THE TRUEST WISDOM - Карельская Государственная

Ольга Володина
The Truest Wisdom
Петрозаводск
2008
Карельский государственный педагогический университет
Ольга Володина
The Truest Wisdom
Учебно-методическое пособие
Петрозаводск
2008
2
Составитель, автор предисловия
и учебно-методического приложения
Володина Ольга Васильевна
кандидат педагогических наук
доцент кафедры иностранных языков КГПУ
Рецензенты:
Гвоздева М.С. - зав. кафедрой английского языка факультета
иностранных языков КГПУ, кандидат педагогических наук,
доцент
Максютенко В.И.- зав. кафедрой иностранных языков КГПУ,
кандидат педагогических наук, доцент
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Содержание
1.
Предисловие
2.
Oscar Wilde
стр. 4
стр. 7
The Picture of Dorian Gray
3.
William Somerset Maugham
Cakes and Ale: or the Skeleton in the Cupboard
4.
стр. 16
William Somerset Maugham
стр. 23
Theater
5.
Методический комментарий
стр.32
6.
Приложение I. Traits of Character
стр. 38
7.
Приложение II. Studying Literature
стр. 40
8.
Приложение III. Тестовые задания
стр. 47
9.
Приложение IV.
Список литературы для внеаудиторного чтения
стр. 54
10. Приложение V.
Творческие работы студентов
стр. 60
4
Предисловие
Природа каждому орудие дала:
Орлу - горбатый клюв и мощные крыла,
Быку – его рога, коню – его копыта,
У зайца – быстрый бег, гадюка ядовита,
Отравлен зуб ее. У рыбы – плавники,
И, наконец, у льва есть когти и клыки.
В мужчину мудрый ум она вселить умела,
Для женщин мудрости природа не имела
И, исчерпав на нас могущество свое,
Дала им красоту – не меч и не копье.
Пред женской красотой мы все
бессильны стали,
Она сильней богов, людей, огня и стали.
Ронсар
Название данного пособия является частью английского афоризма “A
Loving Heart is the Truest Wisdom”. Содержание учебно-методического пособия
ориентировано на развитие целостной гармоничной уникальной личность при
рассмотрении таких тонких и деликатных составляющих эмоционального,
эстетического и духовного сознания как красота и любовь. Пособие включает в
себя отрывки из романов Сомерсета Моэма “Театр” и “Пироги и пиво: или
скелет в шкафу” (W.S. Maugham “Theater”; “Cakes and Ale: or the Skeleton in the
Cupboard”) и романа Оскара Уайльда “Портрет Дориана Грея” (Wilde Oscar
“The Picture of Dorian Gray”).
Любовь и стремление к красоте – одно из самых возвышенных проявлений
чувств,
общих
всему
человечеству,
-
выступают
как
свободное
и
непредсказуемое выражение глубин личности. Важность и сложность явления
любви определяется тем, что в нем, как в фокусе, пересекаются противоречия
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биологического и духовного, личностного и социального, интимного и
общезначимого. Красота представляет совершенством чувственного познания.
Цель пособия - научить студентов критически подходить к литературному
произведению, представляющему интерес как в идейном, так и в языковом
отношении, помочь студентам осмыслить и сформулировать собственное
представление
о прочитанном. Анализ поступков и мыслей литературных
героев способствует их переосмыслению и провоцирует читателя к рефлексии,
переносу прочитанного на свой жизненный опыт.
Главным критерием выбора англоязычного художественного материала
для чтения и изучения является представление художественного образа –
характера, события, обстоятельства, идеалы, выражающего эстетические идеи и
чувства любви и стремления к прекрасному.
Упражнения и задания, включенные в пособие, направлены на пополнение
и идиоматизацию словарного запаса студентов, на развитие навыков устной
речи. Упражнения носят разноплановый характер. Предусматривается проверка
понимания прочитанного, углубленная работа над словами и выражениями, а
так же повторение некоторых грамматических явлений, представляющих
трудности для студентов. Грамматические упражнения основаны на языковом
материале, встречающемся в тексте. Многие упражнения предназначены для
контроля понимания текста и призваны научить студентов интерпретировать
текст своими словами, а также выражать собственное мнение по поводу
прочитанного.
Пособие снабжено учебно-методическим приложением, в котором
представлен материал по темам Traits of Character, Studying Literature,
различные тестовые задания, которые преподаватель может использоваить при
организации работы студентов с англоязычной литературой, а также список
произведений английской и американской литературы, рекомендованной
студентам для внеаудиторного чтения.
Обращение на практических занятиях по английскому языку к миру
литературы в поиске представлений о женщине и мужчине, их любви и красоте
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отношений
позволяет
рассмотреть
эти
понятия
разносторонне,
широкомасштабно. И затем, работая самостоятельно, студенты имеют
возможность увидеть, осознать и принять разные отражения этих высших
эстетических и духовных категорий в произведениях
Д.Г. Лоуренс и
Д.Голсуорси, Ф.С. Фицджеральда и Т. Драйзера, Дж. Фаулза и Дж. Селенджера
и других мастеров английской и американской литературы.
Пособие
рассчитано
на
студентов
неязыковых
факультетов
педагогического вуза. Кроме того, оно может быть интересно всем
поклонникам английской и американской литературы.
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Oscar Wilde
The Picture of Dorian Gray
1. Learn the material about the novel.
The Picture of Dorian Gray is Wilde’s masterpiece. The book describes the
spiritual biography of a young man, Dorian Gray. The author touches upon many
important problems of contemporary life, morality and beauty in particular. The
novel shows the man’s chief purpose in life cannot be seeking for pleasure. The novel
is a psychological study of gradual degradation of an innocent and inexperienced
man. It is centered round problems of art and reality. The three principal characters:
Dorian Gray, a young and brilliant nobleman, his friend, the painter Basil Hallward
and the cynical Lord Henry – discuss the problems of art and reality, beauty and
morality. To Basil Hallward beauty is a source of inspiration and creative work. His
portrait of Dorian Gay is a masterpiece, the reflection of his soul. Dorian lives only
for pleasure, he leads an immoral life. Under Lord Henry’s influence he becomes a
selfish and cruel dandy who commits terrible crimes. Also the important part of this
story is a young beautiful and talented actress – Sybil Vane. She is left by Dorian
Gray because of her true love. Sybil kills herself. The portrait shows a cynical, aged
and corrupted man. Dorian wants to get rid of the picture and stabs it. That is the last
of his crimes. He falls down on the floor with a knife in his heart.
2. Read the extracts from the novel.
The last act was played to almost empty benches. The curtains went down on a
titter, and some groans.
As soon as it was over, Dorian Gray rushed behind the scenes into the green
room. The girl was standing there alone, with a look of triumph on her face. Her eyes
were lit with an exquisite fire. There was radiance about her. Her parted lips were
smiling over some secret of their own.
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When he entered, she looked at him, and an expression of infinity joy came over
her. “How badly I acted tonight, Dorian!” She cried.
“Horribly!” he answered, gazing at her in amazement - “horribly! It was
dreadful! Are you ill? You have no idea what it was. You have no idea what I
suffered.”
The girl smiled. “Dorian,” she answered, lingering over his name with longdraw music in her voice, as though it were sweeter than honey to the red petals of her
mouth – “Dorian, you should have understood. But you understand now, don’t you?”
“Understood what?” he asked, angrily.
“Why I was so bad tonight. Why I shall always be bad. Why I shall never act
well again.”
He shrugged his shoulders. “You are ill, I suppose. When you are ill you
shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.”
She seemed not to listen to him. She was transfigured to joy. An ecstasy of
happiness dominated her.
“Dorian, Dorian,” she cried, “before I knew you, acting was the one reality of
my life. It was only in the theatre that I lived. I thought that it was all true. I was
Rosalind one night, and Portia the other. The joy of Beatrice was my joy, and the
sorrows of Cordelia were mine also. I believed in everything. The common people
who acted with me seemed to be godlike. The painted scenes were my world. I knew
nothing but shadows, and I thought them real. You came – oh, my beautiful love! –
and you freed my soul from prison. You taught me what reality really is. Tonight, for
the first time in my life, I saw through the hollowness, the sham, the silliness of the
empty pageant in which I had always played. Tonight, for the first time, I became
conscious that the Romeo was hideous, and old, and painted, that the moonlight in the
orchard was false, that the scenery was vulgar, and that the words I had to speak were
unreal, were not my words, were not what I wanted to say. You had brought me
something higher, something of which all art is but a reflection. You had made me
understand what love really is. My love! My love! Prince Charming! Prince of life! I
have grown sick of shadows. You are more to me than all art can ever be. What have
9
I to do with puppets of a play? When I came on tonight, I could not understand how it
was that everything had gone from me. I thought that I was going to be wonderful. I
found that I could do nothing. Suddenly it dawned on my soul what it all meant. The
knowledge was exquisite to me. I heard them hissing, and I smiled. What could they
know of love such as ours? Take me away, Dorian – take me away with you, where
we can be quite alone. I hate the stage. I might mimic a passion that I do not feel, but
I cannot mimic one that burns me like fire. Oh, Dorian, Dorian, you understand now
what it signifies? Even if I could do it, it would be profanation for me to play at being
in love. You have made me see that.”
He flung himself down on the sofa, and turned away his face. “You have killed
my love,” he muttered.
She looked at him in wonder, and laughed. He made no answer. She came
across to him, and with her little fingers stroke his hair. She knelt down and pressed
his hands to her lips. He drew them away, and a shudder ran through him.
Then he leaped up, and went to the door. “Yes”, he cried “you have killed my
love. You used to stir my imagination. Now you don’t even stir my curiosity. You
simply produce no effect. I loved you because you were marvelous, because you had
genius and intellect, because you realized the dream of great poets and gave shape
and substance to the shadows of art. You have thrown it all away. You are shallow
and stupid. My God! How mad I was to love you! What a fool I have been! You are
nothing to me now. I will never see you again. I will never think of you. I will never
mention your name. You don’t know what you were to me, once. Why, once. .. Oh, I
can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the
romance of my life. How little you can know of love, if you say it mars your art!
Without your art you are nothing. I would have made you famous, splendid,
magnificent. The world would have worshipped you, and you would have borne my
name. What are you now? A third-rate actress with a pretty face.”
The girl grew white, and trembled. She clenched her hands together, and her
voice seemed to catch in her throat. “You are not serious, Dorian?” she muttered.
“You are acting.”
10
“Acting. I leave that to you. You do it so well,” he answered, bitterly.
