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²Ä¤@³æ¤¸¡G²Ä¤@½g¤å³¹¡F¼g§@«ÂI¡GÓ¤H?z Unit One: First Essay; Writing Focus: Personal Narrative |
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1 |
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¡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 |
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¤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 |
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2 |
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¬Û«Hªº²z¥Ñ¡G¹D¼w©MªÀ·|»ùȪº®Ú·½ Reasons to Believe: The Roots of Ethical and Social Values
¤¶²ÐÓ¤H½×¤å Introducing Personal Essays |
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¡m¬°§ïÅܦӼg§@¡n In Writing for Change
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½m²ß 1.1¡Aµ§°O½m²ß¡GEdelman¡A¡q§@®a®Ñ«H¡r Exercise 1.1, Notebook Exercise on Edelman, Writer's Letter |
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°Q½×¡G¾Ç¥Í½d¤å Discuss: Sample student essay |
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3 |
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¬Û«H©M¦æ°Êªº²z¥Ñ Reasons to Believe and Act |
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4 |
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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 |
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¡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.
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2 Óµ§°O½m²ß(²Ä3¡B4°ó½Ò) 2 Notebook Exercises (Class #3, Class #4) |
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5 |
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§@¬°ªÀ·|¬¡°Ê®aªº§@®a¡G¤@ºØ¤å¾Ç¶Ç²Î The Writer as Social Activist: A Literary Tradition |
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¤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 |
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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 |
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6 |
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¼g§@¤u§@§{¡F¤å³¹1¯ó½Z¡Fק諸§Þ¥© Writing Workshop, Draft Essay 1; The Craft of Revision |
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¤Àµo¤u§@§{¨ç¥óµ¹¦P¾Ç¡]°Æ¥»¥æ¾É®v¡^ Workshop letters to classmates. (Copies to instructor) |
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¤Àµo¡GÃö©óק諸Á¿¸q¡]3¡^ Distribute: Handouts on Revision (3) |
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²Ä¤G³æ¤¸¡G²Ä¤G½g¤å³¹¡F¼g§@«ÂI¡G½Õ¬d©Ê¤å³¹/¤ñ¸û¤ÀªR Unit Two: Second Essay; Writing Focus: Investigative Essay/Comparative Analysis |
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7 |
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ªí²{ªÀ·|¨Æ¥ó©M°ÝÃD¡F¹Ï¹³ Representing Social Issues and Problems; Images |
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8 |
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?z³h½a©MµL®a¥iÂk Narratives of Poverty and Homelessness |
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- ¨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
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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)
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·Å²ß¡G¼g§@§@·~2 Review: Essay #2 assignment.
¤¶²Ð¸sÅé¬ã¨s Introduction to Community Research |
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9 |
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§@¬°¥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 |
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- ¸`¿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.
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´£®×¡A¤å³¹2 ¡]½Æ¦L5¥÷¡^ Proposals, Essay #2. (Five copies)
Ãö©óEhrenreichªºµ§°O½m²ß Notebook Exercise on Ehrenreich |
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10 |
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§@¬°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 |
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½Òµ{¹Ï®ÑÀ]ºô¶ Course Library Page |
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¨â¤H¤u§@§{¡G´£®×2 Pairs Workshops: Proposals #2
¤¶²Ð¹Ï®ÑÀ] Library Session |
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11 |
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§@®a»P´CÅé¤å¤Æ©M¬üªº§Î¶Hªº±µÄ² Writers Engage With Media Culture and Beauty Imagery |
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¡m¬°§ïÅܦӼg§@¡n¡]¾Ç¥Í½×¤å¡^ In Writing For Change (student essay)
¹q¼v: ¡m³n©Ê¿Ñ±þ 3¡n Film: Killing Us Softly 3
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¾\Ū/°Q½×¡G§G¸m¾\Ū¡]½Ò°ó¤Àµo¡^ Read/Discuss: Assigned readings (distributed in class) |
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12 |
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§@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 |
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¡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.
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µ§°O§@·~¡G¤ñ¸ûTakaki ©M Faludi Notebook Assignment: Compare Takaki and Faludi |
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13 |
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§@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 |
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¡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.
