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翻譯:鄭玨(簡介並寄信)
編輯:楊雅雯(簡介並寄信)

教學大綱
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《黑人的靈魂》(The Souls of Black Folk, 1903年) 這本書中,偉大的文化批評家W. E. B. Du Bois如是說:「…二十世紀的問題在於種族分歧。」在Du Bois 寫了這段話的一個世紀之後,大多數美國人應該同意,種族分歧在二十一世紀初期依然是我們最迫切的社會問題之一。在本課程中,我們將會藉著研讀有色人種作家所創作或與種族事務相關的作品,以及觀看討論種族問題的影片,以探索美國種族的相關領域,並藉由寫作來觀察我們的生活,包括非正式或正式、私下或公開的場合,如何制約於種族相關的小說和事實。我們將思考種族認同的複雜問題,暴露較被迴避或完全壓抑的過去,以質疑既定的歷史,並研究如何用寫作和閱讀來表達和面對種族的種類、階級、看法。這些相關閱讀雖奇妙卻又叫人不安,而寫作則將增進你們和讀者的理解範疇。

教科書
以下是我為本課程挑選的教科書。

Cisneros, Sandra. 《在芒果街上的房子》(The House on Mango Street) New York: Vintage Books, Inc., 1989.
(朱註:一篇以此為主題的論文

Erdrich, Louise. 《愛之藥: 一本小說》(Love Medicine: A Novel) New and expanded edition. New York: Henry Holt, 1993.

Faulkner, William. 《下去吧, 摩西》(Go Down, Moses) New York: Modern Library, 1942.

湯亭亭 《女戰士:一段鬼影憧憧下的少女回憶》( The Woman Warrior: Memoirs of a girlhood among ghosts) New York: Knopf, 1976.
(朱註:請見此報導。)

Mitcham, Judson. 《永恆的甜蜜》(The Sweet Everlasting) Georgia: University of Georgia Press, 1996.

Morrison, Toni. 《最藍的眼睛》(The Bluest Eye) Toni Morrison作跋. New York: Penguin, 1994.

我會在指定教科書外補充一些講義,或是在網上預備一些短文(短論和小品) 。我已訂購了一本手冊,《寫作入門》(Easy Writer),供你們作參考。

這個學期我們將觀賞五部影片:Chris Eyre 的《煙火信號》(Smoke Signals), Mira Nair的《密西西比的瑪沙拉》(Mississippi Masala), Richard Pearce 的《漫漫歸途》(The Long Walk Home), Anna Deavere Smith 的《薄暮:洛杉磯 1992年》(Twilight: LA), 和 John Sayles 的《孤星》(Lone Star)。我會安排放映電影的時間,我希望這個時間適合大部分的同學,但是如果在我安排的時間你們不方便到場,你們可以自己找時間看錄影帶。(譯者註:《煙火信號》在1998年上映,《密西西比的瑪沙拉》在1992年上映,《漫漫歸途》在1990年上映,《薄暮:洛杉磯1992》在2000年上映 -它可說是回顧1992年洛杉磯暴動的記錄片,《孤星》在1996年上映)。

因為本課程的閱讀資料頗多,你們可從負責閱讀的清單中任意刪除一本小說。(當然你們不一定要錯過任何一本書!) 我們將會在課堂上花一點時間討論怎樣避免全班同學都遺漏了同一本書。

課程需求
請在預定的討論課之前完成指定的閱讀,課堂上進行的簡短非正式寫作作業的規定,將有助於培養你們你們事先閱讀的習慣。

本課程主要的作業,包括三篇短論,各在6-8 頁之間,另外還有幾個較短的寫作作業。三篇短論中,一篇是針對課堂上研討過的教科書的報告 - 表達方式由你選擇 - 模仿、思考或批評性的分析;另外兩篇則為本課程相關資訊 - 個人回憶錄、自傳、調查、其它非小說的敘述或具說服力的短論。我們真心的鼓勵、歡迎你自行調查所寫的相關題材 - 教育、跨種族的約會和關係、住宅區的隔離、種族、性別和情慾間的交互關係、影射種族的廣告或影片,或是任何你有興趣研究的題目。經我同意,三篇短論中可以有一篇小說作品,但是你需要附加一份批評性的注釋,討論你的故事如何銜接到課程中讀到和討論到的題目。對於每一篇短論,你必須進行提案與起草,以從課堂的工作小組以及我這方面得到回應。這些回應會輔助你進行修正,修正後的作品請繳交。你將有機會在班上進行實質的口頭報告,或負責帶領同學討論相關讀物和影片。

