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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    透過畫家之眼:約翰●厄普代克《兔子,跑》裡間接的直接性
    (2018) 陳禹村; Chen, Yu-Tsun
    本文旨在探討約翰‧厄普代克(1932-2009)最為人知的小說《兔子,跑》。作品當中因間接援引了畫作以及窗戶的讀畫文(ekphrasis),反而直接帶給讀者一九五零年代美國郊區的生活感受。因為使用畫作及窗戶這兩個視覺媒介,作者成功地將圖畫的視覺、心理、社會層面轉譯於字裡行間。本篇論文將會分析讀畫文如何藉由視覺運用重現美國人民在五零年代的心理感受及社會氛圍。 論文第一章節以厄普代克的三本藝術評論為文本。透過作者的藝術評論,我將介紹他受到現代主藝的諸多影響以及他的美學觀點和藝評寫作風格,並且藉由藝評提供有關於1950年代美國的背景知識。 第二章會比較《兔子,跑》與厄普代克針對四位畫家:Jan Vermeer, Ameodeo Modigliani, Edward Hopper and Jackson Pollock作品撰寫藝術評論的相似處。藉由比較小說與藝術評論,我希望能證明作者於小說中用文字創作了畫作,且那些畫作是被當作重現當代美國社會平庸性(middleness)的客觀對應物(objective correlatives)。 並進一步申論,為了與中庸性共存,畫家看世界的方法能夠提供角色們一種存在策略,去歌頌並且超越無味、緊繃、孤寂的現代美國社會。 第三章則著重在日常的視線,將說明作家不是只依賴第二章的名畫家之眼。相反的,透過角色們與日常的窗戶的互動,我們更能具體感知一九五零年代的冷戰在美國郊區的日常生活中如何操演。在小說中,窗戶複雜又模稜的物質性反映也啟發了角色們在冷戰中的想法。
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    The Reception of George Orwell in Taiwan
    (英語學系, 2014-05-??) Te-hsing Shan
    The popularity, reputation, and influence of Georage Orwell at home and abroad remain phenomenal more than sixty years after his death. In comparison with other foreign literary masters or popular writers, Orwell's reception in Taiwan, with the many different translations and paratexts of Nineteen Eighty-Four and Animal Farm, has been exceptionally warm, long-standing, even “Orwellian.” This phenomenon has much to do with Taiwan's unique historical background, especially its geopolitical context and ideological position in the Cold War. If translation is an afterlife, as Walter Benjamin's famous metaphor gose, we cannot but wonder about Orwell's afterlife in Taiwan─a self-proclaimed bastion of anti-communism during the Cold War and a unique country in the Sinophone world. This paper mainly focuses on the translations and representations of Orwell's Nineteen Eighty-Four and Animal Farm in Taiwan over the past six decades. Whereas the former has often been read as yuyem, meaning both “prophecy” and “allegory,” the latter has been read as political fable and children's literature, thus extending the author's readership to schoolchildren. There have been two periods of particularly heightened interest in Orwell: one in the 1950s and the other around 1984. In addition to tracing representative translations of Nineteen Eighty-Four and Animal Farm over the years, this paper discusses how Orwell and his works have been represented by translators, publishers, writers, critics, and intellectuals alike. Taken together, they have made Orwell one of the most popular and respected foreign writers in Taiwan.