Электронное пособие к спецкурсу английской литературы «Шекспировская мастерская»

1. Автор: Преподаватель английского языка и литературы Н.В Баранович МОУ «Гимназия №4» Электронное пособие к спецкурсу английской литературы «Шекспировская мастерская» Астрахань 2006/2007

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

22. Shakespeare Hamlet English History with Shakespeare’s eyes The wreath of Sonnets Shakespeare and Music

23. Shakespeare Module opening page Objectives Shakespeare facts Historical background Quoting Shakespeare Write an essay

24. William Shakespeare.(1564 – 1616)

25. Objectives In this module you will: read Shakespeare’s facts; talk about Elizabeth period; read and discuss Shakespeare’s quotations; learn more about Shakespeare’s creative work; write an essay “My Shakespeare”.

26. Shakespeare facts. • Nobody knows Shakespeare’s true birthday. • Shakespeare invented the word “assassination”. • There are only two authenic portraits of William today: the widely used engraving of William Shakespeare by Martin Droeshout first published on the title page of the 1623 First Folio and the monument of the great playwright in Stratford’s Holy Trinity Crunch in Stratford. • Shakespeare and wife had eight children, including daughter Susanna, twins Hamnet, Judith, and Edmund. Susanna received most of his fortune when he died in 1616, age 52. Hamnet died at the age of 11, Judith at 77. Susanna dies in 1649, age 66. • There were two Shakespeare families living in Stratford when William was born; the other family did not become famous. • Shakespeare, one of literature’s greatest figures, never studied at university. • Of the 154 sonnets or poems, the first 26 were written to an aristocratic young man who did not want marry. Sonnets 127-152 talk about a dark woman.

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

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

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

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

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

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

33. Hamlet Module opening page Objectives Hamlet’s soliloquy Prince of Denmark and characters in tragedy Shakespeare’s language Historical background Write an essay

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

35. Objectives In this module you will: • read Hamlet’s soliloquy; • talk about the plot, subplots and characters of tragedy; • learn the Shakespeare’s language; • learn more about historical background; • write an essay “Hamlet is a universal man” ; • do a project “Hamlet’s inner conflict”.

36. Read Hamlet’s soliloquy * Red colour means reader1, white means reader2, blue means reader1 and reader2.

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

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

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

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

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

42. Shakespeare’s Language The English of Shakespeare's time has greatly changed since then. Here are some words and grammar forms frequently used by Shakespeare and grown obsolete in Modern English. 1) The pronoun for the 2nd person had forms for the singular and plural: The possessive pronouns for the 2nd person singular and plural were:

43. Shakespeare’s Language 2) Some verbs, when conjugated in the Present, took the (e)st-inflexion for the 2nd per­son singular: Some auxiliary verbs took the f -inflexion for the 2nd person:

44. Shakespeare’s Language 3) There were two verb inflexions for the 3rd person singular, Present Tense. The s-inflexion was used in the north of England, and the (e)th was used in the London dialed. Shakespeare make- use of bath forms:

45. Shakespeare’s Language 4) The use of the auxiliary verb was not absolutely necessary when forming questions: 5) The subjunctive Mood was widely used: to express a wish, a supposition, doubt, possibil­ity, even purpose or anything contrary to fact: Subjunctive: if he come if it be so I think it be sit we down Indicative: if he comes if it is so I think it islet us sit down

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

47. Write an essay “Hamlet is a universal man” Do a project “Hamlet’s inner conflict”

48. Module opening page Objectives War of Roses Shakespeare's histories Henry’s and Richard’s soliloquies. Characters of the Kings in Shakespeare’s Histories. Write an essay

49. English History with Shakespeare’s eyes

50. Objectives In this module you will: read and talk about War of Roses; read and analyse Henry’s and Richard’s soliloquies ; compare the characters of the kings in Shakespeare’s histories; write an essay “Shakespeare’s Ideal King” and do a project