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/Fr. Daniel Bauer

Incoming students for the English Department's graduate institute are required to take this course, which will offer many opportunities to expand vocabulary related to literary criticism and to develop analytical and organizational skills useful in writing academic papers about literature and culture. Students can expect to write weekly compositions and to revise them according to the instructor's suggestions. The course will offer rigorous grammatical help. Among the writing assignments are an autobiographical sketch, summaries of academic articles in journals or anthologies, and mini papers on topics related to academic and literary life, such as "What Getting an M.A. Degree Means to Me," "A Character in This Story That Speaks to me in a Special Way," and "What Reading Contributes to my Life." Teaching methods include brief lecture - demonstrations by the instructor, active class discussion, regular homework, and personal coaching with the instructor. Required for 1st year graduate students.

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• Research and Bibliography/3 credits/Bro. Nicholas Koss

The purpose of this course is to develop research techniques and library skills for the study of English and American literature. Students will learn how to use the MLA Handbook and how to prepare author and topic bibliographies. Reference works useful for literary research to be introduced include: bibliographies, dictionaries, literary biographies, literary anthologies, literary histories, literary handbooks and concordances. Much attention will also be given to literary journals and reference works on each period of English and American literature. On-line resources helpful for the study of English and American literature will be examined, too.

Another feature of this course is the introduction of traditional methods of literary research, such as textual criticism, source studies, influence studies, and reception studies. With these kinds of studies as a background, students will then look at contemporary approaches to the study of literature.

SYLLABUS

Class 1	Introduction. Each student will select two authors (one before 1660, one after), a genre, two periods (one before 1660, one after), and a type of literary research to be used in preparing the assignments for this course.
Class 2	Bibliographies (I); libraries at Fu Jen; Books in Print. English Literature: General Reference Tools Period: Old English Literature Journals: PMLA; Review of English Studies
Class 3	Bibliographies (II); academic libraries in Taiwan: ordering books from abroad. Period: Middle English Literature Journal: Chaucer Review
Class 4	Critical editions and textual criticism (I); dictionaries. Period: Middle English Literature
Class 5	Critical editions and textual criticism (II); dictionaries. Period: Renaissance Literature (1500-1660) Journals: Shakespeare Quarterly; EHL.
Class 6	Critical editions and textual criticism (III); book reviews; dictionaries. Period: Renaissance Literature (1500-1660) Journals: English Literary Renaissance; Studies in English Literature, 1500-1900.
Class 7	Author biographies and biographical dictionaries; reviews of scholarship and Abstracts of English Studies. Period: Restoration and 18th-century Literature Journals: Milton Quarterly; 18th-century Life.
Class 8	Visit to National Taiwan University Library
Class 9	Literary histories. Period: 19th-century British Literature Journals: 19th-century Literature; Novel.
Class 10	Literary handbooks and guides; DAI; book reviews (I) Period: 19th-century British Literature Journals: Persuasions; The Victorian Newsletter.
Class 11	Visit to Academia Sinica libraries
Class 12	Concordances; book reviews (II) Period: 20th-century British Literature Journals: The Hopkins Quarterly; Yeats Eliot Review; The Chesterton Review; Modern Drama.
Class 13	General, literary and other special topic encyclopedias; book reviews (III) Period: Early American Literature (to 1800) Journals: American Literature
Class 14	Graduate programs in English and American literature in the U.S. Period: 19th-century American Literature Journals: American Literary Realism; Studies in the Novel.
Class 15	Graduate programs in English and American literature in the U.K. Period: 20th-century American Literature Journals: 20th-century Literature; The Journal of American Drama and Theatre; Hemingway Review: Mississippi Quarterly; Modern Fiction Studies.
Class 16	Libraries abroad. Period: 20th-century American Literature Journals: The Sewanee Review; The Yale Review; Theatre Review; The American Poetry Review.
Class 17	Final discussion.

TEXTS
Altick, Richard D. and John J. Fenstermaker. The Art of Literary Research. 4th ed. New York: Norton, 1993.
Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. 3rd ed. London: Penguin, 1992.
Harner, James L. Literary Research Guide. New York: MLA, 1993.
MLA Handbook for Writers of Research Papers, 6th edition.
Browner, Stephanie, Stephen Pulsford and Richard Sears. Literature and the Internet. New York: Garland, 2000.

