December 14, 2009

Improving your motivation for learning English

In this article, we share our techniques for improving your motivation for learning English as a foreign language. We used them all the time when we were learning English and we still use them when we need to boost our motivation in areas other than English.

Imagine yourself in the future

Imagine you can talk to native speakers just like you talk in your first language. Imagine other people wanting to speak English as well as you do. Imagine the possibility of writing e-mail to people from all over the world.

It is helpful to read an article about the advantages of knowing English well. There are two such articles on Antimoon: Why learn English and English makes you feel good.

You should know that it is possible to learn English really well. Just look at other people who have done it.

Remember that you are already good

You already know some English (you're reading an article in English right now). That's a big success! Now it's time for more successes. Time to start using powerful methods of effective learning. Time to gain an impressive knowledge of English.

Remember there is a lot that you don't know

You are good, but your English probably isn't perfect. You probably can't understand English-language TV, read books in English, talk to native speakers easily, write letters without mistakes, etc.

You should never think your English is perfect. Even if you are the best student in your class, always try to find your weak areas and work on them. When you've learned to speak English well, your problems will be quite small: punctuation, rarely used grammar structures, rare words, understanding "street language". Right now, your problems are probably more basic: mistakes in pronunciation, small vocabulary, grammar problems with the present perfect tense and conditional structures.

Use your English whenever you can

This is very, very important. The more you use English, the more you will want to learn it.

Because English is so popular, you can use it everywhere. You can use Google to find English-language websites with interesting information, you can watch American cartoons, you can play adventure games on your computer, you can read interesting books in English, or you can do other things that we write about.

If you do these things, you will not only have fun and learn English. If you see that a new English word lets you understand your favorite TV show (or communicate with people, or beat a computer game), you will want to learn more words. So you will learn English more, use it more, learn it more, use it more... If you also use effective learning methods, your English will grow faster than you can imagine.

Talk to people about English

This is a very simple method, but it is very effective. Here's how it works:

You usually talk about things which interest you. But the opposite is true, too. If you start talking about a boring subject, you will begin to get interested in it.

Imagine you are studying a subject that you hate. You are bored and tired, but you have to pass the test tomorrow. If there are people near you, you have two options: you can tell everybody how much you are suffering or you can tell those people about the things you've learned. If you choose the first option, you will only feel worse.

If you choose the second option, and start a conversation on the "boring" subject, you will begin to look at it in a totally different way. Suddenly it will become a subject worth talking about — therefore, an interesting subject.

How can you begin such a conversation? If you're studying English, you can surprise another person by talking to him/her in English. Say (in English): Hi, I'm studying English and I hate it. Or you can say (in your first language): Hey, I've learned 50 English words today. Do you know what's the English word for ...? If there are no people near you, you can telephone or send an e-mail message to your friend.

What will your friends say? Probably they won't be very interested, but it doesn't matter! The important thing is this: After talking about English, you will study it with much more passion. Try it.

Find a friend who is learning English

If you can find a friend who is learning English and is on a similar level of skill, you will be in an excellent situation:

* you will have someone to talk about English with. These conversations will increase your interest in English, as explained in the previous section.
* learning English will be easier, because you will be able to discuss your problems with your friend.
* you will study English more, because you will want to be better than your friend. :-)

You should meet your friend regularly. Ideally, he/she should live near you, or go to the same school as you. If you absolutely can't find anybody willing to learn English with you, you can try to find somebody by e-mail. This is a worse solution: your conversations will probably be less frequent, and it is difficult to compete with someone who you don't know well.

Spend some money on learning English

If you spend your money on something, you will want to use it. For example, if you buy an expensive tennis racket, you will probably go out and play tennis every day.

This rule is also true for learning English. If you want to increase your desire to learn English, buy a new dictionary, an interesting English-language book, English-language cable TV, etc. The idea is simple: You paid for it, so you will want to use it, and you will improve your English.

There is a problem with this method. It only works for a short time. You usually lose your desire to learn English after a few days. To keep learning, you would have to buy something every week!

