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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
world… comparison: there is something of a child about her; her hair like dark
leaves round a pale rose; a faint blush, like the shadow of a rose in a mirror of
silver.
There is also an idealistic portrait of an aristocratic woman, though she is a
negative heroine in “Uncle Tom’s hut” by Beacher Stow.
A tall, dark- eyed, sallow woman, half rose from a coach on which she was
reclining. Marie lifted her large eyes on her cousin with an air of some curiosity,
and received her with languid politeness. Was this what Marie St. Clare was
thinking of, as she stood, gorgeously dressed, clasping a diamond bracelet on her
slender wrist?... for Marie patronised good things, and she was going now, in full
force- diamonds, silk and lace, and jewels and all- to a fashionable church, to be
very religious. There she stood so slender, so elegant, so airy and indulating in all
the motions, her lace scarf enveloping her like a mist. She looked a graceful
creature and she felt very good and very elegant.
And so looket to my mind all the queens and princesses of that time.
Portraits of romanticism make poetical, dreaming sensitive historical portraits.
Romantic portrait appeal to the reader’s emotions, usually the result of the author’s
impression of somebody.
A red, red rose.
O my Luve is like a red, red rose
That’s newly sprung in June.
O my Luve is like the melodie
That’ sweetly play’d in tune.
As fair art thou, my bonnie lass,
So deep in Luve am I:
And I will Luve thee still, my dear,
Till a’ the seas gang dry:
Till a’ the seas gang dry, my dear,
And the rocks melt wi’the sun;
And I will Luve thee still, my dear,
While the sands o’life shall run.
If you just read these words you will be in love with an imaginary woman at once.
So makes us feel R. Berns.
Realistic portraits come into being with the corresponding epoch. In art the
portraits are so dark and sad, as poor life. In literature beauty of person should be
as beautiful as his soul. The portraits here are always derogatory. The author shows
the characters really and truly, sometimes in dark colours, showing human
shortcoming or vise versa- human vertues. Look at aristocratic women in S.
Bronte’s Jane Eyer.
First there was Mrs. Eshton and two of her daughters. She had evidently been a
handsome woman, and was well preserved still. Of her daughters, the eldest, Amy,
was rather little, naïve, and childlike in face and manner, and piquant in form: her
white musline dress and blue sash became her well. The second, Louisa, was taller
and more elegant in figure; with a pretty face, of that order the piquant little face,
both sisters were fair as lilies. Lady Lynn was a large and stout personage of about
fourty; very erect, very haughty-looking, richly dressed in a satin robe of changrful
sheen: her dark hair shone glossily under the shade of an azure plume, and within
the circlet of a band of gems.Mrs Colonel Dent was less showy, but more ladylike.
She had a slight figure, a pale, gentle face, and fair hair. Her black satin dress, her
scarf of rich foreign lace, and her pearl ornaments, pleased me better thanthe
rainbow radiance of the tittled dame. But the three most distinguished- partly,
perhaps, because the tallest figures of the band – were the Dowager Lady Ingram
and her daughters, Blanche and Mary.
For the first sight the portraits of these women seem classical: slim figure, wealthy
clothes, beautiful features… but suddenly the author finds something negative in
the person, even though they are tiny details, they help us to see the real face of a
person. To be more exact the faces of aristocrats and snobs.
As I read the book of S Bronte with a great pleasure, I consider her a real master of
a realistic women’s portrait. Just read how she describes the appearance of the first
as:
Blanche and Mary were of equal stature- straight and tall as poplars. Mary was
too, slim for her height; but Blanche was molded like a Dian. The noble bust, the
slopping shoulders the graceful neck, the dark eyes and black ringlets were all
there; but her face? – Her face was like her mother’s; a youngful unfurrowed
likeness: the same low brow, the same high features, the same pride. It was not,
however, so saturnine a pride; she laughed continually; her laugh was satirical,
and so was the habitual expression of her arched and haughty lip.
And the second woman is described as:
I cannot tell whether Miss Ingram was a genius, but she was self-conscious indeed.
She played; her execution was brilliant; she sang; her voice was fine; she talked
French apart to her mama; and she talked it well, with fluency and with a good
accen .
The portrait of the third heroine combines virtues of soul and appearance.
