2023 年的「白先勇清華文學講座」以「文化的記憶與重建」為題,立基台灣文學,重新思考我們的土地、歷史與記憶,並結合戲劇、影視、IP 產業與文創作品,檢視文學作品結合當代影像載體所演繹出的韌性與無限可能。
獨家贊助:財團法人台積電文教基金會 | |
Exclusive Sponsorships: TSMC Education and Culture Foundation | |
課程說明
Course Description
文化活動建構了我們的生命記憶,而記憶也不斷重新書寫我們的文化認同。當 AI 科技席捲而來,生而為人的我們在數位密碼之中,如何判斷何為真假?我們如何面對個人與群體的記憶地圖,進而抽取並創造共同的文化語彙與經驗?本課程由白先勇教授領銜,每週分別由不同專長與領域的學者專家以專題演講方式授課。繼 2020~2022 年連續三年以中西文學為主軸的「白先勇清華文學講座」之後,2023 年的「白先勇清華文學講座」以「文化的記憶與重建」為題,立基台灣文學,重新思考我們的土地、歷史與記憶,並結合戲劇、影視、IP 產業與文創作品,檢視文學作品結合當代影像載體所演繹出的韌性與無限可能。
延續「文學 X 影劇藝術雙重奏」的課程概念,2024 年將從講者視角轉向形式美學,以「文學 X 電影二重奏」為主題,每週鎖定中外文學改編的電影,以文字為起點,以影像開展視角,創造豐富、趣味、活潑的課堂氛圍,實踐跨領域的學習模式。本校負責授課的蔡英俊、楊佳嫻、羅仕龍三位老師也將適度參與對談,以主持或引言方式貫串課程內容,幫助學生掌握課程脈絡,充分吸收來賓對談與演講內容。
本課程由台積電文教基金會獨家贊助,清華大學通識教育中心、中國文學系、語文中心共同規劃,邀請白先勇教授等多位海內外學者與專家親臨授課,在經典傳承與轉譯創作之間,在科技時代裡見證文學的能量與魅力。
本課程以主題規劃進度,讓同學們以一週一單元的方式,確切掌握該週主題精髓,培養廣博又深入的文化視野,為清華學子構建共同的文化記憶。為了幫助同學們明瞭學習目標與內容,每次上課的演講與對談結束後,將安排人社領域博士或博士生助教帶讀專題演講所涉及的相關片段,詳細為同學解釋文字義理,說明篇章內涵,讓即便是從未接觸過相關作品的同學,也可以藉由本次通識課的機會,一窺中外文學及電影改編作品之堂奧,享受跨文類、跨時代閱讀的樂趣。對於曾經接觸過相關作品的同學來說,則可以藉由學者專家教授們的演講與對談激盪,從文學出發,結合電影的視野,一起思考人類文化的記憶與重建過程。
Cultural activities shape our life memories, and these memories continually rewrite our cultural identity. As AI technology sweeps across our lives, how do we, as humans, discern truth from falsehood in the digital world? How do we navigate personal and collective memory maps to extract and create shared cultural vocabularies and experiences? This course, led by Professor Pai Hsien-Yung, features weekly lectures by scholars and experts from various fields. Following the "Pai Hsien-Yung Tsinghua Literary Lectures" from 2020 to 2022, which focused on Chinese and Western literature, the 2023 series is themed "Cultural Memory and Reconstruction." It centers on Taiwanese literature to rethink our land, history, and memory, while integrating drama, film, the IP industry, and cultural creative works to explore the resilience and limitless possibilities of literary works as they merge with contemporary visual media.
Continuing the course concept of the "Literature X Performing Arts Duet," the 2024 series will shift focus from the perspectives of the speakers to formal aesthetics with the theme "Literature X Cinema Duet." Each week will highlight films adapted from Chinese and foreign literature, starting with text and expanding into visual interpretation, creating a rich, engaging, and lively classroom atmosphere that fosters cross-disciplinary learning. Professors Tsai Ying-Chun, Yang Chia-Hsien, and Lo Shih-Lung from the university will also participate in the discussions, serving as moderators or introducers to help students grasp the course content and fully absorb the insights from the guest dialogues and lectures.
