2008-06-26 13:17:44Yvette
再答一張考卷好了
請任選五題申論作答 (一題 20%)；總分110%
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For your reference
Sappho (630BC- 612BC—c.570BC):
“Awed by Her Splendor,”
“Blame Aphrodite,” &
“Hymn to Aphrodite”
Queen Elizabeth I (1533--1603):
“The Doubt of Future Foes,” &
“On Monsieur’s Departure”
Aphra Behn (1640—1689) :
”Love Armed”
Elizabeth Barrett Browning (1806—1861):
“How do I love thee? Let me count the ways…”
Christina Rossetti (1830—1894):
“Up-hill”, “Song,” &
“Goblin Market”
Emily Dickinson (1830—1886) :
”I’m Nobody”
“A wounded deer leaps highest,”
“My Life had stood—a Loaded Gun--,”
“Because I could not stop for Death,”
“I Died for Beauty,” “If you were coming in the fall,” &
“He fumbles at your Soul”
Amy Lowell (1874—1925)；
”Red Slippers”
H.D. (Hilda Doolittle) (1886-1961):
“Heat”
& “Helen”
Marianne Moore (1887—1972) :
“A Grave”
Anaïs Nin (1903—1977):
“Risk,”
excerpt from “The Diary of Anais Nin”
Elizabeth Bishop (1911—1979):
“One Art,” “The Armadillo” &
“The Man-Moth”
Anne Sexton (1928—1974):
“Her Kind”
& “Snow White and the Seven Dwarfs”
Adrienne Rich (1929-- ):
“Peeling Onions”
Sylvia Plath (1932—1963):
“Daddy” &
“Lady Lazarus”
Gwendolyn Brooks (1917—2000):
“We Real Cool,”
“the sonnet-ballad,”,
“The Bean-Eaters” &
“The Mother”
Maya Angelou (1928-- ):
“The Caged Bird” &
“Still I Rise”
Nikki Giovanni (1943-- ):
“Nikki Rosa” &
“Seduction”
Jane Austen (1775—1817)：
Pride and Prejudice《傲慢與偏見》
Charlotte Perkins Gilman (1860—1935)：
”The Yellow Wallpaper” 〈黃色壁紙〉+
Herland 《她鄉》
Virginia Woolf (1882—1941)：
Mrs. Dalloway 《達樂威夫人》
Katherine Anne Porter (1890—1980)：
”The Jilting of Granny Weatherall”
Doris Lessing (1919-- )：
”To Room Nineteen” 〈十九號房〉
Toni Morrison (1931-- ):
The Bluest Eye 《湛藍的眼睛》
Margaret Atwood (1939-- )：
”Happy Endings”
Alice Walker (1944-- )：The Color Purple 《紫色姊妹花》
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1. 解讀上列書單中一首（你認為的）情詩。
2. 解讀上列書單中一首（你認為）幫「歷史中的女人」翻案的詩。
3. 解讀上列書單中一首（你認為）聲援受苦女性的詩。
4. 解讀上列書單中一首（你認為）聲援「被誤解的異樣女性」的詩
5. 解讀上列書單中一首（你認為）「種族議題必須先於性別議題討論」的詩。
6. 解讀上列書單中一首（你認為）最激昂、最增能(empowering)的詩。
7. 解讀上列書單中一首（你認為）最能引動笑聲的詩。
8. 解讀上列書單中一首（你認為）「我」的形象最固定的詩。
9. 解讀上列書單中一首（你認為）最能呈現強烈的視覺印象的詩。（請就此詩描述這種「詩中有畫、畫中有詩」的筆觸。必要時，你也可以畫一幅插圖補充說明。）
10. Virginia Woolf 使用流動的意識與多重敘述觀點撰寫《達樂威夫人》，對比達樂威夫人的心境轉變。故事開始到結束（或結束之後），你認為她的外在生活有沒有（會不會）改變？請解釋。
11. 請討論 Jane Austen的《傲慢與偏見》其中的兩項女性議題：（1）性別氣質（2）女性與經濟。
12. 請討論Charlotte Perkins Gilman〈黃色壁紙〉的主題以及二十一世紀重新閱讀這個文本的新意義。
13. Toni Morrison 的小說《最藍的眼睛》描述一個黑人底層家庭的生活。小說為甚麼要用一本兒童繪本課本拉開序幕？和這本小說的敘述方法和內容有何關係？請解釋。
14. Margaret Atwood的”Happy Endings” 最主要的寫作意圖是什麼？她顛覆的適合種文化？請解釋。
15. Alice Walker 的The Color Purple可視為女/性啟蒙小說，她創造了一個逐漸成長的女人，以及影響她的若干女子（小說中較為「平板」的人物類型）。她們有什麼相同「愉悅」或「逾越」？她們各帶給女主角Celie 什麼樣的成長？
16. 好的文學作品往往可以「組織人類經驗、拓展文化價值、引發讀者的情感回饋、開了讀者眼界、帶著讀者翱翔到她日常生活無法企及之處，創造終身難忘的經驗」。本學期哪一個作品是這樣的好作品？請解釋。
J 紅利題 10%：
以下段落出自以上哪位作者的哪一部作品？你如何判斷得知？當時是什麼狀況？請解釋說明。
Their religion, you see, was maternal; and their ethics, based
on the full perception of evolution, showed the principle of
growth and the beauty of wise culture. They had no theory of
the essential opposition of good and evil; life to them was
growth; their pleasure was in growing, and their duty also.
