MIT OpenCourseWare


» 進階搜尋
 課程首頁
 教學大綱
 教學時程
 相關閱讀資料
 作業
 下載課程

教學時程


本頁翻譯進度

燈號說明

審定:無
翻譯:錢珊(簡介並寄信)
編輯:吳貞芳(Doris Wu)(簡介並寄信)

課程單元
1 導論
Introductions

喜劇是一種文學類型
Comedy as a Literary Genre

喜劇是一種世界觀
Comedy as a World-view

喜劇與權力的關係
Comedy as a Relation to Power

喜劇是一種態度
Comedy as an Attitude

喜劇是一種文字策略
Comedy as a Textual Strategy

喜劇與"真理"或揭示真理的關係
Comedy as a Relation to "Truth" or Truth-telling
2 為什麼但丁把尤利西斯安排在地獄堙H
Why does Dante put Ulysses in Hell?

喜劇有趣嗎?
Is Comedy Funny?
3 顛覆、不安以及確立秩序
Subversion, Restlessness, and Established Orders
4 喬叟筆下的人物與心理
Character and Psychology in Chaucer

諷刺與風格:喬叟的旁白者角色以及學問和判斷的問題 (他所知道和敘述的、人物所自知的、我們知道的)
Irony and Tone: Chaucer's Narrator and Questions of Knowledge and Judgment (What he knows and what he tells; what the characters know about themselves; what we know.)
5 性別與幽默
Gender and Humor
6 撒旦的諷刺
Satanic Irony

以撒旦為「英雄」
Satan as "Hero,"

以撒旦為笑柄
Satan as the Butt of the Joke

宇宙的秩序、彌爾頓的措辭以及語法從屬關係
Cosmic Order, Milton's Diction, and Grammatical Subordination

彌爾頓的風格:(希臘史詩/荷馬史詩比喻、聖經故事、基督教寓言)
Milton's Style: (Greek Epic / Homeric Similes, Biblical Story, Christian Allegory)
7 彌爾頓的問題:美學對道德
Milton's Problem: Aesthetics vs. Morality

為什麼夏娃先墮落?
Why Eve Falls First

為什麼亞當跟隨著夏娃墮落?
Why Adam Follows Eve

第四卷中的偉大情詩為何是原罪的證據、Blake寫彌爾頓
Why the Great Love-poems of Book IX are Evidence of Original Sin Blake on Milton
8-10 為什麼羅密歐愛上了別人
Why Romeo is in Love with Someone Else

為什麼茱麗葉比羅密歐聰明
Why Juliet is Smarter than Romeo

文學典故與「聖經」:文化形式與文藝復興的自主性
Literary Allusion and "The Book": Cultural Forms and Renaissance Autonomy

這是哪種愛情?
What Kind of Love is This?

《羅密歐與茱麗葉》的愛情模式 (家族責任、公民身份、迷戀情色、友誼、認同感、宗教教規、看護者(護士/修士)、柏拉圖式的理念與差異、基督教的博愛、基督般的犧牲)
Modes of Love in Romeo and Juliet (Familial Duty, Civic Citizenship, Erotic Infatuation, Friendship, Identification, Religious Observance, Caretaker (Nurse / Friar), Platonic Form and Difference, Christian Caritas, Christ-like Sacrifice)

不同愛情模式體裁的同異之處
Stylistic Analogues and Different Discourses for the Different Modes of Love
11 諷刺文學
Satire

我們必須言為心聲嗎?
Must We Mean What We Say?

諷刺文學及其蘊含的道德規範
Satire and its Implied Moral Norm

諷刺文學有傳統本質嗎?
Is Satire Inherently Conservative?
12-13 「以探訪梁勉仁為名,行下鄉旅行之實」是一種語言策略還是一種道德立場?
Is "Bunburying" a Linguistic Strategy or a Moral Position?
(編按:採用余光中教授的譯本,將Bunbury這個虛構人物翻為梁勉仁)
王爾德的諷刺與十八世紀諷刺作家們的不同之處。
How is Wilde's Irony Different from the Irony of the l8th Century Satirists?

假如我們不能相信他們所說的
If We can't Trust What they Say

又該如何瞭解「內涵」為何?
How do we Know What the "Meaning" is?

王爾德式喜劇與不確定性
Wildean Comedy and Indeterminancy

這些男孩就是我們所說的「同性戀」嗎?
Are These Boys Encoded as What We Would See a "Gay"?

喜劇、諷刺與偏差
Comedy, Irony, and Deviance
14 謊言、謊言、謊言
Lies, Lies, Lies

哈克的鄉村風格與道德標準
Huck's Country Style and Ethics

一開始以湯姆為喜劇核心
Tom as the Center of the Comedy at the Start
15 木筏上的生活
Life on the Raft

哈克、吉姆和種族問題=哈克、吉姆和語言問題=哈克、吉姆和謊言問題
Huck and Jim and the Race Question = Huck and Jim and the Question of Language = Huck and Jim and the Question of Lies

哈克道德觀念的發展以及表現其成長的語言
Huck's Ethical Development and the Language he Uses to Represent it
16 最後幾章令人失望嗎?
Are the Last Chapters a Disappointment?

冒牌公爵和假皇太子與湯姆有何不同?
In What Ways are the Duke and the Dauphin Different from Tom?

哈克故態復萌了嗎?
Does Huck Backslide?
17 喜劇能夠漸進發展嗎?
Can Comedy be Progressive?

布萊希特對喜劇及史詩劇場的理論:他的期望及其似是而非之處 (他是否真的影響了你對本劇的體會嗎?)
Brecht's Theories of Comedy and of Epic Theater: What are His Expectations, and How Plausible are They (Do his effects actually work, in your experience of the play?)

黑色幽默
Black Humor
18 講授電影蒙太奇及黑格爾的三位一體(正反合三個環節的辯證法)
Lecture on Film Montage and Hegelian Triads
19-20 卓別林
Chaplin.
21 舊世界對新世界及文化誤解產生的喜劇效果
Old World vs. New World and the Comedy of Cultural Misunderstanding

亨伯特 亨伯特與內容的自我創造
Humbert Humbert and Self-creation by Text

文學與心理主義
Literacy and Psychologism

洛麗塔之名
Lolita's Names

透過亨伯特對過去的描述來追溯愛倫坡的詩,你有何發現?
Track the Poe Poem Through Humbert's Accounts of His Past, and What Do You Have?
22 如何處理道德上的矛盾?
What to Do With Your Moral Repugnance?

諷刺在何處應該適可而止?
Where Does the Satire Stop?

諷刺是無法控制的嗎?
Is Irony Uncontrollable?

「純」唯美主義排除了社會批評或情感的真實性嗎?
Does "Pure" Aestheticism Preclude Social Critique or Emotional Authenticity?
23-24 作為反英雄的約塞連
Yossarian as Anti-hero

自我否認的風格:海勒與王爾德有何不同?與納博可夫呢?與亨伯特呢?
The Style of Self-cancelling Assertion: How does Heller Differ from Wilde? From Nabokov? From Humbert?
25 聲音的喜劇/地點的喜劇
The comedy of Voice / The Comedy of Place

自我揭示與優雅
Self-revelation and Grace

性別與諷刺
Gender and Irony

 
MIT Home
Massachusetts Institute of Technology Terms of Use Privacy