{"id":720,"date":"2012-12-26T21:11:15","date_gmt":"2012-12-26T18:11:15","guid":{"rendered":"http:\/\/englishdept.slovo.uni-plovdiv.bg\/?page_id=720"},"modified":"2012-12-26T21:22:53","modified_gmt":"2012-12-26T18:22:53","slug":"courses","status":"publish","type":"page","link":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/?page_id=720","title":{"rendered":"Courses"},"content":{"rendered":"

 <\/p>\n

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Course title: English Literature. Restoration and\u00a0Enlightenment <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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\u00a0<\/span><\/b><\/p>\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

The students recognize the advent of\u00a0Modernity and its literary genres<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Increase students\u2019 competence and\u00a0knowledge of the social-political history of England and the central literary\u00a0figures of the period<\/span><\/p>\n<\/td>\n<\/tr>\n

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Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 wk<\/strong> Restoration
\n2 wk<\/strong> Restoration Prose and Drama
\n3 wk<\/strong> Restoration Comdy
\n4 wk<\/strong> Restoration lyric and epic poetry
\n5 wk<\/strong> Enlightenment
\n6 wk<\/strong> Enlightenment Poetry: Pope and his\u00a0circle
\n7 wk<\/strong> Enlightenment Prose
\n8 wk<\/strong> Swift and Defoe
\n9 wk<\/strong> Fielding
\n10 wk<\/strong> Richardson
\n11 wk<\/strong> Smollett
\n12 wk<\/strong> Sterne
\n13 wk<\/strong> The Romancers
\n14 wk<\/strong> Gothic
\n15 wk<\/strong> Drama of the Enlightenment<\/span><\/p>\n<\/td>\n<\/tr>\n

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Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Students shall\u00a0read principal works of the writers of the period and shall submit 3 essays\u00a0before sitting the final examination<\/span><\/p>\n<\/td>\n<\/tr>\n

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Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Evans, I., A Short History of English\u00a0Literature
\nFord, B. (ed.), The Pelican Guide to\u00a0English Literature (Vol. 3-7) (Penguin Books)
\nMincoff, M., A History of English\u00a0literature (Parts 1 & 2) (Naouka i Izkustvo, 1974)
\nRogers, Pat (ed.), The Oxford Illustrated\u00a0History of English Literature (OUP, 1990)<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Daiches, D. A., A Critical History of\u00a0English Literature (Secker & Warburg, 1975)
\nSampson, G., The Concise Cambridge\u00a0History of English Literature
\nFrye, N., Anatomy of Criticism (Penguin,\u00a01990)
\nRichetti, J., Cambridge Companion to the\u00a0Eighteenth-Century Novel (CUP, 1996)
\nSchmidt, J. (ed.)., What Is\u00a0Enlightenment? (University of California Press, 1996)
\nWatt, I. The Rise of the Novel\u00a0(University of California Press, 1957)
\nThe Oxford Anthology of English\u00a0Literature (Vol. 2-4)
\nThe Norton Anthology of English\u00a0literature (Vol. 1-2)<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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Course title: Translation Studies<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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\u00a0<\/span><\/b>Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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The students are introduced to\u00a0 <\/span>the genres and techniques of\u00a0translation<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Understand and practice techniques of\u00a0translation and<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 wk<\/strong>. Literary Translation
\n2 wk.<\/strong> Literary Translation
\n3 wk.<\/strong> Translation of Prose Fiction
\n4 wk.<\/strong> Translation of Poetry
\n5 wk.<\/strong> Translation of Drama
\n6 wk.<\/strong> Translation of Film
\n7 wk.<\/strong> Translation for the Media
\n8 wk.<\/strong> Escort Interpreting
\n9 wk.<\/strong> Consecutive Translation
\n10 wk.<\/strong> Consecutive Translation
\n11 wk.<\/strong> Simultaneous Translation
\n12 wk.<\/strong> Simultaneous Translation
\n13 wk.<\/strong> Translation of Technical, Social\u00a0and Political, Business, Economic and Legal\u00a0Literature
\n14 wk.<\/strong> Working with Dictionaries and\u00a0Reference
\n15 wk.<\/strong> Virtual Translation<\/span><\/p>\n<\/td>\n<\/tr>\n

