Электронное пособие к спецкурсу английской литературы «Шекспировская мастерская» МОУ «Гимназия 4» МОУ «Гимназия 4» Автор: Преподаватель английского языка. - презентация

1 Электронное пособие к спецкурсу английской литературы «Шекспировская мастерская» МОУ «Гимназия 4» МОУ «Гимназия 4» Автор: Преподаватель английского языка и литературы Н.В Баранович Астрахань2006/2007

2 Оглавление Педагогическая мастерская как одна из форм интерактивного обучения на уроках английского языка и литературы Англии. Как создать условия, при которых ученики хотят учиться, а учителя желают учить. Над этим вопросом ученые давно ломают головы. Педагогическая мастерская, как новая форма образования, похоже, способна решить эту проблему. Что же представляет собой педагогическая мастерская? Мастерская – это форма многомерного, многоуровневого диалога детей и взрослых, который создает условия для восхождения к новым знаниям, новому опыту, новым открытиям. Это форма отношений, в которой ученики и учитель чувствуют себя уникальными личностями, творцами.

3 Оглавление Эта система обучения была разработана французскими педагогами – представителями ЖФЭН – «Французской группы нового образования». У истоков движения стояли психологи Поль Ланжевен, Анри Валлон. С 1984 года эта система была признана Министерством образования Франции. В последние годы движение возглавлял Анри Басис, педагог, поэт, общественный деятель. В самом общем виде ЖФЭН ставит целую разработку и внедрение в практику образования интенсивных методов обучения и развития ребенка. Сущность новой системы выражается в следующих основных положениях:

4 Оглавление личность с новым менталитетом - личность с новым менталитетом - это личность самостоятельная, социально ответственная и конструктивно вооруженная, способная оказывать позитивное воздействие на свою жизнь и окружающий мир; каждый ребенок обладает способностями практически ко всем видам человеческой деятельности: к овладению естественным и гуманитарным знанием, изобразительным искусством, музыкой и т.д. дело только в том, какие методы будут применяться в процессе его образования. каждый ребенок обладает способностями практически ко всем видам человеческой деятельности: к овладению естественным и гуманитарным знанием, изобразительным искусством, музыкой и т.д. дело только в том, какие методы будут применяться в процессе его образования. все способны: все способны:

5 Оглавление Для методов ЖФЭН характерны: Для методов ЖФЭН характерны: отношение к ученику, как к равному себе; не простое сообщение знаний как неоспоримых истин, а самостоятельное строительство знания учащимися, критически относящимися к информации, и самостоятельного решения творческих задач; плюрализм мнений, подходов, уважительное отношение к мнению, варианту другого. плюрализм мнений, подходов, уважительное отношение к мнению, варианту другого. Интенсивные методы обучения и развития личности.

6 Оглавление Новый тип педагога. Это не авторитарный учитель, а тот, кто не подавляет природу ребенка. Это не авторитарный учитель, а тот, кто не подавляет природу ребенка. В начале 90-х годов группа сотрудников Санкт - Петербургского университета педагогического мастерства адаптировала эту технологию в практику российского школьного образования

7 Оглавление Обобщили работу французских мастерских сотрудники из Санкт- Петербурга в виде следующих правил: мастер создает атмосферу открытости, доброжелательности, сотворчества в общении; мастер создает атмосферу открытости, доброжелательности, сотворчества в общении; в процессе занятий мастер обращается к чувствам ребенка, пробуждает в нем интерес к изучаемой проблеме (теме); в процессе занятий мастер обращается к чувствам ребенка, пробуждает в нем интерес к изучаемой проблеме (теме); он работает вместе с детьми, мастер равен ученику в поиске знания; он работает вместе с детьми, мастер равен ученику в поиске знания; мастер не торопится давать ответы на поставленные вопросы; мастер не торопится давать ответы на поставленные вопросы; важную информацию он подает малыми дозами, если обнаруживает потребность в ней у учащихся; важную информацию он подает малыми дозами, если обнаруживает потребность в ней у учащихся; исключает официальное оценивание работы учащегося (не выставляет отметок в журнал, не хвалит, не ругает), но через социализацию, афиширование работ дает возможность появления самооценка учащегося, ее изменения, самокоррекции. исключает официальное оценивание работы учащегося (не выставляет отметок в журнал, не хвалит, не ругает), но через социализацию, афиширование работ дает возможность появления самооценка учащегося, ее изменения, самокоррекции.

8 Оглавление Итак, цель данной технологии создать содержательные и организационные условия для личностного саморазвития, осознания самих себя и своего места в мире, понимания других людей, закономерностей мира. Итак, цель данной технологии создать содержательные и организационные условия для личностного саморазвития, осознания самих себя и своего места в мире, понимания других людей, закономерностей мира. Главное в технологии мастерских не сообщать и осваивать информацию, а передавать способы работы. Мастерская не замена традиционных уроков, это один из видов работы. Главное в технологии мастерских не сообщать и осваивать информацию, а передавать способы работы. Мастерская не замена традиционных уроков, это один из видов работы.

9 Оглавление Этапы построения мастерской. 1. Индуктор. Первое задание в мастерской, мотивирующее дальнейшую деятельность учащихся, психологический настрой на урок. Цель индуктора пробудить желание включиться в учебный процесс. доступность, нетрудность задания снимает внутренние препятствия для включения в деятельность по его выполнению. 1. Индуктор. Первое задание в мастерской, мотивирующее дальнейшую деятельность учащихся, психологический настрой на урок. Цель индуктора пробудить желание включиться в учебный процесс. доступность, нетрудность задания снимает внутренние препятствия для включения в деятельность по его выполнению.Индуктор. 2. Создание творческого продукта (деконструкция и реконструкции) Индивидуальное или групповое взаимодействие. 2. Создание творческого продукта (деконструкция и реконструкции) Индивидуальное или групповое взаимодействие.Создание творческого продуктаСоздание творческого продукта 3. Социализация. предъявление созданного продукта всем участникам, соединение индивидуальных результатов, коллективная работа. 3. Социализация. предъявление созданного продукта всем участникам, соединение индивидуальных результатов, коллективная работа. 4. Промежуточная рефлексия и самокоррекция деятельности (может отсутствовать). 4. Промежуточная рефлексия и самокоррекция деятельности (может отсутствовать). 5. Новая информация и ее обработка. 5. Новая информация и ее обработка. 6. Создание нового варианта, версии, гипотезы. 6. Создание нового варианта, версии, гипотезы. 7. Социализация. 7. Социализация. 8. Общая рефлексия. 8. Общая рефлексия.