However, this method is helpful, because it gives you an impulse to start learning. For example, if you buy a dictionary of phrasal verbs, you will probably learn some words from it. Then you should try to use them. For example, write an e-mail message with these words. This will increase your motivation (as explained before), and you will learn more.

Read Unlimited Power by Anthony Robbins

Anthony Robbins' book Unlimited Power: The New Science of Personal Achievement gives excellent advice on how to achieve any kind of goal. This book has changed the lives of many people, so you might want to take a look at it.
Remember that learning English requires action

We have said this many times. One small action is more powerful than reading hundreds of articles. Yes, we know it is very hard to do things, even if they are good for us. We humans are lazy creatures. That is why not many people speak English well.

Still, we hope you can do the things we talk about in our English learning method — not only read about them. You will be successful only if you change something about your life.

Don't put it off. Begin now.

Tag question

A tag question (also: question tag) is a grammatical structure in which a declarative statement or an imperative is turned into a question by adding an interrogative fragment (the "tag"). The term "tag question" is generally preferred by American grammarians, while their British counterparts prefer "question tag".
Forms and uses

In most languages, tag questions are more common in colloquial spoken usage than in formal written usage. They can be an indicator of politeness, emphasis, or irony. They may suggest confidence or lack of confidence; they may be confrontational or tentative. Some examples showing the wide variety of structure possible in English are:
• Open the window, will you?
• She doesn't really want those apples, does she?
• You'd better stop now, hadn't you?
• So you thought it would be a good idea to reprogram the computer, did you?
• It's quite an achievement, isn't it, to win a Nobel prize!
• Oh I must, must I?
• I just adore Beethoven, don't you?
• I'm coming with you, all right?
• You've been there, right?
• Easier said than done, eh?
• You went there, no?

Some languages have a fixed phrase for the tag question, such as Russian не правда ли? (not true?), French n'est-ce pas? ("is it not?") and German nicht wahr? or simply oder?. Standard English tag questions, on the other hand, are constructed afresh for every sentence, and are therefore quite variable: have I? did you? won't we? etc. A similar pattern is found in the Celtic languages. A tag question need not have the grammatical form of a question (will you?); an adverb or adverbial may serve the purpose instead: right? all right? surely? OK? eh? German often uses oder? ("or") and ja? ("yes") as tag questions.

Care should be taken by the confident speaker to make certain that any tag questions are not mistaken for a leading question. The frequency with which Londoners use isn't it sounds strange to American ears and can be mistaken for manipulation.
Tag questions in English

English tag questions, when they have the grammatical form of a question, are atypically complex, because they vary according to four factors: the choice of auxiliary, the negation, the intonation pattern and the emphasis.

Auxiliary

The English tag question is made up of an auxiliary verb and a pronoun. The auxiliary has to agree with the tense, aspect and modality of the verb in the preceding sentence. If the verb is in the perfect tense, for example, the tag question uses has or have; if the verb is in a present progressive form, the tag is formed with am, are, is; if the verb is in a tense which does not normally use an auxiliary, like the present simple, the auxiliary is taken from the emphatic do form; and if the sentence has a modal auxiliary, this is echoed in the tag:
• He's read this book, hasn't he?
• He read this book, didn't he?
• He's reading this book, isn't he?
• He reads a lot of books, doesn't he?
• He'll read this book, won't he?
• He should read this book, shouldn't he?
• He can read this book, can't he?

A special case occurs when the main verb is to be in a simple tense. Here the tag question repeats the main verb, not an auxiliary:
• This is a book, isn't it?
(Not doesn't it?, as the normal rules for present simple would suggest.)

If the main verb is to have, either solution is possible:
• He has a book, hasn't he?
• He has a book, doesn't he?

Negation
English tag questions may contain a negation, but need not. When there is no special emphasis, the rule of thumb often applies that a positive sentence has a negative tag and vice versa:
• She is French, isn't she?
• She's not French, is she?

