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PROGRAMMI SVOLTI
ANNO SCOLASTICO 2015/2016
CLASSE 5^ SEZ. C
PROF.
Simonetta Pelagalli
MATERIA Lingua e letteratura inglese
Udine, lì 11 giugno 2016
Il Docente
Simonetta Pelagalli
Gli Studenti:
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Il programma si è basato principalmente sui libri di testo Continuities 2 e Continuities 3, autori Heaney,
Montanari e Rizzo, Lang Edizioni. I numeri di pagina di seguito riportati fanno riferimento ai testi suddetti. I
brani aggiuntivi forniti agli allievi sono indicati dall’espressione “not in textbook”.
UNIT A
The Romantic Age (Continuities 2)
Socio-historical and literary context: Effects of the French Revolution (p. 18), The Industrial Revolution
(p. 19), Economic liberalism (p. 20), Reform and repression (p. 20), The rise of Industrialism (p. 284), The
meaning of Romanticism (p. 23), The Romantic movement in Europe (p. 20-21), Gothic (p. 21), The English
Romantics (p. 24), A new response to Nature (p. 24), The Sublime (p. 25), Reactions to political revolutions
(p. 25), Alternative worlds (p. 26), Italy through Romantic English eyes (p. 26), The artist and the power of
imagination (p. 27), New developments in poetry (p. 29), Romantic poetry (p. 32).
CLIL Art: British Landscape Painting, Constable versus Turner.
The Sublime, the Picturesque, the Beautiful (not in textbook), The Hay Wain by Constable (p. 15), Constable
and Turner in ‘Painting and architecture’ (p. 28). Video “J.M.W. Turner” narrated by Jeremy Irons, produced
by The National Gallery of Art, Washington.
Film link: ‘The Salt of the Earth’ directed by Wim Wenders and Juliano Salgado and released in 2014.
Article “ ‘The Salt of the Earth’ Presents a Photographer’s Life and Lens, in Focus” by L. Rohter, The New
York Times, 20 March 2015. Focus on the main themes of the film.
WILLIAM WORDSWORTH: p. 56, The poet of Nature (p. 57), Poetry, imagination and memory (p.57),
Childhood: a major theme (p. 60), The Lyrical Ballads (p. 74).
 Daffodils (‘I wandered lonely as a cloud’) (p. 58)
 The Rainbow (‘My heart leaps up’) (p. 60)
SAMUEL TAYLOR COLERIDGE: p. 66, A traditional and literary ballad (p. 66, p. 288), Suspension of
disbelief (p. 67).
 The Rime of the Ancient Mariner, Part I (pp. 67-69), Part IV (pp. 70-72), Part VII (p. 73, p. 289)
GEORGE GORDON BYRON: p. 78, The origins of the Byronic hero (p. 78), The stanza form (p. 79).
 Childe Harold’s Pilgrimage, Canto III, stanzas XII, XIII, XIV, XV, XVI (pp. 79-80), stanzas CXIII,
CXIV (not in textbook). Focus on the aspects which define the image of the Byronic hero.
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UNIT B
The Victorian Age (Continuities 2)
A) The age of optimism
Socio-historical and literary context: An age of optimism and doubts (p. 128), Growing democracy (p.
128), The first Reform Bill (p. 21), Queen Victoria (p. 129), The years of prosperity (p. 129), The new
political parties (p. 130), Faith in progress (p. 134), Utilitarianism: Gains and Losses (p. 134), Victorian
attitudes: earnestness and self-satisfaction (p. 136), The Victorian family (p. 136), Women at work (p. 137),
Prose: the Victorian novel (p. 138), Dickens and the novel by instalments (p. 138), The condition of England
novel (p. 148), Human consequences of the new industrial society (p. 300), Ceaseless work (p. 300),
Working children (p. 301), The chimney sweeps (p. 301), Life in the workhouse (not in textbook).
CHARLES DICKENS: p. 172. Oliver Twist - A great social novel (p. 177), Hard Times - Education in
Victorian England, Social criticism of education, A world of facts (pp. 226-227).
Film scene: ‘Please, sir, I want some more’ from Oliver Twist directed by Roman Polanski (2005).