This course is exclusively sponsored by the TSMC Education and Culture Foundation and jointly organized by the Center for General Education, the Department of Chinese Literature, and the Language Center at National Tsing Hua University. It invites Professor Pai Hsien-Yung and several distinguished scholars and experts from Taiwan and abroad to deliver lectures, showcasing the power and charm of literature in the digital age through the transmission of classics and creative reinterpretations.
The course is structured around thematic units, allowing students to focus on one topic each week and fully understand the essence of that week's theme. This approach cultivates a broad and deep cultural perspective, building a shared cultural memory for Tsinghua students. To help students understand the learning objectives and content, after each lecture and discussion, a Ph.D. or Ph.D. candidate in the humanities will lead a guided reading session of relevant excerpts from the thematic lecture. These sessions will provide detailed explanations of the textual meaning and chapter content, allowing even students who have never encountered the related works to gain insights into both Chinese and foreign literature and their film adaptations, and enjoy the pleasure of cross-genre and cross-era reading. For students already familiar with the related works, the lectures and discussions will stimulate further thought on the process of cultural memory and reconstruction, starting with literature and expanding through the lens of cinema.
指定用書
Textbook
♠ | 台灣文學作品選讀(上課時提供) |
Selected Readings from Taiwanese Literary Works (provided in class) | |
♠ | 相關影視、戲劇、IP 改編作品 |
Related Film, Television, and IP Adaptations | |
♠ | 教師自編講義 |
Handouts by Instructor | |
教學方式
Teaching Method
♠ | 教學方式前兩小時由任課教師或受邀專家學者以演講方式授課,第三小時則由助教帶讀相關片段或安排測驗,以協助 |
充分了解上課內容。基於透明與負責任的原則,本課程鼓勵學生利用 AI 進行協作或互學,以提升本門課產出品質。根據本校公布之「大學教育場域 AI 協作、共學與素養培養指引」,本門課程採取有條件開放,說明如下: | |
The first two hours will consist of lectures by the course instructor or invited experts and scholars. In the third hour, the teaching assistant will guide the reading of relevant excerpts or administer quizzes to help students fully understand the course material. | |
In adherence to the principles of transparency and responsibility, this course encourages students to use AI for collaboration or peer learning to enhance the quality of their work. According to the university's published "Guidelines for AI Collaboration, Peer Learning, and Literacy Development in Higher Education," this course adopts a conditionally open policy as follows: | |
♠ | 學生須於課堂作業或報告中的「標題頁註腳」或「引用文獻後」簡要說明如何使用生成式 AI 進行議題發想、文句潤飾 |
或結構參考等使用方式。若經查核使用卻無在作業或報告中標明,教師、學校或相關單位有權重新針對作業或報告重新評分或不予計分。 | |
本門課授課教材或學習資料若有引用自生成式 AI,教師也將在投影片或口頭標注。 | |
修讀本課程之學生於選課時視為同意以上倫理聲明。 | |
Students must briefly explain how they used generative AI for idea generation, sentence refinement, | |
or structural reference in the "footnote on the title page" or "after the references" of their assignments or reports. If AI usage is detected but not disclosed in the assignment or report, the instructor, school, or relevant authorities reserve the right to re-evaluate the work or not assign a grade. | |
♠ | 本門課授課教材或學習資料若有引用自生成式 AI,教師也將在投影片或口頭標注。 |
If the course materials or learning resources involve generative AI content, the instructor will also indicate this in the slides or verbally during the lecture. | |