These are sometimes called "balanced tag questions". However, it has been estimated that in normal conversation, as many as 40%-50%[1] of tags break this rule. "Unbalanced tag questions" (positive to positive or negative to negative) may be used for ironic or confrontational effects:
• Do listen, will you?
• Oh, I'm lazy, am I?
• Jack: I refuse to spend Sunday at your mother's house! Jill: Oh you do, do you? We'll see about that!
• Jack: I just won't go back! Jill: Oh you won't, won't you?
Patterns of negation can show regional variations. In North East Scotland, for example, positive to positive is used when no special effect is desired:
• This pizza's fine, is it? (standard English: This pizza's delicious, isn't it?)

Note the following variations in the negation when the auxiliary is the I form of the copula:
• England (and America, Australia, etc.): Clever, aren't I?
• Scotland/Northern Ireland: Clever, amn't I?
• nonstandard dialects: Clever, ain't I?

Intonation
English tag questions can have a rising or a falling intonation pattern. This is contrasted with Polish, French or German, for example, where all tags rise. As a rule, the English rising pattern is used when soliciting information or motivating an action, that is, when some sort of response is required. Since normal English yes/no questions have rising patterns (e.g. Are you coming?), these tags make a grammatical statement into a real question:
• You're coming, aren't you?
• Do listen, will you?
• Let's have a beer, shall we?

The falling pattern is used to underline a statement. The statement itself ends with a falling pattern, and the tag sounds like an echo, strengthening the pattern. Most English tag questions have this falling pattern.
• He doesn't know what he's doing, does he?
• This is really boring, isn't it?

Sometimes the rising tag goes with the positive to positive pattern to create a confrontational effect:
• He was the best in the class, was he? (rising: the speaker is challenging this thesis, or perhaps expressing surprised interest)
• He was the best in the class, wasn't he? (falling: the speaker holds this opinion)
• Be careful, will you? (rising: expresses irritation)
• Take care, won't you? (falling: expresses concern)
Sometimes the same words may have different patterns depending on the situation or implication.
• You don't remember my name, do you? (rising: expresses surprise)
• You don't remember my name, do you? (falling: expresses amusement or resignation)
• Your name's Mary, isn't it? (rising: expresses uncertainty)
• Your name's Mary, isn't it? (falling: expresses confidence)
It is interesting that as an all-purpose tag the London set-phrase innit (for "isn't it") is only used with falling patterns:
• He doesn't know what he's doing, innit?
• He was the best in the class, innit?

On the other hand, the adverbial tag questions (alright? OK? etc.) are almost always found with rising patterns. An occasional exception is surely.

Emphasis
English tag questions are normally stressed on the verb, but the stress is on the pronoun if there is a change of person.
• I don't like peas, do you?
• I like peas, don't you?
This is often a rising tag (especially when the tag contains no negation), or the intonation pattern may be the typically English fall-rise.
In French, this would be expressed with et toi?, which is also a kind of tag question.

Variant forms
There are a number of variant forms that exist in particular dialects of English. These are generally invariant, regardless of verb, person or negativity.
The tag right? is essentially equivalent to the Spanish ¿verdad?. It is common in a number of dialects across the UK and US.
The tag eh? is of Scottish origin, and can be heard across much of Scotland, New Zealand, Canada and the North-Eastern United States. In Central Scotland (in and around Stirling and Falkirk), this exists in the form eh no? which is again invariant.

False tag in Welsh English

It is often erroneously assumed that Welsh speakers of English use a tag question to make an emphatic statement, eg: Lovely day, isn't it?
However, this is instead a cleft sentence of the form: Lovely day, is in it.
This has its roots in the Welsh language, and this type of cleft features in all extant Celtic languages. The lack of verb at the start of this construction coupled with the lack of rising intonation mark this as distinct from tag questions, which are used in Welsh English in the same manner as the majority of the UK.

Tag questions in the Celtic languages
Like English, the Celtic languages form tag questions by echoing the verb of the main sentence. The Goidelic languages, however, make little or no use of auxiliary verbs, so that it is generally the main verb itself which reappears in the tag. Some examples from Scottish Gaelic:
• Is toil leat fìon, nach toil? - You like wine, don't you?
• Tha i breagha an diugh, nach eil? - It's nice today, isn't it?
• Chunnaic mi e, nach fhaca? - I saw him, didn't I?
(Here, eil and fhaca are dependent forms of the irregular verbs tha and chunnaic.)
In Welsh, a special particle is used to mark tag questions, which are then followed by the inflected form of the verb:
• Mae hi'n bwrw glaw heddiw, on'd ydy? - It's raining today, isn't it?
• Canodd y bobl, on' do? - The people sang, didn't they?
• Doi di yfory, on' doi? - You'll come tomorrow, won't you?