She rose from her knees, and, with a piteous expression of pain in her face,
came across the room to him. She put her hand upon his arm, and looked into his
eyes. He thrust her away. “Don’t touch me!” he cried.
A low moan broke from her, and she flung herself at his feet, and lay like a
trampled flower. “Dorian, Dorian, don’t leave me!” she whispered. “I am so sorry I
didn’t act well. I was thinking of you all the time. But I will try – indeed? I will try. It
came so suddenly across me, my love for you. I think I should never have known it if
you had not kissed me – if we had not kissed each other. Kiss me again, my love.
Don’t go away from me. But you, oh! can’t you forgive me for tonight? I will work
so hard, and try to improve. Don’t be cruel to me, because I love you better than
anything in the world. After all, it is only once that I have not pleased you. But you
are quite right, Dorian. I should have shown myself more of an artist It was foolish of
me; and yet I couldn’t help it.” A fit of passionate sobbing choked her. She crouched
on the floor like a wounded thing, and Dorian Gray, with his beautiful eyes, looked
down at her, and his chiseled lips curled in exquisite disdain. There was always
something ridiculous about the emotions of people whom one has ceased to love.
Sibyl Vane seemed to him to be absurdly melodramatic. Her tears and sobs annoyed
him.
“I am going,” he said at last, in his calm, clear voice. “I don’t wish to be unkind,
but I can’t see you again. You have disappointed me.”
She wept silently, and made no answer, but crept nearer. Her little hands
stretched blindly out, and appeared to be seeking for him. He turned on his heel, and
left the room. In a few minutes he was out of the theatre.
… After a little later, he hailed a hansom, and drove home.… As he was turning
the handle of the door, his eye fell upon the portrait Basil Hallward had painted of
him. He went over to the picture, and examined it. In the dim arrested light that
struggled through the creamcoloured silk blinds, the face appeared to him to be a
little changed. The expression looked different. One would have said that there was a
touch of cruelty in the mouth. It was certainly strange.
11
3. Learn the active vocabulary:
the scene, the curtains, a look of triumph, to be lit with an exquisite fire, to gaze at
somebody in wonder (amazement), to suffer, to be in love, to transfigure with joy, to
dominate, to mutter, to stir one’s curiosity (imagination), to mar one’s art, to grow
white, to tremble, to whisper, to please, to disappoint
4. Recall the situations from the text in which the active vocabulary is used.
5. Make up your own sentences with the words and phrases of the active
vocabulary.
6. Explain the meaning of the following words and phrases in English.
Use the English- English dictionary.
ridiculous, exquisite, radiance, infinity, dreadful, passionate, marvelous, genius
7. Form nouns from the following verbs from the text and use them in the
sentences of your own.
to act, to suffer, to imagine, to annoy, to reflect, to appear, to express, to amaze, to
disappoint
8. Translate into English using the active vocabulary.
1). Тяжелый занавес опущен, свет на сцене потушен, театр опустел.
2). Она не сводила с него восхищенного взгляда.
3). Быть влюбленным – это прекрасно, но любовь без ответа приносит много
страданий.
4). Она была маленькой и хрупкой, но подавляла его силой своего характера.
5). Твой поступок разочаровал меня.
6). От его слов она побледнела, ее голос задрожал от слез, она смогла лишь
прошептать что-то непонятное.
7). Ее победный взгляд смутил его.
12
9. Translate the following into Russian. Explain the grammar rules concerning
the verbs:
1) I wish I had never laid eyes upon you!
2) You make yourself ridiculous.
3) You should have understood.
4) I should have shown myself more of an artist.
5) Her parted lips were smiling over some secret of their own.
10. Give your first impression of the novel. Would you like to read the whole
work of O. Wilde? Why?
11. Make an outline of the text in the form of key questions. Stick to one tense.
Answer the questions in groups.
12. Give a Russian literary translation of the offered extract from the novel.
Comment upon Dorian’s impression of Sibyl Vane before the last scene in the
theater.
… Imagine a girl, hardly seventeen years of age, with a little flower-like face, a
small Greek head with plaited coils of dark-browned hair, eyes that were violet wells
of passion, lips that were like the petals a rose. She was the loveliest thing I had ever
seen in my life. I could hardly see this girl for the mist of tears that came across me.
And her voice – I never heard such a voice. It was very low at first, with deep mellow
notes, that seemed to fall singly upon one’s ear. Then it became a little louder and
sounded like a flute or a distant hautbois. … Why should I not love her?… I do love
her.
13.
Make up a list of adjectives pertaining to Sibyl Vane before and after the
last talk with Dorian Gray.
13
14. Give the character sketch of Dorian Gray. Keep to the scheme when
speaking of him.
Dorian Gray
views
behavior
abilities
emotions
attitude to
other traits
people
15. Characterize the personages. Make use of the following word combinations.
an artist to the core, to put one’s soul into work, a brilliant wit, art is long and life is
fleeting, an embodiment of beauty, pleasant to listen to, to mar one’s life, to be
fascinated, to seek pleasure, to gain a reputation, to have the best of, to care for, to be
devoted to, to worship
16. How does the author describe Dorian Gray and Sibyl Vane? What devices
does he use?
17.
Speak on the place and time of the events. Could it happen in other
circumstances? Why?
18. Dramatize the scene in the theater.
19. How do you understand the following?
Dorian Gray was Faustus-like.
20. What is the role of the portrait in the novel? Can you prove that the portrait
is the symbolic conscience of Dorian Gray?
21. Read the extract from the novel. Comment upon the questions raised in it:
Beauty, Thought, Hedonism (living for pleasure), Time and Youth.
Some day, when you are old and wrinkled and ugly, when thought has seared
your forehead with its lines, and passion branded your lips with its hideous fires, you
14
will feel it terrible. Now, wherever you go, you charm the world. Will it always be
so?... You have a wonderfully beautiful face, Mr. Gray. Don’t frown. You have. And
Beauty is a form of Genius – is higher, indeed, than Genius, as it needs no
explanation. It is the great facts of the world, like sunlight, or spring-time, or the
reflection in dark waters of that silver shell we call the moon. It can’t be questioned.
It has its divine right of sovereignty. It makes princess of those who have it. You
smile? Ah! When you have lost it you won’t smile… People say sometimes that
Beauty is only superficial. That may be so. But at least it is not so superficial as
Thought is. To me, Beauty is the wonder of wonders. It is only shallow people who
do not judge by appearance. The true mystery of the world is the visible, not the
invisible…. Yes, Mr. Gray, the gods have been good to you. But what the gods give
they quickly take away. You have only a few years in which to live really, perfectly,
and fully. When your youth goes, your beauty will go with it, and then you will
suddenly discover that there are no triumphs left for you, or have to content yourself
with those mean triumphs that the memory of your past will make bitter than defeats.
Every month as it wanes, brings you nearer to something dreadful. Time is jealous of
you, and wars against your lilies and your roses. You will become shallow, and
hollow-cheeked, and dull-eyed. You will suffer horribly…Ah! Realize your youth
while you have it. Don’t squander the gold of your days, listening to the tedious,
trying to improve the hopeless failure, or giving away your life to the ignorant, the
common and the vulgar. These are the sickly aims, the false ideas, of our age. Live!
Live the wonderful life that is in you! Let nothing be lost upon you. Be always
searching for new sensations. Be afraid of nothing… A new Hedonism - that is what
our century wants. You might be its visible symbol. With your personality there is
nothing you could not do. The world belongs to you for a season… The moment I
met you I saw that you were quite unconscious of what you really are, of what you
really might be. There was so much in you that charmed me that I felt I must tell you
something about yourself. I thought how tragic it would be if you were wasted. For
there is such a little time that your youth will last – such a little time. The common
hill-flowers wither, but they blossom again. The laburnum will be as yellow next
15
June as it is now. In a month there will be purple stars on the clematis, and year after
year the green night of its leaves will hold its purple stars. But we never get back our
youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail,
our senses rot. We degenerate into hideous puppets, haunted by the memory of the
passion of which we were too much afraid and the exquisite temptations that we had
not the courage to yield to. Youth! Youth! There is absolutely nothing in the world
but youth!
22. Write about “Real Beauty”. Make use of the following O. Wilde’s
statements:

Beauty is the wonder of wonders.

Beauty is a form of Genius, as it needs no explanation.

It is only shallow people who do not judge by appearance.
23. Prove the following.

Wilde thought that life only mirrors art. Beauty is the measure of all things.

He glorified beauty and not only the beauty of nature or artificial beauty but the
beauty of devoted love.
24. Oscar Wilde’s gift of the writer lies in his ability to express the
contradictions of life in accurate paradoxes. Explain the meaning of the
following O. Wilde’s paradoxes.

Those who find beautiful meaning in beautiful things are the cultivated. They
are elect to whom beautify things mean only beauty.

The artist is a creator of beautiful things.
25. Make a written analysis of your thoughts on the message of the text.
16
William Somerset Maugham
Cakes and Ale: or the Skeleton in the Cupboard
1. Learn the following material.
The name of Somerset Maugham is connected with critical realism in the
English literature. He possessed a keen and observant eye in his best works he
ridiculed philistinism, narrow-mindedness, hypocrisy, self-interest, utilitarian
approach to art. His work is marred by cynicism and disbelieve in human nature.
Maugham thinks that it is not in the power of man to reform the world. In his works
he compares life to the theater where human comedy, as old as the world itself, is
being staged. As the course of human life cannot be altered, Maugham believes in the
wisdom of those the failing of this world but learn to accept it as it is.
“Cakes and Ale...” is a story of Edward Driffield, a writer. In the author’s
preface Maugham wrote that “it was as a short story, and not a very long one either
that I first thought of the novel… But I had long had in mind the character of Rosie. I
had wanted for years to write about her, but the opportunity never presented itself; I
could contrive no setting in which she found a place to suit her, and I began to think I
never should.… It suddenly struck me that the little story I had jotted down offered
me just the framework for the character that I had been looking for. I would make her
the wife of my distinguished novelist.”
2. Read the extracts from the novel.
Edward Driffield worked at night, and Rosie, having nothing to do, was glad to
go out with one or other of her friends. She liked luxury and Quentin Forte was wellto-do. He would fetch her in the cab and take her to dine, and she would be on her
grandest clothes for him; and Harry Retford, though he never had a bob, behaved as if
he had, and took her about in hansoms too and gave her dinner in one or other of the
little restaurants that were becoming modish in Soho. He was an actor and clever one,
but he was difficult to suit and so was often out of work. He was about thirty, a man
17
with a pleasantly ugly face and a clipped way of speaking that made what he said
sound funny. Rosie liked his devil-may-care attitude toward life, the swagger with
which he wore clothes made by the best tailor in London and unpaid for, the
recklessness with which he would put a fiver he hadn’t got on a horse, and the
generosity with which he flung his money about when a lucky win put him in funds.
