9/29/2011

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 10th 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.

  1. 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.
  2. Midterm and final exams: Remember, there will be no make-up exams. Missing the exams will result in failing the course.
  3. 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 ); “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

【李永平與臺灣/馬華書寫研討會】


for details, see the conference official website

6/02/2011

【英美系演講】張娟芬:《他的罪,他的罰;他的痛,他的傷:死刑制度裡的人》


講者:張娟芬/主持人:許甄倚

時間:100年06月07日(二) 10:00-12:00

地點:國立東華大學壽豐校區 理學院第三講堂

講者簡介:

張娟芬

丹麥阿胡斯大學與德國漢堡大學聯合授與新聞學碩士。參與
社會運動多年,因為蘇建和案的因緣,關注司法改革等人權議題。作品曾獲中國時報十大好書、聯合報年度選書、台灣文學獎。現專事寫作,著有《姊妹戲牆》、《愛的自由式》、《無彩青春》、《走進泥巴國》,與死刑文集《殺戮的艱難》。

國立東華大學英美語文學系主辦

5/17/2011

【這個週末‧花蓮走走】「彩虹嘉年華」+《T婆工廠》紀錄片放映+座談 (Saturday, 5/21)


T婆工廠》花蓮放映+座談
時間:2011.05.21(六)晚間7:00~9:00
地點:璞石咖啡(花蓮市明禮路8號)自由入座
歡迎揪伴一起來看移工女同志的愛情天堂 v.s. 現代奴工啟示錄;全球化下移動/勞動/情慾流動的生命故事。
T婆工廠》官方網站:http://www.tiwa.org.tw/tpfactory.php

「同志站出來,恐懼不要來!」花蓮彩虹嘉年華
由國立東華大學Rainbow Kids同伴社主辦,花蓮彩虹嘉年華是花蓮第一次舉辦的同志遊行,遊行活動是為了要告訴更多的人:「你不是孤單一人的,你沒有錯!」來吧!無論你是誰,和我們一起遊行,把同志的心聲告訴更多的人!
◎日期:100521日(六)中午12點集合、下午2點出發
◎地點:花蓮市鐵道廣場
活動說明:http://www.facebook.com/event.php?eid=122554687823673
地圖及流程:http://www.facebook.com/hlLGBT

5/09/2011

2011黑潮海洋工作坊開始招生


2011黑潮海洋工作坊

海岸‧海人‧海魚‧鯨豚

四大學院招生中

走在海岸,永遠有新鮮事

信不信,討海人是苦行僧也是哲學家

裡的不是為了滿足老饕才游來游去

鯨豚呢?不怕被人喜歡被人討厭,就怕夏天少了牠們會寂寞

所有迷戀海洋的慾望

所有探索蔚藍的慾望

都將在此發生

你可以盡情掏出對學習海洋v.s.海洋學習的期待、狂想、可能性、使命感、改革意見……

你可以藉用任何文字、音樂、影像、舞蹈、繪畫……

成為海洋教科書的著作人研發者

不設限的工作坊

一切,只為學,學海

【文讀assignment #5】 the hyperbolic ingenuity of the metaphysical conceit (deadline: 5/20, 12 p.m.)

The name "metaphysical poets" is now applied to a group of 17th-century poets who, whether or not directly influenced by John Donne (1572-1631), use similar poetic procedures and abstruse arguments. Andrew Marvell (1621-1678), who was born 50 years later than Donne, was one of these metaphysical poets.

Metaphysical style is characterized by a seemingly outrageous or far-fetched logic, which organizes the poem in the form of an urgent or heated argument--with a disdainful lady who sexually rejects her lover, or God, or death. The extravagant uses of hyperbole produce a startling and witty effect. Give some examples that illustrate this "shock tactic" of metaphysical poets. How do the ingenious uses of paradox, pun, the rough and colloquial idioms, the dramatic form of apostrophe or direct address create the shocking effect? Or, among the poems we discussed so far (by Donne or Marvell),which simile or metaphor is most shocking for you?

期末考前同儕課輔

日期

地點

內容

5/13()

D105

晚上7-9

Emily Dickinson, “A narrow Fellow in the Grass”

“Because I could not stop for Death”

“I stepped from Plank to Plank”

“We do no play on Graves”

“The Brain—is wider than the Sky”

“She dealt her pretty words like Blades”

“Wild Nights—Wild Nights”

“My Life had stood—a Loaded Gun”

“After great pain, a formal feeling comes”

5/20()

D105

晚上7-9

John Donne, “The Sun Rising”

“The Flea”

“The Good-Morrow”

“Batter my heart, three-personed God”

“The Canonization”

“Death, be not proud”

5/24()

D105

晚上7-9

John Donne, “Song”, “A Valediction: Forbidding Mourning”

Andrew Marvell, “To His Coy Mistress”

“On a Drop of Dew”

“The Garden”

5/31()

D105

晚上7-9

W. B. Yeats, “The Lake Isle of Innisfree”

“The Second Coming”

“Leda and the Swan”

“Sailing to Byzantium”

6/7()

D105

晚上7-9

Alfred, Lord Tennyson, “Tears, Idle Tears” , “Ulysses”

Elizabeth Bishop, “Exchanging Hats”, “Sestina”

6/14()

D105

晚上7-9

Sophocles, Antigone