文學院
Permanent URI for this communityhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/2
院成立於民國44年，歷經50餘年的銳意發展，目前設有國文、英文、歷史、地理、臺文等5個學系、翻譯和臺灣史2個獨立所，以及全球華人寫作中心和國際臺灣學研究中心。除臺史所僅設碩士班，其餘6個系所均設有碩、博士班；目前專兼任教師近250人，學生約2500餘人。
本院早期以培養優秀中學國文、英文、歷史和地理教師為鵠的，臺灣中學語文和史地教育的實踐與成功，本院提供不可磨滅的貢獻。近年來，本院隨師範體系轉型而調整發展方向，除維持中學師資培育的優勢外，也積極朝理論研究和實務操作等面向前進。目前，本院各系所師培生的教師檢定通過率平均在95%以上；非師培生在文化、傳播、文學、應用史學及環境災害、地理資訊系統等領域發展，也已卓然有成。
本院各系所教師的研究能量極為豐富，參與國內外學術活動相當活躍。根據論文數量、引用次數等指標所作的學術力評比，本院居人文領域全國第2名。各系所之間，無論是教師的教學與研究，或學生的生活與學習，都能相輔相成、榮辱與共，彼此渾然一體，足堪「為師、為範」而無愧。
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Item A Time to Dance: Frank O’Hara Reading Edwin Denby(英語學系, 2011-09-??) Aaron DevesonAcademic interest in the post-war American poet writers generally gathered together under the label of “the New York School Poets” has never been greater; at the center of this perceived milieu is Frank O’Hara. My article is intended to fill a gap in the critical literature on O’Hara, which has failed to take into account the significant textual relations between his work and the still under-appreciated writings of Edwin Denby. Prompted by O’Hara’s paratextual responses to Denby but above all by the multiple allusions to the latter’s writing which I have found in the 1956 poem “A Step Away from Them,” this essay offers readings that suggest O’Hara’s highly original poetry developed at least partly through a revisionary engagement with the temporal themes and structures he found in Denby’s poetry and dance-themed prose. This article appropriates Clive Scott’s Bergsonian approach in order to illustrate how, contrary to critical responses which emphasize O’Hara’s deliberate lack of “depth,” his poetry’s intertextual engagement with Denby is in fact productive of a highly textured presence of inter-involved memories corresponding to Benjamin’s concept of Erfahrung. Reading O’Hara back through Denby’s already very suggestively phenomenological writings helps us to see the ways in which strategies of silence, of retrospective transformations at the endings of poems, and of the accumulation of perceptual “instants” become the self-protective means by which privileged “moments” of freedom and memorialization can occur. A fuller understanding of these strategies adds to criticism’s recognition of O’Hara’s conflicted relationship with America’s post-war expansionism.Item A Time to Dance: Frank O’Hara Reading Edwin Denby(英語學系, 2011-09-??) Aaron DevesonAcademic interest in the post-war American poet writers generally gathered together under the label of “the New York School Poets” has never been greater; at the center of this perceived milieu is Frank O’Hara. My article is intended to fill a gap in the critical literature on O’Hara, which has failed to take into account the significant textual relations between his work and the still under-appreciated writings of Edwin Denby. Prompted by O’Hara’s paratextual responses to Denby but above all by the multiple allusions to the latter’s writing which I have found in the 1956 poem “A Step Away from Them,” this essay offers readings that suggest O’Hara’s highly original poetry developed at least partly through a revisionary engagement with the temporal themes and structures he found in Denby’s poetry and dance-themed prose. This article appropriates Clive Scott’s Bergsonian approach in order to illustrate how, contrary to critical responses which emphasize O’Hara’s deliberate lack of “depth,” his poetry’s intertextual engagement with Denby is in fact productive of a highly textured presence of inter-involved memories corresponding to Benjamin’s concept of Erfahrung. Reading O’Hara back through Denby’s already very suggestively phenomenological writings helps us to see the ways in which strategies of silence, of retrospective transformations at the endings of poems, and of the accumulation of perceptual “instants” become the self-protective means by which privileged “moments” of freedom and memorialization can occur. A fuller understanding of these strategies adds to criticism’s recognition of O’Hara’s conflicted relationship with America’s post-war expansionism.