SYLLABUS FOR 2nd-YEAR HYBRID-PHILOLOGY STUDENTS, Academic Year 2017/2018, Spring Semester

Paisii Hilendarski University of Plovdiv, Course convener: Assoc. Prof. Yana Rowland PhD,


  1. The Transition: 1880-1939: historical background and intellectual context. The literary stage.19th-century continuities and perceptions of modernity. International contributions (James, Eliot, Yeats). WWI – theme & reality. The ‘hungry' 1920s. Experimentation, literary formations and perceptions of art. Joseph Conrad's Heart of Darkness (1899) – alienation and marginalization of human virtues

  • MODERNISM - temporal boundaries, interpretations, definitions, genre varieties

  • The Edwardian Novel. Expansion of imagination and journeys of self-discovery: H. G. Wells, E. M. Forster, G. K. Chesterton, J. Galsworthy.

  • Theatre, 1901 – WWII. G. B. Shaw, William Butler Yeats, John Galsworthy, Sean O'Casey.


  1. Modernist poets. Mysticism, seclusion and the wounded mind. Symbolism.

  • W. B. Yeats

  • WWI generation: Rupert Brooke, Siegfried Sassoon, Wilfred Owen, and Isaak Rosenberg

  • T. S. Eliot (1888 - 1965) – tradition, culture and the "hollow" man


  1. Modernist Prose:

A. The stream-of-consciousness way, the Bloomsbury Group, the sea of experience, and the image of the artist:

- Virginia Woolf

- James Joyce

B. Nature and human psychology; identity and responsibility:

- D. H. Lawrence


  1. Documents of Fiction: the novel in the 1930s & 1940s. WWII – a reconsideration of humanitarian values. Alternatives of Modernism. Investigations, anti-utopias, & varieties of social critique. Alienation and loss. Brave New Worlds: Christopher Isherwood, A. Huxley, Evelyn Waugh, Graham Greene; George Orwell.


  1. Further poetic idiosyncrasies: tracks, visions, remembrances (WWII and after), prospects and national chants: W. H. Auden, Louis MacNiece, Dylan Thomas, Keith Douglas, Ted Hughes, Philip Larkin, Geoffrey Hill, Stevie Smith, Carol Ann Duffy.


  1. The Indignant 1950s: fables of youth. Own lands – other lands:

Prose fiction: William Golding, Kingsley Amis, John Wain, John Braine, Angus Wilson, Alan Sillitoe, Muriel Spark.

Drama: anger, politics, the absurd, ‘man as he is', idyllic pasts, "kitchen sink" drama. John Osborne, Samuel Beckett, Harold Pinter, Peter Shaffer, Tom Stoppard.


  1. Fiction on a broader contemporary canvas: 1960–2000. Postmodernism and post-colonialism. Cultural revolutions & cultural compromises. Time and space in human perception. The campus novel. Psychological fiction. Magic realism. The female voice. Feminism, gender and sexuality. Literature and Politics. The coming-of-age theme. Comedies of manners. Historiographic metafiction. Alternative endings.

  • Malcolm Bradbury, David Lodge

  • Doris Lessing, Margaret Drabble

  • Iris Murdoch, Angela Carter

  • Martin Amis, Anthony Burgess

  • John Fowles, Graham Swift, Ian McEwan

  • Jean Rhys, V. S. Naipaul, Salman Rushdie, Kazuo Ishiguro, Timothy Mo, Hanif Kureishi, Ben Okri

  • Jeanette Winterson

  • Zadie Smith

  • Julian Barnes, A. S. Byatt



  1. Joseph Conrad – Heart of Darkness (1899)


  1. T.S. Eliot – The Love Song of J. Alfred Prufrock (1915)

W. B. Yeats - The Second Coming (1919), Sailing to Byzantium (1928)


  1. James Joyce – A Portrait of the Artist as a Young Man (1914-15, 1916)


  1. Virginia Woolf – Mrs Dalloway (1925)


  1. D. H. Lawrence – Sons and Lovers (1913)


  1. John Osborne – Look Back in Anger (1956)


  1. John Fowles – The French Lieutenant's Woman (1969)









Prose Fiction:

Joseph Conrad – Heart of Darkness (1899)

D. H. Lawrence – Sons and Lovers (1913)

James Joyce – A Portrait of the Artist as a Young Man (l916)

Virginia Woolf – Mrs Dalloway (1925)

George Orwell – Animal Farm (1945)

John Fowles – The French Lieutenant's Woman (1969)

Either novel from the following: Salman Rushdie's Midnight's Children (1981); Kazuo Ishiguro's A Pale View of Hills (1982); Timothy Mo's Sour Sweet (1982); V. S. Naipaul's A House for Mr Biswas (1961); Hanif Kureishi's The Buddha of Suburbia (1990); Ben Okri's The Famished Road (1991)

Either novel from the following: Muriel Spark's The Prime of Miss Jean Brodie (1961); Doris Lessing's The Golden Notebook (1962), Margaret Drabble's Jerusalem the Golden (1967); Iris Murdoch' s The Black Prince (1973); Angela Carter's Nights at the Circus (1984); Julian Barnes – Flaubert's Parrot (1984), Jeanette Winterson's Oranges Are Not the Only Fruit (1985); A. S. Byatt' Possession (1990); Zadie Smith's White Teeth (2000)



T.S. Eliot: The Love Song of J. Alfred Prufrock (1911)

Rupert Brooke – The Soldier (1914)

Siegfried Sassoon – Suicide in the Trenches (1918), Does It Matter? (1918)

Wilfred Owen – Dulce Et Decorum Est (1917), Anthem for Doomed Youth (1917)

Isaak Rosenberg – Returning, We Hear Larks (1916)

W. B. Yeats – The Second Coming (1919); Sailing to Byzantium (1928)

Dylan Thomas – Especially When the October Wind (1934), Fern Hill (1945)

Keith Douglas – Desert Flowers (1943), Vergissmeinnicht (1943)

Ted Hughes – Wind (1966), Old Age Gets Up

Philip Larkin – At Arundel Tomb, Aubade, At Grass



John Osborne – Look Back in Anger (1956)

Harold Pinter – The Caretaker (1959)






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