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Denis Delaney Ciaran Ward Carla Rho Fiorina fields of vision Teacher’s Book Literature in the English language Pearson Education Limited, Eaipburgh Gate, Harlow Essex CM20 2)E, England and Associated Companies throughout the world, © Pearson Bducation Limited [AIL rights reserved; no part of this publication may be reprodu- ‘ced, stored in a retrieval system, oF transmitted in any form oz ‘by any means, electronic, mechanical, photocopying, recor- ding or otherwise, without the prior written permission of the copyright holders, Furst published 2003 Fourth impression 2008 pditorial coordination: Anna Martinello Editing: Anna Rossetto Production assistance: Stefano Zanazal Design and pagination: Softdesign Cover: Studio Apotema Set in Stone Serif 9.5/13.5 and Stone Sans 9/10 Printed in Malaysia, PIB ISBN 978.-0-582-81908-5 Acknowledgements The Publishers would ke to thank Manuela De Angelis and Elizabeth Sharman for theis invaluable contribution and sup- port in the development of the book Flelds of vision reporters The Publishers would like to thank the following teachers for thetr useful comments on the contents of this book: Gabriella Barbier, Flavia Bentint, Antonio Bové, Giorgia Caprani, Loredana Fiaschetti, Barbara Francini, Marla Pia LaColla, Gabriella Menghini, Emma Metafora, Pasqualina Pintus, Letizia Veneri, Claudia Vitale Authors’ acknowledgements Denis Delaney would like to thank Marina Grasso and Bruna Seornito for thelr invaluable contribution and his farnily and. Frlends for their patience and support. ‘Clatan Ward would like to thank his long-suffering family and Friends for their endless patience and understanding. Carla Rho would like to thank her family for their support and mcouragement. The authors would like to thank all the staff at Longman Italia and especially Anna Martinello and Anna Rossetto without ‘hom this book would never have seen the light of day. cover The Bayeux Tapestry and William Shakespeare ® photographs 2y Giancarlo Costa, Wanderer iber dem Nebelmeer by Caspar David Friedrich, copyright Hamburger Kunsthalle, photographer Elke Walford, Samburg Portrait of Queen Victoria, Fatabolafoto. “a guezta dei gas © photograph by Giancarlo Costa, 4 detail ofthe left panel of Crivelli Garden © National Gallery, “ondon ~ The Artist, courtesy of Marlborough Fine Art (London) “td, We are grateful to the following for permission to reproduce copyright material: [Extract from ‘Auturan’ from Collected Poems by Norman MacCaig published by Chatto & Windus. Used by permission of The Random House Group Limited; ‘Aunt Jennifer's Tigers’ by Adrienne Rich, Copyright © 1993, 1951 by Adaienee Rich, from Gailected Early Poems: 1980-1970 by Adrienne Rich. Used by per= snission of the author and W.W. Norton & Company, Inc:; ‘My Papa's Waits’ by Theodore Roethke from Collctrd Poems reprodii= ‘ced by permission of Faber and Faber Ltd 'Song’ by Mick Gowar reproduced by permission of David Higham Associates Ltd; Extract from Pjgmation by G.B. Shavs, The Society of Suthors, on. behalf of the Bernard Shaw Estate; Extracts from Wait for Godot by Samuel Beckett reproduced by permission of Faber and Faber Lia; Extracts trom A Room with a View by EM, Forster, the Provost and Scholars of King’s College, Cambridge and The Society of ‘Authors as the Literary representatives of the estate of E.M. Forstes; ‘Araby’ from Dubliners by James joyce, reproduced with ‘the permission of the Bstate of James Joyce - © copyright, Estate of James Joyce; Extract ftom To the Lighthouse by Virginia Woolf, ‘The Society of Authors asthe Literary Representative of The Estate of Virginia Woolf Extract from 1984 by George Orwell (copytight & George Orwell 1949), by permission of Bill Hamilton as the Literary Executor of the Estate of the Late Sonia Browneli Orwell and Secker & Warburg Ltd; Extract from Tite Great Gatsby by F. ‘Scott Fitzgerald, published by Penguin, reproduced by permission ‘of David Higham Associates Ltd Extract from A Farewell To Arms by Emest Hemingway, reprinted with permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, and The Hemingway Foreign Rights Trust. Copyright © outside the United States: © Hemingway Foreign Rights Trust; ‘Suicide in the ‘Trenches’ by Siegfried Sassoon, copyright Siegfried Sassoon by kind permission of George Sassoon; ‘Break of the Day in the ‘Trenches’ by Isaac Rosenberg, reproduced! by permission of Issac Hlorvitch; ‘The Love Song of J. Allred Pruftock’ by TS. Eliot from CCallected Poems reproduced by permission of Faber and Faber Ltd “Stopping by Woods on a Snowy Fvening’by Robert Frost from ‘The Poetry of Robert Frost edited by Edward Connery Lathem. Copyright 1923, © 1969 by Henry Holt and Co, copyright 1944, 1951 by Robert Prost. Repzinted by permission of Henry Holt and Company, LLC ‘When you are Old’ by W.B. Yeats, reproduced by emission of A.P. Watt Ltd on bebalf of Michael B. Yeats; Extract from The Lord ofthe Fes by William Golding, reproduced by per- saission of Faber and Faber Ltd; Extract from Wise Children by ‘Angela Carter, copyeight © Angela Carter 1991, reproduced by permission of the Estate of Angela Carter clo Rogers, Coleridge & White Ltd, 20 Powis Mews, London W11 1)N; Extract from On the Road by Jack Kerouac (Penguin Books 1972} copyright © Jack Rerouac, 1955, 1957, reproduced by permission of Penguin Books Lid; Extiact from. Things Fall