How to write an effective application letter

1. Specifically state what it is that you are applying for or interested in applying for (e.g., the position, appointment, student or other visa, extension on a deadline, loan, credit card, etc.).

2. Identify the reason that you are applying. Be as specific as possible.

3.Give the reasons that you feel you merit or qualify for the position or object/thing you are applying for, if applicable (e.g., your goals, experience, qualifications or accomplishments, positive traits, and so forth).

4.Identify what you hope to accomplish by sending your letter and the action you would like the recipient to take.

5. Indicate the date by which you would like a response to your letter or by which you would like the action to be taken.

6.Refer to any other documents you have included with your letter, such as application or other forms, letters of recommendation, resume, examples of your work, etc.

7.Include a request for any information you would like to be sent, if applicable.

8.Include your contact information, such as e-mail address or phone number where you can most easily be reached and the time(s) when you available for calls, etc.

9.Close your letter by sincerely thanking the person for his/her time or for any assistance he/she can give you.

Literary Periods of British & American Literature

Periods of British Literature:

450-1066: Old English (or Anglo-Saxon) Period
1066-1500: Middle English Period
1500-1660: The Renaissance
1558-1603: Elizabethan Age
1603-1625: Jacobean Age
1625-1649: Caroline Age
1649-1660: Commonwealth Period (or Puritan Interregnum)
1660-1785: The Neoclassical Period
1660-1700: The Restoration
1700-1745: The Augustan Age (or Age of Pope)
1745-1785: The Age of Sensibility (or Age of Johnson)
1785-1830: The Romantic Period
1832-1901: The Victor ian Period
1848-1860: The Pre-Raphaelites
1880-1901: Aestheticism and Decadence
1901-1914: The Edwardian Period
1910-1936: The Georgian Period
1914-1945: The Modern Period
1945-present: Postmodern Period
The Old English Period or the Anglo-Saxon Period refers to the literature produced from the invasion
of Celtic England by Germanic tribes in the first half of the fifth century to the conquest of England in
1066 by William the Conqueror.

During the Old English Period, written literature began to develop from oral tradition, and in the eighth
century poetry written in the vernacular Anglo-Saxon (also known as Old English) appeared. One of the
most well-known eighth century Old English pieces of literature is Beowulf, a great Germanic epic
poem. Two poets of the Old English Period who wrote on biblical and religious themes were Caedmon
and C ynewulf.

The Middle English Period consists of the literature produced in the four and a half centuries between
the Norman Conquest of 1066 and about 1500, when the standard literary language, derived from the
dialect of the London area, became recognizable as "modern English."

Prior to the second half of the fourteenth century, vernacular literature consisted primarily of religious
writings. The second half of the fourteenth century produced the first great age of secular literature. The
most widely known of these writings are Geoffrey Chaucer's The Canterbury Tales, the anonymous Sir
Gawain and the Green Knight, and Thomas Malory's Morte d'Arthur.
While the English Renaissnace began with the ascent of the House of Tudor to the English throne in
1485, the English Literary Renaissance began with English humanists such as Sir Thomas More and
Sir Thomas Wyatt.

In addition, the English Literary Renaissance consists of four subsets: The Elizabethan Age, the
Jacobean Age, the Caroline Age, and the Comm onwealth Period (which is also known as the Puritan
Interregnum).

The Elizabethan Age of English Literature coincides with the reign of Elizabeth I, 1558 - 1603. During
this time, medieval tradition was blended with Renaissance optimism. Lyr ic poetry, prose, and drama
were the major styles of literature that flowered during the Elizabethan Age. Some important writers of
the Elizabethan Age include William Shakespeare, Christopher Marlowe, Edmund Spenser, Sir Walter
Raleigh, and Ben Jonson.


