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 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 林宗源台語詩的性和愛(2010) 蔡豐安; Tsua Hong-An第二次世界大戰終戰後,林宗源應該是台灣第一個寫台語詩的人。 林宗源是1935年農曆4月16日子時,出世佇台南府城無尾巷。伊真早就開始寫詩,大概佇16、7歲初中e時就開始練寫詩,毋擱兮是伊按小學五年去讀私塾跟漢學仔仙學漢文後,佇初一e時陣學寫唐詩(七絕) ,bat寫過三首舊詩,因為伊認為無合文學創作的道理,嘛無合新文學韻律、形式自由無拘束的創作原則,就放棄啊,改寫新詩。 終戰後,詩人林宗源佇高中的時陣,真早就用伊純真的心,專心去深思欲按用台語來寫詩,而且試用台語句法來從事台語詩創作;伊佇1964年加入「笠詩社」,1976年得到吳濁流新詩獎,1987年參加台灣筆會,是發起人之一,1991年5月25日創立蕃薯詩社擔任第一任社長,1994年得到榮後台灣詩獎,1996年8月25日佇第16屆世界詩人會議日本大會,得着「名譽文學博士」,1997年7月擔任「台語文推展協會會長」。2004牟8月得到鹽分地帶文藝營「台灣新文學貢獻獎」。 自古以來,〝男女之間的愛情〞一直是作家和詩人迭迭咧寫,而且是寫未完的題材,毋擱,講到性,小說作家嘛迭迭會去寫到,而且寫到有夠精彩,親像一幕幕的實景呈現佇讀者眼前。對詩人來講,情形完全無仝,佇人類的詩史內,較少有詩人咧寫描述性愛行為的性愛詩的歷史現象;這款情形,隨著人類對性有擱較深入的認知,社會愈來愈進步嘛愈開放,一定會改變e。 人稱「台語詩之父」 的林宗源,佇愛情詩性愛的探索和創新的技巧,實在是值得學術界來做深入的研究。林宗源佇少年的時陣,真緣投,佇高中的時,就有交12個女朋友,佇1955年,就有寫一首和伊初戀的對象-其美有關的詩〈中央山脈的戀歌〉,表達了林宗源對青春女友-其美的愛慕和欣賞的詩。1954年,高三下學期畢業前2個月得到風濕症,休學佇厝裏,感覺前途烏暗,想講袂當予女友幸福,就故意誤解伊罵伊,為著欲和其美分手,寫一首〈病thai死咱的影〉,兩個人就因為安爾的誤會,才來分開。好佳哉,伊利用前後二遍休學總共歇睏一年四個月的時間,拼命看真濟世界名著、中國名著、天文地理哲學等種種冊,成做以後寫作的本錢。了後,林宗源就kah男女之間的小愛,轉移到對台灣這塊伊家己生長的土地的大愛,將近參拾年的時間,除了家己的牽手,毋捌閣和別個查某產生有愛情的關後。一直到1984年2月28日,寫了〈予我一暝的愛〉,表達了伊長久以來除了牽手的翁某感情外,半世人的感情世界竟然一片空白,佇這首詩內,伊表達了對愛情深深的映望。此後伊所創作的詩,雖然猶有寫各類的詩,毋擱就迭迭出現有關愛情的詩,甚至性愛行為、動作、表情和數念的描寫的性愛詩,到2008年12月27日寫出予差伊大概七歲左右的日本女詩人愛人的〈做愛的時陣〉,攏總差不多有二百外首。 本篇論文,除了會甲林宗源的生平做一個詳細通盤的紹介,也會就林宗源的詩觀和伊按怎寫詩做一個大概的介紹,上重要欲介紹予讀者的是林宗源相當傑出的性愛詩的分析和比較。Item Fear and Love in the Tide Country: Affect, Environment, and Encounters in Amitav Ghosh's The Hungry Tide(英語學系, 2018-09-??) Shu-ching ChenThis paper examines Amitav Ghosh's novel The Hungry Tide (2004) to explore Ghosh's dramatization of the affective impacts of a specific environment on local subjects and the role of cosmopolitan subjects play in translating those affects into knowable forms through their embodied and affective encounters with the local. My investigation draws upon recent theories of affect-negotiating between constructive and deconstructive views- and places the discussion in a framework of eco-cosmopolitan connections. By invoking the coexistence of the affects of fear and love, I seek to move beyond the concept of the uncanny, exploring affect both as emotions and intensity generated by the socio-ecological conditions of the wetlands. I take the affective encounters between the locals and the cosmopolitans as a relational medium through which modes of feeling and knowing on the part of cosmopolitan subjects can be transformed. The uncanny of the environment experienced by the local can also be translated into accessible forms through this medium, bringing into our sensory ken the slow violence that is far away and out of sight and thereby enabling ethical actions.