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Unit One: First Essay; Writing Focus: Personal Narrative
1 ¡u¥H±N½Ò°ó§@¬°¼g§@¸sÅé¡v¤¶²Ð
Intro to the Class as a Writing Community

ªÀ·|©M¹D¼w°ÝÃDªº¼g§@
Writing about Social and Ethical Issues
¤Àµo¡G±Ð¾Ç¤jºõ¡A±Ð¾Ç®Éµ{¡A¡q§@®a®Ñ«H¡r¼g§@§@·~¡A½Òµ{¸ê°T³æ¡A½m²ß1.1¡A½×¤å²ß§@¢°
Distribute: Syllabus, Course Calendar, Writer's Letter assignment, Course information sheet, Exercise 1.1, Essay Assignment #1
2 ¬Û«Hªº²z¥Ñ¡G¹D¼w©MªÀ·|»ù­Èªº®Ú·½
Reasons to Believe: The Roots of Ethical and Social Values

¤¶²Ð­Ó¤H½×¤å
Introducing Personal Essays

¡m¬°§ïÅܦӼg§@¡n
In Writing for Change

  • Marion Wright Edelman¡q®a±Ú¿ò²£¡r¡A24-30­¶
    Marion Wright Edelman. "A Family Legacy." P
    p. 24-30.
½m²ß 1.1¡Aµ§°O½m²ß¡GEdelman¡A¡q§@®a®Ñ«H¡r
Exercise 1.1, Notebook Exercise on Edelman, Writer's Letter
°Q½×¡G¾Ç¥Í½d¤å
Discuss: Sample student essay
3 ¬Û«H©M¦æ°Êªº²z¥Ñ
Reasons to Believe and Act
4 µo®i©Mºû«ù¹D¼w©MªÀ·|»ù­È
Developing and Sustaining Ethical and Social Values

­Ó¤H½×¤å¡GµZ¿i°Ê¤H©M¦³®Äªº¤¶²Ð
The Personal Essay: Crafting Engaging and Effective Introductions

¡m¬°§ïÅܦӼg§@¡n
In Writing for Change

  • ¥Ì°i­}¡q´N¾ºt»¡¡r¡A89-92­¶
    John F. Kennedy. "Inaugural Address." Pp. 89-92.
  • William F. Buckley. ¡m¾Ôª§ªº¸¹¥O¡n¡A 125-133­¶
    William F. Buckley. "A Call to Arms." Pp. 125-133.
  • °¨¤B ¸ô¼w ª÷. ¡q¦b§B©ú¨uºÊº»ùتº¤@«Ê«H¡r¡A 285-299­¶
    Martin Luther King, Jr. "A Letter From Birmingham Jail." Pp. 285-299.
  • P.W. Alexander. ¡q¦b®aªº¸t½Ï¸`¡n100-103­¶
    P.W. Alexander. "Christmas At Home." Pp. 100-103.
  • Jeremy Taylor. ¡q¬°¾Ç²ß¦ÓªA°È¡G¦³¥Øªºªº±Ð¨|¡r¡A193-199­¶
    Jeremy Taylor. "Service Learning: Education with a Purpose." Pp. 193-199.

¹q¼v¿ï¬q: ¡m²´¤¤ªº¼ú«~¡n
Film Clips: Eyes on the Prize.

2 ­Óµ§°O½m²ß(²Ä3¡B4°ó½Ò)
2 Notebook Exercises (Class #3, Class #4)
5 §@¬°ªÀ·|¬¡°Ê®aªº§@®a¡G¤@ºØ¤å¾Ç¶Ç²Î
The Writer as Social Activist: A Literary Tradition
¤å³¹1ªº¯ó½Z(½Æ¦L2¥÷+¤¶²Ð«H¡F²Ä5°ó½Ò«á2¤Ñ¥æ)
Draft Essay 1 (2 copies + cover letter. (Due two days after class #5)

¤u§@§{¾Ç¥Í¡G±N¯ó½Z¥Î¹q¤l¶l¥óµoµ¹¦P¾Ç¡]word¤åÀÉ¡^
Workshop students: email drafts (as Word documents) to classmates
¾\Ū/°Q½×¡G§G¸mªº¾\Ū§÷®Æ
Read/Discuss: Assigned Readings.

