001. British Literature II [英國文學史（二）]
3 credits
Ms. Jennifer Chiu (flcg1036@mails.fju.edu.tw)
For Sophomores above
Class limit: 45
Prerequisite: Introduction to Western Literature
This course is a survey of English literature in the 19th and 20th centuries. The first half of the course will cover the Romantic (1798-1832) and Victorian (1832-1901) periods. For the 20th century, most attention will be given to the Modern period (1914-c.1965).
Textbook
Norton Anthology of English Literature. Vol. II. 6th ed. New York: W.W. Norton & Company, 2000.
Requirements
1.	Besides the selected readings listed here, you’re required to read for yourself the introduction to both the periods and the authors.
2.	Lateness and absences are strongly discouraged. If you have five absences from class, it will not be possible for you to pass this course. The grade will be lowered after the third absence. Three lates equal one absence. The teacher must be informed of your absence in advance and provided with substantial evidence to justify it as well. When absent on the day for assignments to be turned in, you must hand it in the first day you come back to school. (Not a week after!)
3.	Both journals (with at least 3-to-4 pages) and position papers (with at least 4-to-5 pages) must be typed and turned in on the assigned date. Late assignments will not be accepted. If you want to use any secondary sources, your papers must include parenthetical citations for all paraphrasing and quoting, as well as a list of works cited at the end. You shall fail this course if you plagiarize. Check the journal topics from the tentative course schedule. The position paper topics will be given later on a separate copy.
Tentative Grading Scale:
Midterm/final exams	45%				 Papers and journals	35%		
Quizzes, group work and class participation 					20%
Tentative Schedule (subject to change)
1	THE ROMANTIC PERIOD 1785-1840	
	Blake, William (1757-1827)	“Introduction” to Songs of Innocence and Songs of Experience; “The Chimney Sweeper,” I &E; “The Lamb”; “The Tyger” 	
2	Wordsworth, William (1770-1850)	“Preface” to the Lyrical Ballads; “Lines Composed a Few Miles above Tintern Abbey”; “Ode: Intimations of Immortality”	
3	Coleridge, Samuel Taylor (1772-1834)	The Rime of Ancient Mariner	
4	Byron, George Gordon, Lord (1788-1824)	“She Walks in Beauty”; “Darkness”; from Childe Harold’s Pilgrimage; from Canto 1, Don Juan	
5	Shelley, Percy Bysshe (1792-1822) 	“Ode to the West Wind”; “To a Sky-Lark”; “Adonais”; from Prometheus Unbound 	
6	Keats, John (1795-1821)	“On First Looking into Chapman’s Homer”; Ode to a Nightingale; “Ode on Melancholy”; “The Eve of St. Agnes”	
	*Journal 1: Among the six major Romantic poets, who do you like the most? Explain.	
7	THE VICTORIAN PERIOD 1840-1890	
	Browning, Elizabeth Barrett (1806-1861)	Sonnet 43, Sonnets from the Portuguese	
	Browning, Robert (1812-1889)	“Porphyria’s Lover”; “Fra Lippo Lippi”	
	Tennyson, Lord Alfred (1809-1892)	From In Memoriam A.H.H.	
8	Arnold, Matthew (1822-1888)	“The Buried Life”; from The Function of Criticism at the Present Time	
	Pater, Walter (1839-1894)	From The Renaissance	
	Eliot, George (1819-1880)	From The Mill on the Floss	
9	MIDTERM EXAMINATION	
10	THE TWENTIETH CENTURY	
	Hopkins, Gerard Manley (1844-1889)	“God’s Grandeur”; “Spring and Fall”	
	Hardy, Thomas (1840-1928)	“The Darkling Thrush”; “The Ruined Maid”	
	Shaw, George Bernard (1856-1950)	Mrs. Warren’s Profession	
	First position paper due	
11	Conrad, Joseph (1857-1924)	Heart of Darkness	
	*Journal 2: After reading Heart of Darkness, how would you respond to Chinua Achebe’s view on Conrad’s novella?	
12	Yeats, William Butler (1865-1939)	“The Second Coming”; “Sailing to Byzantium”; “Leda and the Swan”; “Among School Children”; “The Circus Animal Desertion” 	
13	Eliot, T.S. (1888-1965)	“Sweeney Among the Nightingales”; “Journey of the Magi”; “The Love Song of J. Alfred Prufrock”	
14	Auden, W.H. (1907-1973)	“In Memory of W.B. Yeats”; “Their Lonely Better”; “In Praise of Limestone”; “The Shield of Achilles”	
15	Heaney, Seamus (1939- )	“Digging”; “The Forge”; “Punishment”	
	Beckett, Samuel (1906-1989)	Happy Days	
16	Forster, E.M. (1879-1970) 	“The Road from Colonus”	
	Woolf, Virginia (1882-1941)	“Modern Fiction”; from Chapter 3, A Room of One’s Own; “Professions for Women”	
17
	Joyce, James (1882-1941)	“The Dead”	
	Lawrence, D.H. (1885-1930)	“Piano”; “Snake”; “Odor of Chrysanthemums”	
18	Mansfield, Katherine (1888-1923)	“The Daughters of the Late Colonel”	
	Lessing, Doris (1919- )	“To Room Nineteen”	
	*Journal 3: Among all the modern works we’ve read in class, which genre and author do you like the best? Explain.	
19	FINAL EXAM	