The Jacobean Age of English Literature coincides with the reign of James I, 1603 - 1625. During this
time the literature became sophisticated, sombre, and conscious of social abuse and rivalry. The
Jacobean Age produced rich prose and drama as well as the King James translation of the Bible.
Shakespeare and Jonson wrote during the Jacobean Age, as well as John Donne, Francis Bacon, and
Thomas Middleton.

The Caroline Age of English Literature coincides with the reign of Charles I, 1625 - 1649. The writers
of this age wrote with refinement and elegance. This era produced a circle of poets known as the
"Cavalier Poets" and the dramatists of this age were the last to write in the Elizabethan tradition.

The Commonwealth Period, also known as the Puritan Interregnum, of English Literature includes
the literature produced during the time of Puritan leader Oliver Cromwell. This period produced the
political writings of John Milton, Thomas Hobbes' political treatise Leviathan , and the prose of Andrew
Marvell. In September of 1642, the Puritans closed theatres on moral and religious grounds. For the next
eighteen years the theatres remained closed, accounting for the lack of drama produced during this time
period.
The Neoclassical Period of English literature (1660 - 1785) was much influenced by contemporary
French literature, which was in the midst of its greatest age. The literature of this time is known for its
use of philosophy, reason, skepticism, wit, and refinement. The Neoclassical Period also marks the first
great age of English literary criticism.

Much like the English Literary Renaissance, the Neoclassical Period can be divided into three
subsets: the Restoration, the Augustan Age, and the Age of Sensibility.

The Restoration, 1660 - 1700, is marked by the restoration of the monarchy and the triumph of reason
and tolerance over religious and political passion. The Restoration produced an abundance of prose and
poetry and the distinctive comedy of manners known as Restoration comedy. It was during the
Restoration that John Milton published Paradise Lost and Paradise Regained. Other major writers of
the era include John Dryden, John Wilmot 2 Ear l of Rochester , and John Locke.
nd
The English Augustan Age derives its name from the brilliant literary period of Vergil and Ovid under
the Roman emperor Augustus (27 B.C. - A.D. 14). In English literature, the Augustan Age, 1700 - 1745,
refers to literature with the predominant characteristics of refinement, clarity, elegance, and balance of
judgement. Well-known writers of the Augustan Age include Jonathan Swift, Alexander Pope, and
Daniel Defoe. A significant contribution of this time period included the release of the first English
novels by Defoe, and the "novel of character," Pamela, by Samuel Richardson in 1740.

During the Age of Sensibility, literature reflected the worldview of Enlightenment and began to
emphasize instict and feeling, rather than judgment and restraint. A growing sympathy for the Middle
Ages during the Age of Sensibility sparked an interest in medieval ballads and folk literature. Another
name for this period is the Age of Johnson because the dominant authors of this period were Samuel
Johnson and his literary and intellectual circle. This period also produced some of the greatest early
novels of the English language, including Richardson's Clarissa (1748) and Henry Fielding's Tom Jones
(1749).

The Romantic Period of English literature began in the late 18th century and lasted until approximately
1832. In general, Romantic literature can be characterized by its personal nature, its stong use of feeling,
its abundant use of symbolism, and its exploration of nature and the supernatural. In addition, the
writings of the Romantics were considered innovative based on their belief that literature should be
spontaneous, imaginative, personal, and free. The Romantic Period produced a wealth of authors
including Samuel Taylor Coleridge, William Wordsworth, Jane Austen, and Lord Byron.
It was during the Romantic Period that Gothic literature was born. Traits of Gothic literature are dark
and gloomy settings and characters and situations that are fantasic, grotesque, wild, savage, mysterious,
and often melodramatic. Two of the most famous Gothic novelists are Anne Radcliffe and Mary Shelley.


