【文讀assignment #5】epiphany achieved via violent means (deadline: 1/8/2012, 12 a.m.)

In her short stories, Flannery O’Connor brings her characters to a moment of epiphany when it is no longer possible for them to return to the old ways of life. The proud are humbled, the ignorant are enlightened, and the hypocritical are forced to recognize that the discrepancy between their smug surface and its hollow spirituality is the proof of their inadequacy in the eyes of God. For O’Connor, this epiphanal moment can only be achieved by violence and destruction: “In 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…. We hear many complaints about the prevalence of violence in modern fiction, and it is always assumed that this violence is a bad thing and meant to be an end in itself. With the serious writer, violence is never an end in itself. It is the extreme situation that best reveals what we are essentially” (“On Her Own Work”).

In the three stories we read (“A Good Man Is Hard to Find,” “Good Country People,” “Everything That Rises Must Converge”), can you find any “moments of epiphany” which are produced in extreme violent situations? How do these violent situations “reveal” the hidden message of God? What mysterious transformations have the characters undergone when they are shocked into an awareness of their smug ignorance?

Is the Misfit the devil?

Famous for her rather eccentric and certainly unique literary style, O’Connor produced fiction in which the action of divine grace is worked in a mysterious and even grotesque way. Oftentimes, it is hard to understand the religious message that O’Connor tried to convey to her audience. However, in “On Her Own Works,” she explains to us the gist of her short story "A Good Man Is Hard to Find," which is "something more than an account of a family murdered on the way to Florida." The fatal encounter between the character Grandmother and the serial killer “the Misfit”mysteriously allows the action of grace in the Grandmother's soul to take place. As O'Connor writes:

“I often ask myself what makes a story work, and what makes it hold up as a story, and I have decided that it is probably some action, some gesture of a character that is unlike any other in the story, one which indicates where the real heart of the story lies. This would have to be an action or a gesture which was both totally right and totally unexpected; it would have to be one that was both in character and beyond character; it would have to suggest both the world and eternity. The action or gesture I’m talking about would have to be on the anagogical level, that is, the level which has to do with the Divine life and our participation in it…. It would be a gesture which somehow made contact with mystery.

There is a point in this story where such a gesture occurs. The Grandmother is at last alone, facing the Misfit. Her head clears for an instant and she realizes, even in her limited way, that she is responsible for the man before her and joined to him by ties of kinship which have their roots deep in the mystery she has been merely prattling about so far. And at this point, she does the right thing, she makes the right gesture….

I don’t want to equate the Misfit with the devil. I prefer to think that, however unlikely this may seem, the old lady’s gesture, like the mustard-seed, will grow to be a great crow-filled tree in the Misfit’s heart, and will be enough of a pain to him there to turn him into the prophet he was meant to become….

In such a picture, grace, in the theological sense, is not lacking. There is a moment in every great story in which the presence of grace can be felt as it waits to be accepted or rejected, even though the reader may not recognize this moment.”

Therefore, God works in a mysterious way. Like Manley Pointer in "Good Country People," the Misfit is not ridiculed by his creator. O'Connor suggests that the grandmother's "moment of grace" might induce the Misfit to be reborn too. It is possible that the Misfit has been transformed by his mysterious experience with the grandmother.

2011工人團結全球行動影展

English Dept.
2011 台灣國際勞工影展花蓮場
工人團結全球行動
放映時間: 12/20~23 (18:00-21:00) 18:00進場/18:15準時放映
放映地點: 國立東華大學共三講堂

12/20
【血咖啡】24 min
【佛圖之死】17 min
【時尚工業生死鬥】74 min
映後座談人：許甄倚、遲恆昌

12/21
【HTC的血汗品牌之路】36 min
【解構富士康】20 min
【蘋果IPad的真相】7 min
【工佔共和國】60 min
映後座談人：謝若蘭、陳毅峰

12/22
【紅土】20 min
【可口可樂殺人事件】85 min
映後座談人：王君琦、賀光萬

12/23
【非關護照】24 min
【片刻緩和】28 min
【我家裡面有工廠】16 min
【景氣復甦大搜查線】13 min
【新自由主義行不行】12 min
映後座談人：楊華美、吳靜如

歡迎大家踴躍參與!
更多訊息請洽: 2011台灣國際勞工影展
或洽東華大學英美系辦

【文讀 assignment #4】Qs for Toni Morrison's "Recitatif" (deadline: 12/13, 12 a.m.)