ASSIGNMENTS
Each week there will be a written assignment as well as an oral report. The major project for the semester will be the preparation of extensive author, period, and genre bibliographies.

ATTENDANCE
Class attendance is expected. If a student is not able to come to class, the instructor should be notified by e-mail before the class. Two unexcused absences will make it difficult for the student to pass this course.

GRADING
The final grade will be based on class participation (25%), oral reports (25%), written reports (25%), and final bibliographies (25%).

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• Modern Drama: Identity and Society/3 credits/Prof. Cecilia H. C. Liu

To provide students with a broad critical framework of reading American drama, we will read O'Neill, Williams, Miller, Albee, Mamet, Hansberry, Huang and Wilson, among others. Several cultural issues, types--realistic plays, naturalistic plays, feminist plays, gay plays and black theater--and diverse topics we will deal with are

a) American family--parents/children, sibling relationship; 
b) the quest for identity; 
c) women's role in family and society (domestic/public sphere); 
d) social changes in economic system and values; 
e) AIDS and homosexuality;
f) political/racial/gender issues; and
g) American dream motif.

For research's sake, I divide these American playwrights into three categories: the mainstream: Eugene O'Neill, Tennessee Williams, Arthur Miller, Edward Albee, Sam Shepard, David Mamet and John Guare; minority playwrights--women and black playwrights--such as Maria Irene Fornes, Lorraine Hansberry, Adrienne Kennedy, Ntozake Shange, George C. Wolfe and August Wilson; gay playwright--Tony Krushner--as representative. As you see, we have a great deal of material to work with. Let me know your interest and we can work out the schedule together.

Requirements:
1) Regular attendance with preparation and active class participation 
2) 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 (or PowerPoint files), including bibliography references. 
3) A review/critique of a journal article for the playwright you are interested 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.

A tentative reading list for your reference (You may have read some of them already):

O'Neill	The Emperor Jones (1920); Desire under the Elms (1924); Long Day's Journey into Night (1949)
Williams	The Glass Menagerie (1945); A Streetcar Named Desire (1947); The Night of the Iguana (1961)
Miller	Death of a Salesman (1949); Broken Glass (1991); The Last Yankee (1993)
Albee	The Zoo Story (1958); Who's Afraid of Virginia Woolf? (1961-2); Three Tall Women (1994)
Shepard	Buried Child (1978); A Lie of the Mind (1986)
Mamet	Glengarry Glen Ross (1982; 1983); House of Games (1987)
Guare	Six Degrees of Separation (1990)
Hwang	M. Butterfly (1988)
Hansberry	A Raisin in the Sun (1959)
Kennedy	"Funnyhouse of a Negro" (1964); "A Movie Star Has to Star in Black and White" (1988)
Shange	Spell # 7 (1979; 1981)
Fornes	Mud (1983); "The Conduct of Life" (1985)
August Wilson	Fences (1987); Joe Turner's Come and Gone (1988)
Wolfe	The Colored Museum (1985)
Kushner	Angels in America Part I & II (1995)

• Please know that you may (or may not) be asked to read them all. 
• If students interested in the course have questions or suggestions, they can certainly come talk with me or email me about them.

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• Poetry, Illness, and Medicine/3 credits/Dr. Raphael Schulte

The poet-physician William Carlos Williams wrote in his poem "Astrophil, That Greeny Flower":

It is difficult
to get the news from poems
yet men die miserably every day
for lack
of what is found there

Williams was a great believer in the healing power of words, especially poetry, and its relationship to the body and medicine. In his Autobiography he writes,

My "medicine" was the thing which gained me entrance to these secret gardens of the self. It lay there, another world, in the self. I was permitted by my medical badge to follow the poor, defeated body into those gulfs and grottos. And the astonishing thing is that at such times and in such places-foul as they may be with the stinking ischio-rectal abscesses of our comings and goings-just there, the thing, in all its greatest beauty may for a moment be freed to fly...guiltily around the room.

