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, 2020-03-??) Kai-su WuMichael Ondaatje’s The English Patient (1992) has been celebrated for itsdramatic scenario tying together themes of espionage, nationalism andtraumatic love during the Second World War. Seeking to extend the novel’smost commonly explored topics regarding the problem of Western humanismand the characters’ troubled identities, this article offers an ethical examinationof it. It brings Ondaatje’s novel into a dialogue with Levinas’s response to thedead end of humanistic enterprise in the West, by critically drawing on the threewriters’ discussion of face, patience, and eros as conduits through which aremoval of ontological aggrandizement of the self is envisioned. Derrida’scriticism of Carl Schmitt, on the other hand, helps direct Levinas’s thread ofthought toward a more contextualized interrogation of the friend/enemydualism in wartime, during which the other is separated only to be assimilated.For Ondaatje, registering his characters’ affective mobility of identity in transitinvites readers to contemplate the long-held self-sustaining system in the West.Delving into the approaching death faced by Almásy and Katharine, Ondaatjeconsiders the act of mourning as a gesture marking a specific manner of bearingresponsibility—a form of responsibility for others that goes beyondexistentialist accounts of intersubjectivity. This consideration of the act ofmourning is shared by Levinas and Derrida, relating as it does to the ways inwhich they regard mourning as a reflection of time in patience and as an ethicalreaction to the aggressive practices of homogenization that results from theself’s one-way communication with the other.Item 倫理與恐怖: 寰宇小說與九一一(2013) 張懿仁; Yi-Jen Chang九一一恐怖攻擊是二十一世紀的前十年中最獨特和具標誌性的事件，因為此事件為人類最深層的恐懼定調。九月十一日這個日期無疑地標誌了我們在認知層面深陷於恐懼和安全，危機和秩序，敵人與朋友等概念的戀物般地崇拜。隨著九一一事件，一個「我們／他們」，「朋友／敵人」的分際不斷地被用以構築公共情感、國際結盟和認同的座標。我們能瞭解九一一事件對全球人類帶來的創傷，但我們也必須警覺到這個創傷被挪用為合法化美國為鞏固其全球霸權而發動的反恐戰爭的理想托辭。 本論文以九一一恐怖攻擊事件為出發點，欲探討是否仍有別於主流「我們／他們」論述的其他可能。本文的關懷在於討論這個對於九一一事件的非主流的回應如何自寰宇論述、生命政治論述、全球化理論、邊界與移動的論述以及性別與種族論述的重重對話中產生。本論文據此試圖爬梳出一個能跨越國家邊界且能涵蓋當代人類經驗的回應。我認為寰宇論述內在的政治承諾與倫理責任的深刻意涵能夠使我們抽離受限於國家邊界的個別經驗而以全人類作為理解九一一事件的參照點，生產出我們對九一一事件的非主流回應，免於被收編於一個霸權式的大論述中而抹除了個體的獨特單一性的微觀論述。藉由寰宇論述及其倫理意涵的批判視角作為方法論，本文認為Ian McEwan的 《星期六（Saturday）》，Joseph O’Neill的 《荷蘭 （Netherland）》 與Mohsin Hamid的《拉合爾茶館的陌生人（The Reluctant Fundamentalist）》不能因其書寫者之國籍簡約歸類為當代英國小說，美國小說或南亞裔小說，也不能因其書寫內容關乎九一一恐怖攻擊此一「全球」事件而將之歸類為世界文學。本文認為這些小說作家自身及筆下人物背景呈現的多國連結的複雜性及對九一一事件之回應揉合了他者的再現與批判應被定義為寰宇小說。本文先就寰宇小說之關懷對象與再現策略定調，進而藉由重思德希達的aporetic hospitality和對他者的責任的概念與全球危機和美國霸權間的對話以分析小說中所再現九一一事件中被妖魔化的他者來討論寰宇論述與實踐如何真正公平對待全球危機與恐怖威脅下的真正「受害者」。Item 史伯丁．葛瑞、安娜．德維爾．史密斯與艾瑞克．