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Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students shall\u00a0become acquainted with the principal genres of translation and specific\u00a0techniques and shall practice in simulated situations<\/span><\/p>\n<\/td>\n<\/tr>\n

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Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Holmes J.\u00a0 <\/span>(ed.) – Essays in the Theory and\u00a0Practice of Literary Translation
\nNida \u0415. A., Ch. Taber – The\u00a0Theory and Practice of Translation<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Bassnett-McGuire S.\u00a0 <\/span>– Translation Studies
\nBrislin R.\u00a0 <\/span>(ed.) – Translation: Applications and\u00a0Research
\nBrower R.\u00a0 <\/span>(ed.) – On Translation
\nCary<\/span> E.\u00a0 <\/span><\/span>– La traduction dans le monde moderne
\nCatford J. A.\u00a0 <\/span>– A Linguistic Theory of Translation
\nGarvin P.\u00a0 <\/span>– On Machine Translation
\nNida E. A.\u00a0 <\/span>– Toward a Science of Translating
\nPostgate J. P.\u00a0 <\/span>– Translation and Translations. Theory\u00a0and Practice
\nRose M.\u00a0 <\/span>(ed.) – Translation Spectrum. Essays\u00a0in Theory and Practice<\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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Course\u00a0title: British Cultural Studies <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

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Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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The students recognize the cultural\u00a0diversity of Britain<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Increase students\u2019 competence and\u00a0knowledge of British life and its impact on British culture<\/span><\/p>\n<\/td>\n<\/tr>\n

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Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 wk.<\/strong> Geography
\n2 wk.<\/strong> History
\n3 wk.<\/strong> History
\n4 wk.<\/strong> History
\n5 wk.<\/strong> Scotland
\n6 wk.<\/strong> Wales
\n7 wk.<\/strong> Northern Ireland and Cornwall
\n8 wk.<\/strong> The Government
\n9 wk.<\/strong> Education
\n10 wk.<\/strong> Holidays
\n11 wk.<\/strong> Holidays
\n12 wk.<\/strong> Holidays
\n13 wk.<\/strong> Eminent Brits
\n14 wk.<\/strong> The Media
\n15 wk.<\/strong> The Economy<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Students shall\u00a0become acquainted with the British cultural context and shall identify it in\u00a0works of literature, in film, periodicals, Internet<\/span><\/p>\n<\/td>\n<\/tr>\n

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Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Oakland, John. British Civilization: an\u00a0Introduction. (Deopartmental Library).\u00a0<\/span>http:\/\/projectbritain.com\/<\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Morgan, Dave. 1989, \u0410 Short History of the British People.\u00a0Leipzig.
\nMorgan, K. O. (ed.), The Oxford Illustrated History of Britain <\/i>(OUP,\u00a01983).
\nTrevelyan, G. M. A., A Shortened History of England <\/i>(Penguin,\u00a01942).
\nUpstall, Michael (Ed.). 1993, \u0422h\u0435 Hutchinson Paperback\u00a0Encyclopedia. Helicon.
\nInternet Sources:\u00a0<\/span><\/span>http:\/\/www.bbc.co.uk\/history\/
\nhttp:\/\/www.visitbritain.com\/en\/About-Britain\/<\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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Course title: American Literary Studies <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

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The students are introduced to a survey\u00a0of American Literature<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Increase students\u2019 competence and\u00a0knowledge of US literature and its impact on American and world culture<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 wk.<\/strong> Introduction. Historical\u00a0Background. Periods. The Colony (1607-1776). <\/span><\/p>\n

Native American Literature. 18c. Poetry:\u00a0Philip Freneau. American Romanticism. 18c. Prose: Benjamin Franklin, Thomas\u00a0Paine, Charles Brockden Brown<\/span><\/p>\n

