Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
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10:10 |
Literary Criticism II |
Fragments of Identities in North American
Postmodern Fiction and Film |
Nineteenth-Century American Literature and
Visual Art |
Translation |
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1:40 |
Irish
Drama 2E Ms. Cecilia Liu |
19th Century British Novel |
English Writing II |
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3:40 |
Contemporary Theater in USA and Taiwan |
Postcolonial Literature |
Shakespeare, Authority, and Violence |
Required Courses
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Senior Thesis/4 credits |
Third- and fourth-year students must take this course. Be sure to record this course on the registration form.
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Second-year students must take this course. Be sure to record this course on the registration form. See Bro. Koss for more information.
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This is an active seminar that offers graduate students the opportunity to learn and practice literary translation skills. We will first briefly view samples of some published English translation of Chinese literature to become familiar with the process and problems of translation. The majority of our seminar time however will be spent on students' own doing of translation. Materials will be given by the instructor, but students are invited to also suggest materials to translate into English. Students should expect 6-7 two to three page translation assignments and one final 'project' of about 15 pages, which include analysis of the translation process. Most of the seminar feature Chinese to English translation, but a brief period will offer English to Chinese experience, too.
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Literary
Criticism II (Contemporary Literary Theory and Criticism: Feminism, Marxism,
Poststructuralism & Cultural Studies)/2 credits/Dr. Kate Liu |
This course is designed for you to achieve three goals:
1) an ability to read both primary and secondary theoretical texts to get a general understanding of important contemporary literary theories,
2) an engagement in theoretical issues (such as text and textuality, canon formation, interpretation, ideology, discourse, etc.) as they arise from our reading of the primary texts, and
3) an ability in analyzing literary texts from different theoretical perspectives with an awareness of the limitations of each.Besides what are listed in the title, the other theoretical schools we may cover are: psychoanalysis, postmodernism, and postcolonialism. You are welcome to suggest what you want, and I will consider the theoretical schools to add or drop if more than 2 students require so.
On each school we will spend 3 to 4 weeks, moving from a general introduction, to close reading of some theoretical texts, to in-class application to some chosen texts, and, finally, to your own application and critique of the theories.
In this course, you will be responsible for:
1) active participation,
2) a 20-minute report on a theoretical text,
3) a 20-minute report on application of a theory to a literary text and then a critique,
4) a term paper of both theoretical discussion and literary application.
Elective Courses
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Postcolonial Literature/2 credits/Dr. David Yu |
In this course, we will study a number of texts, mainly novels, which address the postcolonial condition in geographical areas like Africa, the Caribbean, and India. Readings might include 1) Africa: Ben Okri's The Famished Road and Chinua Achebe's Anthills of the Savannah; 2) the Caribben: V. S. Naipaul's The Mimic Men and Earl Lovelace's Salt; 3)India: Vikram Seth's A Suitable Boy and Salman Rushdie's Midnight's Children. Other texts might be added to the list. A more detailed description of the course will be available about two weeks before the beginning of the spring semester, or hopefully sooner. Students interested in this course should contact me at syyu@ntut.edu.tw as soon as possible. Books will be ordered for the course soon.
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Nineteenth-Century American Literature and Visual Art/2 credits/Dr. Joseph Murphy |
This course will examine relationships between American literature and visual art in the nineteenth century. We will study not only cases of direct influence between the
"sister arts"—as for example between the Hudson River School painters and Washington Irving or James Fenimore Cooper—but more generally how contemporaneous verbal and visual media encode ways of seeing from specific ideological, social, and aesthetic perspectives. Students will learn strategies for "reading" paintings and photographs and conceptualizing questions of perspective, space, form, audience, and ideology across artistic media. The course will begin with some theoretical readings—particularly on the concepts of ekphrasis and iconology—then proceed through the nineteenth century under headings that will organize the history of American literature as well as visual art: Early Nationalism, Romanticism, Realism and Naturalism, and Impressionism and Early Modernism. Authors on the syllabus will likely include Irving and Cooper, Nathaniel Hawthorne, Ralph Waldo Emerson, Henry David Thoreau, Walt Whitman, Emily Dickinson, William Dean Howells, Henry James, and Stephen Crane. Using art books, slides, and websites, we will study paintings by Thomas Cole, Frederic Church, William Sydney Mount, Thomas Eakins, Winslow Homer, John Singer Sargent, and others. Requirements include a presentation on a work of visual art and a term paper involving some relationship between literary and visual representation.
