Beowulf Comparison Essay
Beowulf
The Wanderer. The Seafarer
C. Chaucer: The Canterbury Tales (The General Prologue, and one tale).
Christopher Marlowe: The Tragic History of the Life and Death of Dr Faustus
William Shakespeare: Sonnets. The Taming of the Shrew, A Midsummer Night's Dream, Measure for Measure, The Tragedy of King Richard II, Hamlet, Othello, King Lear, The Tempest.
John Donne: The Sun-Rising, To His Mistress Going to Bed.
John Milton: Paradise Lost (A)
John Dryden: Alexander's Feast.
Alexander Pope: The Rape of the Locke. The Dunciad.
Daniel Defoe: Robinson Crusoe
Jonathan Swift: Gulliver's Travels
Henry Fielding: Tom Jones
Laurence Sterne: Tristram Shandy
Horace Walpole: The Castle of Otranto
William Blake: The Lamb, The Black Boy, …show more content…
Coleridge: The Rime of the Ancient Mariner, Kubla Khan.
P. B. Shelley: Ozymandias
G. G. Byron: Childe Harold (A).
John Keats: Ode on a Grecian Urn
Mary Shelley: Frankenstein.
I. The Anglo-Saxon Age. From aristeia to aristobios during the heroic age. . The orally composed epic fixed in writing by Christian monks.
. The heroic versus the elegiac assessment of life.
. Generic types (courtly epic, elegies, scriptural and devotional poetry, dream vision, allegorical bestiary, aphoristic and gnomic kinds, historiography). II. Late mediaeval literature. A medieval lover's discourse. The code of chivalry. Versions of the Christian pilgrim.
. Metrical romances and the Harley Lyrics.
. Religious drama (mystery/miracle and morality plays).
. The generic medley. From Court and Church to Inn and Road. Social subversion versus hierarchical location in Chaucer. III. Humanism and Reformation. The hero of the "eye, sword and tongue". The courtier as scholar, warrior and poet.
. The London Reformers: Collet, Morus, Erasmus, Vives. The Renaissance utopian project at both ends of the century: More and Bacon.
. Early Tudor …show more content…
. The poetry and fiction of sentiment.
. The rise of the Gothic novel, or a sense of an ending (of the "ancien regime", of Augustan ideology and of the Enlightenment trust in reason and the civilizing mission). V. The Romantics. A hero of the imagination.
. Bearings of the French Revolution ideology upon British fiction: the polarisation of the literary scene between Jacobins and anti-Jacobins. Romantic drama, or the anatomy of passions.
. Romantic poetics. Blake: "Annotations to Sir Joshua Reynolds". William Wordsworth: Preface to Lyrical Ballads. Coleridge: Biographia Literaria (Chap. 13). .
. Blake: mythology politically revised. Wordsworth: the myth of the developmental self. Coleridge: "clerisy", or the social energies of Romantic aesthetics.
. Late Romantic anarchists: Shelley and Byron. Keats, or the order of aesthteic objects. The politics of late Gothic fiction: M. Shelley and J. Hogg.
Temele principale: Unitatea tematică este asigurată de structurarea prelegerilor despre literature britanică în context cultural în jurul unei idei centrale: modelul uman (eroul sau idea de viaţă exemplară) characteristic fiecărei epoci. Nr. Ore:
The Wanderer. The Seafarer
C. Chaucer: The Canterbury Tales (The General Prologue, and one tale).
Christopher Marlowe: The Tragic History of the Life and Death of Dr Faustus
William Shakespeare: Sonnets. The Taming of the Shrew, A Midsummer Night's Dream, Measure for Measure, The Tragedy of King Richard II, Hamlet, Othello, King Lear, The Tempest.
John Donne: The Sun-Rising, To His Mistress Going to Bed.
John Milton: Paradise Lost (A)
John Dryden: Alexander's Feast.
Alexander Pope: The Rape of the Locke. The Dunciad.
Daniel Defoe: Robinson Crusoe
Jonathan Swift: Gulliver's Travels
Henry Fielding: Tom Jones
Laurence Sterne: Tristram Shandy
Horace Walpole: The Castle of Otranto
William Blake: The Lamb, The Black Boy, …show more content…
Coleridge: The Rime of the Ancient Mariner, Kubla Khan.
P. B. Shelley: Ozymandias
G. G. Byron: Childe Harold (A).
John Keats: Ode on a Grecian Urn
Mary Shelley: Frankenstein.
I. The Anglo-Saxon Age. From aristeia to aristobios during the heroic age. . The orally composed epic fixed in writing by Christian monks.
. The heroic versus the elegiac assessment of life.
. Generic types (courtly epic, elegies, scriptural and devotional poetry, dream vision, allegorical bestiary, aphoristic and gnomic kinds, historiography). II. Late mediaeval literature. A medieval lover's discourse. The code of chivalry. Versions of the Christian pilgrim.
. Metrical romances and the Harley Lyrics.
. Religious drama (mystery/miracle and morality plays).
. The generic medley. From Court and Church to Inn and Road. Social subversion versus hierarchical location in Chaucer. III. Humanism and Reformation. The hero of the "eye, sword and tongue". The courtier as scholar, warrior and poet.
. The London Reformers: Collet, Morus, Erasmus, Vives. The Renaissance utopian project at both ends of the century: More and Bacon.
. Early Tudor …show more content…
. The poetry and fiction of sentiment.
. The rise of the Gothic novel, or a sense of an ending (of the "ancien regime", of Augustan ideology and of the Enlightenment trust in reason and the civilizing mission). V. The Romantics. A hero of the imagination.
. Bearings of the French Revolution ideology upon British fiction: the polarisation of the literary scene between Jacobins and anti-Jacobins. Romantic drama, or the anatomy of passions.
. Romantic poetics. Blake: "Annotations to Sir Joshua Reynolds". William Wordsworth: Preface to Lyrical Ballads. Coleridge: Biographia Literaria (Chap. 13). .
. Blake: mythology politically revised. Wordsworth: the myth of the developmental self. Coleridge: "clerisy", or the social energies of Romantic aesthetics.
. Late Romantic anarchists: Shelley and Byron. Keats, or the order of aesthteic objects. The politics of late Gothic fiction: M. Shelley and J. Hogg.
Temele principale: Unitatea tematică este asigurată de structurarea prelegerilor despre literature britanică în context cultural în jurul unei idei centrale: modelul uman (eroul sau idea de viaţă exemplară) characteristic fiecărei epoci. Nr. Ore: