آواشناسي و كليات زبانشناسي2 _ پاورپوينت

 

Ava Shenaci Ahmad Khani ppt

Koleyat Zabanshenasi 2 Ahmad Khani ppt

Lord of the Flies

The Importance of Setting in William Golding's 'Lord of the Flies

Lord of the Flies - Symbols

Identifying Figurative Language in Lord of the Flies

Lord of the Flies - SparkNotes

Lord of the Flies Review

Lord of the Flies By William Golding

Lord of the Flies Symbolism Project

Lord of the Flies Symbolism

Symbolism in Lord of the Flies

Lord of the Flies - BWSD

Allegory in Lord of the Flies

Marxist Literary Criticism Lord of the Flies

پذیرش دانشجویان متقاضی مهمان/انتقال در موسسه

 

به اطلاع دانشجویان کلیه دانشگاه ها، موسسات آموزش عالی غیرانتفاعی و مراکز آموزش عالی مورد تأیید وزارت علوم، تحقیقات و فناوری، متقاضی مهمان یا انتقال به موسسه آموزش عالی جهاد دانشگاهی خوزستان برای نیمسال دوم سال تحصیلی 1390 می رساند، حسب مصوبه شورای آموزشی موسسه، درخواست هایی که حداکثر تا پایان وقت اداری روز چهارشنبه مورخ 19/11/1390 (نوزدهم بهمن ماه سال جاری) به اداره کل خدمات آموزشی موسسه برسد، مورد بررسی قرار خواهند گرفت. بدیهی است به درخواست های دریافتی پس از این تاریخ ترتیب اثر داده نخواهد شد.

شایسته است، متقاضیان عزیز به نکات ذیل توجه داشته باشند:

* نتایج درخواست های واصله ، شیوه ثبت نام پذیرفته شدگان و تاریخ انتخاب واحد ایشان از طریق همین سایت به اطلاع دانشجویان عزیز رسانیده خواهد شد . لذا از مراجعه حضوری به موسسه و یا تماس تلفنی جهت دریافت پاسخ، جدداً خودداری فرمایید.

* بررسی درخواست های متقاضیان مهمانی ، منوط به ارائه لیست واحدهای مجاز جهت گذراندن-تأیید شده توسط دانشگاه مبدأ- می باشد .

* دانشجویانی که از طریق سامانه خدمات آموزشی وزارت علوم،تحقیقات و فناوری موافقت خود را دریافت نموده اند می بایست نسبت به ارائه موافقت نامه کتبی از سوی دانشگاه مبدأ شان به این موسسه اقدام نمایند.

سایت موسسه

 

hamartia in 'Oedipus Rex'

A tragic flaw is the English equivalent of 'hamartia'. Pride tends to be the tragic flaw of the heroes of Greek tragedies. In the case of 'Oedipus Rex', the shoe fits.

Theban King Oedipus is so proud of his own intelligence that he thinks that he can escape a horrendous fate. He's so proud of his personal and professional accomplishments that he stops looking over his shoulder or looking gift horses in the mouth.

Instead, Oedipus needs to keep his guard up, to remain vigilant. He's foredoomed to kill his own father and marry his own mother. He needs to proceed carefully through every violent interaction with individuals old enough to be his father. He likewise needs to proceed carefully through every romantic attachment with individuals old enough to be his mother.

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Depending on the edition and the translation that you use, hamartia, or tragic flaw as defined by Aristotle, can also possibly be defined as "sin", or "emission", or something else that underlies the character's mistakes in behaving the way they should.

His tragic flaws of which there are many can be his impatience at Creon for not returning soon enough:

I wonder anxiously what he is doing,

Too long more than is right, he's been away (Prologue 74-5)

Then when Creon comes back, Oedipus refuses to listening to him in private and he could have solved the entire situation by listen to Creon privately when Creon says:

Creon: If you will hear me with these men present

I'm ready to report--or go inside.

Oedipus: Speak out to all!The grief that burdens me

concerns these men more than it does my life. (Prologue 88-92)

And the rest is his tragedy. even accusing Tiresias and Creon of being in a conspiracy when Tiresias can't bear to tell Oedipus the truth.

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His basic flaw is his lack of knowledge about his own identity.

The whole article is this:
The complex nature of Oedipus' "hamartia," is also important. The Greek term "hamartia," typically translated as "tragic flaw," actually is closer in meaning to a "mistake" or an "error," "failing," rather than an innate flaw. In Aristotle's understanding, all tragic heroes have a "hamartia," but this is not inherent in their characters, for then the audience would lose respect for them and be unable to pity them; likewise, if the hero's failing were entirely accidental and involuntary, the audience would not fear for the hero. Instead, the character's flaw must result from something that is also a central part of their virtue, which goes somewhat awry, usually due to a lack of knowledge. By defining the notion this way, Aristotle indicates that a truly tragic hero must have a failing that is neither idiosyncratic nor arbitrary, but is somehow more deeply imbedded -- a kind of human failing and human weakness. Oedipus fits this precisely, for his basic flaw is his lack of knowledge about his own identity. Moreover, no amount of foresight or preemptive action could remedy Oedipus' hamartia; unlike other tragic heroes, Oedipus bears no responsibility for his flaw. The audience fears for Oedipus because nothing he does can change the tragedy's outcome.

Hope this helps.

Dramatic Irony in Oedipus rex

Dramatic irony was used in Oedipus the king as an essential tool to develop the play. Dramatic irony involves readers knowing what is happening in the plot, where as the characters have no knowledge about it. This makes the audience feel privileged, as they know more than the main characters in the story. In Oedipus the king the use of dramatic irony develops the play through pathos towards Oedipus, creating suspense and foreshadowing the outcome of the play.

In the play dramatic irony is also used to create suspense because although the reader knows about the prophecies of Oedipus and what his fate will bring him, the audience does not know how he will react to

the accusations laid upon him. Oedipus knows about the prophecies yet he does not know they have come through, however the audience is aware of everything going on in Oedipus life. According to Oedipus, he has proved the prophecies wrong, but the audience knows this is not the case. the prophecies have become a part of his life yet he is ignorant of it. In Oedipus speech to the people of Thebes he tells them he will start from the beginning and will bring right to their lives. This leaves readers in suspense wondering what will come next. Oedipus he will gain something form the people of Thebes by finding the murderer of liaus it creates suspense, as the reader will want to know what will happen next. “ For whoever killed Laius might decide to raise his hands against me so acting on behalf of liaus I benefit myself too.”(Sophocles, 10) this creates suspense because the readers know he would not benefit himself, as he is the real killer. This lets the audience wonder as to what would happen when Oedipus figures out that the real killer of liaus is himself. This leaves the readers questioning everything that is to come next. To reveal the murder in this part of the play is an important factor of creating suspense among the readers.

The play continues to develop by creating suspense through the use of dramatic irony. The readers know he is the murder of liaus but looking at Oedipus personality the novel also depicts how angry Oedipus is with whoever killed laius. “ As for the murderer himself, I call down a curse on him…. may he drag out an evil death-in-life misery. And further I pronounce a curse on myself is the murderer should, with my knowledge share my house” (sophocles, 14). This creates terror and suspense in the readers mind as to what Oedipus would do when he finds out he is the murderer of Laius. This also creates anticipation among the readers, as they will want to know what is to come next.

Another aspect of dramatic irony used for the development of the play is the audience feeling sorry for Oedipus. The audience knows what ill-fate Oedipus life carries and how in a way he is guilty of his own unhappiness. This feeling of remorse the audience develops through the play contributes greatly to Oedipus character personality according to Aristotle. The use of dramatic irony makes the readers hopeful. When Oedipus says, “ I am lost, accusred, and hated by the gods. Beyond all other men” (sophocles, 37) the audience feels sorry for him at this point; as they already knew about his destiny and hoe it is all written out for him.
Dramatic irony also foreshadows what might be the out come in the end. Prophecies and foreshadowing are important parts of play writing, and adds an element of suspense that might not seem possible any other way. For instance when Tireias says to Oedipus “ without knowing it you are the enemy of your own flesh and blood …. This doubled aged curse shall one day drive you from this land” (sophocles, 28) this foreshadows the outcome of Oedipus life, and how he might be exiled from Thebes. Again the audience already knows about his prophecies and the curse they bring upon him, which he will have to pay for in the end , hence this quote foreshadows to the readers what might happen to Oedipus at the end. Oedipus later says to tiresias, “ Save yourself and the city, save me, from all the infections caused by the dead man .we are in your hands” (Sophocles, 19). This foreshadows and also creates suspense as to what tiresias might say next to Oedipus. It is dramatic irony because the audience knows tiresias cannot save Oedipus for this curse it is him self that has to see the truth on his own. Therefore a bit of tension arises as to how tiresias might respond to him and what Oedipus will do once he is told the truth. Also when tiresias tell Oedipus that his life will end in darkness “ you see straight now but then you will see darkness” (sophocles, 28) darkness vs. light used in the play foreshadows and helps the audience understand what Oedipus might do to him self when he learns the truth about his past, his prophecies and the real murderer.

In Oedipus the king the use of dramatic irony develops the play through pathos towards the tragic hero, creating suspense, and foreshadowing the outcome of the play. Finally, Oedipus the king is a tragic play that depicts the characteristics of a tragic hero an how destiny plays an unfortunate game with him. Sophocles’ Oedipus, dramatic irony is a major input into making this novel a strong one; the whole novel is based on the concept of dramatic irony. Where the audience knows about Oedipus prophecies, his past and the murder he committed, but he himself is blind to. Oedipus destiny has been written out for him. He became a victim to an ill fate unknowingly. His destiny could not be controlled or changed; a man born with poor fortune and a dishonored life, who saved the people of Thebes from the sphinx ad brought light to everyone’s life at the end, gets rid of the light of his own eyes and ends his life in darkness.

Oedipus

Oedipus Rex (the king)

 Oedipus Rex Part 1

Oedipus Rex

Background to Greek Theatre and Oedipus Rex

Oedipus the King by Sophocles.ppt

Oedipus Rex – Part 2

T. S. Eliot's The Waste Land

T. S. Eliot's The Waste Land - The University of West Georgia

T. S. Eliot and The Waste Land

T.S. Eliot

English Romanticism

Introduction

Romantic poetry

lWilliam Wordsworth

lS.T. Coleridge

lG.G. Byron

lP.B. Shelley

lJohn Keats

download / power point
447 kb

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download / ppt
547 kb

حذف پزشکی در نیمسال1-1390

شرایط انجام حذف پزشکی

• حذف پزشکی هر درس تنها با ارایه گواهی پزشکی معتبر و مورد تایید شورای آموزشی موسسه برای تاریخ امتحان مربوطه امکان‌پذیر است.
• حذف پزشکی فقط در صورتی که دانشجو در امتحان مربوطه شرکت نکرده و نمره نیز نداشته باشد امکان‌پذیر است
• دانشجو باید حداکثر دو روز کاری  بعد از تاریخ امتحان نسبت به ارایه گواهی پزشکی اقدام کند

مراحل انجام حذف پزشکی در نیمسال اول سال تحصیلی 1390

• ارائه گواهی استراحت پزشکی به تأیید پزشک معتبر.
• مراجعه به اداره آموزش موسسه و دریافت فرم حذف پزشکی.
• پرداخت فیش هزینه تأیید گواهی توسط پزشک معتمد موسسه ، به مبلغ 80000(هشتاد هزار)ریال به حساب شماره 1001117080 بانک تجارت شعبه آزادگان(کد شعبه :10010)بنام موسسه آموزش عالی جهاد دانشگاهی خوزستان قابل پرداخت در کلیه شعب بانک تجارت در سراسر کشور.
• ارائه فیش پرداختی به امور شهریه و تأیید فرم حذف پزشکی توسط امور شهریه.
• تحویل فرم حذف پزشکی به انضمام گواهی استراحت پزشکی به اداره آموزش موسسه.

شهید مصطفی احمدی روشن (شادی روحش صلوات)

وَلا تَحسَبَنَّ الذین قتلوا فی سبیل الله امواتا بل اَحیاهم عِند ربهم یرزقون

(سوره آل عمران آیه 169)

twelve principles of second language learning

Teaching by Principles

 

There are twelve overarching principles of second language learning from which sound

practice springs and on which your teaching can be based.

 

Cognitive Principles

We will call the first set of principles ‘’cognitive’’ because they relate mainly to mental

and intellectual functions.

 

1.Automaticity

 

The Principle of Automaticity may be stated as follows:

Efficient second language learning involves a timely movement of the control of a few

language forms into the automatic processing of a relatively unlimited number of language forms. Overanalyzing language, thinking too much about its forms, and consciously lingering on rules of language all tend to impede this graduation to automaticity.

What does this principle, which ordinarily applies to adult instruction, say to you as a

teacher? Here are some possibilities:

 

(1) Because classroom learning normally begins with controlled, focal processing, there is no mandate to entirely avoid overt attention to language systems (of grammar, phonology, discourse). However, that attention should stop well short of blocking students from achieving a more automatic, fluent grasp of the language. Therefore, grammatical explanations or exercises dealing with what is sometimes called usage have a place in the adult classroom (see Principle #12), but you could overwhelm your students with grammar. If they get too heavily centered on the formal aspects of language, such processes can block pathways to fluency.

 

(2) Make sure that a large proportion of your lessons are focused on the use of language for purposes that are as genuine as a classroom context will permit. Students will gain more language competence in the long run if the functional purposes of language are the focal point.

 

(3) Automaticity isn't gained overnight: therefore, you need to exercise patience with

students as you slowly help them to achieve fluency.

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به ادامه ي مطلب برويد

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 دانلود درس 4   /  Teaching by Principles

ادامه نوشته

Critical Approaches / “Young Goodman Brown”

Critical approaches to literature reveal how or why a particular work is constructed and what its social and cultural implications are. Understanding critical perspectives will help you to see and appreciate a literary work as a multilayered construct of meaning. Reading literary criticism will inspire you to reread, rethink, and respond. Soon you will be a full participant in an endless and enriching conversation about literature.

Critical Approaches Interactive Exercises for “Young Goodman Brown”

Linked below are exercises on how to interpret “Young Goodman Brown” from different critical approaches. Responses to the exercises can be added to your notebook—this will be collated so that you can print or e-mail your work when you are finished.

>Structuralism
>Psychoanalytic Criticism
>Feminist Criticism
>Marxist Criticism
>The New Criticism
>Formalism
>Deconstruction
>The New Historicism

source

جلسه هشتم _ ترجمه ادبي2

Why is this vicarious torture forced upon us?

We can scarcely feel that the author's purpose was purely literary, that Tolstoy chose his subject as any writer chooses a subject, because it is interesting in and for itself. We cannot doubt that his intention was other than artistic, and we conjecture that it might well be religious, for religion often tries to put us in mind of the actuality of death, not its terrors, to be sure, but in its inevitability, seeking thus to press upon us the understanding that the life of this world is not the sum of existence, and not even its most valuable part. And the circumstances of Tolstoy's life at time he wrote "The Death of Ivan Ilych" confirm our sense of the story's religious inspiration.

چرا اين شكنجه ي نيابتي بر ما تحميل شده است؟

به نظر نمي آيد كه هدف نويسنده صرفا هدفي ادبي بوده است و تولستوي نيز مانند ديگر نويسندگان موضوعش را انتخاب كرده، از اين جهت كه موضوع به خودي خود(في نفسه) جالب است. ترديدي به خود راه نمي دهد كه هدفي غير هنر داشته است و نيتي مذهبي داشته باشد زيرا در مذهب نيز تلاش بر اين است كه كه ما را در معرض واقعيت مرگ قرار داده، مطمئنا نه با وحشت ناشي از آن، بلكه با ناگزيري مرگ ما را توجه مي سازد كه زندگي اين جهان حاصل جمع هستي كه نيست و تازه با ارزشترين جز در زندگي، هستي هم نيست، اين معنا را موكد مي كند كه اين داستان ملهم از مذهب است.

جلسه ششم _ ترجمه ادبي2

This tendency is wholly reserved by "The Death of Ivan Ilych".

Tolstoy does not try to reconcile us to the idea of our extinction and he does not mask the dreadfulness of dying.

اين مقوله بر اساس "مرگ ايوان ايليچ" كاملا متمايز شده است.

تولستوي سعي در آشتي دادن ما بانابودي مان و يا اينكه آن را در پشت نقاب وحشتناك مرگ بپوشاند، ندارد.

Quite the contrary not only does he choose an instance of death that is long drown out not and hideously painful, and dwell upon. It details, but he emphasizes the unmitigated aloneness of the dying man, the humiliation of his helplessness, and his object terror at the proposed of his annihilation, as well as his bitter envy of those who still continue in existence while he is process of becoming nothing.

كاملا برعكس، اين قضيه ي او، مرگ را نه تنها پديده اي خيلي ديرپا و شديدا دردناك انتخاب كرده بلكه هم به جزييات ان مي پردازد و هم به تنهايي لاعلاج انسان محتضر (در حال مرگ)، ذلت و درماندگي او، از چشم انداز نابودي اش و رشك بردن جانسوزش را به وقت سير زندگي به عدم زماني كه به زندگي ادامه مي دهد، موكد مي كند.

Tolstoy is explicit about these aspect of death as no writer before him had ever been, and the effect is excruciating, perhaps no work of fiction is so painful to read as this story.

صراحت بيان تولستوي درباره ي اين جنبه هاي مرگ با نويسندگان قبل از او قابل قياس نيست و شايد هيچ اثر روايتي قبل از او،اينگونه دردناك نبوده است.

جلسه پنجم _ ترجمه ادبي2

We all fear death and our imaginations balk at conceiving its actuality. We say readily enough that "our men are mental", but like Ivan Ilych in Tolstoy's story, we say it as an abstract general proposition and each of one of us finds it hard to believe that generalization has anything to do with him imperticularly with him personally, as we say.

كسي از ما نيست كه از مرگ نهراسد و از تجسم آن سر باز بزند. اگر صحبت مرگ به ميان بيايد بي معطلي ميگوييم " آدمي فاني است" و براي هر كدام از ما سخت است كه اين كلي گويي و تعميم، به طور اخص به خود ما مربوط مي شود و به قولي به شخص ما مربوط مي شود.

And literature tends to encourage us in our evasion. Not that literature avoids dealing with death-on the contrary; there is probably no subject to which it recurs more often. But even very great writers are likely to treat it in ways which limit its fear sameness.

و ادبيات مشوق طفره رفتن ماست. اين چنين نيست كه ادبيات از پرداختن به مرگ اجتناب كند، شايد به هيچ موضوعي به اندازه ي مرگ نپرداخته اند، اما نويسندگان بزرگ هم به شيوه اي به مرگ مي پردازند كه ترسناك بودن ان را محدود كنند،

The death of a hero of tragedy, for instance, seldom seems terrible to us; we often think of it as making a moment of peace and beauty, as constituting the resolution of distressing conflicts.

مثلا مرگ قهرمان تراژدي به نظر ترسناك نمي آيد و به آن طوري نگاه مي كنيم كه لحظه ي آرامش و زيبايي است و گره گشاي جدال هاي مصيبت بار است.

Literature inclines to soften death's aspect by showing it as through a voile, or by suggesting that is sad and noble rather than terrifying or by asking us to accept it as parts of life.

در ادبيات مي خواهند به نوعي از هست مرگ بكاهند و با نشان دادن آن از پشت حجاب يا بگويند به جاي اينكه ترسناك باشد، اندوه بار و محتشم است و از ما بخواهد كه آن را به عنوان جزيي از زندگي بپذيريم.

دریافت کارت ورود به جلسه

به اطلاع کلیه دانشجویان موسسه آموزش عالی جهاد دانشگاهی خوزستان می رساند دریافت کارت ورود به جلسه آزمون های پایانی نیمسال اول سال تحصیلی1390 از ساعت 16روز دوشنبه دوازدهم دیماه سال جاری از طریق سامانه معاونت آموزشی قابل دریافت خواهد بود .

همچنین به اطلاع می رساند جهت دریافت کارت ورود به جلسه آزمون ، رفع بدهی های قبلی تا تاریخ مذکور و انجام نظرسنجی توسط دانشجو الزامی خواهد بود .

Critical Approaches for To His Coy Mistress

"TO HIS COY MISTRESS"

[Analysis - NO or YES.]

Had we but world enough, and time,
This coyness, lady, were no crime.

[A woman (more or less young), is the object of this older gentleman's eye. She could be a coquette, one who uses arts to gain the admiration and the affections of men, merely for the gratification of vanity or from a desire of conquest; and, without any intention of responding to the feelings aroused in her plaything. At any rate, it was more the convention in Marvel's day for a pretty woman when she found herself interacting with an available man, to display shyness or reserve or unwillingness, at least for the first little while.]

We would sit down, and think which way
To walk, and pass our long love's day.
Thou by the Indian Ganges' side
Should'st rubies find: I by the tide

[Remember the times of the poet, in this case Marvel: circa 1650. England was beginning its era of great exploration and the discovery of the exotic east.]

Of Humber would complain, I would
Love you ten years before the flood,
And you should, if you please, refuse
Till the conversion of the Jews.

[These lines stumped me, until I received this e-mail from margaux: "... the flood referring to Noah a part belonging to the Genesis in the Bible. So he would love her since ever. And then he adds 'Till the conversion of the Jews' ... most Jews never have converted ... Those two religious references are just a way to tell her that he would love and praise her during a very very long time before getting into any kind of sexual intercourse with her, but ..." And another, "in your analysis of to his coy mistress: the flood part happened sometime after creation. The conversion of the jews is suppose to happen before Armageddon. That's the allusion that Andrew Marvell is using." Well, OK. So, there we have it.]

