LITTERATURE AMERICAINE L`épreuve de composition repose sur

LITTERATURE AMERICAINE L’épreuve de composition repose sur de solides connaissances du corpus littéraire anglo-­‐saxon. Si les connaissances délivrées par les anthologies s’avèrent nécessaires à la perception globale de l’histoire de la littérature américaine, vous ne pouvez faire l’économie de la lecture d’œuvres intégrales, qui seules peuvent vous permettre de vous approprier le corpus et d’en comprendre les enjeux littéraires. La lecture d’au moins un ouvrage (roman, nouvelle, poèmes ou pièce de théâtre) dans chacun des blocs thématiques et/ou chronologiques proposés ici est indispensable pour se présenter au concours dans des conditions favorables à la réussite. Fiction américaine Washington Irving, « Rip van Winkle » (1819), « The Legend of SLeepy Hollow » (1820) Nathaniel Hawthorne, The Scarlet Letter (1850), Twice Told Tales (1837) James Fenimore Cooper, The Last of the Mohicans (1826) Henry David Thoreau, Walden, or Life in the Woods (1854) Walt Whitman, Leaves of Grass (1855) Mark Twain, The Adventures of Huckleberry Finn (1884) Herman Melville, « Bartleby » (1853), Moby Dick (1851) Edgar Allan Poe, The Tales of the Grotesque and the Arabesque (1840) (« The Black Cat, « The Fall of the House of Usher », « William Wilson ») Henry James, The Turn of the Screw (1898) Daisy Miller (1878) Edith Wharton, House of Mirth (1905), The Age of Innocence (1910) Willa Cather, My Antonia (1918) Sherwood Anderson, Winesburg Ohio (1919) Francis Scott Fitzgerald, The Great Gatsby (1925) Ernest Hemingway, Fiesta, The Sun also Rises (1926) John Steinbeck, Grapes of Wrath (1939), Of Mice and Men (1937) William Faulkner, The Sound and the Fury (1929), As I Lay Dying (1930) Tenessee Williams, A Streetcar Named Desire (1947) Arthur Miller, Death of a Salesman (1934); The Crucible (1953) Ralh Ellison, Invisible Man (1952) Toni Morrison , Beloved (1987), Sula (1973). Jerom David Salinger, The Catcher in the Rye (1951) Harper Lee, To Kill a Mocking Bird (1961) Vladimir Nabokov, Lolita (1955), Pale Fire (1962) Jack Kerouac, On the Road (1957) Allen Ginsberg, Howl (1956) Robert Coover, The Public Burning, 1977. Donald Barthelme, Snow White (1965 ; Sixty Stories (1981) Thomas Pynchon, The Crying of Lot 49 (1966) Nicholson Baker, The Mezzanine (1986) Truman Capote, In Cold Blood (1965) DeLillo, Don, White Noise (1984), Cosmopolis (2006), Falling Man (2007) Philip Roth, The American Pastoral (1997), The Human Stain (2000) Paul Auster, Moon Palace (1989), New York Trilogy (1985-­‐86). Steven Millhauser, Martin Dressler, Portrait of an American Dreamer (1997) LITTÉRATURE GB La lecture d’au moins un ouvrage en prose ou de fiction dans chacun des blocs thématiques et/ou chronologiques proposés ci-­dessous est indispensable. Shakespeare un drame historique: Henry V, Richard III, etc.; une comédie: Much Ado About Nothing, A Midsummer Night’s dream, etc.; une tragédie: King Lear, Macbeth, Hamlet; un choix de sonnets: Sonnets 12, 20, 65, 129, 130, etc. 17e & 18e siècles The Bible. Authorized King James Version, 1611; Samuel Pepys, The Diary of Samuel Pepys, 1666; Aphra Behn, Oroonoko, 1688; Daniel Defoe, The Life and Adventures of Robinson Crusoe, 1719; Jonathan Swift, Gulliver’s Travels into Several Remote Nations of the World, 1726; Henry Fielding, History of Tom Jones, a Foundling, 1749; Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman, 1759-­‐1767. Romantisme(s) Horace Walpole, The Castle of Otranto, 1764; Ann Radcliffe, The Mystery of Udolpho, 1794; Matthew Gregory Lewis, The Monk: A Romance, 1796; Mary Wollstonecraft Shelley, Frankenstein: or, The Modern Prometheus, 1818; Thomas De