Doppelganger

A recurrent motif in Gothic fiction, the doppelganger or double has
both symbolic and psychoanalytical implications. In the case of the former,
the duplication or division of a character may serve to emphasize
polemically the moral dilemmas or social disparities around which a didactic
or cautionary narrative may revolve—for example, the fate of one
who resists temptation, as opposed to one who succumbs to it; or, the
lifestyle enjoyed by a character born into privilege, set against the parallel
experience of another raised in poverty. In psychoanalysis, the motif may
emblematize the polarity of the unrestrained id against its ego and superego
counterparts. Thus, the doppelganger may become, variously, a figure
that enacts taboo desires, a seeker of arcane knowledge, or one who
pursues the drive of thanatos rather than that of eros. In both symbolic
and psychoanalytical incarnations (though these demarcations are, inevitably,
capable of definition as much by the critic as the author), the double
may be formed by duplication (where two entities effectively parallel
each other’s actions) or division (where a character is split, physically or
psychologically, into two alternating personalities). Situations such as
disguise, cross dressing, or mistaken identity may also produce contextual
implications that are analogous to doubling.

Hughes, W. (2012) Historical Dictionary of Gothic Literature

Abjection

The concept of the Abject, theorized by the French critic Julia Kristeva (1941–) in Powers of Horror (1980, trans. 1982), represents a significant advance over the binary logic of self and other that is characteristic of earlier psychoanalysis.

Conventional psychoanalytic thought proposes the oppositional integrity of subject and object, thus maintaining a number of apparently logical mental boundaries between the two. Kristeva’s theory, however, sees the subject and the object not merely as terms locked in opposition to each other, but also as discrete identities in and of themselves. This reconfiguration has an inevitably radical effect on the boundaries through which the self effectively demarcates itself from its other. In questioning the reassuring wholeness and integrity of ego-identity, abjection effectively erodes these borders, and thus proposes that the other, the taboo, the desired but dangerous, may already form part of the self.

Kristeva suggests, moreover, that there exists a tense relationship between the body and the mind, and that certain excretions and secretions from the former cause psychological distress within the latter quite simply because they are graphic reminders of how the self and the other are intimate. The body, as it were, is constantly engaged in abjecting—that is, repelling or rejecting—substances from out of its illusory wholeness. Yet those substances are, or have been until recently, part of the living tissue of the self and are intimately engaged in its survival or reproduction: their retention in certain circumstances, however, is traumatic, and in many cases pathologically dangerous in a literal or physiological sense. The classical abject excretions of the body include, in no order of precedence, blood (which has long been regarded as subject to religious and moral taboos), tears, saliva, and perspiration.

Orifices are especially significant in this context, because they are themselves abject, being both part of the body and an entry into (or out of) its integrity—they represent, in other words, the very fragility of the boundary of self in such a way that unbroken skin could never. The boundaries that separate life and death are themselves psychoanalytically abject: the moment of birth is saturated with fluids and excretions, the child itself being one of these at the moment of its emergence, neither an independent being nor an unequivocal part of the mother.

Death, too, brings dissolution and a gateway into another state of being, be it an afterlife or extinction. When the corpse decomposes, of course, the perceiver is reminded that he or she, too, is corrupt, destined to dissolution, a potential source of disgust or infection for those who themselves will, in turn, eventually perceive the dead and abject self. There is more to the abject, therefore, than a simple reflex of distaste or disgust. Dracula, for example, is particularly concerned with the dissolution of boundaries, and its specific focus on blood as an icon of individual, racial, and sexual identity makes Bram Stoker’s novel a frequent reference point in criticism.

Hughes, W. (2012) Historical Dictionary of Gothic Literature. Plymouth: The Scarecrow Press

The Uncanny

The colloquial meaning of the word uncanny—denoting that which is supernatural or merely mysterious by known standards—has been eclipsed in Gothic criticism by a specific Freudian deployment of the term. In a 1919 essay titled “Das Unheimliche” (“The Uncanny”), Sigmund

Freud (1856–1939) distinguishes between the Heimlich (literally, “the homely,” and by implication, the familiar) and the Unheimlich (literally, “the unhomely,” and usually translated from the German as “the uncanny”).

The latter is capable of inducing fear precisely because it is not known or familiar to the perceiver, though Freud extends the range of fearfulness by suggesting that unknown (and thus fearful) things may lie concealed within the most familiar of environments, institutions, and individuals.

Thus, the Unheimlich may be an ambivalent, possibly occluded but certainly frightening, aspect or component of the Heimlich.

The Unheimlich is a concept that is widely applied in modern Gothic criticism because of the genre’s historical associations with the representation of concealment and deceit, its frequent recourse to dramatic modifications in character or behavior, and its effective interposition of the supernatural or the marvelous as a functional presence in the supposedly normal world.

Arguably, the most Unheimlich institution of all is the human body— always on display and yet concealing not merely its mechanisms but its projected disorders also. The body’s uneasy oscillation between health and illness, life and death, and its liminal status as nominally part of humanity yet individual in its destiny, also align it psychoanalytically with the whole mechanism of abjection.

Hughes, W. (2012) Historical Dictionary of Gothic Literature. Plymouth: The Scarecrow Press

Victorian Age

The Sublime

Term coined by Edmund Burge, he draws a distinction between the Sublime—which is awe inspiring—and the less evocative and thought-provoking beautiful and picturesque. The Sublime instills in the mind of its beholder a sense of smallness or powerlessness—it renders the self both passive and receptive as the grandeur of sublimity floods and enhances the senses. Characteristically, sublimity is associated with monumental size: a mountain can be sublime, as can be a chasm of infinite depth; likewise, a vast, empty plain is sublime, as is an ocean, whether tempest-tossed or eerily becalmed. If extent were not enough, obscurity can equally evoke sublime emotions.

