W 4:30pm-7:10pm, T-117
Instructor: Aijun Zhu
Office: 234-A Thompson Hal
Office hours: 3:30-4:30p.m.
Office Phone: 703-993-1631
Email: aijunzhu@yahoo.com (You’re encouraged to contact me via email since I check email messages every day)
Dooling, Amy D. & Kristina M. Torgeson. Writing Women in Modern China: An Anthology of Women’s Literature From the Early Twentieth Century. Eds. New York: Columbia University Press, 1998.
Lyell, William A. Lu Xun: Diary of a Madman and Other Stories. Trans. Honolulu: University of Hawaii Press, 1990.
Major Chinese Writers introduces some of the most important writers in Chinese literary history, especially modern writers of the 20th century. It investigates the concept of “imagined community,” the interesting relationship between fiction and nation, and it explores such complex issues as modernity, gender, and nation.
This semester we will focus on Lu Xun, the most important modern Chinese writer. Situating Lu Xun in the context of the literary revolution, the New Culture Movement and the May Fourth Movement of early 20th century in China, we will explore and analyze his portrayal of the awakened modern intellectual/individual in the slumbering indifferent society, emphasizing the almost irreconcilable tension between the modern enlightened intellectual/individual and the dark passive apathetic crowd that need to be enlightened. We will study Lu Xun as an awakened modern intellectual, his sharp critique of the soullessness of Chinese national spirit, his sober exposure of the so-called “revolution,” as well as his ambivalence toward the future/younger generations.
We will also study Lu Xun in relation to gender, one of the most significant aspects of Chinese modernity. We will read Lu Xun as well as other women writers of the time, focusing on how gender is represented/imagined similarly and differently, exploring how gender is related to the larger revolution and cultural movements, and analyzing the complicated relationship between gender, modernity and revolution.
Attendance/Participation 20%
Response Journal 20%
Quizzes 10%
Presentation 10%
Mid-term Exam 20%
Final Research Paper 20%
Attendance is mandatory.
Attendance is mandatory. Each
unexcused absence will drop your participation grade by one letter since
the success of this class depends much on discussion.
Class
participation is expected
since talking with fellow students is the best way to learn. So earn your good
grade the fun way—start and keep talking in class! Don’t be afraid to make
mistakes, but you do need to show that you are familiar with the readings and
that you have seriously thought about the texts. Be prepared and read
before class.
An excused absence entitles you to make up for certain missed work. You can earn your participation points by emailing me your understanding of the readings before class the following week. However, there is no makeup for quizzes.
Satisfactory documentation is required for each absence. As soon as possible after your return, meet with me to set up a schedule for making up any work you have missed.
If
you are seeing doctor at that particular time, unless it is an emergency, a
doctor’s note will not excuse your absence. Simply informing me before class
does not excuse you either.
Class will start on time. Please
be respectful by arriving on time and not leaving early. As to classroom climate, respect each other. Racist,
sexist, heterosexist or homophobic, anti-Semitic, and discriminatory language
regarding any ethnic group, faith or religion, will not be tolerated. You must
agree to observe the rules if you take this class.
Students are required to keep a
response journal, which will help you articulate your thoughts on the texts and
will contribute to productive and successful discussions in class. You should
have one entry each week on the reading(s) assigned for that week. For
example, your journal entry for 9/7 is on “Preface,” or “Diary of a Madman,” or
“Hometown,” or all of them. It should be at least 1 page long. You can either
email or turn in a hardcopy before class.
A list of questions will be given
to you (hardcopy or email) for the readings of the following class. The
questions are intended to guide you through the readings, help you
understand/analyze main characters and themes, and encourage you to think
critically. You can also ask questions, and offer possible answers showing your
active engagement with the texts.
If you do not want to be limited
to these questions, your response should discuss 1) purpose and theme of the
writing; or 2) the role of the narrator; or 3) any of the characters and/or
their relationships; or 4) the form or style of the writing; or 5) anything
else that is closely related to the issues of modernity, revolution, gender and
culture.
At the beginning of
each class, we will have a quiz composed of two questions. The first question
will be about what we have talked about (readings, lectures, discussions)
during the previous class, and the second question will be about what we will
discuss (readings). Its purpose is to check whether you have paid attention in
class and whether you have read the assignments.
The presentation can be based on the questions given to you, or can be the result of your own independent research. You can select one or more reading, focus on one character, or compare/contrast different characters. You can also draw upon your response journal, but the presentation must go further, demonstrating your critical and analytical skills. This means that you need to make a clear argument/present a reasonable opinion, supported by details from the text and/or your research. On the other hand, it is not a formal paper. So you can use lists, bullets, tables, etc. to organize your arguments.
