Конспект урока "Women’s portrait in history, literature and art"


Тезисы
Образовательный и воспитательный потенциал факультативного спецкурса
«Женский портрет в интерьере эпохи и времени» и использование его в
изучении иностранных языков в старших классах.
Цели курса: 1) Ознакомление со спецификой портретного описания персонажей
женщин в художественной литературе американских и британских писателей в
различные эпохи.
2) выявление основных специфических черт присущих портретному описанию
в эпоху классицизма, реализма, романтизма в английской и американской
литературе , выяснение отличительных черт портретного описания и
употребление их в речи.
3) вовлечение студентов в творческую деятельность и развитие тем самым
умения использовать художественные тексты в изучении английского языка.
В итоге ученики должны смочь ответит на такие вопросы:
1) Портрет в литературе. Виды портрета.
2) Психологизм как художественная деталь.
3) Портретное описание в разные эпохи.
4) Жанровая специфика портретного описания.
Английский язык и литература
Исследовательская работа
Women’s portrait in history, literature
and art.
Хисматова Раиса Рашитовна. Учитель английского языка
Нурлатская гимназия.
Нурлат 2010
Women’s portrait in history, literature and art.
My investigation is mostly based on English literature. To be more exact, description
of different women in different novels. Some books I read in Russian, some in
English.
So, the theme of my investigation is A portrait of a woman in history, literature and
art.
To reveal the theme I tried to answer the following questions:
1) Do kinds of portraits remain the same in history of literature or do they change
with the epoch. What functions do they perform in novels?
2) We tried to give the analysis of the examples of women’s portraits in sigma at
different historical epochs.
3) What kinds of portraits do exist in literature, in history and art.
4) We tried to reveal peculiarities of portrait description in high genres and
derogatory genres.
First of all I want to draw your attention to some essential points and notions.
My starting point- anthropocentrism the main specific feature in literature. That
means that the subject of description in literature is a human being and all the
descriptive events the base of description.
Studying every epoch I tried to pay attention to changes in human appearance,
because every epoch called forth the appearance of peculiar portrait description.
Women’s portrait has different description in different epoch.
A writer is given a word; a composer- a melody, a painter is given paints and a
brush. Painting makes us see. It influences with the help of colour, with their
combinations. We understand the beauty of a woman when we see her portrait, but
when reading, sometimes it presents somedifficulty to build up a complete image,
or in our case a portrait of a woman.
There were a lot of powerful, mighty and at the same time kind, generous and
beautiful women in the history. When I look at their portraits I can’t but appreciate
them. Of course, it was the skill of an artist to create such masterpieces. But when
you read a novel for example, you become more involved, you begin understand
the inside world of a person. Not seeing a picture, you imagine how he or she
looks. As I began studying the subject, I became more and more fascinated.
Portrait is a picture of the heroes’ appearance; his face, figure, clothes, manner and
behavior. Personal appearance can tell us a lot. We can learn about his age,
nationality, social position, tastes, and habits and even about his character. One
feature is from nature, others characterize them as a social creature (clothes and
how a person wears it, manners, and how they speak). Third thing is his face, eyes,
mimics, gestures- that tells us about his worrying and feeling.
On the other hand, face and figure can not only describe, but also hide some
features. So, portrait creates a firm complex of features.
Through a person’s individual features the author can describe common features,
referring to the society or profession. An artist can outline only one feature in the
portrait (big black eyes). Appearance of a literary personage needs choice, and
some of the details may fell, and others may be of a great importance.
There are a lot of stylistic devices in the description of women’s portrait in poetry.
Eastern poets compare women with a moon, others with sun and stars.
“her eyes are not like stars” ( Shakespeare)
Studying every epoch I tried to pay attention to changes in human appearance,
because every epoch called forth the appearance of peculiar portrait description.
Women’s portrait has different description in different epoch. It is known, that the
notion of beauty changed from century to century depending on epoch and genre.
Classicism followed antic images, because it seemed ideal. Portraits, way of life,
everything was ideal. Let’s take a portrait of Miss Bird in “Uncle Tom’s hut” by
Beacher Stow.
Mrs. Bird was a timid, blushing little woman, of about four feet in higth, and with
wild blue eyes, and a peach-blow complexion, and the gentlest, sweetest voice in
the world; as for courage, a moderate sized cocr-turkey had been known to put her
to route at the very first gobble, and a stout house-dog of moderate capacity would
bring her into subjection merely by a show of his teeth. There was only one thing
that was capable of arousing her, and that provocation came in on the side of her
unusually gentle and sympathetic nature: ahything in the shape of cruelty would
throw her into a passion, which was the more alarming and inexplicable in
proportion to the general softness of her nature, courage, a moderate sized cocr-
turkey had been known to put her to route at the very first gobble, and a stout
house-dog of moderate capacity would bring her into subjection merely by a show
of his teeth. There was only one thing that was capable of arousing her, and that
Provocation came in on the side of her unusually gentle and sympathetic nature:
ahything in the shape of cruelty would throw her into a passion, which was the
more alarming and inexplicable in proportion to the general softness of her
nature.
“High genres” were contrasted to “deragotary” ones. Comedy and satire depicted
the reality. As an example of low genre” we can take the portrait of Eliza in
Pygmalion by B. Show.
She sits down on the plinth of the column, sorting her flowers, on the lady’s right.
She is not at all a romantic figure. She is perhaps 18, perhaps 20, hardly older.
She wears a little sailor hat of black straw that has long been exposed to the dust
and soot of London and has seldom if ever been brushed. Her hair needs washing
rather badly: its mousy color can hardly be natural. She wears a shoddy black
coat that reaches nearly to her knees and is shaped to her waist. She has a brown
skirt with a coarse apron. Her boots are much the worse to wear. She is no doubt
as clean as she can afford to be; but compared to the ladies she is very dirty. Her
features are no worse than theirs, but their condition leaves something to be
desired and she needs the services of a dentist.
Idealistic portraits are for good heroes. In O. Wild’s Portrait of Dorian grey,
portrait of Sybil is idealized.
Sibyl? Oh, she was so shy, and so gentle. There is something of a child about her.
Her eyes opened wide in exquisite wonder. Her little feet, she is absolutely and
entirely divine. She is all the great heroines of the world in one. She is more than
an individual. She has genius. Tell me how to charm Sibyl Vane to love me! I want
to make Romeo jealous. I want the dead lovers of the world to hear our laughter
and grow sad. She had never seemed more exquisite. She had all the delicate grace
of that Tanagra figurine. Her hair clustered round a pale rose. She was certainly
lovely to look at one of the loveliest creatures. There was something of the fawn
in her shy grace and shartled eyes. A faint blush, like the shadow of a rose in the
mirror of silver came to her cheeks. Through the crowd of ungainly, shabily-
dressed actors Sibyl Vane moved like a creature from a finer world. She looked as
she came out in the moonlight.
That idealization is shown by different stylistic devices, such as epithets: shy,
gentle, divine, exquisite, delicate grace, shartled eyes, charming metaphors: a
great heroine, grace of Tanagra figurine, a pale rose, a creature from a finer