±a¤å³¹1ªº¤¶²Ð¡]½Æ¦L4¥÷¡^
Bring in: Introductions, Essay 1 (4 copies).

¤u§@§{·Ç³Æ¡F¤Àµo¤u§@§{«H¥ó
Workshop Preparation; Distribute Workshopping Letter
6 ¼g§@¤u§@§{¡F¤å³¹1¯ó½Z¡F­×§ïªº§Þ¥©
Writing Workshop, Draft Essay 1; The Craft of Revision
¤Àµo¤u§@§{¨ç¥óµ¹¦P¾Ç¡]°Æ¥»¥æ¾É®v¡^
Workshop letters to classmates. (Copies to instructor)
¤Àµo¡GÃö©ó­×§ïªºÁ¿¸q¡]3¡^
Distribute: Handouts on Revision (3)
²Ä¤G³æ¤¸¡G²Ä¤G½g¤å³¹¡F¼g§@­«ÂI¡G½Õ¬d©Ê¤å³¹/¤ñ¸û¤ÀªR
Unit Two: Second Essay; Writing Focus: Investigative Essay/Comparative Analysis
7 ªí²{ªÀ·|¨Æ¥ó©M°ÝÃD¡F¹Ï¹³
Representing Social Issues and Problems; Images
8 ?­z³h½a©MµL®a¥iÂk
Narratives of Poverty and Homelessness
  • ¨f§ó´µ¡A¡m¸t½Ï¹|ºq¡n
    Selection, Charles Dickens. A Christmas Carol.
  • Jonathan Kozol. ¡mµL®a¥iÂkªÌºÆ¤F¶Ü¡H¡n
    Jonathan Kozol. "Are the Homeless Crazy?"

¡m¬°§ïÅܦӼg§@¡n¤¤
In Writing For Change

  • Peter Marin. ¡qÀ°§U©M¼¨«ëµL®a¥iÂkªÌ¡r¡A270-283­¶
    Peter Marin. "Helping and Hating the Homeless…." Pp. 270-283.

¹q¼v¿ï¬q: ¡m¸t½Ï¹|ºq¡n
Film Clip: A Christmas Carol

µ§°O½m²ß: ±q¤ñ¸ûªº¨¤«×µû½× Marin ©MKozol¤å³¹ªº¤O«×(1 1/2-2­¶.)
Notebook Exercise: Comment comparatively on the power of Marin's and Kozol's essays (1½-2 pp.)

­×§ï¡A¤å³¹1 (½Æ¦L2¥÷+¤¶²Ð«H©M¦³­×§ïªº¯ó½Z) (²Ä8°ó½Ò«á 2¤Ñ¥æ)
Revision, Essay #1. (2 copies + cover letter and marked-up Draft) (Due two days after class #8)

·Å²ß¡G¼g§@§@·~2
Review: Essay #2 assignment.
¤¶²Ð¸sÅé¬ã¨s
Introduction to Community Research
9 §@¬°¥ØÀ»ªÌ¡A°Ñ»PªÌ©M½Õ¬dªÌªº§@®a¡G¦b³h½a©M§C¦¬¤J³Ò°Ê¤Oªº¥@¬É
The Writer as Witness, Participant and Investigator: Inside the World of Poverty and Low-wage Labor
  • ¸`¿ï¡ABarbara Ehrenrei¡A¡m¤@¤À¤@¨¤¡G¦b¬ü°êµLªk¥Í¬¡¡n(¤Àµo)
    Excerpt, Barbara Ehrenreich. Nickel and Dimed: On Not Getting By in America. (Handout)

¹q¼v¿ï¬q¡G¡m¬ü°ê©MÄá¼v®aLewis Hine¡n
Film Clip: America and Lewis Hine.

