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¡@¡@¦b¬ãÀÀ³o®M½×¤å¼g§@ªº±Ð¾Ç¬yµ{¡A§Ú¤@¤è­±®Ú¾Ú§Ú­Ó¤H¦b»«¤j©Ò±µ¨ü±Ð¾Ç¹ê²ßªº°V½m¡A§l¨ú»«¤j¸ê²`±Ð±Âªº±Ð¾Ç¸gÅç¡A¨Ã¥B°Ñ¦Ò¦³Ãö½×¤å¼g§@ªº±Mªù®ÑÄy¡C

II. ¤Þ¥Î©ó°ê¤º¡u¬ã¨s¤èªk½Òµ{¡v(Possible modifications of this pedagogy for the course of "Research Methods")¡G

¡@¡@§â»«¤j³o®M¼g§@±Ð¾Çªk¤Þ¥Î¦b°ê¤º¤j¾Ç³¡¡u¬ã¨s¤èªk¡v¤D¦Ü¬ã¨s©Ò¡u®Ñ¥Ø¾Ç¡v½Òµ{¤W¡A§Ú­Ì©Î³\¥i¥H¬°¨C¾Ç´Á½Òµ{­q¤@¤¤¤ß¥DÃD¡A°µ¬°½Ò°ó°Q½×¡A¹Ï®ÑÀ]©Î½u¤W»`¶°¸ê®Æ¥H¤Î½×¤å¼g§@ªº¨Ì¾Ú¡C¥t¥~¡A¨C¾Ç´Á­n¤À°t¦n´X¸`½Ò®É¶¡Á¿¸Ñ¸ê®Æ»`¶°ªº¤èªk¡A½×¤å¤Î³ø§i¼g§@®æ¦¡¡A¸ê®Æ½s¿è(documentation)¤Î¤Þ¥Îµû½×¤å³¹¤§¼Ð·Ç®æ¦¡¡C

III. ¿ï¾Ü±Ð§÷(Selecting teaching materials)¡G

A. ®Ú¾Ú«e¶µ©Ò­q¨C¾Ç´Áªº¤¤¤ß¥DÃD©Î­«ÂI¿ï¾Ü¾\Ū±Ð§÷¡C¨Ì§Ú¾á¥ô­^»y¨t¤G¦~¯Å¬ã¨s¤èªk½Òªº¸gÅç¡A¨C¾Ç´Á¥H«ü©w¤G¦Ü¤TºØ¤å¾Ç§@«~¬°¨Î¡AÅý¾Ç¥Í¿ï¾Ü¨ä¤¤¤@ºØ§@«~²`¤J±´°Q¡C¾\Ūªº¤å¾Ç§@«~¤Ó¦h¤F¡A«h½Ò°ó°Q½×¡B¸ê®Æ¬d´M¤Î¼g§@«eªº¦U¶µ«ü¾Éªº®É¶¡«K¤£°÷¤À°t¡A¤]µLªk²`¤J¡C

B. ¹ï¤j¾Ç³¡­^»y¨tªº¾Ç¥Í¦Ó¨¥¡Aµu½g­ìµÛ¦pÀ¸¼@»Pµu½g¤p»¡µ¥­n¤ñÁY²©Î§ï¼g¹Lªºªø½g¤p»¡¬°¨Î¡C

C. ¤W¾Ç´Á§Ú¨Ï¥Îªº±Ð§÷¥]¬A¡G

1. Oscar Wilde's The Importance of Being Earnest

2. Love poetry (including songs and ballads of Scotland, Shakespeare's songs and sonnets, love poems by Robert Burns, Romantic poets, and W. B. Yeats)

3. Edith Wharton's The House of Mirth

4. Nathaniel Hawthorne's "Rappaccini's Daughter"

IV. ¼g§@»P¸ê®Æ»`¶°«eªº°Q½×»P»²¾É(Pre-writing and pre-research discussions)¡G

A. ¥i§Q¥Î­è¶}¾Ç´X­Ó¬P´Á¦V¥þ¯Z¤¶²Ð»P«ü©wªº¤å¾Ç§@«~¬ÛÃöªº¤å¾Ç²z½×»PÆ[©À¡C

®Ú¾Ú¥»¤H¥H¤W©Ò¿ï¥|ºØ±Ð§÷¡A§Ú¿ï¾Ü¥H¤U¬ÛÃö²z½×¡G

1. Subversive discourse and Oscar Wilde's marginal status

2. Discourse of desire

3. Theory of farce

4. Representation of the self in modern literature

5. The decadent movement, Aestheticism, dandyism, and the 1890s

6. Contemporary feminist theory

7. Gender roles in traditional patriarchal society and modern subversion

8. Contemporary aesthetic theory (decoration and ornament)

B. ºë¤ß³]­p°ÝÃD¨Ó¤Þ¾É½Ò°ó°Q½×»P¸ê®Æ¬d´M¡G©Ò³]­pªºÃD¥Ø°È¨D¯à°÷

1.ûi±Òµo¾Ç¥Íªº³Ð¨£(originality)¡A¦]¬°¾Ç¥ÍªºÁo©ú¤~´¼»Ý­n¾A·íªº¿Eµo»P»²¾É¡C

´£¥Ü¾Ç¥Í¤@¨ÇÃD¥Ø¡A°µ¬°¥L­Ì¬ã¨sªº¨Ì¾Ú¡C

©ú½T«ü©w¾Ç¥Í¬ã¨s»P¼g³ø§iªº¥DÃD¡B¤è¦V»P­«ÂI¡C

À°§U¾Ç¥Í§â¤ÀªRªº½×ÂI¶°¤¤¦b¤@­Ó­«­nªº¥DÃD¡A¨Ã§â½×¤å­­©w¦b¾A·íªº½d³ò¤º¡A¥HÁקK¤jÂø¸H(chop suey)¦¡ªº©ÎÃD¥Ø¹L¤j¦Ó¤£°÷²`¤Jªº½×¤å¡C

