| Course title(required course) || Cerdit || Course Description |
| Taiwan Humanities Studies in the International Context || 3 || This course introduces students to selected key international research fields in which Taiwan is or can be one of the foci. The aim is to equip students with adequate knowledge and research methodology to participate in the exchange with scholars from these international academic communities. |
| Academic Writing || 2 || In this course, the students will learn how to develop academic arguments, conducting textual or cultural analysis to support these arguments, and develop a clear and elegant writing style. The students are expected to improve their writing skills through interactive activities such as class discussions and peer reviews. |
| Cultural Institution and Internationalization (practical training) || 1 || “Cultural Institution and Internationalization (practical training)” is a practical training course, in which a student will execute practical training or work as a volunteer in a cultural institution/organization, private or public, home or abroad, or an industry-academy project of interest to him/her. The student is expected to put the cultural knowledge and theories he/she has acquired in class to practical use, and to re-examine the theories by doing so. The student will be assigned a supervisor, and will have to finish the following works under the supervisor’s instructions. First, the student should conduct researches on the cultural institution/organization or the industry-academy project of interest to him/her and make preliminaries for the practical training. Second, the student should have practical training or work as a volunteer in the cultural institution/organization or the industry-academy project for at least 36 hours. Or, the student can opt for an 18-hour internship at the institution/organization (or the project) and another 18-hour learning with his/her supervisor in class. Third, the student should submit an English final report to the supervisor after the internship course has come to the end. |
| Dissertation || 12 || |
| Course title(elective course) || Cerdit || Course Description |
| Contemporary Culture and Globalization || 3 || This course explores the culture of Taiwan in the historical and socio-political context of globalization. Students will examine the impact of globalization on cultural formations in Taiwan from Japanese colonial period to present, and reflect on how Taiwan may participate in global society through knowledge and cultural productions. Through interdisciplinary discussions across critical theories, history, sociology, literary and film studies, this course invites students to explore the tasks and directions of humanities research in the era of globalization. |
| Sinophone Literary Studies in the East Asian Context || 3 || 本課程將以「東亞」為思考場域，從「漢字文化圈」概念出發，討論「東亞漢文學」、「世界華文文學」、「華語語系文學」等相關概念的衍生與發展脈絡，並以臺灣為樞紐，探討全球化潮流下「華文文學」的發展與傳播課題。為兼顧「華文文學」的歷史起源及其流變，以達返古開新之功效，本課程分為兩大部分。第一部份集中在臺灣在日本殖民時期（1895~1945）的新舊文學發展，從古典漢文學到現代中文白話文學，試圖辨析作為書寫工具的「中文/漢字」作為文化符碼的歷史變遷與革新意涵，進而釐清其中現代性、殖民性與傳統性的重層糾葛。第二部份將集中於戰後華文文學在東亞的發展與傳播，以及與其相關的華語語系論述、文化翻譯、殖民現代性與全球化議題，尤其將特別針對新興的大眾文學與網路新媒體創作形式進行探究，並思考將為華文文學帶來怎樣新的發展契機與挑戰。 |
| Seminar on Taiwan Cinema || 3 || The purpose of this course is two-fold. First, it aims to provide a broad overview of Taiwan cinema from the early “taiyu pian” to the contemporary cinematic production after Cape No. 7 (2008). Second, since cinema, like literature, is intertwined with the social, cultural, historical conditions from which it emerges, it has also become indispensable for a cultural study on Taiwan at different stages from 1950s to the present. The course will shuttle between the examining of general cultural, social, historical factors and the close reading of a specific cinematic work. Through the course, we hope that students will be able to know culture via cinema and cinema via culture. |
| Ecocritical Perspectives on Literature || 3 || This course aims to familiarize students with current ecocriticial theories and to enable them to employ these theories in original readings of literature and film in general as well as from Taiwan. It is divided into two sections: The first half of the semester will provide an introduction to current ecocritical theory, contextualizing ecocriticism within the larger field of critiques of modernity and paying special attention to linkages between ecocriticism and postcolonial theory. In the second half of the semester, these theoretical perspectives will be brought to bear on a selection of texts and films in general as well as from Taiwan. |
| Seminar on Eco-cinema || 3 || As Sheldon H. Lu defines it, "Eco-cinema is cinema with an ecological consciousness. It articulates the relationship of human begins to the physical environment, earth, nature, and animals from a biocentirc, non-anthropocentric point of view." Taking this definition as the starting point, this course examines selected films from Taiwan and China that thematize environmental or ecological Issues. Students will also learn how a keen eco-consciousness impact on our interpretive strategy and understanding of films. |