 Oliver Twist, excerpt from Chapter II: ‘Please, sir, I want some more’ (pp. 177-178)
 Oliver Twist, excerpt from Ch. XXI: ‘London in the early morning’ (not in textbook)
 Hard Times, excerpt from Ch. II: ‘The definition of horse’ (not in textbook)
 Hard Times, excerpt from Ch. V: ‘Coketown’ (not in textbook)
 Hard Times, excerpt from Ch. VIII: ‘Results of Mr Gradgrind’s school system’ (not in textbook)
CHARLOTTE BRONTË: p. 191. A fully rounded (round) female character (p. 192), Romantic and Gothic
motifs (p. 192), Individual feeling and Victorian morality (p. 192), A prequel to Jane Eyre (p. 197).
 Jane Eyre, excerpt from Ch. VII: ‘Punishment’ (not in textbook)
 Jane Eyre, excerpt from Ch. XXIII: ‘Beyond conventionalities’ (pp. 193-194)
 Jane Eyre, excerpt from Ch. XXVI: ‘That is my wife’ (pp. 196-197)
UNIT C
The Victorian Age (Continuities 2)
B) The age of doubt
Socio-historical and literary context: The expanding empire (p. 132), The late Victorian novel (p. 138),
Contradictory literary tendencies (p. 139), Architecture (p. 140). The United States: The Giant in the West
(p. 142).
CHARLES DARWIN: video ‘Charles Darwin. The Man Who Changed the World’ by E.A. Zafirov,
Channel 1859, in http://Channel1859.blogspot.it. A summary about Darwin (not in textbook), Charles
Darwin and his theories of evolution (p. 135), Science and religion (p. 135).
 The Descent of Man, excerpt from Ch. XXI ‘Conclusion’: ‘Man’s origin’ (not in textbook)
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Revision: The elements of the novel, namely setting, point of view and narrator, plot, main characters,
conflicts, language, theme(s), author’s purpose.
OSCAR WILDE: p. 256, video on Oscar Wilde in www.biography.com (A&E Television Networks), Oscar
Wilde’s famous epigrams (not in textbook). The cult of beauty (p. 256), A life of unprincipled pleasure (p.
257), A Faustian pact (p. 257), Notes on English Aestheticism (not in textbook).
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The Preface to The Picture of Dorian Gray (not in textbook)
The Picture of Dorian Gray, excerpt from Ch. II: ‘Beauty is a form of genius’ (pp. 257-258)
The Picture of Dorian Gray, Ch. XX ‘Dorian’s death’ (not in textbook)
De Profundis, a few excerpts (not in textbooks)
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UNIT D
The Modern Age (Continuities 3)
Poetry of World War I
Socio-historical and literary context: The end of an age and social changes in Britain (p. 16), Britain’s
foreign policy (p. 17), The First World War (p. 17), The House of Windsor (p. 18), The First World War and
the War Poets (p. 290).
SIEGFRIED SASSOON: p. 292. “Declaration against the war” (not in textbook).
 Does it matter? (p. 292)
WILFRED OWEN: p. 290.
 Dulce et Decorum Est (not in textbook)
 Futility (p. 291)
Modernism
Socio-historical and literary context: The spirit of rupture (p. 24), Modernism (p. 25), Changing views of
society: sociology, psychoanalysis and anthropology (p. 25), Albert Einstein: scientific super star (p. 26),
The emancipation of women (p. 26), Emmeline Pankhurst (p. 26), Changing role of the writer (p. 27),
Cosmopolitan and exiles (p. 27), Prose fiction: the first three decades (p. 27), The experimental novel (p. 43),
Modernism and the stream of consciousness technique (not in textbook).
VIRGINIA WOOLF: p. 56. Modernism and the “stream of consciousness” technique (not in textbook),
Inside mental activity (not in textbook), The Bloomsbury Group (not in textbook).
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Excerpts from Modern Fiction (not in textbook)
Excerpt from A Room of One’s Own: ‘Shakespeare’s sister’ (not in textbook)
Mrs Dalloway, excerpt ‘Out for flowers’ (not in textbook)
Mrs Dalloway, excerpt ‘Clarissa and Septimus’ (not in textbook)
JAMES JOYCE: p. 61. Dubliners - Stories of collective paralysis, Naturalism and symbolism (p. 66),
Ulysses - A pioneering novel, Why Ulysses?, The novel to end all novels, Amorous nocturnal memories (pp.
70-71).
 ‘Eveline’ from Dubliners (not in textbook)
 Ulysses, from Episode 8 ‘Lestrygonians’: ‘Bloom’s train of thought’ (not in textbook)
 Ulysses, excerpt from Episode 18 ‘Penelope’: ‘… yes I will Yes’ (p. 72)
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