to accompany The Longman Anthology of World Literature

326 Pages·2008·1.55 MB·English

by  Dianne Hall

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Instructor’s Manual
to accompany
The Longman Anthology
of World Literature
SECOND EDITION
VOLUME II
VOLUME D: THE SEVENTEENTH AND EIGHTEENTH CENTURIES
VOLUME E: THE NINETEENTH CENTURY
VOLUME F: THE TWENTIETH CENTURY
David Damrosch
David L. Pike
General Editors
April Alliston
Marshall Brown
Page duBois
Sabry Hafez
Ursula K. Heise
Djelal Kadir
Sheldon Pollock
Bruce Robbins
Haruo Shirane
Jane Tylus
Pauline Yu
Longman
New York San Francisco Boston
London Toronto Sydney Tokyo Singapore Madrid
Mexico City Munich Paris Cape Town Hong Kong Montreal
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Vice President and Editor-in-Chief: Joseph Terry
Senior Supplements Editor: Donna Campion
Text Design, Project Manager, and Electronic Page Makeup: Grapevine Publishing
Services, Inc.
Instructor’s Manual to accompany The Longman Anthology of World Literature, Second
Edition, Volume II,by David Damrosch et al.
Copyright © 2009 Pearson Education, Inc.
All rights reserved. Printed in the United States of America. Instructors may
reproduce portions of this book for classroom use only. All other reproductions
are strictly prohibited without prior permission of the publisher, except in the
case of brief quotations embodied in critical articles and reviews.
1 2 3 4 5 6 7 8 9 10—OPM —11 10 09 08
Longman
is an imprint of
ISBN 10: 0-205-64606-9
www.pearsonhighered.com ISBN 13: 978-0-205-64606-7
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CONTENTS
General Editors’ Preface ix
Guide to MyLiteratureLab xv
VOLUME D: The Seventeenth and
Eighteenth Centuries
The World the Mughals Made 1
Zahiruddin Muhammad Babur 2
Jahangir 4
Mirza Muhammad Rafi “Sauda” and Mir Muhammad Taqi “Mir” 6
Banarasidas 10
Chikamatsu Mon’zaemon 12
Cao Xueqin 16
RESONANCE: Shen Fu 21
The Ottoman Empire 23
Mihri Khatun 23
Fuzuli 23
Nedîm 24
Lady Mary Wortley Montagu 25
The Age of the Enlightenment
Jean-Baptiste Poquelin [Molière] 27
PERSPECTIVES: Court Culture and Female Authorship 30
Aphra Behn 42
RESONANCE: George Warren 51
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Jonathan Swift 52
PERSPECTIVES: Journeys in Search of the Self 58
François-Marie Arouet [Voltaire] 71
Alexander Pope 79
PERSPECTIVES: Liberty and Libertines 88
VOLUME E: The Nineteenth Century
Teaching Romanticism Today 95
William Wordsworth 101
PERSPECTIVES: Romantic Nature 107
Jean-Jacques Rousseau 107
Immanuel Kant 108
William Blake 108
John Keats 109
Annette von Droste-Hülshoff 109
Giacomo Leopardi 110
Ralph Waldo Emerson 110
Henry David Thoreau 111
Johann Wolfgang Goethe 112
George Gordon, Lord Byron 124
Ghalib 125
Alexander Sergeyevich Pushkin 126
PERSPECTIVES: The National Poet 128
Nguyen Du 129
Anna Letitia Barbauld 130
Adam Mickiewicz 131
Dionysios Solomos 132
Walt Whitman 132
PERSPECTIVES: On the Colonial Frontier 135
Mikhail Lermontov and Domingo Faustino Sarmiento 136
Charles A. Eastman (Ohiyesa) 140
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Contents v
Hawaiian Songs 141
José Rizal 141
The Romantic Fantastic 142
Samuel Taylor Coleridge 143
Ludwig Tieck 145
Honoré de Balzac 146
Edgar Allan Poe 148
Gustave Flaubert 149
PERSPECTIVES: Occidentalism—Europe Through Foreign Eyes 152
