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, 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 Untitled(英語學系, 2017-03-??) Beatriz Penas-IbáñezThe present analysis of strategic narrative empathy in Rushdie’s life narrative Joseph Anton: A Memoir (2012) is rooted in cultural narratology and complemented by the explanatory tools provided by the Girardian theory of violence as the outcome of a vicious circle set off by mimetic desire. René Girard’s theory has been confirmed by the latest neuron system research findings. Bakhtinian dialogical hermeneutics linguistically frames the former accounts in terms of both successful empathic human communication and its failure when the right conditions for it are not met. The relevant textual and contextual aspects of Rushdie’s life narrative—including the fatwa affair as thematized in Joseph Anton—are included in the present analysis with a view to explaining the causes for Rushdie’s defense of parrhesia. Parrhesia, as defined by Foucault, explains Rushdie’s central concerns after the fatwa, and the defense of free speech becomes a central empathic strategy deployed in Rushdie’s memoir. Joseph Anton’s highly empathic textuality is shown to rely heavily on Rushdie’s intertextual exploration of The Moor’s Last Sigh in the memoir. Rushdie's life narrative adds empathetic momentum by means of a very apt use of this and other relevant intertextual allusions, especially to Ernest Hemingway’s theory of literary truth.Item Untitled(英語學系, 2016-09-??) Lourdes López-RoperoThis paper addresses the underrepresentation of autobiographical texts in studies of narrative empathy by drawing attention to the humanitarian narrative as an apt example of this conjunction, given its reliance on the work of empathetic identification. I propose a reading of Jamaica Kincaid’s My Brother (1997) and Edwidge Danticat’s Brother, I’m Dying (2007) as humanitarian narratives which, through their appeals to empathy, ask readers to recognize their fundamental sameness and shared vulnerability with the distant others at the center of the texts, and also seek to expose and redress their deprivation of individual rights. The pairing of these texts offers opportunities to scrutinize the complex workings of empathetic identification by looking at, for example, how certain narrative representational choices, themes or techniques potentially favor or block its construction, as well as how the relational dynamics specific to familial memoirs impinge upon their capacity to elicit empathetic responses in readers. Both authors exploit the richness and generic undefinability of autobiography, with its double referential and anti-mimetic impulse to generate empathy, combining the impact of the personal story with the effects of narrative techniques ranging from characterization and transportation to repetition or the epiphany.Item Untitled(英語學系, 2016-09-??) Luis GalvánThis paper discusses, from a system-theoretical perspective, the role of empathy and emotional involvement in literary studies. In general, empathy appears on different levels: as an element in the content of fiction, as a response by the average reader, and as an analytical tool for literary scholars. As for the latter, the object of empathy is often an authorial figure who is meant to warrant the “appropriate” emotional response. In this frame, criticism and authorship may be said to play correlative roles, and consequently affective criticism describes itself as enhancing the empathic response to literature. However, such criticism may naturally have certain biases with regard to texts and topics of greatest interest, and a focus on particular empathetic effects of texts might lose sight of how empathy works more generally in the system of literary communication: how it arouses interest for example, and discriminates between high and low literature. Thus I want to argue that criticism can detach itself from the role of the emotions in order to question their cognitive or practical value. I also want to suggest that the study of literature as a system of communication, by taking into account the systemic role of empathy and the emotions, could achieve a deeper understanding of text processing activities, in species-typical ways and also in conventional frameworks, and a clearer grasp of both individual and social levels.Item Untitled(英語學系, 2016-09-??) Arthur W. FrankEmpathy is understood as dependent on knowing others’ stories. Storytelling is a practice that seeks to establish empathic relations by offering listeners a moral imagination of others’ worlds, what identities are possible in those worlds, and what actions are indicated by those identities. Four stories are discussed in which empathic relations either happen or fail. Complexities include respecting how stories affect others without agreeing with those stories, and deciding which stories to honor among different stories that someone may tell.