10 Оглавление Индуктор Индуктор Module 1. William Shakespeare A. What two questions would you ask W. Shakespeare if you had an opportunity to talk to him? Write your ideas. B. Look at the picture of a mediaeval London. Look! Listen! Smell! Image! What are your associations? Describe your impressions. Discuss your ideas with the partner. Module 2. Hamlet. Look at 3 pictures: the engraving by Albrecht Durer Melancholia; the engraving by Albrecht Durer Melancholia; the painting by Salvador Dali Laurence Olivier as Richard III the painting by Salvador Dali Laurence Olivier as Richard III the painting by Hans Holbein Henry VIII the painting by Hans Holbein Henry VIII Which picture is the most powerful from your point of view to illustrate the play? Explain why you think so.

11 Оглавление Module 3. English History with Shakespeares eyes. An ideal king. What are your associations when you hear this notion? Introduce your own notions. Write some sentences to support your ideas. Module 4 The Wreath of Sonnets. Listen to one of the Shakespeares sonnets. What piece of music associates with it from your point of view? Justify your choice. Write key words and expressions which help you form the image of the heroine. Module 5. Shakespeare and Music. A. You are listening to a piece of music by Chaikovsky or Mendelson. What feelings and emotions does this music arise in your heart? Share your emotions with the partner. B. Read Sonnet 128 Sonnet to a lady playing the virginal. Try to translate it into Russian.

12 Оглавление Создание творческого продукта Создание творческого продукта Module 1. William Shakespeare. Module 1. William Shakespeare. A. Why do you think Shakespeares plays and sonnets are so popular today? What attracts the readers, the actors, the producers in Shakespeares creative work? If you were a producer what play would you choose to stage? Justify your choice. If you were a composer what sonnet would you choose to compose a piece of music? Explain your choice. B. What are your associations when you hear the words The Elizabethan Period ? Here are pictures related to the period of Queen Elizabeth I reign. Study the pictures. Prepare a short talk on the topics: Social and political life. Cultural life. Theatre. outstanding people of the period. The University Wits. The University Wits.

13 Оглавление Module 2. Hamlet. A. Caught between the desire to act and the desire to refuse all action in a world that appears increasingly absurd, Hamlet soliloquizes on the possibilities before him. Many explanations of Hamlet the man have been offered by the scientists. Read the list of explanations and defend the one position that most closely parallels your view of Hamlet. Support your position with references to the play. 1. Hamlet is a tragic hero. 2. Hamlet is a universal man. (Everyman) 3. Hamlet is a perfectionist, who once he discovers the world is not what he thought it to be, responsibility for the wholesale correction of the corrupted currents in it. 4. Hamlet is a sensitive plant, too tender for the world. 5. Hamlet is a victim of moral inferiority and mental superiority. 6. Hamlet is a victim of idealism. 7. Hamlet is a philosopher whose will is paralyzed and whose mind is debating with itself. B. Is the tragedy of Hamlet relevant today? Prove your opinion by giving specific reasons

14 Оглавление Module 3. Shakespeares Histories. Compare the characters of the kings in Shakespeares Histories. What was Shakespeares ideal of an ideal king? Discuss the problem with your partners. Read and analyze Richards soliloquies. Module 4.. Shakespeares Sonnets. A. Compare Petrakhs and Shakespeares sonnets and their heroines – Laura The Fair Lady and The Dark Lady. Illustrate one of the sonnets. B. What composers wrote music to the Shakespeares sonnets? Investigate the problem. What is your favourite piece of music written on Shakespeares plays? Share your ideas with the partner. Module 5. Shakespeare and Music. Write a composition on the subject: Reading Shakespeare, listening to Mozart. Shakespeares Language Give some examples of words made up by Shakespeare. Give some examples of Shakespeares metaphors and explain their meaning. Catch phrases. What do you understand by this notion? What Catch phrases by W. Shakespeare are most popular nowadays?

15 Оглавление Критериями оценки результативности являются: Критериями оценки результативности являются: овладение учениками общеинтеллектуальными способами деятельности; овладение учениками общеинтеллектуальными способами деятельности; развитие способности к рефлексии; развитие способности к рефлексии; развитие коммуникативной культуры. развитие коммуникативной культуры.

16 Оглавление Результатом мастерской может быть как развитие мотивации к дальнейшему познанию, так и создание завершенных проектов на основе открытых знаний.

17 Оглавление Итак, особенности организации деятельности учащихся: творческая, поисковая, исследовательская деятельность; групповая форма учебного взаимодействия; самостоятельность и свобода выбора на всех этапах работы; право на собственное мнение, на ошибку; допустимость ситуации незавершенности поиска, ответов, решений. творческая, поисковая, исследовательская деятельность; групповая форма учебного взаимодействия; самостоятельность и свобода выбора на всех этапах работы; право на собственное мнение, на ошибку; допустимость ситуации незавершенности поиска, ответов, решений.

