Teaching Experiment Methodology: Underlying Principles and ...

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• cours - matière potentielle : the teaching episodes
• cours - matière : mathematics
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Steffe, L. P., & Thompson, P. W. (2000). Teaching experiment methodology: Underlying principles and essential elements. In R. Lesh & A. E. Kelly (Eds.), Research design in mathematics and science education (pp. 267- 307). Hillsdale, NJ: Erlbaum. Teaching Experiment Methodology: Underlying Principles and Essential Elements 1 Leslie P. Steffe Patrick W. Thompson University of Georgia Vanderbilt University With Contributions by Ernst von Glasersfeld The constructivist is fully aware of the fact that an organism's conceptual constructions are not fancy-free.

• experiment methodology
• extended periods
• conceptual foundations of school mathematics
• mathematical reality
• teaching experiment
• mathematics of students as a legitimate mathematics to the extent
• mathematics of students
• mathematical experience
• researchers
• students

Sujets

• Mathematics
• Révision
• Thompson
• William Steffe
• University of Chicago
• Soviet Union
• United States
• Education
• Student

Informations

• Publié par: miphug
• Nombre de lectures: 55
• Langue: Italiano
• Poids de l'ouvrage: 2 Mo

Extrait

LETTERATURA INGLESE
S.S.D.: L-LIN/10

Docente: McCourt
Insegnamento: Letteratura inglese II LTI
ORARIO
Mercoledì 16-18 (AULA B)
Giovedì 12-14 (AULA 16)
CFU: 9
SEMESTRE: primo
Informazioni: [e-mail]


Programma del corso
Il modulo intende offrire un panorama organico dei principali movimenti letterari del “Lungo
Settecento” (dalla Restaurazione al Romanticismo – dal 1660 al 1830), analizzando l'evoluzione dei
vari generi e, nello specifico contesto culturale, la poetica degli autori più rappresentativi. Il corso,
inoltre, si propone di fornire gli strumenti critici per consentire allo studente di orientarsi nel
campo degli studi culturali e letterari collegati al periodo.
Particolare attenzione sarà rivolta alla poesia, alla prosa e al romanzo. Il corso intende delineare i
tratti distintivi del romanzo inglese nel '700. Cercerà di inquadrare la lettura dei vari testi nel
contesto storico-culturale del periodo.


Materiale didattico
Poesia
John Dryden “MacFlecknoe” (extract),
Alexander Pope, “The Dunciad” (extract), An Essay on Criticism, (extract)
Jonathan Swift, “The Lady's Dressing Room”
Lady Mary Wortley Montagu, “The Reasons that Induced Dr S to writea Poem call'd the Lady's
Dressing room”, A Summary of Lord Lyttelton’s Advice to a Lady” etc
Oliver Goldsmith, “An Elegy On The Death Of A Mad Dog”, “The Deserted Village” (extract)
Thomas Gray, “Ode on the Death of a Favourite Cat”, “Elegy written in a country churchyard”
William Wordsworth, “The Solitary Reaper”, “Tintern Abbey” (extract), “It is a beautiful evening
calm and free”,
Shelley “Ozymandias”, "Mont Blanc: Lines Written in the Vale of Chamouni"
Prosa
Jonathan Swift, A Modest Proposal
Mary Wollstonecraft, A Vindication of the Rights of Woman (extracts)

Il romanzo
Tre a scelta tra le seguenti opere:
Daniel Defoe, Robinson Crusoe Jonathan Swift, Gulliver’s Travels (1726)
Samuel Richardson, Pamela (1740)
Henry Fielding, Shamela (1741)
Laurence Sterne, Tristram Shandy (1760) o A Sentimental Journey (1768)
Sydney Owenson (Lady Morgan) The Wild Irish Girl (1806)
Sir Walter Scott, Waverley (1814)
Maria Edgeworth, Ormond (1817)
Mary Shelley, Frankenstein (1817)
Jane Austen, Persuasion (1818)

Letture Critiche
Obbligatorio
Paolo Bertinetti (a cura di), Storia della letteratura inglese, Einaudi, Torino, 2000, vol. I. (Capitoli scelti)
Consigliato
Ian Duncan, Scott’s Shadow, The Novel in Romantic Edinburgh (Princeton University Press, 2007, capitoli
scelti)
Duncan Wu (a cura di), A companion to Romanticism (London: Blackwell, 2004, capitoli scelti)
Stuart Curran (a cura di), The Cambridge Companion to British Romanticism (CUP: 2007, capitoli scelti)
John Richetti (a cura di), The Cambridge Companion to The Eighteenth Century Novel (Cambridge: CUP 1998,
capitoli scelti)
John Sitter (a cura di), The Cambridge Companion to Eighteenth-Century Poetry (Cambridge: CUP, 2001,
capitoli scelti)
Franca Ruggieri, Laurence Sterne: oltre il romanzo, in: L’età di Johnson, a cura di Franca Ruggieri, Roma,
Carocci, 1998, pp. 81-100.
Altri saggi saranno consigliato all’inizio e durante il corso e altri testi primari potranno essere aggiunti.