Read more here

Hughes, W. (2012) Historical Dictionary of Gothic Literature. Plymouth: The Scarecrow Press

Romanticism

The “Romantic Period” is usually taken to extend approximately from the outbreak of the French Revolution in 1789—or alternatively, from the publication of Lyrical Ballads in 1798—through the first three decades of the nineteenth century.
A movement in European art, aesthetics, literature, and philosophy, romanticism influenced popular as well as elite taste between the 1770s and the mid-19th century. A reaction to the controlled and implicitly secular and predictable world of the Enlightenment, Romantic thought drew on the energy and radicalism perceived in the early days of the French Revolution of 1789, and the lingering influence of the progressive politics exposed by the American War of Independence (1775–1783).

Romanticism is a movement premised on imagination and introspection rather than functionality and the collective mind. It values the selfconsciousness that comes with walking or thinking alone, and the wanderer who is “lonely as a cloud” in the verse of William Wordsworth has his literary parallel in the Gothic Hero who contemplates, alone and obsessively, his sins of excess, neglect, or incest. Such gloomy figures punctuate the Romantic poetry of Lord Byron in particular, but have their novelistic parallel in figures such as the monk Schedoni in The Italian by Ann Radcliffe or Heathcliff in Wuthering Heights (1847) by Emily Brontë.
The Romantic wanderer, though, may equally appreciate and be uplifted by the sublime scenery he encounters in his travels. This convention, certainly, is protracted from the Romantic and into the Gothic, where particularly in the 18th century, authors, most notably in the Female Gothic tradition, favored the spectacular geography of the European Continent. The Burkean Sublime, with its conventions of horror and (more emphatically) terror, may be associated in both Romantic and Gothic thought with an interest in the uncanny and the occult. Supernatural figures such as the ghost enjoy neither place nor function in Enlightenment thought, though they gain emblematic status as affirmations of the enduring mystery of the world even in the context of progressive modernity.

Characteristics:
1. The prevailing attitude favored innovation over traditionalism in the materials, forms, and style of literature.2. In his preface to Lyrical Ballads, Wordsworth repeatedly declared that good poetry is “the spontaneous overflow of powerful feelings.” According to this view, poetry is not primarily a mirror of men in action; on the contrary, its essential component is the poet’s own feelings, while the process of composition, since it is “spontaneous,” is the opposite of the artful manipulation of means to foreseen ends stressed by the neoclassic critics.
3. To a remarkable degree external nature—the landscape, together with its flora and fauna—became a persistent subject of poetry, and was described with an accuracy and sensuous nuance unprecedented in earlier writers.
4. Romantic subjects were the poets themselves or other people, they were no longer represented as part of an organized society but, typically, as solitary figures engaged in a long, and sometimes infinitely elusive, quest; often they were also social nonconformists or outcasts. Many important Romantic works had as protagonist the isolated rebel, whether for good or ill: Prometheus, Cain, the Wandering Jew, the Satanic hero-villain, or the great outlaw.
5. What seemed to a number of political liberals the infinite social promise of the French Revolution in the early 1790s fostered the sense in Romantic writers that theirs was a great age of new beginnings and high possibilities. Many writers viewed a human being as endowed with limitless aspiration toward an infinite good envisioned by the faculty of imagination.

Abrams, M., Harpham, G. (2012) A Glossary of Literary Terms. Boston: Wadsworth
Hughes, W. (2012) Historical Dictionary of Gothic Literature. Plymouth: The Scarecrow Press

Pathetic Fallacy

A phrase invented by John Ruskin in 1856 to signify any representation of inanimate natural objects that ascribes to them human capabilities, sensations, and emotions.

The attribution of human feelings and responses to inanimate things or animals, especially in art and literature.

“Pathetic fallacy” is now used mainly as a neutral name for a procedure in which human traits are
ascribed to natural objects in a way that is less formal and more indirect than in the figure called personification.

Abrams, M., Harpham, G. (2012) A Glossary of Literary Terms. Boston: Wadsworth

Gothic Literature

The Gothic novel, or in an alternative term, Gothic romance, is a type of prose fiction which was inaugurated by Horace Walpole’s The Castle of Otranto: A Gothic Story (1764)—the subtitle denotes its setting in the Middle Ages—and flourished through the early nineteenth century. Some writers followed Walpole’s example by setting their stories in the medieval period; others set them in a Catholic country, especially Italy or Spain. The locale was often a gloomy castle furnished with dungeons, subterranean passages, and sliding panels; the typical story focused on the sufferings imposed on an innocent heroine by a cruel and lustful villain, and made bountiful use of ghosts, mysterious disappearances, and other sensational and supernatural occurrences (which in a number of novels turned out to have natural explanations). The principal aim of such novels was to evoke chilling terror by exploiting mystery and a variety of horrors. Many of them are now read mainly as period pieces, but the best opened up to fiction the realm of the irrational and of the perverse impulses and nightmarish terrors that lie beneath the orderly surface of the civilized mind.

Abrams, M, Harpham, G. (2012). A Glossary of Literary Terms. Boston: Cengage Learning

The Industrial Revolution

Frankenstein

Film: Mary Shelley

If you found Mary Shelley's life intriguing, you can watch this film based on her life.

Gothic Literature

Reinterpreting Frankestein through different fields of Studies

Reinterpreting Frankenstein through New Historicism / Cultural Studies

1. How is science portrayed in Frankenstein? Consider that this book was written in the midst of vast scientific advances and the advent of the Industrial Revolution.
2. You might have noticed some Christian influences in this text. To start off, there's the creator/creation paradigm. In addition, The creature is compared to Adam, but he is also compared to the fallen angel—Satan—and Victor takes on comparisons to God. You could even go so far as to call Victor's death a sacrifice that makes him a Christ figure. What might Shelley be saying about religion, and Christianity in particular?
3. In what ways does the novel present knowledge as dangerous and destructive? What does this tells us about society at that time?
4. Think about the motives that drive the protagonist to plumb into the depths of science in Mary Shelley’s Frankenstein. What does it indicate about the concerns of the author with the plight of man and society?