18 Оглавление Особенности организации деятельности учителя: специфика деятельности не в объяснении материала, а в предъявлении заданий, ориентирующих на самостоятельную деятельность ; мастер не задает вопросов и не торопится на них отвечать; специфика деятельности не в объяснении материала, а в предъявлении заданий, ориентирующих на самостоятельную деятельность ; мастер не задает вопросов и не торопится на них отвечать; поддержка, поощрение самостоятельности, инициативы; создание доброжелательной обстановки, отсутствие оценок ; поддержка, поощрение самостоятельности, инициативы; создание доброжелательной обстановки, отсутствие оценок ; сотворчество; организация диалога, в котором каждый ученик имеет право на собственное мнение; обеспечение сотрудничества учащихся в группе. сотворчество; организация диалога, в котором каждый ученик имеет право на собственное мнение; обеспечение сотрудничества учащихся в группе.

19 Оглавление Мастерские помогают ученику понять самого себя. Они убеждают его в том, что он интересен прежде всего как Личность. Они заставляют его поверить в собственные силы, открывают заложенные в нем способности. А главное они помогают учителю увидеть своих учеников.

20 Оглавление Модульная структура. В основе этой технологии лежит идея смешанного программирования, совмещенного с идеей блочной подачи учебного материала (блоки, дозы, сетки, мини- курсы). Каждый раздел или тема рассматриваются как автономные мини-курсы. Они могут изучаться в любой последовательности (некоторые из них можно просто пропускать, если в них нет необходимости). Сущность модульного обучения состоит в том, что обучающийся более самостоятельно может работать с предложенной ему индивидуальной учебной программой, включающей целевую программу действий, банк информации и методическое руководство по достижению поставленных дидактических целей. При этом функции педагога могут варьироваться от информационно-контролирующей до консультотивно-координирующей. В основе этой технологии лежит идея смешанного программирования, совмещенного с идеей блочной подачи учебного материала (блоки, дозы, сетки, мини- курсы). Каждый раздел или тема рассматриваются как автономные мини-курсы. Они могут изучаться в любой последовательности (некоторые из них можно просто пропускать, если в них нет необходимости). Сущность модульного обучения состоит в том, что обучающийся более самостоятельно может работать с предложенной ему индивидуальной учебной программой, включающей целевую программу действий, банк информации и методическое руководство по достижению поставленных дидактических целей. При этом функции педагога могут варьироваться от информационно-контролирующей до консультотивно-координирующей.

21 Оглавление Whats in a Module? Module Opening page introduces topic and motivates students. Module Objectives tell students what they are going to do. Warm-up Activities get students thinking about the topic. Language Focus page presents Shakespeares language in comparison with modern usage. Historical Background page gives a mine focus on a historical and cultural aspect of the topic. Skill Focus page prepares students for reading and listening. Visualizing Shakespeares Characters page helps students understand main character and their roles in the play. Discussion: Themes, Characters, page directs students to think and talk about what has been said or written. Variety of Activities page gets students thinking about the play and creating their own options. Quote Shakespeare page are famous quotation related to the topic. Measuring Success page helps students with self-assessment.

22 Оглавление Shakespeare Hamlet English History with Shakespeares eyes English History with Shakespeares eyes The wreath of Sonnets The wreath of Sonnets Shakespeare and Music Shakespeare and Music

23 Оглавление Module opening page Module opening page Objectives Shakespeare facts Shakespeare facts Historical background Historical background Quoting Shakespeare Quoting ShakespeareQuoting ShakespeareQuoting Shakespeare Write an essay Write an essayWrite an essayWrite an essayShakespeare

24 Оглавление William Shakespeare. (1564 – 1616)

25 ОглавлениеObjectives In this module you will: read Shakespeares facts; talk about Elizabeth period; talk about Elizabeth period; read and discuss Shakespeares quotations; learn more about Shakespeares creative work; write an essay My Shakespeare.

26 Оглавление Shakespeare facts. Nobody knows Shakespeares true birthday. Nobody knows Shakespeares true birthday. Shakespeare invented the word assassination. Shakespeare invented the word assassination. There are only two authenic portraits of William today: the widely used engraving of William Shakespeare by Martin Droeshout first published on the title page of the 1623 First Folio and the monument of the great playwright in Stratfords Holy Trinity Crunch in Stratford. There are only two authenic portraits of William today: the widely used engraving of William Shakespeare by Martin Droeshout first published on the title page of the 1623 First Folio and the monument of the great playwright in Stratfords Holy Trinity Crunch in Stratford. Shakespeare and wife had eight children, including daughter Susanna, twins Hamnet, Judith, and Edmund. Susanna received most of his fortune when he died in 1616, age 52. Hamnet died at the age of 11, Judith at 77. Susanna dies in 1649, age 66. Shakespeare and wife had eight children, including daughter Susanna, twins Hamnet, Judith, and Edmund. Susanna received most of his fortune when he died in 1616, age 52. Hamnet died at the age of 11, Judith at 77. Susanna dies in 1649, age 66. There were two Shakespeare families living in Stratford when William was born; the other family did not become famous. There were two Shakespeare families living in Stratford when William was born; the other family did not become famous. Shakespeare, one of literatures greatest figures, never studied at university. Shakespeare, one of literatures greatest figures, never studied at university. Of the 154 sonnets or poems, the first 26 were written to an aristocratic young man who did not want marry. Sonnets talk about a dark woman. Of the 154 sonnets or poems, the first 26 were written to an aristocratic young man who did not want marry. Sonnets talk about a dark woman.

27 Оглавление Shakespeare facts. William lived through the Black Death (the Black). This epidemic that killed over 33,000 in London alone in 1603 then Will was 39, later returned in1608. William lived through the Black Death (the Black). This epidemic that killed over 33,000 in London alone in 1603 then Will was 39, later returned in1608. In 1609, many of his sonnets were published without his permission. In 1609, many of his sonnets were published without his permission. Unlike most famous artist of his time, he did not die in poverty. Unlike most famous artist of his time, he did not die in poverty. William was know as a businessman to many in his home town of Stratford. William was know as a businessman to many in his home town of Stratford. William was popular with King James I, Englands ruler following Elizabeth I. He has his acting company, The Lord Chamberlains Men a patent allowing them to perform. William was popular with King James I, Englands ruler following Elizabeth I. He has his acting company, The Lord Chamberlains Men a patent allowing them to perform. William Shakespeare is one of the many icons of England. Others are members of Englands Royal family, Westminster Abbey, Big Ben, and red double-decker buses. William Shakespeare is one of the many icons of England. Others are members of Englands Royal family, Westminster Abbey, Big Ben, and red double-decker buses.

