【比較文學 writing assignment #3】J. M. Coetzee and the Ethics of Otherness (deadline: 1/3, 12 p.m.)

The question which keeps haunting much of Coetzee's writing is how to do justice to the (racial/gender) Other in the dominant language that has historically been one of the instruments ensuring that this Other is kept subordinate. This question is about taking sides: would you side with the dominant history written by the victors? Or would you side with the vanquished in the unfailing quest for justice, even if the possibility of restorative justice is limited? In Waiting for the Barbarians, the Magistrate is tormented by this ethical question. In his strange relationship with the barbarian girl, he tries to respond ethically to the otherness of this individual who has been classified as inferiro by virtue of race and gender. This (im)possibility of representing the Other constitutes the Magistrate's version of hell and his obsession with shame, damnation, ethical responsibility, and searching for salvation.

Here are three audio clips regarding this well-known South African novelist and his work. Listen carefully and write down anything that inspires you.

【文讀writing assignment #5】 (deadline: 1/4, 12 p.m.)

Flannery O'Connor wrote that "im my own stories I have found that violence is strangely capable of returning my characters to reality and preparing them to accept their moment of grace" and that violence "is the extreme situation that best reveals what we are essentially." Choose one from the two stories we have read ("A Good Man is Hard to Find" and "Everything that Rises Must Converge") in light of these statements about violence. What "moments of grace" do you see?


【文讀writing assignment #4】"What the Hell Happened to Maggie?" --Toni Morrison's "Recitatif" and Jewel's "Pieces of You" (deadline: 12/15, 12 p.m.)

In Toni Morrison's "Recitatif" (1983), Maggie is a crippled, mute, deaf old woman who is constantly conjured up in Twyla's and Roberta's memories. However, the memory about Maggie is constantly rewritten and revised; each woman has a different recollection of an incident in which Maggie either fell down or was knocked down in the orchard at St. Bonny's.

Why are they so fascinated with Maggie? How do you explain the women's paradox of secretly identifing with Maggie and silently abusing/bullying her in their imagination?

Below is the lyrics of "Pieces of You," written by American singer/song writer Jewel. After listening to the song and comprehending its lyrics, can you find any clues to understanding "the Maggie thing"?

"Pieces Of You"

She's an ugly girl, does it make you want to kill her?
She's an ugly girl, do you want to kick in her face?
She's an ugly girl, she doesn't pose a threat.
She's an ugly girl, does she make you feel safe?
Ugly girl, ugly girl, do you hate her
'Cause she's pieces of you?
She's a pretty girl, does she make you think nasty thoughts?
She's a pretty girl, do you want to tie her down?
She's a pretty girl, do you call her a bitch?
She's a pretty girl, did she sleep with your whole town?
Pretty girl, pretty girl, do you hate her
'Cause she's pieces of you?
You say he's a faggot, does it make you want to hurt him?
You say he's a faggot, do you want to bash in his brain?
You say he's a faggot, does he make you sick to our stomach?
You say he's a faggot, are you afraid you're just the same?
Faggot, Faggot, do you hate him
'Cause he's pieces of you?
You say he's a Jew, does it mean that he's tight?
You say he's a Jew, do you want to hurt his kids tonight?
You say he's a Jew, he'll never wear that funny hat again.
You say he's a Jew, as though being born were a sin.
Oh Jew, oh Jew, do you hate him
'Cause he's pieces of you?



有興趣的同學趕快登記,揪團亦可,地點在我研究室 (文A303)。



有興趣的同學趕快登記,揪團亦可,地點在我研究室 (文A303)。老師會準備每個人兩百元圖書禮券,交換條件是:要準備至少一個問題問老師。

【文讀】writing assignment #3 (deadline: 12/8, 12 p.m.)

In Kate Chopin's "The Story of an Hour" (1894), Mrs. Mallard received two shocking news within an hour. The first news revived her, while the second news killed her. This famous short story expresses Chopin's dissatisfaction regarding women's roles in marriages and their desire to break free from the patriarchal restriction and oppression. Love, for Mrs. Mallard, is in fact a violence in disguise because it is carried out by "imposing a private will upon a fellow-creature." Nobody understood her; they thought she was all right; they thought her sorrows were ordinary ones. What is even worse is that everybody misunderstood the cause of her death. They believed that she died from the joy of seeing her husband; only we readers know that she died from the grief of losing what she thought she might have had.

If Mrs. Mallard's husband were dead and she had opportunities to realize her dreams, what would her dreams be? Write a creative essay imagining the future of Mrs. Mallard as a widow.



時間 12月17日 16:00 - 12月19日 21:00


地點 花蓮縣文化局圖書館文化電影院(花蓮市文復路6號)


召集人 空間與文學研究室






16:00 開放現場索票
18:00 進場
18:15 開幕式
18:30~20:50 影片《遮蔽的天空》‧紀文章導演座談

10:30 開放現場索票
12:45 開放進場
13:00~15:00 影片《T婆工廠》‧陳素香導演座談
15:20~17:20 影片《我愛高跟鞋》‧賀照緹導演座談
18:30~20:50 影片《沉沒之島》‧黃信堯導演座談

10:30 開放現場索票
12:45 開放進場
13:00~15:00 影片《天線寶寶之停車暫借問》‧郭明珠導演座談
15:20~17:20 影片《森之歌》‧柯金源導演座談
18:00~20:40 影片《被遺忘的時光》‧楊力州導演座談
20:40~20:50 閉幕式




【文讀】writing assignment #3 (deadline: 12/1, 12 p.m.)

This link can lead you to the audio clip that briefly describes the life and works of Borges. Click "real media" on the right side, listen careful, and write down anything that impresses or inspires you. For example, how fantastic are Borges's concepts of time, reality, and identity? How dos he influence the world and its readers outside Latin America? What are his insights into aspect of human psychology?


【文讀】writing assignment #2 (deadline: 11/18, 12 p.m.)

Choose one from the following questions to write an essay (200-250 words). Cite texts to support your argument.

1) In “The Lady with the Dog,” the characters’ responses to their environment are integral to the action of the story and its effect on the reader. Describe the significance of various “settings” used by Chekhov to symbolize the protagonists’ inner psychology.

2) In “A Very Old Man with Enormous Wings,” why does the spider girl attract more people than the angel?

3) In “The Yellow Wallpaper,” what’s the secret the woman discovers behind the patterns of the wallpaper? Why does Charlotte Perkins Gilman make her narrator go crazy at the end of the story?

【比較文學】期中考essay questions

Choose two questions to answer. Allow no less than 2 pages (single-spaced) for each answer. Cite the texts to support your argument.

1. According to Mary Russo, making a spectacle out of oneself appears to be "a specifically feminine danger" (318). How does Cindy Sherman negotiate this "feminine danger" in her bold affirmations of feminine performance, bodily exposure, and gender masquerade? What does the idea of the "grotesque" and its subversive implications have to do with her various boundary transgressions?

2. Compare and contrast the representation of the grotesque in Kafka and Sherwood Anderson.

3. Compare and contrast Kafka's punishment fantasies in "In the Penal Colony" with CJ Chen's aesthetic of horror.

Please print out your essays and drop them in my departmental mailbox BEFORE 5 pm Friday,November 19th. Late papers are not accepted.


【比較文學】writing assignment #2 (deadline: 10/28, 12 p.m.)

Choose one from the following questions to write an essay (250-300 words). Cite texts to support your argument.