Reinterpreting Frankenstein through Narratology

5. The connection between science fiction and the Gothic is a longstanding  one, capable of being traced to Frankenstein by Mary Shelley. Frankenstein conventionally demarcates the close of the first phase of the Gothic. Science fiction combines the imaginative innovation of fantasy with a semblance of a realist commitment to a world that is broadly recognizable in terms of, variously, its geography, species, politics, ethics, or technology. Find in the text examples of both genres.
6. Narrative in Frankenstein shifts from Robert Walton to Victor Frankenstein to the monster and finally back to Walton. What is the effect of presenting different characters’ viewpoints, especially those of Victor and the monster?
7. What is the role of the letters and written communication throughout the novel?

Reinterpreting Frankenstein through Gender Studies

8. Discuss the presentation of women in the novel. Do Victor and the monster differ in their view of women, and if so, how?
9. Do Victor and the monster differ in their view of women, and if so, how?
10. What Makes a Monster and What Makes a Man? Explore the Relationship between the Creator and the Creation in the Gothic Novel.


Reinterpreting Frankenstein through Psychoanalytic Criticism

11. In Mary Shelley’s Frankenstein, could one interpret Frankenstein and his creature as two aspects of the same person? In other words, does the monster represent the evil side of the good doctor?
12. How did Mary Shelley explore the idea of a hidden or double self (doppelganger)? In what ways did these representations express changing ideas about sexuality, gender, and class?
13. In Frankenstein, Victor's rejection of the Monster metaphorically represents the ego's rejection of the unconscious. How is it represented in the novel?
14. The theory of Freud about the makeup of the human psyche could be applied to the interpretation of the text. To what extent does Frankenstein reflect Freud’s views of the id, the ego, and the superego? Is man hopelessly divided against himself? Does the author see any hope for one who seeks to keep the savage within under control?
15. What Makes a Monster and What Makes a Man? Explore the Relationship between the Creator and the Creation in the Gothic Novel.
16. Trace the similarities between Victor and the monster. Consider their respective relationships with nature, desires for family, and any other important parallels you find. Do Victor and the monster become more similar as the novel goes on? How does their relationship with each other develop?

Reinterpreting Frankenstein through Post-colonialism

17. Some critics have seen in the novel a parable of British colonialism, with civilized man seeking to control the savagery of uncultured man, but instead being fascinated by and eventually drawn into the savagery that he outwardly deplores. Which aspects of the story fit this reading and which do not? Support your answer with quotes from the story.

Darkness by Lord Byron

When I have fears, by John Keats

When I have Fears That I May Cease to Be

By John Keats

(written in 1818, published posthumously in 1848)

When I have fears that I may cease to be 

Before my pen has gleaned my teeming brain, 

Before high-piled books, in charact’ry, 

Hold like rich garners the full ripened grain; 

When I behold, upon the night’s starred face, 

Huge cloudy symbols of a high romance, 

And think that I may never live to trace 

Their shadows with the magic hand of chance; 

And when I feel, fair creature of an hour, 

That I shall never look upon thee more, 

Never have relish in the faery power 

Of unreflecting love—then on the shore 

Of the wide world I stand alone, and think 

Till love and fame to nothingness do sink.

Poem: Metrical Feet - A lesson for a boy

Derwent Coleridge, the third child of Samuel, started learning ancient Greek before he was even seven years old. In 1807, Samuel sent his young son a letter in which he wrote: "I am greatly delighted that you are so desirous to go on with your Greek; and shall finish this letter with a short lesson of Greek"; about a month later, Samuel sent Derwent another letter in which he enclosed the poem "Metrical Feet – A Lesson for a Boy." Coleridge wrote the poem in order to help his son learn about some of the different types of "metrical feet" in ancient Greek poetry (which an also be found in English)

Metrical Feet: a lesson for a boy

By Samuel Taylor Coleridge (1806)

Trochee trips from long to short;
From long to long in solemn sort
Slow Spondee stalks, strong foot!, yet ill able
Ever to come up with Dactyl's trisyllable.
Iambics march from short to long.
With a leap and a bound the swift Anapests throng.
One syllable long, with one short at each side,
Amphibrachys hastes with a stately stride --
First and last being long, middle short, Amphimacer
Strikes his thundering hoofs like a proud high-bred Racer.

If Derwent be innocent, steady, and wise,
And delight in the things of earth, water, and skies;
Tender warmth at his heart, with these meters to show it,
WIth sound sense in his brains, may make Derwent a poet --
May crown him with fame, and must win him the love
Of his father on earth and his father above.
My dear, dear child!
Could you stand upon Skiddaw, you would not from its whole ridge
See a man who so loves you as your fond S.T. Coleridge.

Poetry: Metre and Rhyme

How to cite references

APA Citation Style

Publication Manual of the American Psychological Association, 5th edition

Follow these colour codes:
Author(s)	Date	Title of Book	Title of Article	Title of Periodical
Volume	Pages	Place of Publication	Publisher	Other Information

Book

Okuda, M., & Okuda, D. (1993). Star Trek chronology: The history
     of the future. New York: Pocket Books.

Book Article or Chapter

James, N. E. (1988). Two sides of paradise: The Eden myth according
     to Kirk and Spock. In D. Palumbo (Ed.), Spectrum of the fantastic
     (pp. 219-223). Westport, CT: Greenwood.

Website
(for more details, see the American Psychological Association's official site)

Lynch, T. (1996). DS9 trials and tribble-ations review. Retrieved
     October 8, 1997, from Psi Phi: Bradley's Science Fiction Club
     Web site: http://www.bradley.edu/campusorg/psiphi/DS9/ep/
     503r.html

How to write a Literary Essay

Assignment #1: Literary Essay P&P

Language and Culture III – Literary Essay

Choose ONE of the following tasks and develop it thoroughly in an essay.
It should include an introduction, the main body and a conclusion.
Develop the corresponding theory, and account for it quoting from the novel.