002. Modern/Postmodern British Literature [現代／後現代英國文學與文化]
3 credits
Ms. Cecilia Liu (engl1024@mails.fju.edu.tw)
For Juniors above
Class limit: 40
Prerequisite: Introduction to Western Literature
In this course we will read the works of major authors classified by the term “modern” and “postmodern” in the twentieth century English literature. You should relax and let the words and images form impression in your minds, not force meaning out of them. In your reading, you might try to assume the mood that Woolf describes in The Mark on the Wall: "I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle. I want to sink deeper and deeper, away from the surface, with its hard separate facts" (2. 1989).  However, you should be aware that postmodern texts consciously disorient the reader, shaking off the soft blanket of chronological, straightforward storytelling in favor of a harsher, more forbidding narrative style. The reader is led through multiple shifts in consciousness, chronology, and geography, often without a chapter break, let alone a comment like "Fifty years earlier," to guide the way.  
Postmodern means so many things to so many people, and it has a slightly different meaning in nearly every discipline, from art and architecture to fashion and technology. For that reason, I'd like to give an overview of what to expect when encountering a postmodern novel or short story, then give a couple of tips on how to read postmodern texts. 
First of all, let's examine a few of the most common narrative and stylistic devices found in postmodern texts: 
1.	Postmodern literature often uses confusing chronology, jumping from one historical period to another and from one character's thoughts to another character's thoughts without any indication at all. 
2.	In 350 B. C. Aristotle wrote that every story has a beginning, a middle, and an end. With postmodern texts, that's not always the case. Postmodern writers often leave their stories open-ended, with no satisfying conclusion, or the book concludes by making a reference back to the beginning, thereby offering circularity. 
3.	Postmodern stories and novels often rely on parody or satire, revealing little tolerance for aspects of our culture that typically evoke reverence. 
4.	The postmodern text, at heart, reveals skepticism about the ability of art to create meaning, about the ability of history to reveal truth, about the ability of language to convey reality. All of that skepticism leads to fragmented, open-ended, self-reflexive stories that are intellectually fascinating but often difficult to grasp on the first read. 
How best to read postmodern texts? 
First, more than most literature, postmodern literature needs multiple readings. At any minute you might be thrust backward into the early 19th century, and it's going to take a while to figure that out. The author is often trying very hard to disorient you-so be patient and flip back a few pages early and often. 
Second, sometimes you just have to go with it. If you're following a story about a fever epidemic in the 19th century and then a contemporary voice comes along describing the Philadelphia fire, make a note in the margin ("who the heck is speaking now?") and keep going. Postmodern texts often rely on sharp juxtaposition of voices and historical periods, so trust that it'll make more sense on re-reading and keep plowing ahead.
Postmodern literature can present some of the most difficult reading out there, but it also offers some of the best intellectual challenges. 

Major Text: The Norton Anthology of English Literature (6th or 7th ed.)  Vol. 2.
Other texts: i.g.  Woolf: Mrs. Dalloway, Eliot: The Waste Land, etc.
Requirements: 
1.	Regular attendance with preparation and class participation are expected.
2.	You may be asked to do group presentations and keep reading journals. 
3.	Quizzes will also be given in class, if necessary. 
4.	Take midterm and final exams. 

