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。
News
Browse
4 results
Search Results
Item Untitled(英語學系, 2015-05-??) Jaesik ChungThis article attempts to offer a new mode of the baroque by juxtaposing Bateson’s notion of plateaus and ecology with the Deleuzian neo-baroque. Inspired by Bateson’s plateaus, this paper defines the Deleuzian baroque as the baroque of plateaus and examines how Deleuze grounds the possibility of nonhuman ecstasy in the sacredness of immanence at the heart of the seventeenthcentury Christian baroque. Drawing on Naess’s ecological reading of Spinoza’s Ethics in the context of Bateson’s immanence, “plateaus” can be defined as an ecological assemblage of the non-human ecstasy of immanence. The philosophy of plateaus features the profound art of avoiding the obsessive and excessive fixation on the orgasmic climax and “the exterior and transcendent ends” in Occidental thought. Informed by the logic of plateaus, this paper then examines how Deleuze converts Leibnizian baroque folds and harmony into the ecological cosmology of immanence, which features the magnificent and smooth waves of plateaus orchestrated by the graceful concertation of an infinite number of monads. In this cosmological space of immanence, this paper explores how Deleuze excavates the non-human ecstasy that dynamically flows into the texture of Bernini’s The Ecstasy of St. Teresa by concentrating on the process of defacializing the facialized human-based Christian ecstasy.Item Fear and Love in the Tide Country: Affect, Environment, and Encounters in Amitav Ghosh's The Hungry Tide(英語學系, 2018-09-??) Shu-ching ChenThis paper examines Amitav Ghosh's novel The Hungry Tide (2004) to explore Ghosh's dramatization of the affective impacts of a specific environment on local subjects and the role of cosmopolitan subjects play in translating those affects into knowable forms through their embodied and affective encounters with the local. My investigation draws upon recent theories of affect-negotiating between constructive and deconstructive views- and places the discussion in a framework of eco-cosmopolitan connections. By invoking the coexistence of the affects of fear and love, I seek to move beyond the concept of the uncanny, exploring affect both as emotions and intensity generated by the socio-ecological conditions of the wetlands. I take the affective encounters between the locals and the cosmopolitans as a relational medium through which modes of feeling and knowing on the part of cosmopolitan subjects can be transformed. The uncanny of the environment experienced by the local can also be translated into accessible forms through this medium, bringing into our sensory ken the slow violence that is far away and out of sight and thereby enabling ethical actions.Item Untitled(英語學系, 2017-03-??) Gry UlsteinThis paper investigates and compares language and imagery used by contemporary ecocritics in order to argue that the Anthropocene discourse contains significant parallels to cosmic horror discourse and (new) weird literature. While monsters from the traditional, Lovecraftian weird lend themselves well to Anthropocene allegory due to the coinciding fear affect in both discourses, the new weird genre experiments with ways to move beyond cosmic fear, thereby reimagining the human position in the context of the Anthropocene. Jeff VanderMeer’s trilogy The Southern Reach (2014) presents an alien system of assimilation and ecological mutation into which the characters are launched. It does this in a manner that brings into question human hierarchical coexistence with nonhumans while also exposing the ineffectiveness of current existential norms. This paper argues that new weird stories such as VanderMeer’s are able to rework and dispel the fearful paralysis of cosmic horror found in Lovecraft’s literature and of Anthropocene monsters in ecocritical debate. The Southern Reach and the new weird welcome the monstrous as kin rather than enemy.Item Untitled(英語學系, 2015-05-??) Jaesik ChungThis article attempts to offer a new mode of the baroque by juxtaposing Bateson’s notion of plateaus and ecology with the Deleuzian neo-baroque. Inspired by Bateson’s plateaus, this paper defines the Deleuzian baroque as the baroque of plateaus and examines how Deleuze grounds the possibility of nonhuman ecstasy in the sacredness of immanence at the heart of the seventeenthcentury Christian baroque. Drawing on Naess’s ecological reading of Spinoza’s Ethics in the context of Bateson’s immanence, “plateaus” can be defined as an ecological assemblage of the non-human ecstasy of immanence. The philosophy of plateaus features the profound art of avoiding the obsessive and excessive fixation on the orgasmic climax and “the exterior and transcendent ends” in Occidental thought. Informed by the logic of plateaus, this paper then examines how Deleuze converts Leibnizian baroque folds and harmony into the ecological cosmology of immanence, which features the magnificent and smooth waves of plateaus orchestrated by the graceful concertation of an infinite number of monads. In this cosmological space of immanence, this paper explores how Deleuze excavates the non-human ecstasy that dynamically flows into the texture of Bernini’s The Ecstasy of St. Teresa by concentrating on the process of defacializing the facialized human-based Christian ecstasy.