Quincey, Confessions of an English Opium-­eater, 1821; Sheridan Le Fanu, Uncle Silas: A Tale of Bartram-­Haugh, 1864; Bram Stoker, Dracula, 1897. Jane Austen, Sense and Sensibility, 1811; Emma, 1815; Northanger Abbey, 1818; Walter Scott, Waverley; Or ‘Tis Sixty Years Since, 1814; Ivanhoe: A Romance, 1819. Romans victoriens Charlotte Brontë, Jane Eyre: An Autobiography, 1847; Emily Brontë, Wuthering Heights, 1847. Elizabeth Gaskell, Cranford, 1851-­‐53; North and South, 1854-­‐55; George Eliot, The Mill on the Floss, 1860; Middlemarch, 1871; William Makepeace Thackeray, Vanity Fair, 1847-­‐1848; Charles Dickens, Oliver Twist 1839; David Copperfield, 1850; Hard Times, 1854; Great Expectations, 1861; Our Mutual Friend, 1864. Nonsense & fin de l’époque victorienne Lewis Carroll, Alice’s Adventures in Wonderland, 1865; Through the Looking-­Glass, and What Alice Found There, 1871; Arthur Conan Doyle, A Study in Scarlet, 1887;The Sign of the Four, 1890; The Hound of the Baskervilles, 1902; The Valley of Fear, 1915; Robert Louis Stevenson, Treasure Island, 1883; The Strange Case of Dr Jekyll and Mr Hyde, 1886; Oscar Wilde, The Picture of Dorian Gray, 1891. Fin de siècle & modernisme Thomas Hardy, Far from the Madding Crowd, 1874; The Return of the Native, 1878; The Mayor of Casterbridge, 1886; Tess of the D’Urbervilles, 1891; Joseph Conrad: Heart of Darkness, 1899; Lord Jim, 1900. E.M. Forster: A Room with a View, 1908; Howards End, 1910; A Passage to India, 1924; Rudyard Kipling, Kim, 1901; Just So Stories, 1902. James Joyce, Dubliners, 1914; A Portrait of the Artist as a Young Man, 1915. Virginia Woolf, Jacob’s Room, 1922; Mrs Dalloway, 1925; To the Lighthouse, 1927; Orlando, 1928.; D.H. Lawrence, The Rainbow, 1915; Women in Love, 1920. Guerres & dystopies Aldous Huxley, Crome Yellow, 1921; Brave New World, 1932. Evelyn Waugh, A Handful of Dust, 1934; Christopher Isherwood, Goodbye to London, 1939; George Orwell Animal Farm, 1945; 1984, 1948; Malcolm Lowry, Under the Volcano, 1948; Graham Greene, The Heart of the Matter, 1948;William Golding, Lord of the Flies, 1954; Anthony Burgess, A Clockwork Orange, 1962. Temps présents John Fowles, The French Lieutenant’s Woman, 1969; Martin Amis, Money, 1984; London Fields, 1989; Time’s Arrow, 1991; Julian Barnes, Flaubert’s Parrot, 1984; A History of the World in 10 ½ Chapters, 1989; Arthur and George, 2005; The Sense of an Ending, 2011. Graham Swift, Waterland, 1983; Last Orders, 1996; Wish You Were Here, 2011; Jonathan Coe, What a Carve Up! 1994; The House of Sleep, 1997; The Rain Before It Falls, 2007. Kazuo Ishiguro, The Remains of the Day, 1988; Never Let me Go, 2005; Ian Mac Ewan, Atonement, 2002; Saturday, 2005; Will Self, Dorian, an Imitation, 2002; The Book of Dave, 2006; Shark, 2014. Doris Lessing, The Golden Notebook (1962), The Fifth Child (1988), Ben, in the World (2000) ; Iris Murdoch The Unicorn, (1963) ; A.S. Byatt, Possession, a Romance (1990) ; Pat Barker, The Regeneration Trilogy: Regeneration (1991), The Eye in the Door (1993), The Ghost Road (1995) ; Kate Atkinson, When will there be goods news ? (2008), Life After Life (2013) Salman Rushdie, Midnight’s Children, 1981; Arundhati Roy, The God of Small Things, 1997; Shalimar the Clown, 2005; Hanif Kureishi, The Buddha of Suburbia, 1990; Gabriel’s Gift, 2001; Zadie Smith, White Teeth, 2000; V.S. Naipaul, Half a Life (2001), Magic Seeds (2004); Chimamanda Ngozi Adichie, Half of a Yellow Sun (2007), Americanah (2013) Alan Hollinghurst, The Line of Beauty (2004) ; Jeannette Winterson, Oranges are not the Only Fruit (1985), Sexing the Cherry(1989), Why Be Happy When You could Be Normal? (2014) ; Sarah Waters, Fingersmith (2002)