1)What did Kafka try to express through the metamorphosis of Gregor Samsa?

2)What is the central theme of "First Sorrow"? Compare it to the same theme in "A Hunger Artist."

3) Compare and contrast Kafka's punishment fantasies in "In the Penal Colony" with CJ Chen's aesthetic of horror.

4) In Winesburg, Ohio, communication is failed because the feminine qualities of tenderness, intimacy, creativity, and vulnerability are devalued in a patriarchal culture in which femininity is regarded as weakness. Analyze any story that manifests this thwarted feminine dimension of life. How does Anderson suggest that an integration of the feminine qualities is necessary for the artist?


【比較文學】writing assignment #1 (deadline: 10/20, 12 p.m.)

Choose one from the following questions to write an essay (250-300 words). Cite texts to support your argument.

1)In his study of Rabelais, Bakhtin looked at 16th-century France as a site of competing languages and social groups. How does this have to do with Bakhtin's antipathy towards authoritarianism and his penchant for the folk culture and its emancipatory potential?

2)The word "grotesque" comes from the same Latin root as "grotto." Therefore, the many connotations of the grotto--earthiness, fertility, death--link to the various incarnations of the grotesque. Can you find these incarnations in Bakhtin's depiction of the carnivalized body? How? Explain.

3) The image of the Siamese twins is a recurring motif in CJ Chen's Revolt of Body and Soul (《魂魄暴亂》系列). The Siamese twins halppily killing one another, self-mutilating figures modelling on Chen himself, Chen as the executed and the executor, and so forth reveal that the seemingly oppositional relationship between Self and Other is in fact ambivalent. How do you interpret this Self-Other ambivalence in relation to the project of modernity? How do these grotesque images function as Chen's critique of the State Apparatus?


在帝國的邊界上─陳界仁 編年展 1996-2010


展期|2010/8/28 - 2010/11/14
地點|台北市立美術館 地下市 D~E~F







09/12(日) 14:30-16:30 在帝國的邊界上─我的游擊工作報告
10/24(日) 14:30-16:30 位於歷史極限的影像與記憶─閱讀陳界仁作品



【文讀】writing assignment #1(deadline: 10/15, 12 p.m.)

Choose one from the following questions to write an essay (200-250 words). Cite texts to support your argument.

1) In "Roman Fever," what are the hints of hidden conflict between Mrs. Slade and Mrs. Ansley? What details in part 1 bring out the differences in their personalities and their lives?

2) In "The Cask of Amontillado," what can you infer about Montresor's social position and character from hints in the text? What evidence does the text provide that Montresor is an unreliable narrator?

3) The story "Araby" is about a boy's "epiphany." Describe it in relation to the story's setting and its atmosphere and its impact upon the boy.

4) Look closely at the setting of the story "The Birth-Mark," from the laboratory to the boudoir. Note teh similes, metaphors, and other figures of speech that help characterize these places. How do these different patterns of imagery contribute to the symbolism of teh story? to an allegorical reading of the story?

5)Some feminist critics argue that "A Rose for Emily" exposes the violence done to a woman by making her a lady? Do you agree or disagree? Explain.


賀照緹作品 <我愛高跟鞋> 預告片(My Fancy High Heels trailer )


首播:9/28 晚上 10:00
重播:9/29 凌晨 03:00
紀錄觀點 公共電視13頻道




About the Film

This is a film about dreams, and a tale bound together by beautiful high-heeled shoes. Brand-name high heels costing anywhere from $300 to $1000 -- exactly who is it that makes them? From procuring the leather, to the assembly line, to the contract manufacturer, to the moment when lily-white feet slip into each pair of high heels, how many people's hands do these shoes pass through? The farming woman who tends the cattle, the worker, the manager of the contract manufacturing firm, the young New York woman from a wealthy family who wears the shoes -- they all have their own difficulties and little sources of happiness in life. This film adopts their dreams as its central theme, and reveals the story that lies behind a pair of beautiful high heel shoes.

Filmed over a period of two years, this documentary traces the footsteps of a pair of name-brand high-heeled shoes, from the border of China and Russia to the streets of Manhattan, from an impoverished farm town and the sanguinary spectacle of slaughtered cows and skinned hides, to the fashionable, prosperous metropolis. In the spring, the hide of the calves have just been skinned, and the woman assembly-line worker meticulously touches up every last detail of the shoes. By winter of the same year, those tiny details can be seen on the feet of a fashionable woman in New York City.

The impact of globalization on this world manifests itself in each pair of high heel shoes. Every link in the manufacturing chain is its own segment with its own story, and each has its own protagonist. Through the camera, we see the shoes the protagonists wear, ranging from 2 renminbi to 600 US dollars. The film reveals a young female assembly-line worker, with her own feelings of joy, disillusionment and sorrow; a Taiwanese businessman in China, managing a contract manufacturing firm and negotiating with international customers; the inner world of a fashionable, well-off young woman of New York; and the cruel realities of the slaughterhouse. The dreams of all these people reveal the disparities in their positions in life. Beneath the calm and quiet of the entire film lurks an enormous energy, like an immense poem floating amidst the affairs of the world.



Comparative Literature—the grotesque in art and literature
Fall 2010
Thursday 1:10-4:00, 文D221
Instructor: Prof. Jen-yi Hsu
Office hours: Fri. 2-4 p.m., and by appointment (jyhsu@mail.ndhu.edu.tw)
Course Description:
As an idea, “grotesque” is hard to pin down and capable of assuming many forms. The word itself comes from the same Latin root as “grotto,” meaning a small cave or cavern. Therefore, the many connotations of the grotto—earthiness, fertility, femininity, darkness, death—link to the various incarnations of the grotesque. In this class, we will explore the grotesque in art and literature. Three forms of the grotesque will be examined: 1) the grotesque as a way of challenging authority and official order, 2) the grotesque and its associations with the feminine, and 3) the grotesque and its racial representations.
Required Books: 1) course packages available at the Xerox Center 2) books to be purchased at the University Bookstore:
-- Waiting for the Barbarians
-- The Bluest Eye
Grading Policy:
Midterm 30%, final exam 30%, presentation and class participation 30%, blog entries 10% (http://literarycollage.blogspot.com/)
Course Schedule:
Week1: 9/16 Introduction

Part I: The grotesque as a way of challenging authority and official order
Week2: 9/23 〈大眾文化的狂歡節〉(in《對話的喧聲:巴赫汀文化理論述評》by劉康)(Zark, Andy, Tim) ; ”The Banquet, the Body and the Underworld” (in The Bakhtin Reader)(Kevin)
Week3: 9/30 〈陳界仁的歷史肢解與死亡鈍感〉(Lena, Joanne),〈症狀─賤斥─恐懼──另外一種觀看的方式〉(怡安&怡潤) (both in 《心的變異:現代性的精神形式》by劉紀蕙); “Approaching Abjection” (in Julia Kristeva’s Powers of Horror: An Essay on Abjection)
Week4: 10/7 “In the Penal Colony” by Kafka (Connie, Dalia); 〈狂人日記〉(“A Madman’s Diary) by 魯迅 (Lu Xun)
Week5: 10/14 The Metamorphosis (Jasmine, Abby, Stacie), and "First Sorrow" by Kafka
Week6: 10/21 selections from Sherwood Anderson’s Winesburg, Ohio (1919): “The Book of the Grotesque,” “Hands”(Jodie), “Paper Pills”(Stacy), “Mother”(Norah), “The Strength of God,” “Death”

