| 一、課程基本資料 Course Information | ||||||||||||||||||||||||
| 科目名稱 Course Title： (中文)人權與藝術 (英文)HUMAN RIGHTS AND THE ARTS |
開課學期 Semester：106學年度第1學期 開課班級 Class：人權碩一 |
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| 授課教師 Instructor：雷敦龢 RYDEN,EDMUND JOHN | ||||||||||||||||||||||||
| 科目代碼 Course Code：MHR53201 | 單全學期 Semester/Year：單 | 分組組別 Section： | ||||||||||||||||||||||
| 人數限制 Class Size： | 必選修別 Required/Elective：選 | 學分數 Credit(s)：2 | ||||||||||||||||||||||
| 星期節次 Day/Session： 五56 | 前次異動時間 Time Last Edited：106年06月05日09時21分 | |||||||||||||||||||||||
| 人權碩士學位學程(碩士班)基本能力指標 Basic Ability Index | ||||||||||||||||||||||||
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| 二、指定教科書及參考資料 Textbooks and Reference (請修課同學遵守智慧財產權，不得非法影印) |
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| ●指定教科書 Required Texts Ryden, E., Human Rights seen from the Arts, New Taipei City: the author, rev. ed. 2016 [2014] Available free from the author ●參考書資料暨網路資源 Reference Books and Online Resources 號碼表示與那趟課有關系 (0) Cooke, Mervyn (ed.), The Cambridge Companion to Benjamin Britten, Cambridge: Cambridge University Press, 1999. (0) John, Nicholas (ed.), Peter Grimes/Gloriana Opera Guides, London: Overture, reprint 2011 [1983]. (0) Wiebe, Heather, Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction, Cambridge: Cambridge University Press, 2012. (1) Berger, John, Ways of Seeing, Harmondsworth, Middx.: Penguin, 1972. (1) Bourdieu, Pierre, The Field of Cultural Production: Essays on Art and Literature, London: Polity, 1993. (1) Sartre, Jean-Paul, Qu’est-ce que la littérature? Paris : , . (2) Chadwick, Whitney, Women, Art and Society, London: Thames & Hudson, 4th ed. 2007. (2) Licht, Fred, Goya: The origins of the modern temper in art, New York: Harper & Row, 1979. (2) May, Gita, Elisabeth Vigée Le Brun: The Odyssey of an Artist in an Age of Revolution, New Haven: Yale, 2005. (2) Nakada, Asuka, Jacques Callot: Theatre of Realism and Fantasy, Tokyo: National Museum of Western Art, 2014. (2) National Museum of Women in the Arts (ed.), Royalists to Romantics: Women Artists from the Louvre, Versailles, and Other French National Collections, London: Scala, 2012. (2) Roberts, Warren, Jacques-Louis David, Revolutionary Artist: Art, politics and the French Revolution, Chapel Hill: University of North Carolina, 1989. (3) Antokoletz, Elliott, “Copland’s Gift to Be Simple within the Cumulative Mosaic Complexities of his Ballets,” in Oja & Tick, Aaron Copland and his World, 255-274. (3) Crist, Elizabeth B., “Copland and the Politics of Americanism,” in Oja & Tick, Aaron Copland and his World, 277-306. (3) Crist, Elizabeth B., Music for the Common Man: Aaron Copland during the Depression and War, Oxford: Oxford University Press, 2005. (3) Oja, Carol J. & Tick, Judith (eds.), Aaron Copland and his World, Princeton, NJ: Princeton University Press, 2005. (3) Pollack, Howard, “Copland the Prophetic Voice,” in Oja & Tick, Aaron Copland and his World, 1-14. (4) Dovey, Kim, Becoming places: Urbanism/architecture/identity/power, London: Routledge, 2010. (4) Lees, Stephen, Visions of Architecture, London: A & C Black, 2011. (5) Caan, Shashi, Rethinking Design and Interiors: Human beings in the built environment, London: Laurence King, 2011. (5) Weisman, Leslie Kanes, Discrimination by Design: A feminist