Aparé by Chinua Achebe, reprinted by permission of Heinemann Educational Publishers; Extract fro Mldnight’s Children by Salman Rushdie, published by Jonathan Cape, used by permission of The Random House Group Limited; "MCMXIV" by Philip Larkin from The Witsur Weating, reproduced by permission of Faber and Faber Ltd; ‘Hawk Rosting’ by Ted Hughes from Luperca, reproduced by permission. ‘of Faber and Faber Ltd; ‘Mid-Term Break’ by Seamus Heaney from. (Opes Ground, reproduced by permission of Faber and Faber Lid “Love after Love’ by Derek Walcott from Collected Poems by Derek ‘Watcott, reproduced by permission of Faber and Faber Ltd; Extract from The Caretaker from Plays Two by Harold Pinter, reproduced by permission of Faber and Faber Ltd All efforts nave been made to trace all copyright holders, howe- ver some remain unknown. We will happily remedy any unin- tentional mistakes or omissions, and would be grateful for any assistance in doing so. Introduction... tnt ee pn Modular Paths sss 7 - me renee Where to find material... cen Cross-Curricular Project. sc a ~ 25 Filmography... sowonnnnnnnnnen sestnnnnennne dd Worksheet. sn sent a AB Literature Resources on the INternet.....weeeenennnnnnnnennnnninnnn AA Module A..... ses a Module Bo nninnnnnnnnnnnsnn os sscminninncnin SS Module C.... a 7 onsen sons O MO dUle Doocsnnsenntnennnannnns ~ oo seven 65 MO dle Bonne nine ond MO dle Fo nnnnnnnnnminnninnn acne DD Module G... ~ . 7 sss ed 4 Module H soe ~ ~ . rose wood 21 Visual LINKS... ret ~ 137 Tests. - eos - 143 Keys to Tests. 253 fields of vision tep-by-step activities comprehension and Analysis), | => Literature to reinforce Ue Workshop Staging Sey Links to ca ~ Literatures Tine © lis ee Why the authors chose the name, ‘fields of vision es : from 2 poem bi Seamus alvidea came leds (Fields of Vision’. t wan who is confined to 8 “and. spends all day leaking. ort over @ f her kitchen. Despite these vestriated by using. hee imagination and her intelligence: che scqyires a deeper vadergtanding. of (fe “We. believe that literature gives ctudents new and “deeper fields of vision and that's why ‘thig title for the book. "The. origin Heaney, cal It's about 2 woman weve chosen b | | | i The Modules Text and Context The importance of literature in the history and ongoing development of human civilisation cannot be underestimated. Literature is both a mirror that reflects the inner sou! of peoples and a pathway towards a deeper understanding of cultures and societies. It is also a source of personal pleasure and enrichment. Teaching literature in a foreign language is potentially a highly rewarding experience. In the reality of the classroom, however, this potential is, all too often, left unfulfilled. The difficulty of grappling with complex texts and language can make students lose sight of the enjoyment and intellectual excitement which literature can provide. With this in mind, Fields of Vision aims at making English literature both student- friendly and teacher-friendly. The philosophy that has underpinned the writing of all features in the book has been ‘simple but not simplistic’. Students should fee! confident that they can do the various activities throughout the book with a large degree of autonomy, while the teacher can feel confident that his/her students are being given a thorough grounding in the history and appreciation of literature in the English language. Reading literature is an act of communication. When a student or an adult reads a book outside school, he/she usually wishes to express his opinions about it. The pooling of contrasting ideas and the sharing of feelings are natural follow-ups to reading. What takes place outside the classroom should also take place inside the classroom, The literature classroom should be a stimulating communicative forum in which, with the teacher as guide and mentor, the student becomes an active explorer who gradually acquires the skills and tools he/she needs to discover the richness of what he/she is reading. Fields of Vision has been designed to enable the student to acquire these skills and tools in a clear and straightforward way, Much care has been taken in making Fields of Vision easy-to-use, flexible, and comprehensive. To help the teacher find his/her way through the anthology, the following pages give a general description of how the anthology is organised, of the features which make up the course and of the various ways in which these features can be used. Course Structure EGAN E Fields of Vision is a comprehensive anthology of literature in the English language from the beginnings to the present day. It has been organised into eight modules which can be used on their own or together. The modules are: Module A: Introduction to Literary Appreciation Module B: From the Origins to the Middle Ages Module C: The Renaissance Module D: The Puritan, Restoration and Augustan Ages Module E: The Romantic Age Module F: The Victorian Age Module G: Early Twentieth Century and Modernism Module A: The Contemporary Age Each Module (B to H) contains representative texts from the works of the major ‘authors of the period and a context section which explains the main historical and literary events and trends of the period. In the Context there are also sections (Cross-Curricular Link and Meanwhile, Elsewhere) which offer suggestions on how to extend the work done on texts and context through various links.