He was gay, charming, vain, boastful, and unscrupulous. Rosie told me that once he
had pawned his watch to take her out to dinner and then borrowed a couple of pounds
from the actor manager who had given them seats for the play in order to take him
out to supper with them afterwards.
But she was just as well pleased to go with Lionel Hillier to his studio and eat a
chop that he and she cooked between them and spent the evening talking, and it was
only very rarely that she would dine with me at all. I used to fetch her after I had my
dinner out and she hers with Driffield, and we would get on a bus and go to a music
hall. We went here and there, to the Pavilion or the Tivoli, sometimes to the
Metropolitan if there was a particular turn we wanted to see; but our favourite was the
Canterbury. It was cheap and the show was good. We ordered a couple of beer and I
smoked my pipe. Rosie looked round with delight at the great dark smoky house,
crowded to the ceiling with the inhabitants of South London.
I discovered that she was a great reader. She liked history, but only history of
certain kind, the lives of queens and mistresses of royal personages; and she would
tell me with a childish wonder of the strange things she read. “I like to read about real
things”, she said.” I don’t much care about novels.”
She was never a great talker. Often when, the night being fine, we decided to
walk back from the hall at which we had been spending the evening, she never
opened her mouth. But her silence was intimate and comfortable. It did not exclude
you from thoughts that engaged her apart from you; it included you in a pervasive
well-being.
I was talking about her once to Lionel Hillier and I said to him that I could not
understand how she had turned from the fresh pleasant-looking young woman into
the lovely creature whose beauty now practically everyone acknowledged. (There
18
were people who made reservations. “Of course she has a very good figure,” they
said, “but it’s not the sort of face I very much admire personally.” And others said:
“Oh, yes, of course, a very pretty woman; but it’s a pity she hasn’t a little more
distinction.”)
“I can explain that to you in half a jiffy,” said Lionel Hillier. “She was only
flesh, buxom wench when you first met her. I made her beauty.” I forget what my
answer was, but I know it was ribald. “All right. That just shows you don’t know
anything about beauty. No one ever thought very much of Rosie till I saw her like the
sun shining silver. It wasn’t till I painted it that anyone knew that her hair was the
most lovely thing in the world.”
“Did you make her neck and her breasts and her carriage and her bones?” I
asked. “Yes, damn you, that’s just what I did do.”
When Hillier talked of Rosie in front of her she listened to him with a smiling
gravity. A little flush came into her pale cheeks. I think that at first when he spoke to
her of her beauty she believed he was just making game of her; but when she found
out that he wasn’t, when he painted her silvery gold, it had no particular effect on her.
She was a trifle amused, pleased of course, and a little surprised, but it didn’t turn her
head. She thought him a little mad. I often wondered whether there was anything
between them.
Sometimes when we were sitting side by side in a music hall I looked at her
face; I do not think I was in love with her; I merely enjoyed the sensation of sitting
quietly beside her and looking at the pale gold of her hair and the pale gold of her
skin. She had the serenity of a summer evening when the light fades slowly the
unclouded sky. There was nothing dull in her immense placidity; it was as living as
the sea when under the August sun laid calm and shining along the Kentish coast. She
reminded me of a sonatina by an old Italian composer with its wistfulness in which
there is yet an urbane flippancy and its light rippling gaiety in which echoes still that
trembling of a sigh. Sometimes, feeling my eyes on her, she would turn round and for
a moment or two look me full in the face. She did not speak. I did not know of what
she was thinking.
19
Then one night when we had walked home from the Canterbury, and I was
leaving her at her door, when I held out my hand she laughed a little, a low chuckle it
was, and leaned forward. “You old silly,” she said. She kissed me on the mouth. It
was not a hurried peck, nor was it a kiss of passion. Her lips, those very full red lips
of hers, rested on mine long enough for me to be conscious of their shape and their
warmth and their softness. Then she withdrew them, but without hurry, in silence
pushed open the door, slipped inside, and left me. I was so startled that I had not been
able to say anything. I accepted her kiss stupidly. I remained inert. I turned away and
walked back to my lodging. I seemed to hear still in my ears Rosie’s laughing. It was
not contemptuous or wounding, but frank and affectionate; it was as though she
laughed because she was fond of me.
3.
Learn the active vocabulary: to have a bob, to behave, to be out of work, to
borrow, to go here and there, to exclude, to include, to acknowledge, to admire, to
make game of somebody, to find out, to have effect on somebody, to turn one’s head,
to remain inert, to be fond of, to be familiar with, to make an appointment,
recklessness, to persuade.
4. Recall the situations from the text in which the active vocabulary is used.
5. Make up your own sentences with the words and phrases of the active
vocabulary.
6. Explain the meaning of the following words and phrases in English.
well-to-do, devil-may-care attitude, here and there, to have no particular on
somebody, to be difficult to suit, used to work, every other day, to gossip, to pawn, to
put somebody in funds
7. Form nouns from the following verbs of the active vocabulary and use them
in the sentences of your own.
20
to persuade, to effect, to behave, to acknowledge, to admire, to exclude, to include
8. Form nouns from the following adjectives and use them in the sentences of
your own speaking about the characters of the text.
generous, gay, charming, vain, boastful, unscrupulous, inert, contemptuous,
wounding, frank, affectionate
9. Translate into English using the active vocabulary.
1. Он вел себя как богач, хотя не имел ни копейки.
2. Твои слова вскружили ей голову, а ты всего лишь беззаботно играл с ней.
3. Ее признание не произвело на него никакого впечатления.
4. Неудача в любви не исключает положительных эмоций.
5. Она сопровождала его повсюду.
6. Ты слишком свободно общаешься с ней. Веди себя прилично.
10. Translate the following into Russian and say it in another way in English.
1. “I like to read about real things,” she said. “I don’t much care about novels.”
2. “I can explain that to you in a half a jiffy,”… “She was only a fresh, buxom wench
when you first met her. I made her beauty.”
3. “I like the Canterbury,” she said. “It’s so homey.”
4. “Of course she has a very good figure,” they said, “but it’s not the sort of face I
very much admire personally.” And others said: “… a very pretty woman; but it’s
a pity she hasn’t a little more distinction.”
5. “…No one ever thought very much of Rosie till I saw her like the sun shining
silver. It wasn’t till I painted it that anyone knew that her hair was the most lovely
thing in the world.”
11. Open the brackets using the appropriate form of the Infinitive. Explain the
grammar rule. Translate into Russian.
21
1. Then one night when we (to walk) home from the Canterbury, and I (to leave) her
at her door, when I (to hold out) my hand she (to laugh) a little, a low chuckle it
(to be), and (to lean) forward.
2. Sometimes when we (to sit) side by side in a music hall I (to look) at her face.
3. I (not to know) of what she (to think).
4. Often when, the night being fine, we (to decide) to walk back from the hall at
which we (to spend) the evening, she never (to open) her mouth.
5. Rosie (to tell) me that once he (to pawn) his watch to take her out to dinner and
then (to borrow) a couple of pounds from the actor manager who (to give) them
seats for the play in order to take him out to supper with them afterwards.
12. Answer the following questions:
1. Would you like to read the novel “Cakes and Ale…” by Somerset Maugham
after getting some information? What is your impression of the novel?
2. What is so peculiar about Rosie? Do you like her?
3. Why is she an object of so much admiration and affectionate?
13. Describe the males courting Rosie:
Name
Traits of Character
Appearance
Attitude to Rosie
(peculiar features)
14. What would you say if you were different characters?
1. Imagine you are Lionel Hillier. Tell us about your concern for Rosie’s appearance
and behavior.
2. Imagine you are Rosie. Tell us about your friendship with Harry Retford.
3. Imagine you are the author. Tell us your impression of Rosie.
15. Say everything you can about Rosie ... (Consider the following):

conversion into a beloved lady, the admired beauty;

intellectual activity;
22

her attitude to the admirers;

opinion of other people about her attraction;

the writer’s impression of Rosie.
16. Discuss the text.
1. In what tenor is the extract written (dry, matter-of fact, ironical, pathetic)?
2. Note the choice of words in which the author described Rosie. What role do the
many adjectives play in the text?
3. How did the author accentuate the contrast between Rosie and other women?
17. What impressed you most of all in the text and why?
18.
Write а summary of your comments on the extract. State its message.
23
William Somerset Maugham
Theater
1. Learn the material about the novel.
The main character of “The Theater” Julia Lambert was in her prime, the
greatest actress in England. On stage she was a true professional, in full possession
of her emotions. Off stage, however, she was bored with her husband, less
disciplined about her behavior. She is first amused by the attention of a shy but
ambitious fan then thrilled by his persistence and at last wildly but dangerously in
love… Although Maugham is most celebrated as a novelist and a shortstory writer,
it was as a playwright that he first knew success. Theater was both a tribute to a
world which he had retired and a persuasive testimony to his enthusiasm for drama
and the stage.
2. Read the extracts from the novel.
After taking off her stage make-up Julia had done nothing to her face except put
the very faintest shading of blue under her eyes. She had a smooth, pale skin and
without rouge on her cheeks or red on her lips she looked wan. The man’s dressinggown gave an effect at once helpless, fragile and gallant. Her heart was beating
painfully and she was very anxious, but looking at herself in the glass she murmured:
Mimi in the last act of Boheme. Almost without meaning to she coughed once or
twice consumptively. She turned off the bright lights on her dressing-table and lay
down on the sofa. Presently there was a knock on the door and Evie announced Mr
Fennell. Julia held out a white, thin hand.
“I’m lying down. I’m afraid I’m not very well. Find yourself a chair. It’s nice of
you to come.”
“I’m sorry. What’s the matter?”
“Oh, nothing.’ She forced a smile to her ashy lips. “I haven’t been sleeping very
well the last two or three nights.” She turned her beautiful eyes on him and for a
24
while gazed at him in silence. His expression was sullen, but she had a notion that he
was frightened. “I’m waiting for you to tell me what you’ve got against me?” She
said at last in a low voice. It trembled a little, she noticed, but quite naturally.
(“Christ, I believe I’m frightened too”.)
“There’s no object in going back to that. The only thing I wanted to say to you
was this: I’m afraid I can’t pay you the two hundred pounds I owe you right away. I
simply haven’t got it, but I’ll pay you by degrees. I hate having to ask you to give me
time, but I can’t help myself.”