Part II: Female grotesques
Week7: 10/28 《陰性顯影:女性攝影家的扮裝自拍像》by劉瑞琪( Ch3&4, pp.143-243)(Nina &Emma); “Female Grotesque: Carnival and Theory” by Mary Russo (in Writing on the Body: Female Embodiment and Feminist Theory, edited by Conboy, Medina, and Stanbury)
Week8: 11/4 Orlando;〈兩種《歐蘭朵》──文字/影像互動與性別/文本政治〉by張小虹 (in 《性別越界:女性主義文學理論與批評》)(Angela, Maggie)
Week9: 11/11 midterm (take-home exam)
Week10: 11/18“A Temple of the Holy Ghost” by Flannery O’Connor; “Freak Photography” by Rachel Adams (in Sideshow U.S.A.: Freaks and the American Cultural Imagination)(Bella, Maggie, Vanessa)
Week11: 11/25 no class
Week12: 12/2 The Ballad of Sad Cafe by Carson McCullers (Claudia, Brant)
Week13: 12/9 finish The Ballad of Sad Cafe; “Two Bodies in One” by Sarah Gleeson-White (in Strange Bodies: Gender and Identity in the Novels of Carson McCullers) (Alvis, Monica)

Part III: Racial grotesques
Week14: 12/16 Waiting for the Barbarians by J. M. Coetzee (Sasha, Susan)
Week15: 12/23 finish Waiting for the Barbarians (Sharyl)
Week16: 12/30 The Bluest Eye by Toni Morrison (Chet, Mike)
Week17: 1/6 finish The Bluest Eye
Week18: 1/13 final exam


Approaches to Literature ( 文學作品讀法 )

Fall 2010
Tuesday 9:10-12:00, 共二講堂
Instructor: Prof. Jen-yi Hsu
Office hours: Friday 2-4 p.m., and by appointment (jyhsu@mail.ndhu.edu.tw)

Course Description: This class will introduce students to fiction, poetry, and drama and open up a complex field of interpreting and analyzing literature. While the first semester focuses on fiction, the second semester will focus on poetry and drama. We will learn how to approach literature as a distinctive genre with its own specifications and acquaint ourselves with the cultural and historical contexts surrounding the texts. The concern of this class is to engage literature with a critical eye and to introduce students to the complex interactions of region, gender, race, class, and narrative technique. Some basic knowledge of critical theory and its terminology will also be introduced as a preparation for further study.
Required Text:
The Norton Introduction to Literature (Shorter 10th Edition)—to be purchased at the University Bookstore
Course Requirements:
1. Class Prep: You are expected to finish the reading assignments before each class meeting.
2. Attendance: Attendance is mandatory; you are responsible for coming to class on time. Excessive and consistent lateness will also harm your grade. I do not distinguish between excused and unexcused absences. You will automatically fail the course if you miss more than 2 classes. If you must be absent for an extended period of time, you must consult with me to determine the best alternative for completing the course.
3. Oral Report: Two students as a group will be assigned one text for your group report. In the report, you have to introduce the biographical information of the author, summarize the plot of the story, analyze the main characters, and select passages that play crucial roles in the whole development of the story. I encourage creative presentation ideas. You are expected to present in front of the class, ready to take questions.
4. Midterm and final exams: Remember, there will be no make-up exams. Missing the exams will result in failing the course.
5. Blog entries: You are expected to submit 10 blog entries throughout the semester. Deadlines will be announced on the blog: http://literarycollage.blogspot.com/
Grading Policy:
Midterm 30%, final exam 30%, presentation and class participation 30%, blog entries 10%
Course Schedule:
Week 1: 9/14 Intro

Week 2: 9/21 (Plot) “Sonny’s Blues” by James Baldwin (63-85); “Roman Fever” by Edith Wharton (85-94)

Week 3: 9/28 (Narration and Point of View): “The Cask of Amontillado” by Edgar Allan Poe (101-5,Linda and Erica); “Araby” by James Joyce (503-7,Stanley and Bert)

Week 4: 10/5 “The Birth-Mark” by Nathaniel Hawthorne (213--24,Patty and Una); “A Rose for Emily” by Faulkner (391-7, Peace and Lily)

Week 5: 10/12 (Setting): “The Lady with the Dog” by Anton Chekhov (169-80, Sherry, Sammi, and Ethan); “Flowering Judas” by Katherine Anne Porter (180-88, Winni, Fion, and Vedran)

Week 6: 10/19 (Symbol and Figurative Language): “The Thing in the Forest” by A.S. Byatt (224-38, Celina, Katherine, Judy)

Week 7: 10/26 Film Screening: Age of Innocence

Week 8: 11/2 (Theme): “A Very Old Man with Enormous Wings” by Marquez (271-5, Nick and Edison); “The Yellow Wallpaper” by Charlotte Perkins Gilman (354-65, King, Sai, 徐浩嚴)

Week 9: 11/19 Midterm

Week 10: 11/16 no class

Week 11: 11/23 “A Hunger Artist” by Kafka (507-13, Beatrice, Maggie, Daphnie); “The Garden of Forking Paths” by Jorge Luis Borges (463-9, Joanna Taphy, 劉黃芸芸)

Week 12: 11/30 “The Rocking-Horse Winner” by D. H. Lawrence (513-24, Daniel, Jim, Jamison); “The Story of an Hour” by Kate Chopin (353-4, Jojo, 洪睿琦)

Week 13: 12/7 “Recitatif” by Toni Morrison (139-52, Jenny, Linda, Alice); “Boys and Girls” by Alice Munro (570-9, Ashley, Cherry, Sammy); “Girl” by Jamaica Kincaid (116-7, Clare and Vera)

Week 14: 12/14 Film Screening: Beloved

Week 15: 12/21 “A Good Man Is Hard to Find” (299-310, Andrew and Jeffrey), and “Everything That Rises Must Converge” by Flannery O’Connor (323-33, Andy and Bruce)

Week 16: 12/28 “The Management of Grief” by Bharati Mukherjee (559-70, 岑藹欣and黃翊紘); “The Prophet’s Hair” by Salman Rushdie (579-89, Ben and James)

Week 17: 1/4 Film Screening: The Namesake

Week 18: 1/11 final exam


【轉貼】移工小劇場 展演真實壓迫























【聯合報╱張鐵志】 2010.07.23 02:39 am











國立東華大學 【空間與文學】研究室
報 名 表 (可於下載)

時  間:2010.08.24(週二)~2010.08.27(週五),10:00~17:30
上課地點:台北市忠孝東路一段31號1樓 青輔會台北市青年志工中心(近捷運板南線善導寺6號出口)
姓  名 性  別
就讀學校 生  日 年  月  日
系/所 年  級
E-Mail 聯絡電話
其他事項 是否需要研究室安排活動期間之台北市住宿?□是 □否

      涂銘宏老師(U. of Wisconsin-Madison比較文學博士,淡江大學英文學系助理教授)

