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.Frank W. StevensonSubject: search.filters.subject.Cosmogony

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    Inverted Surfaces
    (英語學系, 2003-01-??) Frank W. Stevenson
    Bataille values modern poetic language, along with ritual sacrifice and eroticism, because it is an explosive force which exhausts or “sacrifices” itself and thus can lead or point us toward “the sacred.” Yet he feels that poetry, in order to do this, cannot be a total expenditure or self-negation—which traps us within Hegelian discourse by giving us finally the “meaning” of negation—but rather must be a negation of this negation. While agreeing with Nancy that Bataille is nonetheless, in his critical writing on poetry (e.g. Inner Experience), still trapped within just such an onto-theological/Hegelian mode of thought or discourse, I argue that he can no longer be accused of this in his highly poetic writing in Visions of Excess, inasmuch as here a quite different (non-Hegelian, non-Derridean) speech-writing duality is at play. In a close reading of two crucial passages from Visions of Excess, “Pineal Eye” and “Solar Anus,” and with reference to Kristeva’s notions of “poetic language” and “rejection” and Deleuze’s “corporeal speech,” I hypothesize that here we are dealing with a more primordial and cosmogonic speech/writing polarity. “Poetic speech” is now being understood as the reversible “inner noise” of the body, and “poetic writing” as a kind of pictographic mapping of topocosmic (earth-sky-body) surfaces which seems to work through the force of inversion. Suggesting (with allsuion to Deleuze’s Aion as the “flat surface of time”) that this cos- mographic writing not only maps the axes of cosmogonic world-space but also maps time “onto” this space by flattening out linear time, I further develop this notion of writing by comparing it to ancient “divinatory writing”: in ritual augury the diviner “reads” the inner surface of just-sacrificed animals’ bodies—or more properly the outer surfaces of inner body parts—so that writing has now become not the freezing into “meaning” of poetic speech (where this speech is correlated with the “explosion” of life/the living bo