003. Modern Fiction [現代小說]
3 credits
Ms. Cecilia Liu (engl1024@mails.fju.edu.tw)
For Juniors above
Class limit: 40
Prerequisite: Introduction to Western Literature
現代小說探討一九七○至九○年代五位小說家呈現出的寫作風格與特色，揭櫫小說敘事技巧、意識形態、文學傳統之傳承與創新。主要研究的英美、歐陸作家有佟妮．莫莉生《最藍的眼睛》，米蘭．昆德拉《笑忘書》，珊卓．希思納羅《芒果街上的房子》，馬奎斯《預知死亡記事》及歐慈《自鎖》。本課程結合網路的運用，將圖像、音樂、電影改編版本、講義、討論問題置於網頁，並介紹相關網站，打開學生學習與討論的空間，增進其研究的興趣。使用多媒體教材、師生互動的教學方式帶動學生課堂上活潑生動的學習。
This course discusses and investigates what ideological and stylistic qualities modern novels from 1970 through the 90s share. Our class will examine how and why writers like Toni Morrison, Millan Kundera, Gabriel Garcia Marquez, Sandra Cisneros and Joyce Carol Oates carry as well as challenge modernist aesthetic tradition.  As you might have noticed already, I especially include female ethnic writers, such as Toni Morrison and Sandra Cisneros, together with a Colombian-born Gabriel Garcia Marquez and Czech-born Millan Kundera to broaden perspectives on their narrative styles.
Some questions to ask while you read their novels:  
1.	In what ways does their stylistic experimentation respond to and critique our modes of being and thinking? 
2.	How is it connected to historical events and technological advancements? 
3.	In what ways does modernist literature renew and transform older forms of literary expression?  
The novels we will study are as follows (in reading order): 
Morrison, Toni.  The Bluest Eye.  New York: Penguin, 1970.  206p
Kundera, Millan.  The Book of Laughter and Forgetting. Trans. Michael Henry Heim.  New York: Penguin, 1980.   228p
Marquez, Gabriel Garcia. Chronicle of A Death Foretold.  New York: Ballantine, 1982.  143p
Cisneros, Sandra.  The House on Mango Street.  New York: Vintage, 1984.  110p
Oates, Joyce Carol.  I Lock My Door upon Myself.  New York: Penguin, 1991. 98p
Requirements:
1.	Regular attendance with preparation and class participation are expected.
2.	You may be asked to do group presentations. 
3.	Quizzes will also be given in class, if necessary. 
4.	Take midterm and final exams.

004. Modern American Drama [現代美國戲劇]
3 credits
Ms. Llyn Scott (theatre@ms26.hinet.net)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
This course surveys the major American playwrights from about 1916 into the 1980s, in their social, political, and aesthetic contexts. Focus on selected plays by O’Neill, Odets, Rice, Hellman, Hughes, Hansberry, Miller, Williams, and Albee. A special selection of short (one-act) new American plays will be included.  Class format encourages student participation on student panels and in class discussion.  Opportunities to view video productions of the plays are planned as well as lectures and written reports.

005. American Literature II [美國文學史（二）]
3 credits
Dr. Ronald Tranquilla (rtranquilla@email.stvincent.edu; 
http://facweb.stvincent.edu/academics/english/faculty/tranquilla/index.html)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
Survey of American Literature, Part Two, covers the development of American literature from just after the United States Civil War up to the 1930s, through readings in various genres including fiction, poetry, the essay, autobiography, and oratory.  Throughout we will keep returning to the question of how American writers participated in and responded to the definition of “America” itself.  For immigrants who settled there, America has been a vast new enterprise and experiment.  Whether it is primarily a spiritual, an economic, or a political experiment, and whether it has succeeded or failed, is an open question addressed differently by various writers.
Major works on the syllabus include works poets such as by Emily Dickinson and some women contemporaries, T. S. Eliot, and e e cummings, and short fiction by authors such as Alice Dunbar-Nelson, Stephen Crane, Ernest Hemingway, and William Faulkner.  Our discussions will focus on close analysis of texts while lectures will introduce individual authors and survey related historical issues (for example, WWI) and cultural movements (including Realism, Naturalism, and Modernism).  Sometimes we will look at American paintings as a point of comparison to American literature.
Requirements include participation in class activities, one report, a 4-6 page essay, a midterm, and a final exam.  Survey of American Literature, Part One, was offered in the Fall Semester.  Parts One and Two may be taken either independently of one another, or in succession as a year-long survey.

006. European Literature [歐洲文學]
3 credits
Fr. Daniel Bauer (engl1013@mails.fju.edu.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
This course introduces important works of several major European writers from the 17th – 20th century, and familiarizes students with the development of genres in world literature. Among the works presented in class will be Moliere’s play TARTUFFE, Voltaire’s satirical novella CANDIDE, the Russian writer Pushkin’s short story THE QUEEN OF SPADES, Chekhov’s short story THE LADY WITH THE DOG, Tolstoy’s novella THE DEATH OF IVAN ILYICH, Franz Kafka’s novella THE METAMORPHOSIS, and Bertold Brecht’s drama THE GOOD WOMAN OF SETZUAN. This literature is difficult reading, but is rich in meaning and a wonderful intellectual experience. A print-out of the literature will be available at cost. Students will be expected to read about 35 pages a week, write 4 journals, and take a mid-term and final exam.