The Victorian Period of English literatur e began with the accession of Queen Victoria to the throne in
1837, and lasted until her death in 1901. Because the Victorian Period of English literature spans over
six decades, the year 1870 is often used to divide the era into "early Victorian" and "late Victorian." In
general, Victorian literature deals with the issues and problems of the day. Some contemporar y issues
that the Victorians dealt with include the social, economic, religious, and intellectual issues and
problems surrounding the Industrial Revolution, growing class tensions, the early feminist movement,
pressures toward political and social reform, and the impact of Charles Darwin's theory of evolution on
philosophy and religion. Some of the most recognized authors of the Victorian era include Alfred Lord
Tennyson, Elizabeth Barrett Browning, her husband Robert, Matthew Arnold, Charles Dickens,
Charlotte Brontë, George Eliot, and Thomas Hardy.

Within the Victorian Period, two other literary movements, that of The Pre-Raphaelites (1848-1860)
and the movement of Aestheticism and Decadence (1880-1900), gained prominence.

In 1848, a group of English artists, including Dante Gabriel Rossetti, formed the "Pre-Raphaelite
Brotherhood." It was the aim of this group to return painting to a style of truthfulness, simplicity, and
religious devotion that had reigned prior to Raphael and the high Italian Renaissance. Rossetti and his
literary circle, which included his sister Christina, incorporated these ideals into their liter ature, and the
result was that of the literary Pre-Raphaelites.

The Aestheticism and Decadence movement of English literature grew out of the French movement of
the same name. The authors of this movement encouraged experimentation and held the view that art is
totally opposed "natural" norms of morality. This style of literature opposed the dominance of scientific
thinking and defied the hosility of society to any art that was not useful or did not teach moral values. It
was from the movement of Aestheticism and Decadence that the phrase art for art's sake emerged. A
well-known author of the English Aestheticism and Decadence movement is Oscar Wilde.

The Edwardian Period is named for King Edward VII and spans the time from Queen Victoria's death
(1901) to the beginning of World War I (1914). During this time, the British Empire was at its height and
the wealthy lived lives of materialistic luxury. However, four fifths of the English population lived in
squalor. The writings of the Edwardian Period reflect and comment on these social conditions. For
example, writers such as George Bernard Shaw and H.G. Wells attacked social injustice and the
selfishness of the upper classes. Other writers of the time include William Butler Yeats, Joseph Conrad,
Rudyard Kipling, Henry James, and E.M. Forster.

The Georgian Period refers to the period of British Literature that is named for the reign of George V
(1910-36). Many writers of the Edwardian Period continued to write during the Georgian Period. This
era also produced a group of poets known as the Georgian poets. These writers, now regarded as minor
poets, were publihed in four anthologies entitled Georgian Poetry, published by Edward Marsh between
1912 and 1922. Georgian poetr y tends to focus on rural subject matter and is traditional in technique and
form.

The Modern Period applies to British literature written since the beginning of World War I in 1914. The
authors of the Modern Period have experimented with subject matter, form, and style and have
produced achievements in all literary genres. Poets of the period include Yeats, T.S. Eliot, Dylan
Thomas, and Seamus Heaney. Novelists include James Joyce, D.H. Lawrence, and Virginia Woolf.
Dramatists include Noel Coward and Samuel Beckett.

Following World War II (1939-1945), the Postmodern Period of British Literature developed.
Postmodernism blends literary genres and styles and attempts to break free of modernist forms.

While the British literary scene at the turn of the new millenium is crowded and varied, the authors still
fall into the categories of modernism and postmodernism. However, with the passage of time the Modern
era may be reorganized and expanded.


Periods of American Literature:


1607-1776: Colonial Period
1765-1790: The Revolutionar y Age
1775-1828: The Early National Period
1828-1865: The Romantic Period (Also known as: The American Renaissance or The Age of
Transcendentalism)
1865-1900: The Realistic Period
1900-1914: The Naturalistic Period
1914-1939: American Modernist Period
1920s: Jazz Age, Harlem Renaissance
1920s, 1930s: The "Lost Generation"
1939-present: The Contemporary Period
1950s: Beat Writers
1960s, 1970s: Counterculture
In addition, American Literature recognizes works of:
African-American Writers
Native American Writers
Asian-American Writers

