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。
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Item Cross-Media, Cross-Promotion: Intermediality and Cultural Entrepreneurism in Postsocialist China(英語學系, 2017-09-??) Rui KunzeThis essay conducts a case study of the cultural entrepreneur Guo Jingming (郭敬明) in order to examine intermedial practices in current China's cultural entrepreneurism and their social and political implications. Focusing on Guo's entrepreneurial practices between 2006 and 2016 with the young adult-oriented mook Zui Novel (最小說 Zuixiaoshuo) as the core product, I look into his crossmedia building and promotion of his cultural persona, his company's strategy of creating young author-cum-idols, and the intermedial production of Guo's bestseller trilogy Tiny Times (小時代 Xiaoshidai). In these practices, old and new media converge to cross-promote cultural products. Guo's cultural entrepreneurism explores and exploits the Me-Generation's narcissism, self-pity, and strong desires for both cultural participation and self-promotion. The young consumer's interest in participation is courted yet contained for commercial ends. Meanwhile, Guo Jingming presents himself as the embodiment of the self-improving and self-enterprising ethos of economic neoliberalism. His connection with state cultural institutions is therefore downplayed in this brand image.Item Papa, Can You Hear Me Sing? Reinventing Intermedial Urban Space in Early 1980s Taiwan(英語學系, 2017-09-??) 鄧紹宏; Shao-Hung TengThis paper situates the proliferating media culture of early 1980s Taiwan against a social backdrop characterized by urbanites' malleable living environment. I argue for a reconsideration of urban space less as blueprinted or represented than as brought together by intermedial nexuses and collaborations. To do so, I study three media works-a video art work, a feature film, and a street performance-to illustrate their interrelations. By foregrounding the identity of mainlander veterans and their vanishing homes as underlying all three media works, I illustrate how intermedial networks help foster a collective citizenship that acutely reflects the issue of urban dwelling. A refocus on intermedial practices takes up issues of displacement, embodiment, and mobility, keys to teasing out body-environment relations in Taiwan's ultra-urbanizing era.Item Sounding Shanghai: Sinophone Intermediality in Jin Yucheng's Blossoms(英語學系, 2017-09-??) Yunwen GaoThis paper examines the reconstruction of Shanghaineseness through intermedial experiments in Jin Yucheng's Mao Dun Literature Prize-winning story Blossoms (繁花 Fan Hua, 2013). The story, which originally featured a heavy use of idioms from Shanghainese, was initially serialized on longdang.org in 2011. It went through multiple revisions and took its current shape as a book-length novel one year after being published in Harvest in 2012. During the revisions, the author significantly altered the component of fangyan expressions in order to speak to a broader Sinophone readership. In the first section, I discuss the incorporation of features of Internet literature in the book by tracing the cross-media adaptation of the story with regard to the choice of languages and the use of aural elements. In the second section, I focus on Jin's integration of interactive storytelling strategies borrowed from the Wu fangyan literature and culture, and how the use of the online medium made it possible to disrupt the linear construction of history. Finally, I situate Jin's story within the network of Sinophone cultures to see how he re-enacts contemporary representations of Shanghai through cinematic aesthetics evident in Sinophone cinema from Hong Kong and Taiwan. In all three aspects, rendering sounds and voices in written forms plays a crucial role in the narrative. Through intermedial practices that reinvoke linguistic, literary, and cultural traditions in fangyan and Sinophone cinematic aesthetics, Blossoms challenges the linearization of history in the PRC's official history writing and reconstructs Shanghaineseness through a process of reshaping that involves sounds, voices, and lived experiences of the city of Shanghai.Item Korean Shamanic Experience in the Age of Digital Intermediality: Park Chan-kyong's Manshin(英語學系, 2017-09-??) Jecheol ParkDespite the recent increased interest in Korean shamanism in Korean film studies, most relevant publications have tended to confine their discussions only to the question of the legitimacy of Korean films' representations of Korean shamanism. In doing so, existing Korean film scholarship has not yet substantially explored equally important questions such