Required Courses | ¡@ | Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
| 08:10 09:00 |
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Eighteenth Century
English Narrative 3E Fr. Daniel Bauer LC302 |
| 09:10 10:00 |
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Cultural Studies: Representation and Identity 3E Dr. Kate Liu LC302 |
¡@Research and Bibliography 3R Br. Nicholas Koss LC302 |
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| 10:10 11:00 |
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| 11:10 12:00 |
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Elizabethan Sonnet Sequences 3E Dr. Raphael Schulte LC302 |
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| 1:40 2:30 |
¡@Twentieth
Century British Drama Seminar: Pinter, Shaffer, Stoppard and Churchill 3E Prof. Cecilia Liu LC302 |
Seminar on Fitzgerald and Hemingway 3E Br. Nicholas Koss LC302 |
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English Writing I 3R Dr. Raphael Schulte LC302 |
| 2:40 3:30 |
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| 3:40 4:30 |
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Elizabethan Sonnet Sequences
3E Dr. Raphael Schulte LC302 |
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| 4:30 5:30 |
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| 5:40 6:30 |
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English Writing I 3R Dr. Raphael Schulte LC302 |
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Required Courses
Senior Thesis/4 credits
Third- and fourth-year students must take this course. Be sure to record this course on the registration form.
English Writing I/3 credits/Dr. Raphael Schulte
There is no description for this course. Please feel free to contact the teacher if you have any questions.
Research and Bibliography/3 credits/Bro. Nicholas Koss
There is no description for this course. Please feel free to contact the teacher if you have any questions.
Elective Courses
--Representation of Identities: Which identities get to be represented in culture? Which get other-ed?
--Identities of Representation: Who gets to dominate and be heard in the production and circulation of cultural products? How do the marginalized subjects resist being erased or stereotyped, and how do they construct their identities?
--Representation and Identity: How do cultural representations construct identities? Fragment them, or offer them spaces of solidarity? Mass-ify, commodify consumers, or empower them and allow them spaces of appropriation?
These are the general questions this course addresses. To deal with these issues with sufficient focus, depth as well as scope, you will be encouraged to focus on one space of representation and then only a few texts, as we deal with several of them in class (such as film, popular music, the internet and some urban spaces).
First of all, we will need to delineate the broad field of cultural studies and its political agenda with some discussions of cultural studies and the social space (selections from What is Cultural Studies: A Reader, Space and Social Theory)
These readings will also help us understand how representation and identity are connected to the cultural moments of production, regulation and consumption in the cultural circuit posited by Culture, Media, Identities Series.
Secondly we will tackle some general theories of Representation (Roland Barthes, Jean Beaudrillard and Stuart Hall) to understand it as a system of language(s) and its problematic relations with contemporary social ¡§reality.¡¨ Stuart Hall¡¦s essays on identity, likewise, will give us some general understanding the issue of 'crisis of identity' in contemporary theories.
As we then deal with the selected spaces of representation, we will also be engaged in issues of identity such as: gendered identity (in Hollywood film), the concept of ¡§the popular¡¨ (in popular music), identity and body (in advertisements), virtual identity (in Sci-fi or on the Internet), as well as diasporic identity and flaneurial identity in urban spaces.
Since Cultural Studies as a discipline has its political and materialist bent, we use the cultures in Taiwan as examples for our analysis. You can choose to focus on an English cultural product; however, you should be aware of the difficulties in delineating its material grounding and the identities it addresses.
This seminar will study selected short stories and novels of F. Scott Fitzgerald and Ernest Hemingway. Students planning to take this course should turn in by May 18 a list of all the works they have read by these two authors. We will then meet in early June to select the works to be read for this seminar.
During this seminar, besides reading the fiction of Fitzgerald and Hemingway, the students will also study the historical background of the first half of the twentieth century in the United States, the major criticism on these two authors, and the relationship between Fitzgerald and Hemingway. Frequent oral reports and three medium-sized papers will be required.
This course will focus on several of the sonnet sequences published at the end of the sixteenth century and the beginning of the seventeenth. With the publication of Sir Philip Sydney¡¦s sonnet sequence Astrophel and Stella in 1591, the popularity of the English sonnet and the sonnet sequence began. This course will examine in detail three of the most influential sequences published within a twenty-year period: Sydney¡¦s Astrophil and Stella, Edmund Spenser¡¦s Amoretti in 1595, and Shakespeare¡¦s Sonnets in 1609. Also, if students are interested, we can look in detail at Lady Mary Wroth¡¦s Pamphilia to Amphilanthus, published in 1621, to see how a female poet dealt with the sonnet sequence. We will also look briefly at some sonnets by Sir Thomas Wyatt, John Donne, George Herbert, and John Milton. This course will both examine the nature and structure of the sonnet and sonnet sequences, as well as closely examine the various uses of the sonnet form by several Renaissance poets.
Unlike my usual practice, I¡¦m happy to tell you that we will a textbook for this course: Elizabethan Sonnets, edited by Maurice Evans (London: Dent, 1994). I will also provide handouts containing copies of other poems we will discuss, and I will at times give you copies of critical writings by the poets we will be studying. Most of our class time will be spent in discussion. I will expect each of you to lead class discussion during three class sessions. You have the option of writing two medium sized papers¡Xthe first due during mid-term week¡Xor one longer paper due during finals week.
This course is a novels study, and focuses on several writers who have most influenced the shape and development of the English novel from their own times till our 20th century. Students will be expected to read the whole of the works, and to purchase their own copies of them. The texts covered are: Laurence Sterne's "A Sentimental Journey," Richardson's "Clarissa" (an abridged edition is available with over 500 pages of t. text, and Shu-lin's is waiting for me to report to them how many copies we will need; the rest of the texts are more or less readily available at area book stores) Daniel DeFoe's Robinson Crusoe and Moll Flanders, and Henry Fielding's "Joseph Andrews." Required homework will be a monthly reflective journal and final paper 15-20 pages on a topic of student interest.
This course is a seminar on plays written during a twenty-year period by Harold Pinter, Peter Shaffer, Tom Stoppard, and Caryl Churchill. Students read the plays selected for the reading assignments and two selected critical commentaries about each play. Each student presents a play (or plays) by each playwright based on the play and the commentaries on the play. Class discussion follows each presentation.
Requirements:
- Regular attendance with preparation and class participation
- 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/critique of a journal article for each playwright you read for class and the option of doing two papers (8-10 pages each)--the first due around midterm--or one longer paper (15 pages) due at the end of the semester.
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