Questions for your assignment (choose one from the following questions and answer it with 250-300 words):
1. At the end of "Recitatif," how does Twyla's and Roberta's exploration of the "truth" of what they had seen at St. Bonny's many years earlier affect your sense of the "truth" of later episodes in the story? Is either Twyla or Roberta more reliable than the other?

2. For you, what's the message of this story?

3. Why does Morrison use Maggie--a crippled, mute, deaf old man--as the focus of Twyla's and Roberta's obsession in this story? Toward the end of the story, Twyla says: "Maggie was my dancing mother?" What are the possible implications of this remark?

【文讀assignment #3】Qs for "A Very Old Man with Enormous Wings" ( deadline 12/3, 12 p.m.)

Questions for your assignment (choose one from the following questions and answer it with 250-300 words):

1. The subtitle of this story is "A Tale for Children." Why and how does this seem like an apt description? an inapt or ironic one?

2. How do the various characters interpret the winged man? How do they arrive at their interpretations? What might their interpretations reveal about them? about people and/or the process of interpretation in general?

3. Why do so many people at first come to see the winged man and later stop doing so? Why is Elisenda so relieved when he finally flies away? What insights into human behavior might be revealed here?

【創傷與文學書寫】(Trauma and Literature)國際研討會(Saturday, 11/12)

研討會_會議議程
第十九屆英美文學學術研討會

會議主題：創傷與文學書寫

主辦單位：中華民國英美文學學會、國立東華大學英美語文學系
協辦單位：行政院國科會、國立東華大學人文社會科學學院、國立東華大學研究發展處
會議地點：國立東華大學校本部 原住民民族學院 國際會議廳(B123室)
(花蓮縣壽豐鄉大學路二段一號) 　
會議日期：2011年11月12日（星期六）
(暫定議程)
8:30 - 9:20
報到
9:20 - 9:30
開幕典禮

開幕致辭嘉賓：
國立東華大學人文社會科學學院林美珠院長、
中華民國英美文學學會馮品佳理事長、英美語文學系許甄倚主任

(地點: 國立東華大學 原住民民族學院 國際會議廳)

9:30 - 10:30
大會主題演講

主持人：單德興 (中央研究院歐美研究所特聘研究員兼所長)
演講人：李有成 (中央研究院歐美研究所特聘研究員)

Topic: "Of Imperial Trauma; or, Mohsin Hamid's Critique of American Empire"

10:30 – 10:50
茶敘及休息
10:50 – 12:00
論文發表
第一場次
　Session 1A (B123室)　
主持人：蘇子中 (國立臺灣師範大學英語學系教授)

1. Hyungji Park (Professor, Yonsei University)
　　“Traumatic Procreations: Frankenstein and the Fear of (Re)production”
2. 趙順良 (Assistant Professor, National Chengchi University)
　　“ ‘Sorrow only increased with knowledge’: The Monster's Desire for Human Relations in Mary Shelley's Frankenstein”
3. 羅珮瑄 (PhD Student, University of London)
　　“Factory Children and Machinery: From Injured Bodies
towards a Cooperative Body”

　Session 1B (A137室)　
　主持人：阮秀莉 (中興大學外文系教授)

1.　吳雅鳳（國立臺灣大學外文系副教授）
書寫／收藏火山：桑塔格的創傷城市
2.　李健美（真理大學英美語文學系副教授兼系主任）
創傷與救贖：談《引力之虹》中「卡嘉的故事」
3.　劉婉俐（華梵大學外文系助理教授）
瘋狂／異變、逸離與抗拒：後殖民小說中的女性創傷敘事

Session 1C (A151室)　
主持人：陳音頤(政治大學英文系教授)

