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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    Becoming Modernized or Simply "Modern"?
    (英語學系, 2010-09-??) Hsien-hao Sebastian Liao
    The extended, seemingly self-indulgent sex scenes in Ang Lee's Lust, Caution have generated rather unfavorable responses from both Chinese and Western critics. But this paper argues that these sex scenes are central to Ang Lee's project of interrogating Chineseness from a Taiwanese/diasporic Chinese position. Sex here is just a metaphor for a people-state relationship, which often approximates what we usually understand as "lust." The metaphor unfolds when Wang Jiazhi, abandoned by her biological father, embarks on a quest for a new Father while trying to understand her own femininity, a quest that leads to her involvement in a daring but reckless plan: to sleep with a major collaborator, Mr. Yi, in order to assassinate him. But the resultant misreading of lust as love on the part of Wang (and by extension "the people") is fatal. The romantic feelings she develops for Yi after he voluntarily reveals his vulnerability put her in a difficult situation: in order to love she has to "relinquish" her lover. By highlighting the fact that the people, symbolized by Wang, are bound to play the manipulated feminine role in their romance, as it were, with the state, this film criticizes that modern form of nationalism which is predicated on modernity. The twin target of Ang Lee's criticism—nationalism/ modernity—is embodied by Yi, an undercover communist and apparently a stauncher-than-usual nationalist, who ironically tries to serve the people by abusing them. Seeing that modern nationalism, presumably devoted to bringing modernity to the nation, has brought more suffering than good, Ang Lee suggests with this film that to outgrow their obsession with modernity, i.e., with "becoming modernized," the people need to become "modern subjects" as Wang has unwittingly done. And one can only do so by undergoing a Lacanian (and Freudian) Versagung or redoubled renunciation, in which what Lacan calls "subjective destitution" is experienced. Ang Lee's caution against "lust" is therefore