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。
News
Browse
11 results
Search Results
Item Jane Austen and the Gothic Novels: The Reception of Northanger Abbey in China(英語學系, 2021-03-??) Shuo SunJane Austen's Gothic parody Northanger Abbey was first published in 1818 and translated into Chinese in 1958 under the title Nuosangjue Si (諾桑覺寺). However, the novel has remained unpopular in China to this day and has received considerably less critical attention than Austen's other works, especially Pride and Prejudice (1813). This article examines the reception of Northanger Abbey in China since the early twentieth century, considering in particular the reasons for contemporary readers' lukewarm response to the novel. It argues that a knowledge of Gothic conventions and elements is crucial to an understanding of the literary satire in Northanger Abbey—and yet Ann Radcliffe's Gothic novels were not available to Chinese readers in translation until very recent decades. It also addresses the difficulties that arose when translating the Gothic-sounding title of Northanger Abbey from English into Chinese and explores the influence of Marxist literary criticism on the first translation of the novel.Item Untitled(英語學系, 2017-03-??) Alvin K. WongThis paper argues for the centrality of gender, sexuality, and geopolitics to ecocritical studies of the Anthropocene. In particular, the genre of documentary filmmaking provides one crucial site for exploring how cultural representations of the city of Beijing and environmental pollutions often recenter human-centric narratives of planetary rescue through what I term “Anthropocentric futurism.” Anthropocentric futurism as a critical terminology names a double bind—while increasing numbers of cultural productions like literature, cinema, and the popular media explore human subjects as both the agents and passive “victims” under the Anthropocene, often such an ecological awareness automatically gives rise to a passionate human-centric discourse of planetary rescue. Specifically, I examine the widely popular 2015 documentary about air pollution, Under the Dome, directed by Chai Jing, as one that reproduces Anthropocentric futurism through the logic of maternal rescue, whereas Jiuliang Wang’s Beijing Besieged by Waste (2011) radically departs from such reproductive futurism by visualizing the violent coevalness between the human subjects, non-human animals, inanimate objects, and the environment as such. Thinking beyond Anthropocentric futurism suggests new possibilities for theorizing the relationship between China and the Anthropocene through the lens of affect theory, animal studies, and posthumanism.Item ＂An Archivist's Fantasy Gone Mad＂: The Age of Exhibition in Cao Fei's Posthuman Trilogy(英語學系, 2017-09-??) Angie ChauThis paper argues that in her recent films, the Chinese artist-filmmaker Cao Fei (曹斐, b. 1978) shows how the futility of art and technologies of exhibition is linked to the danger of overexposure to images without context, and the numbing of public consciousness. In the twenty-first century, the fear of forgetting seems increasingly obsolete in the face of social media tools like Facebook's ＂See Your Memories: Never Miss a Memory＂ feature, which excavates photos uploaded, shared, or tagged on the site years ago, reminding users to ＂look back＂ on otherwise lost memories. However, in recent Chinese fiction (Ma Jian's Beijing Coma; Chan Koonchung's The Fat Years; Liu Cixin's ＂The Weight of Memories＂), the trope of dormant memories remains noticeably prevalent, reflecting an urgent cultural concern about the conscious ＂act of deleting memories＂ (Yan Lianke) in the process of recording modern Chinese