1. “Pride and Prejudice” is a novel about women who feel they have to marry to be happy. Taking Charlotte Lucas as an example, do you think the author is making a social criticism of her era’s view of marriage?
2. Define what power is according to the theory of Michel Foucault. Describe the struggle for power between two characters throughout the play.
3. Explain how social class determines the decisions that people make in “Pride and Prejudice”.
4. Explore Austen's portrayal of the women in the novel
5. Explore Austen's portrayal of the women in the novel. In what ways does she sympathize with their plight, and in what ways is she unsympathetic?
6. How are gender roles represented in the novel within Patriarchal Society?
7. How can characters' behaviour or narrative events be explained in terms of psychoanalytic concepts (Id, ego, superego)?
8. How do Elizabeth Bennet's ideas on marriage differ from social ideas? Which characters in the novel share Elizabeth's views of marriage and which characters reflect society's perspective? Expand on this theme.
9. How do Elizabeth's simplicity and independence represent an attack on the conservatism of characters like Lady Catherine De Bourgh?
10. How do the characters in the text mirror the archetypal figures? (Great Mother or nurturing Mother, Whore, destroying Crone, Lover, Destroying Angel)
11. How does “Pride and Prejudice” criticize customs of the period?
12. How is patriarchal society represented through discourse in “Pride and Prejudice”? Choose two characters from the play to illustrate your point.
13. How is the relationship between men and women portrayed?
14. In what ways does Austen show that family and community are responsible for its members?
15. What conflict can be seen between the values the novel champions and those it portrays?
16. What does the work reveal about the operations (economically, politically, socially, or psychologically) of patriarchy?
17. What elements of the text can be perceived as being masculine (active, powerful) and feminine (passive, marginalized) and how do the characters support these traditional roles?
18. Which social class does the novel “Pride and Prejudice” claim to represent?
Any other: ____________________________________________________________

Essay Writing

Introduction

Almost all students will at some time be expected to write an essay, or some other kind of argument, e.g. a review or discussion section, in a longer piece of writing. In English, an essay is a piece of argumentative writing several paragraphs long written about one topic, usually based on your reading. The aim of the essay should be deduced strictly from the wording of the title or question (See Academic Writing: Understanding the Question), and needs to be defined at the beginning. The purpose of an essay is for you to say something for yourself using the ideas of the subject, for you to present ideas you have learned in your own way. The emphasis should be on working with other people's ideas, rather than reproducing their words, but your own voice should show clearly. The ideas and people that you refer to need to made explicit by a system of referencing.

According to Linda Flower (1990, p. v), "students are reading to create a text of their own, trying to integrate information from sources with ideas of their own, and attempting to do so under the guidance of a purpose."

Organisation

Your essay should have the following sections:

1. Preliminaries: Title

2. Main Text: a) Introduction, b) Main Body, c) Conclusion.

3. End matter: References

Visit this website for more on this. 

References:

Gillet, A. (2009). Genres in academic writing: Essays. Retrieved from: http://www.uefap.com/writing/writframgenre_essay.htm [22ns September, 2017)

Pride and Prejudice, explained by a gansta'

Literary Devices in Pride and Prejudice

Binary Oppositions

Claude Levi Strauss

All cultures, according to Structuralism, are organized around binary oppositions: animal/human, good/bad, rich/poor, man/woman. His theory of binary opposition suggests that all narratives progress due to conflict caused by a series of opposing forces. (He believed that the way we understand certain concepts depend not so much on their meaning but on the opposite word.)

· Good vs Evil
· Rational vs irrational
· Protagonist vs Antagonist

Power Relations - Foucault

Power is a “network of relations, constantly in tension, in activity, rather than a privilege that one might possess; one should take as its model a perpetual battle… this power is exercised rather than possessed; it is not the ‘privilege’ of the dominant class, but the overall effect of its strategic positions – an effect that is manifested and sometimes extended by the position of those who are dominated.” (p. 26)

Foucault analysed how power shapes our behaviour.
efinition: the ability to make someone do something, very often without that someone noticing it.
Characteristics:

• Invisible 
• Omnipresent 
• Constant state of flax, always flowing. Nobody has power all the time. 
• Power is not hierarchical. It doesn’t come top down or bottom up, also can come from the sides. 
• It is not negative, it can help people grow. 

It can be made manifest through:

• Building, we can’t move in the way we want. 
• Discourse: the things I say 
• The Gaze: the way people look at teach other 

Power can only be effectively exerted if people accept the legitimate right of someone to exert power.

Foucault, M. (1995) [1977]. Discipline and Punish: The Birth of the Prison. New York: Pantheon.

Kings and Queens - Part II

Pride and Prejudice (Crash Course Literature)

"John Green talks about Pride and Prejudice as a product of Regency England, gives you a short biographical look at author Jane Austen, and familiarizes you with the web of human connections this book spins"

Graveyard Poetry

This poem is often associated with the earlier "graveyard school"of poetry, which revel at great length in death -'that dread moment'-and morbidity; creating an atmosphere of 'delightful gloom'.

Thomas Gray's "Elegy" is considerably different in emphasis, although suffused with a gently humanistic melancholy. It is, in some sense, a life-affirming reconsideration of rural values, although the ending is often read as involving the poet's suicide.

Carter, R. and McRae, J. (1998) The Routledge History of Literature in English: Britain and Ireland London: Routledge (p. 196)

Elegy Written in a Country Churchyard

By Thomas Gray

The curfew tolls the knell of parting day,
The lowing herd wind slowly o'er the lea,
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimm'ring landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;

Save that from yonder ivy-mantled tow'r
The moping owl does to the moon complain
Of such, as wand'ring near her secret bow'r,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.

The breezy call of incense-breathing Morn,
The swallow twitt'ring from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the poor.

The boast of heraldry, the pomp of pow'r,
And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour.
The paths of glory lead but to the grave.

Nor you, ye proud, impute to these the fault,
If Mem'ry o'er their tomb no trophies raise,
Where thro' the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flatt'ry soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or wak'd to ecstasy the living lyre.

But Knowledge to their eyes her ample page
Rich with the spoils of time did ne'er unroll;
Chill Penury repress'd their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene,
The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood;
Some mute inglorious Milton here may rest,
Some Cromwell guiltless of his country's blood.

Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their hist'ry in a nation's eyes,

Their lot forbade: nor circumscrib'd alone
Their growing virtues, but their crimes confin'd;
Forbade to wade through slaughter to a throne,
And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife,
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.

Yet ev'n these bones from insult to protect,
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.

For who to dumb Forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing, ling'ring look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
Ev'n from the tomb the voice of Nature cries,
Ev'n in our ashes live their wonted fires.

For thee, who mindful of th' unhonour'd Dead
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate,

Haply some hoary-headed swain may say,
"Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away
To meet the sun upon the upland lawn.

"There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.

"Hard by yon wood, now smiling as in scorn,
Mutt'ring his wayward fancies he would rove,
Now drooping, woeful wan, like one forlorn,
Or craz'd with care, or cross'd in hopeless love.

"One morn I miss'd him on the custom'd hill,
Along the heath and near his fav'rite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;

"The next with dirges due in sad array
Slow thro' the church-way path we saw him borne.
Approach and read (for thou canst read) the lay,
Grav'd on the stone beneath yon aged thorn."

THE EPITAPH
Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frown'd not on his humble birth,
And Melancholy mark'd him for her own.

Large was his bounty, and his soul sincere,
Heav'n did a recompense as largely send:
He gave to Mis'ry all he had, a tear,
He gain'd from Heav'n ('twas all he wish'd) a friend.

No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose)
The bosom of his Father and his God.

French Revolution

Happy Labour's Day

Regency England: Key Concepts

Created with Padlet

Queen Anne - Film

The Favourite

A trio of pitch-perfect performances from Olivia Colman, Rachel Weisz and Emma Stone drive Yorgos Lanthimos’s spiky period drama – a tragicomic tale of personal and political jealousy and intrigue in 18th-century England. Set in the court of Queen Anne (the last of the Stuart monarchs), it balances foreign wars with home-grown tussles in often uproarious and occasionally alarming fashion. (Kermode, 2018)

After watching the film, don't miss this BBC video which highlights fact and fiction in the film: Is the Favourite Fact or Fiction?

References: 

John, D. (2019) Is The Favourite fact or fiction? [Online] http://www.bbc.com/culture/story/20190220-is-the-favourite-true-or-fiction [Accessed April 10th, 2019]

Kermode, M. (2018) The Favourite review – Colman, Weisz and Stone are pitch-perfect. The Guardian. [Online] https://www.theguardian.com/film/2018/dec/30/the-favourite-review-olivia-colman-emma-stone-rachel-weisz-yorgos-lanthimos [Accessed April 10th, 2019]

Kings and Queens - Part I

Meet the Stuarts....

 

Happy Easter!

Feminist Criticism

Feminist critics

• are Concerned with the role, position, and influence of women in a literary text.
• assert that most “literature” throughout time has been written by men, for men.
• examine the way that the female consciousness is depicted by both male and female writers.

4 Basic Principles of Feminist Criticism 

1. Western civilization is patriarchal.
2. The concepts of gender are mainly cultural ideas created by patriarchal societies.
3. Patriarchal ideals pervade “literature.”
4. Most “literature” through time has been gender-biased.

Elaine Showalter's Theory
• Feminine Stage: involves “imitation of the prevailing modes of the dominant tradition” and “internalization of its standards.”
• Feminist Stage: involves “protest against these standards and values and advocacy of minority rights....”
• Female Stage: this is the “phase of self-discovery, a turning inwards freed from some of the dependency of opposition, a search for identity.”

References:

Cuddon, J. (2013) A Dictionary of Literary Terms and Literary Theory. Fifth Edition. Oxford: Wiley-Blackwell

Patriarchal Society

What is a Patriarchal System?

A patriarchal social system can be defined as a system where men are in authority over women in all aspects of society. In the past, men were often the established gender of authority and exhibited control in all situations.

The etymology of the word patriarchy allows us to understand the meaning of the term. The term patriarchy comes from the Latin words pater, which means “father”, and archein, “to rule”. Also, patriarchy derives from the Greek terms patriarches (“chief or head of family”) and patria (“family, clan”) Therefore, it refers to male political power within society and the father’s authority within his family.

Malpas and Wake (2006) claim that:
Patriarchy is a term used – especially but not exclusively in feminist theory – to analyse male dominance as a conventional or institutionalized form. Literally the ‘rule of the father’, patriarchy historically describes systems in which the male has absolute legal and economic control over the family. The patriarch is the male head of a tribe, religion or church hierarchy. (...)

Patriarchy was stablished as a system, defeating the ‘mother right’ and controlling women’s sexuality in order to establish paternity and protect private property. (Malpas and Wake, 2006: 237)
Characteristics of a Patriarchal System
(male dominance, male centeredness, obsession with control, male identification)

Firslty, a patriarchal society is male dominated, which does not mean that all women are powerless, but the most powerful roles in most sectors of society are held by men,whereas the least powerful roles are held by women.
Secondly, it is organized with men at the center, while women occupy the margins. This is so because of the assumption that women need men's supervision, protection, or control because they are fragile or vulnerable.
This takes us to the thrid characteristic, which is the obsession with control. Men living in a patriarchal system or society must be in control at all times. They have a desire to control all social and family situations and must make all decisions regarding finances and education.
Finally, it is important to mention those aspects of society and personal attributes that are highly valued and which are generally associated with men, while devalued attributes and social activities are associated with women. Men are concerned with identification that includes qualities of control, strength, forcefulness, rationality, strong work ethic, and competitiveness.

Reference:

Malpas, S. and Wake, P. (eds.) (2006) The Routledge Companion To Critical Theory. London: Routledge

Welcome 1st!

P&P: Getting started - Social Classes and Titles

Class difference was of course a fact of life for Austen, and an acute observation of the fine distinctions between one social level and another was a necessary part of her business as a writer of realistic fiction (Copeland, 1997: 115).
Although in her own life Austen did have some dealings with royalty, however mediated, when she was graciously invited to dedicate Emma to the Prince Regent, she never presents royalty in her fiction, nor any of the great aristocrats who still owned great tracts of the country, and were prominent in its government.(Copeland, 1997: 116).

