The Dong Hwa Translation Prize invites submissions of translations from Chinese into English and vice versa. Please see below for details:
東華文學翻譯獎設立緣起：
本系曾珍珍教授為了紀念從小喜愛翻譯的長子張式均，特別邀請花東文教基金會共同贊助，從2010年起每年在東華校園定期舉辦文學翻譯競賽活動。
宗旨：
鼓勵東華大學大學部學生發展文學翻譯技能。初期以英翻中、中翻英為主。
參賽資格：
東華大學大學部學生。
比賽項目：
分英翻中、中翻英兩項。每項包括指定作品和自選作品。指定作品請至英美系網頁連結下載，自選作品文類不拘，但以不超過五千字為原則。參賽者可同時參加英翻中、中翻英兩項。
徵稿截止日期：
2010年4月30日前將指定作品與附上原文的自選作品譯稿繳交或寄達東華大學英美系辦公室「東華文學翻譯獎委員會」收（以郵戳為憑）。隨函務必附上東華大學學生證影本。(辦公室地址：974花蓮縣壽豐鄉志學村大學路二段1-17號，英美語文學系)
譯稿格式：
以Microsoft Word格式繕打，列印於A4紙上，一式三份。
得獎公告及獎金金額：
得獎名單將於六月一日公佈於東華大學英文系網頁。得獎人獲頒獎狀及獎金，每項獎金第一名七千元、第二名五千元、第三名四千元、佳作三名，每名三千元。
得獎作品將發表於英文系網頁學生園地。
3/15/2010
3/09/2010
【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"?
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 If the Truth (with a capital "T") of God, selfhood, empire is no longer valid, the exploration of "truths" (in a plural form) becomes a modernist task for writers and artists to pursue.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
Subscribe to:
Posts (Atom)