critique of the man-made environment, Urbana; University of Illinois, 1992. (6) Buck, Louisa et al., The Neo Naturists, London: Studio Voltaire, 2016. (6) Cohen, Selma Jeanne (ed.), Modern Dance: Seven Statements of Belief, Middletown: Wesleyan University Press, 1966. (6) England, Jane, The Neo Naturists, London: England & Co., 2007. (6) Hanna, Judith Lynne, Dance, Sex and Gender: Signs of Identity, Dominance, Defiance and Desire, Chicago: University of Chicago Press, 1988. (7) Douglass, Frederick, Narrative of the Life of Frederick Douglass: An American Slave, New York: Signet, 1997, repr. 2005 [1845]. (7) Equiano, Olaudah, The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789), San Bernadino, CA: no publisher given, 2016. (7) Northrup, Solomon, 12 Years a Slave: A True Story, London: Collins, 2014. (7) Prince, Mary, The History of Mary Prince, a West Indian Slave Narrative, Mineola, NY: Dover, 2004 [1831]. (8) Camus, Albert, L’étranger, Paris: Gallimard, 1957. (8) Chickering, Howell D., Beowulf, New York: Anchor Books, 2006. (8) Conrad, Joseph (Page, Norman ed.), Three Novels: Heart of Darkness, The Secret Agent and The Shadow-Line, Basingstoke: Macmillan, 1995. (8) Dickens, Charles, A Tale of Two Cities in The Complete Works of Charles Dickens, Philadelphia: John Wanamaker, n.d. (8) Dickens, Charles, Sketches by Boz (preface of 1850) in The Complete Works of Charles Dickens, Philadelphia: John Wanamaker, n.d. (Includes A Visit to Newgate, pp. 197-212, and The Black Veil, pp 375-386) (8) Dostoyevsky, Fyodor, The Idiot (1869), (David Magarshack tr.), London: Penguin, 1955. (8) Gordon, R.K., Anglo-Saxon Poetry, London: Dent, rev. edition 1954 [1926]. (8) Hugo, Victor (Seebacher, Jacques ed.), Oeuvres completes: Romans I Paris: Robert Laffont, 1985. (8) Melville, Herman, Billy Budd, London: Collins, 2014. (8) Paton, Alan, Cry, the Beloved Country, New York: Charles Scribner’s Sons, 1950 [1948]. (9) Bann, Stephen & Whiteley, Linda et al., Painting History: Delaroche and Lady Jane Grey, London: National Gallery, 2010. (9) Ryden, Edmund (ed.), Taiwan Opposes the Death Penalty, Hsinchuang: Fu Jen University Press, 2001. (10) Ewbank, Inga-Stina, “The Last Plays” in McFarlane, James (ed.), The Cambridge Companion to Ibsen, Cambridge: CUP, 1994, 126-154 (10) Farquharson Sharp, R. (ed.), Henrik Ibsen: ‘The Pretenders’, ‘Pillars of Society’, ‘Rosmersholm’, London: J.M. Dent, 1913. (10) Finney, Gail, “Ibsen and feminism” in McFarlane, James (ed.), The Cambridge Companion to Ibsen, Cambridge: CUP, 1994, 89-105. (10) Fjelde, Rolf (ed.), Ibsen Four Major Plays, New York: Signet Classics, rev. ed. 1992 [1965], afterword by Joan Templeton, 2006. (10) Garton, Janet, “The Middle Plays” in McFarlane, James (ed.), The Cambridge Companion to Ibsen, Cambridge: CUP, 1994, 106-125. (10) Ibsen, Henrik, The Works of Henrik Ibsen, New York: Walter J. Black, 1928. (10) Le Gallienne, Eva (tr. ed.), ‘Wild Duck’ and other Plays by Henrik Ibsen, New York: The Modern Library, 1961. (10) Le Gallienne, Eva (tr. ed.), Six Plays by Henrik Ibsen, Taipei: Caves, 1968. (reprint). (11) Dingle, Christopher, The Life of Messiaen, Cambridge: Cambridge University Press, 2007. (11) Gilbert, Martin, The Holocaust: A History of the Jews of Europe during the Second World War, New York: Henry