Royalty (Your Majesty/ Your Highness)

• King
• Queen 
• Prince
• Princess

Nobility (Lord/Lady)

• Duke
• Duchess
• Marquis
• Marquise
• Earl
• Countess
• Viscount
• Viscountess
• Baron
• Baroness

Commoners (Sir/Lady, Mr/Mrs)

• Knight
• Landed gentry
• "Pseudo" gentry 

To distinguish a nobel lady from a non-noble lady, the first name of the noble women was used.
Eg: Lady Catherine de Bourgh is a noblewoman whereas Lady Lucas is the wife of a commoner.

Other Gentlemen (Mister or rank title such as Captain, Colonel)

• Affluent businessmen
• Navy and army officers (Follow this link to know more about hierarchy within this group)
• Clergymen

References:

Copeland, E.; McManter, J. (1997) The Cambridge Companion to Jane Austen. Cambridge: CUP.

Warren, R. (2008). Rank and Class of the Regency Period. [Online] Retrieved from:
https://www.janeausten.org/rank-and-class.asp (Accessed, April 5th, 2019)

(2011) Titles and Precedence. An Explanation of English Titles. [Online] Retrieved from:https://www.janeausten.co.uk/titles-and-precedence/ (Accessed, April 5th, 2019)

Marxist Criticism

According to Marx, people’s lives are determined by their economic circumstances. Material circumstances and historical situations, among other aspects, form a society. He believed that the owners of the means of production can manipulate politics, government, education, arts and all other aspects of a culture.

A key figure is the first major Marxist critic Georg Lukács who developed the critical theory of ‘reflection’, seeing literary works as reflections of a kind of system that was gradually unfolding.

In his view, the novel, for instance (and he had much to say about this genre), revealed or ought to reveal underlying patterns in the social order and provide a sense of the wholeness of existence with all its inherent contradictions, tensions and conflicts.

Some of the most common questions that a reader should keep in mind when reading a text from a Marxist perspective are the following

• Are both the classes depicted with equal care and attention? Is the working class ignored or devalued in any way?
• Is there any exploitation or manipulation of workers by their owners?
• Does the dominant class in the text, consciously or unconsciously, repress and manipulate the working class?
• What does the setting tell you about the distribution of wealth and power in the society?
• Is the text a product of the culture from which it has originated?
• Does it support or condemn capitalism?
• What were the economic conditions during the publication of a text and how was it received in the society at that time?

Jane Austen lived in a society which was ruled by strict codes of conduct and where class and social standing held immense importance. Austen belonged to the class that the historian David Spring calls “pseudo-gentry”as her father was a clergyman. Pseudo-gentry were the upper-professional families living in the country who had connections with the wealthier landed-gentry families oin the area. Their economic situation, however, was below the families of the landed-gentry.

Austen’s novels revolve around the life and events of the upper classes of the society. She wrote about the people and the class that she was familiar with and readers wanted to read abour. The characters of her novels belong to the classes that she was in close contact with i.e. the clergy, minor landed-gentry and upper landed-gentry.

Cuddon, J. (2013) A Dictionary of Literary Terms and Literary Theory. Fifth Edition. Oxford: Wiley-Blackwell

Fanfic, participatory culture and Transmedia Storytelling

Fanfic is writing by fans who either want more of their favorite works; or who want more from their favorite works.

Students live in what Jenkins (2009: 5) named Participatory culture in which individuals are not mere consumers but prosumers.

Jenkins defines participatory culture as one with
1. relatively low barriers to artistic expression and civic engagement,
2. strong support for creating and sharing creations with others,
3. some type of informal mentorship whereby what is known by the most experienced is passed along to novices,
4. members who believe that their contributions matter, and
5. members who feel some degree of social connection with one another (at the least, they care what other people think about what they have created).

Thus, participatory culture is one possible road into meaningful, genuine and connected learning. We can lead our students to take an active role in this creative and decision making process. If we think of reading as sharing, meaning making, deconstructing, then we can exploit the potential for transmedia storytelling: "Transmedia stories at the most basic level are stories told across multiple media"(Jenkins 2009: 86). Eg: Pokemon (cartoon) Pokemon Go (videogame), Jane Austen's Pride and Prejudice and the vLOG "Lizzie Bennet's diaries", Breaking bad & Better Call Saul.
Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story.

By Henry Jenkins

(Find out more about this topic here)

The Lizzie Bennet Diaries is an American single-frame web series which has been adapted from Jane Austen's Pride and Prejudice. The story is conveyed in the form of vlogs (video blogs). It was created by Hank Green and Bernie Su. It also has Twitter and Tumblr accounts.

To commemorate the 200th anniversary of the death of Jane Austen in 2017, the BBC looked at how Mr Darcy might fare on Tinder. You can read the article here.

Jenkins, H. (2009) Confronting the challenges of Participatory Culture. Massachusetts: MIT Press.
Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3, 586-606. Retrieved from http://ijoc.org/ojs/index.php/ijoc/article/viewFile/477/336. Sutherland, J. (2011) How Literature Works. 50 Key Concepts. New York: Oxford University Press.

Jane Austen's life

Be Careful!
Videos may contain spoilers...

You may want to watch the film "Becoming Jane" to get an idea of the period Jane Austen lived.
Don't take all that is said too seriously.
You can read this article about Thomas Lefroy, ....Austen's first love?

Kahoot

Kahoot! is a game-based learning platform, used as educational technology in classrooms and other learning institutions. 

The company was launched in August 2013 in Norway. Its learning games, "kahoots", are multiple-choice quizzes that allow user generation and can be accessed via web browser.