³]­pªºÃD¥Ø­n²`¤J¥B¦h¼Ë¤Æ¡A¥H¾AÀ³¾Ç¥Í¤£¦Pªº¿³½ì¡C¦ý¾Ç¥Í¥i¿ï¾Ü¨ä¤¤¤@­ÓÃD¥Ø©Î¤@­ÓÃD¥Ø¤¤ªº¤@³¡¤À¨Óµo´§¡C¥t¥~­n´£¿ô¾Ç¥Í¡A¼g½×¤å³ø§i²¦³º¤£¦P©ó¤@¯ë¦Ò¸Õ§@µª¡A­n¹ªÀy¾Ç¥Í¹ï¿ï©wÃD¥Ø§@²`¤J±´°Q¡C

C. §Ú¦b¥»¤å¥½ªþ¤W§Ú¬°¿½§B¯ÇªºPygmalion¡]¯·²À²Q¤k¡^¥H¤Î¤ýº¸¼wªºThe Importance of Being Earnest©Ò½s¼gªºÃD¥Ø½d¨Ò¡AÂԨѰѦҡ]¨£ªþ¥ó¡^¡C

V. ªì¨B»`¶°¸ê®Æ(Preliminary research) :

A.¬°´£°ª¾Ç¥Í»`¶°¸ê®Æªº®Ä²v¡A¥BÁקK¥L­Ìª¼¥Ø¦aºN¯Á¡A±Ð®v¥i¬°¨C½g¤å¾Ç§@«~¦C¥X¤@¨t¦Cªº¥DÃD©ÎÃöÁä¦r¡A¤Þ¾É¾Ç¥Í¬d´M­«­n¥úºÐ¸ê®Æ®w©Î°ê¤º¥~¸ê°Tºô¡C

¡@¡@¥H¤U¬O§Ú¤W¾Ç´Á©Ò¿ï¥|½g§@«~¬ÛÃöªº¥DÃD(subjects)©ÎÃöÁä¦r¡G

OPAC (Open Public Access Catalog), MLA, DAO, ERIC, or WWW

research through subjects, key words, (key words in subjects):

1. love poetry (love poems)

2. desire (discourse of desire)

3. eroticism

4. Freud

5. literary theory

6. Yeats (William Butler Yeats)

7. women in/and literature

8. Robert Burns

9. Scotland (Scottish) songs

10. ballad(s) (folk ballad)

11. masculinity (psychology) in literature

12. sex (gender) role in literature / sex in literature

1. Oscar Wilde 11. Freud

2. The Importance of Being Earnest

3. comedy, farce 12. fantasy

4. iconoclasm 13. post-colonialism

5. literary theory colonialism and/in literature

6. self 14. language (aphorism, epigram)

7. dandyism 15. satire, irony

8. Aestheticism 16. sex (gender) role in literature

aesthetics 17. masculinity (psychology)

in literature

9. marriage (family) 18. Victorian literature

10. humor, wit 19. bourgeois (middle class)

in literature

1. Nathaniel Hawthorne--criticism and interpretation

2. "Rappaccini's Daughter" 10. science

3. literary theory 11. love (eroticism)

4. women in/and literature 12. allegory

5. Christianity and literature

6. Eden (The garden of Eden)

7. myth

8. original sin

9. Puritanism (Puritan movement in literature)

1. Edith Wharton--criticism and interpretation

2. The House of Mirth

3. feminism and literatures

4. literary theory

5. women in literature

6. aesthetics (aesthetic theory)

7. social criticism

8. gender roles in literature

B. ¬°´î¤Ö¾Ç¥Í¦b¹Ï®ÑÀ]¤Îºô¸ô¤WºN¯Áªº®É¶¡¡A±Ð®v¤]¥i´N©Ò¿ï¤å¾Ç§@«~´£¨Ñ­«­nºô§}¡B¬ÛÃö´Á¥Z¡B­«­n®ÑÄy©Îµû½×¡C¦p¦¹¥i¥H±Ð®v­Ó¤Hªº±M¤~»P¸gÅç´£ª@¾Ç¥Í»`¶°¸ê®Æªº¦¨®Ä¡C

C. ³W©w¾Ç¥Í´£¨Ñªì¨B®Ñ¥Ø¡A¥]§t20¦Ü30­Ó±ø¥Ø(entries)¤£µ¥¡C¥i­n¨D¾Ç¥Í¥H¹q¸£¥´¦r®æ¦¡«h»Ý°Ñ¾\MLA Handbook¡AÅý¾Ç¥Í©úÁA³ø§i©Ò¦³®æ¦¡¥²¶·²Å¦X³W©w¡C

D. ¤]¥i¦Ò¼{­n¾Ç¥Í§â­«­n¸ê®Æ¤Î¤Þ¤å(quotations)¿é¤J¹q¸£©ÎºÏ¤ù¡A¥i¸`¬Ù¥L­Ì¦b¥¿¦¡¼¶¼g½×¤å½Z®É³\¦h®É¶¡¡C¦]¬°³o¤@¶¥¬qÄÝ©óªì¨B»`¶°¡A©Ò¿é¤Jªº¤Þ¤å¤£©y¤Ó¦h¡A¥i¨Ì³ø§i©Î½×¤åªøµu¡A¥´¦¨2¦Ü6­¶³æ¦æªºnotes¡C

VI. ¾Ç¥Í¼g§@«eªº«ä¦Ò»P¤ÀªR(Students' pre-writing analysis)¡G

¡@¡@¸g¹L½Ò°óªºÁ¿¸Ñ»P°Q½×¥H¤Îªì¨B»`¶°¸ê®Æ«á¡A¾Ç¥Í¤j³£¤w¨M©w¦Û¤v½×¤å©Î³ø§iªº¤è¦V¡C±µ¤U¨Ó¡A±Ð®v¥i¹ªÀy¾Ç¥Í§@§ó¶i¤@¨Bªº¤ÀªR»P±´°Q¡C¥i¹ªÀy¾Ç¥Í¡G

A. ´M§ä§@«~¤¤¡A§Aı±o­È±o²`¤J±´°Qªº¬Y¶µ°ÝÃD¡C±q§@«~¤¤§ä¥X¤ä«ù§Aªº¤@¨Ç¹ê¨Ò¡A¦P®É¤]³]ªk§ä¥X¤@¨Ç¬Û¤Ïªº¨Ò¤l¡A¥H­×¥¿¦Û¤vªº¬Ýªk¡C¦p¦¹¤ÏÂбÀºV¡A³vº¥­×¥¿¦Û¤vªº½×ÂI¡C¡]µù¤T¡^¡C

