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-??) Kyoung-Lae KangIn this essay I explore the Korean blockbuster, a film genre that enjoyedpopularity in South Korea as a local translation of the Hollywood blockbuster. Inexamining this hybrid cinematic form, I focus on the cultural dynamics informingthe genre’s ambivalent—at times even contradictory—aspirations toglobalization and localization, with both trends accelerating in Korea. As aparticularly poignant blockbuster film, The Good, the Bad, the Weird (dir. Jeewoon Kim, 2008) may well showcase and expand this complicated equation,particularly through its apparent adoption of several genres, including theManchurian Western. As a Korean sub-genre that was popular in the 1960s,Manchurian Westerns stage Manchuria of the 1930s, in which the Koreanpeople’s fight for the nation’s liberation from the Japanese occupation played outin part, thus inevitably converging on the theme of mimicry and post-colonialismthat has emblematized the Korean blockbuster’s genre-defining desire. In anattempt to understand the intercultural dynamics that inform this hybrid genre, Irely on contemporary post-colonial theory and film genre theories. I illustratehow this film—and the Korean blockbuster more generally—interplays withever-changing notions of Korean national boundaries and Koreanness todayItem Ungendered Narrative: A New Genre in the Making(英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita GhosalThis paper focuses on ungendered narrative with reference to select fictional works, to shed light on the elements that define the genre. One or more characters with an undisclosed gender are the focal point of the narrative. The paper discusses techniques that authors employ to keep gender hidden, such as employing inventive gender-neutral pronouns or not using them at all. First- and second-person points of view are also common modes of narration, as “I” and “you” are gender-neutral. In depicting characters, authors consciously merge masculine and feminine stereotypes to create gender-secretive characters. The heterosexual love interest that has hitherto ruled the creative world is thus replaced by endless gender possibilities with which a couple may identify. Love, rather than the characters’ gender, is at the forefront of these works. These narratives confront readers with the importance they assign to gender and heir habit of pigeonholing certain behaviors, characteristics, and tendencies into a binary gender system. They force readers to question gender segregation and the consequences of choosing to defy the gender one is assigned at birth. Ultimately, these narratives ask whether gender matters in life.Item ＂The Misplaced Familiar＂: Aesthetic Crisis in China Miéville's The City & The City(英語學系, 2017-09-??) Justin PrystashChina Miéville’s novel The City & The City (2009) presents the city as a massively ramified ecosystem that comprises humans, other species, and objects, and is also embedded in larger systems like capitalism and environmental catastrophe. Cities are so deeply textured, and so continually scattered by the circulations of their component parts, that we cannot perceive them as a whole; the borders we use to define them are ultimately arbitrary. I argue that this perceptual disorientation, or aesthetic crisis, embodies the politics of the novel. Miéville depicts the continuous crises of urban existence-chemical spills, refugees seeking asylum, even a weed growing in the wrong place-as so many possibilities for metonymically grasping the larger ontological and political reality. Crisis does not entail a specific political (or artistic) response, however, since it can traumatize into complacency and xenophobia just as easily as expand one’s commitments. The same kind of aesthetic crisis is provoked by the novel itself, because it frustrates expectations and eludes a clear genre, and readers can respond in analogous ways: with the urge to impose allegorical meaning and genre borders, or with a more refined perceptual sense. Thus, the form of the novel cleverly reflects its content and, in both cases, we are pushed to renew our sense of wonder at the strange alterity that inheres in the familiar and proximal.Item Understanding Genre in Use(英語學系, 2012-11-??) 戰麗莉; Lili ZhanThe past fifteen years have witnessed a dramatic re-conceptualization of genre and its role in the production and intepretation of discourse in which genre analysis has been transformed from a descriptive to an explanatory activity. Bhatia's (1993) cognitive structuring model integrates sociology, psychology and linguistics with genre study. According to Bhatia， cognitive structuring is composed of moves, which are in tum realized through strategies. The present study, taking prepared public speeches (PPS) as data， conducts a genre analysis within Bhatia's famework. This paper aims to investigate the cognitive structuring of English PPS, examine typical strategies which speakers choose to convey their communicative purpose and explore the factors that influence speakers' choices, and uncover linguistic realizations of moves and strategies. This study reveals that: (1) a strategy does not solely belong to a definite move; it may appear in other moves as well; however, the function differs ， (2) the choice of strategy is principally determined by a speaker's communicative purpose and influenced by the subject of the speech, the audience, the place, and the occasions， (3) sequencing of moves displays a great flexibility, which to some degree reflects the dynamic nature of genre. The research findings are assumed to promote understanding of how writers/speakers select strategies to achieve their communicative purposes within the constraints imposed by the genre to which that discourse belongs