Your oral presentation will be about 10 minutes, and your written report can be exactly what you are telling the class (meaning you will be reading from your written report), or it can be a clear outline of your talk.
You can NOT just summarize the text(s). But you are encouraged to ask thoughtful questions.
Mid-term Exam: in class, 60 minutes, 10/19
Final Research Paper (Due: 12/7; Thesis Statement due
10/26; Outline due 11/9)
A research paper
comes naturally for a literature class. But do not worry. You will find that
our response journal and presentation have prepared ourselves throughout the
course. You can certainly elaborate your response journal or presentation, or
you may find something more interesting as a result of discussion or research.
In order to make sure that you are on the right track, I will ask you to talk
about your thesis statements and turn in your outlines well before the final
due date.
You do not have to
do additional research to write this paper although your independent research
will certainly help you shape and sharpen your ideas. A librarian will be happy
to help you do research. You can also do online research, although it takes
time to find high-quality sites.
This paper is a
formal academic paper, in which you must present your thesis statement (your
main argument), supported by well-organized evidences from the text(s) or your
research. We will talk more about the structure of the formal paper later.
This paper is a critical analysis
of the text(s), characters, etc. Things to pay attention to when you
write a critical analysis:
Remember Critical
analysis is NOT:
Honor Code
Academic dishonesty and
plagiarism are not acceptable and will result in a failing grade for that
assignment. The George Mason University Honor Code is in effect
throughout the entire duration of the course and applies to all course work
carried out inside and outside the classroom. It is the responsibility of each
student to be familiar with the GMU Honor System and Code as laid out in the
Student Handbook.
·
Except
stated otherwise, the stories are by Lu Xun from William Lyell’s translation.
· Subjected to change. It is YOUR responsibility to adjust to it.
8/31 Introduction to the course
· Nation and fiction (Anderson’s nation as “imagined community,” Liang Qichao’s theory on fiction, citizen and nation)
· “Toward a New Culture:” New Cultural Movement and May Fourth Movement
· Literary revolution—literary and cultural—the rise of short story as a genre
9/7 The Awakened Modern Intellectual/Individual
“Introduction,” ix-xlii; “Preface to Cheering from the Sidelines,” 21-29
“Diary of a Madman,” 29-41
“Hometown,” 89-100
9/14 The Modern Individual vs. the Traditional Crowd
“The Eternal Lamp,” 279-290
“Medicine,” 49-58
9/21 More on the Crowd
“A Warning to the People,” 291-298
“A Passing Storm,” 77-88
“The Story of Hair,” 70-76
9/28 The Spiritless National Spirit
“Ah Q—The Real Story,” 101-172
10/5 The Traditional/Modern Intellectual
“Kong Yiji,” 42-48
“The White Light,” 184-190
“Dragonboat Festival,” 173-183
“A Happy Family,” 255-263
“The Venerable Schoolmaster Gao,” 297-310
10/12 The Lonely Individual Fighter
“Upstairs in a Wineshop,” 242-254
“The Loner,” 311-337
“An Unimportant Affair,” 67-69
10/19 Midterm Exam
“Soap,” 264-278
“Brothers,” 363-376
Ibsen’s A Doll’s House or A Great Step Forward (a documentary)?
Explaining the structure of the final paper
10/26 The Modern Intellectual Man and Woman
“Introduction” to Writing Women in Modern China, 1-34
Lu Xun, “Mourning of the Dead,” 338-362
Due: Thesis Statement of final
paper.
NOVEMBER
11/2 Tragic Love as a Popular Theme
Feng Yuanjun, “Separation,”101-114
Yuan Changying, “Southeast Flies the Peacock,” 209-252
11/9 Marriage, Love and Gender
Lu Xun, “Divorce,” 377-389
Shi Pingmei, “Lin Nan’s Diary,” 115-130
Lu Yin, “After Victory,” 135-138, 143-156
Due: Outline of Final paper.
11/16 Lu Xun, “New Year’s Sacrifice,” 219-241
Luo Shu, “Aunty Liu,” 331-342
Xiao Hong, “Abandoned Child,” 343-361
11/23 THANKSGIVING BREAK
11/30 Ling Shuhua, “Intoxicated,” & “Once Upon a Time,” 175-196
Bing Xin, “Our Mistress’s Parlor,” 307-330
12/7 Last day of class--Final Paper due.