28 Оглавление He was no one- illiterate good for nothing, A poacher from Stratford terrorizing woodmen And merry friend in company of Falstaff. Who else was he? Comedian or king, And old gray which with exorcism of spoiling, A Venice woman, Roman conspirator, Or all of those were an unfinished role? Он был никто – безграмотный бездельник, Стредфордский браконьер, гроза лесничих, Веселый друг в компании Фальстафа. А кто еще? Комедиант, король, Седая ведьма с наговором порчи, Венецианка, Римский заговорщик, заговорщик, Иль это – недоигранная роль?..

29 Оглавление Historical background The most brilliant period English literature ever knew was in the second half of the 16th and the beginning of the 17th century; it is usually but in accurately called the Elizabethan age after Queen Elizabeth, who reigned from 1558 to 1603, but it must be remembered, that many authors of that time, including Shakespeare, wrote their greatest works after her death. England had become a great world power, the peak of the country's development was reached in 1588, when the Spanish Armada, an enormous fleet sent by King Philip II to conquer England, was defeated. England had established wide commercial contacts with all non-Catholic nations, including, Russia (the ships that routed the Armada were built of timber bought in Russia), and rich trading companies had been organized.The English people were now a great nation, and the English language, enriched and to a certain extent already standardized, was now, except for the spelling, not unlike Modern English. The most brilliant period English literature ever knew was in the second half of the 16th and the beginning of the 17th century; it is usually but in accurately called the Elizabethan age after Queen Elizabeth, who reigned from 1558 to 1603, but it must be remembered, that many authors of that time, including Shakespeare, wrote their greatest works after her death. England had become a great world power, the peak of the country's development was reached in 1588, when the Spanish Armada, an enormous fleet sent by King Philip II to conquer England, was defeated. England had established wide commercial contacts with all non-Catholic nations, including, Russia (the ships that routed the Armada were built of timber bought in Russia), and rich trading companies had been organized.The English people were now a great nation, and the English language, enriched and to a certain extent already standardized, was now, except for the spelling, not unlike Modern English.

30 Оглавление There were fine works of poetry and prose in the Elizabethan age, but the greatest heights of literature at that period were reached in drama. The Middle Ages knew religious drama; the Mysteries, Miracles, and Moralities as they were called. The Mystery plays dramatized episodes from the Bible; the Miracle plays, episodes from the lives of saints. Morality plays were allegorical, and dedicated to the struggle of the various virtues and vices for the human soul, more often than hot, the vices and even the devil himself were shown in such plays in a comic aspect. Between the episodes of these plays, comic scenes were usually acted that bore almost no relation to the story; these were called interludes There was another type of performance in English cities.

31 Оглавление QUOTING SHAKESPEARE If you cannot understand my argument, and declare Its Greek to me, you a quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger, if you wish is father to be thought, if your lost property has vanished into thin air, you are quoting Shakespeare; if you have ever refused to budge an inch or suffered from green-eyed jealousy, if you have played fast and loose, if you have been tongue-tied, a tower of strength, hoodwinked or in a pickle, if you have knitted your brows, made a virtue of necessity, insisted on fair play, slept not one wink, stood on ceremony, danced attendance (on your lord and master), laughed yourself into stitches, had short shrift, cold comfort or too much of a good thing, if you have seen better days or lived in a fools paradise – why, be that as it may, the more fool you, for it is a foregone conclusion that you are (as good luck would have it) quoting Shakespeare; if you think it is high time and that that is a long and short of it, if you believe that the game is up and that truth will out even if it involves your own flesh and blood, if you lie low till the crack of doom because you suspect foul play, if you have your teeth set on edge (at one fell swoop) without rhyme or reason, then – to give the devil his due – if the truth were known (for surely a tongue in your head) you are quoting Shakespeare; even if you bid me good riddance and send me packing, if you wish I were dead as a door-nail, if you think I am an eyesore, a laughing stock, the devil incarnate, a stony-hearted villain, bloody- minded or a blinking idiot, then - by Jove! O Lord! Tut, tut! For goodness sake! What the dickens! But me no buts – it is all one to me, for you are quoting Shakespeare.

32 Оглавление Write an essay My Shakespeare Shakespeare's impact on everyday English speech.

33 Оглавление Module opening page Module opening page Module opening page Module opening page Objectives ObjectivesObjectives Hamlets soliloquy Hamlets soliloquyHamlets soliloquyHamlets soliloquy Prince of Denmark and Prince of Denmark andPrince of Denmark andPrince of Denmark and characters in tragedy characters in tragedycharacters in tragedycharacters in tragedy Shakespeares language Shakespeares language Historical background Historical backgroundHistorical backgroundHistorical background Write an essay Write an essayWrite an essayWrite an essayHamlet

34 ОглавлениеHamlet «Гамлет!... Понимаете ли вы значение этого слова? Оно велико и глубоко. Это жизнь человеческая; это человек, это вы, это я, это каждый из нас…»

35 ОглавлениеObjectives In this module you will: read Hamlets soliloquy; read Hamlets soliloquy; talk about the plot, subplots and characters of tragedy; talk about the plot, subplots and characters of tragedy; learn the Shakespeares language; learn the Shakespeares language; learn more about historical background; learn more about historical background; write an essay Hamlet is a universal man ; write an essay Hamlet is a universal man ; do a project Hamlets inner conflict. do a project Hamlets inner conflict.