The Enlightenment

Fly Through 17th Century London

(2013) Prize-Winning Animation Lets You Fly Through 17th Century London. [Online] Retrieved from  http://www.openculture.com/2013/11/fly-through-17th-century-london.html (Accessed March 31st)

Poem: A Beautiful Young Nymph Going to Bed

Jonathan Swift composed this poem in 1731 and he subtitled it (ironically) “Written for the Honour of the Fair Sex,”. It reflects the persistent, unromantic, and satirical vision that marks the later years of Swift’s writing. This most unpoetic of poems presents the terrible process by means of which an eighteenth century London prostitute gets ready to go to sleep after her job—a process which involves her divesting herself of those various artifices she uses to disguise both her physical and moral corruption. The poet offers three different moments in Corinna's night: her preparations for bed (lines 1-38), her fitful dreams (lines 39-59), and her waking to personal disaster (lines 58-64).

The “I” of a first-person narrator (could it be Swift himself) intrudes at the end to provide moral commentary on the whole situation described (lines 65-74).

Scientific Revolution

Ph. Candela Illodo

Ph. Candela Illodo

Ph. Candela Illodo

Poem: A Satirical Elegy on the Death of a Late Famous General

A satire is a genre which "can be described as the literary art of diminishing or derogating a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn, or indignation". (Abrams: 2012)

A Satirical Elegy on the Death of a Late Famous General

By Jonathan Swift

(1722)

His Grace! impossible! what dead! 

Of old age too, and in his bed! 

And could that mighty warrior fall? 

And so inglorious, after all! 

Well, since he’s gone, no matter how, 

The last loud trump must wake him now: 

And, trust me, as the noise grows stronger, 

He’d wish to sleep a little longer. 

And could he be indeed so old 

As by the newspapers we’re told? 

Threescore, I think, is pretty high; 

’Twas time in conscience he should die 

This world he cumbered long enough; 

He burnt his candle to the snuff; 

And that’s the reason, some folks think, 

He left behind so great a stink. 

Behold his funeral appears, 

Nor widow’s sighs, nor orphan’s tears, 

Wont at such times each heart to pierce, 

Attend the progress of his hearse.

But what of that, his friends may say, 

He had those honours in his day. 

True to his profit and his pride, 

He made them weep before he died. 

Come hither, all ye empty things, 

Ye bubbles raised by breath of kings; 

Who float upon the tide of state, 

Come hither, and behold your fate. 

Let pride be taught by this rebuke, 

How very mean a thing’s a Duke; 

From all his ill-got honours flung, 

Turned to that dirt from whence he sprung.

Abrams, M. (2012) A Glossary of Literary terms. Boston: Wadsworth, Cengage learning.

Language Change - A Diachronic View

Historical and literary periods, a timeline

Ph. Camila Lazzizera

Poem: The Two Trees by W. B. Yeats

William Butler Yeats

DN-0071801, Chicago Daily News negatives collection, Chicago History Museum
Retrieved from https://www.poetryfoundation.org/poets/william-butler-yeats

He was born in Dublin, Ireland, in 1865. He was the eldest child of John Butler Yeats and Susan Mary Pollexfen. Yeats spent his early years in London since his father was studying art, but he often returned to Dublin.

After returning to London in the late 1880s, Yeats met writers such as Oscar Wilde and George Bernard Shaw. He also became acquainted with Maud Gonne, a supporter of Irish independence. This revolutionary woman served as a muse for Yeats for years. He even proposed marriage to her several times, but she turned him down.

Contenidos y Bibliografía

Dentro del marco de lo que prescribe la Resolución N° 13.296/99 modificada por la Resolución N° 3.581/00, se proponen los siguientes contenidos:

Eje Temático # 1

Revolución e iluminismo:

1. Revolución Científica e Ilustración (1650- 1790)
Precursores de la Revolución Científica. Causas, avances y consecuencias. La Ilustración: nuevas ideas económicas, políticas y sociales. Pensadores.

2. The Commonwealth and the Restoration. James IV de Escocia y I de Inglaterra. Charles I. The English Civil Wars (1640-1649). Oliver Cromwell como Lord Protector. Reestablecimiento de la monarquía: Charles II y la división parlamentaria (The Whigs and the Tories). James II and the Old Pretender. William III and Mary II and the Bloodless Revolution.

3. Literatura del siglo XVIII: La sátira. El texto realista.

Recursos
Poemas:
“A Satyr against Reason and Mankind” de John Wilmot,
“A Satirical Elegy on the Death of a Late Famous General” de Jonathan Swift,
"A Beautiful Young Nymph Going to Bed” de Jonathan Swift.
Extractos del diario de Samuel Pepys y de Robinson Crusoe, de Daniel Defoe.


Eje Temático # 2

Revolución y movimientos socio- culturales.

1. La revolución Francesa (1789-1815)
La Revolución Francesa: causas y etapas. Cambios en el gobierno. Resultados y trascendencia. Napoleón. El Imperio. La restauración. El Congreso de Viena.

2. Inglaterra durante la Revolución Francesa.
Participación inglesa contra Napoleón. El “Sistema Metternich”. El imperio británico y el balance de poder en el siglo XIX. Hanoverian Kings

3. El surgimiento de la novela y su relación con la consolidación de las clases sociales. La emergencia de lo gótico y su ambigüedad: entre la denuncia y la reproducción de la sociedad. Métrica y rima en la poesía. Graveyard poetry.

Recursos

Serie de TV: “Lost in Austen” dirigida por Dan Zeff
Película: “Pride, Prejudice and Zombies” dirigida por Burr Steers. Análisis del “mashup”.
Texto: “Pride and Prejudice” de Jane Austen.
“Pride, Prejudice and Zombies”, de Jane Austen y Seth Grahame-Smith [Selección de capítulos].
Poesía: Elegy Written in a Country Churchyard (1751) By Thomas Gray, Metrical Feet: a lesson for a boy By Samuel Taylor Coleridge (1806), Kubla Khan By Samuel Taylor Coleridge (1772-1834)

Eje temático # 3

Revolución Industrial

1. 1ra Revolución Industrial (Fines S. XVIII y XIX) Progresos técnicos. Nuevas fuentes de energía. Mejoras en vías de comunicación. Cambios en la agricultura y en el trabajo. Consecuencias sociales, políticas y económicas.

