City University of Hong Kong Course Syllabus offered by Department of Asian and International Studies with effect from Semester A 2016 /17 Part I Course Overview Course Title: Madness and Literature Course Code: GE4101 Course Duration: One semester Credit Units: 3 Level: Proposed Area: (for GE courses only) Medium of Instruction: B4 1 Arts and Humanities Study of Societies, Social and Business Organisations Science and Technology English Medium of Assessment: English Prerequisites: (Course Code and Title) Nil Precursors: (Course Code and Title) Equivalent Courses: (Course Code and Title) Exclusive Courses: (Course Code and Title) Nil Nil Nil
Part II Course Details 1. Abstract Madness and theories about madness have nourished literature and art from antiquity, and it has been looked upon as divine, inspired, and insightful, but also as aberrant, inhuman and irrational. In this course, students will study central texts of many traditions that reflect various representations of madness and mental illness. Texts include pre-modern literature, modern and contemporary literature, fiction, drama and poetry, as well as some seminal texts of the psychoanalytical tradition. Materials are drawn from Western and non-western as well as Chinese writings. 2. Course Intended Learning Outcomes (CILOs) (CILOs state what the student is expected to be able to do at the end of the course according to a given standard of performance.) No. CILOs # Weighting* (if applicable) 1. Develop an understanding of madness as an aesthetic, literary, psychological, and social concept. Discovery-enriched curriculum related learning outcomes (please tick where appropriate) A1 A2 A3 2. Apply inquiry techniques and analytical skills to a variety of Western and Chinese literary texts and films. 3. Reflect on the diversity of personal, cultural, and social human experiences and make intelligent connections between texts and cultures. 4. Appreciate the social and historical changes that are reflected in the materials. 5. Acquire skills for cross-cultural and literary analysis that are applicable to other themes and enquiries. 6. Apply acquired knowledge to a complex text. * If weighting is assigned to CILOs, they should add up to 100%. 100% # Please specify the alignment of CILOs to the Gateway Education Programme Intended Learning outcomes (PILOs) in Section A of Annex. A1: Attitude Develop an attitude of discovery/innovation/creativity, as demonstrated by students possessing a strong sense of curiosity, asking questions actively, challenging assumptions or engaging in inquiry together with teachers. A2: Ability Develop the ability/skill needed to discover/innovate/create, as demonstrated by students possessing critical thinking skills to assess ideas, acquiring research skills, synthesizing knowledge across disciplines or applying academic knowledge to self-life problems. A3: Accomplishments Demonstrate accomplishment of discovery/innovation/creativity through producing /constructing creative works/new artefacts, effective solutions to real-life problems or new processes.
3. Teaching and Learning Activities (TLAs) (TLAs designed to facilitate students achievement of the CILOs.) Please be sure to consider how the TLAs align with the desired characteristics of GE courses (c.f. explanatory note 10). TLA Brief Description CILO No. Hours/week 1 2 3 4 5 6 (if applicable) Lectures to introduce essential concepts and theories, supplemented by student research on specific topics to acquire broader knowledge. Minute papers. Group discussions based on weekly guided reading questions to enhance communication skills and critical thinking. Weekly readings of primary and secondary texts to practice literary analysis and apply the theme of the course Research a text, author, or film not covered in the required readings and analyse it from an interdisciplinary perspective; to apply new knowledge and use analytical tools creatively. Write about it. A final group project in which students should express the theme of madness in in a creative way. 4. Assessment Tasks/Activities (ATs) (ATs are designed to assess how well the students achieve the CILOs.) Assessment Tasks/Activities CILO No. Weighting* Remarks 1 2 3 4 5 6 Continuous Assessment: 100 % Quizzes (2) 40% (20% To test and reward students each) understanding of basic information and concepts, as well as historical developments. Essay (1) Students will write a 1,500-word essay that demonstrates their understanding of the theme and their ability to research and approach a new text or film independently, applying analytical tools to it. Students are assessed for their creative approach to the general theme and for a personal reflection upon it. They may choose to write their own poem or short story, create a blog, a. 30% 30%
film, etc. Every creative project has to come with a written commentary of 500 words. Examination: Nil % (duration: N/A, if applicable) * The weightings should add up to 100%. 100%
5. Assessment Rubrics (Grading of student achievements is based on student performance in assessment tasks/activities with the following rubrics.) Assessment Task Criterion Excellent (A+, A, A-) 1. Quizzes (2) To test and reward students understanding of basic theories and concepts of madness, as well as historical developments. Quizzes will also test students understandings of primary and secondary readings. 