2 wk.<\/strong> American Romanticism. 19c. Prose.\u00a0James Fenimore Cooper, Washington Irving.\u00a0<\/span>19c Poetry: Henry Longfellow, John\u00a0Greenleaf Whittier, Edgar Alan Poe. Transcendentalism. Brook Farm: Emerson,\u00a0Thoreau, Nathanael Hawthorne<\/p>\n

3 wk.<\/strong> New Vistas in Poetry: Walt Whitman,\u00a0Emily Dickinson.\u00a0<\/span>Turn of the Century Poetry: Edgar Lee\u00a0Masters, Carl Sandberg, Amy Lowell<\/p>\n

4 wk.<\/strong> 19c Prose: Edgar Alan Poe, Harriet\u00a0Beecher Stowe, William Dean Howells. <\/span><\/p>\n

Local Color. Francis Bret Harte, Mark\u00a0Twain. End of the Century Prose:\u00a0<\/span>Herman Melville, Henry James<\/p>\n

5 wk.<\/strong> Turn of the Century Prose: Frank\u00a0Norris, O. Henry, Upton Sinclair,\u00a0<\/span>Hamlin Garland, Stephan Crane, Jack\u00a0London<\/p>\n

6 wk.<\/strong> Prose Fiction of the 1920s:\u00a0Theodore Dreiser, Edith Wharton, Willa Cather, Sherwood Anderson. Post WW1\u00a0Novel: Harry Sinclair Lewis, John Dos Passos, Gertrude Stein, Henry Miller<\/span><\/p>\n

7 wk.<\/strong> The Novel: William Faulkner,\u00a0Francis Scott Fitzgerald, Ernest Hemingway<\/span><\/p>\n

8 wk.<\/strong> 20c Poetry: Robert\u00a0 <\/span>Frost, Nicholas Vachel Lindsay, e. e,\u00a0cummings, Ezra Pound, Thomas Stearns Eliot, William Carlos Williams.\u00a0<\/span>Post WW2 Poetry: Allen Ginsberg, Gregory\u00a0Corso, Lawrence Ferlinghetti, Sylvia Plath, Theodor Roethke, John Ashbery,\u00a0William Meredith, Adrienne Rich. Afro-American Poets: Langston Hughes,\u00a0Countee\u00a0 <\/span>Cullen, Leroi Jones\/Amiri\u00a0Baraka<\/p>\n

9 wk.<\/strong> Drama. Eugene O\u2019Neil, Lillian\u00a0 <\/span>Hellman, Arthur Miller, Tennessee\u00a0Williams, William Inge, Edward Albee, Arthur Kopit, Sam Shepard<\/span><\/p>\n

10\u00a0<\/span>– 11 wk.<\/strong> The Novel from 1930s till the 1960s: John Steinbeck, Thomas\u00a0Wolfe, Richard Wright, Saul Bellow, Carson McCullers, James Baldwin, Truman\u00a0Capote, James Jones, Jack Kerouac, Norman Mailer, JD Salinger, Gore Vidal<\/span><\/p>\n

12 – 13 wk.<\/strong> The Novel after the 1960s.\u00a0Postmodernism: Bernard Malamud, Kurt Vonnegut, Ray Bradbury, John Cheever,\u00a0Philip Roth, Joseph Heller, William Styron, John Updike, Joyce Carol\u00a0 <\/span>Oates, Thomas Pynchon, John Barth,\u00a0Toni Morrison, Don De Lillo, Donald Barthelme, Anne Beattie, William\u00a0Burroughs, Richard Brautigan, E. L. Doctorow<\/span><\/p>\n

14 – 15 wk.<\/strong> US Literature at the Turn of\u00a0the Millennium: Raymond Carver, Robert Coover, William H. Gass, Ursula K. Le\u00a0Guin, Bobbie Ann Mason, Susan Minot, Tim O\u2019Brien, Amy Tan, Alice\u00a0Walker, William Gibson, Ishmael Reed, William Gass, Gloria Anzaldua, Leslie\u00a0Marmon Silko, Kathy Acker, Paul Auster, Maxine Hong Kingston<\/span><\/p>\n