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Shakespeare, Authority, and Violence/2 credits/Dr. Raphael Schulte |
Like the recent graduate Shakespeare courses, this course will not focus on either Shakespeare
’s tragedies or his comedies; instead, the centerpiece for this course will be Shakespeare’s second historical tretalogy, the second Henriad (Richard II, Henry IV Parts I and II, and Henry IV). Together with these history plays, we will read two comedies (A Comedy of Errors and Much Ado About Nothing), the tragedy Julius Caesar, and the late romance The Tempest. As we discuss these various texts, we will explore a common theme: the relationship between authority and violence. We will also look at issues of gender, sexual identity, and power as they are presented in the plays. The reading list, however, is not set and is negotiable. If there are other plays that you would prefer to read, please let me know.Because this will be a seminar course, most of our class time will be spent in discussion. Each student will be responsible for two in-class presentations and will have the option of doing two medium length papers
—the first due at mid-term—or one longer paper due at the end of the semester.I prefer students to read from the Riverside Shakespeare, but any scholarly edition of Shakespeare
’s plays will be acceptable.
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Irish Drama/2 credits/Ms. Cecilia Liu |
What is the "Irish" quality in Irish drama? Conspicuous drunkenness, clownishness, and sentimentality? No. This was the wrong impression the Irish Literary Theatre hoped to offset, to show "that Ireland is not the home of buffoonery and of easy sentiment." As the Yeats /Gregory /Martyn prospectus for an Irish national drama dates from 1897, and as Irish playwrights continue to address the issue of self-determination and continuing civil strife today, nationalism is the informing focus of modern Irish drama in this century. Nationalism is a focus, but not a position; drama helps articulate both arguments and counterarguments. Political nationalism is a pragmatic program in which a native population or spokepeople for a native population organize formidable resistance to outside, colonial government. Cultural nationalism, generally a corollary movement, is an aesthetic program to organize for a native population a sustaining image of itself, its uniqueness, and its dignity, all contrary to the subordinate and submissive identity nurtured by outside administration. To bear all these factors, local and Continental, nationalistic and aesthetic, in mind, I am planning to include the following playwrights on our reading list, but if there are other playwrights that you are interested in studying, please feel free to tell me. We will start with W.B. Yeats, Lady Gregory, ten J. M. Synge, Bernard Shaw, Sean O'Casey, Brendan Behan, to Samuel Beckett and Brian Friel.
Major Text: Harrington, John P., ed. Modern Irish Drama. NY: W. W. Norton, 1991.
Requirements:
- Regular attendance with preparation and class participation is expected.
- Most of our class time will be spent in discussion, so each of you will be responsible for two in-class oral presentations. You may use questions/discussion style, or whatever effective method(s) you like to use. You have to provide handouts, including bibliography references.
- A review of a journal article and the option of doing two papers (8-10 pages each)--the first due around mid-term--or one longer paper due at the end of the semester.
Students planning to take this course should turn in by Dec. 7 a list of Irish plays they have read; meanwhile, you may start reading some books about Irish history and culture, or reviewing some Irish plays you read before.
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19th Century British Novel/2 credits/Bro. Nicholas Koss |
This course is an introduction to important British novelists of the 19th century. Novelists to be introduced and studied include: Sir Walter Scott (1771-1832), Jane Austen (1775-1817), Mrs. Gaskell (1810-65), William Makepeace Thackeray (1811-63), Charles Dickens (1812-70), Anthony Trollope (1815-82), Charlotte (1816-55) and Emily (1818-48) Bronte, George Eliot (1819-80), and Samuel Butler (1835-1902). Novels definitely to be read will be work by Jane Austen, Charles Dickens, Emily Bronte, and George Eliot.
The exact novels to be studied in this course will be based on the students familiarity with 19th-century British fiction. Therefore, students wanting to take this course should give to Judy Peng by December 15, a list of all of the novels they have already read by the above-mentioned authors. The novels to be read during this course will then be determined at a meeting with me in late December so that you can beginning reading them, many of which are long, during the semester break.
Besides oral and written reports during the semester, the student will also be required to complete a research paper.
Fragments of Identities in North American Postmodern Fiction and Film/
2 credits/Dr. Kate Liu and Dr. Wenchi Lin
[Home of the Course]
'Who are you?' said the caterpiller.
Alice replied rather shyly, 'I -- I hardly know, Sir, just at present -- at least I know who I was when I got up this morning, but I think I must have changed severaltimes since then.'"
Alice's puzzle over her self-identity can never compare with ours today, which are constantly challenged by the theories, cultural products, technological innovations, political changes as well as natural disasters in postmodern society. How do North American postmodern fictions and films respond to this overwhelming sense of unstable identities, which are seen as split, fragmentary, hybrid, imaginary, or temporary?
