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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Item “Still More Distant Than the Most Distant Stars”(英語學系, 2011-09-??) Frank StevensonThis paper explores some closely-related themes in Nietzsche, Kafka, and Benjamin: a trans-temporal “bridge” that is broken or interrupted in the middle, “breaking news” whose delivery is infinitely delayed or impossible, and the figure of a partially-constructed wall which may also serve as the fragile foundation for a new Tower of Babel. The Benjamin passage at stake is Thesis IX of the “Theses on the Philosophy of History,” where the angel (angelikos, messenger) of history suddenly appears, caught between immanent and eternal time, and wants to (but cannot) “make whole” the fragments of wreckage from human history that are thrown in a heap at his feet. The above themes from Nietzsche and Kafka are used to interpret the angel’s impossible project of making-whole as a project, not of delivering but of reconstructing the original message, now taken as the originally universal and communal human language, meaning or “name” which was fragmented by God into a “babel.” Here this original language, also seen in the context of Benjamin’s still-idealized notion of “pure language” in “The Task of the Translator,” remains metaphorically tied to the figure of the Tower of Babel, a tower whose piecemeal construction, ambiguously decreed by the Emperor in Kafka’s “The Great Wall of China,” implies the virtual equivalence of (its own) construction and deconstruction or collapse.Item Exteriority, Laughter and Comic Sacrifice in Hawthorne’s “My Kinsman, Major Molineux”(英語學系, 2011-03-??) Frank StevensonIn the final night-carnival scene of Hawthorne’s “My Kinsman, Major Molineux” (1832), an entire town humiliates the major by laughing at him as he sits tarred-and-feathered in a cart; even his nephew Robin finally joins uncontrollably in the contagious sea of derisive laughter. Here I interpret this as a ritual of “comic sacrifice” by comparing its dynamics with those of the traditional (“tragic”) sacrifice. I look at the dialectical relation between the mindless exteriority of laughing spectators and the intense self-consciousness of the sacrificial victim as a variation on the Girardian middle-distance between spectators and victim, and as another form of the relation between the inquiring Robin’s ignorance and the secret knowledge of the townspeople in a rumorand potentially laughter-filled town. I also take the grotesque figure of the victim as a variation on the tragic-sacrifice victim, who is traditionally seen as a sacred object or “gift”: here the tarred-and-feathered major becomes a onceangelic but now fallen bird-man, and the sacrificial smoke of roasting victims that rises toward the gods becomes the “offering” of contagious laughter rising at the end of the story to the Man in the Moon. Finally, the wasteful excessiveness of this laughter is further discussed in the context of the themes of exteriority, duplicity, falseness and tragic-comic ambiguity in Hawthorne’s two other early night-festival tales, “The Maypole of Merry Mount” and “Young Goodman Brown.”Item On the Horizon(英語學系, 2009-09-??) Frank StevensonItem Stretching Language to Its Limit(英語學系, 2009-03-??) Frank StevensonItem “Still More Distant Than the Most Distant Stars”(英語學系, 2011-09-??) Frank StevensonThis paper explores some closely-related themes in Nietzsche, Kafka, and Benjamin: a trans-temporal “bridge” that is broken or interrupted in the middle, “breaking news” whose delivery is infinitely delayed or impossible, and the figure of a partially-constructed wall which may also serve as the fragile foundation for a new Tower of Babel. The Benjamin passage at stake is Thesis IX of the “Theses on the Philosophy of History,” where the angel (angelikos, messenger) of history suddenly appears, caught between immanent and eternal time, and wants to (but cannot) “make whole” the fragments of wreckage from human history that are thrown in a heap at his feet. The above themes from Nietzsche and Kafka are used to interpret the angel’s impossible project of making-whole as a project, not of delivering but of reconstructing the original message, now taken as the originally universal and communal human language, meaning or “name” which was fragmented by God into a “babel.” Here this original language, also seen in the context of Benjamin’s still-idealized notion of “pure language” in “The Task of the Translator,” remains metaphorically tied to the figure of the Tower of Babel, a tower whose piecemeal construction, ambiguously decreed by the Emperor in Kafka’s “The Great Wall of China,” implies the virtual equivalence of (its own) construction and deconstruction or collapse.Item Things Beginning with the Letter "M"(英語學系, 2010-09-??) Frank Stevenson