\u00a0<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students shall\u00a0become acquainted with the principal authors of American Literature and their\u00a0work<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Bradbury, Malcolm. The Modern American Novel<\/i>. Oxford: Oxford University Press, 1983.
\nCunliffe, Marcus, ed. American Literature\u00a0to 1900: Penguin History of Literature.\u00a0<\/span>London: Penguin Books, 1993.
\nLewicki, Zbignew, ed. A Handbook of\u00a0American Literature. Warsaw:\u00a0<\/span>University of\u00a0 <\/span>Warsaw.[1994].
\nRuland, Richard and Malcolm Bradbury. From Puritanism to Postmodernism:\u00a0<\/i><\/span>A\u00a0<\/span><\/i>History of American Literature<\/span><\/i>. New York: Penguin\u00a0Books, 1992.
\nSage, Lorna. The Cambridge Guide to\u00a0Women’s Writing in English. Cambridge Univ. Press, 1999.
\nVan Spanckeren, Kathryn. An Outline of\u00a0 <\/span>American Literature<\/i>. USIA, 1994.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Abrams, M. H. A Glossary of\u00a0Literary Terms<\/i>.<\/span> Fort Worth: Harcourt Brace College Publishers,\u00a01999.
\nEagleton, Terry. Literary\u00a0Theory: An Introduction<\/i>. Minneapolis: University of Minnesota, 1998.
\nFowler, R., ed. <\/span>A Dictionary\u00a0of Modern Critical Terms<\/i>. London and New York: Routledge and Kegan Paul.\u00a01987.<\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Course title: American Modernism <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

\u00a0<\/span><\/b><\/p>\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

The students are introduced to a survey\u00a0of American Modernism<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Increase students\u2019 competence and\u00a0knowledge of Modcxernism and more specifically American Modernism<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 – 3 wk.<\/strong> Prose Fiction of the 1920s:\u00a0Edith Wharton, Willa Cather, Sherwood Anderson. Post WW1 Novel: Harry\u00a0Sinclair Lewis, John Dos Passos, Gertrude Stein, Henry Miller<\/span><\/p>\n

4 – 6 wk.<\/strong> The Novel: William Faulkner,\u00a0Francis Scott Fitzgerald, Ernest Hemingway<\/span><\/p>\n

7 – 9 wk.<\/strong> 20c Poetry: Robert\u00a0 <\/span>Frost, Nicholas Vachel Lindsay, e. e,\u00a0cummings, Ezra Pound, Thomas Stearns Eliot, William Carlos Williams.\u00a0<\/span>Post WW2 Poetry: Allen Ginsberg, Gregory\u00a0Corso, Lawrence Ferlinghetti, Sylvia Plath, Theodor Roethke, John Ashbery,\u00a0William Meredith, Adrienne Rich. Afro-American Poets: Langston Hughes,\u00a0Countee\u00a0 <\/span>Cullen, Leroi Jones\/Amiri\u00a0Baraka<\/p>\n

10 – 12 wk.<\/strong> Drama. Eugene O\u2019Neil,\u00a0Lillian\u00a0 <\/span>Hellman, Arthur Miller,
\nTennessee Williams, William Inge, Edward Albee, Arthur Kopit, Sam Shepard<\/span><\/p>\n

13 – 15 wk.<\/strong> The Novel from 1930s till the\u00a01960s: John Steinbeck, Thomas Wolfe, Richard Wright, Saul Bellow, Carson\u00a0McCullers, James Baldwin, Truman Capote, James Jones, Jack Kerouac, Norman\u00a0Mailer, JD Salinger, Gore Vidal<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students shall\u00a0become acquainted with the principal authors of American Modernist Literature\u00a0and their work<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Bradbury, Malcolm. The Modern American Novel<\/i>. Oxford: Oxford University Press, 1983.<\/span><\/p>\n

Ruland, Richard and Malcolm Bradbury. From Puritanism to Postmodernism:\u00a0<\/i><\/span>A<\/span><\/i><\/p>\n

History of American Literature<\/span><\/i>. New York: Penguin\u00a0Books, 1992.<\/span><\/p>\n