Holt & Company, 1985. (11) Shenton, Andrew (ed.), Messiaen the Theologian, Farnham: Ashgate, 2010. (11) Shenton, Andrew, “Five Quartets: The search for the still point of the turning world in the war quartets of T.S. Eliot and Olivier Messiaen,” in Shenton, A. (ed.), Messiaen the Theologian, Farnham: Ashgate, 2010, 145-162. (11) Volavková, Hana (ed.), …I never saw another butterfly…: Children’s Drawings and Poems from Terezin Concentration camp 1942-1944, New York: Schocken Books, 2nd ed. 1993 [1959]. (12) Craig, W.J. (ed.), The Complete Works of William Shakespeare, London: Oxford University Press, 1905. (12) Griffin, James, On Human Rights, Oxford: Oxford University Press, 2008. (12) Milward, Peter, Shakespeare’s Religious Background, Tokyo: Hokuseido, 1973. (12) Milward, Peter, The Catholicism of Shakespeare’s Plays, Tokyo: Sophia University, 1997. (12) Shakespeare, William, The Complete Works of William Shakespeare available at http://shakespeare.mit.edu/ (13) Hu Shi胡適, “Ibsenism易卜生主義,” New Youth新青年 4.6 (June 1918), 489-507. (in Chinese). (13) Tam Kwok-kan, Ibsen in China 1908-1997, Hong Kong: Chinese University Press, 2001. | ||||||||||||||||||||||||
| 三、教學目標 Objectives | ||||||||||||||||||||||||
| 本課跨越兩個領域：人權與藝術，所謂藝術包括各種藝術：文學、音樂、繪畫、建築、內部設計等。人權方面討論人權理論、用藝術表達人權，特別人權議題與藝術等。課程要配合同學的能力，因此如果當年的同學完全部懂音樂，這方面會減少。最重要的目標是幫助同學了解如何用各種藝術表達人權的價值。雖然每位的才能不同，但希望大家能一起完成一個小表演的節目，可從莎士比亞、 易卜生或Brecht選擇全班一起表演的。 |
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| This course deals with human rights and the arts. The arts include literature, music, fine art, architecture, interior design and others. In the field of human rights we will touch on theory and specific topics. The course will be adapted to the ability of students who choose it. Thus if no-one understands music the section on music will be reduced. The main goal is to help students to understand how the arts can express the values of human rights. Despite the diversity of talent, it is to be hoped that the class as a whole can prepare the performance of one play, such as Othello (Shakespeare), The Doll’s House or Enemy of the People (Ibsen) or Fear and Misery in the Third Reich (Brecht). | ||||||||||||||||||||||||
| 四、課程內容 Course Description | ||||||||||||||||||||||||
| ●整體敘述 Overall Description 本課程將分為三大部分：一、藝術與人權的結合(第一~六課)；二、選人權議題，使用藝術來表達(第七~十二課)；三、使用劇本談人權(第十三~十八課) 補充課：Britten的據本 （若同學特別對音樂有興趣，可以用此課代替另外一個）。 |
●分週敘述 Weekly Schedule
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| 五、考評及成績核算方式 Grading | ||||||||||||||||||||
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| 六、授課教師課業輔導時間和聯絡方式 Office Hours And Contact Info | ||||||||||||||||||||
| ●課業輔導時間 Office Hour 事前聯繫教師預約輔導時間 |
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●聯絡方式 Contact Info
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| 七、教學助理聯絡方式 TA’s Contact Info | |||||
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| 八、建議先修課程 Suggested Prerequisite Course | |||||
| 九、課程其他要求 Other Requirements | |||||
| 十、學校教材上網及教師個人網址 University’s Web Portal And Teacher's Website | |||||
| 學校教材上網網址 University’s Teaching Material Portal： 東吳大學Moodle數位平台：http://isee.scu.edu.tw |
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| 教師個人網址 Teacher's Website： | |||||
| 其他 Others： | |||||
| 十一、計畫表公布後異動說明 Changes Made After Posting Syllabus | |||||