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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)
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¤Àµo¡G¤u§@§{¢±ªº«H¥ó Distribute: Workshop #2 letter
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14 |
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¼g§@¤u§@§{¡A¯ó½Z©M½×¤å¢± Writing Workshop, Draft, Essay #2 |
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¤u§@§{«H¥ó Workshop Letters |
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²Ä¤T³æ¤¸¡G²Ä¤T½g¤å³¹¡F¼g§@«ÂI¡G¬ã¨s©Ê/«Å¾É©Ê¤å³¹ Unit Three: Third Essay; Writing Focus: Investigative/Advocacy Essay |
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15 |
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§@®a§@¬°½Õ¬dªÌ©M«Å¾ÉªÌ: ªÀ·|Åܲ¤å¾Çªº²{¥N¸g¨å Writers as Investigators and Advocates: Modern Classics in the Literature of Social Change |
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¸`¿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."
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µ§°O½m²ß¡G Friedan©Î Carson Notebook Exercise on Friedan or Carson |
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·Å²ß¡A½×¤å3¡A§@·~ Review Essay #3 Assignments |
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16 |
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§å§P¦a¾\Ū¬Ý¹q¼v(PDF) Reading Films Critically (PDF)
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¹q¼v: ¡m¤k¥Í¦V«e¨«¡n Film: Girl, Interrupted. |
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17 |
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§@ªÌ±´¨s·í¥N°ÝÃD¡G¤ß²z°·±d Writers Explore Contemporary Issues: Mental Health
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- 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.
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µ§°O§@·~¡G¡m¤k¥Í¦V«e¨«¡n Notebook Assignment: Girl, Interrupted
´£®×¡A½×¤å¢²¡]½Æ¦L5¥÷¡^ Proposals, Essay #3 (5 copies) |
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18 |
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§@ªÌ©w¸q·í¥N°ÝÃD¥H¤Î«Å¾É¸Ñ¨M¤è®×: ±Ð¨| Writers Define Contemporary Issues and Advocate Solutions: Education |
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¡m¬°§ïÅܦӼg§@¡n In Writing for Change
- E. D. Hirsch. ¡q»{ÃÑ¤å¤Æ¡r188-193¶
E. D. Hirsch. "Cultural Literacy." Pp. 188-193.
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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)
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¤p«¬¤u§@§{: ´£®×¡A½×¤å¢² Small Workshops: Proposals, Essay #3 |
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19 |
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¹q¼v: ¡m¶W¶V¦º¤`½u¡n Film: Dead Man Walking. |
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20 |
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§@ªÌª§½×¬Fªv°ÝÃD¡G¦º¦D
Writers Debate Policy Issues: Capital Punishment
µ²¦XÓ¤H©M¤½²³ªºÁnµ Incorporating Personal and Public Voices |
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¹q¼v: Tim Robbins. ¡m¶W¶V¦º¤`½u¡n Film: Tim Robbins. Dead Man Walking.
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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 |
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21 |
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§@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)
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¹q¼v: Tim Robbins.¡m¶W¶V¦º¤`½u¡n Film: Tim Robbins. Dead Man Walking.
(Äò) (continued)
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22 |
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«Å¾Éªº¤èªk Approaches To Advocacy |
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¡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.
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×§ï2 Revisions #2 |
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¤fÀY³¯z³ø§i Oral Presentations |
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23 |
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§@¬°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 |
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¡m¬°§ïÅܦӼg§@¡n In Writing For Change
- Ernest Callenbach. ¡q¥ÍºA²z·Q°ê¡r 440-446¶
Ernest Callenbach. "Ecotopia." Pp. 440-446.
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¤fÀY³¯z³ø§i Oral Presentations |
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24 |
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§@¬°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 |
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¸`¿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.
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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)
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27 |
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×§ï«Å¾É©Ê¤å³¹ªºµ¦²¤ Revision Strategies for Advocacy Essays |
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28 |
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¶i¤@¨B×§ï/µoªí¬ã°Q·| Advanced Revision/Publication Workshop |
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¤fÀY³¯z³ø§i Oral Presentations |
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29 |
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¤u§@§{¡A½×¤å3¯ó½Z Workshop, Draft Essay #3 |
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30 |
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¤fÀY³¯z³ø§i¡A½Òµ{µû¦ô Oral Presentations; Course Evaluations |
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31 |
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³Ì«á¤@½Ò¡G¼y¯¬ Last Class: Celebration |
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§@«~¶°¦b·í¤Ñµ²§ô®É¨ì´Á (³s¦P×§ï3) Portfolios due by end of day (with revision #3) |
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