007. Literary Criticism: Love, Desire and Class [文學批評：愛、欲望與階級]
3 credits
Dr. Kate C.W. Liu (engl1009@mails.fju.edu.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
"Ah--ha, that's great! I love it." 「本詩意境深遠，耐人尋味﹒」 Are these examples of literary criticism? No.
Literary criticism is different from Literary appreciation: the latter involves expressions of your feelings and pleasure in reading, your likes and dislikes of a text, while the former, as a formal training for literature majors, requires both literary sensibility and critical thinking. In other words, literary criticism consists of careful (re-)reading of literary texts and then analyzing them with a conscious use of some critical frameworks and methods and an active engagement in their critical issues.
(For further details on what literary criticism is, please view this animation. http://www.eng.fju.edu.tw/Literary_Criticism/video/animation/lit1.swf)
In this course, therefore, we will try to achieve three goals:
1.	to improve our sensibility to literary elements;
2.	to enhance our abilities in responding critically to the issues raised by the chosen literary or cultural texts;
3.	with the help of some critical theories, to place these issues in a larger context, such as those of the texts’ contemporary society, our society and our lives.
In order to have a sense of focus, we will choose Love, Desire and Class as our major topics. The questions we discuss will be:
‧	What do the texts we examine say about love, desire and class difference?
‧	How does a text produce its meanings both through form and content?
‧	Are there meanings hidden in the texts and/or unknown to their authors?  If so, what are they and why?
Four critical schools will be used to help us examine the texts’ meanings and hidden meanings from various perspectives:
‧	New Criticism (3 wks)—textual meanings constructed through formal unity, or with the assumptions of human liberalism.
‧	Psychoanalysis (5 wks) —textual meanings driven or repressed by desires of the authors or society;
‧	Marxism (5 wks) –textual meanings of social relations and ideologies;
‧	Reader Response or Cultural Studies (3 wks)– textual meanings for ourselves or of our culture.
* This is NOT a course on the history of love in literature.  Rather we choose the texts related to love, desire and class difference for a sense of thematic focus.  As we proceed, however, you are welcome to bring in Taiwanese and cultural texts related to these topics.  This, I believe, will bring Literary Criticism home to us.
Textbook：A Reader will be compiled.
Besides the usual stuffs – attendance, punctuality, journals, class participation, group report and final exam, the course requires a commitment to 1) watching the films; 2) using internet teaching materials, outside of class and before the discussion in class.

008. Contemporary Canadian Literature and Film: Nation, Race and Gender [當代加拿大文學與電影：國族、種族與性別]
3 credits
Dr. Kate C.W. Liu (engl1009@mails.fju.edu.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
․How do we characterize "the Canadian"?
Reserved, gentle and sophisticated?
Cold, Americanized, or -- victimized, nameless and wordless?
All of these words are possible but partial descriptions, since Canada, like all the other postcolonial nations, has a mixture of cultures, races and contradictory self-images. To us Taiwanese, Canada offers syrup, maple leaf, picturesque tourist spots and ice-melt clean water. But for itself, it has a combination of non-militaristic national flag and the very violent hockey game, the Quebecois French which is "not-quite" French and the Canadian English which is hardly distinguishable from British and American English. Moreover, it is still struggling with the heart-wrenching question of "One nation, two nations, or many regions" -- the possibility of turning multicultural mosaic into a mixture of two solitudes or many solitudes.
․Why the Canadian?
Canada, or the Canadian culture, is actually not too far away from us -- with the daily and rapid exchange of commodities, information and people (e.g. Taiwanese and Hong Kongese immigration to Canada) between the two nations. Despite and perhaps because of the complexities mentioned above, we Taiwanese can relate to the issues (such as national identity, race and gender issues) Canada struggles with. Let's have a glimpse at the issues we will discuss:
1.	nation--How is the Canadian different from the British and the U.S.? How does Canada retain one-ness while confirming multiculturalism?  How do different provinces relate to the national center?
2.	race--Is it a "mosaic" or "vertical mosaic"? In other words, in what forms does racism appear in Canadian society, on both individual and institutional levels?  How do the immigrant writers construct their cultural identity?
3.	gender--How is sexism related to racism and nationalism? Where are the gender, racial and national boundaries?
The texts we will be reading will be a collection of short stories (e.g. Alice Munro, Mordecai Richler, Clark Blaise, Sky Lee), poems (e.g. Earle Birney, P. K. Page, Joy Kogawa, Gwendolyn MacEwen, etc.), and one or two medium-length novels (e.g. Obasan by Joy Kogawa, and The Wars by Timothy Findley).  Also, we will have a selection of English films related our themes from different regions (e.g. . West Coast: My American Cousin; Lotus Eaters; The Prairie: Tales from the Gimli Hotel., Quebec: Perfectly Normal; East Coast: Margaret’s Museum) and of different races (aborigine: Dance Me Outside, Indian -- Sam and me; Chinese: Double Happiness).  The three issues we focus on, of course, cannot be exhausted, not to mention contemporary Canadian literature as a whole.  But this course will be a chance for us to explore a new world in order to broaden our own horizon.
Requirements & Grading policy:
1.	Reading before class and active participation in class is essential.  Any late or absence will affect your final grade.  If you have to be absent, please let me know beforehand.--10%
2.	one group report on a topic of your own choice.--20%
3.	Weekly journal--two pages each week--30%
4.	a take-home exam--40%

