in which narratives written in
England have shaped, supported or undermined the concept of British
imperialism. To do so two different accounts of British imperial experience
will be explored.
Written in different moments in time and focusing on different locations,
Africa and India, both narratives show concerns surrounding notions of
home, nation, race, identity, and belonging. In doing so, other objectives
brought up by topics related to fiction, such as language and form, will
come to the fore, as will nationality, subjectivity, history, sexuality, gender,
and social class.
In dealing with Empire and colonial issues it is always important to
acknowledge the engrossing contribution made by the so-called Colonial
and Post-Colonial Studies, particularly, but not necessarily exclusively, by
thinkers such as Edward Said, Gayatri Spivak and Stuart Hall, who have
intensively criticised European and American imperialism.
There are many others, such as Frantz Fanon or Kuan-Hsing Chen, who,
instead of looking at outside powers of colonialism, have focused on
individuals and on language to detect the particular and complex questions
raised by colonialism and post-colonialism as well as culture.
Whereas the contribution of these authors and many others is
acknowledged and generally supports the main line of the argument
presented here, it is impossible in a course such as this to deal in depth
with the difficult and complex sets of ideas each presents. Therefore those
interested in specific subjects should use the bibliography to find further
information.
Study Guidelines:
10

Ddac Llorens Cubedo
Read carefully the texts proposed for study before approaching the critical
sections dealing with them. These texts are:
Joseph Conrad, 2000 [1902], Heart of Darkness, in The Norton Anthology
of English Literature. Volume II (includes an introduction to the text).
E.M. Forster, 1989 [1924], A Passage to India, London and New York:
Penguin Books (this is the edition that has been used for this Unit. It
contains a good introduction by the editor, Oliver Stallybrass. It also
contains Appendix I Forsters Prefatory Note (1957) to the Everyman
Edition, Appendix II Peter Burras Introduction to the Everyman Edition
and Appendix III Forster Programme Note to Santha Rama Raus
Dramatized Version. Here students will also find some authors Notes that
appear in the Everyman edition as well as a Glossary.
Bear in mind that language is not straightforward and that there is always a
meaning other than the immediate one suggested. It is important to read
with a critical and open mind, allowing for the experience of the other to
take place in oneself.
Be prepared to make an effort as neither of the texts proposed for study in
this Unit is easy. They are as dense and as complex as poetry. For this
reason the student should not just study the plot (which is not the
essential issue at work in these novels) but should also be aware of
elements such as silences, gaps and the unsaid that contribute as much to
the text as what is actually said.
These texts participate in the different discourses that have been studied in
relation to the period, particularly seen in Unit 1 but also examined in Units
2 and 3. They are also active participants in an intertextual space produced
by the many literary texts dealing, directly or indirectly, with the British
Empire. It is, therefore, useful always to have in mind the students literary
background and knowledge. So, while new literary devices and ways of
expression will be introduced, it is important that the student should be
prepared to participate in the debate by adding his/her own knowledge and
wisdom when relating this knowledge to the issues in question.
As has been pointed out above, one of the main difficulties encountered in
fully understanding this Unit is the specific use of both language and words
in the texts to be studied. It is important for this reason always to have a
good dictionary to hand by to be prepared to look up words whenever it is
felt necessary. When doing this the student should always remember that
the most immediate meaning provided will not always be the most accurate
11

Ddac Llorens Cubedo
within a particular context. Therefore, it is important to have an open mind
that allows for other possible meanings and to understand the ambivalence
a word or phrase might give to a text.
Perhaps one of the main challenges in this Unit is the need to overcome
ourselves so we can fully understand the issues related to empire and
colonialism in relation to literature. Accepting that each of us, whether as
individuals or in groups, is always an other to others might be the first
step in the right direction. In doing so, from the experience gained when
reading these texts, we shall, it is hoped, engage in the difficult and
discomfiting act of living differently by living difference.
12

Ddac Llorens Cubedo
UNIT 3
DISILLUSION AS NEVER TOLD IN THE OLD DAYS: LITERATURE AND
WAR
(NMN: Unit 3, Disillusion as Never Told in the Old Days: Literature and War)
3. I Introduction
3. II The Georgian Poets: The Changing Effect of Experiencing War
3. III Women Writing the War
Compulsory Reading: Rupert Brookes 'The Soldier', Wilfred Owens 'Dulce

et Decorum Est', Jessie Popes The Call and Rose Macaulys The Picnic (The last
two are not in The Norton Anthology but both are easily available on the internet)
Due date: December 5th

