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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    (英語學系, 2019-09-??) Chifen Lu
    This article looks into altered views of children and the very idea of childhood in our time by discussing the intersection of the increasingly prominent themes of evil dolls and “bad children” in contemporary Gothic literary and cinematic narratives. To elaborate on this subject, the film The Boy (2016) by William Brent Bell and the short story “The Doll-Master” (2016) by Joyce Carol Oates are closely investigated, but a few other literary works and movies addressing related issues are discussed as well. The portrayal of both children and dolls, as well as the intricate bond between them, as being wicked in these works is disquieting, for this child-doll bond may be seen as mirroring a deepening co-dependence between persons and things, makers and made objects in our time, one which could tend to blur the boundary between the living and the inanimate, the self and the Not-Me. To probe more deeply into the uncanny child-doll relationship in these contemporary Gothic tales, we will look at it from various angles—including ancient ritualistic effigies, puppet theater, figurine artifacts for household display, children’s dolls, the concomitant development of the modern toy industry and youth subcultures, and the “possessed doll” Gothic subgenre. Through this cross-disciplinary investigation of the constantly evolving culture of “human simulacra,” the article will try to show how lifeless objects like toy dolls may become material embodiments of our contrasting, ever-changing attitudes toward the idea of childhood and our rapport with things.
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    「看哪,我在燃燒!」:論後現代恐怖文類中的惡童及超我
    (2013) 陳柏蓉; Bo-rong Chen
      本論文試圖以精神分析理論論及「壞種」的比喻作為後現代恐怖文類中的魔。本文援引紀傑克的精神分析理論,解讀當代的惡童及後現代情景,認為後現代恐怖文類中的惡童目睹律法的僭越將跨越莫比爾氏環而成為超我,這正是恐怖文類中極致的僭越。如此的僭越將點出後伊底帕斯時代的恐怖:當伊底帕斯之父和快感之父結合,主體將喪失定錨。惡童的超我及死亡趨力勾連出後伊底帕斯的結果,並導致他們的魔化。最後,本文希冀能找出一條走出後伊底帕斯的路,點出死亡趨力能推翻社會符號系統的境界,正是主體重生的契機。   本文共分三章。第一章將概述後現代性及後現代恐怖文類的詭祕(uncanny)關係。第二章探討紀傑克理論下的後現代場景,以此闡釋本文分析框架的重要概念,並著重後伊底帕斯化的主體。最後,第三章爬梳《壞種》及《沉默之丘》系列裡關於超我化的文本證據。在《壞種》中,Rhoda的貪婪顛覆浪漫時代兒童的論述,並展現原我之惡(id evil),但原我之惡的力量亦來自於超我。在《沉默之丘》系列裡,Alessa的復仇充滿了超我及死亡趨力的色彩。本章結尾比較惡童與校園槍擊案,質疑「惡童」的幻想(fantasy)無非是後現代追求真實界的(偽)激情。本文的結語以Heather的成熟為例,重新陳明面對大他者匱乏的倫理策略。本文一方面試圖提出,超越完美的大他者幻見(fantasy)的方式,另一方面亦試圖提出擔負生命責任的倫理態度。