36 Оглавление * Red colour means reader1, white means reader2, blue means reader1 and reader2. Read Hamlets soliloquy

37 Оглавление To be, or not to be - that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing, end them. To die, to sleep­ To die, to sleep­ No more, and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to – Tis a consummation Tis a consummation Devoutly to be wished. To die, to sleep - To die, to sleep - To sleep! perchance to dream! ay, there's the rub, For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. Must give us pause. There's the respects There's the respects That makes calamity of so long life. That makes calamity of so long life. For who would bear the whips and scorns of time, For who would bear the whips and scorns of time, The oppressor's wrong, The proud man's contumely, The pangs of disprized love, The law's delay, The insolence of office, And the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, To grunt and sweat under a weary life, But that's the dread of something after death, The undiscovered country, from whose bourn No traveler returns, No traveler returns, Puzzles the will, Puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of? Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action.

38 Оглавление THE PRINCE OF DENMARK Since Shakespeares time, literary critics have expressed various ideas about the character of Hamlet. Below are several brief summaries of critical opinions concerning the Prince of Denmark. the Prince of Denmark. Select one statement and defend this view. Support your opinions by citing specific events and statements from the play. 1Hamlet is an idealist who repelled by the evils which surround him; consequently, he is incapable of taking action and withdraws into the world of his own mind. 2Hamlets perception of reality is much more acute than that of the other characters. He is able to see through the superficialities of the Danish court to the underlying corruptness. 3In his relations with the other characters, Hamlet reveals himself as an unfeeling cynic whose acute perception of the reality of evil drives him to destroy the court and its people. 4Hamlets feigned madness serves no useful purpose; rather, it arouses the suspicions of the king and other members of the court. 5Hamlets feigned madness is not due solely to necessity; rather, he has a natural inclination for pretense and dissimulation. natural inclination for pretense and dissimulation.

39 Оглавление DISCUSSION: THEMES, CHARACTERS IN HAMLET One of the principal themes in Hamlet is corruption in all its aspects: political, physical (including the deterioration of dead bodies), mental, moral, and spiritual corruption. Discuss each of these aspects of corruption. For example attitudes of the gravediggers, Hamlet and Horatio toward physical corruption or the poison poured in King Hamlets ear by Claudius and the corrupting changes this worked on his body. Another major theme of the play is loyalty and betrayal. Discuss these opposing traits with specific examples of each. In the classical view, tragedy should arouse feelings of pity and fear in its audience. Do you think this is true of Hamlet? Explain. Hamlet has six soliloquies in the play. Explain how each shows Hamlets reaction to what is occurring in the play and how they also reveal his various – sometimes conflicting – character traits. People have said that the role of Hamlet is the greatest role in all theatre. Considering Hamlets character and actions, discuss why you agree or disagree with statement. Consider the following: Hamlets betrayals and his reaction, his madness, as well as the skills other than acting required for the role and scenes you believe to be greatest. One critic has said that Hamlets problem is not to be, or not to be but rather to do, or not to do. Do you agree or disagree? Use specific examples from the play to support your position. Select any one of the following questions and speak about the character.

40 Оглавление DISCUSSION: THEMES, CHARACTERS IN HAMLET a) GERTRUDE a) GERTRUDE Consider her behavior toward King Hamlet, Claudius, and Hamlet. Point out her weaknesses and her sins. Does she have any redeeming virtues? If you were called upon to pronounce a final judgment on her life, what would you say and why? Consider her behavior toward King Hamlet, Claudius, and Hamlet. Point out her weaknesses and her sins. Does she have any redeeming virtues? If you were called upon to pronounce a final judgment on her life, what would you say and why? b) CLAUDIUS b) CLAUDIUS Point out his weaknesses and sins. What character trait do you think led him into sin? Did he have any redeeming virtues? If you were called upon to pronounce a final judgment on her life, what would you say and why? c) OPHELIA c) OPHELIA Many people describe her as the most pathetic character in Hamlet since she inspires more pity than anyone else. Explain specifically and in detail why you agree or disagree with this. A key factor may be Ophelias age. Decide how old she might be and marshal your evidence from that point. d) HORATION d) HORATION Explain in detail why you think he is an important character in the play. What would be missing from the play if his role were omitted? e) POLONIUS e) POLONIUS Is he more foolish than dangerous, or more dangerous than foolish? How old might he be? What might have been his position at court under King Hamlet? What part might he have had in Claudius election?

41 Оглавление Shakespeares Language The English of Shakespeare's time has greatly changed since then. Here are some words and grammar forms frequently used by Shakespeare and grown obsolete in Modern English. 1) The pronoun for the 2nd person had forms for the singular and plural: sing - thou, thee (I know thee) pl - ye, you The possessive pronouns for the 2nd person singular and plural were: thy, thine your, yours 2) Some verbs, when conjugated in the Present, took the (e)st- inflexion for the 2nd per­son singular: thou speakest (you speak) thou knowest(you know) thou speakest (you speak) thou knowest(you know) thou host(you have)thou doest or dost(you do) thou host(you have)thou doest or dost(you do) thou shouldst(you should) thou shouldst(you should) Some auxiliary verbs took the f -inflexion for the 2nd person: thou art(you are)if thou Overt(if you were) thou shalt(you shall)thou wilt(you will)

42 Оглавление Shakespeares Language The English of Shakespeare's time has greatly changed since then. Here are some words and grammar forms frequently used by Shakespeare and grown obsolete in Modern English. 1) The pronoun for the 2nd person had forms for the singular and plural: The possessive pronouns for the 2nd person singular and plural were: sing - thou thee (I know thee) pl - ye, you thy, thine your, yours

43 Оглавление Shakespeares Language 2) Some verbs, when conjugated in the Present, took the (e)st- inflexion for the 2nd per­son singular: 2) Some verbs, when conjugated in the Present, took the (e)st- inflexion for the 2nd per­son singular: Some auxiliary verbs took the f -inflexion for the 2nd person: thou art(you are) if thou Overt(if you were) thou shalt(you shall) thou wilt(you will) thou speakest (you speak) thou knowest(you know) thou host(you have) thou doest or dost(you do) thou shouldst(you should)

44 Оглавление Shakespeares Language 3) There were two verb inflexions for the 3rd person singular, Present Tense. The s-inflexion was used in the north of England, and the (e)th was used in the London dialed. Shakespeare make- use of bath forms: he knoweth or knows he hath or has he speaketh or speaks he doth or does

45 Оглавление Shakespeares Language 4) The use of the auxiliary verb was not absolutely necessary when forming questions: 5) The subjunctive Mood was widely used: to express a wish, a supposition, doubt, possibil­ity, even purpose or anything contrary to fact: Subjunctive: if he comeif it be soI think it be sit we down Subjunctive: if he comeif it be soI think it be sit we down Indicative: if he comes if it is so I think it is let us sit down Indicative: if he comes if it is so I think it is let us sit down Spoke you with him? (Did you speak with him?) What soy you? What do you soy?)

