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, 2017-03-??) Melissa SextonThis paper argues that Karen Tei Yamashita’s novel Tropic of Orange (1997) provides a prescient, Anthropocene vision of the city. The idea of the Anthropocene—a geological epoch dominated by human-driven changes to the environment—blurs tidy distinctions between the human and the natural. But literary and ecocritical depictions of the city have frequently relied on such categories, imagining the city as a distinctly unnatural space. Tropic of Orange offers an alternative urban vision, depicting Los Angeles as a complex ecological space, shaped both by material histories and by unjust social systems. The novel uses magical realist elements to reverse what Jean and John L. Comaroff have described as the “occult economies” of globalization, making the material elements of global exchange visible as they move through the city. Similarly, magical events draw together crowds of people, living and dead, who have been integrated into the city’s economy, making the human element of the city’s impact visible as well. By materializing the human and ecological networks that support the city, and by rejecting traditionally escapist and pastoral visions of the natural world, Tropic of Orange offers a complex vision of the city as a sociomaterial ecosystem. While the novel does not offer a fully-formed alternative urban vision, it does provide a cautionary tale about what will happen if we do not accept the fundamental challenges that the Anthropocene provides to conventional understandings of nature, ecology, and human responsibility.Item Untitled(英語學系, 2017-03-??) Simon C. EstokAlthough a heavily contested theoretical space, the term “Anthropocene,” it seems, is here to stay, but theorizing about and understanding what it means in terms of the heterogeny of urban spaces and their representations is productive and potentially epoch-changing. Embedded in the top end of the trajectory of human influence on the world, the cities of Rohinton Mistry’s A Fine Balance (1995) and Joseph O’Neill’s The Dog (2014) allow for important investigations into the Anthropocene and its origins, into growth and its limits and costs, into the place and participation of cities in the Anthropocene, into questions of despair, and into reasons for hope. One of the assumptions here is that while capitalism is not the cause of the Anthropocene, it is certainly one of the symptoms of the accelerated Anthropocene, a symptom present and inescapable in both A Fine Balance and The Dog. This article argues that there is good cause for hope, since cities are, to date, the most efficient organizations with which we have yet come up. As such, cities may very well end up being the necessary natural step—fraught though they are with growing pains—toward sustainable living, toward balance, and toward changing the trajectory of doom on which we are currently headed.Item Untitled(英語學系, 2017-03-??) Shruti DesaiEnvironmental time is one of the most pivotal yet least explicated issues raised by anthropogenic environmental change. This essay contributes an understanding of this issue by exploring the temporalities of ethical regard and disregard for trees in the context of urban timescapes. The exploration of ethical urban temporalities is organized around three digital artistic interventions focused on Paris (One Heart One Tree), New York City (PopUP Forest), and London (Trees on Sidewalks). These interventions are examined as ecocritical case studies, which aim to confront and subsequently rearticulate human-tree relations, using the city as a material and symbolic site to facilitate ecological awareness and disruption. Each case study is discussed with respect to how environmental time is at once magnified and muted, foregrounded and marginalized, by a given intervention, whose timespan and relationship with the temporalities of urban living are as much ethical considerations as is the temporal logic of capitalism that mediates against inhabiting human-tree relations with care and consideration. The use of digital media in each case is discussed with respect to how the interventions differentially make urban ecological temporalities (in)visible. The essay suggests ways in which the interventions stimulate reflection on employing digital media technologies in art, research, and everyday life to make empirically accessible and theoretically meaningful the elusive but substantial role of time in facilitating human care about and for trees.