文學院

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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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Author: search.filters.author.Aaron DevesonSubject: search.filters.subject.travel writing

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    (英語學系, 2017-03-??) Aaron Deveson
    The publication in 2013 of The Palm Beach Effect, a book of critical “reflections” on Michael Hofmann, confirmed the importance of this British but German-born poet, translator, and critic. Picking up where some of the contributors to this recent volume left off, this article evaluates a major part of Hofmann’s poetic career through a focus on his cosmopolitanism, and is an attempt to find out what sort of cosmopolitan poet Hofmann has been, at a time when his poetic voice has gone mostly quiet. Hofmann’s poetry is explored on its own terms and through the prism of some recent sociological and other theoretical writing on cosmopolitanism, including the idealistic Europeanist and globalist work of Gerard Delanty.The investigation begins with a close-read and contextual analysis of the cosmopolitanism of Hofmann’s Nights in the Iron Hotel (1983) and, especially, Acrimony (1986). Though these works deploy a variety of anti-imperial figures, I suggest that their way of using European culture to hold Hofmann’s father, the author Gert Hofmann, to account for the displacement suffered by his poet-son adds up to a powerfully internalized but ultimately Eurocentric form of cosmopolitanism. The article goes on to contrast this early phase of Hofmann’s writing with the poems of Corona, Corona (1993), with special emphasis on the Mexico-set travel sequence at the end of that book. I argue that it is in the expansively historical and materialist poetry of this later volume—where Hofmann stages a memorably polyglot encounter between local and global forms of capitalism through an awareness of shared yet differently “rooted” inauthenticity—that this writer approaches the limits of his and “British” poetry’s cosmopolitan imagination. A final section considers the drift away from an engagement with the “stranger” (Appiah) in Hofmann’s later books, as well as the implications of his recent poetic silences.