The Colonial Period of American Literature spans the time between the founding of the first settlement
at Jamestown to the outbreak of the Revolution. The writings of this time centered on religious,
practical, or historical themes. The most influential writers of the Colonial Period include John
Winthrop, Cotton Mather, Benjamin Franklin, and Anne Bradstreet.
During the Revolutionary Age, 1765-1790, some of the greatest documents of American history were
authored. In 1776, Thomas Paine authored Common Sense and Thomas Jefferson wrote The Declaration
of Independence. In 1781, The Articles of Confederation were ratified. Between 1787 and 1788,
Alexander Hamilton, James Madison, and John Jay wrote The Federalist Papers. Finally, in 1787, The
Constitution of the United States was drafted and in 1789 it was ratified.
The Early National Period of American Literature saw the beginnings of literature that could be truly
identified as "American". The writers of this new American literature wrote in the English style, but the
settings, themes, and characters were authentically American. In addition, poets of this time wrote poetry
that was relatively independent of English precursors. Three of the most recognized writers of this time
are Washington Irving, James Fenimore Cooper, and Edgar Allan Poe.
The period 1828-1865 in American Literature is commonly identified as the Romantic Period in
America, but may also be referred to as the American Renaissance or the Age of Transcendentalism.
The writers of this period produced works of originality and excellence that helped shape the ideas,
ideals, and literary aims of many American writers. Writers of the American Rom antic Period include
Ralph Waldo Emerson, Henry David Thoreau, Edgar Allan Poe, Herman Melville, Nathaniel Hawthore,
Harriet Beecher Stowe, Henry Wadsworth Longfellow, Emily Dickinson, and Walt Whitman.

Following the Civil War, American Literature entered into the Realistic Period. The major form of
literature produced in this era was realistic fiction. Unlike romantic fiction, realistic fiction aims to
represent life as it really is and make the reader believe that the characters actually might exist and the
situations might actually happen. In order to have this effect on the reader, realistic fiction focuses on the
ordinary and commonplace. The major writers of the Realistic Period include Mark Twain, Henry
James, Bret Harte, and Kate Chopin.


The years 1900-1914 mark American Literature's Naturalistic Period. Naturalism claims to give an
even more accurate depiction of life than realism. In accordance with a post- Darwinian thesis,
naturalistic writers hold that the characters of their works are merely higher-order animals whose
character and behavior is entirely based upon heredity and environment. Naturalistic writings try to
present subjects with scientific objectivity. These writings are often frank, crude, and tragic. Stephen
Crane, Jack London, and Theodore Dreiser are the most studied American Naturalists.

Between 1914 and 1939, American Literature entered into a phase which is still referred to as "The
Beginnings of Modern Literature". Like their British counterparts, the American Modernists
experimented with subject matter, form, and style and produced achievements in all literary genres.
Some well-known American Modernist Poets include Robert Frost, William Carlos Williams, Edna St.
Vincent Millay, and E.E. Cummings. Included among American Modernist Prose Writers are Edith
Wharton, Sinclair Lewis, and Willa Cather.

The American Modernist Period also produced many other writers that are consider ed to be writers of
Modernist Period Subclasses. For example, F. Scott Fitzgerald is considered a writer of The Jazz Age,
Langston Hughes and W.E.B. DuBois writers of The Harlem Renaissance, and Gertrude Stein, T.S.
Eliot, Ezra Pound, and Ernest Hemingway writers of The Lost Generation.

The Great Depression marked the end of the American Modernist Period, and writers such as William
Faulkner, John Steinbeck, and Eugene O'Neill dealt with the social and political issues of the time in
their literary works.
1939 marked the beginning of the Contemporary Period of American Literature. This period includes
an abundance of important American literary figures spanning from World War II into the New
Millenium. These writers include, but are not limited to, Eudora Welty, John Updike, Kurt Vonnegut,
Sylvia Plath, Arthur Miller, Tennessee Williams, Ralph Ellison, Gwendolyn Brooks, Zora Neal Hurston,
Alice Walker, Toni Morrison, and Maya Angelou.
During the 1950s, a vigorous anti-establishment, and anti-traditional literary movement emerged. The
main writers of this movement, Allen Ginsberg and Jack Kerouac, are called Beat Writers. Much
writing of the 1960s and 1970s, referred to as Counterculture Writing, continued the literary ideals of
the Beat Movement, but in a more exteme and fevered manner.

