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。
News
Browse
4 results
Search Results
Item Untitled(英語學系, 2016-03-??) Yanjie WangThis paper examines the traumatic experience of migrant workers through a reading of Lixin Fan’s award-winning documentary film Last Train Home (2009). I am not primarily concerned, like most trauma-studies-based research, with grand, clearly recognizable catastrophes. I also avoid generalizing about human suffering in the age of global capitalism. I focus rather on post-Socialist China’s more hidden social violence and its traumatizing effect on the quotidian life of migrant workers—a subaltern group on the periphery of society. I argue that the trauma of the marginalized population must be socially and politically contextualized. The first section of the essay investigates the traumatic sense of homelessness suffered by the film’s migrant family. I show how the family members’ loss of home is due to both the alienating capitalist mode of production and the cunning hukou system that turns migrant workers into a perpetually floating population. The second part concentrates on the painful intergenerational chasm. Here I argue that the father-daughter strife is a symptom, not just of the clash between modernity and tradition but of the falsehood maintained by neoliberal discourse. Neoliberal narratives of education and consumption construct fantasies such as that of mobility and freedom, subsuming migrant laborers within the nation’s capitalist economy and trapping them in a prison of unrealizable hopes. The film ultimately exposes and critiques the state-capital alliance that controls and deprives migrant workers through its economic, political and epistemic strategies.Item ＂An Archivist's Fantasy Gone Mad＂: The Age of Exhibition in Cao Fei's Posthuman Trilogy(英語學系, 2017-09-??) Angie ChauThis paper argues that in her recent films, the Chinese artist-filmmaker Cao Fei (曹斐, b. 1978) shows how the futility of art and technologies of exhibition is linked to the danger of overexposure to images without context, and the numbing of public consciousness. In the twenty-first century, the fear of forgetting seems increasingly obsolete in the face of social media tools like Facebook's ＂See Your Memories: Never Miss a Memory＂ feature, which excavates photos uploaded, shared, or tagged on the site years ago, reminding users to ＂look back＂ on otherwise lost memories. However, in recent Chinese fiction (Ma Jian's Beijing Coma; Chan Koonchung's The Fat Years; Liu Cixin's ＂The Weight of Memories＂), the trope of dormant memories remains noticeably prevalent, reflecting an urgent cultural concern about the conscious ＂act of deleting memories＂ (Yan Lianke) in the process of recording modern Chinese history. Whether in the form of documentary-style animation (i.Mirror, 2007), zombie-horror film (Haze and Fog, 2013), or stop-motion train-replica dioramas (La Town, 2014), Cao Fei fantasizes about a new posthuman consciousness, whose most serious trespass against humanity is not forgetting, but rather not feeling. Presenting disjointed scenes that call upon instances of trauma and surveillance, Cao's ＂posthuman trilogy＂ films suggest that when cosmopolitan memories become decontextualized, mere images no longer possess any meaningful symbolic power. Further, Cao's films demonstrate that voyeurism becomes an unavoidable yet inconsequential daily practice in the digital age of exhibition.Item Untitled(英語學系, 2016-03-??) Yanjie WangThis paper examines the traumatic experience of migrant workers through a reading of Lixin Fan’s award-winning documentary film Last Train Home (2009). I am not primarily concerned, like most trauma-studies-based research, with grand, clearly recognizable catastrophes. I also avoid generalizing about human suffering in the age of global capitalism. I focus rather on post-Socialist China’s more hidden social violence and its traumatizing effect on the quotidian life of migrant workers—a subaltern group on the periphery of society. I argue that the trauma of the marginalized population must be socially and politically contextualized. The first section of the essay investigates the traumatic sense of homelessness suffered by the film’s migrant family. I show how the family members’ loss of home is due to both the alienating capitalist mode of production and the cunning hukou system that turns migrant workers into a perpetually floating population. The second part concentrates on the painful intergenerational chasm. Here I argue that the father-daughter strife is a symptom, not just of the clash between modernity and tradition but of the falsehood maintained by neoliberal discourse. Neoliberal narratives of education and consumption construct fantasies such as that of mobility and freedom, subsuming migrant laborers within the nation’s capitalist economy and trapping them in a prison of unrealizable hopes. The film ultimately exposes and critiques the state-capital alliance that controls and deprives migrant workers through its economic, political and epistemic strategies.Item Witness and Recuperation: Cambodia's New Documentary Cinema(英語學系, 2013-03-??) Annette HamiltonThe documentary cinema of Rithy Panh has played a significant role in the effort to overcome the traumatic heritage of the Khmer Rouge era in Cambodia (1975-79). His cinema of witness advances claims for the restoration of memory as an ethical imperative, and his films have provided encouragement for the claims of justice for survivors. Witness and reenactment are central to his mode of address. A new movement has emerged in recent years from a younger generation whose work continues to explore the value of documentary in challenging the prevailing cultural amnesia and seeks to recuperate the connection between the present and the past. This paper discusses the work of some of the emerging documentary makers, highlighting their distinctive voices and visions, their debt to the style and framework of Rithy Panh's cinema, as well as new perspectives which seek to build on the past through the exploration of the value of the artists and intellectuals who preceded them.