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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Item On the Use of Animals in Contemporary Art: Damien Hirst’s “Abject Art” as a Point of Departure(英語學系, 2015-03-??) Tsung-huei HuangContemporary artists inclined to integrate animal elements into their works previously justified animal art as a means of reframing thought about life and ethics. But it is debatable whether the juxtaposition of animal and art is simply a gimmick. Damien Hirst’s animal installations, for example, have garnered both widespread acclaim and controversy. Do Hirst’s displays of animal carcasses amount, at best, to so-called “abject art,” or does the auratic perception they evoke serve to catalyze reflexive thoughts on ethics? Investigating Hirst’s animal works, this paper not only seeks to arrive at a better understanding of his oeuvre but also discusses the function of animal death in contemporary art. In the first two sections, Lacanian gaze and Benjaminian aura are drawn upon to explore whether eye-catching art is particularly thought-provoking and more likely to stimulate ethical thinking. The third section inquires into whether some of Hirst’s works are capable of evoking the auratic gaze; and if so, under what conditions do those works cease to be auratic and become abject? The last section compares the works of Hirst and Mark Fairnington to investigate how the auratic gaze emerging from artwork propels us to confront questions of life and ethics without remaining silent on the theme of animal concern.Item “Still More Distant Than the Most Distant Stars”(英語學系, 2011-09-??) Frank StevensonThis paper explores some closely-related themes in Nietzsche, Kafka, and Benjamin: a trans-temporal “bridge” that is broken or interrupted in the middle, “breaking news” whose delivery is infinitely delayed or impossible, and the figure of a partially-constructed wall which may also serve as the fragile foundation for a new Tower of Babel. The Benjamin passage at stake is Thesis IX of the “Theses on the Philosophy of History,” where the angel (angelikos, messenger) of history suddenly appears, caught between immanent and eternal time, and wants to (but cannot) “make whole” the fragments of wreckage from human history that are thrown in a heap at his feet. The above themes from Nietzsche and Kafka are used to interpret the angel’s impossible project of making-whole as a project, not of delivering but of reconstructing the original message, now taken as the originally universal and communal human language, meaning or “name” which was fragmented by God into a “babel.” Here this original language, also seen in the context of Benjamin’s still-idealized notion of “pure language” in “The Task of the Translator,” remains metaphorically tied to the figure of the Tower of Babel, a tower whose piecemeal construction, ambiguously decreed by the Emperor in Kafka’s “The Great Wall of China,” implies the virtual equivalence of (its own) construction and deconstruction or collapse.Item “Still More Distant Than the Most Distant Stars”(英語學系, 2011-09-??) Frank StevensonThis paper explores some closely-related themes in Nietzsche, Kafka, and Benjamin: a trans-temporal “bridge” that is broken or interrupted in the middle, “breaking news” whose delivery is infinitely delayed or impossible, and the figure of a partially-constructed wall which may also serve as the fragile foundation for a new Tower of Babel. The Benjamin passage at stake is Thesis IX of the “Theses on the Philosophy of History,” where the angel (angelikos, messenger) of history suddenly appears, caught between immanent and eternal time, and wants to (but cannot) “make whole” the fragments of wreckage from human history that are thrown in a heap at his feet. The above themes from Nietzsche and Kafka are used to interpret the angel’s impossible project of making-whole as a project, not of delivering but of reconstructing the original message, now taken as the originally universal and communal human language, meaning or “name” which was fragmented by God into a “babel.” Here this original language, also seen in the context of Benjamin’s still-idealized notion of “pure language” in “The Task of the Translator,” remains metaphorically tied to the figure of the Tower of Babel, a tower whose piecemeal construction, ambiguously decreed by the Emperor in Kafka’s “The Great Wall of China,” implies the virtual equivalence of (its own) construction and deconstruction or collapse.Item On Violence, Justice and Deconstruction(英語學系, 2003-01-??) Chung-hsiung LaiIn this paper, I will first explore the chiasmus relation between violence and metaphysics in the thought of Levinas1 and Derrida. Then, I will move to examine “the aporia2 of justice” in Derrida’s reinterpretation of Benjamin’s critique of violence with respect to law-making and law-preserving. Finally, by problematizing the aporia of deconstruction, I will attempt to provide a critique of Derrida’s “Plato’s Pharmacy” in order to place Derrida’s ethical account of deconstruction under erasure. My core contention is: if de- construction is, as Derrida claims, ethical and just, it must be unethical and unjust in the first place in what he calls an “economy of violence.” Violence per se lies at the heart of both deconstructive justice and injustice. Yet, to achieve the former, the latter paradoxi- cally must be accomplished first—a betrayal which functions as the condition of possibility and thus of impossibility of deconstructive justice—thereby making the very moment of deconstructive decision an anxious and painful experience of aporia, or in Kierkegaard’s phrase, “a moment of madness.”