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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    巴岱伊小說中逾越的耗費:《愛華妲夫人》，《我的母親》，《眼睛的故事》與《死人》
    (2013) 鍾炳永; Bing-Yong Chung
    喬治‧巴岱伊的普遍經濟觀一直以來都是個廣泛被討論的議題，然而他的小說並沒有得到相同的關注，更遑論會得到讀者的青睞，他的小說不受欣賞是因為讀者對小說中蔓佈的暴力、死亡和性等禁忌感到恐懼。對巴岱伊而言這些耗費被視為禁忌是因為這些耗費對以生產為導向的資本主義造成威脅，就巴岱伊而言這些耗費深深的吸引讀者，因為它們是讀者跳脫出奴役狀態的橋樑。 本論文的主體分成四個章節。第一章〈巴岱伊的普遍經濟觀:獻祭與情色〉簡述巴岱伊的普遍經濟觀，此章敘述巴岱伊將耗費視為一種溝通的形式與跳脫奴役狀態的橋樑。第二章〈情色論:耽溺焦慮式的閱讀〉闡述情色與動物式的性之間細微的差異。第三章〈情色論:禁忌與逾越〉探索禁忌與逾越之間的關係。對巴岱伊來說禁忌與逾越不是互相衝突抵制而是呈現互相追逐互動的關係。第四章〈情色論:禮物與重生〉探討耗費的原則。此章並闡述情色為一種禮物與重生的形式。
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    The Crime Scene of Revenge Tragedy
    (英語學系, 2012-03-??) Carol Mejia LaPerle
    Analyzing the parallel gestures of ritualistic brutality deployed in the cannibal banquet of Seneca’s Thyestes and Shakespeare’s Titus Andronicus, I reveal how the genre of revenge tragedies is simultaneously an instance of, and challenge to, Georges Bataille’s socio-economic theory of excess within a general economy. Excess, and not scarcity, is the motive and the condition for revenge. Both revengers react to a surplus of energy, or what I will call the “excess of possibilities,” that threatens autonomy. Thus, the victims of revenge embody the excess of possibilities in the plays since they are reminders of the contingency, and potential indistinguishability, of the agents of revenge. Sacrificial cannibalism emerges as the revenger’s means for autonomous differentiation, thus eliminating the unbearable interchangeability generated by surplus. Furthermore, by theorizing the excess of possibilities as the underlying pressure driving Atreus as a Senecan revenge figure, I argue that the citation of a specifically Senecan cannibal banquet, appropriated in Shakespeare’s Titus Andronicus, is a gesture by the author to sacrifice, and thus gratuitously consume, the surplus violence generated by the act of representation itself.
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    The Crime Scene of Revenge Tragedy
    (英語學系, 2012-03-??) Carol Mejia LaPerle
    Analyzing the parallel gestures of ritualistic brutality deployed in the cannibal banquet of Seneca’s Thyestes and Shakespeare’s Titus Andronicus, I reveal how the genre of revenge tragedies is simultaneously an instance of, and challenge to, Georges Bataille’s socio-economic theory of excess within a general economy. Excess, and not scarcity, is the motive and the condition for revenge. Both revengers react to a surplus of energy, or what I will call the “excess of possibilities,” that threatens autonomy. Thus, the victims of revenge embody the excess of possibilities in the plays since they are reminders of the contingency, and potential indistinguishability, of the agents of revenge. Sacrificial cannibalism emerges as the revenger’s means for autonomous differentiation, thus eliminating the unbearable interchangeability generated by surplus. Furthermore, by theorizing the excess of possibilities as the underlying pressure driving Atreus as a Senecan revenge figure, I argue that the citation of a specifically Senecan cannibal banquet, appropriated in Shakespeare’s Titus Andronicus, is a gesture by the author to sacrifice, and thus gratuitously consume, the surplus violence generated by the act of representation itself.