HSS 2704-0

Brief

本課將藉由閱讀在今日已成經典，也不斷好來塢翻拍的歌德愛情小說與美國尋找自我的公路冒險小說來討論言情小說和 冒險小說中常見到的性別形象及性別人生腳本:男性英雄冒險最終不單得到個人光榮更可抱得美人歸; 反之,女主角似乎難 逃王寶瑏苦守寒窯的命運. 這樣的角色刻畫和劇情安排似乎老套卻也反覆地以不同形式在大眾文化中不斷出現. 我們透過 閱讀, 創作, 影音觀賞, 課堂討論來思考這樣的公式劇情在文化中為什麼既老套卻又難打破. 還有, 這樣的性別腳本對觀者 所產生的性別認同問題. 課程分成三大部份：歌德愛情小說，美國公路冒險成長故事，愛與冒險的性別展演。這學期我們會利用兩部電影 - 簡愛 （2011) 與 007空降危機 (2012) – 來介紹歌德愛情與動作冒險兩大文累的公式與傳統。小說會讀：莫里哀的「胡蝶 夢」，傑克凱魯克亞的「在路上」。然後我們會讀海史密斯的「鹽的代價」及安潔拉卡特的「馬戲團之夜」來看多元性 別與女性主義如何利用公式來挑戰愛情冒險情節中既定的性別角色。

