※ [本文轉錄自 NTU07DFLL 看板]
作者: titdnic (傑克維) 看板: NTU07DFLL
標題: [公告] 外文系學術演講
時間: Tue Mar 10 12:29:31 2009
學術演講
舉辦單位；國立台灣大學外國語文學系和國立臺灣大學戲劇學系合辦
系列演講（Two Lectures）
Speaker: Professor Jay L. Halio
(Professor Emeritus of English, University of Delaware)
Bio:
Educated at Syracuse University (B.A., summa cum laude, with Honors
in English, 1950) and Yale (M.A. 1951, Ph.D. 1956), Jay L. Halio began
teaching English at The University of California, Davis in 1955. He moved to
the University of Delaware in 1968 as Professor of English and later served
six years as Associate Provost for Instruction (1975-81). During this time he
has also served on the editorial board of the University of Delaware Press,
which he chaired from 1985 to 1997. He has received many grants for
instructional purposes, such as a Development Grant from the National
Endowment for the Humanities for the Humanities Semester at the University of
Delaware, where he served as its director (1978-81), and research grants from
the Folger Shakespeare Library and NEH for his work on the New Variorum
edition of Shakespeare’s All’s Well That Ends Well. At Delaware he also
helped found the Center for Teaching Effectiveness and was its director,
1986-87.
Professor Halio has taught a wide variety of both graduate and
undergraduate courses, specializing in Shakespeare and his contemporaries,
but also teaching courses in modern British and American literature, modern
drama, moral issues in modern literature, and Jewish American literature. He
has directed several Ph.D. dissertations and is active in various
professional organizations, such as the Shakespeare Association of America,
the International Shakespeare Association, the Association of Literary
Scholars and Critics, and the American Literature Association.
The author or editor of more than thirty books, Professor Halio has
also published a large number of essays and chapters in books. His essays
have appeared in Shakespeare Quarterly, Shakespeare Studies, Studies in
English Literature, Neophilologus, College Literature, Text, and other
leading journals. He has also published books and articles on contemporary
literature and essays on higher education. He has twice been a Fulbright-Hays
Senior Lecturer and has lectured at many universities at home and abroad.
Under the Visiting Scholar Program of the Delaware Humanities Forum,
Professor Halio visits a number of schools in the State of Delaware every
year to discuss Shakespeare with students and teachers. At present, though
technically retired, he continues to teach occasionally at both the graduate
and undergraduate level at the University of Delaware and abroad. In 2000 and
again in 2005, he was visiting professor at the University of Cyprus, and in
2006 at the University of Sofia, Bulgaria.
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Lecture 1
Shakespeare’s Concept of Tragedy
Moderator: Professor Ching-Hsi Perng (Professor, DFLL & Department of Drama,
NTU)
主持人：彭鏡禧教授（臺大外文系與戲劇系合聘教授）
Time: 10:20 am ~ 12:00 pm, Tuesday, March 31, 2009
時間：2009年3月31日（週二）上午10:20-12:00
Venue: College Conference Room, 2F College of Liberal Arts, NTU
地點：臺大文學院二樓院會議室
Abstract:
The talk will focus mainly on Shakespeare’s middle tragedies—JULIUS CAESAR,
HAMLET, OTHELLO—but I will also discuss some of the later tragedies. I
believe Shakespeare implied in the middle tragedies alternatives to
catastrophe that the protagonists fail to see until too late. The implication
may be summed up in the phrase “What if...?”
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Lecture 2
The Tragic Obverse of Shakespearean Comedy
Moderator: Professor Yanwing Leung (Associate Professor and Chair, DFLL, NTU)
主持人：梁欣榮教授（臺大外文系副教授兼系主任）
Time: 3:30 ~ 5:00 pm, Wednesday, April 1, 2009
時間：2009年4月1日（週三）下午3:30-5:00
Venue: DFLL New Conference Room, Gallery of NTU History (Old Main Library)
地點：臺大校史館（舊總圖）一樓外文系新會議室
Abstract:
In this talk which complements the previous one on Shakespeare’s concept of
tragedy, I will discuss the ways Shakespeare introduces tragic aspects in his
major comedies before entering upon his tragic period and the tragicomedies.
For example, I will discuss Shakespeare’s introduction of a potentially
tragic frame in one of his earliest comedies, “The Comedy of Errors,” and
the tragic potentials in plays like “Much Ado about Nothing” and “As You
Like It.”
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