Learning outcomes
Aims and Objectives
The main aim of this Unit is to study the relationship between war and
literature.
Given the period of literature covered in the course the Unit will
concentrate (albeit not exclusively) on the First World War.
This was the major event that changed European civilization as it had been
known up to this conflict.
The Unit will also deal mainly with poetry, although some prose relating to
war will also be considered.
The general objective of the Unit is to chart the strategies through which
poets and writers in general developed original techniques and learnt from
their predecessors to convey their experiences of war. In doing so we shall
explore the ethical considerations underlying war poetry as it attempts to
transform atrocity into art.
Therefore, this Unit will consider both aesthetic and ethical questions such
us: for whom does the poet speak, and for what purpose? How might the
poet write about violence without exploiting or cheapening it? Does the
13

Ddac Llorens Cubedo
combatant-poet have rights that are denied to civilian poets? What should
the emotional stance of the poet be? How and in what detail must the
horror of war be described? We will see that these and similar questions are
always posed implicitly, and often directly, by war poets.
In the process, debates about war writing as experiential or non-experiential

writing will be examined, as will the relation between history and the
imagination; war and Empire; gender in war writing; war poetry and popular
culture; and identity and nationality in war literature.
Through the comparison of texts, students will heighten their awareness of

the complex and controversial debates surrounding the genre of war writing
itself, and examine the extent to which the production and interpretation of
war poetry is conditioned by cultural, social and political factors.
The relationship between women writers and war is also an important

objective of this Unit.
The writers studied in this Unit are by no means the only ones who could be
studied in relation to war and literature. Choosing these writers in
preference to other authors means not that they are better writers but
that they provide an adequate amount of insight into the subject as to give
an accurate idea of the main aim and objectives described here.
Study Guidelines
To read carefully the poems and texts proposed for study before
approaching in depth the critical section dealing with each of them.
Apart from the quotations of poems and texts included in this Unit,
there are some that have not been fully quoted because they are
published in the Norton Anthology of English Literature such as The
Soldier or Dulce et Decorum Est. These poems and the texts and
fragments quoted here are compulsory reading for this Unit.
To bear in mind that poetic language is condensed and that its
meaning reaches far beyond the straightforward and immediate one.
In this sense, it is imperative to note the importance of the use of
the poetic technique and poetic devices, and even the absence of
these, for they are always used consciously and are part of the
process of signification.
14

Ddac Llorens Cubedo
To take into account the possible intertextual connections present in
the poems. It is important to understand that poetic intertextuality is
not merely a possible influence of a particular text on a poem. By
recalling earlier or contemporary texts the poet adds new meanings
to the poem. For this reason, it is essential that the student read the
poems with the literary background acquired in previous years and
previous Units in mind. Should this literary background be lacking the
student must look for this knowledge in manuals or notes taken from
other subjects whenever it is felt necessary. The Norton Anthology of
English Literature is a good source in this respect, as is any history of
English literature. It should be taken into account that the
background necessary for the optimal understanding of a text might
fall outside the time span of this course.
To read the poems aloud so that the student experiences how poetic
language conveys meaning not only in the actual significance of the
words but also in the impediments, difficulties in the breathing,
cacophonies, alliterations and other devices obvious through the
audible pronunciation of the words.
It is essential always to have a good dictionary always to hand and to
look up words whenever their meaning seems unclear or is unknown.
Allowing for an ambivalence in meaning and for other possible
meanings apart from the obvious one is always a good idea.
To make notes of the first impressions gained from your particular
reading of the poems, and to compare these impressions with the
information provided in the Unit. First impressions are often the most
accurate and they are in any case what the poets and writers had in
mind to begin with. After having studied the critical background
provided, go back to the poem, read it again, and notice whether and
how these first impressions have changed.
This Unit has a particular and specific theme in that it deals with
literature and war. It is important to bear in mind the context in
which the literature proposed for study was produced. Make notes
about the relationship between literature and other social or political
discourses and be aware of the interaction between them. Decide
whether literature is merely a reflection of the world or whether it is
actively participating in its construction.
UNIT 4
15