She sat up on the sofa and put both her hands to her beating heart. “I don’t
understand. I’ve lain awake for two whole nights turning it all over in my mind. I
thought I should go mad. I’ve been trying to understand. I can’t. I can’t. (What play
did I say that in?”)
“Oh yes, you can, you understand perfectly. You were angry with me and you
wanted to get back on me. And you did. You got back on me all right. You couldn’t
have shown your contempt for me more clearly.”
“But why should I want to get back on you? Why should I be angry with you?”
“Because I went to Maidenhead with Roger to that party and you wanted me to
come home.”
“But I told you to go. I said I hoped you’d have a good time.”
“You know you did, but your eyes were blazing with passion. I didn’t want to
go, but Roger was keen on it. I told him I thought we ought to come back and dine
with you and Michael, but he said you’d be glad to have us off your hands, and I
didn’t like to make a song and dance about it. And when I saw you were in a rage it
was too late to get out of it.”
“I wasn’t in a rage. I can’t think how you got such an idea in your head. It was
so natural that you should want to go the party. You can’t think I’m such a beast as to
grudge you a little fun in your fortnight’s holiday. My poor lamb, my only fear was
that you would be bored. I so wanted you to have a good time.”
“Then why did you send me that money and write me that letter? It was so
insulting.”
25
Julia’s voice faltered. Her jaw began to tremble and the loss of control over her
muscles was strangely moving. Tom looked away uneasily. “I couldn’t bear to think
of your having to throw away your money on tips. I know that you’re not terribly rich
and I knew you’ve spent a lot on green fees. I hate women who go about with young
men and let them pay for everything. It’s in considerable. I treated you just as I’d
have treated Roger. I never thought it would hurt your feelings.”
“Will you swear that?”
“Of course I will. My God, is it possible that after all these months you don’t
know me better than that? If what you think were true, what a mean, cruel, despicable
woman I should be, what a cad, what a heartless, vulgar beast! Is that what you think
I am?” A poser.
“Anyhow it doesn’t matter. I ought never to have accepted valuable presents
from you and allowed you to lend me money. It’s put me in a rotten position. Why I
thought you despised me is that I can’t help feeling that you’ve got a right to. The
fact is that I can’t afford to run around with people who are so much richer than I am.
I was a fool to think I could. It’s been fun and I’ve had a grand time, but now I’m
through. I’m not going to see you any more.”
She gave a deep sigh. “You don’t care two hoots for me. That’s what that
mean.”
“That’s not fair.”
“You’re everything in the world to me. You know that. I’m so lonely and your
friendship means a great deal to me. I’m surrounded by hangers-on and parasites and
I knew you were disinterested. I felt I could rely on you. I so loved being with you.
You were the only person in the world with whom I could be entirely myself. Don’t
you know what a pleasure it was to me to help you a little? It wasn’t for your sake I
made you little presents, it was for my own; it made me so happy to see you using the
things I’ve given you. If you’d cared for me at all they wouldn’t have humiliated you,
you’d have been touched to owe me something.” She turned her eyes on him once
more. She could always cry easily, and she was really so miserable now that she did
not have to make even a small effort. He had never seen her cry before. She could
26
cry, without sobbing, her wonderful dark eyes wide open, with a face that was almost
rigid. Great heavy tears ran down it. And her quietness, the immobility of the tragic
body, were terribly moving. She hadn’t cried like that since she cried in The Stricken
Heart. Christ, how that play had shattered her. She was not looking at Tom, she was
looking straight in front of her; she was really distracted with grief, but what was it?
Another self within her knew what she was doing, a self that shared in her
unhappiness and yet watched its expression. She felt a sudden anguish wring his
heartstrings; she felt that his flesh and blood could not suppose the intolerable pain of
hers.
“Julia.” His voice was broken. She slowly turned her liquid eyes on him. It was
a woman crying that he knew, it was all the woe of humankind, it was the
immeasurable, the inconsolable grief that is the lot of man. He threw himself down
on his knee and took her in his arm. “Dearest, Dearest.” For the moment she didn’t
move. It was as if she did not know that he was there.
…When he had gone she sat down at the dressing-table and had a good look at
herself. “How lucky I am that I can cry without my eyelids swelling”, she said. She
massaged them a little. “All the same, what mugs men are.” She was happy.
Everything would be all right now. She had got him back. But somewhere, at the
back of her mind or in the bottom of her heart, was a feeling of ever so slight
contempt for Tom because he was such a simple fool.
3. Learn the active vocabulary:
to look wan, to give an effect, to murmur, to announce, to cough, to gaze at, to
frighten, to tremble, to owe, to pay by degrees, to be angry with, to get back on
somebody, to have a good time, to blaze with passion, to be keen on, to have
somebody off one’s hands, to be in rage, to be bored, to hurt one’s feelings, to
despise, to swear, to have a grand time, hanger-on, to be for one’s sake, to care for, to
sob, to mean a great deal, to contempt, to make an effort, to be distracted with grief,
to rely on somebody, to humiliate, to lend money, to look uneasily, to tip
27
4. Recall the situations from the text in which the active vocabulary is used.
5.
Make up your own sentences with the words and phrases of the active
vocabulary.
6. Explain the meaning of the following words and phrases in English.
Use the English- English dictionary.
to contempt, the woe of humankind, a mug, rigid, hanger-on, fragile, to despise,
anxious, gallant
7. Form nouns from the following adjectives from the text and use them in the
sentences of your own.
anguish, miserable, mean, cruel, despicable, fragile, gallant, angry, boring
8. Translate into English using the active vocabulary.
1. Я надеюсь, вы хорошо проведете время.
2. Он был очень зол на своего сына, его голос дрожал от негодования.
3. На тебя совсем нельзя положиться, твое слово ничего не стоит.
4. Твои признания не волнуют меня, мне скучно с тобой.
5. Каждый раз, когда она брала у него деньги, она чувствовала себя
оскорбленной, но боялась ему в этом признаться.
6. Все это только ради тебя, моя дорогая.
7. Интересно, сколько принято давать чаевых в этом ресторане?
9. Translate the following into Russian paying attention to the italicized words
and phrases, say it in other English words:
1. “You don’t care two hoots for me. That’s what that mean.”
2. “That’s not fair.”
3. Another self within her knew what she was doing, a self that shared in her
unhappiness and yet watched its expression.
28
4. She felt a sudden anguish wring his heartstrings; she felt that his flesh and
blood could not suppose the intolerable pain of hers.
5. “I couldn’t bear to think of your having to throw away your money on tips. I
know that you’re not terribly rich and I knew you’ve spent a lot on green fees.”
6. “It’s in considerable.”
10. Open the brackets using the appropriate form of the Infinitive. Explain the
grammar rule.
1. It (to be) fun and I (to have) a grand time, but now I (to be) through. I (to be
going) to see you any more.
2. She (to look) at Tom, she (to look) straight in front of her.
3. When he (to go) she (to sit down) at the dressing-table and (to have) a good
look at herself.
4. Her heart (to beat) painfully and she (to be) very anxious.
5. I (to treat) you just as I (to treat) Roger. I (to think) never it (to hurt) your
feelings.
11. Explain the use of the article and its absence in the following sentences.
1. What a mean, cruel, despicable woman I should be.
2. It was a woman crying that he knew, it was all the woe of humankind, it was
the immeasurable, the inconsolable grief that is the lot of man.
3. So I wanted you to have a good time.
4. It’s put me in a rotten position.
5. You were the only person in the world with whom I could be entirely myself.
12. Translate the sentences into Russian. Explain the use of the modal verbs.
1. I can’t pay you the two hundred pounds.
2. You couldn’t have shown your contempt for me more clearly.
3. Why should I want to get back on you? Why should I be angry with you?
4. I thought I we ought to come back and dine with you and Michael.
29
5. I can’t bear to think of your having to throw away your money on tips.
13. Give your first opinion of the novel. Would you like to read the whole work
of W.S. Maugham? Why?
14.
Make an outline of the text in the form of key questions. Stick to one tense.
Answer the questions in groups.
15. Say everything you can about Julia. What impressed you in her? What kind
of person is she? Give her portrait. What were her interests, habits, attitudes?
16. What was 1) Julia’s attitude to Tom and 2) his own feelings towards her?
Could it be different in other circumstances? Why? Why was Julia so sweet to
him? Did it imply a positive or negative meaning?
17.
Comment upon bits of Julia’s thoughts about her roles in different plays.
What other plays could Julia recall in the same situations? Explain your choice.
18. Say everything you can about Julia Lambert. Consider the following.
1. What kind of person was she?
2. The novel is called “The Theatre”. How does it reveal Julia’s character?
3. What impression did she produce on people?
4. Do you think she was capable of real feelings?
5. What is your attitude towards Julia?
19. What qualities do you think the author appreciate in Julia and what not?
20. What facts prove that Julia is an outstanding actress? What lines from the
text help you to understand it better?
30
21. What does it mean?
1. Julia was a “cold” actress.
2. World is a theatre and people are actors.
3. Julia was artificial in life and in love.
22. How does the author describe his characters? What devices does he use?
23. What would you say if you were different characters?
1. Imagine you are Julia’s son. Tell us about your concern for the mother’s
appearance and behavior.
2. Imagine you are Julia. Tell us about your relations with Tom.
3. Imagine you are Tom’s friend. Tell us your first impression of Julia.
24. What do you think it was that distinguished Julia from other people?
25. You are a journalist. You are going to interview Julia. Ask her questions.
26. Dramatize the scene from the offered text.
27. Make a written analysis of your thoughts on the message of the text.
28. Prove the fact that Maugham was a great master of style. Consult the topical
vocabulary of the literary terms (Appendix II).
31
Методический комментарий
Представленный в пособии учебный материал
по произведениям двух
английских писателей показывает особенности авторской технологии обучения
иностранному языку (ИЯ) на неязыковых факультетах педагогического вуза с
использованием англоязычной литературы. Данная технология осуществляет
комплексный
подход
к
реализации
образовательной,
воспитательной,
развивающей и преобразующей целей обучения ИЯ и направлена на развитие
самообразовательного, интеллектуального и творческого потенциала студента
педагогического вуза, развитие личностных и профессиональных качеств и
ценностных ориентаций будущего учителя.
Структура технологии эмоционально-личностного и профессионального
развития будущего учителя средствами англоязычной литературы охватывает
следующие этапы:
I.ЭМОЦИОНАЛЬНО-ОБРАЗНЫЙ ЭТАП
Цель: создание положительного импринтинга через эмоциональное и
творческое чтение англоязычного литературного текста.
