How many ways of expressing mixed color can you find in this poem? How does Hopkins expand the meaning of "pied beauty"?
3/05/2010
【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 If the Truth (with a capital "T") of God, selfhood, empire is no longer valid, the exploration of "truths" (in a plural form) becomes a modernist task for writers and artists to pursue.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.
3/02/2010
【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.
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.
2/23/2010
英史課綱
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
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
2/22/2010
開工大吉：2010年春《文讀》課綱
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
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
1/05/2010
【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
98學年度【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
◎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
◎主辦單位：國立東華大學【空間與文學】研究室
協辦單位：國立東華大學英美語文學系暨創作與英語文學研究所
指導及補助單位：教育部顧問室
◎報名表下載
◎研習營活動內容─
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）
◎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。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）
本研究室保留報名核准與否的權利。研究室收到報名表之後，將以e-mail回覆是否得以參加研習營。
4. 【空間與文學】研究室聯絡資訊──
計畫主持人：郭強生教授
計畫助理：廖律清
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
網址：http://www.literatureinspaces.tw
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
◎主辦單位：國立東華大學【空間與文學】研究室
協辦單位：國立東華大學英美語文學系暨創作與英語文學研究所
指導及補助單位：教育部顧問室
◎報名表下載
◎研習營活動內容─
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）
◎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。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）
本研究室保留報名核准與否的權利。研究室收到報名表之後，將以e-mail回覆是否得以參加研習營。
4. 【空間與文學】研究室聯絡資訊──
計畫主持人：郭強生教授
計畫助理：廖律清
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
網址：http://www.literatureinspaces.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.
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