With this background, with their sublimated mother-love,
expressed in terms of widest social activity, every phase of their
work was modified by its effect on the national growth. The
language itself they had deliberately clarified, simplified, made
easy and beautiful, for the sake of the children.
This seemed to us a wholly incredible thing: first, that any
nation should have the foresight, the strength, and the persistence
to plan and fulfill such a task; and second, that women should have
had so much initiative. We have assumed, as a matter of course,
that women had none; that only the man, with his natural energy
and impatience of restriction, would ever invent anything.
Here we found that the pressure of life upon the environment
develops in the human mind its inventive reactions, regardless of sex;
and further, that a fully awakened motherhood plans and works without limit,
for the good of the child.
That the children might be most nobly born, and reared in an
environment calculated to allow the richest, freest growth, they
had deliberately remodeled and improved the whole state.
I do not mean in the least that they stopped at that, any more
than a child stops at childhood. The most impressive part of their
whole culture beyond this perfect system of child-rearing was
the range of interests and associations open to them all, for life.
But in the field of literature I was most struck, at first, by the
child-motive.
------------------------------------------------------------------------------------
For your reference
Sappho (630BC- 612BC—c.570BC):
“Awed by Her Splendor,”
“Blame Aphrodite,” &
“Hymn to Aphrodite”
Queen Elizabeth I (1533--1603):
“The Doubt of Future Foes,” &
“On Monsieur’s Departure”
Aphra Behn (1640—1689) :
”Love Armed”
Elizabeth Barrett Browning (1806—1861):
“How do I love thee? Let me count the ways…”
Christina Rossetti (1830—1894):
“Up-hill”, “Song,” &
“Goblin Market”
Emily Dickinson (1830—1886) :
”I’m Nobody”
“A wounded deer leaps highest,”
“My Life had stood—a Loaded Gun--,”
“Because I could not stop for Death,”
“I Died for Beauty,” “If you were coming in the fall,” &
“He fumbles at your Soul”
Amy Lowell (1874—1925)；
”Red Slippers”
H.D. (Hilda Doolittle) (1886-1961):
“Heat”
& “Helen”
Marianne Moore (1887—1972) :
“A Grave”
Anaïs Nin (1903—1977):
“Risk,”
excerpt from “The Diary of Anais Nin”
Elizabeth Bishop (1911—1979):
“One Art,” “The Armadillo” &
“The Man-Moth”
Anne Sexton (1928—1974):
“Her Kind”
& “Snow White and the Seven Dwarfs”
Adrienne Rich (1929-- ):
“Peeling Onions”
Sylvia Plath (1932—1963):
“Daddy” &
“Lady Lazarus”
Gwendolyn Brooks (1917—2000):
“We Real Cool,”
“the sonnet-ballad,”,
“The Bean-Eaters” &
“The Mother”
Maya Angelou (1928-- ):
“The Caged Bird” &
“Still I Rise”
Nikki Giovanni (1943-- ):
“Nikki Rosa” &
“Seduction”
Jane Austen (1775—1817)：
Pride and Prejudice《傲慢與偏見》
Charlotte Perkins Gilman (1860—1935)：
”The Yellow Wallpaper” 〈黃色壁紙〉+
Herland 《她鄉》
Virginia Woolf (1882—1941)：
Mrs. Dalloway 《達樂威夫人》
Katherine Anne Porter (1890—1980)：