同時,請撰寫一本讀者筆記 - 在這裡你可以對我們正在閱讀的作品記下非正式的意見。在這本筆記上,你能吹毛求疵地閱讀、探討課堂上對作品的討論與你個人過去和現在經驗間的關連,紀錄和測試洞察能力,憑你的感覺做反應;聯繫我們將研究的讀物和你曾經讀過的書、看過的影片或去過的地方、提出問題、記錄觀察、試驗及挑戰假設。為幫助你更清楚地了解我對這本記錄筆記的期望,我會給你一份有關讀者筆記的講義。

學期結束時,你將把在課程中所作的寫作作業整理成作品集,包括短論和讀者筆記,在檢閱你的作品後我會給你一個分數。決定學期成績時,作品的水準、整學期裡努力的程度和穩定性、修改自己的寫作時表現的成功度、參與課堂及討論的積極性、在課堂內你所提供的資訊程度的高低都在考慮範圍。我樂意隨時與你討論你的作品和在課程上的進度。

本課程非常緊湊,所以寫作作業必須按時繳交。除非是真正嚴重的緊急情況,否則沒有例外,這個時候請立即與我聯絡。每個學生一學期只限一次可因緊急情況獲准延期的機會。你在課堂上的責任並不止於當一個讀者和作者,你也要為班上其他同學扮演一個讀者和回饋者的角色。因此最重要的,是你忠實地出席,並在課前都為課堂上寫作小組討論的指定讀物進行充分準備。如果嚴重或經常遲到,就視同缺席。若因真正嚴重的緊急情況而無法出席,請儘早通知我;缺席超過三次將被扣分,超過五次將導致成績不及格。所以請避免缺席,忠實地來上課並進行準備,全力參與課堂活動。所有指定的功課 (讀和寫的作業、指定的修正、筆記和課堂寫作) 都必須圓滿完成,才能獲得及格成績。我希望每件交出的作業都是你自己為這個課程所作,這應該不用我多說。抄襲他人的寫作或再次繳交原本為別的課程所做的作品,都將導致你被撤銷上本課的權利和不及格的成績。麻省理工學院的誠實政策可以在下面的網站找到:
http://web.mit.edu/policies/10.0.html

這學期我們將一起努力,諸多閱讀及討論的東西將把我們帶入一個艱深的領域。在追求更深入的理解中,如果我們能互相支持,並以真誠和信任一起工作,相信會帶給大家極大的收穫。我也希望我們能在其中得到一些樂趣,輕鬆愉快的環境想必會帶來最理想的學習。我誠摯地歡迎大家提出問題和建議,也會以審慎和尊重的態度來看待你及你的作品。我期待一個豐收且讓人滿意的學期。


Syllabus (PDF)

In The Souls of Black Folk (1903), the great cultural critic W. E. B. Du Bois wrote that "…the problem of the Twentieth Century is the problem of the color line." A century after Du Bois penned those words, most Americans would agree that at the beginning of the twenty-first century, the color line remains one of our most pressing social issues. In this course, we will explore the terrain of race in America by reading the works of writers of color and others concerned with the issue of race, by viewing films that address racial issues, and by writing to explore how the fictions and facts of race condition all our lives, social and civic, private and public. We will consider the complex question of racial identity, test the givens of history by uncovering histories that have been more elusive or more thoroughly suppressed, and explore how writing and reading can both reflect and challenge racial categories, hierarchies, and perceptions. The reading is at once wonderful and disturbing, and the writing you will do will, I hope, open up arenas of increased understanding for both you and your readers.

Texts
The following are the texts I have chosen for the course.

Cisneros, Sandra. The House on Mango Street. New York: Vintage Books, Inc., 1989.

Erdrich, Louise. Love Medicine: A Novel . New and expanded edition. New York: Henry Holt, 1993.

Faulkner, William. Go Down, Moses. New York: Modern Library, 1942.

Kingston, Maxine Hong. The Woman Warrior: Memoirs of a girlhood among ghosts. New York: Knopf, 1976.

Mitcham, Judson. The Sweet Everlasting. Georgia: University of Georgia Press, 1996.