── 說明事項 ──
1. 本學程研習營得教育部顧問室補助,學員免學雜費。
2. 為維持研習營研習品質,擬招收學員30人為限,以各大專院校大三以上學生優先,系所不拘。
3. 研究室提供非台北縣市住民之外地學員活動期間(08/23、08/24、08/25、08/26四晚)之台北市住宿,惟提出住宿申請之學員,必須於完成報名手續之後預繳保證金2000元。確實參與活動者,待研習營結束,保證金將全數退還;非確實參與活動者(含遲到早退、無故缺席等),保證金恕不退還。
4. 報名方式:一律以e-mail方式報名。
5. 報名截止時間:2010.08.15.(逾期報名,請預先來電0936-177-017洽詢)
6. 【空間與文學】研究室聯絡資訊──
地址:974 花蓮縣壽豐鄉志學村大學路二段一號 國立東華大學 英美語文學系
電話:0936-177-017   傳真:03-8635290   E-mail:luching_whale@yahoo.com.tw或luching@mail.ndhu.edu.tw


【居無定所 掌鏡拍出嚮往的天堂】

The following news article is originally from 《台灣立報》:




















時間:下午2:00 ~ 5:00

地點:UrbanCore Café & BookShelf (台北市中正區中華路一段89-6號1樓)(捷運小南門站1號出口,步行3分鐘)














網址: http://homelessoftaiwan.pixnet.net/blog


98學年度【空間與文學】學程單元Ⅲ--身體化之書寫: 身體想像工作坊

國立東華大學 【空間與文學】研究室

時  間:2010.07.20(週二)~2010.07.22(週四),10:00~17:30
上課地點:台北市忠孝東路一段31號1樓 青輔會台北市青年志工中心(近捷運板南線善導寺6號出口)


 07/20 ◎主題:COSPLAY與台灣的身體想像
 07/21 ◎主題:好萊塢的身體想像
 07/22 ◎主題:服裝與身體想像

── 說明事項 ──
1. 本學程工作坊得教育部顧問室補助,學員免學雜費。
2. 為維持工作坊研習品質,擬招收學員30人為限,以各大專院校大三以上學生優先,系所不拘。
3. 研究室提供非台北縣市住民之外地學員活動期間(07/19、07/20、07/21三晚)之台北市住宿,惟提出住宿申請之學員,必須於完成報名手續之後預繳保證金2000元。確實參與活動者,待工作坊結束,保證金將全數退還;非確實參與活動者,保證金恕不退還。
4. 報名方式:一律以e-mail方式報名。
5. 報名截止時間:2010.07.15.(逾期報名,請預先來電0936-177-017洽詢)
6. 【空間與文學】研究室聯絡資訊──
計畫主持人: 郭強生 教授
地址:974 花蓮縣壽豐鄉志學村大學路二段一號 國立東華大學 英美語文學系
電話:0936-177-017   傳真:03-8635290   E-mail:luching_whale@yahoo.com.tw或luching@mail.ndhu.edu.tw


【英史】期末考essay questions 題庫

Shown below are some possible questions that will appear in the final exam. Good luck!

I. Mrs. Dalloway
See the 5/13th blog post
II. The Virgin and the Gipsy
See the 5/28th blog post
III. T.S. Eliot:
1. Describe the various schools and influences from which Eliot inherited to create his peculiar brand of modern poetry.
2. When Prufrock arrives at the “room,” he finds that the women are talking of Michelangelo. What does this “talking of Michelangelo” suggest to us about Prufrock’s emotional situation, his psychological conflict and dilemma?
3. Explain Eliot’s “Impersonal theory” of poetry as he proposes in his “Tradition and the Individual Talent.”
4. How does Eliot manipulate the tension between contemporaneity and antiquity in “The Waste Land”? Use at least two examples to demonstrate his technique of juxtaposition of the present and the past.
5. Name the titles of the 5 sections of “The Waste Land.”


東華大學英美語文學系2010年度戲劇公演--Suddenly, Last Summer (夏日癡魂)

時間:6/5(六) 18:00入場
劇名:Suddenly, Last Summer (夏日癡魂), by Tennessee Williams



志學:9803 空間 



【英史】Questions for D. H. Lawrence's The Virgin and the Gipsy (deadline: 6/6, 12 p.m.)

Choose one from the following questions to write an essay. Cite texts to support your argument.
1) The story of the Lady of Shalott is used as an intertextul allusion in The Virgin and the Gipsy. What are the implications and significance of this citation?

2) The followings are said to be the recurring themes of Lawrence's work: the war between conscious, mental puritanism and unconscious, primitive sensuality, the contest for a woman between a supercivilized man and an inarticulate man of organic earth, antagonism toward authority, degradation of the man whose sterility is caused by an industrialized society, and the search for the potential powers of a subconscious mind.

Identify at least one above-mentioned theme(s) in The Virgin and the Gipsy and explicate it/them.


【文讀】different views of history (deadline: 6/2, 12 p.m.)

As a poet laureate, Tennyson made himself the spokesperson of the glory of his period. "Ulysses" can be said to be a poem praising the triumphant ascendancy of his era. However, when we bid farewell to the Victorain era and move forward to the 20th century, we can detect the changing view of history in many modernist poems, for example, in W. B. Yeats's "Leda and the Swan" or "The Second Coming."

Compare and contrast Tennyson's "Ulysses" and Yeats's "Leda and the Swan" (or "The Second Coming"). Describe their different views of history as demonstrated in their poems.




時間:99年5月24日(一) 14:00-17:00









2008年12月,美國加州大學柏克萊校區(UC Berkeley)東亞研究所,邀請陳俊志導演及他的性別紀錄片於「中國新媒體─紀錄的衝動」(New Media in China--Documentary Impulse)國際論壇發表,造成轟動。



歷年累積之作品觀影人次── 電視播映,影展放映,校園巡演,網路youtube傳閱\,加上戲院上映── 十年來八部影片,國內國外估計超過數十萬人次以上。1999年《美麗少年》登上華納威秀院線上映,以紀錄片締造當年國片票房第三名的佳績。以性別影片開創台灣紀錄片新局,開啟了日後《翻滾吧男孩》《無米樂》《生命》紛紛登上戲院的台灣奇蹟。


沿海岸線徵友 Fragile in Love (12分鐘)2007年


酷兒舞台 Queers on Stage (10分鐘)2006年


無偶之家,往事之城 Scars on Memory (54分鐘)2005年

2005年6月,公共電視紀錄觀點首播。記錄西門町台客老gay三溫暖的故事。入選2005年台北電影節《全球華人影像精選》單元,2005年台灣國際民族誌影展《家的變奏》系列,2005年東京國際影展《亞洲之風》單元,及日本早稻田大學第二屆台灣映畫展、2006年金穗獎優等獎(Merit Award),2006年釜山亞洲短片影展、及2006年台灣國際紀錄片雙年展「台灣獎」競賽片。2007年,為印度Film of Desire影展唯一獲邀的台灣影片。

我的愛滋朋友 My Positive Friends (23分鐘)2003年



幸福備忘錄 Memorandum on Happiness (53分鐘)2003年




2008年,獲邀映演為美國加州大學柏克萊校區(UC Berkeley)東亞研究所「新媒體─紀錄的衝動」(New Media in China--Documentary Impulse)主題電影。

玫瑰的戰爭 War of Roses (52分鐘)2001年


美麗少年 Boys for Beauty (63分鐘) 1999年


1999年日本山形國際紀錄片影展New Asian Current競賽片,並為山形影展中唯一被日本藝術電影發行商Image Forum挖掘於東京上映發行。同年並獲得台北電影獎商業類影片年度特別獎(Independent Spirit Award)

