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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Item The Hugos and the Translation of Shakespeare into French, Texts and Cultural and Historical Contexts(英語學系, 2021-09-??) Jonathan Locke HartShakespeare did not go easily into French. Voltaire was ambivalent about him as he helped to introduce him into France, especially when he was in exile in England, but he also had reservations about Shakespeare not being neo-classical or, to put it another way, "barbaric." This neo-classical ambivalence also occurred among the English during the Restoration, after 1660, when Charles II returned from France to England and was restored to the throne. John Dryden and Alexander Pope, for instance, were ambivalent about Shakespeare. With Romanticism, Shakespeare became more popular in France, and Victor Hugo and his son, François-Victor Hugo, were instrumental in establishing Shakespeare in France, with the father, the great writer, lending a preface to his son's work and the son undertaking the work of translating Shakespeare systematically in 18 volumes. This article will focus most on the father's preface in the first volume and on the son's translations of the Sonnets in volume 15. The reason for this choice and method is that the pioneering work in the first phases of literary translation needs close examination, what I call the establishment of translation or reputation.Item Issues of Transcultural Mobility in Three Recent French Balcony Scenes(英語學系, 2021-09-??) Stephanie MercierRomeo and Juliet's translation and staging by Olivier Py (2011), Pascal and Antoine Collin and David Bobee (2012), and Éric Ruf, who staged FrançoisVictor Hugo's 1868 version of the play (2016-17), provide a stimulating illustration of recent French translations/adaptations of the Balcony Scene in particular. I examine instances of verbal and non-verbal translation of the canonical texts through such elements such as props, costume, gesture, posture, and the body. They all bring to mind Stephen Greenblatt's concept of "cultural mobility"—first formulated as "cultural transfer" by historians Michel Espagne and Michael Werner in the late 1980s to account for interaction and relations between France and Germany. The scenes particularly seemed to defy previous notions of foreignization or domestication, where the source culture is seen as the "self" and the target culture as the "other," and where the process of domestication tends to erase all "foreignness" from the former. Here, I explorehow just three instances of one of the most iconic scenes in Shakespeare is emblematic of a more general cultural mobility in French theatre, thanks to the choice (or choice not) to incorporate French contextual elements in Gallic productions of Shakespeare. I discuss, through the lens of cultural transfer, how the translations repeat or redefine canonical material, and how they show FrancoBritish stages in contact with one another within the context of contemporary French theatre.Item On Modernizing the Language of Romeo and Juliet for Finnish Teenagers(英語學系, 2021-09-??) Nely KeinänenThis article examines a recent production of Julia and Romeo at the Finnish National Theater (2018) as an example of innovative linguistic adaptation, accomplished through the use of style variations and a touch of rewriting. While most of the FNT Finnish text is based on Marja-Leena Mikkola's poetic translation (WSOY 2006), the dramaturg Anna Viitala, working closely with the director and actors, added a layer of colloquial, teenage language. Features include tiny insertions, such as vou [wow]," okei [OK], and phrases teens use with each other or to annoy their parents. Sometimes a single poetic line is replaced with a shorter and more colloquial speech, framed by much more poetic text. In a larger piece of rewriting, Romeo and Juliet's shared sonnet is turned into a hilarious poem Romeo is writing on love, drawn in part from Troilus and Cressida. For the most part, these juxtapositions of colloquial language added a comic touch, inviting teenage audience members to relate to the characters. But they were also effectively used to heighten tragedy, as for example in the simple repetition of a Finnish word for hello and goodbye, hei, which Romeo and Juliet awkwardly said to each other when they first met, and which was repeated three more times later in the play at key moments. The analysis points to the significant role stylistic variation can have in theatrical translation and adaptation, and suggests translators think beyond a simple continuum between archaizing and modernizing as strategies for translating historical texts.Item Untitled(英語學系, 2020-03-??) Peter D. MathewsThe ambivalence at the heart of Rachel Kadish’s third novel, The Weight of Ink(2017), comes from the tension between Kadish’s exploration of Jewish identity,on the one hand, and her position as a feminist on the other. Kadish thus usesthe form of the historical novel to critique patriarchal traditions in Jewishculture that exclude women from the domain of scholarship and philosophicalthought. The Weight of Ink weaves a complex narrative contrasting the life of atwenty-first-century historian, Helen Watt, to the fierce intellect of EsterVelazquez, a female scribe from the seventeenth century, who is forced todevelop her philosophy secretly under a series of male pseudonyms. This essaystarts out by examining the delicate balance required for this kind of culturalcritique, for while Kadish excoriates the past ill-treatment of women andhomosexuals, she nonetheless is also clearly proud of her identity as a Jewishwoman. The second section of this paper looks at the extent to which Kadishlaunches a successful feminist analysis of Jewish culture and traditions. Herstrongest points come when she turns the logic of this tradition back on itself:the very existence of Ester’s intellect or Alvaro’s homosexuality, she argues,are proof that such things are ordained by divine will rather than itscontradiction. The conclusion of the paper explores the limitations of Kadish’sapproach, focusing in particular on the way she creates a biological tie betweenEster and Shakespeare. This narrative twist appropriates Ester to the realm ofthe patriarchal law, encapsulating the irresolvable tension between Kadish’sJewishness and her feminist politics.Item 音步譯趨/趣：方平之《羅密歐與朱麗葉》探討(2011) 張桐恩; Tong-en Chang《羅密歐與朱麗葉》一劇可說家喻戶曉，然而其翻譯史卻少有人探究，故本文一方面整理《羅》劇之翻譯史，勾勒自林紓以降各譯者之風格。 另一方面，多年來，中文莎士比亞以梁實秋與朱生豪的散文版本最為流通，然而不少學者與研究都認為應該以詩譯詩，且劇本翻譯應以「可演」與否為最主要的考量。2000年，方平以「音組」的原則翻譯《新莎士比亞全集》，號稱以詩譯詩並以「可演」為目標，為有心探究莎劇翻譯者提供了新的素材。 然而在探究《羅》之相關問題時，不免遇到意識形態之問題，其一是「可演性」一詞過於空泛，其二是《羅》劇中，主角刻骨銘心的愛情，實則牽涉了未成年人偷嚐禁果的禁忌、挑戰了傳統社會的價值。故本文亦從意識形態出發，以比利時學者 Lefevere 之操縱理論，及以 Susan Bassnett 對「可演性」之質疑為基礎，檢視方平之意識形態，及其在詩學、論述系統方面之操縱。 檢視研究結果，方平雖不斷強調劇本演出之可能，然而卻忽略演出仍牽涉演員、導演與其他非語言因素，在添加舞台指示時顯得畫蛇添足，且許多典故也因為字數限制而丟失。然而音組翻譯之短句結構，的確使節奏較為突出，不失為一項有意義的實驗。