Graduate of English Language and Literature
Fu Jen Catholic University


Curriculum: Fall, 2007


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Monday

Tuesday

Wednesday

Thursday

Friday

08:10
09:00
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09:10
10:00
Existentialism and Modern Literature
3E
Fr. Daniel Bauer
Selective Readings of Modern and Contemporary Literary Theories
3E
Dr. Kate C.W. Liu
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Modern Drama
3E
Dr. Llyn Scott

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10:10
11:00
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11:10
12:00
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12:40
1:30
¡@ ¡@ ¡@Twentieth Century American Poetry and Sexuality
3E
Dr. Raphael Schulte
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1:40
2:30
¡@ English Writing I
3R
Bro. Nicholas Koss
Research and Bibliography
3R
Dr. Joseph Murphy
2:40
3:30
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3:40
4:30
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4:30
5:30
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Third- and fourth-year students must take this course. Be sure to record this course on the registration form.

There is no description for this course. Please feel free to contact the teacher if you have any questions.

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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 Writing the Mind, Spatializing the Subject/3 credits/Dr. Kate Liu

Objectives:
This course is designed for you to achieve three goals:
1) critical reading of both primary and secondary texts of modern and contemporary theories to understand the questions they ask and how they answer them,
2) engagement in some theoretical issues 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.

Focus:
The course will focus on three theoretical schools:
Psychoanalysis, Marxism and Postmodern Theories of Space in order to deal with issues such as
-- how subjectivity is conditioned by desires, power and ideology;
-- how subjectivity is formed and narrated over time and in space, through family relations and spatial practices in various social milieus;
-- how mind and power get spatialized; how space gets virtualized in postmodern society.

Possible Readings:
A. Writing the Mind

1. Sigmund Freud The Interpretation of Dreams Chaps V & VI (excerpts);
'The "Uncanny" Critical Terms and Topics (1): "The Unconscious"
2. Sigmund Freud Beyond the Pleasure Principle (excerpt) Cathy Caruth¡¦s interpretation of Freud.
3. Jacques Lacan "The Mirror Stage" "The Agency of the Letter in the Unconscious"
4. Psychobiography (Poe as an Example) and Dora
5. selections from Auto/Biographical Discourses: theory, criticism, practice (Laura Marcus) OR Memory frames: the role of concepts and cognition in telling life-stories MAGDA MICHIELSENS
6. Critical Terms and Topics (2): Trauma ref. Caruth "Traumatic Departures"

B. Spatializing the Subject
1. Karl Marx From Capital (excerpts) Critical Terms and Topics (3): Class
2. Louis Althusser "Ideology and State Apparatus" Critical Terms and Topics (4): Ideology
3. Fredric Jameson (Norton 1932 -1959 ) The Political Unconscious
4. Michel Foucault "The Carceral" (from Discipline and Punish) and ¡§Of Other Space¡¨
5. Pierre Boudieu Distinction. A Social Critique of the Judgement of Taste (excerpts) Critical Terms and Topics (5): Habitus
6. Henri Lefebvre The Production of Space. (excerpts)
7. David Harvey ¡§The experience of space and time¡¨ from The Condition of Postmodernity
8. de Certeau, Michel. The Practice of Everyday Life. (excerpts) Critical Terms and Topics (6): Tactics vs. Strategies
9. e.g. Elspeth Probyn or Caren Kaplan) Critical Terms and Topics (7): Politics of Location

Some Preliminaries:
1. Choice of Readings:

Different maps can be drawn for this criss-crossing and endlessly extensive terrain of modern and contemporary critical theories, and different routes can be taken, so I am open to your suggestions of which schools, theorists or texts to include. If one fourth of the students registered (or more than two) have similar interests, I will definitely accommodate them in our course. The other suggestions will also be put into consideration.
Even if you don¡¦t have input in what theories to read, you will need to bring to our course discussion your own literary text(s) and learn to relate some theories to your text(s).