Задачи: 1) создание эмоционально-творческой атмосферы для восприятия
текста; 2) актуализация фоновых знаний (об эпохе и авторе произведения) и их
расширение; 3) снятие трудностей лексико-грамматического, стилистического
и
лингвострановедческого
плана;
4)
формирование
коммуникативной
установки с целью удержать внимание студента на определенном объекте/ах в
процессе чтения; 5) развитие антиципирующих умений (предвосхищать
характер, тему текста и т.п.), опираясь на средства аудиовизуальной
наглядности, жизненный и социальный, читательский и речевой опыт студента,
а также тексты других жанров подобной тематики и т.п.; 6) чтение
англоязычного текста с заданной коммуникативной установкой, определяющей
вид чтения (вслух - про себя, поисковое – изучающее, аналитическое –
синтетическое и др.).
На этом этапе выполняются предтекстовые упражнения. Студентам
предлагается выполнить, например, такие задания: познакомиться с биографией
32
автора; ответить на вопрос: что сформировало его как писателя?; обратить
внимание на встречающиеся в тексте слова и реалии; подготовить небольшое
сообщение об эпохе создания произведения; высказать свое мнение, чем
интересны сегодняшнему читателю произведения данного автора? и др. Затем
студентам предлагается выполнить задания с целевой коммуникативной
установкой: прочитать текст и обратить внимание как автор воспринимает то
или иное явление; прочитать рассказ, обратить внимание на то, как автор
описывает обстановку дома, природу, атмосферу, царящую в семье и т.п.;
прочитать текст и найти черты сходства или различия с героями; прочитать
текст и постарайся понять, почему в подобной ситуации возникает / не
возникает конфликт; внимательно прочитать
произведение и обратить
внимание на особенности авторского стиля / приметы эпохи / подбор лексики /
характеристики и др.
Предварительный
результат
эмоционально-образного
этапа:
сформированность эмоционально-творческой направленности на работу с
англоязычным литературным текстом (положительные впечатления, интерес,
эмоциональный отклик), готовность к эмоционально-творческому осмыслению
прочитанного.
II.
ЭМОЦИОНАЛЬНО-ХУДОЖЕСТВЕННЫЙ ЭТАП
Цель: осмысление прочитанного англоязычного материала студентомнефилологом, его интериоризация.
Задачи:
1)
развитие
информационно-поисковых
умений,
которые
позволяют определить структуру текста для его разбора и последующего
осмысления
структурных
компонентов;
2)
развитие
информационно-
обобщающих умений, способствующих пониманию главной мысли текста; 3)
выявление степени понимания студентом англоязычного художественного
текста
(сюжетной
выразительности
линии
произведения
страноведчески
и
или
отрывка,
культуроведчески
образности
ценных
и
единиц,
авторской позиции, социальной сущности персонажей и т.д.); 4) развитие
умений решать проблемные задачи на основе прочитанного англоязычного
33
литературного материала; 5) развитие умений анализировать стилистические и
языковые особенности текста для формирования умений интерпретации текста;
6) становление “Я – концепции” студента через сопереживание, оценивание,
понимание и “оправдание” литературного героя и через это - определение
отношения студента к себе и окружающему миру.
На этом этапе выполняются послетекстовые упражнения на понимание
прочитанного и творческие упражнения когнитивно-рецептивного характера.
Эффективность упражнений зависит от степени интеллектуальной активности
студента, с которой связано выполнение конкретного упражнения. Для
повышения мыслительной активности предлагаются следующие задания: а)
ответить на вопросы: кто? что? где? когда?; найти неправильное утверждение;
составить план текста; разбить текст на несколько отрывков и озаглавить их;
составить социограмму взаимоотношений героев; расположить предложения в
исходном
порядке;
подобрать
правильный
вариант
ответа;
закончить
предложение и т.д.; б)ответить на проблемные вопросы по содержанию текста
(зачем? почему? с какой целью?); прокомментировать схему (социограмму)
отношений героев; определить основную идею текста; определить отношение
автора к герою (событию); определить, где (когда? почему?) произошло
событие; назвать средства выразительности (стилистические особенности,
специфику лексики персонажей), используемые автором; охарактеризовать
поведение героев; выделить национальную специфику в поведении героев /
описании города / манере вести себя и др.
На этом этапе работы с англоязычной литературой наблюдается динамика
развития умения интерпретации текста. Первичный синтез текста происходит
при ответе на 2-3 вопроса о сути текста после его чтения с целевым заданием.
Интерпретация на уровне значений с целью извлечения композиционносемантической (эксплицитной) информации происходит при выполнении двух
групп
«синтетических
упражнений»:
1)
синтетических
упражнений,
направленных на выработку навыков и умений свертывать чужое высказывание
(деление текста на законченные смысловые отрезки, выделение смысловых
34
вех, выявление логической цели действия,
цитирование как подготовка к
порождению собственного высказывания и др.); 2) синтетических упражнений,
направленных на выработку навыков и умений порождать собственное
высказывание (на репродуктивном уровне): (краткий сжатый пересказ
фактического содержания текста, подробный пересказ, пересказ от лица какоголибо персонажа и др.). Интерпретация на уровне смысла с целью извлечения
логико-семантической (имплицитной) и эмоционально-оценочной информации
реализуется
через
создание
собственного
продуктивном уровне (комментирование,
высказывания
студента
на
обобщение, выход в «большой
контекст», проникновение в подтекст произведения и т.д.). Эта стадия
направлена на осознание проблем, вытекающих из содержания текста, которые
связаны с жизненными, реальными коммуникативными ситуациями. При
построении высказывания-интерпретации студент чаще всего не имеет в самом
тексте готового ответа на ту или иную тему. Высказывание - интерпретация
представляет собой малую форму монологической речи, соотносимую с
обращенной развернутой репликой в диалоге в условиях обсуждения
смыслового
зависимости
содержания
от
цели
художественного
определяются
текста в форме беседы. В
следующие
типы
высказывания-
интерпретации: интерпретация-рассказ, интерпретация-оценка, интерпретацияхарактеристика,
интерпретация-рассуждение,
интерпретация-обобщение,
интерпретация-сравнение, а также их комбинированные формы.
Предварительный результат второго этапа: личностная идентификация
студента в процессе эмоционального сопереживания, осмысления и оценивания
англоязычного литературного материала.
III.
ЭМОЦИОНАЛЬНО-КРЕАТИВНЫЙ ЭТАП
Цель: творческая самореализация студента в различных продуктивных
видах деятельности на основе и в связи с англоязычным литературным
материалом, экстериоризация прочитанного.
Задачи: 1) совершенствование умения творческого переосмысления текста
на основе собственных оценочных критериев студента; 2) поиск студентом
35
продуктивных нестандартных решений ситуаций, представленных в тексте; 3)
организация условий для раскрытия эмоционально-креативного потенциала
студента; 4) использование ситуаций для развития воображения, фантазии,
ассоциативного
мышления
студента;
5)
направленность
учебно-
воспитательного процесса на формирование индивидуального стиля мышления
студента; 6) формирование умений непрерывного самообразования всех
субъектов учебно-педагогического процесса.
Основным показателем развития личности является его творчество.
Самовыражение субъекта через креативность в учебном процессе способствует
развитию
творческой
личности.
Творческая
самореализация
студента
происходит в процессе обдумывания, осмысления, творения, когда субъект
пропускает через себя те проблемы, которыми насыщена жизнь и которые
отражены в англоязычной литературе. Творческие задания могут быть
представлены в следующих видах: драматизировать отрывок; изменить
перспективу повествования (т.е. рассказать об одном и том же событии от лица
различных героев рассказа (отрывка); сделать художественный перевод
произведения; изменить жанр повествования (поэзия - проза, проза - драма);
написать сценарий фильма по прочитанному произведению; написать письмо
одному из героев повествования в связи с собственными ассоциациями по
поводу прочитанного; написать собственное стихотворение / пародию по
ассоциации
с
прочитанным;
опираясь
на
свой
жизненный
опыт,
проанализировать события, поступки героев; взять интервью у одного из
героев, роль которого мог бы выполнить один из студентов; придумать другое
начало / окончание рассказа, отрывка; найти аналогичный рассказ (пьесу,
стихотворение) в русской литературе, сравнить английские и русские
произведения, выявить параллели и различия, пытаясь объяснить их с точки
зрения
эпохи,
творчества
автора,
собственных
оценочных
категорий;
выполнить иллюстрацию в связи с прочитанным и др. Основное внимание
направлено на создание студентом оригинального художественного текста
(письма, стихотворения, сценария, рассказа, эссе, сочинения, художественного
36
перевода), в процессе которого он меняет позицию потребителя культуры на
позицию создателя культурных ценностей. Такая форма работы на основе и в
связи с англоязычными литературными произведениями особенно важна для
реализации творческих способностей студента, выработки стремления к
самосовершенствованию, формирования духовного мира личности.
Практика
работы
по
представленной
технологии
эмоционально-
личностного и профессионального развития будущих учителей средствами
англоязычной
литературы
доказала
ее
эффективность:
выполнение
предложенных заданий позволяет расширить поле творческой деятельности
студентов, дает им возможность проявить свои таланты, знания и умения,
мотивирует изучение ИЯ.
Надеюсь,
вам
было
интересно
познакомиться
с
особенностями
предлагаемой авторской технологии обучения иностранному языку на
неязыковых факультетах педагогического вуза с использованием англоязычной
литературы. Возможно, вы открыли для себя что-то новое и интересное и
будете использовать в своей практике.
Успехов в работе и учебе! All the best!
