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 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 論羅德•達爾童書中譯本的翻譯與改寫現象(2017) 蔡月媚; Tsai, Yueh-Mei羅德•達爾 (Roald Dahl，1916-1990) 不僅為西方兒童文學名家，並且有別於一般童書，其兒文創作不時以嘲諷的文字風格描繪兒童不宜的故事內容，因此，本研究冀望透過歷時性研究，爬梳達爾在臺灣的接受史，檢視其童書如何藉由翻譯與改寫在國內兒文市場被通關放行。首先，儘管達爾童書早期中譯本出版者眾，卻無任何出版社提出有系統的出版計畫，導致其人其書面貌模糊。接續的志文出版社《新潮少年文庫》以較完整的編輯策略介紹其童書，並多保留達爾苛刻的寫作風格，譯文也採全譯，而非早期譯本的改寫策略。小天下出版社取得達爾童書最新版權後，則將其改以套書方式出版，並形塑達爾兒文經典大師的形象，不過，翻譯策略除於前人譯本的基礎上予以修改或重譯，對其中似乎較兒童不宜的內容，譯筆則常趨向溫和淡化。 整體而言，正是因為上述國內不同時期出版社與譯者的協力合作，達爾及其童書得由最初零散模糊的介紹，終至成就其在臺灣兒童文學大家與經典童書的地位。儘管如此，探討各出版社編輯策略與譯者翻譯策略時，尤其是關於達爾童書中易引發疑慮的內容與情節，本研究發現達爾童書中譯本與改寫本產出的歷程也同時反映出臺灣不同時期兒童文學的出版文化、主流價值與翻譯策略相互對話的成果。 關鍵詞：羅德•達爾、兒童文學、翻譯、改寫Item Untitled(英語學系, 2016-09-??) Sabrina VellucciThe work of Mexican artist Frida Kahlo confuses conventional notions that place the verbal and the visual in two independent categories. Such hybridity invites a reading of Kahlo’s life and work through different media, combining written text and image. In this article I examine two major interpretations of the artist’s life: Frida. A Biography of Frida Kahlo (1983) by art critic Hayden Herrera and Frida (2002), a film directed by Julie Taymor, based on Herrera’s canonical biography. Taking into account the specificities of each text and considering film adaptation as both a multilevel relationship and a dialogic process, I look at the ways in which these works elicit empathy in the reader/viewer. In particular, I dwell on the gaze articulated on the screen, as it triangulates with that of Kahlo’s biographer and with the artist’s own version(s) of herself. Diverging from the construction of Kahlo as the archetypal suffering woman artist, the film re-frames Herrera’s biography through a series of devices that disrupt the narrative discourse and foreground the subjectivity inherent in the biopic. Such interruptions, stressing the constructed nature of the film’s interpretation of Frida’s story, deconstruct the processes of history and biography, and foreground the film’s own narrative as an act of revision.Item Screening the In-Between: Intermediality and Digital Dystopianism in Contemporary Chinese Film and Fiction(英語學系, 2017-09-??) Heather InwoodThis article uses Chinese popular narratives rooted in and circulated via the internet to investigate what effects it might have on texts that move through the internet in the process of adaptation or transformation from one cultural form to another. By juxtaposing the analysis of mainland Chinese films based on writings first published on the web, namely the 2012 films Caught in the Web (搜索 Sousuo), directed by Chen Kaige (陳凱歌), and Mystery (浮城謎事 Fucheng mishi), directed by Lou Ye (婁燁), with online fiction that expands the storyworlds of blockbuster films, such as the 2007 novel Infinite Horror (無限恐怖 Wuxian kongbu) by zhttty, this article focuses on the discursive role intermediality plays in literature-to-film and film-to-literature adaptations. I show how all three works share a preoccupation with the ＂in-between,＂ a term closely related to intermediality. In these texts, the in-between is replete with struggles between different forms of agency facilitated and limited by digital media. The connotations that the internet carries as a form of intermediality are, however, dependent on the creators’ own experiences and beliefs about the impact of digital media on contemporary society. In some cases, their work suggests the normative project of digital dystopianism, a predominantly negative outlook on the dangers digital technologies pose to morality and social institutions. In others, it points to a liberating creative agency that allows cultural producers to use the internet to forge new stories and meanings out of a global archive of popular culture.