2000年 第18屆舊金山亞美影展邀展、新加坡國際影展國際參展、以及第14屆日本福岡亞洲影展參展。同年並獲得第2屆台灣國際紀錄片雙年展觀眾最愛獎(Audience Award)


不只是喜宴 Not Simply a Wedding Banquet (50分鐘)1997年

本片於1997年間獲邀入選於:舊金山、夏威夷、匹茲堡、佛羅里達、紐約、加拿大蒙特婁及韓國漢城八大國際同性戀影展,以及,在紐約由崔明慧所主持的短片觀摩展:「崛起中的華人電影作者」。及1998年的日本東京錄影藝術祭、東京國際同志電影節、多倫多、紐西蘭、雪梨...國際同性戀影展,以及英國影藝學院(British Film Institute)三月在倫敦舉辦的同志影展。1998年4月的「不只是喜宴抗議新聞局事件」更建設性地促成了「中華民國錄影作品參加國際影展獎勵要點」的立法通過。






時間:5/24 14-16

時間:5/26 19-21

時間:5/27 14-16


【英史】Questions for Mrs. Dalloway (Deadline: 5/21, 12 p.m.)

Choose one from the following questions to write an essay. Cite texts to support your argument.
1) What’s the difference between Clarissa’s party and Lady Bruton’s?
2) What’s the function or purpose (aesthetic and ideological) of creating a morbid figure like Septimus in such a novel that seems to center on the life-affirmative dinner party?
3) Analyze any character's relationship with food in Mrs. Dalloway. How is the relationship between food and sociopolitical power linked in Woolf's depiction of different eating scenes?
4) Explicate some “connective devices” that Woolf uses to integrate the seemingly disconnected private consciousness of various individuals in Mrs. Dalloway.


【文讀】The Love Poetry of John Donne (deadline: 5/18, 12 p.m.)

In Petrarchan sonnets, woman was always disdainful; the male lover was always sighing, weeping, and tends to alternate bouts of fever and chill. Donne's love poetry rejects this tradition and pleas for a more realistic vision of the relationship between men and women. Oftentimes, cynicism replaces idealism as the reigning mood in Donne's love poetry. Although Petrarchanism is acknowledged in Donne's poetry, it is always referenced with a witty cynicism.

Do you agree or disagree with the view that this "cynicism" might jeopardize sincerity in Donne's love poetry? Are you convinced by the speaker's slick tongue when he dramatizes, analyzes, and illustrates by a wealth of metaphysical analogy the state of being in love? Explain your reasons; cite any love poems from the mass of Donne's poems we read so far to prove your points.


【英史】Virginia Woolf and her narrative modes for presenting consciousness in Mrs Dalloway (deadline: 5/7, 12 p.m.)

According to A Glossary of Literary Terms edited by M. H. Abrams, stream of consciousness "is the name for a special mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and the continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-consious thoughts, memories, expectations, feelings, and random associations" (202). Virginia Woolf's Mrs. Dalloway is a quintessential example of this mode of narration. Listen to this NPR story, in which Woolf's stream-of-consciousness technique was said to anticipate what neuroscientists' study of the human mind and memory. After listening to the story, write down things you feel impressed when you read Mrs. Dalloway, particularly with regard to her keen observation of human mind. Examine any character's interior monologue, observe the flow of their mind, and describe their conflicting feelings, emotions, desires, or fantasies.





The Poetry of Emily Dickinson (Deadline: 5/4, 12 p.m.)

Being one of the two mid-19th-century American geniuses (the other is Walt Whitman), Emily Dickinson knew her poetry was unacceptable by her society's standards of poetic convention, and of what was proper for a woman. Fewer than a dozen of her poems were published in her lifetime; more than a thousand were laid away in her bedroom trunk, do be discovered after her death. A genius who knew what she wanted and chose her seclusion in her self-claimed poetic house of "possibility," Dickinson declared that only the "fairest" visitors were admitted, indicating her aversion to publicity. Being a recluse, she nevertheless presented to us an amazing mind that is inquisitive and profoundly penetrating. The way she observed human vicissitudes was original and unorthodox. Her frequent ways of blending the holy and the profane, the eternal and the homely gave her poetry unexpected turns and startling twists.

We read quite a few poems by Dickinson in today's class. Have you found any poems that impress you as exceptional and unconventional? Which poem inspires you the most? What kind of profound understanding have you gained--in terms of human destinies, nature, a female artist's interior struggles, and so forth?



被多位媒體記者譽為本年度最佳國片之《台北星期天》東部隆重首映:04/30(星期五)晚上6:30東華演藝廳準時放映, 六點開放入場, 加導演映後座談。



2010 台北金馬奇幻影展開幕片《台北星期天》Pinoy Sunday 東部首映暨導演映後座談

放映時間:99年4月30日(五) 18:00 憑票入場 18:30 開映



監製 胡至欣
導演 何蔚庭
音樂 蔡曜任
剪輯 許\惟堯






【英史】the rhetoric of "discovery" and its gendered ideology (deadline: 4/18, 12 p.m.)

In this famous picture drawn in 1575, Jan van der Straet depicts the "discovery" of America in an allegorical way--as a pornographic encounter between a man and a woman. Amerigo Vespucci, an Italian explorer who "discovered" America, is portrayed in the drawing as a fully clothed man who stands masterfully before a naked and sexually inviting woman, who extends her hand in a gesture of seduction and submission. Vespucci, a god-like figure who represents civilization and technology, was about to conquer, to "penetrate" or to "pierce" the virgin land, which is allegorically portrayed as a naked woman. In other words, the rhetoric of "discovery" hinges on a gendered ideology, in which male is conventionally seen as active or aggressive while female viewed as passive and vulnerable.

However, this kind of male-centered imperial discourse cannot always be that triumphant and cocky. In the background of the drawing, we can see a cannibal scene in which human bodies are dismembered and roasted, suggesting threat and danger lurking in the wilderness. The "feminized" wilderness, in fact, is never that passive and vulnerable as imagined by male explorers; oftentimes, it provokes anxiety and fear.

In "Heart of Darkness," can you find similar portrayals of the wilderness that is being "feminized" or "eroticized"? Besides the imperial hubris and narcissism, with its delusional fantasy of male might and unstoppable pillaging and looting, can you also spot a contradictory fear of engulfment or castration? Identify passages and explain them. Make your answer into a 250-300-word essay. Cite texts to prove your points.


【英史】The ideology of "whiteness" in "Heart of Darkness" (deadline: 4/11, 12 p.m.)

In 1899, an advertisement for Pears' Soap in McClure's Magazine announced: "The first step towards lightening THE WHITE MAN"S BURDEN is through teaching the virtues of cleanliness. PEARS' SOAP is a potent factor in brightening the dark corners of the earth as civilization advances, while amongst the cultured of all nations it holds the highest place--it is the ideal toilet soap."

In this ad, we can see the admirable captain wearing white uniform, supposedly using Pears' Soap to wash his hands. Here commodity capitalism goes hand in hand with imperialism. Cleanniss and whiteness guarantee white power and justify the domination of aboriginal people (which is shown in the bottom right corner--a mini-picture of the genuflection of a naked African man). Ships, seaports, and buildings suggest not only trades but also imperial progress. White civilization needs to be brought into the wilderness; the lesson of hygiene needs to be taught to those "savage" people who don't know the "virtues" of clieaniness and whiteness.