Sage, Lorna. The Cambridge Guide to\u00a0Women’s Writing in English. Cambridge Univ. Press, 1999.<\/span><\/p>\n

VanSpanckeren, Kathryn. An Outline of\u00a0 <\/span>American Literature<\/i>. USIA, 1994.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Abrams, M. H. A Glossary of\u00a0Literary Terms<\/i>.<\/span> Fort Worth: Harcourt Brace College Publishers,\u00a01999.<\/span><\/p>\n

Eagleton, Terry. Literary\u00a0Theory: An Introduction<\/i>. Minneapolis: University of Minnesota, 1998.<\/span><\/p>\n

Fowler, R., ed. A Dictionary\u00a0of Modern Critical Terms<\/i>. London and New York: Routledge and Kegan Paul.\u00a01987.<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Course title: American Postmodern Studies <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

\u00a0<\/span><\/b><\/p>\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

The students are introduced to a American\u00a0Postmodernism<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Increase students\u2019 competence and\u00a0knowledge of US literature and its impact on American and world culture<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 \u2013 5 wk.<\/strong> The Novel from 1930s till\u00a0the 1960s: John Steinbeck, Thomas Wolfe, Richard Wright, Saul Bellow, Carson\u00a0McCullers, James Baldwin, Truman Capote, James Jones, Jack Kerouac, Norman\u00a0Mailer, JD Salinger, Gore Vidal<\/span><\/p>\n

6 \u2013 10 wk.<\/strong> The Novel after the\u00a01960s. Postmodernism: Bernard Malamud, Kurt Vonnegut, Ray Bradbury, John\u00a0Cheever, Philip Roth, Joseph Heller, William Styron, John Updike, Joyce\u00a0Carol\u00a0 <\/span>Oates, Thomas Pynchon, John\u00a0Barth, Toni Morrison, Don De Lillo, Donald Barthelme, Anne Beattie, William\u00a0Burroughs, Richard Brautigan, E. L. Doctorow<\/span><\/p>\n

11- 15 wk.<\/strong> US Literature at the Turn of\u00a0the Millennium: Raymond Carver, Robert Coover, William H. Gass, Ursula K. Le\u00a0Guin, Bobbie Ann Mason, Susan Minot, Tim O\u2019Brien, Amy Tan, Alice\u00a0Walker, William Gibson, Ishmael Reed, William Gass, Gloria Anzaldua, Leslie\u00a0Marmon Silko, Kathy Acker, Paul Auster, Maxine Hong Kingston<\/span><\/p>\n

\u00a0<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students shall\u00a0become acquainted with the principal authors of American Postmodern\u00a0Literature and their work<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Lewicki, Zbignew, ed. A Handbook of\u00a0American Literature. Warsaw:\u00a0<\/span>University of\u00a0 <\/span>Warsaw.[1994].<\/p>\n

Ruland, Richard and Malcolm Bradbury. From Puritanism to Postmodernism:\u00a0<\/i><\/span>A<\/span><\/i><\/p>\n

History of American Literature<\/span><\/i>. New York: Penguin\u00a0Books, 1992.<\/span><\/p>\n

Sage, Lorna. The Cambridge Guide to\u00a0Women’s Writing in English. Cambridge Univ. Press, 1999.<\/span><\/p>\n

VanSpanckeren, Kathryn. An Outline of\u00a0 <\/span>American Literature<\/i>. USIA, 1994.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Abrams, M. H. A Glossary of\u00a0Literary Terms<\/i>.<\/span> Fort Worth: Harcourt Brace College Publishers,\u00a01999.<\/span><\/p>\n

Eagleton, Terry. Literary\u00a0Theory: An Introduction<\/i>. Minneapolis: University of Minnesota, 1998.<\/span><\/p>\n

Fowler, R., ed. A Dictionary\u00a0of Modern Critical Terms<\/i>. London and New York: Routledge and Kegan Paul.\u00a01987.<\/span><\/p>\n

\u00a0<\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Course title: British Postmodern Studies <\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