Williams did not see a contradiction between his two professions: doctor and poet. Another poet, Robert Frost in his poem "Birches" also suggests that the life of poetry and the body are parallel: both are rooted firmly in the earth but attempt to transcend toward the sky, only to ultimately return to earth. In this course we will examine a number of poets and poems that contain issues about the relationship between poetry-and writing in general-with the body, both in health and in illness, and how poetry can have a unique healing relationship with medical needs, care, and treatments. Literature and medicine have many practices in common: our human well-being and wholeness, our vulnerabilities, healing, and growth. We will examine images of illness within the family as a site, to quote Tess Tavormina, "in which major human 'practices'-the intersecting behaviors that express our identities, cultures and values-are significantly experienced and enacted, especially with respect to questions of health, disease, growth, suffering, and meaning." At the same time, we will respect the differences of these two disciplines by addressing their differences. We will also observe the various roles that physicians, nurses, and other care-givers (especially family members) play. We will begin by briefly reading theories of poetry, body, narrative medicine, and their relationship to selfhood. We will follow this by examining a group of poems (by poets, as well as medical professionals) that explore the relationship between words-especially poetry-body, and selfhood. To do this, we may have to discuss various competing interpretations of "body," "health," and "illness." An understanding of narrative medicine will also enable us to use literary devices to recognize, interpret and respect the narratives of patients, their caregivers, and medical professionals.

Our focus will primarily be on short lyric poems, poems that are often notable for their apparent lack of plot, character, and other narrative devices, and their fragmentary elusiveness. We will, however, show that poetry-just as the Frost poem asserts-never leaves the earth, the body, and self far behind as it attempts to transcend itself. Patients need to tell their stories and be listened to, though they are often unable to recognize or organize the relevant symptoms, side effects, etc. that accompany their illness and medical treatment. In this respect, we agree with the poet T.S. Eliot when he writes in "The Wasteland": "These fragments I have shored against my ruin." Poetry-with its indirectness, fragmentation, its sensitivity to complexity of character, and situation, heightened awareness of self and other, ability to embrace contraries and ambiguities and to imagine and empathize with alternative realities, its power to effect catharsis and give meaning, the necessary fictionality of narrative, especially in self-presentation, and its quest for order amid the crisis of illness---is a perfect medium for examining those narratives. The "physicality" and body of writing will then become essential as we explore the implied narrative strategies used in the poems. Interpretation as a literary activity can be fostered in the practice of clinical medicine, as a way to develop the skills of medical diagnosis. At the same time, we will see how the sociology of body, health, and illness can better inform our understandings and analyses of poetry.

Ideally, this course will include students from both the Graduate English Literature Institute and from the School of Medicine. My intention is NOT to scare away from poetry either English Department students or students from the School of Medicine but, instead, to show how the interrelations between poetry and medicine can help us better understand, analyze, and enjoy our selves, our lives, and the lives of those around us. I hope the class will foster a dialogue in which medical school students can share their professional medical knowledge and experiences, as well as their personal human responses to the texts we study. English Department Graduate students will share their analytical and narrative reading skills, as well as their human experiences and responses. Besides enjoying the poetry we read, hopefully, the class with also help students develop their narrative competence to recognize, interpret, and respect the narratives implied in the poems we read. Ultimately, I hope this will help train students from both programs what they, patients, and caregivers go through and foster a sense of empathy and reflection. Our mission is to prove wrong the poet W.H. Auden's statement, "Poetry makes nothing happen." We will discover that poetry has an enormous transformative power.

We will not have a textbook for this course. Instead, I will provide handouts with the poems and prose we will study. I will also make available some multimedia materials. Students will have the choice of writing two papers (the first due during midterm week; the second due at the end of the semester) or one long paper due at the end of the semester. They will also be expected to complete in-class presentations and to fully engage in class discussions. Your final grade for the semester will be based on the assigned writings, presentations, participation in class discussion, and attendance. As always, I welcome student input in our choice of texts and am willing to help students outside of class to understand better the texts we read and offer help with the paper(s) they write.

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• American Gothic Tradition/3 credits/Dr. Joseph Murphy

This course will trace the tradition of Gothic fiction in the United States. Beginning with the paradigmatic English Gothic novel, Horace Walpole's The Castle of Otranto (1764), we will familiarize ourselves with some signature features of the Gothic: castles, ruins, tombs, supernatural powers; as well as some of its thematic elements: the corruption of innocence, burdens of ancestry, and sexual anxiety.