20 questions each. 2. Essay Students will write a paper of 1,500 to 2,000 words that shows critical thinking about the theme of the course. The paper should exhibit a firm grasp of the theories and concepts of madness and show a critical perspective and analytical ability. Students will choose from a variety of topics. The paper should demonstrate good use of academic style. Shows detailed and correct knowledge of texts, films and secondary sources assigned in class; answers 16-20 questions correctly. Strong evidence of critical thinking about madness as a social and aesthetic concept; capacity to analyse the topic of madness with a cross-cultural approach; superior grasp of literature as a vehicle of expression and its social role in various times. Superior writing ability that uses a variety of theories and analytical tools to approach a text or a film about madness; shows understanding of the complexity of madness as a stereotype, expressive symbol, and serious mental illness. Is able to reflect upon the diversity of madness as a human experience and makes intelligent connections between texts and cultures; is able to relate changes in the literary expression of Good (B+, B, B-) Shows general knowledge of texts, films and secondary sources related to the topic of madness; answers 11-15 questions correctly Evidence of critical thinking about madness as a social and aesthetic concept; sufficient capacity to analyse the topic of madness with a cross-cultural approach; understands literature as a vehicle of expression and its social role in various times; Shows growing understanding of madness as a complex theme in art and in life; is able to reflect upon the diversity of madness as a human experience and makes some connections between texts and cultures; is able to relate changes in the literary expression of madness to socio-historical contexts. Good writing ability that shows at least two critical theories and Adequate (C+, C, C-) Shows some selective knowledge of texts, films and secondary sources related to the topic of madness; answers 6-10 questions correctly Shows partial evidence of critical thinking about madness as a social and aesthetic concept. capacity to analyse the topic of madness with a simple approach; understands literature as a vehicle of expression and its social role in various times; does all related readings and assignments; Shows partial understanding of madness as a complex theme in art and in life; can make simple connections between texts and cultures; is able to relate changes in the representation of madness to select socio-historical contexts. Sufficient writing ability that shows marginal understanding of critical theories and analytical tools to approach a text or a film about madness; Marginal (D) Shows limited knowledge of texts, films and secondary sources related to the topic of madness; answers 5-3 questions correctly Shows very little evidence of critical thinking about madness and literature; has difficulties applying concepts and can only make simple connections between the primary course materials and the larger theme of madness; Shows rudimentary understanding of madness as a complex theme in art and in life; Insufficient writing ability that shows only marginal understanding of a text or a film about madness; does not put sufficient effort into proofreading written assignments. Failure (F) Shows minimal or no knowledge of texts, films; no submission answers 2-0 questions correctly Shows no evidence of critical thinking about madness and literature; cannot apply concepts and cannot make simple connections between the primary course materials and the larger theme of madness; Shows no understanding of madness as a complex theme in art and in life; insufficient writing ability that shows only marginal understanding of a text or a film about madness; does not put effort into proofreading written assignments;
madness to socio-historical contexts with information taken from secondary readings. analytical tools to approach a text or a film about madness. 3.. Creative project Students are assessed for their creative and interpretative approach to the general theme and for the personal reflection upon it. Students are expected to use various media, art, technology, and creative writing genres. Projects that show originality and interpretative approaches rank higher than projects that merely repeat or summarize knowledge. Excellent final presentation that reflects good communication skills and a meaningful and comprehensive approach to the topic of madness in an interdisciplinary and cross-cultural manner; superior grasp of the novel, its literary context, and its stylistic and thematic approach to madness; exhibits analytical skills beyond classroom learning. Final presentation that reflects good communication skills and a meaningful approach to the topic of madness in an interdisciplinary and cross-cultural manner, but lacks comprehensiveness; has understanding of the novel, its literary context, and is able to describe its stylistic and thematic approach to madness; has only limited analytical ability. Final presentation reflects satisfactory communication skills and a useful approach to the topic of madness; partially able to address madness as an interdisciplinary and cross-cultural topic; has basic understanding of the novel, its literary context, and is able to relate it to the theme of madness in a simple way; does not reflect an ability to position a novel within a very comprehensive context of disciplines, cultures, and socio-political movements; does not show independent analytical ability. Final presentation that reflects rudimentary communication skills and a sketchy approach to the topic of madness; not able to address madness as an interdisciplinary and cross-cultural topic; has basic understanding of the novel, its literary context, and is able to make very simple connections; does not show analytical ability; information is partially incomplete. final presentation that reflects rudimentary communication skills and a sketchy approach to the topic of madness; not able to address madness as an interdisciplinary and cross-cultural topic; has no understanding of the novel, cannot make very simple connections; does not show analytical ability; information is faulty or fragmentary.