The students are introduced to a survey\u00a0of British Postmodern Literature<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Increase students\u2019 competence and\u00a0knowledge of British literature <\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

1 wk.<\/strong> Agatha\u00a0Christie – A Pocket Full of Rye
\n2 wk.<\/strong> Agatha\u00a0Christie – Death on the Nile
\n3 wk.<\/strong> Angela\u00a0Carter – Nights at the Circus
\n4 wk.<\/strong> Anita\u00a0Brookner – The Next Best Thing
\n5 wk.<\/strong> A. S. \u00a0Byatt – Possession
\n6 wk.<\/strong> Bernard\u00a0Maclaverty – The Anatomy School
\n7 wk.<\/strong> Christopher\u00a0Isherwood – Goodbye to Berlin
\n8 wk.<\/strong> Ian McEwan\u00a0– Enduring Move
\n9 wk<\/strong>. Iris\u00a0Murdoch – A Fairly Honourable Defeat
\n10 wk<\/strong>. Monica\u00a0Ali – Brickmane
\n11 wk.<\/strong> Salman\u00a0Rushdie – Fury
\n12 wk<\/strong>. Sebastian\u00a0Faulks – On Green Dolphin Street
\n13 wk.<\/strong> William\u00a0Boyd – Any Human Heart
\n14-15 wk.<\/strong>\u00a0Detective fiction\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u2666\u00a0<\/span>Horror fiction
\n\u2666\u00a0Romance novel
\n\u2666\u00a0Science fiction and fantasy
\n\u2666\u00a0Western fiction
\n\u2666\u00a0Lovecraftianism<\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students shall\u00a0become acquainted with the principal authors of British Postmodern Literature\u00a0and their work<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

McHale, Brian (1987)\u00a0Postmodernist Fiction. London: Routledge, (ISBN 0-4150-4513-4)<\/span><\/p>\n

McHale, Brian. Postmodernist\u00a0Fiction<\/i>. London: Routledge, 1987 and “Constructing
\nPostmodernism” New York: Routledge, 1992).<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Eagleton, Terry. Literary\u00a0Theory: An Introduction<\/i>. Minneapolis: University of Minnesota, 1998.<\/span><\/p>\n

Fowler, R., ed. A Dictionary\u00a0of Modern Critical Terms<\/i>. London and New York: Routledge and Kegan Paul.\u00a01987.<\/span><\/p>\n

Lewis, Barry. Postmodernism and\u00a0Literature \/\/ ‘The Routledge Companion to Postmodernism. NY: Routledge, 2002.<\/span><\/p>\n

H<\/span>utcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction.<\/i>
\nNY: Routledge, 2004.<\/span><\/p>\n

Barthes, Roland. The Pleasure of\u00a0the Text<\/i> (1975), Hill and Wang: New York.<\/span><\/p>\n

— Writing Degree Zero\u00a0<\/i>(1968), Hill and Wang: New York.<\/span><\/p>\n

Foucault, Michel. This is Not a\u00a0Pipe<\/i>. University of California Press, 1983.<\/span><\/p>\n

Jameson, Fredric (1991) Postmodernism,\u00a0or, the Cultural Logic of Late Capitalism<\/i> (ISBN 0-8223-1090-2)\u00a0<\/span>Lyotard, Jean-Fran\u00e7ois (1984)<\/span><\/p>\n

The Postmodern Condition: A Report on Knowledge<\/i> (ISBN 0-8166-1173-4)<\/span><\/p>\n

— (1988). The Postmodern Explained:\u00a0Correspondence 1982-1985<\/i>. Ed. Julian Pefanis and Morgan Thomas. (ISBN\u00a00-8166-2211-6)<\/span><\/p>\n

\u00a0<\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b>\u00a0<\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Course\u00a0title: Creative Writing<\/span><\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

\u00a0<\/span><\/b><\/p>\n

Tutor:\u00a0Yordan Kosturkov<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Mode\u00a0of delivery: lectures and seminars<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Course place and status\u00a0within the program<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core Subject<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Competence expectations<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

