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, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.Item 臺灣中學生英文名詞可數性質學習成效之研究(2005) 汪宜璇; Yi-xuan Wang本研究的目的是要探討臺灣中學生英文名詞可數性質的學習成效。主要議題是傳統文法書中名詞可數性質的說明對於學習者的影響。四十位國三學生和四十位高三學生參加本實驗。他們依指示完成判斷可數性質的測驗。 整體而言，由於傳統文法中強調制式名詞分類教學的影響，受試者依此分類在普通名詞、普通可數名詞、特指用法的專有名詞的表現較佳，然而受試者亦因此種名詞分類，而在一些有明顯可數性質線索，但違反該分類的試題中，正確率偏低。其他因素像是集合名詞的特殊型式、該用語常用與否、在真實世界中的外觀、母語的影響、以及名詞前的量詞等，都是可能影響可數性判斷結果的因素。 比較高中生和國中生，高中程度者對於可數性質的判斷優於國中程度者。可能是因為他們閱讀的內容較廣，而有更多機會做可數性質判斷的練習。然而進一步探究則發現，高中生傾向於過度把普通名詞當作可數名詞使用，而過度把專有名詞和物質名詞當不可數名詞使用。高中生在這些名詞次類的表現不佳很可能是受到傳統文法書中制式名詞分類法的影響。 此外，國中和高中生在不同名詞類別中可數和不可數名詞的使用亦顯示高中生受到制式分類法的影響較國中生深。國中生傾向於把普通名詞當作可數，專有名詞當不可數，但在意料之外的是他們過度把物質名詞當可數名詞使用, 但亦較能接受物質名詞當可數名詞的正確用法。相較之下，高中生傾向於過度把普通名詞當作可數，而專有、物質和抽象名詞則都當不可數用，而常常導致用法的錯誤。這種現象可能是因為高中生學習文法規則較久，所以受到的影響較深；國中學生，相反地，受到傳統可數類別劃分規定的影響就沒有那麼深，因而制式用法還並未建立得那麼僵化。Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.