2. Why Theories?
¡§Theory,¡¨ as Myers points out, ¡§is not a methodology or paradigm or ¡¥strategy¡¦ that one puts on, in order to dress for academic success. It is an argument. It is an implacable reflective struggle to work out a vexing tangle in literary experience. Nor can a theoretical argument be easily applied, as if it were an ointment; it must be thought through, point by point and in detail; it must be interlocked with, in a reflective struggle. [. . .] To accept a theorist¡¦s argument in toto because it is daring or stylish, or because others have hailed it as unanswerable, is to be neither a theorist nor a student of theory.¡¨ (D. G. Myers <http://www-english.tamu.edu/pers/fac/myers/teaching_theory.html >)

In other words, theories are NOT to be read and accepted totally, and then applied neatly to some literary texts. Rather, we struggle through their language and argument to tease out their issues and the broader issues behind them; we find out the questions they ask, and then examine how they answer these questions. To use Stuart Hall¡¦s term, reading theories is to ¡§wrestle with the angels.¡¨

In our class, there are actually two types of angels to deal with: the theoretical texts and our chosen literary/cultural texts. Negotiating the differences between theories and our texts in order to make a dialogue between them possible, then, is a major task in this course.

3. 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 30-minute 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.

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  • Century American Poetry and Sexuality/3 credits/Dr. Raphael Schulte

This seminar course, though not intended to be controversial, will focus on a topic that has not, to the best of my knowledge, been addressed in previous graduate seminars throughout Taiwan: the complex relationships between poetry and sexuality. To unfold the veil of this tabooed issue, we will address concepts of the constructions of desire and sexuality, attempts to express or repress and control those desires, gender roles, the subjective and objectified body, sexual orientation, and the relationships between the physically sexualized body and metaphysical realities, all within their linguistic, economic, social, ethnic and political constructions as they are presented in twentieth century American poetry. We will approach these issues from various disciplines. In his poem ¡§Birches,¡¨ with its subtle sexual imagery, Robert Frost suggests that the life of poetry and the body are parallel: both are rooted firmly in the earth but attempt to transcend and climb toward the sky though ultimately return to earth. We will, however, show that poetry¡Xjust as the Frost poem asserts¡Xnever leaves the earth and the body far behind as it attempts to transcend itself. That ¡§physicality¡¨ and the sexualized body will then become the focus as we explore the poems.

In this course we will examine a number of poems that contain issues about the relationships between poetry and the body, and sexuality in particular. We will look at an array of twentieth century American poets, including T.S. Eliot, Robert Frost, William Carlos Williams, Theodore Roethke, Elizabeth Bishop, Adrienne Rich, Audre Lorde, Allen Ginsberg, and others; but we will primarily focus on poems by four poets: Mina Loy, John Berryman, Frank O¡¦Hara, and Mark Doty. A large number of poems and poets deal with related topics, so as always, I welcome student input in our choice of poets and texts. If interested students have suggestions, please let the instructor know.

We will not have a textbook for this course. Instead, I will provide handouts with the poems we will study. Students will be required to write regular response journals. Also each student will be responsible for three in-class presentations. In one of the presentations, you will lead the discussion of a particular aspect of the text(s) being addressed; in the second, you will briefly summarize and critique a recent critical writing about the work under discussion; in the third, you will apply a critical methodology of your choice to some aspect(s) of the work we will discuss that week. You 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. You will also be expected 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.

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  • 20th Century Short British Narrative/3 credits/Fr. Daniel Bauer

This course is particularly concerned with a genre and body of work that plays an essential role in modern and contemporary literature - - the short narrative, as exemplified in the short story or novella. We will focus on major British writers who experiment with and push against the boundaries of short narrative. Among the authors whose fiction we will sample are Joseph Conrad, Virginia Woolf, D.H. Lawrence, Katherine Mansfield, Doris Lessing, and Graham Greene. Students can expect to read approximately 80-100 pages a week for this course. All the works will be either short stories or novellas. Students should plan on participating actively in class discussions. Written requirements are three 4 page journal reports and one final paper of approximately 15 pages.

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Textbook: Milly s. Barranger, ed. Understanding Plays. 3rd Edition. Boston: Pearson Education, Inc., 2004.

This course prepares students to read and understand representative works of modern drama divided into six parts: (1) understanding drama as it connects to performance, dramaturgy, stages, space, time, landscapes, and meanings and messages; (2) understanding play structure, character, and the language of drama; (3) understanding types of dramatic writing to focus on farce, satire, and new forms such as solo drama; (4) understanding modern writing styles; (5) understanding theatricalism including the absurd and minimalism; (6) understanding playwriting at the millennium including feminist drama, docudrama, and interculturalism. As time allows, students will view video performances in addition to reading a projected number of eight to ten plays. Students will be evaluated in part by occasional short quizzes, two comprehensive essay exams, in addition to two medium-length (5-10 pages) research papers.

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