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. Kate Liu
  Course Website: http://www.eng.fju.edu.tw/iacd_2004F/g_writing/

Welcome to the life of English graduate studies, which should be intellectually stimulating, aesthetically rewarding, but also at times fatiguing with endless readings and at times unnerving and frustrating. To ensure a steady progress in your pursuit of advanced knowledge and independent research in English literatures, this course has two objectives:

1) to develop your awareness of the basic elements of critical writing, of what you have and lack, as well as your abilities in revising and improving yourself; 
2) to have you practice different modes of critical writings in preparation for the paper and thesis writings you will be doing in the graduate program. 

To achieve the first objective, we will be engaged in a continuous process of writing, peer sharing-and-responding, and revision, in which all of the basic elements of academic writing, such as paragraphing and logical development of ideas, argument and organization, style and tone, evidence and language, will be our objects of self-examination and analysis. Besides developing your self-awareness as a writer, you will also learn along the way how to learn from peer response and search for good models, both indispensable in becoming a self-improving writer.

To achieve the second objective, we will do three types of short academic writings: analysis, exposition and critique, while working towards a full-scale critical paper. In the first paper (#1 analysis), you will analyze a text of your choice in detail to support your central argument. Then you will do a critical review respectively of an article written on the text of your choice, and of a book or an MA thesis related to your research interest (#2, #4 critique). In between these two critiques, you will use expository tactics such as definition, classification, compare/contrast and cause/effect to define a critical interest of yours and raise the questions you want to answer (#3 expository essay). All of these short papers, each with at least two drafts, will be a preparation for the final product of our course: a documented paper (#5) which can, hopefully, be turned into a chapter of your MA thesis.

To wrap up on the work we do in this course, each of you will, towards the end of the semester, 1) present your paper orally, 2) hand in a revised paper #5, together with a self-evaluation and study plan for your thesis project.
Related Links: http://www.eng.fju.edu.tw/con&com_databank/Writinglinks_disciplines.htm

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• 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.

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• Selective Readings of Modern and Contemporary Literary Theories/3 credits/Dr. Kate Liu
  Course Website: http://www.eng.fju.edu.tw/iacd_2004F/g_crit/

This course is designed for you to achieve three goals:

1) critical reading of both primary and secondary theoretical texts to get a general understanding of important contemporary literary theories,
2) engagement in theoretical issues (such as text and textuality, canon formation, interpretation, ideology, discourse, identity, power relations, etc.) as they arise from our reading of the primary texts, and 
3) analyzing literary texts from different theoretical perspectives with an awareness of the limitations of each.

Modern and Contemporary Critical Theories form quite a complicated network of discourses which cannot be clearly divided into different camps, nor lined up in a chronological order. Instead, in between different theoretical schools, there are intersections and appropriation, contradictions and negotiations, not to mention convergence of earlier theoretical schools in later ones, or revising or discovery of earlier theorists. Different maps can be drawn of this theoretical terrain, just as different routes can be taken by students to enter, struggle with and get intellectually engaged in the theoretical issues. Among the many possible routes and many possible combinations, I tentatively choose for this course Marxism, Psychoanalysis, New Historicism, and the topic of trauma. But you are welcome to let me know what you want to study by the end of July. I will definitely include the critical school chosen by more than 3 of you, while listening to any of your suggestions and considering possible modifications.

Requirements:
In this course, you will be responsible for:
1) active participation in class and on the internet,
2) a 30-minute report on a theoretical text with an outline ready for online publication,
3) a one-hour report on how a certain theory can be "critiqued" by, "used" on, or articulated with another literary or theoretical text.
4) a term paper of both theoretical discussion and literary application.

Textbook: Norton Anthology of Theory and Criticism. Eds. Vincent B. Leitch, et al. NY: Norton, 2001. Also selections from some other anthologies.

