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。
News
Browse
3 results
Search Results
Item Untitled(英語學系, 2019-09-??) Angie ChauThis paper arises from a series of class discussions inspired by Shen Congwen’s (沈從文, 1902-88) short story about child marriage, “Xiaoxiao” (蕭蕭, 1929), which is set in the spring of 2018 during an unending series of breaking news stories related to sexual assault and sexual harassment in the workplace. Beginning from the close reading of one seemingly innocuous line in the English translation—“Finally, one day, she let Motley sing his way into her heart, and he made a woman of her”—the paper seeks to address the following questions: How can translational practices inform and revise conventional ways of reading canonical fictional texts, especially in relationship to current conversations about sexual harassment, rape, and the #MeToo movement? What is the pedagogical responsibility of educators teaching literature to address instances of sexual violence, especially in cultural and historical contexts that seem remote from our own? And finally, what is at stake in this rereading of modern Chinese literary classics? Drawing from examples in two frequently studied and taught short stories published in China during the Republican period—Shen Congwen’s “Xiaoxiao” and Mao Dun’s (茅盾, 1896-1981) “Chun can” (春蠶 “Spring Silkworms,” 1932)—I argue that translation in the present moment offers readers a valuable opportunity to re-examine commonly overlooked scenes of sexual ambiguity and abuse, especially in the field of East Asian literature, where many students arrive with a wide range of preconceptions and stereotypes about gender relations.Item Untitled(英語學系, 2019-09-??) Angie ChauThis paper arises from a series of class discussions inspired by Shen Congwen’s (沈從文, 1902-88) short story about child marriage, “Xiaoxiao” (蕭蕭, 1929), which is set in the spring of 2018 during an unending series of breaking news stories related to sexual assault and sexual harassment in the workplace. Beginning from the close reading of one seemingly innocuous line in the English translation—“Finally, one day, she let Motley sing his way into her heart, and he made a woman of her”—the paper seeks to address the following questions: How can translational practices inform and revise conventional ways of reading canonical fictional texts, especially in relationship to current conversations about sexual harassment, rape, and the #MeToo movement? What is the pedagogical responsibility of educators teaching literature to address instances of sexual violence, especially in cultural and historical contexts that seem remote from our own? And finally, what is at stake in this rereading of modern Chinese literary classics? Drawing from examples in two frequently studied and taught short stories published in China during the Republican period—Shen Congwen’s “Xiaoxiao” and Mao Dun’s (茅盾, 1896-1981) “Chun can” (春蠶 “Spring Silkworms,” 1932)—I argue that translation in the present moment offers readers a valuable opportunity to re-examine commonly overlooked scenes of sexual ambiguity and abuse, especially in the field of East Asian literature, where many students arrive with a wide range of preconceptions and stereotypes about gender relations.Item ＂An Archivist's Fantasy Gone Mad＂: The Age of Exhibition in Cao Fei's Posthuman Trilogy(英語學系, 2017-09-??) Angie ChauThis paper argues that in her recent films, the Chinese artist-filmmaker Cao Fei (曹斐, b. 1978) shows how the futility of art and technologies of exhibition is linked to the danger of overexposure to images without context, and the numbing of public consciousness. In the twenty-first century, the fear of forgetting seems increasingly obsolete in the face of social media tools like Facebook's ＂See Your Memories: Never Miss a Memory＂ feature, which excavates photos uploaded, shared, or tagged on the site years ago, reminding users to ＂look back＂ on otherwise lost memories. However, in recent Chinese fiction (Ma Jian's Beijing Coma; Chan Koonchung's The Fat Years; Liu Cixin's ＂The Weight of Memories＂), the trope of dormant memories remains noticeably prevalent, reflecting an urgent cultural concern about the conscious ＂act of deleting memories＂ (Yan Lianke) in the process of recording modern Chinese history. Whether in the form of documentary-style animation (i.Mirror, 2007), zombie-horror film (Haze and Fog, 2013), or stop-motion train-replica dioramas (La Town, 2014), Cao Fei fantasizes about a new posthuman consciousness, whose most serious trespass against humanity is not forgetting, but rather not feeling. Presenting disjointed scenes that call upon instances of trauma and surveillance, Cao's ＂posthuman trilogy＂ films suggest that when cosmopolitan memories become decontextualized, mere images no longer possess any meaningful symbolic power. Further, Cao's films demonstrate that voyeurism becomes an unavoidable yet inconsequential daily practice in the digital age of exhibition.