1. 陳國榮（國立中正大學外國語文學系教授兼系主任）
《理性與感性》與《勸服》中的孀（鰥）居創傷經驗
2. 王瀚陞（屏東科技大學應用外語系助理教授）
敘述貧窮：畢爾翠絲‧瑋柏的貧民窟書寫裡的創傷與再現
3. 徐詩思（國立交通大學外文系助理教授）
理性偵探，率性狂徒，城市創傷：以艾德加．愛倫．坡的偵探小說及恐
怖小說為例
12:00-13:00
午餐
英美文學學會會員大會 (地點: 國立東華大學 原住民民族學院 國際會議廳)　
13:00-14:10
論文發表
第二場次
Session 2A (B123室)　
主持人：梁欣榮 (台大外文系副教授兼系主任)

1. Manfred Malzahn (Professor, United Arab Emirates University)
　“A Sadder and a Wiser Man? Vicarious Traumatisation in The Rime of the Ancient Mariner”
2. Boram Lee (M.A. Student, Yonsei University)
　“Wounded White: "Morpho Eugenia" and the Victorian Body in Crisis”
3. Joanne Yoon (M.A. Student, Yonsei University)
“Remembering a Forgotten War: Witnessing Trauma and Inadvertent Erasures in Chang-Rae Lee's The Surrendered”

Session 2B (B137室)　
主持人：沈乃慧（國立東華大學英美語文學系副教授）

1. 曾瑞華（大漢技術學院通識教育中心助理教授）
航向域外：維吉尼亞‧吳爾芙的《出航》
2. 許靜瑛（英國杜倫大學英文系博士生）
《賽克羅普斯》中的國族創傷，修辭過剩與病徵國族主義
3. 廖培真（國立成功大學外國語文學系助理教授）
從第二次世界大戰到後九一一反恐戰爭：論卡美拉‧森絲《灼痕》中的創傷書寫

Session 2C (A151室)　
主持人：劉建基 (世新大學英語系教授)

1.　梁一萍（國立臺灣師範大學英語系教授）
傷膝澗大屠殺：查爾斯‧伊斯特曼與蘇族創傷敘事
2.　李盈潔 (美國威斯康辛大學密爾瓦基分校英文系博士班學生)
沉默創傷：底層人民研究、芭希‧席娃的《撕裂印度》之再現印度分裂
3.　蔡麗雲（淡江大學英文所文學組博士生）
靈‧藥──琳達‧霍根三本小說中的創傷穿透力

Session 2D (B101室)　
主持人：陳國榮（國立中正大學外國語文學系教授兼系主任）

1. 蔡珮琪（國立臺灣大學外國語文學系博士候選人）
《仙后》第二卷的創傷倫理與真實倫理
2. 蔡幸紋（國立中正大學外文所文學組博士生）
中世紀英國短歌《高瑟爵士》中「強暴/擄掠」之作用

14:10 – 14:20
中場休息
14:20 – 15:30
論文發表
第三場次
Session 3A (B123室)　
主持人：許甄倚(英美語文學系副教授兼系主任)

1. Sachi Nakachi (Professor, Tsuru University)
“Trauma, Phantoms and Amnesia in Pauline Hopkins’ Works”
2. J. B. Rollins (Professor of English, National Chung Cheng University)
“Don DeLillo and the Language of Trauma: From Gibberish to Silence in The Body Artist and Falling Man”
3. Ron S. Judy（Assistant Professor, National Chung Hsing University）
“’Officer in Charge of the Dead’: Traumatic Identity in Philip Caputo's A Rumor of War”

Session 3B (A137室)　
主持人：李健美（真理大學英美語文學系副教授兼系主任）

1. 蔡淑芬（國立東華大學英美語文學系副教授）
書寫與療癒：談烏蘇拉．勒瑰恩的反烏托邦小說
2. 謝作偉 (國立高雄第一科技大學應用英語系助理教授)
戰爭的寓言：威廉．佛爾曼《歐洲中央》中的科技與創傷主體
3. 吳哲硯（國立臺灣大學外文系博士生）
除魅殆盡，是否梅菲斯特就要降臨？試論《奇術師》中的創傷經驗

Session 3C (A151室)　
主持人：馮品佳 (交通大學外文系教授)

1. 姜翠芬 (政治大學英文系教授)
歌詠最初的黑人創傷：《海洋寶石》中的轉化與再現
2. 陳淑玲（國立東華大學英美語文學系助理教授）
童妮‧摩里森《蘇拉》的創傷與地方
3. 楊志偉（國立臺灣大學外國語文學系博士生）
童妮‧摩里森小說《樂園》中的創傷共同體

Session 3D (B101室)　
主持人：張淑麗 (成功大學外文系教授)

1. 蘇子中（國立臺灣師範大學英語學系教授）
從病痛到細/戲說哲理：以亞陶為例
2.　王沐嵐 (國立台灣大學外文系助理教授)
　　創傷、旅遊、癒合: 愛德華．李爾之山水畫與無稽圖文創作

15:30 – 15:40
茶敘及休息
15:40 – 16:50
論文發表
第四場次
Session 4A (B123室)　
主持人：單德興 (中央研究院歐美研究所特聘研究員兼所長)
1.　Margret Kim (Assistant Professor, National Tsing Hua University)
“Chaucer and Trauma: Motherhood, Tyranny, and the Clerk‟s Tale”
2.　張崇旂（香港教育學院英文系助理教授）
“When Politics Meets Sex: Trauma in Edna O'Brien’s House of Splendid Isolation＂
3.　莊晏甄（淡江大學蘭陽校區多元文化與語言學系專任助理教授）
　　 “The Rest is Silence: the Poetics of Ellipsis in Blanchot and Henry James's The Wings of the Dove”

Session 4B (A137室)　
主持人：梁一萍 (台師大英語系教授)

1. 邱漢平（淡江大學英文系教授）
喚醒死者或採訪活人？--論赫西《廣島》的災難書寫
2. 劉建基（世新大學英語系教授）
戰爭災難、後設論述、新歷史主義：論《第五號屠宰場》中的書寫策略
3. 王梅春（佛光大學外文系助理教授）
創傷、記憶與歷史：安‧麥克斯的猶太大屠殺小說《漂泊手記》

Session 4C (A151室)　
主持人：郭強生 (東華大學英美系教授)

1. 趙美玲（南華大學外文系副教授）
戰爭 (War) 與病房 (Ward)：《贖罪》中的創傷經驗與創傷療癒
2. 陳重仁（台北醫學大學通識教育中心助理教授）
地球暖化陰影下的創傷與救贖：麥可伊旺《日光》的環境政治與創痛書寫
3. 張雅蘭（華梵大學外文系助理教授）
動物、暴力與創傷：柯慈與女性生態批評論述


16:50 – 17:00 閉幕典禮 (地點: 國立東華大學 原住民民族學院 國際會議廳)

17:00 – 17:20 (地點: 國立東華大學原住民民族學院圓形露臺)
國立東華大學原民院舞團演出八八水災紀念創作舞劇【走過八八─那馬夏鄒族卡那卡那富群、布農族八八水災紀念創作樂舞】

17:20-18:20 晚宴

研討會官網:http://www.dengl.ndhu.edu.tw/files/13-1043-18397.php

【文讀assignment #2】The Sensuous Geographies in Dubliners (deadline: 10/29, 12 p.m.)

In "Araby" and "Eveline," sense perceptions--sight, sound, touch, smell--play an important role in the development of the psychological impacts and the emotional nuances of the stories. James Joyce elicits sensuous responses from the readers by making us actively engage with the sights, sounds, smells, and textures of the settings of the stories. Look for the descriptions of different senses in the two stories and analyze their implications or connotations. Use 250-300 words to respond this question.

2011 Nobel Prize in Literature

The Nobel Prize in Literature 2011 is awarded to Swedish writer Tomas Transtromer "because, through his condensed, translucent images, he gives us fresh access to reality."

For details such as press release, videos from the Prize Announcement, see nobelprize.org

【文讀assignment # 1】Guy de Maupassant's "The Jewelry" (deadline: 10/15 12 p.m.)

In Tuesday's class, we discussed Maupassant's champion of the realist approach to writing and his elimination of the moral judgements and long digressions used by many earlier writers. He once comments that the serious writer's goal "is not to tell us a story, to entertain or move us, but to make us think and to make us understand the deep and hidden meaning of events."

Questions for your assignment (choose one from the following questions and answer it with 250-300 words):

1) For you, what is "the deep and hidden meaning of events" that happen in "The Jewelry"?

2) Once the secret of Madame Lantin's jewelry is revealed, what details from earlier in the story take on a different significance?