B. ¨M©w¥DÃD©ÎÃD¦®(thesis statement)»PÃD¥Ø(topic)

¡@¡@¤@½g³ø§i©Î½×¤åªº½×ÂI©Î¥ß³õ¬O§_©ú½T©Î¦³³Ð·N¡A¥D­n¦b©ó¸Ó½g½×¤å¬O§_¦³­Ó©ú½T¥B·s¿oªºÃD¦®¡C¤@¯ë¾Ç¥Í®e©ö§âÃD¦®»PÃD¥Ø²V²c¡CÃD¥Ø¥i»¡¬O§Ú­Ì©Ò­n¬ã¨sªº¯S©w½d³ò¡A¦ÓÃD¦®«h¬O§Ú­Ì¹ï¬Y­ÓÃD¥Ø©Ò¤U©ú½Tªº½×ÂI¡CÃD¦®¥²¶·©ú½T¡B²M·¡¡B¦³¤O¡A³Ì¦n¤£­n§t½k¤£²M©Î¼Ò¸W¨â¥i¡C

¡@¡@ų©ó¤@¯ë¾Ç¥Í³£¤£À´±o§â¦Û¤vªº½×ÂI»P¤ÀªR®Ú¾Ú¤@­Ó©ú½Tªº¥DÃD(thesis statement)¦Ó¥[¥H±Àºtµo´§¡A§Ú³q±`¥Î¤@¸`½Òªº®É¶¡±j½Õ¦p¦ó³¯­z¤@­Ó±j¦³¤Oªºthesis statement¡A¦Ó¥B¥H¥¦§@¬°¾ã½g¤å³¹©Î³ø§iµ²ºcªº¨Ì¾Ú¡AÅý¦U¬q¸¨ºò±K»Î±µ¡A¤@Àôºò¦©¤@Àô¡C¤@¯ë»¡¨Ó¡A¥DÃD¥H©ñ¦b¤Þ¨¥(introductory paragraph)ªº«á¥b³¡³Ì¦³®Ä¡C¦Ü©ó¾ã¬q¤Þ¨¥¸Ó¦p¦ó°_ÀY¡A¤]»Ý­n¯S§Oªº«üÂI¡C§Ú³q±`­n¨D¾Ç¥Í©ú½Tª½ºI¦a§âª`·NªºµJÂI«ü¤Þ¥X¨Ó¡AµM«á«Ü¦ÛµM¦a¤Þ¦V©ú½Tªº¥DÃD¡C¦b«ü©w«e´X½g§@·~®É¡A±Ð®v¥i­n¾Ç¥Í¯S§Oª`·N¥L­Ìªº¤Þ¨¥³o¤@¬q¡AµM«á§â¨C¦ì¾Ç¥Íªºintroductory paragraph°Å¤U¼v¦Lµoµ¹¥þ¯Z¡A­n¾Ç¥Í¿ï¥X³Ì¦nªº¤T¡B¥|½g¡A¦@¦P¬ã¨s¾Ç²ß¡C³o¼Ë¦@¦P¬ã°Q´X½g§@·~«á¡A³q±`¾Ç¥Í³£¯à§â´¤¼g¤Þ¨¥¤Îthesis statementªº­n»â¡CµM«á¥i¥Î¦P¼Ëªº¤èªk«ü¾É¾Ç¥Í¼gµ²½×¡C§Úµoı¤Þ¨¥¤£¦n¼g¡Aµ²½×§ó¤£®e©ö¡C¤@¯ë¤¤°ê¾Ç¥Íªº²ßºD¬O§â­«ÂI½Æ­z¤@¹M¡C¦Ó­«½Æ¨Ã¤£¬O³Ì¦n¼gµ²½×ªº¤èªk¡C¦p¦ó«ü¾É¾Ç¥Í§â¬ã¨sµ²ªG§@­Ó²M·¡ªºµ²½×¡A¨Ã¤Þ¥Ó¨ä§ó²`¤@¼hªº§t·N¡A¤]´N±oªáÂI¤ß«ä¡A³o¤@ÂI«á­±¨â²Õguidelines±N¦³©Ò´£¥Ü¡C

¡@¡@¤£¹L¡A­n¯S§Oª`·Nªº¬O¥DÃD(thesis statement)©Mtopic sentence¤@¼Ë¦³®É¬O·t¥ÜÁô§tªº(implied)¦Ó¤£ª½±µ³¯­z¡C©Ò¥H±Ð®v¦³®É¤]¤£¯à¤Óµw©Ê³W©w¡C¦pªG¾Ç¥Íªº¬ã¨s½×¤å¯à°÷±´°Q¤@­Ó¤¤¤ß«ä·Q(one single dominant idea)¨Ã²`¤J¬ã¨s¡A¤]ÁÙºâ²Å¦X­n¨D¡C

¡@¡@¸ÜÁö¦p¦¹¡A§Ú­Ì¤@¯ë¾Ç¥Í¼g¾Ç´Á³ø§i©Î½×¤å©Ò¥Çªº¦@¦P¤ò¯f¡A´N¬O¯Ê¤Ö¤@­Ó©ú½T¦³¤Oªº¥DÃD¡C³\¦h¾Ç¥Í¥H¬°§â¦Û¤v¹ï¬Y­ÓsubjectªºÁA¸Ñ¥þ½L»¡¥X¨Ó´N¦¨¤F¡A¦Ó¥B½g´T¶Vªøªí¥Ü¦Û¤v¶V¥Î¥\¡C»¡¨ì¼g³ø§i§ó¬O¤j¶q¤Þ¥Î­ì¤å©Î¨ä¥L¬ã¨s§åµû¡A¤Ö¦³¦Û¤v¿W¨ìªº§åµû»P³Ð¨£¡C§Ú­Ì¥²¶·Åý¾Ç¥Í©úÁA¤Þ¤å(quotations)­n¹B¥Î±o·í¡A©Î¥Î¨Ó¤ä«ù¦Û¤vªº½×ÂI¡A©Î§@¬°ÅG»éªº¹ï¶H¡A¥H¼á²M©Î±j½Õ¦Û¤vªº½×ÂI¡C¦Ó¥B¡AÆ[©Àªº³Ð·s¡A²¼ä¡B²M´·¡B¦³¤Oªº®Ñ¼g¯à¤O¡A¥H¤Î¦³®Ä¦a¹B¥Î»`¶°±o¨Óªº¬ã¨s¸ê®Æ¤~¬O¥L­Ì¸Ó¥[±jªº¡C³o¨Ç¨Ã¤£¬O¬ã¨s¤èªk¤@¬ì´N¯à±Â»P¾Ç¥Íªº¡A¦Ó¬O­n¾aªø´Á¡B¦³­p¹ºªº¼g§@°V½m¡C

