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
    Seeing is Believing
    (英語學系, 2012-03-??) Aviva Dove-Viebahn
    This essay considers the fascination and seduction of death as it is portrayed in the long-running American crime show CSI: Crime Scene Investigation (CBS, 2000-present), exploring the relatively recent trend in and popularity of crime procedurals in which death, dying, and violence are repetitively enacted. CSI’s narrative and visual form both suggest that the more investigators repeat, the closer they arrive to truth and justice. As with the episodic imperative of narrative television more generally, CSI’s repetitive drive offers eventual visual gratification for its viewers while situating them in a discourse of true vision—or, vision as truth—in which the show’s investigators also circulate. This essay ties these specific interrogations of CSI to an articulation of the concept of the televisual gaze, a scopic function that derives its meaning from the subject imagining herself as part of a field of other gazers and gazes.
  • Item
    Seeing is Believing
    (英語學系, 2012-03-??) Aviva Dove-Viebahn
    This essay considers the fascination and seduction of death as it is portrayed in the long-running American crime show CSI: Crime Scene Investigation (CBS, 2000-present), exploring the relatively recent trend in and popularity of crime procedurals in which death, dying, and violence are repetitively enacted. CSI’s narrative and visual form both suggest that the more investigators repeat, the closer they arrive to truth and justice. As with the episodic imperative of narrative television more generally, CSI’s repetitive drive offers eventual visual gratification for its viewers while situating them in a discourse of true vision—or, vision as truth—in which the show’s investigators also circulate. This essay ties these specific interrogations of CSI to an articulation of the concept of the televisual gaze, a scopic function that derives its meaning from the subject imagining herself as part of a field of other gazers and gazes.