009. Children’s Literature [兒童文學]
2 credits
Instructor: Ms. Tina Kuo (engl1028@mails.fju.edu.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to Western Literature
COURSE OBJECTIVES
The course is tailored to provide students with both theoretical and practical aspects of the study of western children’s literature and its applications to English teaching. Main issues (6WH-Q) covered in classes can be outlined as follows: Who read children’s literature? What is children’s literature? Why should we use children’s literature for language acquisition? Where can we find and when should we read children’s literature? How can we transform children’s literature into “comprehensible input” for learners? Hope to achieve the objectives after completion of this course:
-  Read a wide selection of children’s literature 
-  Provide comprehensible and motivating teaching materials 
-  Linking mother tongue learning experience to second language acquisition
-  Cross-cultural exposure through literature reading.
-  Historical and educational aspects of literature for children
TWO MAJOR READING TEXTS
Selections will be decided based on your preference. We will read extensively of texts taken from both ancient and modern period. If the traditional text is fantasy, the contemporary one will be realistic to form a contrast. Charlotte’s Web or Winnie the Pooh and Harry Potter’s newly released copies are the top priority.
Course Content
Before mid-term exam, we will survey extensively various genres of children’s literature including nursery rhymes, chants, lullabies, Aesop’s fable, Brother Grimm and Christian Anderson’s fairy tales, award winning books. After mid-term, with the understanding of fundamentals of children’s literature, we will be able to explore widely-discussed issues such as censorship, picture books and illustrations, gender and stereotypes in children’s literature, continuation or rewrite of ancient fairy tales, Oscar Wilde’s masterpieces; Dr. Seuss’ collections and Harry Potter’s craze around the world.  The syllabus is subject to change after I consolidate the results from the questionnaires you kindly fill out.
※Please provide your e-mail address after your registration status is confirmed for the “invitation card.”

010. Sociolinguistics [社會語言學]
3 credits
Instructor: Ms. Sterling Plata (smplata@yahoo.com.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to English Linguistics
This course covers the main topics in the study of language and culture, as well as provides an introduction to the most important methods used in research and analysis in this field.  The activities are built around topics such as speech community, code, variation, language and gender, language change, and bilingualism.

011. Pragmatics [語用學]
3 credits
Instructor: Ms. Sterling Plata (smplata@yahoo.com.tw)
For Juniors above
Class limit: 45
Prerequisite: Introduction to English Linguistics
This course introduces undergraduate students to key concepts central in the understanding of human interactions.  It investigates human communication through the lens of micropragmatics (reference, deixis, speech acts) and macropragmatics (convention, the importance of context and ways of speaking).  The course is both theoretical and practical as it discusses important pragmatic theories, and at the same time it provides exercises to improve students’ pragmatic competence.

012. Vocabulary Development [字彙發展]
3 credits
Dr. Yun-pi Yuan (engl1018@mails.fju.edu.tw)
For Juniors above
Class limit: 40
Prerequisite: Introduction to English Linguistics
Most learners feel that vocabulary is the most important aspect of language learning, but in research and teaching it has not received the same amount of attention as syntax, especially.  This course will investigate both how vocabulary is learned, and ways of helping learners learn it better.  Vocabulary acquisition and related research will be covered in lectures and reading, and vocabulary teaching will be demonstrated and practiced through in-class exercises/presentation and outside assignments.  Students may have a chance to help construct the homepage of the course.
Requirements: [subject to change]
Participation (including in-class exercises):		20%
Take-home Exam							30%
Project (on vocabulary learning exercises):		25%
Article Review							25%
Tentative Textbook:
Nation, I. S. P.  Teaching and Learning Vocabulary.  Boston: Heinle & Heinle, 1990.
[A list of related references will be passed out in class.]