Part III Other Information (more details can be provided separately in the teaching plan) 1. Keyword Syllabus (An indication of the key topics of the course.) Concepts: Comparative literature, cross-cultural psychology, concepts of madness and mental illness, communal and individualistic cultures Genres: Fiction (Franz Kafka, Yu Hua, Lu Xun, Charlotte Perkins-Gilman, Han Shaogong, poetry (Qu Yuan, Wen Jie, Sylvia Plath, Indexfinger), film (China, US, Germany), paintings (Goya, Bada Shanren) Themes: Relationship between psychology and literature, literary and cultural theories, trauma and madness, women and madness, dissent, megalomania, literary prototypes of madness (Dionysus, Shakespeare, others) Theories: Michel Foucault (Madness and Civilization), Sigmund Freud (Psychoanalytical theories), Roy Porter (History of mental illness in the West), Angelika Messner (History of mental illness in China), Arthur Kleinman (cross-cultural responses to trauma) Activities: Lectures, readings, in-class learning activities, writing assignments, group activities, film. 2. Reading List 2.1 Compulsory Readings 1. (Compulsory readings can include books, book chapters, or journal/magazine articles. There are also collections of e-books, e-journals available from the CityU Library.) Required readings are listed in bold in the attached weekly schedule. Readings are subject to change. 2.2 Additional Readings (Additional references for students to learn to expand their knowledge about the subject.) Secondary Readings (Not required; to be used selectively for presentations) 1. BERMAN, Jeffrey. 1985. The Talking Cure: Literary Representations of Psychoanalysis. New York: New York University press. 2. BYRD, Max. 1974. Visits to Bedlam: Madness and Literature in the Eighteenth Century. Columbia, SC: University of South Carolina Press. 3. CHESLER, Phyllis. 1972. Women and Madness. Garden City: Doubleday. 4. COOPER, David. 1978. The Language of Madness. London: Penguin. 5. DERRIDA, Jacques. 1978. "Cogito and the History of Madness," in Writing and Difference. Chicago: Chicago University Press. 6. FEDER, Lillian. 1980. Madness in Literature. Princeton, NJ: Princeton University Press. 7. FELMAN, Shoshana. 1985. Writing and Madness. Translated by Martha Noel Evans and the author. Ithaca: Cornell University Press. 8. FERRER, Daniel. 1990. Virginia Woolf and the Madness of Language. Translated by Rachel Bowlby and Geoffrey Bennington. London: Routledge. FOUCAULT, Michel. 1965. Madness and Civilization. New York: Vintage. FRANTZ, Andrea Breemer. 1992. Redemption and Madness: Three Nineteenth-Century Feminist Views on Motherhood and Childbearing. Texas: Ide House. FREUD, Sigmund. 1905. Fragment of an Analysis of a Case of Hysteria [Dora], in vol. 7 of The Standard Edition of the Complete Psychological Works of Sigmund Freud 1953) GILMAN, Sander. 1985. Difference and Pathology: Stereotypes of Sexuality, Race, and Madness. Cornell: Cornell University Press. KAUP, Monika. 1993. Mad Intertextuality: Madness in Twentieth-Century Women's Writing. Trier: Wissenschaftlicher Verlag. KRISTEVA, Julia. 1989. Black Sun: Depression and Melancholia. Trans. Leon S. Roudiez. New York: Columbia University Press. LAING, R. D. 1959. The Divided Self. Baltimore: Penguin Books. O'BRIEN-MOORE, Ainsworth. 1924. Madness in Ancient Literature. Whitefish, MT: Kessinger Publishing Co.
PORTER, Roy. 1987. A Social History of Madness. New York: Weidenfeld & Nicolson. RIEGER, Branimir M., ed. 1994. Dionysus in Literature: Essays on Literary Madness. Bowling Green, OH: Popular Press. ROTHENBERG, Albert. 1990. Creativity and Madness. Baltimore: Johns Hopkins University Press. SASS, Louis. 1994. Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought. New York: Basic Books. SOMERVILLE, Henry. 1969. Madness in Shakespearian Tragedy. London: Richard s Press. THIHER, Allen. 1999. Revels in Madness: Insanity in Medicine and Literature. Ann Arbor: University of Michigan Press. WEINER, Andrew D. and Leonard V. Kaplan, eds. 1996. Madness, Melancholy, and the Limits of the Self. Madison: University of Wisconsin Press. WIESENTHAL, Chris. 1997. Figuring Madness in Nineteenth-Century Fiction. New York: St. Martin s Press. YALOM, Marilyn. 1985. Maternity, Mortality, and the Literature of Madness. University Park: Pennsylvannia State University. Online Resources 1. PsyArt: An Online Journal for the Psychological Study of the Arts http://www.clas.ufl.edu/ipsa/journal/index.shtml PsyArt is an online, peer-reviewed journal featuring articles using a psychological approach to the arts. We provide a rapid publication decision and a large and international readership. The journal is open to any psychology and any art, although PsyArt specializes in psychoanalytic psychology and literature or film.