It is an interesting coincidence that Conrad's "Heart of Darkness" was also published in 1899, the same year that the Pears' Soap ad came out. In Part I of the novel, Marlow encounters a wonderfully sleazy accountant whom he describes as a "hairdresser's dummy." Re-read these paragraphs (pp. 1902-3). Do you see any irony in these paragraphs? How does the accountant achieve his sartorial spruceness? Why is maintaning cleaniness so important for this accountant? How do you make of his obsesission with cleaning and grooming rituals?

Make your answer into a 250-300-word essay. Cite texts to prove your points.


【英史】feedbacks on Stan's course on Utopia (deadline: 4/9, 12 p.m.)

After Stan's 3-week course on modernist utopia, I think you have learned a lot about the British utopian tradition, the significance of the two World Wars, and the changing attitudes towards culture and literature in the 20th century. If there is a "lesson" to be learned from Stan's course, what do you think it is? Are there discussions or readings in or out of the classroom that shed new light upon things you used to think or opinions you used to hold?


【文讀】認識憂鬱:閱讀普拉絲與《瓶中美人》 by 紀大偉

我在大四的時候,首次聽聞希薇亞.普拉絲(Sylvia Plath)這個名字。那時候,「美國文學史」是大學英文系畢業前最後的必修課,時數苦短。教授拚命趕課,幾乎無暇顧及較近文本──但我們竟然還是讀了二次世界大戰之後的一位古怪女詩人,作為大學四年的句點。她是文學課程不容疏漏的人物,自然具有經典地位,她就是普拉絲。






  語言文字究竟是必要之惡──唯有練習述說憂鬱症,我們才有機會認識憂鬱。《神奇百憂解》(Listening to Prozac; by Peter D. Kramer)、《躁鬱之心》(An Unquiet Mind; by Kay R. Jamison;但此書談論「躁鬱症」,和「憂鬱症」略有不同)、《超越百憂解》(Beyond Prozac; by Michael J. Norden)等書展示了鬱的詞典,李安的電影《冰風暴》顯現出憂鬱的身影,但我們還需要更綿長的文字生命史。於此,憂鬱症守護女神普拉絲的作品絕對不能絕席。普拉絲是美國當代詩壇的代表人物,不過她唯一的長篇小說《瓶中美人》(The Bell Jar)對憂鬱症著墨甚,比她繁多的詩篇更具影響力。書名「鐘形瓶」形象,已經成為憂鬱症的代名詞:《瓶中美人》第十五章寫過,「我坐在同一個玻璃鐘形瓶下面,在我自己的酸苦之氣中慢燉慢熬,自作自受。」


  普拉絲於一九三二年生於美國麻省,父親是波士頓大學著名的蜜蜂專家;她八歲就會寫詩;獲獎學金進入麻省史密斯學院,這是當時最大的女校;她在暑假前往紐約「Mademoiselle」雜誌擔任實習編輯,只有才女才能享有這份榮譽;她得富爾萊特伯獎金赴英國劍橋大學進修,在英國結識後來的丈夫泰德.修斯(Ted Hughes)──修斯就是後來享譽甚隆的英國桂冠詩人;婚後她並參加著名詩人勞勃.羅威爾(Robert Lowell)的寫作課,另一位詩人謝歌絲登(Anne Sexton)是她的同學。





【文讀】Sylvia Plath's inverview (deadline: 4/6, 12 p.m.)

In today's class, we talked about how "good literature" can have this wonderful ability to defy the erosion of time and to stay forever young and awe-inspiring years after it's production. Reading Sylvia Plath's poem such as Daddy gives us such kind of feeling. Her poetry, with its emotional intensity and macaber savageness, can still give us the shudders today. Below is an audio clip of Plath's interview. Listen carefully. In this interview, she mentioned Robert Lowell and Anne Sexton, whose "confessional poetry" inspired and excited her. Why? What kind of subject she felt drawn to? What does she mean when she talked about the "dangerousness of gentility" in England? What's the difference between being an American poet and an English poet? Write down anything that you feel interesting or inspiring after listening to this sound clip. Pay attention to Plath's commanding and yet beautiful voice.


【文讀】tensions in John Keats's poetry (deadline: 3/23, 12 p.m.)

As we talked in class, tensions fascinate artists and writers because a tension presents an ever-fluid situation in which two forces are flirting, combating, wrestling,intercoursing with one another. Tensions defy status quo, bringing forth oppositions that stir imagination and trigger narration. In other words, a tension or an opposition is forever intriguing, forever evocative, and forever provocative for artists.

In fact, you can find out this "tension" or "opposition" operating throughout John Keats's poetry. His poems such as "Old to a Nightingale" or "Ode on a Grecian Urn" are built upon oppositions. Although he likes to set up a tension, he does not want it fully resolved. However, much of the pleasure we derive from his poetry stems from this opposition between dreams of something better and the pains of reality.

Here comes your assignment: Pick up any sections of his poem, looking at the details of the poem. Identify a central opposition in the poem and analyze this "opposition."



The Dong Hwa Translation Prize invites submissions of translations from Chinese into English and vice versa. Please see below for details:






以Microsoft Word格式繕打,列印於A4紙上,一式三份。





Hi folks!【英史】課要加簽的同學請舉手,讓我知道要印幾張加簽單。人數統計完後,我會把簽好名的加簽單放在英美系辦 Diane 那裏,請需要的同學跟 Diane 拿。

【文讀】"Pied Beauty" by Gerard Manley Hopkins (deadline: 3/15, 12 p.m.)

How many ways of expressing mixed color can you find in this poem? How does Hopkins expand the meaning of "pied beauty"?


【英史】Questions for James Joyce's "The Dead" (deadline: 3/12, 12p.m.)

In our first week of class, we talked about the meaning of being "modern." To be modern is to find ourselves thrown into a turmoil that is simultaneously exciting and threatening. It is exciting because the dizziness comes from the drama, joy, adventure, and power promised by the arrival of modernity; however, it is at the same time threatening because our old "solid" systems of belief (regarding everything we know about ourselves and about the world) are shattered so mercilessly, as Marx described in the Communist Manifesto:"All that is solid melts into air, all that is holy is profaned." This "melting" vision is later to be found in Yeats's famous poem "The Second Coming": "Things fall apart; the center cannot hold."

In other words, modernity is the age of doubt. Old confidence in History and Truth evaporates. If the Truth (with a capital "T") of God, selfhood, empire is no longer valid, the exploration of "truths" (in a plural form) becomes a modernist task for writers and artists to pursue. Since the objective,rational, or transcendental "Truth" has been rejected, writers begin to focus on subjective, everyday, personal "truths." And usually these "truths" imply a critique of the traditional, the masculine, the Victorian values.

With this in mind, if James Joyce's name is synonymous with modernist literature, how does his work participate in this "de-centering" project? How does his fiction disrupt conventional expectations about self, narrative certainty, and religious faith? If all that has once been holy is now profaned, how can a modernist writer like Joyce manage to do? Can a semi-holy glimpse of redemption be possible for Joyce in this disenchanted modern world which is irreversibly secular?

You can link the aforementioned questions to a detailed consideration of Gabriel in "The Dead." For example, how does Garbriel's "certainty" crumble after several incidents happened in the story? Examine those incidents and anaylze Gabriel's confrontations with different female characters. In what way do these confrontations bring about Gabriel's awareness of his limitations as a lover and a human being?