My vegetable love should grow
Vaster than empires, and more slow ;

["Vegetable love": What do you suppose Marvel meant by this? One of my correspondents wrote, "A vegetable comes from the vegetative part of a plant, as opposed to a fruit, which comes from the reproductive part." At any rate, their love for one and the other may well grow slowly, for what ever reason; but it is a growing thing: deep, complex and vast. A lover is devoted to the loving business of praising his or her lover and is endlessly fascinated with the body and general presence of the other: this is part of being in love.]

An hundred years should go to praise
Thine eyes, and on thy forehead gaze ;
Two hundred to adore each breast,
But thirty thousand to the rest ;
An age at least to every part,
And the last age should show your heart ;

[Nice bit, "the last age should show your heart." I remember it being said, that once the heat of sexual passion subsides, as it always does, then -- one will be left with a blemished person and the best that can be hoped is that one is left with a beloved who tells the truth, who shuns sham, who has a heart.]

For, lady, you deserve this state,
Nor would I love at lower rate.

[Sexually speaking our older lover could take things slowly with her; if that is what she wants, then, that, is what she should have; he is committed to the conquest, a conquest that can only come about as a result of him fully satisfying her; and, no doubt it is his goal to satisfy her, though it may take thousands of years; and, he would take pleasure throughout the long wait, if, if, only if, there is some prospect of sexual fulfillment. Now, take a breath, for, it is at this point that there appears the most dramatic shift in tempo that I have ever felt in a passage of poetry.]

But at my back I always hear

Time's winged chariot hurrying near ;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song: then worms shall try
That long-preserved virginity,
And you quaint honor turn to dust,
And into ashes all my lust :
The grave's a fine and private place,
But none, I think, do there embrace.

Now, therefore, while the youthful hue

Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour,
Than languish in his slow-chapt power.
Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Thorough the iron gates of life :
Thus, though we cannot make our sun
Stand still, yet we will make him run.

[I just do not have the heart to break into any of those last lines of Marvel's: they belong together and to be left uninterrupted, undisturbed. By God, this man wants this woman, this central focus point of his sexual passion. He cannot wait, he begs her not to put off sexual union. He eloquently points out that the cares of the moment do not much matter as time is slowly absorbing them both, as it does all things. Marvel displays in full glory his epicurean philosophy.]

By Andrew Marvell (1621-1678).
With analysis by Blupete.

---

	Deconstruction
	Feminist Criticism
	The New Historicism
	Psychoanalytic Criticism
	Reader-Response Criticism
	Structuralism
	Marxist Criticism
	The New Criticism
	Formalism
	Postcolonial Criticism

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ادامه نوشته

A History of English Literature

A History of English Literature

1918

by Robert Huntington Fletcher

• Dedication and Preface
• Preliminary. How To Study And Judge Literature
• A Tabular View Of English Literature
• Chapter I. Period I. The Britons And The Anglo-Saxons. To A.D. 1066
• Chapter II. Period II. The Norman-French Period. A.D. 1066 To About 1350
• Chapter III. Period III. The End Of The Middle Ages. About 1350 To About 1500
• Chapter IV. The Medieval Drama
• Chapter V. Period IV. The Sixteenth Century. The Renaissance And The Reign Of Elizabeth
• Chapter VI. The Drama From About 1550 To 1642
• Chapter VII. Period V. The Seventeenth Century, 1603-1660. Prose And Poetry
• Chapter VIII. Period VI. The Restoration, 1660-1700
• Chapter IX. Period VII. The Eighteenth Century, Pseudo-Classicism And The Beginnings Of Modern Romanticism
• Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830
• Chapter XI. Period IX. The Victorian Period. About 1830 To 1901
• A List Of Editions For The Study Of Important Authors
• Assignments For Study

A brief history of English literature

Introduction
Literary forms
Old English, Middle English and Chaucer
Tudor lyric poetry
Renaissance drama
Metaphysical poetry
Epic poetry
Restoration comedy
Prose fiction and the novel Romanticism
Victorian poetry
The Victorian novel
Modern literature
Writers outside mainstream movements
Literature and culture
Recent and future trends
Evaluating literature
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