♠ | 修讀本課程之學生於選課時視為同意以上倫理聲明。 |
Students who enroll in this course are considered to have agreed to the above ethical statement. | |
教學進度
Syllabus
♠ | 每位授課教師講授 1 週,結合文學作品、文藝理論與電影作品之參照。 |
各個單元之講題、詳細日期以及每週閱讀篇章將於開學期間說明。主要方向如下: | |
Each instructor will teach for one week, integrating literary works, literary theory, and references to films. | |
The specific topics for each unit, detailed dates, and weekly reading assignments will be announced during the beginning of the semester.Main Directions: | |
1. | 在經典作品的選讀基礎之上,更強調「文學 X 電影」的雙重奏,促進多元思維, |
激發學生興趣與想像,創造台灣文化軟實力。 | |
Building on the foundation of selected classic works, this course emphasizes the "Literature X Cinema" | |
dual approach to foster diverse thinking, stimulate students' interest and imagination, and enhance Taiwan's cultural soft power. | |
2. | 考慮學生程度及興趣,配合課程需求,將挑選適合的電影搭配講授,並協助同學們於課前或課後觀看。 |
Considering students' levels and interests, suitable films will be selected to complement the lectures, | |
and students will be guided to watch these films either before or after the class as needed. | |
Syllabus
第1週 / 9月4日 | |
♠ | 藝術媒介的問題:文字與影像 |
蔡英俊教授 | |
The Problem of Artistic Media: Text and Image | |
ProfessorTsai Ying-Chun | |
第2週 / 9月11日 | |
♠ | 你的現代文學,我的摩登電影 |
楊佳嫻、羅仕龍教授 | |
Your Modern Literature, My Modern Cinema | |
Professor Yang Chia-Hsien,Lo Shih-lung | |
第3週 / 9月18日 | |
♠ | 文學名著搬上銀幕 |
王正方教授 | |
Bringing Literary Classics to the Screen | |
Professor Wang Cheng-Fang | |
第4週 / 9月25日 | |
♠ | 兩吋象牙上的世界?──珍.奧斯丁《理性與感性》 |
張惠菁教授 | |
The World on Two Inches of Ivory? — Jane Austen's Sense and Sensibility | |
Professor Chang Hui-Ching | |
第5週 / 10月2日 | |
♠ | 文學 X 電影:《古都》 |
楊照教授 | |
Literature X Cinema: The Old Capital | |
Professor Yang Chao | |
第6週 / 10月9日 | |
♠ | 一座奧斯卡都沒得的永恆經典:《長日將盡》 |
陳思宏教授 | |
An Eternal Classic That Never Won an Oscar: The Remains of the Day | |
Professor Chen Si-Hong | |
第7週 / 10月16日 | |
♠ | 每個人心中都有的那座山:《斷背山》 |
楊元鈴教授 | |
The Mountain in Everyone's Heart: Brokeback Mountain | |
Professor Yang Yuan-Ling | |
第8週 / 10月23日 | |
♠ | 三廳電影、二林二秦與鳳飛飛現象:類型小說與流行文化 |
聞天祥教授 | |
Three Hall Films, Er Lin, Er Chin, and the Feng Fei-fei Phenomenon: Genre Novels and Popular Culture | |
Professor Wen Tien-Hsiang | |
第9週 / 10月30日 | |
♠ | 鋼琴少女彈什麼?──用音樂閱讀《⑤外有藍天》 |
蔡英俊、焦元溥教授 | |
What Does the Piano Girl Play? — Reading Blue Beyond the Blues Through Music | |
Professor Tsai Ying-Chun, Chiao Yuan-Pu | |
第10週 / 11月6日 | |
♠ | 校慶運動會停課一次 |
University Anniversary Sports Day | No Class | |
第11週 / 11月13日 | |
♠ | 《Drive My Car》將載我們去往何方? |
三須祐介 教授 | |
Where Will Drive My Car Take Us? | |
Professor Yusuke Mitsusu | |
第12週 / 11月20日 | |
♠ | 安娜之死與新婦女誕生:論托爾斯泰和柯倫泰的小說 |
陳相因教授 | |
The Death of Anna and the Birth of the New Woman: On the Novels of Tolstoy and Kollontai | |
Professor Chen Hsiang-Yin | |
第13週 / 11月27日 | |
♠ | 芥川龍之介 X 黑澤明交映的《羅生門》效應 |
陳蕙慧 教授 | |
The Rashomon Effect: Akutagawa Ryūnosuke X Akira Kurosawa’s Rashomon | |
Professor Chen Hui-Hui | |
第14週 / 12月4日 | |
♠ | 嗅覺的意象化與具象化:《香水》 |
李志薔 教授 | |
The Rashomon Effect: Akutagawa Ryūnosuke X Akira Kurosawa’s Rashomon | |
Professor Lee Chih-Chiang | |
第15週 / 12月11日 | |
♠ | 如果玫瑰不叫玫瑰 |
林奕華教授 | |
If a Rose by Any Other Name... | |
Professor Lin Yi-Hua | |
第16週 / 12月18日 | |
♠ | 文學與電影的二重奏 |
白先勇教授 | |
From Literature to Cinema | |
Professor Pai Hsien-Yung | |