Ddac Llorens Cubedo
LIFE IS A LUMINOUS HALO: THE NOVEL IN THE TWENTIETH

CENTURY. SONS AND LOVERS
(NMN: Unit 4, Life is a Luminous Halo: The Novel in the Twentieth Century. Sons
and lovers)
4.I Social Consciousness Narrated: D. H. Lawrence New Otherness in
Context
4.II Reality is in the Word: The Poetics of Narrative
4.III Discovering Newness and Otherness D.H. Lawrences Sons and Lovers
Compulsory Reading: D. H. Lawrences Sons and Lovers

Due date December 22nd
Learning outcomes
Aims and Objectives
This Unit deals with the work of one of the greatest English writers of the
twentieth century, D.H. Lawrence.
By the end of the Unit students should be familiar with the life and works of
this writer as well as proficient in the major themes of his oeuvre.
Special attention is devoted to his novel Sons and Lovers and, through
reading and studying it, students should become aware of different issues
that are common to many other writings and writers of the period.
These issues are, for example, the writing of Bildungsroman, writing and
war, changing concepts in the relationships between the sexes, the
narration of sexuality, literature and censorship, literary experimentation
and techniques, and the relationship between psychoanalysis and literature.
Study Guidelines
16

Ddac Llorens Cubedo
Read and study sections 4.I and 4.II of NMN taking notes and writing your
own summaries of what you read. Then read or re-read the novel before
you go to section 4.III devoted to the reading of Sons and Lovers.
It is important when you read the novel to write a short paragraph
summarising the plot and your own first impressions of the novel.
Take notes of the way in which characters develop, the backgoround of the
setting, and of the many symbols that appear.
Then you can read section 4.III.
After reading and studying this section, you can move then to complete
your notes by contrasting your own plot summaries, character
development and use of symbolism with what you have learned so far.
Finally, go to the activities provided and try to answer the questions.
17

Ddac Llorens Cubedo
UNIT 5:
TALES OF THE CITY: VIRGINIA WOOLFS MODERNIST GEOGRAPHIES OF THE MIND
(NMN: Unit 5, Tales Of The City: Virginia Woolfs Modernist Geographies Of The
Mind)
5.I Introduction to Virginia Woolf
5.II The Bloomsbury Group Aesthetics
5.III A Room of Ones Own and Other Essays
5.IV Mrs Dalloway and the Womans Sentence
Compulsory Reading: Virginia Woolfs Mrs Dalloway and A Room of Ones

Own
Due date January 18th

Learning outcomes
Aims and Objectives
This Unit sets out to explore the impact of Modernism in the literature of
the period, with particular reference to the writer Virginia Woolf as a
modernist woman writer.
The aim is to study Woolfs fictional and non-fictional writings in order to

provide a framework that allows the understanding of Woolfs creative
process within the context of the period.
For this purpose we shall concentrate mainly on two of her works, her
essay, A Room of Ones Own, and her novel, Mrs Dalloway, although
references to other novels and essays as well as to the socio-historical
world that surrounded the writer are included.
In our Introduction to Virginia Woolf we focus on those aspects of her life

relevant to her creative process and her literary thought. In The
Bloomsbury Group we place Woolf within the intellectual and social
environment that formed a great deal of her intellectual endeavor. Perhaps
the most striking aspect of Woolfs literary production, what makes her
unique and interesting, is that in her writings she was in constant search of
what could be termed the womans sentence.
18