as: What different aesthetic techniques have the Korean films about shamanism employed to represent and/or express the subjective and objective experiences of Korean shamanic rituals? What are the socio-cultural and political implications of these cinematic engagements with Korean shamanism? The need for a closer look at these issues has become more obvious as new, more experimental Korean films and other forms of media dealing with shamanism have appeared during the past decade. Park Chan-kyong's experimental documentary Manshin: Ten Thousand Spirits (2013) is especially notable in this regard since it employs digitally-enabled intermedial techniques. This paper explores the ways in which Manshin’s use of these techniques is able to express the cultural otherness of Korean shamanism. I will argue that this film’s hypermediated use of several intermedial techniques enables it to express the fantastic quality of trance-like shamanic experiences, rewrite the biography of shaman Kim Keum-hwa and the history of Korean shamanism in the form of materialist historiography, and profane shamanic practices against the recent tendency to spectacularize them. In this regard, Manshin can be seen to significantly contribute to a reimagining of the postcolonial nation of Korea as one that is irreducibly heterogeneous and open to new socio-cultural possibilities.Item Screening the In-Between: Intermediality and Digital Dystopianism in Contemporary Chinese Film and Fiction(英語學系, 2017-09-??) Heather InwoodThis article uses Chinese popular narratives rooted in and circulated via the internet to investigate what effects it might have on texts that move through the internet in the process of adaptation or transformation from one cultural form to another. By juxtaposing the analysis of mainland Chinese films based on writings first published on the web, namely the 2012 films Caught in the Web (搜索 Sousuo), directed by Chen Kaige (陳凱歌), and Mystery (浮城謎事 Fucheng mishi), directed by Lou Ye (婁燁), with online fiction that expands the storyworlds of blockbuster films, such as the 2007 novel Infinite Horror (無限恐怖 Wuxian kongbu) by zhttty, this article focuses on the discursive role intermediality plays in literature-to-film and film-to-literature adaptations. I show how all three works share a preoccupation with the ＂in-between,＂ a term closely related to intermediality. In these texts, the in-between is replete with struggles between different forms of agency facilitated and limited by digital media. The connotations that the internet carries as a form of intermediality are, however, dependent on the creators’ own experiences and beliefs about the impact of digital media on contemporary society. In some cases, their work suggests the normative project of digital dystopianism, a predominantly negative outlook on the dangers digital technologies pose to morality and social institutions. In others, it points to a liberating creative agency that allows cultural producers to use the internet to forge new stories and meanings out of a global archive of popular culture.Item Mail-Order Brides and Methamphetamines: Sinophone Burmeseness in Midi Z’s Burma Trilogy(英語學系, 2017-09-??) Melissa Mei-Lin ChanMidi Z’s Burma Trilogy—the films Return to Burma (2011), Poor Folk (2012), and Ice Poison (2014)—was covertly shot in Myanmar, formerly known as Burma, when much of Myanmar’s cinema was still under state control. Considering the political climate and restrictions in cinematic production, I argue that Midi Z’s films highlight the inextricable connection between cultural and economic precarity of the subjects depicted. Rather than being simply documentary or fiction, Midi Z’s Burma Trilogy occupies an interstitial space that allows for the remaking of identity that considers economic stratification and cultural negotiation. From depicting the lives of a scooter taxi driver, human traffickers, and drug dealers among others, the films emphasize the ways in which marginalized communities can co-opt structures of power and develop their own means of power even under oppressive regimes. Precarity does not simply serve as a limitation and is, instead, a position that is at once marginal but capable of reconfiguring cultural hegemonies. Though their Sinophone Burmese representation, Midi Z’s films critique what it means to be Chinese. Thus, Chineseness is under constant negotiation in the Burma Trilogy through the characters’relationships with their own ethnic identities, overturning the understanding of Chineseness as a shared identity that flattens local inflections and differences and focuses on the confluences of subjective identities and economic exchange.