VII. ¼g§@­p¹º(Proposal or rationale)¡G

A. ¦b¾Ç¥ÍµÛ¤â¼¶¼g­p¹º»P¤jºõ«e¡A¥i§Q¥Î¤@¡B¨â¶gªº®É¶¡Á¿¸Ñ¼g§@ªº¤@¨Ç§Þ¥©¤Î­ì«h¡A¯S§O±j½Õ¡G¥DÃDªº³¯­z»P±Àºt(thesis development)¡A§â°Q½×ªºµJÂI¶°¤¤¦b¤@­Ó¤¤¤ß«ä·Q¤W(appropriate focus on a dominant idea)¡A²Õ´»P³s³e©Ê(organization and coherence)¡A«ä·Q³Ð·s (originality of conception)¡A¥H¤Î§ï¼g§Þ¥©(revision strategies)¡C

B. «ü©w¾Ç¥Í¼g3-5­¶ªº½×¤å©Î³ø§i­p¹º(rationale©Îproposal)¬°¦Û¤v¿ï©wªº¼g§@¥DÃD (thesis statement)»P¥D­n½×ÂI¥ÓÅG»P¸ÑÄÀ¡C¨Ã»¡©ú¥D­n¤Þ¥Î¦óºØ¤å¾Ç©Î¨ä¥L¬ÛÃö²z½×¡C¦P®É¤]»¡©ú¾ã½g½×¤å³B²zªº¤è¦¡¡A¦U³¹¸`©Î¬q¸¨ªº­«ÂIµ¥¡C

C. ¼g§@­p¹º¥J²Ó§å§ï«á¡A©y¿ï¤T¡B¥|½gÀu¨q§@«~¼v¦Lµ¹¥þ¯Z¡A¨Ã¦b½Ò°ó¤W¦@¦P°Q½×¡AÅý¾Ç¥Í¹ê»ÚÁA¸Ñ¼g§@¾Ç³N½×¤åªº­n¨D¡C¨ä¥L¤£²z·Qªº§@«~«h­n¨D¾Ç¥Í§ï¼g¡C

D. ³q±`proposal©Îrationaleµy¥[§ï¼g«á§Y¥i¦¨¬°¥þ½g½×¤å©Î³ø§iªº¤Þ¨¥©Îºü½×¡C¸ûªø½gªº¾Ç³N½×¤å¨äºü½×³¡¤À¥i¯à¤£¥u¤@¬q¡A¦Ó¥i¯à¥e¤@¨â­¶½g´T¡C¦b¥»¤å¥½¡A§Ú´£¨Ñ¤F¥»¤H¤@½g¦³Ãö¤ýº¸¼wªº¤p»¡The Picture of Dorian Gray¾Ç³N½×¤åªººü½×¡AÂԨѰѦҡ]¨£ªþ¥ó¡^¡C

VIII. ¼g§@¤jºõ(Outlines)

A. ­n¨D¾Ç¥Í¼¶¼g¸Ô¹êªº¼g§@¤jºõ¡A¤@¤è­±¥iÀ°§U¾Ç¥Í¾ã²z¦Û¤vªº·Qªk¥H¼g¥X¦³±ø²z¡A¦³²Õ´ªº³ø§i¡A¥t¤@¤è­±±Ð®v¤]¥i®Ú¾Ú¤jºõ´£¨Ñ¾Ç¥Í¼g§@«e¾A·íªº»²¾É¡A¥H¥R¹ê³ø§iªº¤º®e¡C¤@¯ë¦Ó¨¥¡A¾Ç¥Í³£ÁA¸Ñ¤@½g³ø§iªº°ò¥»µ²ºc¡A¦ý¬Oªì¼g¤jºõ®É¤º®e¦h¬y©óªÅªx¡C±Ð®v¥i­n¨D¤jºõ¤º®e°È¥²¸Ô¹ê¡A¨C­Ó¶µ¥Ø¦Ü¤Ö¦³¤@¨â­Ó¥y¤l»¡©ú¡A¦Ó¥B¦U­«­n½×ÂI³£¦³­ì¤å±¡¸`©Î­«­nµû½×ÃÒ¹ê¡A©Î¦Û¤v¸Ô²Óªº»¡©ú©ÎÅGÃÒ¡C

B. ¤jºõªº°ò¥»µ²ºc¡G

1. Introduction

a. Attention-getter

b. Transition

c. [Thesis Statement]

d. Preview [of the paper's organization]

2. Development

a. [Develop sub-points within your thesis]

b. Arrange logically

c. Support each with [explanatory details or evidence from the original text or critical studies]

3. Conclusion

a. [Reiterate with variation the central theme of the paper: the conclusion should pull the entire paper together without unnecessary repetition.]

b. [Expand or elaborate upon the significance of the original thesis.]

c. [State clearly the discovery of your research or exploration.]¡]µù¥|¡^

C. ±Ð®v¦b§å§ï¾Ç¥Íªº¤jºõ«á¤]¥i¿ï¤T¡B¥|½gÀu¨q§@«~¼v¦Lµ¹¥þ¯Z¡A¥H«K¦b½Ò°ó¤W¦A¦@¦P°Q½×­q¥¿¤@¦¸¡C¨ä¥L¤£²z·Qªº§@«~¡A«h»Ý­«·s§ï¼g¡C