”The Jilting of Granny Weatherall”
Doris Lessing (1919-- )：
”To Room Nineteen” 〈十九號房〉
Toni Morrison (1931-- ):
The Bluest Eye 《湛藍的眼睛》
Margaret Atwood (1939-- )：
”Happy Endings”
Alice Walker (1944-- )：The Color Purple 《紫色姊妹花》
------------------------------------------------------------------------------------------
1. 解讀上列書單中一首（你認為的）情詩。
2. 解讀上列書單中一首（你認為）幫「歷史中的女人」翻案的詩。
3. 解讀上列書單中一首（你認為）聲援受苦女性的詩。
4. 解讀上列書單中一首（你認為）聲援「被誤解的異樣女性」的詩
5. 解讀上列書單中一首（你認為）「種族議題必須先於性別議題討論」的詩。
6. 解讀上列書單中一首（你認為）最激昂、最增能(empowering)的詩。
7. 解讀上列書單中一首（你認為）最能引動笑聲的詩。
8. 解讀上列書單中一首（你認為）「我」的形象最固定的詩。
9. 解讀上列書單中一首（你認為）最能呈現強烈的視覺印象的詩。（請就此詩描述這種「詩中有畫、畫中有詩」的筆觸。必要時，你也可以畫一幅插圖補充說明。）
10. Virginia Woolf 使用流動的意識與多重敘述觀點撰寫《達樂威夫人》，對比達樂威夫人的心境轉變。故事開始到結束（或結束之後），你認為她的外在生活有沒有（會不會）改變？請解釋。
11. 請討論 Jane Austen的《傲慢與偏見》其中的兩項女性議題：（1）性別氣質（2）女性與經濟。
12. 請討論Charlotte Perkins Gilman〈黃色壁紙〉的主題以及二十一世紀重新閱讀這個文本的新意義。
13. Toni Morrison 的小說《最藍的眼睛》描述一個黑人底層家庭的生活。小說為甚麼要用一本兒童繪本課本拉開序幕？和這本小說的敘述方法和內容有何關係？請解釋。
14. Margaret Atwood的”Happy Endings” 最主要的寫作意圖是什麼？她顛覆的適合種文化？請解釋。
15. Alice Walker 的The Color Purple可視為女/性啟蒙小說，她創造了一個逐漸成長的女人，以及影響她的若干女子（小說中較為「平板」的人物類型）。她們有什麼相同「愉悅」或「逾越」？她們各帶給女主角Celie 什麼樣的成長？
16. 好的文學作品往往可以「組織人類經驗、拓展文化價值、引發讀者的情感回饋、開了讀者眼界、帶著讀者翱翔到她日常生活無法企及之處，創造終身難忘的經驗」。本學期哪一個作品是這樣的好作品？請解釋。
J 紅利題 10%：
以下段落出自以上哪位作者的哪一部作品？你如何判斷得知？當時是什麼狀況？請解釋說明。
Their religion, you see, was maternal; and their ethics, based
on the full perception of evolution, showed the principle of
growth and the beauty of wise culture. They had no theory of
the essential opposition of good and evil; life to them was
growth; their pleasure was in growing, and their duty also.
With this background, with their sublimated mother-love,
expressed in terms of widest social activity, every phase of their
work was modified by its effect on the national growth. The
language itself they had deliberately clarified, simplified, made
easy and beautiful, for the sake of the children.
This seemed to us a wholly incredible thing: first, that any
nation should have the foresight, the strength, and the persistence
to plan and fulfill such a task; and second, that women should have
had so much initiative. We have assumed, as a matter of course,
that women had none; that only the man, with his natural energy
and impatience of restriction, would ever invent anything.
Here we found that the pressure of life upon the environment
develops in the human mind its inventive reactions, regardless of sex;
and further, that a fully awakened motherhood plans and works without limit,
for the good of the child.
That the children might be most nobly born, and reared in an
environment calculated to allow the richest, freest growth, they
had deliberately remodeled and improved the whole state.
I do not mean in the least that they stopped at that, any more
than a child stops at childhood. The most impressive part of their
whole culture beyond this perfect system of child-rearing was
the range of interests and associations open to them all, for life.
But in the field of literature I was most struck, at first, by the
child-motive.