Elizabeth Barrett Browning 155
Charles Baudelaire 157
Leo Tolstoy 160
Fyodor Dostoevsky 162
RESONANCES: Friedrich Nietzsche and Ishikawa Takuboku 165
Other Americas 166
Hathali Nez and Washington Matthews 166
Herman Melville 168
Frederick Douglass 171
Harriet Jacobs 173
Emily Dickinson 175
Joaquim María Machado de Assis 178
Charlotte Perkins Gilman 180
Rubén Darío 181
Henrik Ibsen 182
Higuchi Ichiyo 185
Anton Chekhov 185
Rabindranath Tagore 187
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vi Contents
VOLUME F: The Twentieth Century
PERSPECTIVES: The Art of the Manifesto 190
Filippo Tommaso Marinetti 191
Tristan Tzara 192
André Breton 194
Mina Loy 195
Yokomitsu Riichi 197
Oswald de Andrade 198
André Breton, Leon Trotsky, and Diego Rivera 199
Joseph Conrad 200
Premchand 202
Lu Xun 205
James Joyce 207
Virginia Woolf 208
Akutagawa Ryunosuke 211
PERSPECTIVES: Modernist Memory 213
T. S. Eliot 213
Constantine Cavafy 214
Claude McKay 215
Federico García Lorca 216
Carlos Drummond de Andrade 216
Emile Habiby 217
Octavio Paz 219
Franz Kafka 220
Anna Akhmatova 223
RESONANCE: Osip Mandelstam 224
William Butler Yeats 225
PERSPECTIVES: Poetry About Poetry 226
Eugenio Montale 228
Fernando Pessoa 229
Pablo Neruda 230
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Contents vii
Wallace Stevens 231
Nazim Hikmet 232
Bei Dao 232
Bertolt Brecht 233
PERSPECTIVES: Echoes of War 237
Samuel Beckett 243
PERSPECTIVES: Cosmopolitan Exiles 246
César Vallejo 247
Vladimir Nabokov 248
Czeslaw Milosz 249
V. S. Naipaul 250
Adonis (Ali Ahmad Sa’id) 252
Jorge Luis Borges 252
RESONANCE: Gabriel García Márquez 255
Naguib Mahfouz 255
PERSPECTIVES: The 1001 Nights in the Twentieth Century 258
Güneli Gün 259
John Barth 259
Italo Calvino 259
Assia Djebar 260
Léopold Sédar Senghor 261
Aimé Césaire 264
James Baldwin 268
Gerald Vizenor 269
PERSPECTIVES: Indigenous Cultures in the Twentieth Century 271
Zhang Ailing (Eileen Chang) 275
Mahasweta Devi 276
PERSPECTIVES: Gendered Spaces 277
Chinua Achebe 281
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viii Contents
Wole Soyinka 284
PERSPECTIVES: Postcolonial Conditions 286
Mahmoud Darwish and Faiz Ahmad Faiz 286
Reza Baraheni 289
Farough Faroghzad 289
Derek Walcott 290
Salman Rushdie 291
PERSPECTIVES: Literature, Technology, and Media 291
Index 301
Copyright © 2009 Pearson Education, Inc. Publishing as Longman.
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General Editors’ Preface
The tremendous wealth of world literature available today is also a kind of embar-
rassment of riches: How can we best present this great range of works in class?
We’ve designed the second edition of The Longman Anthology of World Literaturewith
this issue constantly in mind, giving teachable groupings and illuminating juxtapo-
sitions throughout the Anthology and framing compelling texts with introductions
and notes that give the context needed for an informed and pleasurable reading. Yet
finally it comes down to individual class sessions and the detailed discussion of par-
ticular works, and here is where this teaching companion comes in. In this book we
suggest fruitful modes of approach, presenting ways to engage students, to foster un-
derstanding, and to stimulate lively discussion of all our major texts and groupings
of works.
