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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Author: search.filters.author.Kristen Fuhs

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    Re-imagining the Nonfiction Criminal Narrative
    (英語學系, 2012-03-??) Kristen Fuhs
    Taking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.
  • No Thumbnail Available
    Item
    Re-imagining the Nonfiction Criminal Narrative
    (英語學系, 2012-03-??) Kristen Fuhs
    Taking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.