46 Оглавление Historical Background The Renaissance, or the Revival of Learning, which is another English term for it, was the period when Euro­pean culture was at its height, a period unsurpassed by any other before or after it. The coming of this great and glorious epoch, which lasted from the 14th century till the 17th, was caused by complex economic and social conditions. At that time the feudal system was being shattered by the bour­geoisie, which was getting stronger and stronger. The old social order didn't answer the demands of the new class that was rapidly gaining strength. The boundaries of different duchies and counties hindered the development of trade. It was more profitable for merchants to be united under a single ruler. In opposition to feudal discord, absolute monarchy, came into being, and feudal domains, once almost independent, cam under one-man power. This led to the forming of nations in the true sense of the word, and, as a natural consequence, to the creation of national languages. The first stage in the appearance of the bourgeoisie on the historical arena is called the period of the pri­mary accumulation of capital. What were the means by which this accumulation was effected? 1) Loans, for which stock exchanges and banking-houses were organized; 2) The expansion of markets by traveling to distant lands and seizing colonies; 3) Driving the peasantry off their land, as a result of which the necessary workmen for the new manufacturing houses were provided and raw materials produced.

47 Оглавление Write an essay Hamlet is a universal man man

48 Оглавление Module opening page Module opening page Objectives War of Roses War of RosesWar of RosesWar of Roses Shakespeare's histories Shakespeare's histories Henrys and Richards soliloquies. Henrys and Richards soliloquies.Henrys and Richards soliloquies.Henrys and Richards soliloquies. Characters of the Kings Characters of the Kings in Shakespeares Histories. in Shakespeares Histories. Characters of the Kingsin Shakespeares Histories. Write an essay Write an essay

49 Оглавление English History with Shakespeares eyes

50 ОглавлениеObjectives In this module you will: read and talk about War of Roses; read and analyse Henrys and Richards soliloquies ; read and analyse Henrys and Richards soliloquies ; compare the characters of the kings in Shakespeares histories; write an essay Shakespeares Ideal King and do a project

51 Оглавление War of Roses The death of Chaucer was a great blow to English poetry. It took two centuries to produce a poet equal to him. The Hundred Years' War ended, but another ­misfortune befell the country: a feudal war broke out be­tween the descendants of Ed­ward III. This is what led to it. When the Magna Charta was signed, the barons had been united with the Saxon freemen and the bourgeoisie of the big towns, and they had participated in the government. But during the Hundred. Years War some lot of the bar­ons,who were professional soldiers, built castles with high -walls and kept private armies of thousands of men. These big barons devoted themselves to family politics rather than to nation­al politics. (They hoped to increase their own land pos­sessions by going on with the war in France.) Realizing the danger these big barons represented to, the Crown, Edward III tried to marry off. his sons to their daughters, the great heiresses of these Houses. New titles were added to the names of the great barons: the words "duke", "marquis and viscount came into use. Henry IV, of the House of Lancaster, came to the throne as king of the big barons. He had a red rose in his coat of arms. His party was opposed by the House of York (the White Rose) who were supported by the lesser barons and some merchants of the towns.

52 Оглавление Shakespeare's histories, or chronicle plays, are more closely related to his tragedies than to the comedies. This was the genre in which he started his career as a playwright, and beginning with his first works, he gives us a vast dramatic cycle in which he deals with, themes in the historical process, the laws of historical development, and the nature of power. In his first historical tetralogy, which includes the three parts of "Henry VI and "Richard III", Shakespeare shows the evils of feudalism. In these plays, which show the Wars of the Roses, the predatory nature of the feudal overlord is made very clear. The plays are a series of battles and conspiracies, of alliances formed and broken; they are full of treachery, brutality and suffering. Among the warring lords there arises a figure which is, probably, the most sinister one in all Shakespeare's plays. This is Richard, son to tote Duke of York, who later becomes King Richard III. Shakespeare's histories

53 Оглавление How many thousand of my poorest subjects Are at this hour asleep! - O sleep, O gentle sleep, Nature's soft nurse, how have I frighted thee, Nature's soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down, That thou no more wilt weigh my eyelids down, And steep my senses in' forgetfulness? And steep my senses in' forgetfulness? Why rather, sleep, liest thou in smoky cribs, Upon uneasy pallets, stretching thee, Upon uneasy pallets, stretching thee, And hush'd with buzzing night-flies to thy ? slumber, Than in the perfum'd chambers of the great, Than in the perfum'd chambers of the great, Under high canopies s of costly state, Under high canopies s of costly state, And lull'd with sounds of sweetest melody? O thou dull god, why liest thou with the vile In loathsome beds, and leav'st the kingly couch, In loathsome beds, and leav'st the kingly couch, A watch-case or a common 'larum bell? Wilt thou upon the high and giddy mast Seal up the ship-boy's eyes, and rock his brains In cradle of the rude imperious surge, And in the visitation of the winds, Who take the ruffian billows by the top, Curling their monstrous heads, and hanging them With deafening clamour in the slippery shrouds, With deafening clamour in the slippery shrouds, That, with the hurly, death itself awakes? That, with the hurly, death itself awakes? Canst thou, O partial sleep, give thy repose To the wet sea-boy in an hour so rude; And in the calmest and most stillest night, With all appliances and means to boot, Deny it to a king? Then, happy low, lie down! Uneasy lies the head that-wears a crown. (Henry IV, part II,III,1)