013. Teaching English as a Second Language [TESOL, 英語教學法]
3 credits
Ms. Doris Shih (dshih@mails.fju.edu.tw)
For Junior above; Priority will be given to seniors.
Class limit: 35
Prerequisite: Introduction to English Linguistics
This course deals with review of contemporary research and approaches applied to material development and instructional design for English as a Second or Foreign Language (ESL/EFL) instruction. The content of the course will be presented through various ways: presentations given by the instructor, in-class and online discussions, student presentations, and individual and group assignments. These methods will stimulate students to think about issues discussed in the research and also develop materials and instruction for teaching ESL/EFL. Lesson plans and instructional materials produced for the in-class presentations will be uploaded into the online environment for others to access.
In addition to the textbooks, we will also use some online resources and web-board discussions as learning materials. We will have a course website established for these materials. Each of you will be asked to enter the web-board area to conduct discussions almost every week. Please make sure you have access to the computer and the Internet.
Course Goals:
This course enables you as student to:
1.	become knowledgeable of contemporary research in ESL teaching and learning.
2.	realize successful second language learning depends on multiple factors, such as cultural, emotional, and cognitive factors.
3.	apply different approaches in developing ESL instruction.
4.	become familiarize with the use of different technologies with ESL material development and instructional design.
Texts required:
Harmer, J. (1998). How to teach English. Essex, England: Longman.
Larsen-Freeman, D. (1986). Techniques and principles in language teaching. Oxford, England: Oxford University Press
Handouts
References:
Brown, H. D. (2001). Teaching by principles: An interactive approach to language pedagogy (2nd ed.). White Plains, NY: Longman.
Herrell A. L. (2000). Fifty strategies for teaching English language learners. Upper Saddle River, NJ: Prentice-Hall.
Krashen, S. D. (1995). Principles and practice in second language acquisition. New York: Prentice Hall.
Owston, R. D. (1997). The World Wide Web: A technology to enhance teaching and learning? Educational Researcher, 26(2), 27-33.
Grading Policy:
1. Participation (in class and online) …………………………………………………..	20%	
2. Attendance (Points deducted from final grade for absences)…………………….		
3. A presentation on instructional material development and events of one lesson/activity (group work)…………………………………………………………..	
20%	
4. A paper describing the content of the presentation (include a lesson plan*) (group work)……………………………………………………………………………..	20%	
5. Web-board discussions or another activity……..………………………………….	20%	
6. Midterm Exam…………………………………………………………………………	20%	
Tentative topics
Language and culture
Five hypotheses about second language acquisition
Strategies in teaching of listening, speaking, reading, and writing
Good teacher/learner/management
Lesson plans, games 
The Audiolingual Method
The Silent Way
Desuggestopedia
Total Physical Response
Community Language Learning
Communicative Language Teaching
Content-based, Task-based, & Participatory Approaches
Learning Strategy Training, Cooperative Learning, & Multiple Intelligences 
Computer-Assisted Language Learning; Workstation designs
Teachers’ debates

014. Performing Arts: Directing [舞台藝術：導演技巧]
3 credits
Dr. Llyn Scott (engl1014@mails.fju.edu.tw)
For Sophomores above
Class limit: 40
Prerequisite: Performing Arts: Acting
This course is a continuation of Performing Arts I – Acting; however the content focus shifts to the role of the director as researcher, creator and producer of theatre events. Students begin with fundamentals of play analysis and play production organization with which they will prepare playlets for class performance. Next, students explore a variety of theatre opportunities for the community; for example, students will be invited to design and implement a creative drama experience for a school classroom; a club and/or a church. With experience in applying theatrical principles to a variety of fields and interests, each student then will research and write an original solo performance drawn from historical materials.  To prepare for this project, students will read and compare the solo performances of well-known actors who have impersonated well-known literary or historical figures; examples will range from Mary Stuart performed by Brazilian actress/director Denise Stoklos to Hal Holbrook’s Mark Twain.  The course concludes with an introduction to aspects of theatre design including lighting, sound and basic stagecraft as essentials for the theatre director.  Course evaluation is determined by student performances, directing notebooks and knowledge of theatre terminology. As time permits, students will be introduced to the works of seminal directors who have contributed to the history of modern theatre including Joan Littlewood, Jerzy Grotowski and others.

