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Содержание практических занятийПрактическое занятие № 1: What is literature? Количество часов: 2 ч. Вопросы для обсуждения
Практическое занятие № 2: Poetry Количество часов: 10 ч. Вопросы для обсуждения
Практическое занятие № 3: Drama Количество часов: 8 ч. Вопросы для обсуждения
Практическое занятие № 4: Fiction Количество часов: 10 ч. Вопросы для обсуждения
Б. Задания для самостоятельной работы
В. Литература Основная:
Дополнительная:
Тема 2: Medieval Poetry: the Ballad А. Содержание практических занятийПрактическое занятие № 5: What is a ballad? Количество часов: 2 ч. Практические задания
A special tradition of tales told in song has arisen in Europe since Middle Ages and has been carried to wherever Europeans have settled. Folk songs are important both musically and historically as they define some part of a people’s experience and become part of a people’s culture. Folk music has become part of a people’s heritage through oral tradition. A true folk song has no known author. Because of its oral tradition folk music is fluid. Variations in both text and tune developed as a song was passed orally through counties and countries. France, Denmark, Germany, Russia, Greece, and Spain, as well as England and Scotland, have impressive ballad collections. Within the folk music genre there is distinction between ballads and folk songs. Ballads were longer and related a story, usually one based in the past and carried down by oral tradition. Ballads could be either dramatic or humorous, dealing with the topics of the time. New names and topics often became associated with older ballads. Folk songs, on the other hand, were shorter, lyrical and personal. What is a ballad? The word was brought to England by the Norman-French and meant a song to which people danced. By the time of Shakespeare “ballad” could mean any sort of poem at all, with or without music, but usually a love poem. The word is still commonly used in this meaning. In the field of folklore, however, ballad is applied to the kind of a narrative folk song that fixes on the most dramatic part of a story, moving to its conclusion by means of dialogue and a series of incidents. How ballads are composed has been the subject of long discussions among scholars. The so-called communal school argued at first that ballads were composed collectively during the excitement of dance and song festivals. Their opponents were the individualists, who held that each ballad was the work of an individual composer. According to the wildly accepted theory, the ballad can be an individual composition originally, but it does not become a ballad until it has been accepted by the folk community and been brought into line with the style of life, beliefs, and emotional needs of the folk audience. Ballads were normally written in stanzas. These stanzas usually contained first and third lines with eight syllables, and second and fourth lines with six syllables. One thing unique to ballads is that they usually contained stories about the latest happenings. This is how news travelled in the Middle Ages. Because they did not have printed news, the current events had to be relayed in some other forms. A musical ballad was one of the easiest way to carry a message, because it often had refrains. The refrains, which are simply the two last lines of a stanza repeated, helped to make the stories easier to remember. The refrain is just one of the many kinds of repetition employed in ballads. Much repetition in ballads helped people to pass on the stories. Since ballads were performed orally, the hearer couldn’t turn back a page to recover a vital detail that had slipped by in a moment of inattention. Crucial facts in narrative were incised in memory by skilful repetition. The ballad singer seldom ventured beyond a limited stock of images and descriptive adjectives. Knights are always valiant, ladies fair, swords royal, mantles green and tears salt. Whatever is red is as red as blood, roses, coral, rubies, or cherries; white is stereotyped as snow-white, lily-white, or milk-white. This conventional stereotyped imagery of the ballads is also mnemonic. It allowed the singer to give his full attention to the story. Originality is forbidden to ballad texts, because the singer must remain impersonal. Complex syntax and richness of language cannot be found in ballads. The traditional folk ballads are usually deal with supernatural happenings, with the fate of lovers (usually, though not always, tragic), with crime and its punishment, with apocryphal legends, with historical events (usually matters of regional rather than national importance), with sensational acts of God and man, with the deeds of outlaws and badmen. The separation of lovers through a misunderstanding or the opposition of relatives is perhaps the commonest ballad story. The precise date of a ballad is almost impossible to determine. In fact, to ask for the date of a folk ballad is to show that one misunderstands the peculiar nature of balladry. The ballad could have arisen long after the events it describes. Some of the most popular ballads were kept and survived many generations, just as famous books are kept and valued for many generations. Because they were never actually written down, there could be hundreds of versions of the same ballad existing at one time. The first record of a ballad is not its original form but merely one of its numerous variants. Printed folk music was extremely popular for more than four hundred years, beginning in the sixteenth century. Words to popular ballads were printed on sheets of varying lengths. They were known as broadsides. Originally they did not include music, only a note that the words were sung to a well-known tune. Broadsides were popular in Britain, Holland, France, Italy, Spain and Germany and later in America. In 1882-1898 an American ballad collector Francis James Child published his five-volume work, The English and Scottish Popular Ballads. He rescued ballads that would likely be lost to us today if he had not collected them. A ballad is not technically a ballad unless it is sung. The tunes and texts are independent. And it is not unusual to find the same version of a ballad being sung to a variety of tunes of suitable rhythm and meter or to find the same tune being used for several different ballads. Because the ballads in Child’s collection were compiled from other books and manuscripts, instead of actual performances, tunes to the words were not included. This absence was filled by Bernard Bronson, who put together a four-volume collection, The Traditional Tunes of the Child Ballads, that was published between 1959 and 1972. The ballad has been preserved as a musical and literary form up to modern times. Despite a folk culture fast overwhelmed by the modern world, the ballads are still being sung and enjoyed. The definition of a modern ballad or a folk song is a “song with a soft melodic sound and guitar accompaniment”. Практическое занятие № 6: Romantic ballads Количество часов: 2 ч. Практические задания
Практическое занятие № 7: Supernatural ballads Количество часов: 2 ч. Практические задания
Практическое занятие № 8: Ballads about crime and its punishment Количество часов: 2 ч. Практические задания
Практическое занятие № 9: Ballads about outlaws and badmen Количество часов: 2 ч. Практические задания
В. Литература Основная:
Дополнительная: 1. Английская и шотландская народная баллада. – М.: Радуга, 1988.
Тема 3: Renaissance Drama: William Shakespeare
Практическое занятие № 10: William Shakespeare Количество часов: 2 ч. Вопросы для обсуждения
Практическое занятие № 11: Romeo and Juliet Количество часов: 6 ч. Практические задания
Практическое занятие № 12: A Midsummer Night’s Dream Количество часов: 6 ч. Практические задания
Практическое занятие № 13: Hamlet Количество часов: 6 ч. Практические задания
Практическое занятие № 14: Macbeth Количество часов: 6 ч.
Практическое занятие № 15: The Sonnets Количество часов: 2 ч. Вопросы для обсуждения
Практические задания
В. Литература Основная:
Дополнительная:
Тема 4: Fiction: J.R.R. Tolkien: author of the century
Практическое занятие № 16: Professor Tolkien. Life and Works Количество часов: 2 ч. Вопросы для обсуждения
Практическое занятие № 17: Creating Middle-earth Количество часов: 4 ч. Вопросы для обсуждения
Практическое занятие № 18: Moral Lessons of “The Lord of the Rings” Количество часов: 4 ч. Вопросы для обсуждения 1. The Nature of God and Evil
2. Разгадайте кроссворд: Countries and Peoples of Middle-earth
15. () A people, wondrously skilled with metal and stone.
В. Литература Основная:
Дополнительная:
050401 История 3 КУРС 1.7. Методические рекомендации по организации изучения дисциплины 1.7.1. Тематика и планы аудиторной работы со студентами по изученному материалу Тема 1. The early history of Great Britain Содержание практических занятийПрактическое занятие № 1 Количество часов: 4 ч. Вопросы для обсуждения
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