Morrison, Toni. The Bluest Eye. Afterward by Toni Morrison. New York: Penguin, 1994.

I will supplement these texts with handouts or e-reserves of shorter works (essays and stories). I have ordered a handbook, Easy Writer, for you to use as a reference.

We will view five films this semester: Chris Eyre's Smoke Signals, Mira Nair's Mississippi Masala, Richard Pearce's The Long Walk Home, Anna Deavere Smith's Twilight: LA and John Sayles' Lone Star. We will schedule the showing of the films at a time I hope will be convenient for most of you, but if you can't make the showing for the class, you may watch the video on your own.

Because the reading for this course is considerable, I will offer you the option of choosing one novel to exclude from your reading responsibilities. (Of course you may choose to read all of them!) We'll talk more in class about how that will work so as not to leave any of the novels out altogether.

Course Requirements
You will be expected to have completed the assigned reading on the day it is to be discussed in class. Short, informal in-class writing assignments will help you stay disciplined about getting the reading done.

The major writing for the course will be three essays of about 6-8 pages each, along with a few shorter writing assignments. One of the essays will be a response to one or more of the texts we read, in a form of your choice--imitation, reflection, critical analysis. The other two assignments will be essays related to the material of the course-personal memoir, autobiography, investigation, or other nonfiction narrative or persuasive essay. You are welcome, indeed encouraged, to investigate some issue or topic on your own on which to write--education; interracial dating and relationships; housing segregation; the intersections of race, gender, and sexuality; race in advertising or film; or other topics you are interested in pursuing. With my permission, one of your papers may be a work of fiction, accompanied by a critical commentary addressing the ways your story engages the issues we have read about and discussed in the course. For each essay, you will write a proposal, draft the piece, and then get feedback on your writing from a workshop group in class as well as from me. The responses from other readers in the class and from me will help you revise your paper before submitting the revision. There will also be occasions for you to make one substantial oral presentation to the class and to be responsible for leading class discussions of the reading and films.

I also ask that you keep a Reader's Notebook--a place where you will respond informally to the reading as we go along. The notebook is the place for you to read critically, to explore connections between the reading and class discussion and your own past and present experience, to record and test insights, to react as you feel moved to do, to draw connections among the various texts we will investigate as well as with other things you have read, films you have seen, places you've been; to raise questions, record observations, and test and challenge assumptions. For additional information on my expectations for your notebook writing, I will give you a handout on the Reader's Notebook.

At the end of the semester, you will prepare a portfolio of all the writing you have done in the course, including your essays and the reader's notebook, so that I can review your work in order to give you a grade for the course. In deciding on semester grades, I will consider the quality of your writing, the degree and consistency of your effort throughout the semester, the success you demonstrate in revising your written work, how actively you participated in class discussion and workshops and the quality of your classroom contributions. I am of course happy to talk with you at any time about your work and your progress in the course.

Our schedule is tight, so all written work must be handed in on time. No exceptions, unless for real and serious emergencies, in which case you should get in touch with me at once. Extensions for emergencies will be granted only once per student per semester. Your responsibility in the class is to be not only a writer and reader, but also to serve as a reader and responder for other members of the class. It is essential, then, that you attend class faithfully and come to each class fully prepared to participate in discussions of assigned reading and in writing workshops. Lateness for class, if extreme or chronic, will be counted as an absence. You must notify me as soon as possible when a real and serious emergency keeps you from attending class. More than three unexcused absences will result in your course grade being lowered; more than five absences will result in a failing grade. So don't take casual cuts, and come to class faithfully and on time and prepared to participate fully in class activities. All required work (reading and writing assignments, assigned revisions, notebook and in-class writing) must be completed satisfactorily in order to receive a passing grade for the course. It goes without saying, I hope, that everything you submit must be your original work, written for this course. Plagiarizing from others' writing or resubmitting work you've done for another course will result in withdrawal and a grade of F for the course. MIT's academic honesty policy can be found at the following link: http://web.mit.edu/policies/10.0.html

We will work hard together this semester, and much of our reading and discussion will take us into difficult territory. If we can support each other in our quest for greater understanding and work together with openness and trust, I believe the rewards of our work together will be great. I also hope we can have fun; I believe firmly that people learn best when they are enjoying themselves. I promise always to be open to questions and suggestions and to treat you and your work seriously and with respect. I look forward to a productive and rewarding semester.