3) The heroine of "The Jewelry" remains nameless throughout the story. We merely see things from her husband's point of view. If she were given a chance to tell her story, what would that be?

What is the use of literature?

Excerpt: "The Use And Abuse of Literature"

by Marjorie Garber

Literature Then and Now

But what is the use of literature? Does it make us happier, more ethical, more articulate? Better citizens, better companions and lovers? Better businesspersons, better doctors and lawyers? More well-rounded individuals? Does it make us more human? Or simply human? Is what is being sought a kind of literary Rolodex, a personal Bartlett's Familiar Quotations of apt literary references ("To be or not to be?" "Only con­nect"; "Do I dare to eat a peach?")—phrases that can be trotted out on suitable occasions, at the dinner table, or on the golf course? Such literary taglines or touchstones were once a kind of cultural code of mutual recognition among educated people—but their place has long been taken by references from film, video, TV, rock music, advertising, or other modes of popular culture. Is literature something that everyone should study in the same way that we should study other basic cultural facts about the world we live in, like the history of art or the history of music, studying them all in one fell swoop, in survey courses or general introductions or appreciations?

Why read literature? Why listen to it on audiotapes or at poetry slams or at the theater? Why buy it? And even if you enjoy reading literature, why study it?

What do we mean by literature today, when the term is used by medi­cal and technical professionals to mean "instructional brochures" and by social scientists to mean "a survey of academic research"? "Please send me the latest literature on your new headache drug" or "your most recent software" or "your latest cell phone." "Enclosed you will find a review of the literature on gender discrimination in higher education." Indeed, the relationship between literature and litter, though not ety­mologically correct, seems seductively close. (This homology, in fact, occurred to Jacques Lacan, who attributed it to James Joyce.) Litera­ture is, all too often, pieces of paper we should consult for expertise but often simply toss in a drawer or in the trash.

To overschematize a little for the sake of argument, let us say that there are two poles in the debate over the "use" or "value" of litera­ture. One pole is utilitarian or instrumental: the idea that literature is good for you because it produces beneficial societal effects: better citi­zens, for example, or more ethically attuned reasoners. The other pole might be characterized as ecstatic, affective, or mystical: the idea that literature is a pleasurable jolt to the system, a source of powerful feeling that—rather like Judge Potter Stewart's famous pronouncement about pornography—is unmistakable even if undefinable. (For Stewart's "I know it when I see it," we could substitute "I know it when I read it / hear it.") Emily Dickinson's "If I feel physically as if the top of my head were taken off, I know that is poetry" is perhaps the best-known expression of this view. It's worth quoting the longer passage from which this sentence is excerpted, since it makes the point even more vividly:

If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?

The poet A. E. Housman offered a similar somatic test:

Experience has taught me, when I am shaving of a morning, to keep watch over my thoughts, because, if a line of poetry strays into my memory, my skin bristles so that the razor ceases to act."

For Housman, a noted classical scholar who prized the intellect, poetry was nonetheless "more physical than intellectual." Other symptoms he reported included "a shiver down the spine," "a constriction in the throat and a precipitation of water to the eyes," and a sensation in the pit of the stomach that he likened to a phrase from Keats, when "every­thing . . . goes through me like a spear." Although these symptoms may sound painful, Housman clearly associates them with a singular kind of pleasure.

So, once again: "feels good" or "is good for you." Both of these desid­erata, we might think, are covered by Horace's Ars Poetica, with its cel­ebrated advice that poetry should be "dulce et utile," its aims to delight and to instruct.

A latter-day "Ars Poetica"—one too often dismissed these days—is the popular poem by Archibald MacLeish, with its two famous and quotable pronouncements:

A poem should be equal to:
Not true.

And

A poem should not mean
But be.

These precepts, so perfectly attuned to close reading and New Critical thinking, also embody a sentiment elegantly summarized by Keats when he wrote, "We hate poetry that has a palpable design upon us—and if we do not agree, seems to put its hand into its breeches pocket." Yet some of the best literature, whether poetry or prose, has been polemi­cal, political, and/or religious (not always in an orthodox way; think of Blake, whose Jerusalem hymn is, ironically, sung in churches all over Britain). Some of the novels of Dickens (the Brontës, Woolf, Conrad, Lawrence, Cervantes, Flaubert) have had palpable designs for political, social, or moral change, as have the great epics, from those by Homer and Virgil to those by Milton and Joyce. This palpable design of epic is the glorification of nationalism and empire; Wordsworth's personal epic, The Prelude, acknowledges the boldness of using such a public genre for chronicling "the growth of a poet's mind." But MacLeish's poem is a poem about poems. Paradoxically, this witty, sensuous verse about what poetry should not do—it should not "mean," it should not be taken as true—has been read both as a truism and as an explanation of a poem's proper "meaning."