Ddac Llorens Cubedo
The main goal of this unit is to explore the train of thought behind Woolfs
search and her literary achievements. In doing so we will project into the
future and explore the reasons behind the impact her writing had on the
feminist movement from the nineteen-sixties and early seventies onwards.
Study Guidelines
To be aware that Woolfs work is not the product of an isolated mind
but that it is described within the socio-historical context of the
writer and influenced by her personal history. Woolf was living in a
society that witnessed multiple and profound changes, social and
political convulsions, and literary debates, in which she was an active
participant.
To remember that Woolfs wide range of reading and knowledge is
always present in her use of language and in her modernist
aesthetics. Her continuous references to contemporary and historical
writers and thinkers requires that the student should always bear in
mind a knowledge of English literature from previous courses as well
as that so far acquired in this course.
To be prepared to undertake the intellectual effort that presupposes
Woolfs complex use of language and narrative technique and her
experimental approach to fiction. It is a good idea to be prepared to
widen your vocabulary by looking up difficult words in a dictionary
whenever necessary.
To be gender-conscious in order to understand that Woolfs
commitment to the womens struggle, what today is called Woolfs
feminism, is intrinsically linked to her artistic output.
To discern the importance of the visual effect of language in Woolfs
work. The use of images and poetic language in her writing is
intended to create an emotion similar to the one we may gain while
contemplating a painting on a wall.
The main challenge in this Unit is, paradoxically, the amount of
information available. This implies that any approach to Virginia Woolf
19

Ddac Llorens Cubedo
will necessarily be biased. This is so because, as Jennifer Smith has
pointed out in her edition of A Room Of Ones Own, biographers and
critics have wanted to sum her up in many different ways (Smith
1995: 119) and, it should be added, to serve their own purposes.
Before undertaking this study and in order fully to understand the
contents presented here it is advisable to read beforehand the works
that constitute the compulsory reading for this Unit: (see below)
When reading these texts, make a mental note of your expectations
in relation to the literary works and what the titles suggest.
After reading the texts, re-evaluate those expectations: Has the book
fulfilled them? What has been left out and why? Has the book
surpassed them? It is also a good idea to jot down your impressions
of the book while reading it. In doing so you will start to engage with
the intellectual exercise the writer tries to extract from her/his
readers.
Indeed, these and other possible questions are intended to stimulate
the student into the questioning frame of mind necessary for
understanding the subtleties and ambivalences in Woolfs writing.
3. ORIENTACIONES PARA LA REALIZACIN DEL PLAN DE

ACTIVIDADES/
ORIENTATIONS FOR CARRYING OUT THE
EXERCISES
3.1 STEP-BY-STEP APPROACH TO THE COURSE UNITS
As stated above, every Course Unit is outlined in the same way. This means you
will also learn how to study this subject progressively, so you will soon get the
knack of how to approach the set literary texts. Although NMN already contains
precise instructions on how to use the textbook, here we suggest you proceed
with each Course Unit in accordance with the first table in this Guide:
20

Ddac Llorens Cubedo
-
Presentation: Read the program, learning objectives and Presentation in

NMN. Situate yourself in historical, social and cultural context. Try to
connect the information you get with other subjects you have taken.
Approaching the text: Read the section of the same name in NMN. It
prepares you to face the set literary text. It contextualizes your reading
and makes you acquainted with the pre-text. Pay particular attention to the
Bear in mind suggestions: they anticipate difficulties and make you
focus on the specifics of each literary text.
Reading the text: This is your first contact with the literary text,
unbiased by the manual or by your lecturers/tutors understanding of it.
This first reading is useful to get acquainted with the main characteristics
of the work (main ideas, characters, plot, tone, prosodic features). You
may want to take down notes concerning style, theme, etc. It is highly
recommendable to underline those passages or sentences that most
impressed or interested you and to make a brief annotation of the page
and the idea suggested by the passage(s) outlined.
Revisiting the text: Its time to go back to the text in a more academic
way. This section involves going through the literary work and dissecting
the whats, hows, and whys. NMN will help you to focus on diverse features
of the text, to understand how each of them works, what they are called,
how they intertwine with each other, and what their effect is. This section
also involves micro-exercises to make you find answers for yourself, and to
investigate particular examples or characteristics of the work.
Exercises: The course comprises a battery of different exercises for
individual or group work. NMN includes, as the table above explains, selfevaluation exercises, questions for discussion and glossary tasks. You will
find multiple-choice questions on line. It is recommendable to do selfevaluation exercises first, since they will settle your knowledge of the work
and its context. Explore questions are designed for reflection and can be
used for debate in face-to-face sessions or at the courses online forums.
Further study: They will complement your study with web-pages, PowerPoint presentations, etc.
Interactive work: Distance education is not designed for autonomous
work exclusively. You will be interacting with your teaching team or tutor
even when you ignore you are doing so: reading this Guide is, for instance,
an exercise of interactivity between the teaching team and you! You can
use the means established in the Gua de la Asignatura-Parte I to contact
your teachers at the Sede Central or the Centro Asociado for doubts or
queries. Also, interaction with your course mates will prove highly
productive: exchange ideas and impressions on the literary texts for this
reason it is very important your active participation on the online Course as
well as your attendance, if possible, to the tutorials in the Centro Asociado.
Mock exam/PEC: In the virtual Course will appear a set of exercises called
Mock exams. The final exam will be similar to these exercises, so they
provide further testing material: you can test yourself by trying to answer
the short questions and write the essay required in two hours. The point of
this kind of exercise is to make you reflect on an excerpt from a literary
text and write a comment on it, using the skills and terms you will have
learned so far.
21