015. Consecutive Interpretation: English to Chinese [逐步口譯：英譯中]
2 credits
Mr. Paul Yeh (spyeh@seed.net.tw)
For Seniors Only
Class limit: 15
Prerequisite: Introduction to Linguistics
This course will focus on: (1) Gile’s Effort Model for Consecutive Interpretation (CI); (2) principles on note taking; (3) assignment preparation; and (4) practice in class. We will try to cover various topics, including those on politics, business, education and global economy etc., so as to expand your vocabulary and world knowledge in both English and Chinese. Your performance will be critically analyzed by the instructor and classmates (surprise!).
Requirements: A good pen/pencil, a notebook, a fast right hand and/or left hand, and both ears. Shameless attitude a plus.
Evaluation:	Attendance:	30%
	Class Performance:	70%
May the Force be with you.

016. Professional Ethics [專業倫理]
2 credits
Fr. Daniel Bauer (engl1013@mails.fju.edu.tw)
For Juniors above
Class limit: 55
This is a course for juniors and seniors which focuses on philosophical theories and the practice of “right” and “wrong” in various life situations.  This course differs from philosophy of life in that ethics specifically views areas such as medicine, counseling, education, business and journalism, and attempts to pinpoint values and principles to guide moral consciousness within those professions.  This course will also explore values and moral decision making in personal life in the context of family life, dating and marriage, and friendship. The instructor will provide a 25 page workbook at cost and frequent handouts.  Monthly written journals, a group oral journal, and a 5 case ethics folder due at the end of the semester are required.  There are no exams in this course.

017. Chinese Poetry II
[中國詩詞曲（一）（上學期）；中國詩詞曲（二）（下學期）]
2 credits
Mr. Hsieh (謝錦桂毓老師)
For Sophomores above
Class limit: 50
課程目標：
1.	知識：概括掌握先秦到清中國詩詞曲的發展。
2.	方法：鍛鍊鑑賞文學作品的觀念和能力。
3.	心靈：從作品與主題中體會民族文化心理，並對應古今。
4.	延伸：可為中外比較之參考。
課程內容：
上

學

期	序次	綱    目	下

學

期
	序次	綱    目	
	一	課程說明 1		一	一代詩風的開創者--曹操 1	
	二	文學之門在何處 1		二	個性心靈世界的豐富展示--左思 1	
	三	形象與情意(賦比興) 1.5		三	執著與超脫的統一--陶潛 2	
	四	思無邪(藝術與道德) 1.5		四	唐詩的時空意識 2	
	五	戀愛悲劇模式A型 1.5		五	唐詩中的楊貴妃形象 1	
	六	戀愛悲劇模式B型 1.5		六	張若虛《春江花月夜》的接受美學、結構主義解讀 1	
	七	“鄉愁”(精神家園的追求與失落)
悲劇模式B型 2		七	唐五代至宋初詞境的開拓 2	
	八	理想的衝突與悲劇的超越：心靈史詩《離騷》 2		八	在詞的歷史轉折點上--柳永 1	
	九	屈原與忠奸悲劇模式 1		九	指出詞向上一路--蘇軾 1	
	十	《陌上桑》的敘述學解讀 1		十	永遠的誘惑、文化的反思--《王西廂》、《曾西廂》 2	
	十
一	中國女性在壓迫中的反抗意識--《孔雀東南飛》 2		十
一	情多累多、永不回頭--《方本雷峰塔傳奇》 2	
＊	上列教材有專題式、專家式、專書式、文學發展式，且上下學期系統連貫，我們要以不同形態、方式進入中國韻文世界。
＊	上課總次數視行事曆而定，預估有一、二個綱目會彈性刪除。
＊	在總體方向和精神不變下，內容綱目如有調整，請見開學發的進度表。	

教材：1. 講義：提供原件供影印（含全套目錄)。
2. 中國文學史（配讀用）及必要之成冊作品--自備。
教學方式：教師主導討論與學生講論並用；講論以分組分題為原則，一學期大約2-3次。
1.同學預習、繳作業，教師帶討論、解說。 
2.同學分組同步或分題處理一個專題，一學期至少二次。 
作業：1.為補課堂之不足，每一階段配讀中國文學史，寫成綱目式提要。
2.沒輪到講論者，各單元作品按標記寫預習筆記。
成績評量：設有評量項目(講論、作業)及比例，按進度分配在各階段中；除非計劃無法推動，否則不考試。
其他：1.本系中文課程受內外因素擠壓，萎縮早成定局。往後二、三、四年級只能開設一門中文選修課，預計是三套教材輪開，每門課每位同學只有一次選擇機會：中國詩詞曲(一)(二)、中國傳統小說(一)(二)、二十世紀中國小說(一)(二)。
2.課一般會上到12:30，請預留時間。
3.如要開課程說明會，會發通知。
4.有疑難請直接來談(先預約更好)。SF843 TEL:29031111-2446(O);23631607(H)