Currently, the contemporary American literary scene is crowded and varied. With the passage of time the
Contemporary Period may be reorganized and/or expanded. In the future will writers such as Anne Rice,
John Grisham, or Amy Tan be included in the canon of American Literatur e? We will just have to wait
and see.

Medieval and Renaissance English Literature Modules

Modules in Medieval and Renaissance English Literature offer students the opportunity to begin learning new languages (Old and Middle English and Old Norse), to read some unusual and stimulating texts, to understand those texts in the light of the evolving history of the English language, and to explore their intersection with wider issues in medieval and early modern culture. While there is no separate degree scheme in Medieval and Renaissance English, it is possible to specialise in medieval courses or to combine medieval and modern courses. The choice of medieval modules is considerable and provides a full introduction to this important area of study which often leads on to postgraduate research. The place to start such study is with Medieval and Renaissance English Literature in Year One.
Year One

This is a course designed to introduce students to literature of the medieval and early modern periods. A knowledge of early English literature can enhance understanding and appreciation of later literature, but medieval and renaissance literature is also a stimulating and enjoyable area of study in its own right. This course covers a wide range of texts written between the seventh and the eighteenth centuries, exemplifying genres as diverse as epic poetry, drama, religious lyrics, elegy, satire, and Arthurian romance. The course consists of four ten-credit modules, two taken in the autumn semester and two in the spring semester.

The medieval part of the course introduces students to both Old English (or Anglo-Saxon) literature (c.700-c.1100) and Middle English literature (c.1100-c.1500), with a special emphasis on Chaucer's poetry. Students will read Old English literature in translation, but there are opportunities to learn Old English in the second and third years. The Renaissance part of the course covers a range of literary texts from the early modern period which exemplify the main genres of epic, lyric and pastoral poetry and drama. Follow the links below to the module descriptions which provide further information:

* SE2124 Geoffrey Chaucer
* SE2121 Introduction to Renaissance Literature: Between Reformation and Revolution
* SE2125 Beowulf in Context
* SE2120 Late Medieval Literature: Epic and Romance

Years Two and Three

While there is no separate degree in Medieval and Renaissance Literature, we do offer a full range of modules in these fields. The English Literature degree scheme allows you to specialise in the modules below or to combine medieval and modern module choices. Thus within the degree scheme it is possible to follow a traditional degree pattern of English Literature courses, going from Medieval and Old English Literature through to Postmodernism. Such a pattern might well include Chaucer, Shakespeare, Milton, Eighteenth-Century Literature, Romantic Literature, Victorian novels and Twentieth-Century Literature.

Medieval and Renaissance texts exhibit a range of surprisingly modern preoccupations: with issues of class, gender, sexuality, subjectivity, society and the individual, and with questions of reading and interpretation that lie at the heart of the study of literature. Yet some of the most productive thinking about early literature comes from the creative encounter between modern ways of reading and texts that partially resist those ways of reading.

* SE2202 Introduction to Old English
* SE2279 Myth and Saga
* SE2204 Shakespeare's Comedies
* SE2245 Spenser's Faerie Queene
* SE2269 Introduction to Medieval Drama
* SE2280 Old English Literature
* SE2508 Introduction to Old Norse
* SE2217 Shakespeare's Tragedies
* SE2219 Love & Death in the 17th Century
* SE2201 The Canterbury Tales I
* SE2268 Sir Gawain and the Green Knight
* SE2327 Beowulf
* SE2378 Old Icelandic Sagas
* SE2306 Shakespeare's Histories
* SE2307 Renaissance Drama I
* SE2387 Heroic Poetry and Society
* SE2367 The Robin Hood Tradition
* SE2329 Renaissance Drama II: Politics & Domestic Tragedy
* SE2359 Shakespeare's Late Plays
* SE2285 Literary English: History and Theory
* SE2295 Medieval Arthurian Literature
* SE2294 John Donne

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