98年第2學期-0179 文討：奇幻文學 課程資訊
|One short paper||20|
|One long paper||30|
|2 presentations||40||One is a discussion leading session; the other a final presentation on the research project|
1. Students will acquire historical knowledge of the development of the genre of the fantastic and its relationship to and influence on European, American and Asian cultures. They will give evidence of this on essays, in presentations, and in class work and discussion.
2. Students will be able to distinguish the historically defining features of the fantastic genre, such as unfathomable characters, events and circumstances that situate the fantastic at the boundary between the indeterminate and the supernatural, while simultaneously recognizing writers’ encoding of a rhetorical strategy that is titillated by this liminal construct. They will give evidence of this on essays, in presentations, and in class work and discussion.
3. Students will become familiar with the various tropical and linguistic features of the fantastic, such as defamiliarizing, displacement, extended metaphor, internal monologue, allegory, hyperbole, magical realism, the grotesque, metamorphosis, hallucination, haunting, the demonic, etc. They will give evidence of this on essays, in presentations, and in class work and discussion.
4. Students will gain an understanding of the various ways that the fantastic has proliferated across cultural and national boundaries and languages, reflecting a culturally mobile and dynamic genre that continues to inform the discourse of contemporary film, literature, and other cultural forms.
The Literature of the Fantastic is a global phenomenon, since cultures all over the world now produce works specific to this genre. Yet what constitutes fantastic literature has become a contested issue in recent years, and boundaries and definitions have shifted. Noted scholar Tzvetan Todorov’s book on the fantastic, describes certain qualities which determine its defining features and likewise relates their cultural origins. For Todorov, fantastic literature is situated on an irresolvable boundary between an intense realist/psychological event and a supernatural occurrence. Contemporary scholars such as Rosemary Jackson have followed in his wake, redefining the genre and its relationship to other forms, such as the gothic, horror, science fiction, magical realism and fantasy literature. Forms such as Japanese anime cartoons and other postmodern filmic efforts also inform the changing concept of the fantastic. This course will introduce students to the concepts of the fantastic presented by Todorov, as well as more recent approaches and works that may push
Office HourTuesday 1:00PM-3:00PM; Wednesday 10:30AM-2:00 PM; and by appointment. FL 112B
Jorge Borges, The Garden of Forking Paths (handout)
Italo Calvino, Invisible Cities, trans. William Weaver (Harvest, 1978)
Sigmund Freud, The Uncanny, The New Penguin Freud, trans. D. McLintock (Penguin, 2003) or handout from available source
E. T. A. Hoffmann, The Sandman in Tales of Hoffmann, trans. R J Hollingdale (Penguin, 1982) or handout from available source
Henry James, The Turn of the Screw (Penguin Classics, 1994) or (Norton Critical Editions, 1999)
Franz Kafka, The Metamorphosis, trans. Malcolm Pasley (Penguin, 1992) or handout from available source
Gabriel García Márquez, A Very Old Man with Enormous Wings, Collected Stories, trans. Gregory Rabassa and J. S. Bernstein (Harperperrenial, 1999) or handout from available source
Edgar Allan Poe, The Fall of the House of Usher, online etext handout
Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde (etext)
Oscar Wilde, The Picture of Dorian Gray (etext)
Japanese Anime cartoon selection (to be determined)
Film: The Others, Dir. Alejandro Amenábar (Dimension Films, 2001)
Various handout selections on ideas and issues of the fantastic, critical articles, etc.