We have set three ambitious goals for ourselves in creating this teaching com-
panion. First, it has been written directly by the editors responsible for each sec-
tion of the Anthology—the use of the Anthologyin class isn’t some afterthought; it’s
an integral part of our own work on the project. In seeking people to join us on
the editorial board, we looked for coeditors who are dynamic and experienced
teachers as well as deeply knowledgeable scholars and clear, lively writers. We’ve
seen this teaching companion as the opportunity to share directly with you our
best ideas on how to bring these texts alive in class.
To this end, our second goal has been to discuss every major author or com-
bination of authors in the Anthology, opening up possible lines of approach, indi-
cating good connections that can be made, and sketching important trends in
scholarly debate. Third, we’ve tried to be suggestive rather than prescriptive, and
we hope to inform instructors who are new to some of this material while also in-
triguing people interested in a fresh take on familiar works. This volume gives us
a chance to expand on the reasons behind our choices and to indicate ways that
we have found these materials to work best during many years of teaching them.
Teaching with and across Groupings
A distinctive feature of our Anthologyis the grouping of works in Perspectives sec-
tion and as Resonances between texts. Together, these groupings are intended both
to set works in cultural context and to link them across time and space. These
groupings have a strategic pedagogical function as well. We have observed that in
other anthologies, brief author listings rarely seem to get taught. Added with the
laudable goal of increasing an anthology’s range and inclusiveness, the new materials
Copyright © 2009 Pearson Education, Inc. Publishing as Longman.
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x General Editors’ Preface
too often get lost in the shuffle. Our groupings of works cluster shorter selections
in ways that make them more likely to be taught, creating a critical mass of read-
ings around a compelling literary or social issue and economically providing cul-
tural context for the major works around them.
We expect that our contextual groupings will be used variously by different
people. A Perspectives section can be taught entirely as a freestanding unit, or it
can share a week with an important work or major author.
While entire Perspectives sections can be assigned, individual works within
them can also be paired with works elsewhere. For example, in Volume E, Walt
Whitman can either be taught with the other writers next to him in “Perspectives:
The National Poet” or he can be assigned instead with Emily Dickinson and
Rubén Darío later in the volume. Darío’s poem “Walt Whitman,” indeed, makes
a direct link to work from, whether the two poets are assigned together or in dif-
ferent weeks.
Particularly in the case of our fuller Perspectives sections, like the
Enlightenment-era section on “Liberty and Libertines” (Volume D), it can be pro-
ductive to assign different readings to different members of the class, with students
working in teams to explore contrasting viewpoints; these can then be debated in
class or presented as written projects. Students interested in exploring Perspectives
section issues in greater depth should be alerted to the extensive bibliographies at
the end of each volume; Perspectives sections, as well as individual author listings,
have bibliographies that can lead students further into the primary sources.
Obviously, the various Perspectives sections and the juxtapositions of works
and Resonances are only a few of the many groupings that could be created. We
wouldn’t want any student to come away from the course with the misconception
that these were the only issues that mattered in the period or culture in question.
Rather, these groupings should be seen as exemplary of the sortsof literary and cul-
tural debate that were current in a region or an era. Students can be encouraged—
individually or in small groups—to research and develop their own perspectival
clusters of materials, using as a point of departure some text or some issue that has
particularly intrigued them. They could then present their own Perspectives sec-
tion to the class as a whole or write it up and analyze it as a term project.
On a larger scale, we have followed custom in dividing the Anthology accord-
ing to the broad period divisions that have become ubiquitous in modern literary
study, with further division by region in the first three volumes, but there is no rea-
son that a survey course should treat these divisions as sacrosanct. Even within a
generally chronological presentation, it can be interesting to have some cross-
cutting sessions or weeks, such as an overview of the sonnet, or a section on travel
writing, or one on short prose narratives. Such groupings can bring together ma-
terial from two, three, or more sections and even volumes of the Anthology.
Courses organized by genre or by theme will mine the Anthology for entirely dif-
ferent groupings suited to individual needs. We hope and expect that teachers and
students alike will use our tables of contents as a starting point for ongoing explo-
rations and reconfigurations of their own.
Copyright © 2009 Pearson Education, Inc. Publishing as Longman.