伯格森等三位單人獨白劇中的表演策略(2007) 張嘉怡; Philip Chang本論文藉由班雅明(Benjamin)的「歷史概念」(history)、列維納斯（Levinas）的「他者的倫理責任」（ethical responsibility for the other）與利普茲(Lipsitz)「相對記憶」(counter-memory)的概念探討史伯丁．葛瑞(Spalding Gray)，安娜．德維爾．史密斯(Anna Deavere Smith)與艾瑞克．柏格森(Eric Bogosian)等三位美國劇場界中單人獨白劇裡的表演策略。此一探究表演策略主要是分析三位表演者如何運用外在的模仿，例如肢體動作、言談模式、服裝與聲調等，再現社會／政治／文化他者。此社會／政治／文化他者是指於主流社會中被排擠至社會邊緣不具任何發聲機會的邊緣人。由於三者的作品，不論是在內容與形式上，均承襲由30至60年代發展出的紀錄劇場(documentary theater)。因此，第一章除了追溯紀錄劇場的歷史背景外，亦探討其對史伯丁．葛瑞、安娜．德維爾．史密斯與艾瑞克．柏格森等人於創作上的影響。此外，筆者亦彙整評論家對此三位表演者的批評，並點出批評者於分析三位表演者作品時的盲點。 第二章著墨於史伯丁．葛瑞的《泳至高棉》(Swimming to Cambodia)與《盒中怪物》(Monster in a Box)二齣劇中如何藉由敘述與表演策略(narration and performance strategies)學習歷史真相過程中如何呈現劇中所謂社會/政治他者(social/political Other)。兩部作品均是以主人翁葛瑞敘述他自己的記憶(memory)為主軸。這些社會/政治他者是指《泳至高棉》劇中主人翁葛瑞於泰國拍戲時，所遇到在越南戰爭中存活下來的高棉人與泰國當地人。藉由與這些人的接觸，劇中人葛瑞得之關於高棉的歷史、美軍介入越戰的經過與美軍秘密轟炸高棉的活動。過程中，劇中人葛瑞了解到歷史真相的殘酷。《盒中怪物》則是描述主人翁葛瑞於尼加拉瓜為電影公司找尋拍攝題材時，經由與當地人接觸而得知美軍介入尼加拉瓜內政過程中，如何凌虐當地戰犯的歷史。 第三章探討安娜．德維爾．史密斯之《曙光:洛杉磯，1992》(Twilight: Los Angeles，1992)與《鏡中火》(Fires in the Mirror)二劇中史密斯如何運用她的受訪者的話語為其二劇的素材。除了探究史密斯如何以劇作者與表演者此二身分客觀地挪用訪談者的話語呈現他者之外，本章亦分析史密斯如何藉由模仿其受訪者的肢體與語言來呈現這些受訪者。《曙光:洛杉磯，1992》與《鏡中火》二劇均紀錄人們對於種族暴動後的想法與態度的作品。前者是紀錄於1992年發生於洛杉磯的暴動，導火線是一支為新聞媒體播放錄到白人警察毆打黑人的影帶；由於事後白人警察被宣判無罪而引起暴動。為了解造成暴動真正的原因，史密斯訪問了與此一事件有直接或間接關聯的人的想法。《鏡中火》則是一齣關於1991年發生在紐約黑人區暴動的作品。原由是猶太人駕駛闖紅燈導致一位黑人男童死亡與一位黑人女童嚴重受傷。數小時後，一群年輕黑人於街角刺死一位來自澳洲的猶太人。暴動於焉產生。如同《曙光:洛杉磯，1992》，此一作品中的人物都是史密斯所訪問的人。 第四章討論艾瑞克．柏格森的《性、毒品、搖滾樂》(Sex, Drugs, Rock& Roll)與《歡樂屋》(Funhouse)兩劇中柏格森如何經由模仿所謂社會／文化他者(social/cultural Other)的肢體與話語來批判資本主義社會下各眾生相之生活百態。《性、毒品、搖滾樂》紀錄了九零年代人們對於性、毒品與搖滾樂的態度；藉由此一態度與社會低下階層人物的描繪柏格森批判資本主義所造成的社會問題，例如毒品氾濫、性濫交、勞工剝削與犯罪問題。《歡樂屋》一劇則可被視為《性、毒品、搖滾樂》一劇的雛型，此一作品的重心在於描繪資本主義中上層與下層社會裡人們的生活百態，包含勢力的商人、流浪漢、假博愛主義者與失意的藝術家。如同葛瑞與史密斯的表演策略，柏格森的策略亦是模擬這些現實生活中人的語言、體態、行為舉止與聲調。 第五章除了指出三位表演者於呈現劇中社會／政治／文化他者時無意識地將這些他者化約為語言，肢體與外表的元素之外，筆者亦探討「自我」（self）如何壓抑「他者」（the Other）的發聲，而「他者」又如何在壓抑、被動中尋得發聲的機會，展現與「自我」的不同。這種獨白往往因為政治意識或其他的意識形態而剪裁、選擇，甚或編纂了自己原先所經歷的事物，導致無法原始地呈現出歷史事件與切斷了人與自我、人與人、人與社會與人與自然等四面向於共時以及歷史的關聯性。所謂他者的生存境遇，是指他者在人與人，社會與自然等方面獲得的整體性認識和體驗。可以從共時性地解釋生存境遇與戲劇語言的關係，從理論上分析他者境遇是引起戲劇語言發生變化的主要動力；與歷時性地描述戲劇語言的變化，在實踐中核對總和考察他者境遇對戲劇語言的影響。因此，社會性（social context）與歷史性（historical context）時為探討他者再現(representation of the Other)時必須考量的面向，而不能只專注於作品本身忽略當下的政治與社會情境，以避免如同葛瑞、史密斯與柏格森等人，於探討他者再現時所可能面臨的盲點。Item 檔案書寫：麥可‧翁達傑《分離》的倫理研究(2011) 陳煒婷; Wei-ting Chen《分離》可視為麥可‧翁達傑寫作上的轉折。不同於以往關注政治及身分認同的議題，翁達傑在這本小說著重人與人之間的隱私及親密關係。著迷藝術表現的可能性及正史未說的部分，翁達傑慣於挑戰寫作的傳統及僭越未知的歷史。本文將就翁達傑的寫作風格及主題來探究《分離》中甚少被談及的倫理面向。築基於德希達的「檔案熱」(archive fever) 及列維那斯的倫理思維，筆者意欲解析小說女主角─安娜如何透過檔案書寫來回應他者的呼喚並以此轉移個人的創傷經驗。 第一章論及人們對過去的迷戀及現代身分認同政治。筆者援引德希達的「檔案熱」，企圖檢視安娜對史料的狂熱與她創傷經驗及身分危機之間的關係。第二章的討論側重於安娜尋找歷史中被消音他者的過程。本章的理論架構倚重理查‧福爾摩斯(Richard Holmes) 與蘿拉‧馬庫絲(Laura Marcus) 的論述。筆者認為透過寫作，安娜與其寫作對象之間產生了立即性及互為影響的力量。在這過程，安娜不只為歷史他者留下紀錄；相反的，他者也將喚醒安娜壓抑的過去。然而，唯有透過寫作，安娜才能間接地面對與檢視她與家人之間斷裂的關係。