018. Journalistic Writing in English II [新聞英文寫作（二）] (Advanced writing) 
2 credits
Mr. Fok Tat-men
For Seniors Only
Class limit: 27
Prerequisite: English Composition III
Teaching Plan (Provisional)
1.	Chinese-English News Translation—class work; (4 hours)
2.	The sentence in English news writing (2 hours)
3.	Parts of speech + class work (2 hours)
4.	Nouns and pronouns + class work (2 hours)
5.	Verbs and tense + class work (2 hours minimum)
6.	Simple vs. Complex Structures + class work (2 hours)
7.	The use of numbers + class work (2 hours)
8.	Proofreading and editing + class work (4 hours)
Textbook: to be decided.

019. Chinese-English Translation II [中英翻譯（二）] (Advanced writing)
2 credits
Mr. Daniel Wang
For Seniors Only
Class limit: 27
Prerequisite: English Composition III
This course offers practical experience in Chinese-English translation.  The focus of this semester will be on the techniques in translating texts of different literary styles (classical Chinese, spoken Chinese, poetry, prose, etc.) and various subjects (literature, science, art, journalism, business, etc.)
TEXT:
There is no textbook for this course.  Teaching materials and Chinese texts will be prepared by the instructor.
REQUIREMENTS:
There will be five written assignments and one oral presentation during the semester.  The Chinese texts to be translated for the written assignments will be provided by the instructor; the materials for the oral presentation may be chosen by students themselves but will have to be approved first by the instructor.
ATTENDANCE:
Since discussion in class is important, regular attendance will be expected.
EVALUATION: 
There will be no mid-term or final exams.  Grades will be based on (1) the evaluations of the written assignments; (2) the evaluation of the oral presentation; (3) class attendance and participation.

020. Business English Writing II [商務英文（二）] (Advanced writing)
2 credits
Mr. Brian Reynolds (ital0003@mails.fju.edu.tw)
For Seniors Only
Class limit: 25
Prerequisite: English Composition III
This course is designed for students who would like to work in the business world after graduation and is also useful for those who intend to apply to a business related graduate school.
This semester we will deal with electronic correspondence and faxes. E-mails are a relatively new phenomenon and require a style of English that even native speakers have to learn. They entail a brevity, clarity and informality that are very different from the conventions of paper correspondence. The advent of the Internet has altered the whole nature of how business is conducted and how people relate to each other.
We shall also be looking at some forms of paper correspondence such as covering letters, as well as in-company communications such as memos, agendas and minutes of meetings. We will also cover other types of business documents such as banking protocols, basic import/export procedures orders, invoices, statements and receipts.
The two projects you will be doing are a major element of the course this semester. They will help you to acquire skills such as information management, market research techniques, time management and planning, and the presentation of statistical information. You will also learn to work effectively as a team.
The principal method we shall be using to help you to acquire these skills will be through the use of “real life” situations. You will be presented with a variety of scenarios that you would be likely to come across in the Taiwanese business world.
In addition, we shall be looking at some potential cultural conflicts that may arise when dealing with Western business people. If time permits, we may examine some macroeconomic issues such as globalization and the communications revolution.
No one book could cover all the areas we shall be dealing with, so we shall be relying to some extent on handouts and class presentations. However, as a reference book for this course and for the future, it is strongly recommended that you acquire a copy of: Taylor, S. Gartside, L. Model Business Letters and Other Business Documents. London: Financial Times, 1992.

以下為學年課，未修上學期，不得選修下學期：

＊  Oral Translation [口譯技巧]
2 credits
Prof. Chien-Chao Hung 
For Juniors Above
Class limit: 16
Prerequisite: Introduction to Linguistics
There are no textbooks.  Students are required to practice interpretation in class.
Weeks	Topics	Weeks	Topics	
1	History	8	Continued	
2	Continued	9	Continued	
3	Economics	10	Sports	
4	Continued	11	Continued	
5	Defense	12	Literature	
6	Continued	13	Continued	
7	Interviews	14	Incidents	

＊  Translation Practicum [翻譯實務]
2 credits
Prof. Chien-Chao Hung 
For Juniors Above
Class limit: 20
Prerequisite: English Composition & English Conversation II
There are no textbooks.  Students are required to do translation at home.  Corrections will be discussed in class.
Weeks	Topics	Weeks	Topics	
1	Western history	8	Continued	
2	Continued	9	Defense	
3	Classics	10	Continued	
4	Continued	11	Education	
5	Sports	12	Speeches	
6	Continued	13	Environmental protection	
7	Economy and trade	14	Continued