Before we leave the questions of whether and how literature can be good for you, we should perhaps note that in the matter of whether works of fiction should model—or inculcate—virtue and morality, "good for you" and "bad for you" have the same status. Both are judgmental and moral. These effects may be claimed or discerned by preachers or censors or even by the courts. But they are incidental and accidental by-products of literature, not literary qualities. In The Art of Fiction, Henry James queried the whole category of the morality of the novel: "Will you not define your terms and explain how (a novel being a picture) a picture can be either moral or immoral? You wish to paint a moral picture or carve a moral statue; will you not tell us how you would set about it? We are discussing the Art of Fiction; questions of art are questions (in the wid­est sense) of execution; questions of morality are quite another affair . . .

The only condition that I can think of attaching to the composition of the novel is . . . that it be interesting."

Excerpted from The Use and Abuse of Literature by Marjorie Garber. Copyright 2011 by Marjorie Garber. Excerpted by permission of Pantheon. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

2011年秋《文學作品讀法》 syllabus

Critical Approaches to Literary Texts ( 文學作品讀法 )

Fall 2011

Tuesday 9:10-12:00, 敬業412 (Mei-lun Campus)

Instructor: Prof. Jen-yi Hsu (許甄倚)

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 10^th Edition)—to be purchased at the University Bookstore (main campus)

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: 9/27 Intro

Week 2: 10/4 “The Jewelry” by Guy de Maupassant (58-63); “The Cask of Amontillado” by Edgar Allan Poe (101-5)

Week 3: 10/11“Roman Fever” by Edith Wharton (85-94, Alier); “Hills Like White Elephants” by Ernest Hemingway (106-9, Sandy & Amy 孫); “How” by Lorrie Moore (109-15)

Week 4: 10/18 “Araby” (503-7, Eunice & Erica) and “Eveline” (xerox) by James Joyce

Week 5: 10/25 “The Lady with the Dog” by Anton Chekhov (169-80, Susan & Sindra); “Young Goodman Brown” (xerox) by Nathaniel Hawthorne (Queenie & Linda Hsu)

Week 6: 11/1 “Flowering Judas” by Katherine Anne Porter (180-88, Kent); “A Rose for Emily” by Faulkner (391-7)

Week 7: 11/8 “A Pair of Tickets” by Amy Tan; Joy Luck Club (in-class film screening)

Week 8: 11/15 Midterm

Week 9: 11/22 “A Very Old Man with Enormous Wings” by Marquez (271-5, Sunny & Nick); “A Hunger Artist” by Kafka (507-13, Vivian Wang & Eric)

Week 10: 11/29 (no class)

Week 11: 12/6 “Recitatif” (139-52, Kendrick & Chou) and “Strangers” (xerox) by Toni Morrison

Week 12: 12/13 “Boys and Girls” by Alice Munro (570-9, Amy Hsieh & Jenny Chang); “Girl” (116-7) and “In the Night” (xerox) by Jamaica Kincaid; “The Story of an Hour” by Kate Chopin (353-4)

Week 13: 12/20 “The Garden of Forking Paths” by Jorge Luis Borges (463-9, Phoenix & Vivian Lee); “The Yellow Wallpaper” by Charlotte Perkins Gilman (354-65, Cathy & Lisa)

Week 14: 12/27 “A Good Man Is Hard to Find” (299-310, Leighton & Jenny Tseng), and “Good Country People” (310-23, Dora & Marcus) by Flannery O’Connor

Week 15: 1/3 “Everything That Rises Must Converge” by Flannery O’Connor (323-33, Kana & Kimberley); “The Prophet’s Hair” by Salman Rushdie (579-89, Shawn & Lily)

Week 16: 1/10 final exam

Week 17: 1/17 Film Screening: The Namesake