Ольга Володина
кандидат педагогических наук
доцент кафедры иностранных языков КГПУ
37
Приложение I
TRAITS OF CHARACTER
Traits of Character: positive; negative
Character: strong; independent; weak; pride
Types of character:
Sanguine, choleric, melancholic, phlegmatic;
introvert ,extrovert
Traits of character:
hard-working; industrious; shy; modest; polite; quiet; calm; well-balanced; well-bred;
sincere; frank /outspoken; honest; kind; kind-hearted; open-hearted; heart of gold;
good-natured; sociable; easy-going; cheerful; generous; reliable; tolerant; patient;
talkative; touchy; vulnerable; sensitive /hypersensitive; selfish; careful; courageous;
straight-forward; obstinate /stubborn; decisive; reserved’; well-mannered; self-made;
friendly; balanced in emotions; enthusiastic; optimistic; extraordinary; trustful; loyal;
self-motivated; sensible; business-minded; practical-minded; practical; well-behaved;
brave; to be in high spirits; in high mood; to get along with; to be on friendly terms;
persistent; level-minded (to consider all pros and cons); to suffer from superiority
complex / inferiority complex;
lazy; lazy-bones; coarse; snobbish; impolite; rude; cruel; violent; ambitious; naughty;
ill-balanced; ill-bred; insincere; discreet; dishonest; sadistic; heartless; naïve; heart of
stone; ill-natured; wicked; self-assured; arrogant; sullen; stingy; greedy; unreliable;
intolerant; impatient; boastful /eloquent; thick-skilled; indecisive; nervous; unselfish;
careless; cowardly; self-confident; tactless; self-centered; mean; mediocre; hottempered; mad /crazy /nuts; showy; jealous; envious; pessimistic; sly /cunning;
gloomy; upset; miserable; broken /broken to pieces /heartbroken; depressed /all to
pieces; exhausted; unpractical; two-faced /double-faced; ordinary /common place; joy
killer; irritating; impudent /insolent; vindictive; ignorant; scoundrel; milksop
38
Characteristics of a man :Friend in need; Heart of gold; Fair-weather friend; snob;
chameleon; traitor; chatterbox; Strong personality; A man of character; The strong,
silent type; Weak personality; A man of no character
Disposition /Attitude:
Friendly; unfriendly; welcoming; hostile; Warm /attentive; Inattentive; Hospitable;
sympathetic; unsympathetic; worthy; negative; positive; negative; Energetic /active
Passive; To praise; To boast; To appreciate; To complain; To value; To trust; To let
down; To rely; To reject; To accept
Intellectual ability:
intelligent; unintelligent; bright; dull; smart; foolish; clever; silly; witty; half-witted;
wise; unwise; brainy; brainless; broad-minded; narrow-minded; gifted; talented;
talented; promising; progressive; dogmatic
She is always ….
She has the habit of ….
To be like
To take after somebody
To have a reputation for
To take life as it is /as it comes
To have a tendency to
There’s a touch of the … about him/her
The lack of respect for
The lack of confidence
There’s something … about him/her
39
Приложение II.
STUDYING LITERATURE
Classes of books: light / heavy reading, fiction / non-fiction, science fiction;
biography, poetry; books about political, social, economic subjects; travel books;
romances; thrillers; adventure / love stories; detective stories; fairy-tails and
fantasies; ghost stories and mysteries; animal stories and family stories.
The physical appearance of the book: to keep books clean and shiny; to bend
a book in half; a book with loose / dog-eared pages; a beautifully printed book; a
cheap paper-back (edition); an elegantly bound / pocket edition.
Reading habits: to form a reading habit early in life; to motivate and
encourage reading; an avid / voluntary / infrequent reader; to read silently to oneself,
to read incessantly; to read quickly but accurately; to read slowly and laboriously; to
read effortlessly; to read curled up in the chair; to read deep into the night; to read
oneself to sleep; to read for pleasure / for examination; to be glued to a book for
hours; to get lost in a book; to choose books according to subject / the author's name;
to browse through newspapers / periodicals; to scan / skim a magazine / article; to dip
into / glance over / thumb through a book.
Library membership: to borrow books, to return / renew / request books; a
borrower, a library ticket; a request card; to get / send reminder notices; to keep
books which are overdue; to be suspended from the library; books on open reserve;
books (not available) from a local library; a subject catalogue; a catalogue of authors
and titles; magazine / reference / science sections in a library; to keep abreast of the
developments in (electronics).
Appreciation of books and authors: to favour modern / classical authors: a
book that is certain delight; to have a good / bad / high / low opinion of; a trend to
40
read relatively more non-fiction; a widespread indifference to (poetry); to get the
fullest possible value from a book; to get the whole pleasure from...; to applaud or
condemn (with an open mind); to pass judgement; to praise unreservedly.
Positive attributes: exciting, amusing, humorous, informative, entertaining,
gripping, absorbing, lively, witty.
Negative characteristics: mediocre, lacking in originality, hackneyed,
pompous, sentimental, repetitive, dull, boring, clumsy, rambling, heavy-handed,
superficial, pretentious, wordy, dense.
Writing about the plot.
Plot development.
The plot is the sequence of events in a story. It usually follows the pattern below.
In the exposition the author introduces to us the story’s characters, setting and
situation.
The narrative hook is the point at which the author catches our attention and
establishes the basic conflict that the story will eventually resolve. The narrative hook
marks the beginning of the rising action, which adds complications to the story.
The rising action leads up to the climax that usually indicates the way in which the
story’s conflict will be solved.
The falling action reveals the outcome of the climax.
The resolution brings the story to a satisfying and logical conclusion.
Task: Draw the map of the plot development. It the story follows the traditional plot
structure; identify its narrative hook, rising action, climax, falling action and
resolution.
Writing about characters
Concepts to remember.
41
a) To compare means to examine two or more things, ideas, people for purpose of
noting similarities.
To contrast means to examine two or more items for the purpose of noting
differences.
b) A character may be flat or round. A flat character’s personality is dominated by a
single trait; a round character possesses many different traits.
c) A character may be static or dynamic. A static character does not change from the
beginning of the work of literature to the end. A dynamic character changes in some
way during the course of the work. This change may be positive or negative.
Writing about the theme.
Concepts to remember.
A piece of literature may have both a subject and a theme. The subject is the specific
topic of the story (novel). The theme is the generalization about life that the story
leads you to see.
Task: Identify the major theme of the story. How does the author illuminate the
theme?
What does the story have to say about people’s relationships?
Writing about the tone.
Concepts to remember.
The tone is the attitude of the author toward the character and events in presenting the
story to the reader.
A writer’s tone may be sarcastic, sympathetic, objective, ironic, bitter, sad, serious,
comic.
Task: Identify the tone of the story. How does the author communicate the tone of the
story?
How does the word choice communicate the author’s attitude?
How does the author treat the characters?
Does he sympathize with them?
42
Is the author objective about them?
A critical evaluation of a story (novel).
Task: Give a critical evaluation of the story, using words and word combinations
suggested for literary discussion.
Word list:
the plot - сюжет
subject - matter, contents - содержание
explosion, setting - экспозиция
narrative hook - завязка действия
rising action - развитие действия
climax - кульминация
falling action - развязка
conflict - конфликт
subplot - вторая сюжетная линия
events unfold, the action develops - события развертываются
characters - действующие лица, герои
the author shows the development of the character - образ дается в развитии
women (men) characters - женские (мужские) образы
positive character - положительный герой
negative character - отрицательный герой
the plot unfolds dynamically/ slowly - действие разворачивается быстро,
медленно
the leading (main) characters - главные герои
the general tone of the story is matter-of-fact, ironic, etc. - общий тон рассказа
бесстрастный, иронический…
vivid description - живое повествование
literary and artistic merits - литературные и художественные достоинства
the subject of the novel (story) is drawn from life - тема романа (рассказа) взята из
жизни
43
bitter satire on… - острая сатира на …
profound analysis - глубокий анализ
The parts of the book
The title page usually gives the complete title of the book, the names of authors
or editors, the name of the publisher and the place of the publication. The copyright
page gives the copyright dates, the names of copyright holders, the dates of editions
or printings of the book. The foreword, preface, or introduction is a written
commentary that supplies necessary background information.
The table of contents is a summary or outline of the contents of the book,
arranged in order of appearance.
The text is the body of the book. It may be divided into chapters or sections.
The appendices contain additional information, often in the form of maps,
charts, tables, illustrations or graphs.
The notes section contains footnotes to works cited or explanations of
statements made in the text.
The bibliography is a list of sources that were used in preparing the book or
that may be of interest to readers who wish further information on the subject.
The glossary is a dictionary of unusual or technical terms used in the text of the
book.
The index is an alphabetical list of subjects covered in the book. Each entry is
followed by page numbers that enable you locate specific information.
Not all books will contain all of the preceding parts. Before you start to look
for the information that you need from a book, glance through it to see what parts the
book contains. Then, use these parts to locate the information that you need.
Agree or disagree with the following statements. Give your arguments.
1)
Reading English fiction with a dictionary is very dull.
2)
If the book is very exciting, you "swallow" it.
3)
Nobody reads reference books for relaxation.
44
4)
Reading thick science fiction books is tiring.
5)
Very intelligent people don't read detective stories.
6)
Non-fiction books can't be inspirational.
7)
Travel books give you a lot of useful information.
8)
Unfortunately many young people are not in the habit of reading poetry.
9)
Great book-lovers never lend their books.
10)
Lots of people buy books for their bright and beautiful jackets.
11)
Bookcases and bookshelves are the best kind of decoration for a living-room.
12)
It's of no use collecting book issues of magazines and newspapers
Answer the questions in groups and sum up common trends.
1)
When did you learn to read? Does your family read a lot of books?
2)
What are the books everybody should read as a child?
3)
Can you name a few books that left a lasting impression on you? Be specific.
4)
Do you enjoy reading books that require an effort to understand their meaning or
do you think that it's possible to express with lucidity the most subtle reflection?
5)
Do you prefer emotional or dig and factual tone?
6)
How and why do you select books? Is the physical appearance an important
factor? What kind of books do you prefer to read?
7)
Has it ever happened that you first saw a TV or screen version (adaptation) of a
classic and later read the book? How can you evaluate the experience?
8)
What do you think about the impact of television on voluntary reading? Would
you say that television and watching way actually inspire or discourage reading?
9)
In the modern world are books the only vehicle of learning? Or are they the most
important?
Share your opinions on the expressions of famous people.
1)
"Old wood best to burn, old wine to drink, old friends to trust and old authors to
read". (F. Bacon.)
2)
"Tell me what you read and I will tell you what you are." (W. Goethe.)
45
3)
"What's the use of a book," thought Alice, "without pictures or conversations?" (L
Carroll.)
4)
"No furniture is so charming as books, even if you never open them and read a
single word." (S. Smith.)
5)
"I would sooner read a time-table or a catalogue than nothing at all." (W. S.
Maugham.)
6)
"Never read any book that is not a year old." (R. Emerson.)
7)
"Reading is the best learning." (A. Pushkin.)
8)
"Bad books are worse than useless; they are harmful." (L. Tolstoy.)
9)
"Books are a great thing as long as you know how to use them." (A. Block.)
Comment on the sayings:
1)
The person who doesn't read has no advantage over the person who cannot.
2)
Reading is to the mind what exercise is to the body.
3)
A house looks glum and joyless without books.
4)
If the book is worth reading it is worth buying.
5)
Books and friends should be few and good.
6)
A good children's book has no age limit.
46
Приложение III.
