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 Untitled(英語學系, 2015-05-??) Feng DongThis essay explores the substitution of the anonymous Other for the Judeo-Christian Other in the work of American poet W. S. Merwin. Abandoning the univocal salvation theme in Christian theology after the onset of the Vietnam War, Merwin envisions redemption in a vast, anonymous wilderness. The urge of apocalypse paves the way for new existential and ethical grounds outside the existing social order. The poet’s spirit disavows the Symbolic for an exodus into the ultra-phenomenal. This spirit is not only Hegelian/negative but also Levinasian/alternative; foreclosing the existing social order, it attempts to open a new dimension in the interval between humanity and divinity. As the essay tries to delineate, Merwin’s divine comedy does not end with the intrusion of the apocalyptic events of the 1960s but persists in a more devious andspectral mode in his later work, revealing his desire to follow the holy object that eludes Judeo-Christian thematization. Merwin’s radical passivity and deep piety toward the anonymous expose the inadequacy of both techné and epistēmē in confrontation with that which is other than self, logos, God, and named essence. Such a realization beyond knowledge perhaps affords postmodern subjects a chance to obtain individual freedom by forming deeper bonds to the immanent calling for abolishing “in-the name-of,” self-legitimating forms of theology, ideology, and religiosity.Item Untitled(英語學系, 2015-05-??) Feng DongThis essay explores the substitution of the anonymous Other for the Judeo-Christian Other in the work of American poet W. S. Merwin. Abandoning the univocal salvation theme in Christian theology after the onset of the Vietnam War, Merwin envisions redemption in a vast, anonymous wilderness. The urge of apocalypse paves the way for new existential and ethical grounds outside the existing social order. The poet’s spirit disavows the Symbolic for an exodus into the ultra-phenomenal. This spirit is not only Hegelian/negative but also Levinasian/alternative; foreclosing the existing social order, it attempts to open a new dimension in the interval between humanity and divinity. As the essay tries to delineate, Merwin’s divine comedy does not end with the intrusion of the apocalyptic events of the 1960s but persists in a more devious andspectral mode in his later work, revealing his desire to follow the holy object that eludes Judeo-Christian thematization. Merwin’s radical passivity and deep piety toward the anonymous expose the inadequacy of both techné and epistēmē in confrontation with that which is other than self, logos, God, and named essence. Such a realization beyond knowledge perhaps affords postmodern subjects a chance to obtain individual freedom by forming deeper bonds to the immanent calling for abolishing “in-the name-of,” self-legitimating forms of theology, ideology, and religiosity.Item The Gaze of the Other in Ang Lee's Crouching Tiger, Hidden Dragon and Hitchcock's The Birds(英語學系, 2002-01-??)Here I first briefly review the Western metaphysical conceptualization of “self”/“other,” based on the logic of identity-and-difference, and the post-Hegelian, post-structuralist move away from this logic toward a notion of “difference” or “otherness” that cannot be contained within the hegemony of a (Eurocentric) rational “self” (mind, consciousness)—particularly as we get this move in Lacan and Levinas. Then I look at Hitchcock’s The Birds and (more substantially) Ang Lee’s Crouching Tiger, Hidden Dragon in (the Lacanian and Levinasian) terms of intersubjectivity, the inverted “gaze,” the self-negating (or abnegating) move toward/into the “other.” If the birds attacking fromthe sky are (as on Žižek’s reading) an other which can “negatively” signify and thus absorb or replace the social conflicts among the characters—nature “above” becomes the inverted gaze of culture “below”—then in Crouching Tiger, Hidden Dragon we are dealing with a more purely horizontal (socio-cultural) matrix of relationships in which the inverted gazes of/within the “pairs” (of warriors, friends or lovers) signify or signal inversions/reversals of identities or roles, including gender roles.