| Cultural Heritage and Digital Archiving || 3 || The class addresses the issues, standards and practices involved in digitizing cultural heritage worldwide and in preserving digital materials. Through theoretical, practical and hands-on approaches, students will gain experience in digital archive production, and gain an understanding of the administrative and legal issues. |
| Introduction to STS and Cultural Studies || 3 || This seminar course is intended as an interdisciplinary introduction to two new developed fields in humanities: studies of the body in STS, and Cultural Studies. In the first part, we will study writings that deal with the body in history, literature, anthropology and STS, as well as in the scientific and medical knowledge. Besides, this part will introduce some important elements for our understanding of modern bodies and, by doing so, invites students to review the formation of the very unique bodily experience in Taiwan. The second part deals with various topics of Cultural Studies and Critical theory, such as representation, identification, historiography, etc. We will also come to terms with concepts of cultural materialism, modernity, (post-)colonialism, performativity, etc. |
| Independent Study (A)(B)(C) || 1 || |
The independent study series of courses explore fields and topics not covered by existing courses. The purpose is to allow in-depth pursuit of individual areas of interest in consultation with the professor.
In course A, students will conduct specialized reading and research projects focusing on literary studies in comparative perspectives, and explore the ways to position Taiwan’s literature in the theorization and practices of global literary productions.
In course B, students will conduct specialized reading and research projects focusing on drama studies in the context of Taiwan, China, Asia and beyond, and explore the ways to theorize traditional performative culture in the era of globalization.
In course C, students will carry out researches on dominant genres, theories and topics in the development of Taiwan’s popular literature, and explore how to conduct transnational studies on Taiwan’s popular literature.
| Seminar on Sinophone Cinema || 3 || Cinema has become a major genre of contemporary cultural products. Its cinematic composition displays a special mode of humanity thinking, and its content also conveys cultural significance. Using Sinophone cinema as its subject, this course attempts to examine the forms of expression and the substance of content of contemporary Sinophone cinematic production |
| Biopolitics for Literary and Cultural Studies || 3 || Biopolitics and biotech researches are two important topics these days. This course will be divided in three parts: I. Thomas Lemke's Biopolitics: An Advanced Introduction; II. Critical Essays and texts that shape current conceptualisation in Biopolitical theories, which include Agamben's Homo Sacer, Hannah Arendt’s The Human Condition, Esposito's Immunitas, Hardt and Negri's Empire, and an article by Nicholas Rose and Paul Rabinow. This course will conclude by extending mostly Agamben’s and Arendt's philosophical arguments onto cinematic as well as textual readings, such as Kim Stanley Robinso's 2312 and selective texts that explore the subject matter of Biopolitics. |
| World Literature and Theories of the World || 3 || The seminar aims to systematically contextualize world literature within our contemporary literary debates. In current debates on “world literature,” economicist models have so far held sway (Damrosch, Moretti, and Casanova). Based on understandings of time and geographical space derived from Wallerstein’s theory of “world-system”, these models view time and history as singular and linear, as in classic theories of modernity, and space as divided between metropolitan centers and peripheries, and use vocabularies of import and export, exchange and accumulation. As a result, literatures in Asian and African languages are deemed “local”, “peripheral”, “poor” or “underdeveloped” (SOAS, U of London). Literatures that “have not made it” onto the world stage or are on the way of becoming part of the world literature requires further discussions over issues such as the distance from the “world reader,” the worlding methodologies related to the sturdy of non-European traditions and textual translations. |
For contemporary Taiwanese readers, the way we view world literature has a lot to do with the way we view the world. By examining “world” literature from non-Eurocentric views of the world and to put forward Taiwanese and/or non-western views of world-ing literature, the seminar will look at the multiple layers and networks of production and circulation of the literary worlds. Among the existent critical methodologies related to the study of non-European traditions, this seminar also emphasizes the transitional feasibility of providing new comparative interpretations of the World, the underpinning critical and theoretical assumptions, relevant issues upon interdisciplinary and the ultimate need for textual analytic modalities that would complement and enrich methods commonly borrowed from the social sciences, art history, and philosophy.
