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 An Essay against Global Literature: Literature and the Global Public(英語學系, 2017-09-??) Duncan McColl ChesneyThe paper approaches the question of global literature and its putative public by reviewing some of the major debates about world literature (Damrosch; Spivak; Casanova; Moretti) and focusing on the contribution of Alexander Beecroft and his notion of literary ecologies. The institutions officially and unofficially governing the world republic of letters (publishing houses, literary prizes, and so forth) are briefly reviewed and criticized (following Parks; Owen; Coletti). I then address the "global literary ecology" by looking at a few recent examples from Africa, first that of J. M. Coetzee, and then briefly that of Ngũgĩ wa Thiong’o, as well as Chimamanda Ngozi Adichie, in order to question the viability or desirability of the de facto Anglophone hegemony in the world republic of letters. I conclude by rehearsing the position more or less against global literature (with Spivak and Apter) and for a renewed philology and multilingualism in the spirit of Auerbach and Said.Item Humans among the Other Animals: Planetarity, Responsibility, and Fiction in Disgrace and Wolf Totem(英語學系, 2014-09-??) Duncan McColl ChesneyThis paper stages readings of several fictional and non-fictional explorations of the relation of man and animal, of limits, obligations, and sympathy, as well as larger ecological questions around creatureliness and planetarity. I argue for a reassessment, via Agamben’s by now familiar gloss on Heidegger’s discussion of the animal, of an ineradicable creatureliness internal to the human, and then show what coming to terms with this means more broadly in ethical life. Finally, I insist on the role of fiction in the training of the imagination, a priming for the sort of ethical experience essential to good or right life.Item Partiality, Obliqueness, Reticence(英語學系, 2011-09-??) Duncan McColl ChesneyIn the spirit of the stated topic, “Angel of the New,” this article addresses the question of the modern—in art, politics, and social thought—in terms deriving from Benjamin’s, and subsequently Adorno’s, experience of art in its fullest truth claims in the face of catastrophe. The article explores a certain contemporary questioning of the limits of representation and the truth-value of representations, above all art works. Making reference to Agamben and the notion of “bare life” as a key figure of modern bio-politics, it addresses several contemporary issues at the limits of aesthetic, conceptual, and political “representation” (though shying away from a full engagement with contemporary political theory proper and its concerns): death, the sublime, catastrophe. Beginning with modern changes in the understanding of death (and life) and the role of technology, instrumental rational control, and economic reason, in the formation of modern society, it discusses the catastrophic limit cases of Hiroshima and Auschwitz, arguing ultimately that a modernist commitment to art truth, even with respect to the most difficult human events, is necessary still today, despite a seeming movement beyond the modern in the reigning cultural dominant.Item Partiality, Obliqueness, Reticence(英語學系, 2011-09-??) Duncan McColl ChesneyIn the spirit of the stated topic, “Angel of the New,” this article addresses the question of the modern—in art, politics, and social thought—in terms deriving from Benjamin’s, and subsequently Adorno’s, experience of art in its fullest truth claims in the face of catastrophe. The article explores a certain contemporary questioning of the limits of representation and the truth-value of representations, above all art works. Making reference to Agamben and the notion of “bare life” as a key figure of modern bio-politics, it addresses several contemporary issues at the limits of aesthetic, conceptual, and political “representation” (though shying away from a full engagement with contemporary political theory proper and its concerns): death, the sublime, catastrophe. Beginning with modern changes in the understanding of death (and life) and the role of technology, instrumental rational control, and economic reason, in the formation of modern society, it discusses the catastrophic limit cases of Hiroshima and Auschwitz, arguing ultimately that a modernist commitment to art truth, even with respect to the most difficult human events, is necessary still today, despite a seeming movement beyond the modern in the reigning cultural dominant.