The students are introduced to Creative\u00a0Writing and Novel Techniques<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Aims and objectives of\u00a0the course<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Increase students\u2019 competence and\u00a0knowledge and develop their specific writing skills <\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Weekly organization of\u00a0topics & reading assignments<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

1 \u2013 3 wk<\/strong>.<\/strong> How to write a novel
\n4\u00a0wk<\/strong>.<\/strong> Yoyur title
\n5 \u2013 6 wk. <\/strong>Your plot
\n7 wk. <\/strong>Your dialogue
\n8<\/strong>\u00a0wk.<\/strong>\u00a0Your\u00a0characters
\n9 wk<\/strong>.<\/strong> Introduction
\n10 wk<\/strong>.<\/strong> Ending
\n11 wk<\/strong>.<\/strong> Language
\n12 wk<\/strong>.<\/strong> Practice 1
\n13 wk. <\/strong>Practice 2
\n14 wk<\/strong>.<\/strong> Practice 3
\n1<\/span>5 wk<\/span><\/strong>.<\/strong> <\/span>Practice<\/span> 4<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Course requirements<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Students will\u00a0be introduced to techniques of novel writing as well as general instruction\u00a0in Creative Writing and their work<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Mode of assessment<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Written\u00a0Project Work<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Bibliography<\/span><\/b><\/p>\n<\/td>\n<\/tr>\n

\n

Core\u00a0readings:<\/span><\/b><\/p>\n

Barth, John. “Can It Be Taught?”\u00a0Further Fridays: Essays, Lectures, and Other Nonfiction, 1984-94. Boston:\u00a0Little, Brown, 1995. 22-34. Print.
\nBradbury, Malcolm. “The Bridgeable Gap: Bringing Together the Creative Writer
\nand the Critical Theorist in an Authorless World.” TLS\u00a0\u00a0 (Jan.\u00a01992): 7-9. Print.
\nGordimer, Nadine. “The Essential Gesture: Writers and\u00a0Responsibility.” The Granta 15 1985: 137-50. Print.
\nLodge, David. “Creative Writing: Can It\/Should It Be Taught?”\u00a0Practice of Writing. New York: Penguin, 1997. 171-78. Print.<\/p>\n

The\u00a0general bibliography for the course includes<\/span><\/b>:<\/span><\/p>\n

Abbs, Peter. A Is for Aesthetic:\u00a0Essays on Creative Writing and Aesthetic Education. New York: Falmer Press,\u00a01989. Print.
\nLim, Shirley Geok-lin. “Lore, Practice, and Social Identity in Creative\u00a0Writing Pedagogy: Speaking with a Yellow Voice?” Pedagogy 10 1 (Winter\u00a02010): 79-93. Print.
\n—. “The Strangeness of Creative Writing: An Institutional Query.”
\nPedagogy 3 2: 151-69. Print.
\nPerloff, Marjorie. “Creative Writing\u2019 among the Disciplines.”\u00a0MLA Newsletter 38 1 (Spring 2006): 3-4. Print.
\nWojciechowska, Maia. “What I Teach in Creative Writing Classes.”\u00a0The Writer 100 7 (Jul. 1987): 5-6. Print.<\/span><\/p>\n

 <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/b><\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n


\n–><\/p>\n","protected":false},"excerpt":{"rendered":"

  Course title: English Literature. Restoration and\u00a0Enlightenment Tutor:\u00a0Yordan Kosturkov \u00a0 Mode\u00a0of delivery: lectures and seminars Course place and status\u00a0within the program Core Subject Competence expectations The students recognize the advent of\u00a0Modernity and its literary genres Aims and objectives of\u00a0the course … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":32,"featured_media":0,"parent":428,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"onecolumn-page.php","meta":[],"categories":[],"_links":{"self":[{"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/pages\/720"}],"collection":[{"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=720"}],"version-history":[{"count":4,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/pages\/720\/revisions"}],"predecessor-version":[{"id":722,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/pages\/720\/revisions\/722"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=\/wp\/v2\/pages\/428"}],"wp:attachment":[{"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=720"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.uni-plovdiv.net\/englishdept_slovo\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=720"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}