D. ¤jºõ½d¨Ò¡]¨£¤å¥½ªþ­¶¡^¡C

E.¦p¬O«ü¾ÉºÓ¤h©Î³Õ¤h½×¤å¡A¥i­n¨D¾Ç¥Í¨C­Ó³¹¸`³£¯óÀÀ¸Ô²Óªº¤jºõ¡C

IX. §ó¶i¤@¨B¸ê®Æ»`¶°(Further library and website research)¡G

¡@¡@½×¤åÃD¥Ø¡BÃD¦®¡B¤jºõ¨M©w¥H«á§Y¥i°µ§ó¶i¤@¨Bªº¸ê®Æ»`¶°¡A°È¨D§óºë²Ó¡B²`¤J¡B»P»ô¥þ¡C¸ê®Æªº¿ï¾Ü°È¥²¤Á¦X¦Û¤v½×¤åªº¥DÃD»P½×ÂI¡A©Î¥Î¨Ó¤ä«ù¡B¤ÞÃҩ䣪@¦Û¤vªº¬Ýªk¡A©ÎÅG»é¤ÏÃÒ¥L¤H¤£¦Pªº·N¨£¡C§_«h¹Ï®Ñ»Pºô¸ô¸ê·½¯EÃvµL¤ñ¡A«Ü®e©ö´N¦¹®ø¿i³\¦h®É¤é¡A¿ù¹L³ø§i©Î½×¤å´Á­­¡C¦b¸ê®Æ»`¶°¹Lµ{¤¤¦³¥i¯à¦A«×­×¥¿¦Û¤vªºÃD¦®»P¤jºõ¡A¥H¤O¨Dºë½T¡A¦]¬°§Ú­Ìªº·Qªk±`·|¦]¾\Ūªº¸ê®Æ¦Ó§ïÅÜ¡A¦Ó¬ã¨sªº¹Lµ{´N¬O±´¯Á¨Dª¾ªº¾úµ{¡C

¡@¡@¦b¸ê®Æ»`¶°ªº¦P®É¥i¥H¶}©l½sÄ¡¹ê»Ú¨Ï¥Îªº°Ñ¦Ò®Ñ¥Ø¡C¦pªG½×¤å½g´Tªø¥B°Ñ¾\ªº¹Ï®ÑÁc¦h¡A¤]¥i¤Àªù§OÃþ¡A»s§@¤ÀÃþ®Ñ¥Ø(categorized bibliography)¡C

X. ±N­«­n¸ê®Æ¿é¤J¹q¸£©ÎºÏ¤ù(Computerizing your notes)¡G

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2°Ñ·Ó»«¦{¤j¾Ç­^¤å¨t¾ú¦~ªº½Òµ{ºõ­n(course descriptions)¡C

3³o®M¼g§@«eªº«ä¦Ò¤ÀªR­ì«h¬O°Ñ¦Ò»«¦{¤j¾ÇVicki Mahaffey±Ð±Â¤W½Ò©ÒµoÁ¿¸q¦ÓÀÀ©w¡C¥H¤U©Ò¦³guidelines«h¥Ñ¥»¤H³]­p¡CMahaffey±Ð±Â²µuªº»¡©ú¡A¤Ä°Ç¥X¤@¯ë­^¬ü¾Ç¬ì³ø§iªº¼g§@¨BÆJ¡A¦P®É¤]±j½Õthesis statementªº­«­n¡C

4¦¹¤@¤jºõ®æ¦¡³¡¤À°Ñ¦ÒLeon Fletcher, How to Design and Deliver a Speech, 5th ed. (New York: HarperCollins College Publishers, 1995) 45.¬A©·¤ºªº³¡¤À«h¬°¥»¤H©Ò¥[¡C

5 Joseph Gibaldi, MLA Handbook for Writers of Research Papers¤]¥D±i¦p¦¹Âà´«¹q¸£ÀɮסC4th ed. (New York: The Modern Language Association of America, 1995) 35-36.

6 Reid±Ð±Â¦b»OÆW®v½d¤j¾Ç­^»y¨tºtÁ¿®É´£¥X¦¹¤@¬Ýªk¡C"The Writing-Reading Connection," Dept. of English, National Taiwan Normal University, Taipei, 18 Jan. 1997.

7°Ñ¾\Po Fang, "Literary Studies and Advanced Writing: How to Improve the Teaching of Writing to English Majors in Taiwan," Proc. of a Conference on English Literature and Language Teaching, 5 Oct. 1991 (Taipei, Taiwan: National Taiwan Normal Univ., 1992) 255-70. ¤¤µØ¥Á°ê­^¬ü¤å¾Ç»P­^»y±Ð¾Ç¬ã°Q·|¡A¥Á°ê80¦~10¤ë5¤é¡]°ê¥ß»OÆW®v½d¤j¾Ç­^»y¨t¡A1992¡^255-70. "How to Provide Students with Appropriate Guidance Through the Process of Their Writing: On the Teaching of Writing to English Majors in Taiwan (a Sequel)," Proc. Of an International Symposium on Education in Humanities and Human Services, 27-29 May 1992 (Kaohsiung, Taiwan: National Kaohsiung Normal University, 1992).¤H¤å±Ð¨|°ê»Ú¾Ç³N¬ã°Q·|¡A¥Á°ê81¦~5¤ë27-29¤é¡]°ê¥ß°ª¶¯®v½d¤j¾Ç±Ð¨|¬ã¨s©Ò¡^.

Altick, Richard Daniel. The Art of Literary Research. 4th ed. New York: W. W. Norton, 1991.

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Case, Laurie. "H. D. and Her Poetry: An Adult Developmental Approach to the Question of Women's Creative Productivity." DAI 51.5 (1990): 2603B.

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1. Do you think Shaw portrays Eliza's, and Higgins' as well, sentiments successfully in Act IV when the heroine reacts vehemently against her master's complacence, ingratitude, and insolent apathy after she has won him such a great victory? Does Shaw make a good use of the long-built tension and mutual attraction between the two characters who seem to fit perfectly into the pattern of a traditional romance? How much does the play's humor depend on Shaw's deliberate reversal of this conventional pattern?

2. Describe and explain Eliza Doolittle's sudden gaining of composure and mental maturity in Act V.

3. Discuss Shaw's egalitarianism and enthusiasm for social reform. You might want to emphasize Mr. Doolittle's "dustmanship" and his undisturbed composure when dealing with people of high rank and Eliza's attempt to promote her own status through refinement of her manner and speech.

4. Obviously Professor Higgins acts as Shaw's mouthpiece when he states that style does not come by nature. Colonel Pickering expresses the same idea when he says that "Theres [sic] always something professional about doing a thing superlatively well" (79). In the play Higgins/Pygmalion successfully transforms Eliza/Galatea into a fair lady. How do you explain the irony that both the master and the pupil are quite impulsive and ill-tempered in nature?