Mary had a milder and more open countenance than Blanche,- softer features
too, and a skin some shades fairer- but Mary was deficient in life: her face lacked
expression, her eye luster; she had nothing to say.
A psychological portrait was a kind of innovation for me. I could read the lines
again and again.
Blanche was very showy, but she was not very genuine: she had a fine person,
many brilliant attainments; but her mind was poor, her heart barren by nature:
nothing bloomed spontaneously on that soil: no unforced natural fruit delighted by
its freshness. She was not good; she was not original: she used to repeat sounding
phrases from book: she never offered, nor had, an opinion of her own. She
advocated a high tone of sentiment; but she did not know the sensation of sympathy
and pity; tenderness and truth were not in her.
This description helps to understand that the characters are negative. Though
Blanche is straight and tall, noble bust, sloping shoulders, graceful neck the
words ‘her mind was poor’, ‘not good, not original, used to repeat… phrases
from books, help to see a real person, giving negative effect.
But the portrait of Jane Eyer worth admiration.
The flame flickers in her eyes; the eye shines like dew; it looks soft and full of
feeling; it smiles at my jargon: it is susceptible; impression follows impression
through its clar sphere; where it ceases to smile, it is sad; an unconscious
lassitude weighs on the lid; that signifies me lancholy resulting from loneliness. Its
pride and reserve only confirm me in my opinion. The eye is favorable. As to the
mouth, it delights at times in laughter: it is disposed to impart all that the brain
conceives: though I dare say it would be silent on much the heart experiences.
Mobile and flexible, it was never intended to be compressed in the eternal silence
of solitude: it is a mouth which should speak much and smile often, and have
human affection for interlocutor. That feature too is propitious.
According to how the author or an artist represents his characters, we can speak
about expositional portrait, when we get acquainted with the character. Portraits
may be static or dynamic. It depends on the genre of the work. In novels portraits
are dynamic. In stories, portrait description is laconic and static. Psychological
portraits give the description of inner world of heroes.
So in spite of a great variety of women’s portrait in literature writers can underline
special features of every person. And the word has a great power.
Drawing conclusion I want to say that the notion of beauty changes from century
to century.
Список литератупы
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2. Л. Волынский. Лицо времени.- М.: Детская литература, 1982.-237с.
3. Н. А. Гуляев. Теория литературы.-2-е изд.- М.: Высшая школа, 1985.- 270с.
4. Домашнев А. И. и др. Интерпретация художественного текста. - М.: Просвещение,
1983.- 152с.
5. Домашнев А. И. и др. Интерпретация художественного текста: Нем. Яз. – 2-е изд.-
М.: Просвещение , 1989.- 208с.
6. Позднякова Л. Р. История английской и американской литературы.- Ростов-на-
Дону: Феникс, 2002.- 320с.
7. Портреты и проблемы. Статьи о писателях- современниках. - Л.: Художественная
литература,1977.- 296с
8. Федотов О. И. Основы теория литературы. - М.: Владос, 2003.- 236с.
1. Ch. Bronte. Jane Eyre.-М.: Искра революции,1954 .- 570с .
2. H. Beecher- Stowe. Uncle Tom’s cabin.-М.:Foreign language publishing house, 1960.-
652c.
3. Ch Dickens. Bleak House. – M.: Foreign language publishing house, 1957. – 929с.
4. T. Dreiser. Jennie Gerhardt. – M.: Progress Publishers, 1965. – 357с.
5. J. Durrel. Земля шорохов. – Л.: Просвещение, 1979. – 207с.
6. B. Show. Pygmalion. – M.: High School Publishing House, 1972. – 178c.
7. V. Woolf. Миссис Дэллоуэй. – М.: Радуга, 1984. – 400с.
8. O. Wilde. The picture of Dorian Gray. – Kiev.: Dnipro Publishers, 1978. – 230c.
1. Краткий словарь литературоведческих терминов. Под ред. Л. И. Тимофеев, С. В.
Тураев. – М.: Просвещение, 1985.
2. Литературно-энциклопедический словарь. – М.: Советская энциклопедия, 1987. –
Под ред. В. М. Кожевникова.
3. Словарь литературоведческих терминов. – М.: Просвещение, 1974. – Ред. сост. Л. И.
Тимофеев, С. В. Тураев.
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