The Gothic tradition has proven remarkably versatile in American culture, adapting to various historical and geographical settings, and assuming diverse psychological, religious, and political inflections over the course of American literary history. The Gothic is employed by Charles Brockden Brown to express anxieties about democracy in post-Revolutionary Philadelphia; by Poe to maximize the sensation of horror in the short story form; by Nathaniel Hawthorne, to bring the Puritan legacy to bear upon nineteenth-century New England; by Henry James, as a mode of psychological realism; by Flannery O'Connor, to fuse religious fundamentalism with commercialism in the postmodern South; and by Toni Morrison, to confront the lingering specter of slavery in American history. In addition, we will touch upon the influence of the Gothic tradition on American film.

Requirements include: two 5-page essays; a 3-4 page criticism review; a presentation; and regular class participation. Those intending to take the course should email Dr. Murphy by June 1, 2005, to receive information about book orders: ENGL1026@mails.fju.edu.tw

Tentative reading list:

Horace Walpole, The Castle of Otranto (1764) 
Charles Brockden Brown, Wieland (1798) 
Edgar Allan Poe, stories (1830s and 40s) 
Nathaniel Hawthorne, The Scarlet Letter (1850)
Nathaniel Hawthorne, The House of the Seven Gables (1851) 
Henry James, The Turn of the Screw (1898) 
Flannery O'Connor, Wise Blood (1952) 
Toni Morrison, Beloved (1987) 

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• Literatures and Wars/3 credits/Prof. Francoise Chiung-chu Chen

The course surveys how the wars have the impact on literary works. We will explore how various writers depicted their shared historic context in similar or different ways, how the writers in different lands and times brought forth their works based on the wars, and how new thoughts might emerge from the ashes of the fire. Our fundamental question: What is the relationship between wars and literatures? We will examine the conflict between the crusaders and non-Christians, the nature of existence, God, and Death by seeing or reading Ingmar Bergman's The Seventh Seal. In additional to this play and its film version, the students will be introduced to a variety of fictions and their motion pictures (their cinematic adaptations). Most novels we choose for this course have been made into movies. We will view a film before we discuss its written version, a fiction. The students will be expected to see these movies in their free time and to read some novels. In studying what these literary works are about, we will pay special attention to the wars they unravel: the Crusades, the American Civil War, the Russian Civil War, World War I, World War II, the "Frontier" and "Antiapartheid" Wars in South Africa, and the Latin American revolutions. The texts may include Margaret Mitchell's Gone With the Wind (1936), Charles Frazier's Cold Mountain (1997), Boris Pasternak's Doctor Zhivago (1956), Erich Maria Remarque's All Quiet on the Western Front (1928; English version, 1929), Anne Frank's Anne Frank: The Diary of a Young Girl (1947), Michael Ondaatje's The English Patient (1992), Eileen Chang's Love in a Fallen City and "Blockade," Gabriel Garcia Marquez's No One Writes to the Colonel (1958), and J. M. Coetzee's Waiting for the Barbarians (1980).

Requirements:

Regular attendance and participation (30%). The students will compose two essays: a 6-7 pp. midterm research paper (30%) and a 7-8 pp. final research paper (30%). In addition, the students will be expected to work on a 1-2 pp. "brief response" commentary on each motion picture or each fiction and to give a 10-minute oral presentation (10%) on one writer/fiction of their choosing. Weekly discussion section is required.

Texts

1. Bergman, Ingmar. "The Seventh Seal," Four Screenplays of Ingmar Bergman. New York: Simon & Schuster, 1960. 125-202.
2. Chang, Eileen. "Love in a Fallen City." Love in a Fallen City (傾城之戀). Taipei: Crown, 2001.
   _____. "Blockade 封鎖." Ashes of Descending Incense, First Brazier第一爐香. Taipei: Crown, 2000.
3. Coetzee, J. M. Waiting for the Barbarians. New York: Penguin Books, 1980.
4. Frank, Anne. Anne Frank: The Diary of a Young Girl. New York: Anchor Books, Doubleday, 1995.
5. Frazier, Charles. Cold Mountain. New York: Vintage Books, 1997.
6. Garcia Marquez, Gabriel. Trans. J. S. Bernstein. No One Writes to the Colonel. New York: Penguin Books, 1996.
7. Mitchell, Margaret. Gone with the Wind. London: Pan Books, 1988.
8. Ondaatje, Michael. The English Patient. New York: Vintage Books, 1993.
9. Pasternak, Boris. Doctor Zhivago. New York: A Signet Book, 1960.
10. Remarque, Erich Maria. All Quiet on the Western Front. New York: Fawcett Crest, 1991.