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• 19th Century British Novel/3 credits/Bro. Nicholas Koss
  Course Website: http://www.eng.fju.edu.tw/graduate/curriculum/19th_britishnovel/main.htm

This course is an introduction to important British novelists of the 19th century. Novelists to be studies are: Sir Walter Scott (1771-1832), Jane Austen (1775-1817), Charles Dickens (1812-70), Charlotte (1816-55) and Emily (1818-48) Bronte, George Eliot (1819-80) and Samuel Butler (1835-1902). Below is a list of the novels to be read and the number of weeks to be spend on each one. Each week a short paper will be required on the assigned reading. These papers will then be the basis for a research paper to be turned in at the end of the semester. It will be useful for students to begin reading these novels during the summer.

Weeks 1-2 Ivanhoe (1820) by Sir Walter Scott (1771-1832)
Weeks 3-5 Emma (1816) by Jane Austen (1775-1817)
Weeks 6-9 David Cooperfield (1849-1850) by Charles Dickens (1812-70)
Weeks 10-11 Jane Eyre (1847) by Charlotte Bronte (1816-55)
Weeks 12-13 Wuthering Heights (1847) by Emily Bronte (1818-48)
Week 14-16 Middlemarch (1871-72) by George Eliot (1819-80)
Week 17-18 The Way of All Flesh (1903) by Samuel Butler (1835-1902).

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• Filming Shakespeare/3 credits/Dr. Marguerite Connor
  Course Website: http://www.etweb.fju.edu.tw/elite/shakespeare/g_2004f/main.htm

Course Description: The over 250 Shakespeare movies produced prove that Shakespeare films adaptations and movies retain their enduring appeal. But why? What makes Shakespeare’s prose so timeless? Is it his words or just his plot lines?

In this course, we will first be looking at Shakespeare’s plays in the original format and explore how they were creations of their own time. We will then be looking at one or more film versions of the play and explore how the director adapts the source materials so that they become a product of the director’s own time. Things we will be looking at are contemporary critical standards (Shakespeare’s and later film directors), political/social commentary, stereotypes, stagecraft vs. film conventions. Questions to explore: To what extent are the “original” theatrical conditions respected in film adaptations of the works? How are the differences between the media of film, stage, and printed page registered in various film adaptations? How are matters such as historical authenticity, diction, and set design treated, and for what purposes?

Requirements:
Reading/viewing journal (handed in 4 times, 10pts each): 40 points
Long paper 40 points
Chat/thread participation (format will depend on number of students enrolled) 20 points

Journals: I will give you a format to follow in order to facilitate critical reading/viewing. You need to respond to all the works we are covering.

Long paper: 10-15pp, MLA style, I will hand out a list of plays we are not covering which have been filmed. You shall choose one, watch the film and do your own analysis of the two. I will also be including films loosely based on Shakespeare (ie, My Own Private Idaho and Ten Things I Hate About You).

Chat/thread: I will be giving leading questions about the works and all students must participate either on the internet chats or the BBS on EngSite.

Texts:

Twelfth Night
Much Ado About Nothing
Romeo and Juliet
Titus Andronicus
Julius Caesar
Henry V
Richard III

Films are available through EngSite

Check EngSite weekly for supplemental readings!

Class syllabus (We may need to drop Julius Caesar from our selection at the end of the course--we’ll see):

Week 1:	Introduction to course, brief look at film theory. Reserve readings on EngSite
Week 2:	Discussion of play Richard III
Week 3:	Discussion of Looking for Richard
Week 4:	Discussion of Loncraine version JOURNAL DUE
Week 5:	Discussion of play Twelfth Night
Week 6:	Discussion of Trevor Nunn version
Week 7:	Discussion of play Much Ado About Nothing
Week 8:	Discussion of Branaugh version JOURNAL DUE
Week 9:	Discussion of play Romeo and Juliet
Week 10:	Discussion of Zefferelli and Luhrmann films
Week 11:	Discussion of play Titus Andronicus
Week 12:	Discussion of Taymore version JOURNAL DUE
Week 13:	Discussion of play Julius Caesar
Week 14:	Discussion of Mankiewicz version
Week 15:	Discussion of play Henry V
Week 16:	Discussion of Olivier and Branaugh versions JOURNAL DUE FINAL PAPER DUE

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