5. In an earlier play Man and Superman (1904), Shaw indicates that it is the Life Force that drives women to choose strong men to insure the production of a stronger next generation. In the same play, Shaw also expresses his admiration of the strong, vital male, who, as philosophers, strive to discover means that may improve the human species. In what way is Pygmalion an elaboration of such a theory, and in what way is it a refinement or even violation of such a doctrine?

6. Does Shaw's strong, vital man ignore the Galatea he creates or does he express a deeper sense of egalitarian humanism and greater pride in his masterpiece?

1. Comment on Oscar Wilde's forceful criticism and subversion of Victorian bourgeois morality, conventional views of marriage, family, and gender roles through seemingly harmless and highly delightful humor, satire, and epigrams.

2. Oscar Wilde believes that the self is constructed and/or fabricated, and must be constantly renewed. How does the play's Bunburyism and other significant episodes illustrate his view?

3. State in your own words 3 to 5 of Wilde's important aesthetic views as expressed in The Importance of Being Earnest and explain why you agree or disagree with him.

4. Can you use The Importance of Being Earnest to illustrate one or two of Wilde's important literary theories?

5. Contrary to literary realism or the theory of mimesis, which preaches that art imitates life, Wilde insists in "The Decay of Lying" that life must imitate art, and he deliberately obscures the borderline between life and art in The Importance of Being Earnest. Can you explain Wilde's intention or rationale in doing so?

6. In your own view, what might be Wilde's intention in indicating that both Gwendolen Fairfax and Cecily Cardew fall in love with the man named "Ernest," even before the girls have a chance to meet their own "ideal man"? Comment also on the episode that Cecily chronicles her affections and sentiments for "Ernest" in her diary even before she gets a chance to know him, and she even writes love letters to herself in his name.

7. What makes Oscar Wilde's The Importance of Being Earnest a successful and highly amusing farce?

8. What ironic effect does Wilde intend to create by revealing toward the end of the play that Jack Worthing's Christian name is actually "Ernest" and that Jack and Algernon are actually brothers. What is the significance of this exaggerated coincidence?

9. For Wilde, the man-made artistic and artificial world is much more interesting and important than the natural world, and an artist should invent his own personality and style in his work and in his life. Can you find some passages in The Importance of Being Earnest to support this view? Do you agree with Wilde?

This controversial novel,1 which inaugurated the short, brilliant culmination of Wilde's writing career,2 puzzles many readers because of the apparent contradiction lying at the core of its plot: on the one hand, we see that Dorian Gray, the young protagonist, is being encouraged to pursue various sensuous experiences and instinctual satisfactions; and on the other, we observe him to be duly punished for having tried corruptive sensuous indulgence and having attempted to kill his own conscience. Thus the novel shows both the contention and reconciliation between aesthetics and ethics, sensuousness and reason.3 This ambivalence of Wilde's aesthetic view may be solved, I suggest, by interpreting the novel as his aesthetic experiment and by examining the dual purpose it embodies.

First, I propose to read the novel as Wilde's experiment with the possibility of an aesthetic existence which involves unfettered pursuits for new experiences and sensations, including even sin, crime, and evil, and the sentiment of atonement and expiation.4 That Wilde was equally captivated by sin and masochistic self-castigation and atonement may be observed from his essay "Pen Pencil and Poison" (1889) and his lifelong fascination with the ritual of confession in Roman catholicism (Ellmann 57, 73-75).5 Wilde's ardent enthusiasm and obsession with his fictional experiment is reflected in Lord Henry's enthralled observation of Dorian Gray's various activities and psychic development. Like the fictitious aesthete of his own making, Wilde regards the handsome young lad as his own creation, and is convinced that this experiment will "promise rich and fruitful results" (50). Lord Henry, Wilde's principal alter voice in the novel, is made to say that the experimental method is the only one by which onecould arrive at any scientific analysis of the passions (50).

Second, I argue that Wilde's aesthetic experiment has a dual, dialectical purpose: it is intended to show that we need greater freedom to express and gratify our desires, instinctual needs, and imagination/fantasy, and yet the ultimate goal of this liberation, as we can infer from the theoretical structure of the novel, is not for excessive indulgence in sensuous gratifications, but for a harmonious development of all our capacities--both conscious and unconscious, body and soul, intellect and emotion. Yeats calls this unified personality "unity of being." Wilde believes that this freer expression of one's desires and sensuous needs and the forever renewed balance of all one's powers are both essential for successful self-cultivation.

Here in this section, I would like to investigate the serious theoretical basis that supports Wilde's experiment. I would like to start with the more traditional aspects of his aesthetic views expressed in the novel, and then use Freudian theories concerning fantasy and instinctual impulses to define Wilde's determined explorations into the unconscious and imagination, especially humankind's fascination with the absurd, the bizarre, and even the forbidden. I will then re-examine the conflict/reconciliation between the instinctual and the rational, and between the beautiful and the moral in Wilde's philosophical outlook.

To begin with, Wilde expounds in his novel many of his serious aesthetic views such as celebration of beauty and joy, frank acceptance and recognition of pleasure, laughter, and desire, emphasis on self-development, and the attempt to treat life in the spirit of art. Nevertheless, the desire to taste insatiably various new sensations leads the protagonist tottering down the path of evil and depravity. In this respect, Wilde's novel shares many of the characteristics of the Decadent arts of the 1890s in England and France. . . .

1 The novel was first serialized by Lippincott's Monthly Magazine in 1890, and in April the following year, the extended version was published. I concentrate here in this section on the revised, longer version included in the Norton edition (The Picture of Dorian Gray, ed. Donald L. Lawler, Norton Critical Edition, New York and London: W. W. Norton, 1988). Hereafter, page references will be given in the text.

2 Richard Ellmann refers to Wilde's magnificent success from 1889 to early 1895 as the "exaltations" of his career. Oscar Wilde (New York: Vintage Books, 1988). We know that Wilde soon faced the disgrace of trials and imprisonment in 1895 following Marquess Queensberry's plea of justification against Wilde's libel suit.

