|
Type A
|
Code |
Competences Specific | | | A5 |
Dominar la llengua anglesa des d’un punt de vista teòric i pràctic i expressar-s’hi oralment i per escrit de manera fluida i precisa. |
| | A6 |
Analitzar les obres més rellevants de la literatura en llengua anglesa en els seus diversos entorns culturals. |
|
Type B
|
Code |
Competences Transversal | | | CT7 |
Apply ethical principles and social responsibility as a citizen and a professional. |
|
Type C
|
Code |
Competences Nuclear |
|
Type A
|
Code |
Learning outcomes |
| | A5 |
Mostra un maneig de la llengua anglesa (de forma oral i/o escrita) en contextos diversos a un nivell superior.
| | | A6 |
Adquireix la capacitat d’establir la relació entre forma i contingut a les obres d’autors en llengua anglesa.
Analitza i comenta textos literaris de forma oral i/o escrita.
Coneix els principals moviments literaris i la seva inserció en els diversos contextos culturals i històrics.
|
|
Type B
|
Code |
Learning outcomes |
| | CT7 |
Be aware of the inequalities and the discrimination caused by gender and understand the reasons that account for it.
Be able to identify major environmental problems.
Recognise and reflect on social needs and problems, and get involved in improving the community.
Recognise the ethical and deontological concepts in their field of expertise, show an ability for criticism and dialogue, and respect the rules and regulations that members of the university community must abide by.
|
|
Type C
|
Code |
Learning outcomes |
| Topic |
Sub-topic |
| The Nature of Theatre |
Drama and theatre
Text and performance
Elements of a play |
| Introduction to English Drama |
Medieval Drama
Renaissance and Restauration
Modern English Drama
|
| Twentieth Century English Drama |
George Bernard Shaw, comedy and social criticism
Oscar Wilde, aestheticism and the critique of convention: “The Importance of Being Earnest”
Modernist poetic drama: T.S. Eliot
The angry decade: John Osborne and the return to realism
From the existential to the absurd: Harold Pinter, “The Caretaker.” Samuel Beckett.
Postmodernist experiments: Tom Stoppard, “Rosenkrantz and Guildenstern Are Dead.”
|
| Methodologies :: Tests |
| |
Competences |
(*) Class hours
|
Hours outside the classroom
|
(**) Total hours |
| Introductory activities |
|
1 |
1 |
2 |
| Problem solving, exercises in the classroom |
|
26 |
53 |
79 |
| Lecture |
|
29 |
20 |
49 |
| Assignments |
|
1 |
6 |
7 |
| Seminars |
|
1 |
6 |
7 |
| Personal attention |
|
2 |
4 |
6 |
| |
| |
(*) On e-learning, hours of virtual attendance of the teacher.
(**) The information in the planning table is for guidance only and does not take into account the heterogeneity of the students. |
Methodologies
| |
Description |
| Introductory activities |
A session at least will be devoted to explain the aim of the course, objectives, methodology, etc. |
| Problem solving, exercises in the classroom |
To focus on specific topics and how to develop them. |
| Lecture |
To provide general and specific information. |
| Assignments |
To narrow down topics and write about them. |
| Seminars |
To focus on subtopics and how to present them. |
| Personal attention |
Personal meeting at my office in order to clarify academic points. |
|
Description |
|
There will be office hours. Students should take benefit of them in order to ask questions, querries, discuss details of the syllabus and content of the course.
Donada la situació d'emergència sanitària, durant el curs 2020-21 s'atendrà els estudiants en tutoria individualitzada i/o grupal per tal de resoldre possibles dubtes, consultes i altres qüestions relacionades amb l'assignatura. La tutoria podrà ser presencial i/o virtual. A principis de curs s'informarà a l'estudiant sobre com es portarà a terme aquesta atenció personalitzada (horaris, si serà presencial, per correu electrònic, Moodle...).
|
|
Methodologies |
Competences
|
Description |
Weight |
|
|
|
|
| Problem solving, exercises in the classroom |
|
Exercises to be written in class |
40% |
| Assignments |
|
Assignments |
40% |
| Others |
|
Class participation |
20% |
| |
|
Other comments and second exam session |
|
The students who do not reach the 50% of the above-mentioned requirements will have a scheduled second chance, as well as those who have not opted to go through the continuos assessment (for further details see the course syllabus). This second chance will be the same for all students ( both those who failed the continuous assessment and those who opted for the final class exercise), and will consist in a final class exercisel of 20 questions (100%). These questions will be based on the units included in the syllabus (short definitions of concepts, identifications of names, titles, characters, short contextualizations of excertps from the texts analyzed ...). |
| Basic |
|
- Fortier, Mark, Theory/Theatre: An Introduction, 2002, Routledge
- Montgomery, Martin et alia , Ways of Reading , 2000, Routledge
- Lane, David, Contemporary British Drama, 2010, Edinburgh University Press
- Pickering, Kenneth, Studying Modern Drama, Second Edition, Palgrave MacMillan
- Shepherd, Simon, and Mick Wallis, Drama/Theatre/Performance, 2004, Routledge
- Pinter, Harold, “The Caretaker”
- Stoppard, Tom, “Rosencrantz and Guildenstern Are Dead”
- Wilde, Oscar, “The Importance of Being Earnest”
|
| Complementary |
|
|
| Subjects that continue the syllabus |
| INTRODUCTION TO ENGLISH LITERATURE/12274121 |
|
(*)The teaching guide is the document in which the URV publishes the information about all its courses. It is a public document and cannot be modified. Only in exceptional cases can it be revised by the competent agent or duly revised so that it is in line with current legislation. |
|