Misure per studenti stranieri
Nessuna

Note
Modalità d’esame: Le competenze acquisite dallo studente verranno verificate al termine del corso in un
colloquio orale.
Gli studenti lavoratori o comunque impossibilitati a partecipare in modo continuativo alle lezioni sono tenuti a
informare la docente della loro situazione sin dall’inizio del corso e a tenersi in contatto durante il periodo della
didattica.




The period between 1660 and 1785 was a time of amazing expansion for England — or for
"Great Britain," as the nation came to be called after an Act of Union in 1707 joined Scotland to
England and Wales. Britain became a world power, an empire on which the sun never set. But
it also changed internally. The world seemed different in 1785. A sense of new, expanding
possibilities — as well as modern problems — transformed the daily life of the British people,
and offered them fresh ways of thinking about their relations to nature and to each other.
Hence literature had to adapt to circumstances for which there was no precedent.
One lasting change was a shift in population from the country to
the town. "A Day in Eighteenth-Century London" shows the
variety of diversions available to city-dwellers. At the same
time, it reveals how far the life of the city, where every daily
newspaper brought new sources of interest, had moved from
traditional values. Formerly the tastes of the court had
dominated the arts. In the film Shakespeare in Love, when
Queen Elizabeth's nod decides by itself the issue of what can
be allowed on the stage, the exaggeration reflects an
underlying truth: the monarch stands for the nation. But the
eighteenth century witnessed a turn from palaces to pleasure
gardens that were open to anyone with the price of admission. New standards of taste were set
by what the people of London wanted, and art joined with commerce to satisfy those desires.
Artist William Hogarth made his living not, as earlier painters had done, through portraits of
royal and noble patrons, but by selling his prints to a large and appreciative public. London
itself — its beauty and horror, its ever-changing moods — became a favorite subject of writers.
The sense that everything was changing was also sparked by a
revolution in science. In earlier periods, the universe had often seemed
a small place, less than six thousand years old, where a single sun
moved about the earth, the center of the cosmos. Now time and space
exploded, the microscope and telescope opened new fields of vision,
and the "plurality of worlds," as this topic is called, became a doctrine
endlessly repeated. The authority of Aristotle and Ptolemy was broken;
their systems could not explain what Galileo and Kepler saw in the
heavens or what Hooke and Leeuwenhoek saw in the eye of a fly. As
discoveries multiplied, it became clear that the moderns knew things of
which the ancients had been ignorant. This challenge to received
opinion was thrilling as well as disturbing. In Paradise Lost, Book 8, the
angel Raphael warns Adam to think about what concerns him, not to
dream about other worlds. Yet, despite the warning voiced by Milton
through Raphael, many later writers found the new science inspiring. It
gave them new images to conjure with and new possibilities of fact
and fiction to explore.
Meanwhile, other explorers roamed the earth, where they discovered
hitherto unknown countries and ways of life. These encounters with
other peoples often proved vicious. The trade and conquests that
made European powers like Spain and Portugal immensely rich also
brought the scourge of racism and colonial exploitation. In the
eighteenth century, Britain's expansion into an empire was fueled by
slavery and the slave trade, a source of profit that belied the national
self-image as a haven of liberty and turned British people against
one another. Rising prosperity at home had been built on inhumanity
across the seas. This topic, "Slavery and the Slave Trade in Britain,"
looks at the experiences of African slaves as well as at British
reactions to their suffering and cries for freedom. At the end of the
eighteenth century, as many writers joined the abolitionist campaign,
a new humanitarian ideal was forged. The modern world invented by
the eighteenth century brought suffering along with progress.






Neoclassicism:
The dominant literary movement in England during the late seventeenth century and the
eighteenth century, which sought to revive the artistic ideals of classical Greece and Rome.
Neoclassicism was characterized by emotional restraint, order, logic, technical precision,
balance, elegance of diction, an emphasis of form over content, clarity, dignity, and
decorum. Its appeals were to the intellect rather than to the emotions, and it prized wit over
imagination. As a result, satire and didactic literature flourished, as did the essay, the
parody, and the burlesque. In poetry, the heroic couplet was the most popular verse form.






Dryden MacFlecknoe

All humane things are subiect to decay,
And when Fate Summons, Monarch's must obey;
This Flecknoe found, who like Augustus young,
Was call'd to Empire, and had Govern'd long;
In Prose and Verse was own'd without Dispute,
Through all the Realms of Nonsense, Absolute;
This Aged Prince now flourishing in Peace,
And blest with Issue of a large Increase,
Worn out with Business, did at length Debate,
To settle the Succession of the State,
And Pond'ring, which of all his Sons were fit
To reign, and Wage Immortal Wars, with Wit,
Cry'd 'tis Resov'd (for Nature pleads, that he
Should only Rule, who most resembles me,)
Shad--- alone my perfect Imag