´£®×¡A¤å³¹2 ¡]½Æ¦L5¥÷¡^
Proposals, Essay #2. (Five copies)

Ãö©óEhrenreichªºµ§°O½m²ß
Notebook Exercise on Ehrenreich
10 §@¬°ªÀ·|ijÃD¸ÑŪªÌªº§@®a¡G ¤ñ¸û¤ÀªRªº»ù­È¡F¬ã¨sµ¦²¤
The Writer as Interpreter of Social Issues: The Value Of Comparative Analysis: Research Strategies
½Òµ{¹Ï®ÑÀ]ºô­¶
Course Library Page
¨â¤H¤u§@§{¡G´£®×2
Pairs Workshops: Proposals #2

¤¶²Ð¹Ï®ÑÀ]
Library Session
11 §@®a»P´CÅé¤å¤Æ©M¬üªº§Î¶Hªº±µÄ²
Writers Engage With Media Culture and Beauty Imagery

¡m¬°§ïÅܦӼg§@¡n¡]¾Ç¥Í½×¤å¡^
In Writing For Change (student essay)

  • Amanda Morgan. ¡q·í¬ü¤k¬O³¥Ã~¡r¡A356-363­¶
    Amanda Morgan. "When Beauty Is the Beast." Pp. 356-363.

¹q¼v: ¡m³n©Ê¿Ñ±þ 3¡n
Film: Killing Us Softly 3

¾\Ū/°Q½×¡G§G¸m¾\Ū¡]½Ò°ó¤Àµo¡^
Read/Discuss: Assigned readings (distributed in class)
12 §@ªÌ½×¤Î·í¥Nª§½×°ÝÃD: ºØ±Ú¡B©Ê§O©M¥­µ¥°ÝÃD
Writers Address Contemporary Debates: Race, Gender and Issues of Equality

¤ñ¸û¤ÀªRªº¤èªk: ¤¶²Ð¡þÁ`µ²ªº¿ï¾Ü
Approaches to Comparative Analysis: Options in Introductions/Conclusions

¡m¬°§ïÅܦӼg§@¡n
In Writing For Change

  • Ronald Takaki.¡q¥´¯}¨IÀq¡G°O¾ÐªºªÀ°Ï¡r¡A219-232­¶
    Ronald Takaki. "Breaking Silences: Community of Memory." Pp. 219-232.
  • Susan Faludi ¡q­n©Ç´N©Ç¤kÅv¥D¸q¡r¡A 238-250­¶
    Susan Faludi. "Blame It on Feminism." Pp. 238-250.
µ§°O§@·~¡G¤ñ¸ûTakaki ©M Faludi
Notebook Assignment: Compare Takaki and Faludi
13 §@ªÌ­±Á{·í¥N°ÝÃD¡G±Ð¨|¤£¥­µ¥¡A¹L¥h©M²{¦b: ­Ó¤H´y¼g
Writers Confront Contemporary: Educational Inequality, Past and Present: Individual Portraits

¡m¬°§ïÅܦӼg§@¡n
In Writing For Change

  • Maya Angelou. ¡q²¦·~¡r¡A155-165­¶
    Maya Angelou. "Graduation." Pp. 155-165.
  • Jonathan Kozol. ¡qCorla Hawkins¡r¡A 176-181­¶.
    Jonathan Kozol. "Corla Hawkins." Pp. 176-181.
  • Mike Rose¡q§Ú¥u·Q¥­¥­¤Z¤Z¡r165-176­¶
    Mike Rose. "I Just Wanna Be Average." Pp. 165-176.

µ§°O§@·~: ¤ñ¸û Rose»P Kozol ©Î Angelou
Notebook assignment: Compare Rose and Kozol or Angelou

¯ó½Z©M½×¤å¢±(½Æ¦L2¥÷ + ¤¶²Ð«H) (²Ä13 °ó½Ò«á2¤Ñ¥æ)
Draft, Essay #2 (2 copies + cover letter) (Due two days after class #13)

¤Àµo¡G¤u§@§{¢±ªº«H¥ó
Distribute: Workshop #2 letter
14 ¼g§@¤u§@§{¡A¯ó½Z©M½×¤å¢±
Writing Workshop, Draft, Essay #2
¤u§@§{«H¥ó
Workshop Letters
²Ä¤T³æ¤¸¡G²Ä¤T½g¤å³¹¡F¼g§@­«ÂI¡G¬ã¨s©Ê/«Å¾É©Ê¤å³¹
Unit Three: Third Essay; Writing Focus: Investigative/Advocacy Essay
15 §@®a§@¬°½Õ¬dªÌ©M«Å¾ÉªÌ: ªÀ·|ÅÜ­²¤å¾Çªº²{¥N¸g¨å
Writers as Investigators and Advocates: Modern Classics in the Literature of Social Change