第三章的探討重點為檔案書寫的倫理觀。筆者挪用列維那斯的倫理論述探究安娜如何藉由回應他者的呼喚面對並了解過去的創傷。此外，透過書寫，安娜得以重新思索自我與他人的關係並建立新的倫理主體。 關鍵字：麥可‧翁達傑、德希達、檔案熱、檔案書寫、書寫他者、列維那斯、 倫理、創傷主體、《分離》Item 形式與內容之間 -- 和莫言重探時間與敘事(2016) 陳奇聰; CHEN, CHI-TSUNG1980年代的中國文壇出現了一批文學家，在創作手法與內容選材上都有新的突破。有鑒於過去的研究大多針對敘事形式、主題內容做個別討論，本篇論文選定莫言的《紅高粱家族》、《酒國》、《生死疲勞》三本小說，透過實驗性頗高的先鋒派作品中，嘗試連結文學形式與內容。就敘述形式而言，敘事學近年來開始轉向「形式的內容」，嘗試跳脫過去「形式」作為討論「內容」的附屬工具。回應中國文壇對於形式與內容的爭辯，並借鏡敘事學的轉向，本篇論文預期藉由保羅・呂格爾(Paul Ricoeur)的「三重擬像論(threefold mimesis)」來討論這三本小說在自我、敘述與時間的交互作用。 本文分成三章。第一章旨在勾勒出莫言所處的時代背景，並簡介其在近代中文學界的定位。第二章首先就呂格爾如何用「三重擬像論」來連結時間與敘事，接著討論詩學如何透過轉向倫理學，並在「敘事時間」投射出關懷(care)與責任。第三章會就自我、敘述與時間在小說裡的交互作用，嘗試回答以下問題：時間與敘述如何透過日曆時間、世代演替與檔案來產生連結？如何讓毛治時期結束後受傷、破碎的自我產生責任？三部小說的敘事時間是否具開放性，進而像評論家所言，超越線性與進步的論述？這些作品是否挑戰進步論述，還是被進步論述所侷限住？這樣的敘事時間是否加強我們的道德觀感，或反倒是弱化了我們的道德觀感？Item Untitled(英語學系, 2015-05-??) Tony See Sin HengThis paper examines the resonances between Gilles Deleuze’s and Daisaku Ikeda’s philosophy of the subject and revolution. Although much has been written about Deleuze’s and Ikeda’s philosophies separately, relatively little has been focused on the resonances between these two philosophies. This paper aims to highlight the resonances between Deleuze’s and Ikeda’s philosophy of subjectivity and their implications for contemporary revolutionary discourses. This paper does not aim to establish that the two philosophies are identical, for it is recognized that Deleuze’s philosophy developed in the context of Western philosophy and Ikeda wrote in the in the context of Mahāyāna Buddhist philosophy advocated by Nichiren Daishonin. This paper aims to argue, instead, that despite the obvious differences, there are important resonances between these two philosophies, and they need to be explored as both philosophies may both benefit from mutual dialogue and theoretical exchanges. In the first part of this paper we will examine Deleuze’s theory of the subject in the context of Western philosophy, followed by an examination of Ikeda’s philosophy of the subject in the context of Mahāyāna Buddhism. In the third part, we will examine the resonances between Deleuze’s and Ikeda’s philosophy of the subject, and consider the implications of these for social and political revolutions.Item Untitled(英語學系, 2016-03-??) Zhang DexuSince its publication, V. S. Naipaul’s The Enigma of Arrival has been read as either a national allegory or English postcolonial literature. Based on the dual models, critics are prone to getting trapped in identity politics, unable to break away from the postcolonial interpretive framework. In this essay, I revisit the issue of identity from a transnational perspective in hopes of capturing the complexity and significance that Naipaul invests in his representation of identity in this