Required Reading:
Cold Mountain; The English Patient; All Quiet on the Western Front; No One Writes to the Colonel; Waiting for the Barbarians. 

Reference Books:
Beauvoir, Simone de. The Second Sex. Trans. and Ed. H. M. Parshley. 1957, NY: Vintage, 1989.
Cixous, Helene. "The Laughing Medusa." Feminisms: An Anthology of Literary Theory and Criticism. Eds. Robyn R. Warhol and Diane Price Herndl. New Brunswick and New Jersey: Rutgers University, 1997. 347-362.
Cixous, Helene, & Catherine Clement. The Newly Born Woman. Trans. Betsy Wing. Minneapolis: University of Minnesota Press, 1986.
Hardin, James N., ed. Reflection and Action: Essays on the Bildungsroman. South Carolina: University of South Carolina Press, 1991.
Harland, Richard. Superstructuralism: The Philosophy of Structuralism and Post-Structuralism. Routledge: London and New York, 1987.
Hemingway, Ernest. The Old Man and the Sea. New York: Simon & Schuster, 1995.
Sartre, Jean-Paul. Being and Nothingness: An Essay on Phenomenological Ontology. New York: Philosophical Library, 1956.
_____. Existentialism and Human Emotions. Trans. Hazel E. Barnes. New York: Philosophical Library, 1957. 
_____. L'Existentialisme est un humanisme. Nagel, 1946. Existentialism and Humanism. Trans. and Introd. Philip Mairet. London: Methuen, 1994.
Camus, Albert. The Myth of Sisyphus and Other Essays. Trans. Justin Obrien. New York: Vintage, 1991.

Date	Topic and Text
Week 1 (Sep. 23, 2005)	Introduction The Existentialist Quest  The Seventh Seal (1956; the film, 1957)
Week 2 (Sep. 30)	The Conflict between the Crusaders and Non-Christians, God, and Death The Seventh Seal
Week 3 (Oct. 7)	Feminist Thoughts and the American Civil War (1861-1865) Gone With the Wind (1936; the film, 1939)
Week 4 (Oct. 14)	Feminist Thoughts and the American Civil War Gone With the Wind
Week 5 (Oct. 21)	The Recurring Theme of The Odyssey Where are the slaves? Cold Mountain (1997; a film, 2003)
Week 6 (Oct. 28)	The Similarities and Differences between Gone with the Wind and Cold Mountain
Week 7 (Nov. 4)	A Newly-Born Woman and the Russian Civil War Doctor Zhivago (1957; a film, 1965)
Week 8 (Nov. 11)	Human Dignity and Freedom Doctor Zhivago
Week 9 (Nov. 18)	The Bildungsroman and World War I (1914-1918) All Quiet on the Western Front (1928; a film, 1930) (midterm research paper)
Week 10 (Nov. 25)	The Awakening and Growth All Quiet on the Western Front
Week 11 (Dec. 2)	Imprisonment and Horror Invisible Fear, Invisible Hope, and Invisible Breakthrough World War II (1939-1945) in Europe Anne Frank: The Diary of a Young Girl (1947; a film, 1959)
Week 12 (Dec. 9)	World War II (1939-1945) in China Love in a Fallen City "Blockade"
Week 13 (Dec. 16)	The end of Music and the End of Civilization World War II The English Patient (1992; a film, 1996)
Week 14 (Dec. 23)	Women on the Front The English Patient
Week 15 (Dec. 30)	A Veteran's Hopeless Hope Does the Author Weave Together Realism and Fantasy? Magic Realism The Latin American Revolutions No One Writes to the Colonel (1958; a film, 1999)
Week 16 (Jan. 6)	Poverty, Starvation, Aging, and Human Dignity The Latin American revolutions No One Writes to the Colonel
Week 17 (Jan. 13)	Who Are the Barbarians? Satire on War, Colonialism, and Apartheid The "Frontier" and "Antiapartheid" Wars in South Africa Waiting for the Barbarians (1980)
Week 18 (Jan. 20)	The Power of Silence Satire on War, Colonialism, and Apartheid The "Frontier" and "Antiapartheid" Wars in South Africa Waiting for the Barbarians (oral presentation/final research paper)

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