Make your answer into a 350-400-word essay.


【文讀】the power of creative imagination in "Kubla Khan" (deadline: 3/9, 12 p.m.)

In today's class, we talked about the hallucinatory genesis of Coleridge's poem "Kubla Khan" and the uncanny visions that are invoked by the poet as a seer. The poem itself is also a demonstration of Romantic art-making. Kubla Khan represents the artist; fantastic Xanadu is the world of art; and the "stately pleasure-dome"--a "miracle of rare device"--is the intricate artwork.

The poem, written in 1797 and published in 1816, is considered a Romantic poem. The Romantic Period is generally considered to be a period revolting against the 18th-century rage for order and reason. Traits or style of the period can be characterized in the following list of Romantic elements:
1) Orientalism: Romantics were interested in the Orient for its exotic and rich colors.
2) Primitivism: Romantics believed that a less advanced stage of culture, even a savage condition, gives people more happiness than complex modern society.
3) The Supernatural and Psychological Extremes: Romantics were fascinated with stories of bewitchings, hauntings, and possession. The 18th-century concepts such as "reason," "order," and "discipline" were disdained by them; instead, they favored supernatural happenings, strange adventures, and violent fits of passion.
4) Celebrations of Creativity and Individualism: The Romantic period, simultaneously the period of imperial expansion and boundless revolutonary hope, was also an epoch of individualism in which poets had high expectations for human potentialities and powers.

In "Kubla Khan," can you detect any Romantic elements listed above? What are they? Use concrete examples from the poem to prove your points.



English Literature since 1901
Spring 2010
Thursday 9:10-12:00, 文二講堂
Instructor: Prof. Jen-yi Hsu (許甄倚)
Office hours: Wednesday 2-4 p.m., and by appointment (jyhsu@mail.ndhu.edu.tw)
Course Description:
This class will introduce students to major English authors of the twentieth century such as Joseph Conrad, James Joyce, Virginia Woolf, Aldous Huxley, George Orwell, D. H. Lawrence, and T.S. Eliot. The twentieth century is the period which launches a rejection of Victorian confidence and begins a move toward skepticism and a reevaluation of the Enlightenment project. We will discuss the consequences of this “epistemological rupture” as reflected in intellectual history, literary and aesthetic movements and will investigate how different writers use different techniques and ways of representation to respond to various issues of their concern (e.g. changing sexual mores, clashes between tradition and modernity, the technological domination of nature, imperialism and British identity, etc.).

**From week 3 to week 5, Professor Stankomir Nicieja from Poland’s University of Opole will give us a 3-week course on Utopian literature. Two books—George Orwell’s 1984 and Aldous Huxley’s Brave New World—are required to read as a preparation for this session. You can read them in Chinese if your reading speed is too slow to finish two English novels in 3 weeks.
Required Books:
The Norton Anthology of English Literature (8th Edition‧Volume 2)
Mrs. Dalloway (書林)
1984 by George Orwell (喬治‧歐威爾)(both English and Chinese version)
 《美麗新世界》( Brave New World) by 赫胥黎 (Chinese version)
 All books can be purchased at the University Bookstore (東華書坊)
Course Requirements:
1. Class Prep: You are expected to finish the reading assignments before each class meeting.
2. Attendance: Attendance is mandatory; you are responsible for coming to class on time. Excessive and consistent lateness will also harm your grade. I do not distinguish between excused and unexcused absences. You will automatically fail the course if you miss more than 2 classes. If you must be absent for an extended period of time, you must consult with me to determine the best alternative for completing the course.
3. Blog entries: Each week we will have some discussion questions posted to the blog (http://literarycollage.blogspot.com/). You are expected to post your answers for the discussion questions. Try to think each blog question as an essay question and proceed to write in a formal and an organized essay format. Deadlines will be announced in the blog.
4. Midterm and final exams: Remember, there will be no make-up exams. Missing the exams will result in failing the course.
Grading Policy:
Midterm 30%, final exam 30%, blog entries and class participation 40%
Course Schedule:
Week1: 2/25 Introducing the Period: The Twentieth Century (pp. 1827-50)
Week2: 3/4 James Joyce, “The Dead” (pp. 2163-68; pp. 2172-99)
Week3: 3/11 Stan’s session on Utopian Literature (texts to be discussed: Brave New World by Aldous Huxley; 1984 by George Orwell)
Week4: 3/18 Stan’s session
Week5: 3/25 Stan’s session
Week6: 4/1 Joseph Conrad, Heart of Darkness (pp. 1885-87; pp. 1891-1918)
Week7: 4/8 finish Heart of Darkness
Week8: 4/15 Virginia Woolf, A Room of One’s Own (pp. 2080-82; pp. 2092-2152)
Week9: 4/22 midterm
Week10: 4/29 Virginia Woolf, Mrs. Dalloway (pp. 1-98)
Week11: 5/6 Mrs. Dalloway (pp. 99-197)
Week12: 5/13 finish Mrs. Dalloway
Week13: 5/20 D. H. Lawrence, The Virgin and the Gipsy (Chapter1-5)
Week14: 5/27 The Virgin and the Gipsy (Chapter 5-10)
Week15: 6/3 T. S. Eliot, “The Love Song of J Alfred Prufrock” (pp. 2286-93); “Journey of the Magi” (pp. 2312-13); “Tradition and the Individual Talent” (pp. 2319-25)
Week16: 6/10 T. S. Eliot, “The Waste Land” (I, II)
Week17: 6/17 finish “The Waste Land” (III, IV, V)
Week18: 6/24 final exam



Approaches to Literature II(Spring 2010)
Tuesday, 9:10-12:00 a.m., 文D221
Instructor: Prof. Jen-yi Hsu
Office hours: Wednesday 2-4p.m., and by appointment (jyhsu@mail.ndhu.edu.tw)
Required Book:
The Norton Introduction to Literature (Shorter 9th Edition)
Course Requirements: Midterm 25%, final exam 25%, presentations 25%, poetry memorization 15 %, and blog entries 10%. Every other week we will have some discussion questions posted to the blog (http://literarycollage.blogspot.com/). You are expected to post your answers for the discussion questions. Try to think each blog question as an essay question (not an informal discussion forum) and proceed to write in a formal and an organized essay format. Deadlines will be announced in the blog.
** Please be reminded that attendance is crucial and two absences will result in failing this course.

