Re: [閒聊] 下學期的大綱
仙女的也出來了
課程大綱
What are the debates about over the politics of “popular” in popular
fiction? Why do (British) cultural studies intervene in the study of popular
narratives? How does the movement away from the “Althusserian moment” in
cultural studies denote a change to the “bottom-up” approach a shift away
from the production-oriented emphasis on the text as articulation of ideology
or meaning and toward an interest in audience cultural praxis and the
consumption of meaning? Do popular texts unproblematically conform to an
overarching super-structure be it ideology or narrative structure? Are they “
conservative” (maintaining the status quo by smoothing over disruptions and
gaps) or oppositional (capable of accommodating radical reshaping and
contradictory readings)? Do popular texts imply a passive and consensual
reader or do they contain the possibility of being read against the grain and
produce resistant readings to be mobilized by sub-culture groups? Why are
popular texts “popular”? Is this pleasure complicit in nature or
subversive? How has popular postfeminism affected popular women’s genres
since the 1990s? These are some of the issues to be explored in this course
which will not focus on specific literary texts but rather seeks to provide a
theoretical survey of the field. The first part of the course looks at the
main theoretical currents that inform cultural studies’ intervention into
popular fiction and the second part looks at the genres of romance and
detective stories.
上課進度
1. Orientation. Huyssen on the high/low divide; Leavis and the British
literary tradition;
2. Adorno and continental Marxism on cultural industry and popular music
(jazz horoscope radio)
Discussion--- differences and similarities (Storey Intro 85)
3. Structuralism. Cawelti on formula; the early Barthes (Myth Today from
Storey; Source selection); Neale on genre; Eco’s application of Propp
Discussion----- overarching narrative structure and textual meaning; compare
Bond analysis (Turner 114; Lindner (James Bond Phenomenon151 technology)
(Bond movie Tomorrow Never Dies using Eco)
4. Cultural Studies I: from Althusser (Macherey) to Gramsci (Storey 96 103)
Application ----- feminist film theory/the Screen school Mulvey;
5. Cultural Studies II: post-structuralism meaning-making resistance/agency.
Hall (current news TV) (encoding/decoding) Bennett on Blackpool 147 Hebdige
on subculture (2). Fiske and populism (Storey 504) de Certeau on everyday
practice (491)
6. Feminist cultural studies and women’s genres. The pleasure/determinism
debate Webster (Storey 554). from Slator (165); from Turner (198). music and
fashion (Storey 392 403);feminist film theory on spectatorship/identification
(Mulvey II Doane Gledhill); pleasure essay
7.8. Second-wave feminist criticism: Fowler on romance; formulaic pattern; “
screen effect” and wishful fulfillment; enforced heterosexuality Rebecca
(film and essay); 8. Modleski and Radway; intro in Romance Revisited 15-32
and “Understanding the Romance” Feminist Popular Fiction 38-43;
9. Postfeminism female sexuality and consumer culture: chick-lit (flicks) of
the 1990s Fatal Attractions; Legally Blond “Good Girls”/”Bad Girls”
10. Discussion and application----- From romance to post-feminist “chick lit
”: Sex and the City
11.12.13.14 Detective fiction. Formulaic pattern; narrativity and meaning
(Todorov Poetics of Murder- Heissenbuittel Porter Stowe); pleasure and guilt
(Lacan and Zizek and Pederson-Krag); materialist (Jameson on Chandler Stowe
on Doyle and Chandler Bennet’s Popular Fiction—Moretti); metaphysical
(Holquist; Detecting Texts—Black) feminist detective story as resistance
(Feminist popular fiction Copra)? (11. Poe-Benjamin-Dana Brand Lacan on Poe
Zizek P-K; 12. Doyle story and movie my article Christie; 13 narrativity
hard-boiled; 14. meta and feminist
Discussion and application-----From detective to spy: James Bond
教學方式
Lecturing, student presentations and discussions.
教學助理工作項目
Collect materials.
課程要求/評分標準
Presentations 30%
Final paper 50%
Genenral Performance 20%
參考書目
Most readings are excerpted in the textbook Reading Popular Narrative: A
Source Book (Bob Ashley, 1997). Others will be provided. Oral reports and
extensive class discussions will be the norm.
Textbook:
Reading Popular Narrative: A Source Book.
References:
Barker, Martin. Reading into Cultural Studies.
Bennett. Popular Fiction: Technology, Ideology, Production, Reading.
--------. With Colin Mercer. Popular Fiction and Social Relations
McCracken, Scott. Pulp: Reading Popular Fiction.
Palmer, Jerry. Potboilers: Methods, Concepts and Case Studies in Popular
Fiction.
Storey, John. Cultural Theory and Popular Culture: A Reader.
----------Cultural Theory and Popular Culture: An Introduction
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