¸`¿ï¦Û¡G
Excerpts from:

  • Betty Friedan. ¡m¤k©Êªº¯«¯µ¡n
    Betty Friedan. The Feminine Mystique.
  • Rachel Carson. ¡m±IÀRªº¬K¤Ñ¡n
    Rachel Carson. Silent Spring.
  • George Orwell. ¡m¬Fªv©M­^»y¡n
    George Orwell. "Politics and the English Language."
µ§°O½m²ß¡G Friedan©Î Carson
Notebook Exercise on Friedan or Carson
·Å²ß¡A½×¤å3¡A§@·~
Review Essay #3 Assignments
16

§å§P¦a¾\Ū¬Ý¹q¼v(PDF)
Reading Films Critically (PDF)

¹q¼v: ¡m¤k¥Í¦V«e¨«¡n
Film: Girl, Interrupted.
17 §@ªÌ±´¨s·í¥N°ÝÃD¡G¤ß²z°·±d
Writers Explore Contemporary Issues: Mental Health

  • Susanna Kaysen. ¡m¤k¥Í¦V«e¨«¡n. (¸`¿ï)
    Susanna Kaysen. Girl, Interrupted. (Excerpt)

¡m¬°§ïÅܦӼg§@¡n¤¤
In Writing for Change

  • Tracy Thompson. ¡q¿³¾Ä¾¯ªºÅ]¤O¡r¡A347-356­¶
    Tracy Thompson. "The Wizard of Prozac." Pp. 347-356.

¹q¼v: James Mangold. ¡m¤k¥Í¦V«e¨«¡n
Film: James Mangold. Girl, Interrupted.

µ§°O§@·~¡G¡m¤k¥Í¦V«e¨«¡n
Notebook Assignment: Girl, Interrupted

´£®×¡A½×¤å¢²¡]½Æ¦L5¥÷¡^
Proposals, Essay #3 (5 copies)
18 §@ªÌ©w¸q·í¥N°ÝÃD¥H¤Î«Å¾É¸Ñ¨M¤è®×: ±Ð¨|
Writers Define Contemporary Issues and Advocate Solutions: Education

¡m¬°§ïÅܦӼg§@¡n
In Writing for Change

  • E. D. Hirsch. ¡q»{ÃÑ¤å¤Æ¡r188-193­¶
    E. D. Hirsch. "Cultural Literacy." Pp. 188-193.

µ§°O¥»§@·~¡GHirsch ©MOrwell
Notebook Assignment on Hirsch and Orwell

­×§ï¡A½×¤å¢±¡]½Æ¦L2¥÷¡^¡A¤¶²Ð«H +¤w­×§ï¯ó½Z¡^¡]²Ä18°ó½Ò«á2¤Ñ¥æ)
Revision, Essay #2. (2 copies, coverletter + marked-up Draft) (Due two days after class #18)

¤p«¬¤u§@§{: ´£®×¡A½×¤å¢²
Small Workshops: Proposals, Essay #3
19 ¹q¼v: ¡m¶W¶V¦º¤`½u¡n
Film: Dead Man Walking.
20 §@ªÌª§½×¬Fªv°ÝÃD¡G¦º¦D
Writers Debate Policy Issues: Capital Punishment

µ²¦X­Ó¤H©M¤½²³ªºÁn­µ
Incorporating Personal and Public Voices
¹q¼v: Tim Robbins. ¡m¶W¶V¦º¤`½u¡n
Film: Tim Robbins. Dead Man Walking.
µ§°O§@·~¡m¶W¶V¦º¤`½u¡n
Notebook Exercise, Dead Man Walking

µ²¦X±Ä³X¸ê®Æ©M¤G¤â¸ê®Æ
Incorporating Interview Material and Secondary Sources

«Å¾É©Ê¤å³¹½d¨Ò: ¾Ç¥Í½×¤å (MURJ)
Models of Advocacy Essays: Student Essay (MURJ)

