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 「君子動口也動手」：《哈姆雷特》與《羅密歐與茱麗葉》中的武器與打鬥(2010) 楊博涵; Po-han Yang本論文旨在探討《哈姆雷特》與《羅密歐與茱麗葉》中武器與打鬥的功能與意義。武器與打鬥在兩劇中占有重要地位。劇中的君子，諸如哈姆雷特與羅密歐，不僅能言善道，更運用武器與打鬥做為解決爭端的手段。本論文分為五章：「緒論」首先說明武器與語言在兩劇中的交互遊戲。劇本中關於武器與打鬥的舞台指示雖然有限，學者與導演們對於打鬥場景的詮釋解讀卻因而呈現諸多風貌；另一方面，語言亦可視為一種虛擬武器。角色間一來一往的對話宛如鬥劍，其殺傷力訴諸於耳，直指人心。本章亦解釋將「版本學」做為研究立足點的必要性及「文本不穩定性」可能拓展的討論空間。論文第一章探索不同版本《哈姆雷特》中的打鬥如何影響並決定角色型塑。第二章討論在《羅密歐與茱麗葉》中語言如何再現或扭曲打鬥，並指出爭鬥僅能以武力解決，希冀以武力維持和平的宣稱本身即是暴力。第三章則將劇本與舞台視為戰場，不只劇中角色彼此競爭，莎劇亦成為學者們爭論的場域。「結論」概述全文重點所在，並以「交叉法」美學閱讀供讀者酌參。Item Untitled(英語學系, 2016-03-??) Wilburn HansenNative Japanese writing or jindai moji (age of the gods script) discourse creates the cultural memory of a native Japanese writing system that never actually existed, and functions as a tool for establishing power and clarifying group identity. Another important function of this constructed cultural memory of native writing is to defend the honor of Japanese culture and argue for ethnic superiority over competing Asian cultures. This discourse attempts to proclaim the authority of those seeking divine legitimacy, using arguments based on the attribution of power to the Japanese gods. Here it will not be claimed that this native writing system was ever used to communicate messages. Rather, the conception of a native Japanese symbol system, one said to have been used by ancient Japanese authority figures, gods and their descendants who ruled Japan to demonstrate their superiority and the legitimacy of their rule, will be further explored.Item 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 Untitled(英語學系, 2016-03-??) Wilburn HansenNative Japanese writing or jindai moji (age of the gods script) discourse creates the cultural memory of a native Japanese writing system that never actually existed, and functions as a tool for establishing power and clarifying group identity. Another important function of this constructed cultural memory of native writing is to defend the honor of Japanese culture and argue for ethnic superiority over competing Asian cultures. This discourse attempts to proclaim the authority of those seeking divine legitimacy, using arguments based on the attribution of power to the Japanese gods. Here it will not be claimed that this native writing system was ever used to communicate messages. Rather, the conception of a native Japanese symbol system, one said to have been used by ancient Japanese authority figures, gods and their descendants who ruled Japan to demonstrate their superiority and the legitimacy of their rule, will be further explored.Item Language, Migrancy, and the Literal: Ha Jin’s Translation Literature(英語學系, 2014-05-??) Haomin GongThis article discusses translation literature in Ha Jin’s writing. It starts by examining the obvious disjunction between subject matter and language in Ha Jin’s writing. What is unique about Ha Jin is that his idiosyncratic use of English destabilizes some key concepts that are so relevant today, such as exile, diaspora, national identity, and language-based literature. Then, I venture to argue that he carves out a unique place in the field of émigré Chinese writing, and creates a form of what I would call translation literature. The literalness in Ha Jin’s play with languages not only creates a defamiliarizing effect and a sense of humor for his readers, but also reveals the absurdity of imprisonment of a language. Laying bare the linguistic confinement and, by extension, political constriction caused by a language, translation literature foregrounds the importance of migration of languages and deterritorialization of them, and thus destabilizes the categorization of national literatures that is still largely based on linguistic determinism. In all, Ha Jin’s writing provides us with a salient sample through which to reflect on literary production in an age so marked by border-crossings of all kinds.