1. Тест-задание на выявление уровня знаний английской и
американской литературы
1. Answer the following questions.
1. Who are your favorite English and American writers?
2. Can you name a few books of English and American writers that left a lasting
impression on you?
2. Match the novel type with its characteristics. (Сопоставьте литературные жанры
с их характеристиками).
a) This type of novel is written on the basis of historical
1. Adventure novels
events.
b) In this type novel some central character usually goes
2. Historical novels
through all sort of unusual and dangerous adventures,
often in search of hidden wealth.
3. Horror and
macabre novels
c) These novels may be about monsters, supernatural powers
(especially those of evil) or places and buildings (e.g.
castles) where strange and frightening happenings occurs.
4. War novels
d) These novels are about murder or theft. Early in the story
a crime is committed and the rest of the book is concerned
5. Romans and love
novels
with solving of it. Such novels are sometimes called
“WHODUNNIT” (Who did it?).
e) This type of novel is about secret agents, espionage and
6. Animal novels
counter espionage and all the mystery and danger that go
with them.
7. Satirical novels
f) These novels usually center round a story which is about
the course of love between a man and a woman, its ups
8. Spy and espionage
novels
and downs, sometimes its final triumph in the uniting of
the two lovers.
g) These novels make fun of human fallings, political and
9. Science fiction
religious organizations, habits and social customs, the rich
and the poor, the powerful and the weak.
(Sci-fi) novels
h) These novels are written on war themes.
47
i) These novels deal with travels to other planets or other
solar systems, with imagined galactic wars and empires,
10.Crime and detective
novels
with contacts with alien races, with future evolution of the
human race.
j) These novels are centered round an animal.
3.
Point out two examples of English or American books on every literary genre?
Don’t forget to write the name of the author. (Дайте два примера англоязычных
произведений каждого литературного жанра, укажите их авторов.)
4. What is your favorite genre? Why?
5. Make a list of a) positive attributes and b) negative characteristics of books.
(Составьте список положительных и отрицательных характеристик книг).
6. What kind of literature do you read? Why?
7. How do you select books for your private home library? Can you point out the
definite criterions of your choice? (Как вы выбираете книги для домашней
библиотеки? Каковы основные критерии выбора?)
8. Has it ever happened that you first saw a TV or screen version (adaptation) of a
classic and later read the book? If yes, name the books. Was the experience positive
or disappointing? (Какие англоязычные книги вы прочитали после просмотра
экранизации? Был этот опыт положительным или разочаровывающим?)
9. Match the author and his/her literary work(s).
1.
John Steinbeck
a. The Catcher in the Rye
2.
Oscar Wilde
b. Our Man in Havana
3.
William Somerset
c. Flowers for Algernon
Maugham
d. The Razor’s Edge
4.
John Fowles
e. Of Human Bondages
5.
Irwin Shaw
f. Whom the Bell Tolls
6.
J. Galsworthy
g. The French Lieutenant’s Woman
7.
Iris Murdoch
h. Rich Man, Poor Man
8.
Francis Scott Fitzgerald
i. The Great Gatsby
9.
Theodore Dreiser
j. The Grapes of Wrath
10.
D. Salinger
k. The Moon and Sixpence
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11.
Ernest Hemingway
l. Theatre
12.
William Golding
m. Sister Carrie
13.
Graham Greene
n. The Picture of Dorian Grey
14.
Richard Aldington
o. The Black Prince
15.
Daniel Keyes
p. Cakes and Ale or the skeleton in the
cupboard
q. Death of a Hero
r. An American Tragedy
s. The Old Man and the Sea
t. Lord of the Flies
u. The Collector
v. The Forsyte Saga
10. а) Expand on the list of English and American classical literature that should be
read
by
everyone.
(Продолжите
список
английской
и
американской
классической литературы обязательной для прочтения.); b) Share your opinion of
those ones you have read. (Представьте ваше мнение о тех, которые вы
прочитали (помимо изученных по программе литературного образования.)
11. Note down 5 main features of the literary manner and style of any author from
Task 9. (Напишите 5 основных характеристик манеры и стиля любого писателя
из списка в задании 9).
12. Advise your groupmates to read
any book from task 9. (Порекомендуйте
студентам своей группы прочитать одну из книг в задании 9.)
2. Тест-задание на выявление уровня развития умения
работать с иноязычным литературным текстом
1.
What is literature? Give definitions of literature. (Дайте определение
понятия литература.)
2.
Here are a number of quotations which ‘define’ literature. (Предлагаются
несколько определений литературы.)
a) Which definitions conform most closely to your idea of what literature is? Why?
(Какие определения соответствуют вашему пониманию литературы? Почему?)
49
b) Which definition(s) do you reject? Why? (Какие определения вы отвергаете?
Почему?)
A.
Great literature is simply language charged with meaning to the utmost
possible degree.
B.
Literature is the question minus the answer.
C.
Literature, fiction, poetry, whatever, makes justice in the world. That’s why it
is almost always on the side of the underdog.
D.
Literature is a special use of language which deviates from ‘practical’
language. Practical language is used for acts of communication, while literary
language has no practical function at all.
E.
Literature is the use of language to evoke a personal response in the reader.
F.
Literature means … to meet a lot of people, to know other different points of
view, ideas, thoughts, minds … to know ourselves better.
3.
What are the features of a literary text? (Какие основные характеристики
литературного текста?)
4.
Read through each of the following texts and decide whether or not it is a
literary text. If not, then mark where the text might have been taken from. Note down
the words that help you to make your decision (Прочитайте предложенные тексты,
определите какие из них являются литературными. Укажите, откуда могли быть
заимствованы другие тексты. Укажите слова, подтверждающие ваше решение).
A. Before the lessons the plans and materials of the lesson were collected. During the
lessons the teacher was videotaped by one camera and the pupils by the other. The
speech of the pupils was recorded by the tape recorders. The teachers also sent
reflections on the lessons. The researcher held a diary on the events in the lesson.
B. For months I lay awake and plotted to kill my ex-husband. But I knew I’d bungle it
and get caught, so I wrote a book instead.
C. The solar battery was first tried as a source of power for rural telephone lines in
sunny climates. Within two years it was being sent aloft to provide power for the
instruments aboard satellite.
50
D. That was in May. In November a cold, unseen stranger, whom the doctors called
Pneumonia, went from place to place in the district where they lived, touching people
here and there with his icy fingers. Mr. Pneumonia was not what you would call a
kind old gentleman.
E. It goes without saying that before looking at canvases you are supposed to know
something about the artist who created them, about the time in which he worked,
about the artist’s style and technique.
5.
Why study Literature? a)
Below is a list of reasons for reading and studying
literature. Arrange the reasons in order of importance; the first one is the most
important. (Распределите причины чтения и изучения литература в порядке
значимости, первая - самая главная.)
Literature should be used in the English language lesson because:
1) it is motivating
2) it is authentic material
3) it has general educational value
4) it helps to understand another culture
5) it is a stimulus for language acquisition
6) it develops interpretative abilities
7) it encourages to talk about opinions and feelings
8) it is enjoyment and funny
9) it is highly valued and has a high status
b) What other reasons for studying literature do you want to add to the list? (Какие
другие причины вы можете указать?)
6.
Read through student problems with a literary text. What problems do you
face and how do you overcome them? (Прочитайте список трудностей работы с
литературным текстом. Какие проблемы встретились вам? Как вы их
преодолели?)
 Motivation: a)lack of confidence, b)contents of the text uninteresting, c)texts not
relevant to passing exams in English, d)don’t read much in own language;
51
 Comprehension:
a)following
the
plot,
b)understanding
the
character,
c)understanding vocabulary, d)understanding the role of the narrator;
 Making interpretations: a)confident to make own interpretations, b)coping with
ambiguity;
 Inadequate reading strategies: tendency to focus on every word rather than general
meaning;
 Appreciating the style;
 Understanding the cultural background to the text.
7. Examine the list of activities and tasks; match them according to goals. (Изучите
предложенный список работы с литературным текстом и практические задания,
сопоставьте их по задачам.)
1.
Pre-reading activities:
1.A helping with cultural
background,
1.B stimulating student interest
in the text,
1.C pre-teaching vocabulary;
a) Write a review of the text
b) Choose from a list of adjectives the ones for
describing a particular character
c) Provide multiple choice questions to guess the
meaning
d) Read about the author’s life or the historical and
cultural background of the text
2.
While-reading activities:
e) Predict the genre
2.A helping to understand the
f) Write a brief summary of the plot in 50 words
plot,
g) Brainstorm a lexical set which is important in the
2.B helping to understand the
characters,
2.C
helping with difficult
story
h) Read and discuss critical literary writing about
the author or his/ her works in general
vocabulary,
i) Analyze a section of the text
2.D helping with style and
j) Match the words with their definitions
language;
k) Debate on general questions focusing on the main
points in the text
3.
3.A
Post-reading activities:
helping to make
l) Roleplay or act out a scene from the text
m) Write a letter describing the events of the text
interpretations of the text,
n) Focus on a particular grammatical problem
3.B understanding narrative
o) Give titles to each paragraph
point of view,
p) Re-order the ‘jumbled’ sentences which
52
3.C follow-up writing activities,
3. D follow-up fluency practice.
summarize the plot
q) Predict about the text based on some words
r) Write ‘references’ for different characters
8. Expand on the list of tasks on the offered activities. (Дополните список
упражнений по предложенным видам работы с текстом.)
3. Тест - задание на выявление уровня самоопределения личности
студентов в результате работы с англоязычным литературным
материалом
1. What were your emotions evoked by the first few chapters of the novel?
2. What impression had the novel made on you by the end of reading?
3. Why does (doesn’t) it differ from the first one?
4. What feelings does the book arouse? Why?
5. Why were you offered this book for reading, analyzing and studying? Make
you suggestions.
6. What philosophical, ethic problems are raised in the book? List them.
7. Do these problems seem up-to-date? Why?
8. What are the values the author emphasizes in the novel?
9. Explain the author’s choice of the novel’s title.
10.What is the author’s attitude to the main character(s)?
11.What is your attitude to the main character(s)? Did it change while reading the
book? If yes, why? And in what episode(s)?
12.What is the difference between a positive character and an ethic ideal?
13.Which character(s) of the book can you call a (humanistic) ideal (or close to
it)?
14.What traits of his / her character make you think so?
15.Which character(s) of the book is (are) negative? Make his / her psychological
portrait.
16. What themes for discussions, written analysis or just thinking does this literary
work evoke? Write your comments on each of them.
53
Приложение IV.