Course Schedule:
Week1: 2/23 Intro
Week2: 3/2 Marge Piercy, “Barbie Doll” (p. 619)
W. D. Snodgrass, “Leaving the Motel” (p. 620)
William Blake, “London” (p. 625: Eva)
Adrienne Rich, “Aunt Jennifer’s Tigers” (p. 628:Sophie)
Samuel Taylor Coleridge, “Kubla Khan” (p. 979: Krystal Huang)
Week3: 3/9 William Carlos Williams, “The Red Wheelbarrow” (p. 694)
“This is Just to Say” (p. 695)
Gerard Manley Hopkins, “Pied Beauty” (p. 695: Fatima)
Ben Johnson, “Still to be Neat” (p. 697: Annie)
Robert Herrick, “Delight in Disorder” (p. 697)
Oscar Wilde, “Symphony in Yellow” (p. 699)
Ted Hughes, “To Paint a Water Lily” (p. 701)
Week4:3/16 John Keats, “Ode to a Nightingale” (p. 843: Zenobia)
“Ode on a Grecian Urn” (p. 845: Sandy)
“To Autumn” (p. 846: Vickie)
Week5:3/23 Robert Browning, “Soliloquy of the Spanish Cloister” (p. 644: Grace)
Robert Browning, “My Last Duchess” (p. 827: Vivian Fu)
Elizabeth Barrett Browning, “To George Sand” (p. 829)
Week6:3/30 Sylvia Plath, “Morning Song” (p. 675: Jade)
“Point Shirley” (p. 666: Janet)
“Daddy” (p. 948: Emily)
“Lady Lazarus” (p. 1001: Cleon)
Week7:4/6 (no class)
Week8:4/ 13 Film Screening: Sylvia
Week9:4/ 20 Midterm
Week10:4/ 27 Emily Dickinson, “After great pain, a formal feeling comes” (p. 690)
“I dwell in Possibility” (p. 694: Amy)
“Wild Night—Wild Night” (p. 716: Vivian Tu)
“A narrow Fellow in the Grass” (p. 747: Ted)
“The Wind begun to knead the Grass” (p. 768)
“My Life had stood—a Loaded Gun” (p. 811: Cherry Liang)
“Because I could not stop for Death” (p. 980: Alier)
“I stepped from Plank to Plank” (p. 981)
“We do no play on Graves” (p. 981)
Week11:5/4 John Donne, “The Flea” (p. 661: Joanne)
“Batter my heart, three-personed God” (p. 712: Erica)
“The Computation” (p. 712: Jessie)
“The Canonization” (p. 713: Tony)
“The Good-Morrow” (p. 674: Teresa)
“A Valediction: Forbidding Mourning” (p. 985: Kate)
Week12:5/11 John Donne, “Death, be not proud” (p. 982: Sophia)
“The Sun Rising” (p. 983)
“Song” (p. 984)
Andrew Marvell, “To His Coy Mistress” (p. 671: Joyce)
Andrew Marvell, “On a Drop of Dew” (p. 702)
“The Garden” (p. 997: Sue & Sugar)
Week13:5/18 T. S. Eliot, “Journey to the Magi” (p. 987: Cherry Lin)
W. B. Yeats, “The Second Coming” (p. 1023: Ronny)
W. B. Yeats, “Leda and the Swan” (p. 1024: Kelly)
W. B. Yeats, “Sailing to Byzantium” (p. 1025: Daniel)
Week14:5/25 Alfred, Lord Tennyson, “Tears, Idle Tears” (p. 1008: Wee)
Lord Tennyson, “Tithonus” (p. 1009)
“Ulysses” (p. 1011: Frank)
Week15:6/1 Sophocles, Antigone (pp. 1423-1454)
Week16:6/8 finish Sophocles’s Antigone
Week17:6/15 poetry memorization
Week 18: 6/22 Final exam


【空間與文學】學程單元Ⅲ-身體化之書寫- 流形與異體研習營 招生

流形與異體研習營 招生

◎時  間:2010.01.18~2010.01.22
 上課地點:花蓮縣壽豐鄉志學村大學路二段一號 國立東華大學 文學院D221教室




01/18(週一)09:00~12:00 不男不女(王秀雲老師‧高雄醫學大學性別研究所)
01/18(週一)14:00~17:00 喬依思的身體政治(廖勇超老師‧臺灣大學外國語文學系暨研究所)

01/19(週二)09:00~12:00 全球化下的瑪丹娜身體轉變(廖勇超老師‧臺灣大學外國語文學系暨研究所)

01/20(週三)09:00~12:00 卡夫卡小說裡的變形身體(許甄倚老師‧東華大學英美語文學系暨創作與英語文學研究所)
01/20(週三)14:00~17:00 情色身體的視覺政治(王君琦老師‧東華大學英美語文學系暨創作與英語文學研究所)

01/21(週四)09:00~12:00 卡森‧麥克勒斯《小酒館的悲歌》裡的酷異身體(許甄倚老師‧東華大學英美語文學系暨創作與英語文學研究所)
01/21(週四)14:00~17:00 戀上賽伯格(王君琦老師‧東華大學英美語文學系暨創作與英語文學研究所)

01/22(週五)09:00~12:00 Film Society
01/22(週五)14:00~17:00 障礙‧身體與社會(張恆豪老師‧臺北大學社會學系)


1. 本學程研習營得教育部顧問室補助,學員免學雜費。全日研習時,供應午餐\餐\盒。

2. 為維持教學研習品質,本活動招生人數有限,以各大專院校大三以上學生優先,系所不拘,但學員必須具備英語閱\讀能力。

3. 報名方式:一律以e-mail或傳真方式報名。
  報名截止時間:2010.01.15. (逾期報名,欲中途聽課者,請預先來電0936-177-017洽詢)

4. 【空間與文學】研究室聯絡資訊──
  地址:974 花蓮縣壽豐鄉志學村大學路二段一號 國立東華大學 創作與英語文學研究所
  電話:0936-177-017   傳真:03-8635290   E-mail:luching@mail.ndhu.edu.tw或luching_whale@yahoo.com.tw

Jhumpa Lahiri Finds Roots in Writing (deadline: 1/13, 12 p.m.)

April 8, 2008 (by Tom Vitale from NPR.org)

In all her work, acclaimed author Jhumpa Lahiri has focused on the lives and struggles of Bengali-Americans. Her stories are about strangers in a strange land, trying to fit in.

It's a world she knows well: Lahiri was born in London in 1967, the daughter of immigrants from Calcutta. When she was 7, her family moved to New England, where her father still works as an academic librarian at the University of Rhode Island. She now lives in Brooklyn with her husband and two children.

"I never felt that I had any claim to any place in the world," says Lahiri. But, "in my writing, I've found my home, really, in a very basic sense — in a way that I never had one growing up."

Lahiri's fiction has certainly found a home in the literary world. Her debut book, The Interpreter of Maladies, won the 1999 Pulitzer Prize for fiction, and her novel, The Namesake, was adapted into a Hollywood film.

Her new collection of stories is called Unaccustomed Earth. The title comes from a passage in Nathaniel Hawthorne's introduction to The Scarlet Letter:

"Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn-out soil. My children … shall strike their roots in unaccustomed earth."

"I stopped when I got to those words," Lahiri says. "I just thought about how much they stand for everything that I had been writing about: the experience of being transplanted, and people being transplanted."

Time Magazine book critic Lev Grossman likens the stories in Lahiri's new collection to those of Hemingway or Chekhov. He says that while the literary fashion these days is to entertain and to grab the reader's attention with plot twists, wordplay and humor, Lahiri's style harks back to the 19th Century.

"She builds her stories slowly, out of simple, declarative sentences," says Grossman. "But once she builds them ... that final square in the Rubik's Cube just clicks into place, and suddenly ... you realize that that's life. That's truth."

Mira Nair, who directed the film adaptation of The Namesake, describes moments in Unaccustomed Earth as "gasp-worthy."

"I just gasp, suddenly, in the middle of the story. I have to close the book!" says Nair. "And then I finish it, and then I almost always re-read it because I just want to then savor it."

Lahiri says now she's working on a new idea she thinks is going to be a novel. But for all of her success, the 40-year-old author says writing hasn't gotten any easier.

"I think writing something new each time is a very daunting, scary journey," she says. "And I just want to have the strength, and the clarity of mind, to continue to make those journeys."

Listen to the story and write down anything that strikes you as unusual, fascinating or inspiring.