Description

Course keywords: 多元性別，愛情，冒險，性別刻板印象 Course Description: This course explores the seemingly stable gender roles designed and destined in the mostly read popular genres of all time – romance and adventure fictions. Most of the formulated romance, where vicissitudes of emotion and love are hightened, follows a convoluted plot: the protagonist (usually a damsel in distress) falls in love with a knight in shining armour; but somehow the course of love always begins with ill- doomed fate. Hence the ‘heroine’ experiences a prolonged and intense process of anticipation, bewilderment and desire while patiently and passively waiting for the pursue of a ‘hero’. On the other hand, the adventure fiction stresses the knight on the white horse whose adventure into the unknown not only would bring him the ultimate holy grail (personal glory and knowledge) but also an awaiting damsel into the bargain. In other words, conventionally these popular genres, no matter who their target readership are, set out a similar route for fixed gender roles (men in action and women in waiting) and predict respectively their proper fate and destiny. We might all be conversant with the plot and yet somehow find it difficult to break the mould while reading. Why? Because romance/adventure fictions deploy a gripping plot in which details of courtship and adventure accord with widely accepted code of behaviour for gendered beings outside the world of fiction, which in turn imply social values and moral propriety. Hence the readers tend to identify strongly, with almost intense physical feelings, the protagonists in search of love and the ultimate goal of life. This powerful mechanism of identification at work, as this course will contend, not only directs a readerly vicarious experience, but reproduces and produces fixed gender roles in a wider social reality. However, precisely because the readers participate in the plot via identifying with the roles, there is always resistance and this class will examine the 21st century reaction to the gender roles in romance/adventure. This course will unpick the codes for gendered behaviour and their implied value system through reading/viewing now classic fictions and films: Daphne Du Maurier’s Rebecca (1938), Jack Kerousac’s On the Road (1958), Patricia Highsmith’s The Price of Salt (1952), and Angela Carter’s Nights at the Circus (1984), Jane Eyre (2011) and 007 Skyfall (2012). The class will be conducted through a mixture of in-class discussions, film-viewing and student creative writing workshops. 本課將藉由閱讀在今日已成經典，也不斷好來塢翻拍的歌德愛情小說與美國尋找自我的公路冒險小說來討論言情 小說和 冒險小說中常見到的性別形象及性別人生腳本:男性英雄冒險最終不單得到個人光榮更可抱得美人歸; 反之,女 主角似乎難 逃王寶瑏苦守寒窯的命運. 這樣的角色刻畫和劇情安排似乎老套卻也反覆地以不同形式在大眾文化中不斷出現. 我們透過 閱讀, 創作, 影音觀賞, 課堂討論來思考這樣的公式劇情在文化中為什麼既老套卻又難打破. 還有, 這樣的性 別腳本對觀者 所產生的性別認同問題. 課程分成三大部份：歌德愛情小說，美國公路冒險成長故事，愛與冒險的性別展演。這學期我們會利用兩部電影 - 簡愛 （2011) 與 007空降危機 (2012) – 來介紹歌德愛情與動作冒險兩大文累的公式與傳統。小說會讀：莫里哀 的「胡蝶 夢」，傑克凱魯克亞的「在路上」。然後我們會讀海史密斯的「鹽的代價」及安潔拉卡特的「馬戲團之夜」來看 多元性 別與女性主義如何利用公式來挑戰愛情冒險情節中既定的性別角色。 AI 使用規則： 本班作業一率嚴禁使用 AI 作答，被查到該作業以零分計算。 但課堂講義同學可以使用 AI 自行翻譯理解，不過 AI 翻譯可能有錯，同學需要自己思考判斷，也可以詢問老 師。 Required Texts: Carter, Angela. Nights at the Circus. London: Vintage Classics, 1994. Du Maurier, Daphne. Rebecca. New York: Harper, 2006. Highsmith, Patricia. The Price of Salt. New York: W. W. Norton & Company, 2004. Kerousac, Jack. On the Road. New York: Penguin, 2012. Films: Fukunaga, Cary Joji. Jane Eyre. Focus Pictures, 2011. Mendes, Sam. 007 Skyfall. Columbia Pictures, 2012. Reference: Buchner, Katherine ,and Hinton Kaavonia. Young Adult Literature: Exploration, Evolution and Appreciation. Boston: Allyn & Bacon, 2010. Cranny-Francis, Ann. Feminist Fiction: Feminist Uses of Generic Fiction. Cambridge: Polity press, 1990. Fowler, Bridget. The Alienated Reader: Women and Romantic Literature in the Twentieth Century. New York: Havester Wheatsheaf, 1991. Fuchs, Barbara. Romance. London: Routledge, 2004. Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth- Century Literary Imagination. 2nd Edition. New Haven: Yale Nota Bene, 2000. Graves, Mark A. and F. Bruce Eagle. Blockbusters: A Reference Guide to Film Genres. London: Greenwood Press, 2006. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca: Cornell University Press, 1981. Makinen, Merja. Feminist Popular Fiction. New York: Palgrave, 2001. Radway, Janice A.. Reading the Romance. London: Verso, 1987. Smith, Caroline J.. Cosmopolitan Culture and Consumerism in Chick Lit. Nw York: Routledge, 2008. Thurston, Carol. The Romance Revolution: Erotic Novels for Women and the Quest for a New Sexual Identity. Urbana: University of Illinois Press, 1987. 聯合文學 no. 317 Evaluation: Attendance and In-class Participation: 15% Oral presentation: 15% Two diagnostic papers and assignments: 25% Mid-term examination: 5% Group creative project: 40% Course Schedule: 14 February 2016 Week 1: Introduction – The Genres and Popular Culture Part I: Romance Fiction 22 February 2016 Week 2: Film Viewing: Jane Eyre （2012) In-class discussion: the romance formula 29 February 2016 Week 3: No Class 7 March 2016 Week 4: the marriage plot: Rebecca (Chapters 1 – 10) Workshop: Mini-plotting exercises (1) Topic: Women struggling in love, in finance and in society 14 March 2016 Week 5: tests of love: Rebecca (Chapters 11 -19) Workshop: Drawing your gendered characters in your romance fiction Topic: Ideologies operating within and without the economy of romance Fiction 21 March 2016 Week 6: love triumphs: Rebecca (chapters 2027) Workshop: produce a mini-romance of your own Part II: Adventure Fiction 28 March 2016 Week 7: Film Viewing: 007 Skyfall (2012) Introduction to the adventure formula 4 April 2016 Week 8: No Class 11 April 2016 Week 9: shaping manhood: On the Road (1957) Workshop: outline your adventure story Topic: Shaping manhood: what does a young man do in a big wild world? 18 April 2016 Week 10: Personal Glory and Manhood Completed: On the Road (1957) Workshop: What has your hero gained? Topic: destination of manhood and the woman awaiting him 25 April 2016 Week 11: Midterm Part III: gender performances in adventure and love 2 May 2016 Week 12: Reversal of the plot: The Price of Salt (1952) 9 May 2016 Week 13: When a woman meets a woman: The Price of Salt (1952) Workshop: Revisit your romance heroine – what can she do but fretting and waiting? 16 May 2016 Week 14: fantasy begins: Nights at the Circus (1984) Workshop: identifying the old formulae Topic: the forbidden place where lover cannot go 23 May 2016 Week 15: Nights at the Circus (1984) Adventure begins again Topic: Do genders stay the same during the journey? 30 May 2016 Week 16: Love Meets Adventure: Nights at the Circus Workshop: Revisit the actions of your heroine/hero – do they act in pursue of love, power, or self-identity? Topic: What possibilities of life can be on offer if the heroine/hero changes the course of action, not according to plot, by twisting the gender power relationship? 6 June 2016 Week 17: First Draft of your 21st-century romance/adventure due. Readers’ votes competition 13 June 2016 Week 18: Final Draft Wrapping Up and Introduce your Work

Timetable

Remarks

HSS性別學程，本課為18週課程。

Restrictions

Compulsory

Elective

Cross Discipline

First Specialization

Second Specialization