In this course, we will divide this issue of identity into 5 interrelated topics, and for each category we (tentatively) select the following films and fictions for study:
- Artist and Author-ity:
Theory: metafiction; history of American and Canadian postmodernism Film: Woody Allen's Purple Rose of Cairo, Robert Altman's The Player Fiction: John Barth's Lost in the Funhouse and short stories by Stanley Elkins
- Media, Popular Culture and Ethnic Identity
Theory: Jean Baudrillard, Fredric Jameson Film: Atom Egoyan's Calendar, Woody Allen's Zelig Fiction: Disappearing Moon Cafe by SKY Lee
- History, Memory and Identity:
Theory: Michel Foucoult and Linda Hutcheon Film: Robert Zemekis' Forrest Gump, David Lynch's Blue Velvet Fiction: Slaughterhouse V
Body: Cyborg, Machine, Animal and Human Identity
Theory: Donna Haraway Film: Ridley Scott's Blade Runner, Davide Cronenberg's eXistenZ Fiction: When Fox is a Thousand by Larissa Lai
- Fragments and Reconstructions
Fiction & Film: The English Patient * This course will be co-taught with Prof. Wenchi Lin (林文淇) at the department of English of Central Univ. (中央大學英文系）, utilizing the distance-learning facilities. You can expect to enjoy being taught by two teachers, and working with students at Central U.; at the same time, please be prepared for and tolerant of technical problems that might occur in ISDN connection.
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「比較文化研究整合性學程」計劃：當代戲劇：美國與台灣現代戲劇探究 （Contemporary Theater in USA and Taiwan）/3 credits/Ms. Cecilia Liu [Home of the Course] |
課程屬性： 跨文化議題─中外比較文化
二十世紀的美國劇場呈多重豐富風貌，有寫實主義、 表現主義、象徵主義的劇作，並涵蓋女性主義、黑人劇場及同性戀（酷兒）劇作，探討美國文化、社會中多項主題，如：a)親情：父母/子女家庭關係、兄弟姊妹情誼，b)自我角色定位問題，c)女性在家庭及社會的定位(家中/室外空間主題)，d)社會變遷帶來之經濟、價值觀之轉變，e)愛滋病及同性戀主題，f)政治/種族/性別議題，g)美國夢主題等。自六十年代以降，台灣的文化氣氛已明顯轉向戰後的歐美社會。在劇作方面，六十到七十年代台灣的劇作開始走出三、四０年代傳統話劇的模式,借鑑當代西方劇場的新潮流，在劇作上有所突破和轉變，為八０年代的小劇場運動做了開路的工作。
實驗劇場的創作激發帶動許多現代劇場之萌生，如「蘭陵劇坊」、「果陀劇場」、「屏風表演班」、「九歌兒童劇團」、「當代傳奇劇場」、「表演工作坊」、「優劇場」等。這些劇團創作的靈感泉源和對戲劇的理念頗受西方劇場之衝擊。藉著探討美國和台灣現代戲劇的創作及劇場演出，結合中西方文化之共同課題，顯示之間的交集性，希冀增加學生之人文視野及本土文化關懷。
此課程以中文授課，開放給外系所碩士生選修 。
參考書目（並配合錄影帶）： (有許多書可以在驚生書局買到)
歐尼爾：《鍾斯皇帝》、《長夜漫漫路遙遙》
威廉斯：《慾望街車》、《朱門巧婦》
密勒：《推銷員之死》、《熔爐》
奧比：《動物園故事》、《誰怕沃爾夫？》
黃哲民：《蝴蝶君》
馬密：《美國水牛》、《劇場人生》、《大亨遊戲》
雪柏：《葬子》、《西部》、《心靈謊言》
威爾森：《芮倪夫人的黑臀》、《鋼琴課》
諾曼：《晚安,母親》
韓絲貝瑞：《太陽上的葡萄乾》
赫爾曼：《嬉戲時光》
庫許納：《美國天使》 時報出版
張曉風：《武陵人》 香港基督教文藝
《曉風戲劇集 》 台北道生
姚一葦：《我們一同走走看》 台北書林
《姚一葦戲劇六種 》 台北華欣事業中心
《戲劇與人生 -- 姚一葦評論集》 台北書林
《戲劇原理》 台北書林
馬森：《馬森獨幕劇集》 台北聯經
《馬森戲劇論集》 台北爾雅
《腳色 》 台北書林
《當代戲劇》 台北時報
《西潮下的中國現代戲劇》 台北書林
黃美序：《幕前幕後台上台下》 台中學人文化事業
《中華新文學大系 -- 戲劇卷》 台北九歌
《楊世人的喜劇》 台北書林
李國修：《莎姆雷特》 台北書林
賴聲川：《那 一夜，我們說相聲》、《暗戀桃花源》、
《 回頭是彼岸》、《這一夜，誰來說相聲》、
《紅色的天空》、 《一夫二主》、《台灣怪譚》、
《非要住院》
紀蔚然：《夜夜夜麻》; 《黑夜白賊》
鍾明德：《在後現代主義的雜音中》 台北書林
《從馬哈薩得到馬哈台北》 台北書林
《現代戲劇講座：從寫實主義到後現代主義》 台北書林
《繼續前衛：尋找整體藝術和台北的當代文化》 台北書林
孫惠柱： 《戲劇的結構》 台北書林
叢靜文： 《當代中國劇作家論》 台北台灣商務印書館
葉石濤： 《台灣文學史綱》 高雄文學雜誌社
布羅凱特：《世界戲劇藝術欣賞》 （胡耀恆譯）台北志文
