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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    國族論述下的新加坡華人聚落變遷
    (2010) 葉韻翠; Yeh Yun Tsui
    本文為了解「在區域脈絡下,新加坡政府與華人地方社群對於聚落土地書寫上,所展現出的差異與變遷」所進行的一項研究。係透過對於聚落地景、社會空間、公共空間的分析,來解析聚落變遷。 為了對夾峙於周圍的馬來西亞、印尼兩大族裔國族主義國家造成的壓迫,及國內多元族群所潛藏的國家不穩定因素作出回應,新加坡政府以倡導公民國族主義作為柔性反制。在聚落變造過程中注入國族建構的想法,新加坡政府自1960年代以來強力介入了新、舊聚落的演替過程,以大規模的現代化政府組屋取代傳統聚落景觀。新、舊聚落的變遷不僅僅是為了解決長期的嚴重屋荒問題,由於國族論述趁勢加諸於變遷之中,使得華人聚落變遷存在著一些特性。 本文的研究結果顯示:新加坡政府透過對於聚落地景、空間的清除與改造,塑造出其認為有助於國族建構的基層社會環境。藉由組屋中族群比例的調配,使得一致性的組屋地景可以成為國家身分的象徵符號。混合不同族群、社群所創造出來的社會空間,以及各項規劃新構的公共空間,都成了政府建構國族認同的一項手段。而在從事「建構」之前,對於傳統聚落的「破除」,是新加坡政府國族建構中相當重要的一個環節。華人傳統聚落地景的破除,象徵著清除了殖民時期舊有的族群、城鄉、社經差異;蘊藏在傳統聚落地景中的社會空間的打破,解構了原有的族群間,甚至是華人地方社群間的居住領域隔離現象,也消除了社會分類下的強烈地方社群意識;華人傳統聚落公共空間的消失,是聚落地景演替下的連帶結果,但重新座落在組屋區中的華人廟宇,卻又將原先遭到破除了華人地方社群空間,在廟宇所在的「異地」重新地建構起來。組屋政策雖對於傳統人際網絡、家庭成員的緊密聯繫產生了影響,但在高度國家認同的背後,新社區的人際關係卻是疏離的。
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    Becoming Modernized or Simply "Modern"?
    (英語學系, 2010-09-??) Hsien-hao Sebastian Liao
    The extended, seemingly self-indulgent sex scenes in Ang Lee's Lust, Caution have generated rather unfavorable responses from both Chinese and Western critics. But this paper argues that these sex scenes are central to Ang Lee's project of interrogating Chineseness from a Taiwanese/diasporic Chinese position. Sex here is just a metaphor for a people-state relationship, which often approximates what we usually understand as "lust." The metaphor unfolds when Wang Jiazhi, abandoned by her biological father, embarks on a quest for a new Father while trying to understand her own femininity, a quest that leads to her involvement in a daring but reckless plan: to sleep with a major collaborator, Mr. Yi, in order to assassinate him. But the resultant misreading of lust as love on the part of Wang (and by extension "the people") is fatal. The romantic feelings she develops for Yi after he voluntarily reveals his vulnerability put her in a difficult situation: in order to love she has to "relinquish" her lover. By highlighting the fact that the people, symbolized by Wang, are bound to play the manipulated feminine role in their romance, as it were, with the state, this film criticizes that modern form of nationalism which is predicated on modernity. The twin target of Ang Lee's criticism—nationalism/ modernity—is embodied by Yi, an undercover communist and apparently a stauncher-than-usual nationalist, who ironically tries to serve the people by abusing them. Seeing that modern nationalism, presumably devoted to bringing modernity to the nation, has brought more suffering than good, Ang Lee suggests with this film that to outgrow their obsession with modernity, i.e., with "becoming modernized," the people need to become "modern subjects" as Wang has unwittingly done. And one can only do so by undergoing a Lacanian (and Freudian) Versagung or redoubled renunciation, in which what Lacan calls "subjective destitution" is experienced. Ang Lee's caution against "lust" is therefore