Список литературы для внеаудиторного чтения
АНГЛИЙСКАЯ ЛИТЕРАТУРА
Уильям Шекспир - трагедии (“Гамлет”, “Король Лир”, “Ромео и Джульетта”), комедии
William Shakespeare “The Tragedy of Hamlet”, “King Leo”,
‘The Tragedy of Romeo and Juliet”;
Даниэль Дефо “Робинзон Крузо”
Daniel Defoe “Robinson Crusoe”;
Джонатан Свифт “Путешествия Гулливера”
Jonathan Swift “Gulliver’s Travel”;
Генри Филдинг “История Тома Джонса, найденыша”
Henry Fielding “The History of Tom Jones, a Founder”;
Вальтер Скотт “Айвенго”, “Роб Рой”, “Квентин Дорвард ”
Walter Scott “Ivanhoe”, “Rob Roy”, “Quentin Durward”;
Чарльз Диккенс “Посмертные записки Пиквикского клуба”, “Домби и сын”, “Тяжелые
времена”
Charles Dickens “The Posthumous Papers of the Pickwick Club”,
“Dombey and Son”, “Hard Times’;
Уильям Мейкпис Теккерей “Ярмарка тщеславия”
W.W. Thackeray “Vanity Fair”;
Томас Гарди “Тэсс из рода д’Эрбервилей”
Thomas Hardy “Tess of the d’Urbervilles”;
Роберт Луис Стивенсон “Остров Сокровищ”
R.L. Stevenson “Treasure Island”;
Артур Конан Дойль “Приключения Шерлока Холмса”
Arthur Conan Doyle “The Adventures of Sherlock Holmes”;
Оскар Уайльд “Портрет Дориана Грея”
Wilde Oscar “The Picture of Dorian Gray”;
Джеймс Джойс “Улисс”
James Joyce “Ulysses”;
Вирджиния Вульф “Комната Джекоба”, “К маяку”
Virginia Woolf “Jacob’s Room”, “To the Lighthouse”;
54
Дэвид Герберт Лоуренс “Сыновья и любовники”,
“Любовник леди Чаттерлей”
D.H. Lawrence “Sons and Lovers”, “Lady Chatterley’s Lover”;
Бернард Шоу “Дом, где разбиваются сердца”, “Пигмалион”
Bernard Shaw “Heartbreak House”, “Pygmalion”;
Герберт Уэллс “Машина времени”, “Война миров”, “Человек-невидимка”
H.G. Wells “The Time Machine”, “The War of the Worlds”,
“The Invisible Man”;
Джон Голсуорси “Сага о Форсайтах”
John Galsworthy “The Forsyte Saga”;
Сомерсет Моэм “Бремя страстей человеческих”, “Луна и грош”, “Раскрашенная вуаль”,
“Пироги и пиво: или скелет в шкафу”, “Театр”
W.S. Maugham “Of Human Bondage”, “The Moon and Sixpence”, “The Painted Veil”, “Cakes
and Ale: or the Skeleton in the Cupboard”, “Theater”;
Ричард Олдингтон “Смерть героя”
Richard Aldington “Death of a Hero”;
Джон Бойнтон Пристли “Эта старая страна”
J.B. Priestley “It’s an Old Country”;
Грем Грин “Тихий Американец”, “Суть дела”, “Комедианты”
Graham Green “The Quiet American”, “A Burn-Out Case”,
“The Comedians”;
Уильям Голдинг “Повелитель мух”
William Golding “Lord of the Flies”;
Айрис Мердок “Под сетью”, “Черный принц”
Iris Murdoch “Under the Net”, “The Black Prince”
АМЕРИКАНСКАЯ ЛИТЕРАТУРА
Френсис Фенимор Купер “Последний из могикан”, “Следопыт”, “Пионеры”, “Прерия” др.
F.F. Cooper “The Last of the Mohicans”, “The Pioneers of the Sources of the Susquehanna”,
“The Spy”, “Prairie”;
Ральф Уолдо Эмерсон “Американский ученый”
R.W. Emerson “The American Scholar”;
Эдгар Алан По “Падение дома Ашеров”, “Маска красной смерти”, “Вильям Вильсон”,
“Лигейя” и другие рассказы
55
Edgar Allan Poe “The Fall of the House of Usher”, “The Masque of the Red Death”, “William
Wilson”, “Ligeia”;
Герман Мелвилл “Моби Дик”
Herman Melville “Moby-Dick”;
Марк Твен “Том Сойер”, “Приключения Гекльберри Финна”, рассказы
Mark Twain “Tom Sawyer”, “Adventures of Huckleberry Finn”;
Теодор Драйзер “Сестра Кэрри”, “Американская трагедия”, “Трилогия желаний”:
“Финансист”, “Титан”, “Стоик”
Theodore Dreiser “Sister Carrie”, “An American Tragedy”, “The Financier”,
“The Stoic”, “The Titan”;
Джек Лондон “Сын волка”, “Морской волк”, “Мартин Иден”, “северные рассказы”
(“Любовь к жизни”, “Тропою ложных солнц” и другие)
Jack London “The Sea Wolf”, “Martin Eden” and others;
Френсис Скотт Фицджеральд “Великий Гэтсби”, “Ночь нежна”
F.S. Fitzgerald “The Great Gatsby”, “Tender is the Night”;
Эрнест Хемингуэй “И восходит солнце”, “По ком звонит колокол”, “Прощай, оружие”,
рассказы
Ernest Hemingway “Fiesta: The also Rises”, “For Whose the Bell Tolls”,
“A Farewell to Arms”, stories;
Уильям Фолкнер “Особняк”, “Свет в августе”
William Faulkner “The Mansion”, “Light in August”;
Джон Стейнбек “Гроздья гнева”
John Steinbeck “The Grapes of Wrath”
АМЕРИКАНСКАЯ ЛИТЕРАТУРА (II пол. ХХ в.)
Д.Д. Сэлинджер “Над пропастью во ржи”
J.D. Salinger “The Catcher in the Rye”,
Р. Эллисон “Человек-невидимка
Ralph Ellison “The Invisible Man”,
С.Беллоу “Приключения Оги Марча”
Saul Bellow “The Adventures of Augie March”,
Д. Керуак “На дороге”
Jack Kerouac “On the Road”,
Д. Апдайк “Кролик, беги”
John Updike “Rabbit, Run”,
56
Д. Хеллер “Поправка -22”
Joseph Heller “Catch- 22”;
К. Кизи “Кто-то пролетел над гнездом кукушки”
Ken Kesey “One Flew over the Cuckoo’s Nest”,
Д. Болдуин “Другая страна”
James Baldwin “Another Country”,
Т. Пинчон “V”
Thomas Pynchon “V”,
Н. Мэйлер “Американская мечта”
Norman Mailer “An American Dream”,
Д. Барт “Козлоюноша Джайлс”
John Barth “Jiles the Goat-Boy”,
К. Воннегут “Колыбель для кошки”, “Бойня номер пять, или крестовый поход детей”
Kurt Vonnegut “Cat’s Cradle”, “Slaughterhouse-Five or Children’s Crusade”,
Д. Апдайк “Кролик исцелившийся”
John Updike “Rabbit Redux”;
Д. Гарднер “Диалоги с Солнечным”
John Gardner “Sunlight Dialogues”,
Э. Джонг “Боязнь полета”
Erica Jong “Fear of Flying”,
Э. Доктороу “Рэгтайм”
Edgar Doctorow “Ragtime”,
Д. Ирвинг “Мир по Гарпу”
John Irving “The World According to Garp”,
С. Кинг “Противостояние”
Stephen King “The Stand”,
Д.К. Оутс “Ангел Света”
J.C. Oates “Angel of Light”,
Д.Апдайк “Кролик разбогател”
John Updike “Rabbit is Rich”;
Л. Эрдрич “Любовное лекарство”
Louise Erdrich “Love Medicine”,
Д. Де Лилло “Белый шум”
Don Delillo “White Noise”,
Т. Моррисон “Любимая”
57
Toni Morrison “Beloved”,
Т. Вулф “Костер Тщеславия”
Tom Wolfe “The Bonfire of the Vanities”,
Т. Клэнси “Охота за “Красным Октябрем”, “Кремлевский Кардинал”
Tom Clamcy “The Hunt of the Red October”, “The Cardinal of the Kremlin”,
Э.Тан “Клуб радости и удачи”
Amy Tan “The Joy Luck Club”,
Д. Апдайк “Кролик на отдыхе”
John Updike “Rabbit at Rest”;
Э. Прул “Корабельные новости”
Annie Proulx “The Shipping News”,
Д. Гришем “Фирма”, “Непослушное жюри”
John Grisham “The Firm”, “The Runaway Jury”,
Р. Бэнкс “Закон Скелета”
Russel Banks “Rules of the Bone”,
Г. Джен “Мона в стране обетованной”
Gish Jen “Mona in the Promised Land”,
Д. Де Лилло “Подземный мир”
Don Delillo “Underworld”,
Т. Вулф “Человек в полную величину”
Tom Wolfe “A Man in Full”
СПИСОК ДЕТСКОЙ АНГЛИЙСКОЙ
И АМЕРИКАНСКОЙ ЛИТЕРАТУРЫ
Avery G. “The Elephant War”
Ballantyne R.M. “The Carol Island”
Bambeger R. “My First Big Story Book”
Barrie J.M. “Peter Pan”
Baum L.F., Sandburg G., Thurber J., White E.B. Fairy Tales
Blume J. “Super fudge”
Blyton E. “Well, Really, Mr. Twiddle”
Bulla C.R. “Viking Adventures”
Carrel L. “Alice’s Adventures in Wonderland”, “Through the Looking-Glass”
Frank Baum L. “The Wizard of Oz”, “The Marvelous Land of Oz”
Gang S.C. “The Lost Campers”
58
Hurwitz J. “Tough-Luck Karen”
Kipling, Rudyard “All Mowgli Stories”
Meretzky S. Eric “The Forces of Krill”, “The Manifesto Quest”,
“The Cavern of Doom”
Milne A.A. “Winnie - The Pooh”
Mr. Fox and his Friends Fairy Tales
Proysen A. “Mrs. Pepperpot to the Rescue”
Rackham A. “Mother Goose”, Nursery Rhymes
Riordan J. “A World of Folk Tales”
Salten F. “Bambi”
Sidney M. “The Five Little Peppers Midway”
White E.B. “Stuart Little”, “Charlotte’s Web”
Wilder L.I. “Little House in Big Woods”, “Little House in the Prairie”, “On the Way Home”,
“Farmer Boy”, “The Long Winter”
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Приложение V
Творческие работы студентов
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61
62
63
64
65
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