Ddac Llorens Cubedo
3.2 EVALUATION TYPES AND CRITERIA
The students successful achievement of the courses learning objectives will be
assessed by the continuous evaluation as well as by the final exam.
3.2.1 Continuous evaluation
Continuous evaluation includes the self-evaluation exercises in the Course Units
(NMN and online course), the feedback provided by teachers and tutors, as well
as the PEC. The PEC is an exercise marked by the tutor and its mark counts a
20% of the final grade. There will be one along the semester, properly announced
at the online course, and will follow the format you will be practicing with the
mock exams.
3.2.2 Final evaluation
The final evaluation consists of one written exam, accounting for 80% of the final
grade. You will be expected to put theory into practice answering a battery of
short questions and making an essay heavily based on your academic reading of
the literary texts. The essay will be relational so that you have the opportunity to
provide your overall knowledge of the literature produced on the period covered
by this course. As with the PEC, you will be marked according to the following
criteria:
-
Focus on the questions themselves (irrelevant information will be

considered very detrimental).
Accurate use of critical terms (hence the importance of building a
glossary and looking for examples in texts).
Good organization and development of ideas (you are expected to write
an essay, not a list of features, and to answer the questions of the
exam).
Suitable examples from the texts to support the essays arguments
(textual references show your command of the literary work).
Legible, coherent, proficient English (if we cannot read it well, we cannot
evaluate it well).
22

Ddac Llorens Cubedo
4. GLOSARIO/ GLOSSARY
We do not include a glossary as such in this Guide. The terms that the student
needs to work with are already listed and defined in the Course Units, designed as
part of the course work. The student is expected to work on the elaboration of
his/her own glossary of terms, with specific examples from the literary texts.
23

Guia Litingl III2014-2015 PDF

Загружено:

Сведения о документе

Исходное описание:

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Guia Litingl III2014-2015 PDF

Загружено:

Авторское право:

Доступные форматы

2014-2015

Ddac Llorens Cubedo

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

LITERATURA INGLESA III:

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

1. PLAN DE TRABAJO/ WORK PLAN

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

ACTIVITIES IN EACH UNIT

- Reading introductory sections of each Unit

- Reading APPROACHING sections in NMN

- First reading of set literary text

- Reading REVISITING sections in NMN

- Getting prepared for the texts difficulties

- Subsequent readings of set literary text

- Doing Test yourself questions (on set

- Doing Explore questions (further

- Reading recommended texts in NMN

- Reading material posted on virtual course

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

- Making/answering questions online

- Making/answering questions in class

Mock exam /PEC

- Practicing skills/contents learned in the

2. ORIENTACIONES PARA EL ESTUDIO DE LOS CONTENIDOS/

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

Compulsory Reading: Oscar Wilde's The Importance of Being Earnest

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

Literature. Heart of Darkness and Passage to India)

Compulsory Reading: Joseph Conrads Heart of Darkness and E. M.

Due date: November 17th

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

Compulsory Reading: Rupert Brookes 'The Soldier', Wilfred Owens 'Dulce

Due date: December 5th

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

In the process, debates about war writing as experiential or non-experiential

Through the comparison of texts, students will heighten their awareness of

The relationship between women writers and war is also an important

Ana I. Zamorano Rueda

Ana I. Zamorano Rueda

LIFE IS A LUMINOUS HALO: THE NOVEL IN THE TWENTIETH

Compulsory Reading: D. H. Lawrences Sons and Lovers

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda

UNIVERSIDAD NACIONAL DE EDUCACIN A DISTANCIA

Ana I. Zamorano Rueda