2. Romanticismo: la imaginación atravesada por la naturaleza, la re-evaluación romántica de lo sublime. La vida industrial como objeto repulsivo. Recuperación de lo medieval, oposición al neoclasicismo y recomposición de lo gótico.

Recursos
Texto: “Frankenstein”, de Mary Shelley.
Poema: “Written Upon Westminster Bridge”, “The Daffodils” de William Wordsworth. “The Chimney Sweeper” (en Songs of Innocence), “The Chimney” (en Songs of Experience), de William Blake. When I have fears By John Keats (1795 – 1821, published in 1848)
Cuento: Comparación con “La casa de Asterión”, de Jorge Luis Borges
Película: “Frankenstein”, dirigida por Kenneth Branagh (versión de 1994)
Video: “10 minute history”, Crash Course on History/Literature

Eje Temático # 4
Imperialismo Europeo

1. Absolutismo y liberalismo 1815-1870. Nacionalismo 1850-1870
La reacción conservadora 1815-1830. El liberalismo: la revolución de 1830. El movimiento de 1848 en Francia y otros países. Nacionalismo y liberalismo: Prusia, Austria e Italia. Formación de nuevos estados nacionales: unificación de Italia y de Alemania.


3. Inglaterra Victoriana y 2da Revolución Industrial
Disturbios laborales. La reforma parlamentaria de 1832. El movimiento cartista, 1838-1848. Legislación reformista. Las organizaciones obreras. La reforma de 1867. El reinado de Victoria (1837-1901). Desarrollo político y económico. Orígenes y desarrollo del socialismo. Robert Owen. Karl Marx. Características y consecuencias sociales y políticas de la segunda revolución industrial. El nuevo capitalismo y el nuevo imperialismo.

4. Exploración de la relación entre la dimensión literaria y la social retratada en la novela gótica y victoriana. La crisis de Fé: Marxismo, Darwinismo y Psicoanálisis en la Literatura.

Recursos

Textos: “The Strange Case of Dr. Jekyll and Mr. Hyde”, de Robert Louis Setevenson.
4ta novela a elección de los alumnos
Película: “Mary Reilly”, dirigida por Stephen Frears (1996).
Short Stories: “The Cask of Amontillado”, “The Masque of the Red Death” de Edgar Allan Poe (Gothic). “The Outsider”, “The Terrible old man” De H.P. Lovecraft (Cosmic Horror).
Poema: “Dover Beach” de Matthew Arnold.

BIBLIOGRAFÍA

Bibliografía Obligatoria
Austen, J. (1813) Pride and Prejudice.
Language & Culture III Booklet (It includes poems, units on Grammar and Vocabulary for Advanced Learners, historical periods)
Shelley, M. (1818). Frankenstein.
Stevenson, R. (1886). The Strange Case of Dr. Jekyll and Mr. Hyde.
(4ta novella elegida por los alumnos)

Bibliografía de Consulta
Alexander, M. (2000). A History of English Literature. London: Macmillan.
Botting, F. (2005). Introduction. En Gothic. Londres y Nueva York: Routeledge.
Burgess, A. (1979). English Literature. London: Longman Group Limited.
Carranza, M. (2012). Los clásicos infantiles, esos inadaptados de siempre. Algunas cuestiones sobre la adaptación en la literatura infantil, en Revista Imaginaria. N° 313, Bs. As, 8 de mayo de 2012. Disponible en www.imaginaria.com.ar.
Foucault, M. (1961). Madness and Civilization: A History of Insanity in the Age of Reason. New York: Vintage.
Foucault, M. (1963). The Birth of the Clinic. London: Tavistock
Foucault, M. (1972) [1969]. The Archaeology of Knowledge and the Discourse on Language. Tr. A. M. Sheridan Smith. London: Tavistock.
Foucault, M. (1995) [1977]. Discipline and Punish: The Birth of the Prison. New York: Pantheon.
Freud, S. (2003). The Uncanny. Trad. D. McLintock. London: Penguin Books.
Genette, G. ([1972] 1980). Narrative Discourse: An Essay in Method. Ithaca: Cornell UP.
Guy, J. (1997). Victorian Life. London: Publishing Ltd.
Guy, J. M. (2001). The Victorian Age: An Anthology of Sources and Documents. London: Routeledge. [Selección de capítulos]
Hayward, S. (1996). Key Concepts in Cinema Studies. London: Routledge.
Hutcheon, L. (1996). A theory of adaptation. New York: Routeledge.
Leitch, V. (2001). The Norton Anthology of Theory and Criticism. New York- London: Norton & Company. [Selección de capítulos].
Malpas, S. and Wake, P. (eds.) (2006). The Routledge Companion To Critical Theory. London: Routledge.
McRae, J. & Carter, R. (1997). Post-Colonial Studies, Key Concepts. London: Routledge.
MINISTERIO DE CULTURA Y EDUCACION, INVESTIGACIÓN Y DESARROLLO EDUCATIVO, ARGENTINA, Apartado III. Propuesta de desarrollo de los contenidos básicos comunes de la formación docente en lenguas extranjeras profesor de la lengua extranjera seleccionada para el tercer ciclo de la EGB y la educación polimodal. Bloque 3: Literatura. Documento aceptado por el Consejo Federal de Cultura y Educación el 26 de junio de 1998.
Morris, T & Murphy, D. (2004). Europe 1870-1991. London: HarperCollingsPublishers. [Selección de capítulos].
Morris, T, Murphy, D. (et.al) (2000). Europe 1760-1871. London: HarperCollingsPublishers. [Selección de capítulos].
Pope, R. (1998). The English Studies Book. London: Routeledge.
Villarejo, A. (2007). Film Studies, The Basics. London: Routledge.
Williams, C. (2004). A Companion to Nineteenth-Century Britain. Oxford: Blackwell Publishing. [Selección de capítulos].