Annex (for GE courses only) Please specify the Gateway Education Programme Intended Learning Outcomes (PILOs) that the course is aligned to and relate them to the CILOs stated in Part II, Section 2 of this form: GE PILO PILO 1: Demonstrate the capacity for self-directed learning PILO 2: Explain the basic methodologies and techniques of inquiry of the arts and humanities, social sciences, business, and science and technology PILO 3: Demonstrate critical thinking skills PILO 4: Interpret information and numerical data Please indicate which CILO(s) is/are related to this PILO, if any (can be more than one CILOs in each PILO) CILO 1, 5 Students read and research texts, authors, or films not covered in the required readings and analyze it from an interdisciplinary perspective; to apply new knowledge and use analytical tools creatively. CILO 1,2, 3 This course aims at introducing students to a variety of analytical and research tools that can be applied to other topics. It also aims at utilizing and modelling interdisciplinary approaches that are transferable. CILO 2, 3, 5-6 Students are required to critique theories and texts; in group work, they are also exposed to thinking critically about other students perspective.students are required to develop a critical approach to a set of (fictional) problems; throughout the course, students are required to think about problems posed in society by categorizing and labelling people and characters. PILO 5: Produce structured, well-organised and fluent text PILO 6: Demonstrate effective oral communication skills PILO 7: Demonstrate an ability to work effectively in a team PILO 8: Recognise important characteristics of their own culture(s) and at least one other culture, and their impact on global issues PILO 9: Value ethical and socially responsible actions PILO 10: Demonstrate the attitude and/or ability to accomplish discovery and/or innovation CILO 5&6 focus on comprehensive written analysis CILO 2 Students are required to summarize discussions in writing CILO 3 Students regularly work in groups to discuss readings; CILO 3 & 5 Students work in groups during class; students produce a team presentation CILO 1, 3, 4 The approach of the course is comparative (pre-modern-modern, East-West) and students are continually required to consider cultural backgrounds CILO1&4 The fundamental goal of the course is to help students understand and appreciate different ways of looking at non-normative behaviour and expressions. They learn to understand how we participate in social constructs and think about the dangers of exclusion and stigmatization. CILO 1-4 In a final group assignment, students are required to use the skills acquired during the semester to produce a final project that shows creativity and critical thinking. It may include multi-media productions, film, poetry books, creative writing, collages, etc. GE course leaders should cover the mandatory PILOs for the GE area (Area 1: Arts and Humanities; Area 2: Study of Societies, Social and Business Organisations; Area 3: Science and Technology) for which they have classified their course; for quality assurance purposes, they are advised to carefully consider if it is beneficial to claim any coverage of additional PILOs. General advice would be to restrict PILOs to only the essential ones. (Please refer to the curricular mapping of GE programme: http://www.cityu.edu.hk/edge/ge/faculty/curricular_mapping.htm.)
WEEK LECTURE READING 2..... INTRODUCTION Li Zhen, Why Chinese Literati Can t Go Crazy What is madness? What is literature? 3..... HISTORY OF MADNESS Concepts and perceptions of madness in the Western tradition Roy Porter, Introduction and Conclusion 4..... ARCHETYPES OF MADNESS Literary prototypes of madness Daniel 4: 1-36 5..... Yu Dafu, Sinking 6..... THE MAD ROMANTICS Melancholia and creative genius Poetry selection by William Blake, Lord Byron, S.T. Coleridge, William Wordworth Yu Dafu, Sinking 7..... THEORIES OF MADNESS The century of psychoanalysis E.T.A. Hoffmann, The Sandman 8..... Lu Xun, Diary of a Madman 9..... CULTURE & MADNESS The sane among the insane William Faulkner, A Rose for Emily Franz Kafka, A Hunger Artist 10..... MEGALOMANIA The madness if the crowd Shirley Jackson, The Lottery Kurt Vonnegut, Harrison Bergeron The Wave (movie) 11..... COGNITIVE DISORDERS Monomania, paranoia, obsession, psychoses 12..... AFFECTIVE DISORDERS K.S., Ramblings of a Madman Edgar Allan Poe, The Fall of the House of Usher Edgar Allan Poe, The Tell-Tale Heart Ch. Perkins-Gilman, The Yellow Wallpaper Poets on Prozac (excerpts)
Moods and depression 13..... TRAUMA After bad things happen PTSD Han Shaogong, The Blue Bottlecap 14..... MEDICAL HUMANITIES What can the doctor learn from literature? Guo Lusheng, various poetry Wen Jie, various poetry Jamieson, Touched by Fire (excerpts) A. Please select an assessment task for collecting evidence of student achievement for quality assurance purposes. Please retain at least one sample of student achievement across a period of three years. Selected Assessment Task Selected Assessment Task Related CILO(s) Related GE PILO(s) 1. Quizzes papers 2. Essay 3. Creative project 1, 4 6, 5 1, 2 3, 5, 8, 9, 10 3, 5, 6 10, 3, 6, 7, 8, 9