novel. Specifically, I argue that Enigma mobilizes identity not so much as a fixated category but as a radically revisionary act of knowing the self. The perspectival oscillation between the narrating ‘I’ and the experiencing ‘I’ enables readers’ access into the narrator’s emotional responses to his uneven development, whereby he comes to a fruitful understanding of human identity. Through a series of vision and revision, Enigma enacts a cognitive process of inward self-examination that culminates in a kind of ethical knowledge, unravelling identity discomfort as a universal human experience at the global moment of cultural mixing in the second half of the twentieth century. Moreover, Naipaul’s deconstruction of identity executes a critique of his own formation and thereby illuminates the great significance of recognizing the self’s foreignness to himself in cultivating cultural cohesion in a multicultural society.Item Untitled(英語學系, 2015-05-??) Tony See Sin HengThis paper examines the resonances between Gilles Deleuze’s and Daisaku Ikeda’s philosophy of the subject and revolution. Although much has been written about Deleuze’s and Ikeda’s philosophies separately, relatively little has been focused on the resonances between these two philosophies. This paper aims to highlight the resonances between Deleuze’s and Ikeda’s philosophy of subjectivity and their implications for contemporary revolutionary discourses. This paper does not aim to establish that the two philosophies are identical, for it is recognized that Deleuze’s philosophy developed in the context of Western philosophy and Ikeda wrote in the in the context of Mahāyāna Buddhist philosophy advocated by Nichiren Daishonin. This paper aims to argue, instead, that despite the obvious differences, there are important resonances between these two philosophies, and they need to be explored as both philosophies may both benefit from mutual dialogue and theoretical exchanges. In the first part of this paper we will examine Deleuze’s theory of the subject in the context of Western philosophy, followed by an examination of Ikeda’s philosophy of the subject in the context of Mahāyāna Buddhism. In the third part, we will examine the resonances between Deleuze’s and Ikeda’s philosophy of the subject, and consider the implications of these for social and political revolutions.Item Untitled(英語學系, 2016-03-??) Zhang DexuSince its publication, V. S. Naipaul’s The Enigma of Arrival has been read as either a national allegory or English postcolonial literature. Based on the dual models, critics are prone to getting trapped in identity politics, unable to break away from the postcolonial interpretive framework. In this essay, I revisit the issue of