Á`µ²
Conclusions
21

§@ªÌª§½×¬Fªv°ÝÃD¡G¦º¦D
Writers Debate Policy Issues: Capital Punishment

µ²¦X­Ó¤H©M¤½²³ªº¤ßÁn
Incorporating Personal and Public Voices

(Äò)
(continued)

¹q¼v: Tim Robbins.¡m¶W¶V¦º¤`½u¡n
Film: Tim Robbins. Dead Man Walking.
(Äò)
(continued)

22 «Å¾Éªº¤èªk
Approaches To Advocacy

¡m¬°§ïÅܦӼg§@¡n¤¤
In Writing For Change

  • Randy Fitzgerald¡q¿ßÀYÆN¨S¦³¨ü¨ì«Â¯Ù¡A¤u§@¨ü¨ì¤F«Â¯Ù¡r¡A419-423­¶
    Randy Fitzgerald. "Owls Are Not Threatened, Jobs Are." Pp. 419-423.
  • Cynthia Hamilton. ¡q¤k¤H¡A®a®x©MªÀ°Ï: «°¥«Àô¹Ò¤Uªº±Ã²Ï¡r412-418­¶
    Cynthia Hamilton. "Women, Home and Community: The Struggles in an Urban Environment." Pp. 412-418.
­×§ï2
Revisions #2
¤fÀY³¯­z³ø§i
Oral Presentations
23 §@¬°¹Ú·Q®aªº§@®a: ¤p»¡¬O²z·Q°ê·§©À©M¦aº»°ê§å§Pªº¹êÅç«Ç
Writers as Visionaries: Fiction as a Laboratory for Utopian Ideas and Dystopian Critiques

¡m¬°§ïÅܦӼg§@¡n
In Writing For Change

  • Ernest Callenbach. ¡q¥ÍºA²z·Q°ê¡r 440-446­¶
    Ernest Callenbach. "Ecotopia." Pp. 440-446.
¤fÀY³¯­z³ø§i
Oral Presentations
24 §@¬°¹Ú·Q®aªº§@®a: ¤p»¡¬O²z·Q°ê·§©À©M¦aº»°ê§å§Pªº¹êÅç«Ç
Writers as Visionaries: Fiction as a Laboratory for Utopian Ideas and Dystopian Critiques

¸`¿ï ¡]½Ò°ó¤Àµo¡^:
Excerpts (distributed in class):

  • " Aldous Huxley. ¡m¬üÄR·s¥@¬É¡n
    Aldous Huxley. Brave New World.
  • " George Orwell. ¡m1984¡n
    George Orwell. 1984.
  • " Margaret Atwood.¡m¨Ï¤kªº¬G¨Æ¡n¡]͵ù¡G¤p»¡§ï½sªº¦P¦W¹q¼vͦW¬°¡m¥@¬öºw¦å¡n¡^
    Margaret Atwood. The Handmaid's Tale.

µ§°O§@·~¡G¤ñ¸û§A¹ï²z·Q°ê©M¦aº»°êªºÆ[ÂI
Notebook Exercise: Compare your own Visions of utopia and dystopia

¯ó½Z©M½×¤å¢²¡]24°ó½Ò«á1¤Ñ¥æ¡^
Drafts, Essay #3 (Due one day after class #24)

27 ­×§ï«Å¾É©Ê¤å³¹ªºµ¦²¤
Revision Strategies for Advocacy Essays
28 ¶i¤@¨B­×§ï/µoªí¬ã°Q·|
Advanced Revision/Publication Workshop
¤fÀY³¯­z³ø§i
Oral Presentations
29 ¤u§@§{¡A½×¤å3¯ó½Z
Workshop, Draft Essay #3
30 ¤fÀY³¯­z³ø§i¡A½Òµ{µû¦ô
Oral Presentations; Course Evaluations
31 ³Ì«á¤@½Ò¡G¼y¯¬
Last Class: Celebration
§@«~¶°¦b·í¤Ñµ²§ô®É¨ì´Á (³s¦P­×§ï3)
Portfolios due by end of day (with revision #3)










 
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