3 James Winchell is also interested in this puzzling antithesis which he finds in Dorian Gray and De Profundis, and he refers to it as the dialectics of "individuality and universality, autonomy and responsibility, aestheticism and expiation for community, and the subject-as-spectator and the subject-as-object." See his "Wilde and Huysmans: Autonomy, Reference, and the Myth of Expiation," in Regenia Gagnier, ed, Critical Essays on Oscar Wilde (New York: G. K. Hall; Toronto: Maxwell Macmillan Canada, 1991) 16, 223-240.

4 In De Profundis, which Wilde wrote in 1897 after two years of imprisonment, he stated that "the note of doom that like a purple thread runs through the texture of Dorian Gray."

5 Richard Ellmann, Oscar Wilde (New York: Vintage Books, 1988). Ellmann also indicates that one of Wilde's favorite paintings was Guido Reni's San Sebastian. It is a picture of the saint's crucifixion, with his hands being tied and his naked torso pierced by two long nails or arrows. We know that this iconographically attractive saint is also a favorite among homosexuals, and Wilde took Sebastian as his Christian name for his alias in France (Ellmann 71n).

1. Have you emphasized properly the dominant idea and purpose of your paper?

2. Does your thesis statement express precisely and effectively this dominant idea and purpose?

3. Should you specify your topic further?

4. Formulate an outline for your paper. Make sure that it covers the various aspects of your thesis statement and that the main issues of your arguments follow a logical order. Have you overlooked any important aspect of your thesis?

5. Have you provided your main arguments with evidence from the original text or critical studies?

6. Should you do further research to support your important views?

7. Check the topic sentence of each paragraph. Do your topic sentences follow your outline quite closely?

8. Have you reached a significant conclusion? Does your concluding paragraph hold your essay together? Have you stated clearly the significant discovery of your research and exploration?

9. Look at each paragraph closely. Does it form a small, complete unit? Does the whole paragraph help illustrate your thesis from a specific aspect? Do your sentences run smoothly from one to another? Should you bridge the gaps in thought and strengthen the linkage between sentences? Have you provided relevant supporting evidence for your main arguments? And, more importantly, have you subordinated your supporting details to the main issue of your argumentation?

10. Are all the quotations necessary? Will it be more effective if you paraphrase, summarize, or criticize in your own words? (For paraphrase, summary, or even general reference, you still need to specify the page number of your sources.)

11. Smooth the transitions between paragraphs.

12. Look at your paper as a whole. Check grammar, tense, spellings, and punctuation. Polish your paper in terms of diction, sentence variety, parallel structure, and coherence of ideas, tone, and point of view.

When I did my first "innocent" reading of Ann Weatherly's little farce in mid-March, it did not arouse my "serious" interest until I reached the burglar scene in Act III. For in the first two acts, we have a group of senseless women in a small American town blindly adoring a detective-story writer, David Hampton, who gains his great fame almost overnight, much to his own surprise. Contrary to what the townspeople have expected, the famous writer turns out to be an extremely shy and awkwardly inarticulate man, especially when surrounded by a group of women. In preparing for his class lectures, the bashful and slightly misogynic writer seeks the help of Molly Abbott, an intelligent girl whose former disappointment in love makes her swear never to be interested in men again. The reader notices that a romantic relationship develops slowly in the course of their fine cooperation. The stereotyped plot, with its exaggerated physical action, repeated mistaken identities, and burlesque ridicule of feminine sentimentality, makes the play quite amusing but far from being a successful farce.

Nevertheless, with the intrusion of a "real" burglar into the little role-playing scene contrived and enacted by David and Bertram Evers, the play now gathers great vivacity and moves with almost bewildering rapidity. The "real" burglar, who introduces a sense of crisis into the scene, transgresses into the realm of artificiality produced by David and his friend. Yet this suggested reality, being placed in the context of deliberate play-acting, is itself created out of the fantasy of theatrical art.

We find a much more obtrusive case of such a transgression in Pirandello's Six Characters in Search of an Author, in which images of pure fantasy transgress into real life. Toward the end of the final version (1925), the Stepdaughter bursts into roars of defiant laughter and runs up the aisle through the auditorium. She turns at the door and shrieks with laughter again, and finally runs laughing into the street, immersing herself, as it were, in the real world outside.

In The Bashful Bachelor, however, the transgression of pure theatricality, that is, the move from one level of fantasy or artificiality into another, reverses the renowned pattern presented in Six Characters. For in Weatherly's play-within-a-play, it is unexpected "reality" that intrudes into an artificial and pre-designed scenario, and turns everything topsy-turvy. The unanticipated crisis inaugurates a sequence of rollicking theatrical games, which bring the play to an engrossing culmination. Moreover, the sudden shift in the representation of reality from the play-acting Bertram to the "real" housebreaker obliges the spectator to re-adjust his/her aesthetic perception of the two images of illusion presented on the stage. Understandably, the actors must convey different degrees of reality in performing this burglar scene.

This strategic transgression leads to other subversive intrusions into the realm of ideological representations. These multiple transgressions are enacted most audaciously in David's blunt criticism of Lydia Abbott, who is the embodiment of traditional values and authoritarian power in the small community. David Hampton also harshly reproaches Viola, Betty-Jean, and Mrs. Todd, the three women who try to coax him into playing the role of their ideal hero/lover.

What is of greater significance is the immediate effect of this "realistic" transgression: the truth it reveals discloses David's unwise and dishonest scheme, and his powerful, unexpected reaction shatters, in turn, feminine authoritarianism, narrow-minded bigotry, and sentimentalism in the provincial community. Thus what Weatherly's satirical farce presents is not so much a critique of male dominance in a traditional, patriarchal society, as a demand for reformation within the feminine community.

It is also through this transgression and deconstruction of established norms and stereotyped male-worship that the love relationship between David and Molly has been elevated from the level of a conventional, melodramatic romance to that of a sincere commitment which involves genuine love and mutual trust.

I. Introduction

A. Students learn best when they are interested in the subject and are thus motivated to work hard without stress.

B. Writing workshops are useful for both teachers and students. Professor Nancy Farnan, "An Examination of the Roles of Literature and Writing in the Teaching of English," an International Symposium on Education in Humanities and Human Services, May 1992, Kaohsiung Normal U. (the Reader-Response theory)

II. Writing programs at Penn

A. Designed to develop students' writing ability and to prepare them for the heavy demand of college paper writing: most courses require 3-4 short papers (4-5 pages), 1 long term paper (15-20 pages), and a final exam.