identity from a transnational perspective in hopes of capturing the complexity and significance that Naipaul invests in his representation of identity in this novel. Specifically, I argue that Enigma mobilizes identity not so much as a fixated category but as a radically revisionary act of knowing the self. The perspectival oscillation between the narrating ‘I’ and the experiencing ‘I’ enables readers’ access into the narrator’s emotional responses to his uneven development, whereby he comes to a fruitful understanding of human identity. Through a series of vision and revision, Enigma enacts a cognitive process of inward self-examination that culminates in a kind of ethical knowledge, unravelling identity discomfort as a universal human experience at the global moment of cultural mixing in the second half of the twentieth century. Moreover, Naipaul’s deconstruction of identity executes a critique of his own formation and thereby illuminates the great significance of recognizing the self’s foreignness to himself in cultivating cultural cohesion in a multicultural society.Item “[T]o be in touch with some otherness”: Memory, History, and Ethics in Brian Friel’s Dancing at Lughnasa*(英語學系, 2013-09-??) Yu-chen LinThe hybrid form of storytelling and drama in Brian Friel’s Dancing at Lughnasa (1990) has been associated with the play’s escape from history. By contrast, this essay suggests that the play’s eccentric use of narrative in conjunction with representation is shot through with history in that it registers Friel’s poetics in writing a chapter of Ireland’s moral history against the official grain. This counter-history rests on the disparity between the Mundys and the state in terms of ethics. At a time when the Free State aspired to an untenable economy to sustain the nationalist ideal of self-sufficiency, the Mundys suffer tremendously not only from economic stagnancy consequent upon state policies, but also from their estrangement from the state which defines them as the superfluous other. Dispossessed as they are, they still practice a gift economy which verges on the impossible not so much because they can barely afford giving as because, in its generosity to the other, this economy goes beyond the state’s self-other divide. This impossible gift is reconfigured, albeit problematically, by the narrator who makes sense of his past shared with his maternal family. Set in the 1960s, his memory narrative is ultimately framed by the playwright’s tribute to his maternal aunts as well as innumerable diasporans at home and abroad from the hindsight of 1990, a tribute coinciding with Mary Robinson’s extension of hospitality to her audience on behalf of the new Ireland in her inaugural speech.