British literature weekly discussion, 300 words,

I will upload requirements, here is the overview from requirement.Overview:Last week, I asked you to think of 20th Century and After British Literature in these terms: Change, War, Psychology, and Expanding Borders.Now, adding to that (or maybe quantifying that), look for the following trends: 1.Marked by a strong and intentional break with tradition. This break includes a strong reaction against established religious, political, and social views.2.Belief that the world is created in the act of perceiving it; that is, the world is what we say it is.3.No such thing as absolute truth. All things are relative.4.No connection with history or institutions. Experience is that of alienation, loss, and despair.5.Championship of the individual and celebration of inner strength.6.Life is unordered.7.Identity is complex. There is no one way of “being” English. 8.Multiculturalism is more important than nationalism. 9.Life is strangely wonderful, full of “magical realism” (literature in which elements of the marvelous, mythical, or dreamlike are injected into an otherwise realistic story without breaking the narrative flow).Contemporary British literature (including drama, poetry, fiction, and nonfiction) is almost impossibly diverse. It might be this very diversity that marks the Modern and postmodern periods as beginning a reaction to the high-Victorian aims of empire. From the Victorian desire for one, world-encompassing British culture has common quite the opposite: a contemporary literary landscape of endless variety. (from NAEL’s Period Introduction Overview: 20th Century & After
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This week: Module 7: The 20th Century and After, Part 2 (1902-Present)
Road Map, Week 14
This is our second week in this module.
This document contains 4 sections:
•
•
•
•
Overview
Readings
Resources
Responsibilities
Overview
Last week, I asked you to think of 20th Century and After British Literature in these
terms: Change, War, Psychology, and Expanding Borders.
Now, adding to that (or maybe quantifying that), look for the following trends:
1. Marked by a strong and intentional break with tradition. This break includes a
strong reaction against established religious, political, and social views.
2. Belief that the world is created in the act of perceiving it; that is, the world is what
we say it is.
3. No such thing as absolute truth. All things are relative.
2
4. No connection with history or institutions. Experience is that of alienation, loss,
and despair.
5. Championship of the individual and celebration of inner strength.
6. Life is unordered.
7. Identity is complex. There is no one way of “being” English.
8. Multiculturalism is more important than nationalism.
9. Life is strangely wonderful, full of “magical realism” (literature in which elements
of the marvelous, mythical, or dreamlike are injected into an otherwise realistic
story without breaking the narrative flow).
10. Contemporary British literature (including drama, poetry, fiction, and nonfiction)
is almost impossibly diverse. It might be this very diversity that marks the
Modern and postmodern periods as beginning a reaction to the high-Victorian
aims of empire. From the Victorian desire for one, world-encompassing British
culture has common quite the opposite: a contemporary literary landscape of
endless variety. (from NAEL’s Period Introduction Overview: 20th Century &
After)
Week 14 Readings:
1. Short Stories
• Katherine Mansfield’s “The Garden Party” (NAEL, pp. 1337-1347)
• Nadine Gordimer’s “The Moment before the Gun Went Off” (NAEL, pp. 14421445)
• Salman Rushdie’s “The Prophet’s Hair” (NAEL, pp. 1516-1525)
• Zadie Smith’s “The Waiter’s Wife” (NAEL, pp. 1542-1552)
2. Poetry
• W.H. Auden’s “The Unknown Citizen” (NAEL, pp. 1418-1419)
• Dylan Thomas’ “Do Not Go Gentle into That Good Night” (NAEL, p. 1433)—a
villanelle, a French verse form consisting of five three-line stanzas and a final
quatrain, with the first and third lines of the first stanza repeating alternately in
the following stanzas. These two refrain lines form the final couplet in the
quatrain.
• Philip Larkin’s “Talking in Bed” (NAEL, p. 1437)
• Larkin’s “High Windows” (NAEL, p. 1438)
• Larkin’s “This Be the Verse” (NAEL, p. 1439)
• Derek Walcott’s “A Far Cry from Africa” (NAEL, pp. 1446-1447)
• Seamus Heaney’s “Digging” (NAEL, p. 1471)
• Margaret Atwood’s “Miss July Grows Older” (NAEL, pp. 1498-1500)
Week 14 Resources
1. NAEL’s Period Introduction Overview: 20th Century & After
2. Nadine Gordimer on Racism (YouTube)
3. Salman Rushdie on Magical Realism: True Stories Don’t Tell the Whole Truth
(YouTube)
4. Zadie Smith on Culture vs. Race (YouTube)
5. Auden reads his poem The Unknown Citizen (YouTube)
3
6. Cast of Interstellar reads Do Not Go Gentle into that Good Night (YouTube)
7. Philip Larkin reads his High Windows (YouTube)
8. Larkin reads This Be the Verse (YouTube)
9. Derek Walcott reads A Far Cry from Africa (YouTube)
10. Seamus Heaney reads his Digging (YouTube)
11. Margaret Atwood on Faith & Reason
Responsibilities
1. Review Road map and complete Week 14 Readings, p. 2.
2. Participate in Week 14 Discussion.
3. Take Quiz 14: 20th Century & After, Part 2 (Questions will be based on Road Map
information (know Overview information, magical realism, villanelle and
Readings.)
Week 13 Discussion Forum Questions
IMPORTANT! Remember that only up to 4 students may choose the same story or
poem. Once you decide, I advise you go in and put your choice in a Subject line. You
can always go back later and add your post. Before you begin composing, make sure
other students have not spoken for your question.
If you are posting an answer later, be sure you do not repeat the same information as
another student who has written about your story or poem. Find something new to say.
Add to the conversation.
Your initial post must have 2 paragraphs plus a comment or question.
•
•
•
Paragraph 1: Choose one of the four stories listed in this week’s readings. We
should all have read the story, so do not summarize it. Instead, go to the list of 10
trends on pp. 1-2 of this Road Map. You may also consider characteristics
mentioned last week (Change, War, Psychology, and Expanding Borders). Find
1-2 of those you think your story reflects. How does your story show this
characteristic of 20th Century and After British Literature? Give specific details or
quotes from the story that supports your interpretation. Also, what do you think
the main point, idea, or theme of this story is? What was the writer trying to get
us to see? Do not recycle other students’ ideas!
Paragraph 2: Choose one of the eight poems listed in this week’s readings.
What do you think this poem is about? What is it saying to you? On what do you
base your interpretation? Refer to specific lines or techniques in the poem to
defend your reading of it. Also, do you think it reflects any of the trends we
learned about this week or last?
Comment or Question: Comment on any of the Resources I have included for
you this week. Did you react to one of them? How so? If you prefer, ask us a
question based on any of this week’s stories, poems, trends, ideas or themes.

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