54 Оглавление Henrys and Richards soliloquies. Can honour set to leg? No: or take away the grief of a wound? No. Honour hath no skill in surgery, then no. What is honour? A word. What is in that word honour? What is that honour? Air. A trim reckoning! - Who hath it? he that died o' Wednesday. Doth he feel it? no. Doth he hear it? no. Is it insensible, then? yea, to the dead. But will it not live with the living? no. Why? detraction will not suffer it: therefore I'll none of it. Honour is a mere scutcheon:... ("Henry IV", Pact' I, V, 1)

55 Оглавление Henrys and Richards soliloquies. Go, gentlemen, every man unto his charge: **************************** Conscience is but a word that cowards use, Devids at first to keep the strong in awe: Our strong arms be our conscience, swords our law March on, join bravely, let us tot pell-mell; If not to heaven, then hand in hand to hell. (Richard III, V, 3)

56 Оглавление Characters of the Kings in Shakespeares Histories. Coward, glutton, drunkard, Falstaff is cynical to the last degree; but he possesses a marvellous sense of humour and does not hesitate to aim his irony at himself as well; and this good-natured sense of humour gives him a peculiar charm. When Shakespeare began analysing the nature of power and politics, the situation in England was such that the necessity of political stability, guaranteed by an undisputed monarchy, was apparent, and such a point of view was upheld by the theory of the Divine Right of Kings. By this theory, royal power is granted by God Himself, and anyone revolting against the lawful king is in a state of moral sin. Consciously or unconsciously, in his chronicle plays Shakespeare undermined this theory to a great extent. In such histories as Richard II and Richard III he proves convincingly that the dethronement and even the killing of an unworthy or a villainous king is a righteous and justifiable act.

57 Оглавление Characters of the Kings in Shakespeares Histories. But that is not all. If we look at Shakespeare's histories as a single whole, we may see that, all other things a part, they contain a profound, and detailed treatise upon the nature of monarchy. In them Shakespeare shows us all the possible types of autocratic rulers. But that is not all. If we look at Shakespeare's histories as a single whole, we may see that, all other things a part, they contain a profound, and detailed treatise upon the nature of monarchy. In them Shakespeare shows us all the possible types of autocratic rulers. King John - a mediocre villain. Richard III - a great villain who, all the same, is a true genius The historical Richard III was not such a dyed-in-the-wool (absolute) scoundrel as Shakespeare shows him; in depicting him, Shakespeare wanted to demonstrate the depths of depravity to which a villainous king would sink if endowed with the intellect of a genius. Henry VI - a kind, learned, weak-willed, religious man; he has,none of the qualities necessary to be ruler of a kingdom, so he brings as much suffering upon his country as a villainous king would.

58 Оглавление Write an essay Shakespeares Ideal King Do a project

59 Оглавление Module opening page Module opening page Objectives Shakespeare sonnets Shakespeare sonnets The principles of womanhood in the The principles of womanhood in the sonnets of Petrarch and Shakespeare sonnets of Petrarch and Shakespeare The principles of womanhood in thesonnets of Petrarch and Shakespeare Read some sonnets Read some sonnetsRead some sonnetsRead some sonnets Write an essay Write an essayWrite an essayWrite an essay

60 Оглавление The Wreath of Sonnets

61 ОглавлениеObjectives In this module you will: talk about sonnet as a poetic genre; talk about sonnet as a poetic genre; compare Petrakhs and Shakespeares sonnets ; compare Petrakhs and Shakespeares sonnets ; read and discuss some sonnets and its heroes; read and discuss some sonnets and its heroes; listen to a sonnet; listen to a sonnet; write a sonnet; write a sonnet; and do a project. and do a project.

62 Оглавление Shakespeares sonnets Shakespeare did not originate the sonnet form. The basic structure of the sonnet arose in medieval Italy. its. most prominent exponent being the Early Renais­sance poet Petrarch. The appearance of English son­nets, however, occurred when Shakespeare was an adolescent (around 1580). Both Edmund Spenser and Philip Sydney, among others, worked in this form a decade or so before Shakespeare took it up in the early 1590s, possibly seeking to exploit the ongoing popular­ity of the sonnet among literary patrons of the day. Sonnets 153 and 154 differ from the other 152 poems included in the first edition of the Sonnets in that they are clearly based on an epigram from ancient Greek poetry that was in all probability known to Shakespeare (and others) through Ovid's Metamorphoses. Apart from these two pieces, none of the sonnets has an identi­ fiable literary (or historical) sources.

63 Оглавление Shakespeares sonnets Three identity issues: (1) who is the young man to whom Sonnets 1­126 are addressed? (2) who is the Dark Lady of Sonnets ? (3) who are the rival poets who intrude in the love triangles of Sonnets 78 through 86?

64 Оглавление The principles of womanhood in the sonnets of Petrarch and Shakespeare Суровый Дант не презирал сонета; В нем жар любви Петрарка изливал; Игру его любил творец Макбета; Им скорбну мысль Камоэнс облекал. И в наши дни пленяет он поэта; Водсворт его орудием избрал, Когда вдали от суетного света Природы он рисует идеал. Под сенью гор Тавриды отдаленной Певец Литвы в размер его стесненный Свои мечты мгновенно заключал. У нас его еще не знали девы, Как для него уж Дельвиг забывал Гекзаметра священные напевы.

65 Оглавление In the old age black was not counted fair, Or if were, it bore not beautys name. Прекрасным не считался черный цвет, Когда на свете красоту ценили.