The first part of the course examines various ideas of the world and its link to literature and culture in Goethe, Hegel, Marx and Arendt. In the second part of the course, we will turn to consider novels from and about postcolonial (transnational) space that attempt to transform the world created by Northern political and economic hegemony. We will study novels from Africa, Asia and the Caribbean that explore the consequences of commercial and financial flows such as international tourism, humanitarian aid, foreign investment etc. for humane social development. Issues to be discussed include: the autonomy of transnational-literariness and trans-cultural flows in relation to economic flows; the normative status and transformative power of world literature in the wake of Marxist critique; non-Eurocentric accounts of world literature; the connections between the formal features of committed literature and its thematic concerns in the crafting of new figurations and stories of belonging of postcolonial (transnational) peoples and migrants; transnational (cosmopolitan) narrative experimentation; the revival of the story form and the use of 'magic' and its relation to realism; the political use of the Bildungsroman. The final part of the course will touch slightly upon the development of sinophone literature in the world. Readings will also include theoretical work and criticism by David Harvey, Salman Rushdie, Walter Benjamin, Benedict Anderson, David Damrosch, Pascale Casanova, Franco Moretti, and Giovanni Arrighi, Martha Nussbaum, Shu-Mei Shih, Rey Chow, Amanda Anderson, Ella Shohat, Suman Gupta, Pheng Cheah, Bruce Robbins, Vinay Dharwadker, Timothy Brennan.
| Travel Writings and Travel Literature || 3 || This course will focus on “Travel” as a theme and how travel writings in the selected journals, travelogues, films, and fictions explicitly define the norm of individual and collective identities. Analyzing the transitional meanings of the travel themes (journey for pleasure, exile, flâneur, escape, expatriation.) embedded in these works, we will look at the functions of travel and how the writers artistically formulate identity in their transnational or local experiences. We will explore how several 19th and 20th Century travel writers who portray characters and illustrates with landscape details in their journeys and how travel across borders incubates and intensifies the awareness of national differences or the absence it, which weakens or reinforces the constant reiteration of western modernity, thereby approaching alternative questions of critical methods towards an understanding of Self and Other that reaches beyond Euro-Anglocentrism. |
| Introduction to Ecocriticism || 3 || Since its inception in the early 1990s, ecocriticism has emerged as one of the principal new fields of research in Anglophone literary and cultural studies. With roots in the Romantic criticism of modernity, scientific biology, and the emancipatory movements of the 1960s, it is a field fraught with internal tensions that revolve around basic questions: What contribution can the humanities make to our struggle with the ecological crisis? How should our growing understanding of society’s dependence on its natural environment inform the way in which we read (and produce) cultural artifacts? More generally: How should we conceive of the relationship between scientific and humanistic knowledge? In this course, we will survey the different ways in which ecocriticism and its critics have answered these questions – and we will read a variety of cultural artifacts (such as the poetry of Gary Snyder, the movie Avatar, and Michael Crichton’s thriller State of Fear) to see how these answers hold up when applied to concrete cases. |
| Postmodern Fiction || 3 || This course is intended as a survey of postmodernist literature with a focus primarily on American fiction (and cinema). Although the course does incorporate the theory of postmodernism, the chief aim is to acquaint students with the writers and cultural context of postmodernism in the 20th and 21st centuries. Students will be exposed to literary theorists such as Fredric Jameson, Linda Hutcheon, Jean Baudrillard, and Jean-François Lyotard, but this exposure will come in small doses and only within discussions of specific literary/cinematic texts. The writers we will be reading include Thomas Pynchon, Don DeLillo, Donald Barthelme, Robert Coover, and other “first wave” postmodernists, but we will also tackle “post-postmodernist” (and New Sincerity) writers like David Foster Wallace, Michael Chabon, Jennifer Egan, and Dave Eggers. |
| Contemporary Culture and Globalization |