B. The 800 graduate courses which combine literary seminars with pedagogical training

C. Classified into 6 groups: prose, poetry, novel, short fiction, drama, and literature and human values. C7: creative writing; C8: literature and film studies

D. The "Short Fiction" group of spring 1990 was subdivided into:

1. "Representations of History in Early

Twentieth-Century American Literature"

2. "Women and Modernism"

3. "Existential Fiction"

4. "Modern American Fiction"

5. "Nineteenth-Century Gothic Fiction"

6. "Body Politics: Race, Gender, & Sexuality in Prose Fiction"

7. "Contemporary Women Writers--Imagining Women"

8. "Public Enemies: Racial and Sexual Outcasts in Short Fiction"

E. Main features of Penn's writing programs

1. Literary oriented

2. Strong emphasis on writing techniques

3. Great diversity and flexibility in reading and writing assignments

4. Approximately the same amount of papers required

F. Encouragement and support for both teachers and students:

1. Special awards and fellowship for distinguished teachers

2. Prizes for winners of the prose contest each semester

G. The training of "writing advisors" to help students who need special assistance in their writing:

1. Each instructor of the Freshman Composition course recommends 1 or 2 best student(s) in his/her class.

2. An experienced professor who specializes in the teaching of writing gives intensive trainings to these nominated students for a year. They receive credits for this special training course if they meet all the course requirements.

3. Students who need special help may book for an appoint-ment with one of these certified writing advisors.

III. Possible modifications of this pedagogy for Taiwanese students

A. To enlarge the focus of interest by involving a great variety of themes and subjects

B. To designate a great proportion of class meetings to discussions of writing techniques and students' papers

IV. The pre-writing stage:

A. Selecting reading assignments

Shorter original texts such as plays and short stories are better than simplified and abridged novels.

B. Reading and writing assignments for the composition course should not involve extensive library research, so that students may make the best use of their time by editing their own ideas and developing independent thinking.

C. Literary texts that I have used:

1. Plays:

A Doll House, Ghosts, Pygmalion, An Ideal Husband,

A Woman of No Importance, The Cherry Orchard, Uncle

Vanya, The Stronger, Six Characters in Search of an

Author, Hay Fever, The Crucible, The Caucasian Chalk

Circle, On Baile's Strand, The Glass Menagerie

2. Short Stories:

"Rip Van Winkle," "Gimpel the Fool," "The Beast in the

Jungle," "The Man that Corrupted Hadleyburg"

3. Films:

Anne of the Green Gables and Sense and Sensibility

4. Short lyrical poems

Love poetry in Scottish folk songs and by Romantic poets and Yeats

D. In-class discussion

Designing questions (samples available) and conducting class discussions in a way that may

1. Inspire and cultivate students' originality of thinking

a. Examples from Pygmalion and Walter Pater

b. The joy of writing lies primarily in "creativity"

Close connection between "creativity" (creative ability, artistic or intellectual inventiveness) and "recreation" (refreshment in body or mind, as after work, by some form of play, amusement, or relaxation) [L. creatus, pp. of creare, to make, create; Gr. krainein, to accomplish; and L. recreatus, pp. of recreare, to create anew]

2. Suggest topics for further explorations;

3. Specify the subjects, approaches, and focuses of the writing exercises; and

4. Help students focus their analysis on one significant theme and keep their papers on a manageable scope.

E. Students' pre-writing analysis: Encourage students to

1. Look for things interesting and significant in the text

2. Test their validity against evidence given by the text

3. Formulate a thesis (a statement of exactly how one wishes to argue about a given topic) on the basis of this preliminary analysis.

F. Possibility to apply to non-literary subjects:

1. Significant current events and important social, cultural, environmental, and educational issues

a. "If I were the newly elected president of Taiwan, how would I improve relations with Mainland China and promote human rights concerns in Taiwan?"

b. American Presidential Election 1996"

c. New developments and issues concerning computer science and the Internet

d. Suggestions for Educational Reforms in Taiwan

2. Essays about personal experiences and opinions

V. Guidance through the process of writing

A. Basic structure:

Some suggestions given by Leon Fletcher in How to Design and Deliver a Speech (with my own modification)

1. Introduction

a. Attention-getter

b. Transition

c. [Thesis Statement]

d. Preview [of the essay's organization]

2. Development

a. [Develop sub-points within your thesis]

b. Arrange logically

c. Support with [evidence and explanatory details]

3. Conclusion

a. Reiterate with variation the central theme of the paper: the conclusion should pull the entire paper together without unnecessary repetition.

b. Expand or elaborate upon the significance of the original thesis.

c. Conclude with a forceful or memorable statement

B. Requirements for Grad A (85 to 90%) papers

1. Specific purpose and focus on dominant idea or point of view

2. Clear organization:

a. Coherent and logical development of ideas

b. Mature sentences in well-developed paragraphs

c. A clear, specific (and strong) introduction

(preferably with a well-defined or implied thesis statement) and a strong, unifying conclusion (without repetition)

3. Concrete, sophisticated, and appropriate diction and relevant supporting evidence for important ideas or generalizations

4. Original concept or insight concerning topics

5. Skillful analysis and convincing argumentation

6. Correct grammatical and idiomatic English

C. The use of computerized word-processing software

VI. Revision

A. Revision strategies (guidelines on a separate sheet)

B. An anecdote concerning Ernest Hemingway

C. Useful experiences in revising papers can be accumulative:

as the semester progresses, students will find it gets easier for them to write or rewrite their essays. (A chart for the useful analogy between stair-climbing and the mastery of penmanship)

VII. After-writing counseling, group discussion and peer critiques

A. It is quite effective to photocopy students' essays (after they have been graded) and discuss in class their particular problems.

B. Students may also sit in a circle and read in turn each of their fellow students' papers. The instructor may also use the time for further individual conferences.

C. I also ask students to date and print out their different versions so that I can give them further advice when they come for their individual conferences.

D. Schedule peer critiques (guidelines on a separate sheet) and group discussions later in the semester. These are useful classroom activities but should not replace the instructor's crucial functions.

VIII. Conclusion by way of clarification:

A. Thesis statements and topic sentences may be implied rather than explicitly stated.

B. Understanding, encouragement, and support work much better than austere criticism and strict implementation of rules.