66 Оглавление The poet is a good family man. In his sonnets we also meet "the family" but another family, for the sake of which he wants to live. It's an intime range of his darling people - the young blond Friend and "the Dark Lady". We don't know their names. To fix the personality of "the Dark Lady", Shakespeare's beloved, there're no facts, excepting the information reflected in the sonnets. There is a broad field for suppositions. Amateurs began to find out the corresponding dark-haired, swarthy Shakespeare's contemporaries with black eyes. Among the "candidates" to be "the Dark Lady" was the rich woman Mary Fitton. Those who were convinced that Shakespeare's friend was Southampton considered that the Elizabeth veron, Southampton" s bride was "the Dark Lady". And modern historian Dr. A. L. Rowse made his own discovery. "The problems of Shakespeare's Sonnets have long been thought to be insoluble and the identity of the Dark Lady, Shakespeare's mistress, the greatest mystery in the world's literature. But a ll, th e ti me th e secret was waiting for me among, the manuscripts in the Bodleian Library at Oxford the largely unexplored mass of papers of the Elizabethan astrologer, Simon Forman, who had an exceptional knowledge of the denizens of London at the time and of their goings-on. But who-greatest mystery of all-was the Dark Lady?

67 Оглавление In the old ages black was not counted fair; Or if it were, it bore not beautys name; But now is black beautys successive heir, And beauty slanderd with a bastard shame: For since each hand hath put on natures power, Fairing the fowl with arts false borrowd face, But is profaned, if not lives in disgrace. Therefore my mistress brows are raven black, Her eyes suited, and they mourners seem At such who, not born fair, no beauty lack, Slandering creation with a false esteem: Yet so they mourn, becoming on their woe, That every tongue says beauty should look so. Прекрасным не считался черный цвет, Когда на свете красоту ценили Но,видно, изменился белый свет,- Прекрасное позором очернили С тех пор, как все природные цвета Искусно подменяет цвет заемный Последних прав решилась красота, Слывет она безродной и бездомной Вот почему и волосы и взор Возлюбленной моей чернее ночи,- Как будто носят траурный убор По тем, кто краской красоту порочит. Но так идет им черная фата, Что красотою стала чернота. (перевод С.Маршака)

68 Оглавление Write a sonnet. Do a project.

69 Оглавление Shakespeare Hamlet English History with Shakespeares eyes English History with Shakespeares eyes The wreath of Sonnets The wreath of Sonnets Shakespeare and Music Shakespeare and Music

70 ОглавлениеShakespeare and music.

71 Objectives In this module you will: learn about background; learn about background; read and discuss Shakespeares poetry; read and discuss Shakespeares poetry; learn about the composers and their works on Shakespeares plays; learn about the composers and their works on Shakespeares plays; write an essay Shakespeare and music; write an essay Shakespeare and music; do a project. do a project.

72 Оглавление 1. The Eternal Problems in Shakespeare's creative work. 2. The Golden Age of Music in Britain. 3. The comparison of Shakespeare with famous composers. a) Shakespeare and Mozart b) Shakespeare and Beethoven 4. Famous composers illustrating Shakespeare. a) A Midsummer Night's Dream b) Othello c) Romeo and Juliet d) Hamlet 5. The Eternity of Art.

73 Оглавление W.Shakespeare's Song W.Shakespeare's Song Orpheus with his lute made trees, And the mountain top that freeze, And the mountain top that freeze, Bow themselves when he did sing Bow themselves when he did sing To the music plants and flowers Ever spring; as sun and showers There has made a lasting spring. Every thing that heard him play, Even the billows of the sea, Hung their heads and than lay by. In sweet music is such art, Killing care and grief of heart Killing care and grief of heart Fall asleep or, hearing, die. (From Henry VIII)

74 Оглавление Historical background Among the favorites of the queen were the celebrated traveler Sir Walter Raleigh who wrote poetry and history, and the Earl of Leicester, a powerful nobleman. Queen Elizabeth was very fond of amusements, and the Earl knew just in what way she liked to be entertained; so he arranged acting of all kinds, and dancing and music, and Elizabeth liked music with plenty of noise. The court also took pleasure in bull-baiting and bear-baiting, a cruel and cowardly sport. The tastes of the nobility were still very primitive.

75 Оглавление The period from the defeat of the Spanish Armada (1558) to the death of James (1625) represents one of Europe's most brilliant

76 Оглавление How off, when thou, my music, music play'st Upon the word my whose motion sounds Upon the word my whose motion sounds With thy sweet fingers, when thou gently sway'st The wiry concord that my ear confounds, Do I envy those jacks, that nimble leap To kiss tender inward of thy hand, Whilst my poor lips, which should that harvest reap, At the wood's boldness by thee blushing stand! To be so tickled, they would change their state And situation with those dancing chips O'er whom thy fingers walk with gentle gait, Making dead wood more blessed that living lips. Since saucy jacks so happy are in this, Since saucy jacks so happy are in this, Give them thy fingers, me thy lips to kiss. Едва лишь ты, о музыка моя, Займешься музыкой, встревожив строй Ладов и струн искусною игрой, - Ревнивой завистью терзаюсь я. Ревнивой завистью терзаюсь я. Обидно мне, что ласки нежных рук Ты отдаешь танцующим ладам, Срывая краткий, мимолетный звук, - Срывая краткий, мимолетный звук, - А не моим томящимся устам. Я весь хотел бы клавишами стать, Чтоб только пальцы легкие твои Прошлись по мне, заставив трепетать, Когда ты струн коснешься в забытьи. Но если счастье выпало струне, Отдай ты руки ей, а губы мне. (пер. С.Маршака)

77 Оглавление Shakespeares merits are enormous. He created a new epoch in world literature. Even today we find ideas and problems dealt with in Shakespeares plays that were not considered before. These are social problems concerning the relations of man to man in human society. The interpretations of these problems we see in music. The harmony of music and literature makes us think about life, helps us to relax, to rest from noisy cities and everyday problems. This harmony is art itself. Art is the result of perfect harmony between thought and feeling.

78 Оглавление Write an essay Shakespeare and music Do a project Shakespeare and music

79 Оглавление Puzzle Catch phrases Catch phrasesCatch phrasesCatch phrases

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