history. Whether in the form of documentary-style animation (i.Mirror, 2007), zombie-horror film (Haze and Fog, 2013), or stop-motion train-replica dioramas (La Town, 2014), Cao Fei fantasizes about a new posthuman consciousness, whose most serious trespass against humanity is not forgetting, but rather not feeling. Presenting disjointed scenes that call upon instances of trauma and surveillance, Cao's ＂posthuman trilogy＂ films suggest that when cosmopolitan memories become decontextualized, mere images no longer possess any meaningful symbolic power. Further, Cao's films demonstrate that voyeurism becomes an unavoidable yet inconsequential daily practice in the digital age of exhibition.Item 1930年代初期世界農業危機與英日航運在亞洲國際海域小麥米穀航線的競爭(國立台灣師範大學歷史硏究所, 2017-12-??) 李宇平; Lee, Yu-ping1930年代初期世界經濟蕭條期間，國際大宗農作及穀物豐收，大幅降低原穀物生產區之美洲、澳洲等地開航至歐洲之跨洲際穀物輸送航線的需求，說明歐洲穀物生產過剩、歐洲穀物的輸入量銳減與世界海運市場低迷之間，密切相關。向來仰賴穀物進口之歐洲，生產過剩，不需從澳洲、美洲進口小麥，導致世界雜穀向歐輸出航線不振。之後，以澳洲小麥為主的雜穀，轉向亞洲輸出。澳洲海運市場抬頭與進入遠東航線，相對於世界其他穀物輸送航線，輸送量愈趨龐大，推進了亞洲航運市場，相對趨於景氣。就英、日商船在亞洲國際海運的競爭而言，首先，兩大戰期英國及日本在對外貿易、海上貿易和運輸，多係以原料和米榖雜糧等低價格貨物占大部分。英、日商船航運競爭的若干形貌，反映在英、日商船載運的大宗米榖雜糧類貨物之中。1930年代恐慌初期英、日兩國商船航線因地理分布不同，承受國際物流變化與世界農業危機的影響則有別。稻米因是亞洲域內生產的主要糧食，且多在亞洲域內消費，經濟蕭條期間，一定數量稻米之海上輸送，仍可持續地支撐亞洲航線。英國商船多為跨洲際航線及世界一周航線的經營者，原多承載了世界小麥海上貿易與運輸，因大恐慌期間跨洲際航線及世界一周航線之沒落，更無一顯身手之處。日本商船反於經濟恐慌期間，集中心力積極開闢亞洲兩地之間的定點航線。其所經營之澳洲小麥航線整編入原有的滿洲大豆航線以及南洋航線、曼谷航線等載運稻米為主的航線，航向中國、日本，使日本商船推進了亞洲航運市場上揚走勢。其次，1930年代初期，小麥及稻米兩種穀物的生產朝同方向變動，小麥豐收之際，稻米也同時豐收。大量基本的糧食穀物被拋向世界市場，傾銷至各國，促使糧價大幅下滑。30年代以中國為首的亞洲，因他國農產等初級產品之生產過剩，廉價傾銷。這可以說明英、日航運在亞洲國際海域的競爭，何以在海上貿易路線與運輸渠道的發展與整編上，反映了商品傾銷的本質。最後，本文說明，以日本商船為主的亞洲國際航線之飛躍進展為主調的近海海運復甦的趨勢中， 英國商船支配的亞洲國際航線相對弱勢的變化。可以管窺並說明，1930年代日本何以相對於英國，甚至世界其他國家，較早由經濟恐慌走向復甦。英、日航運間的競爭事實上重新整編了亞洲中心的海運網，即英國海運在亞洲近海為主的市場縮小，日本勢力則在以日本為中心的亞洲國際海運市場的擴大。Item 沙學浚先生的海國學說與運用(地理學系, 2017-05-??) 何沛東; Pei-Dong Ho「海洋國家」的概念源於西方，長時間被視為西方強權的民主外衣。沙學浚先生吸取中西方海洋思想，在對中國歷來海洋文化的解讀和詮釋、中國近代遭受苦難反思的基礎之上，形成了自己的海國學說。沙先生還對中國海洋發展的歷史與現狀及未來進行了思考和展望。並將其海國學說運用到劃分中國經濟區、首都的選址、臺灣的戰略地位與發展等議題上，努力促使中國向海洋強國的目標邁進。Item A Tale of Two Diaries: Robert Hart’s Encounter with “Mont Blanc Albert” in Canton, Sept. 1858(英語學系, 2015-03-??) Henk VynckierWhen still a junior official in the British Consular Service in Canton, Robert Hart (1835-1911), who would later achieve fame as the Inspector General of the Chinese Maritime Customs Service, met Albert Richard Smith (1816-60), the mid-Victorian comic writer and diorama presenter, who was traveling in China to collect material for a stage show. Though both reported on Smith’s visit to Canton in their respective diaries, Hart’s brief interlude with Smith has never been discussed and the relevant passages in their diaries have not been cross-examined. Yet, close reading the respective diary entries next to one another for the first time some one hundred and fifty years after they were composed can achieve several objectives. First, the diaries provide some raw material for the biographical understanding of the young Robert Hart, which is important considering that more than a hundred years following his death there is as of yet no complete biography of “the most powerful Westerner in China” (Jonathan Spence). Second, they illustrate the generic and stylistic differences between a diary which is meant to be published and one which is conceived as a purely private “closed book” diary. Third, they shed light on two different modes of seeing/narrating China—the sightseeing tourist Smith and the long-term expatriate resident Hart—and, thus, contribute to our understanding of the British imaginary of China during the heyday of empire.Item Accepting/Rejecting: China’s Discursive Reconfiguration of Zoe for a New Era in Organ Donation(英語學系, 2014-09-??) Melissa LefkowitzIn the Chinese state’s attempt to rectify its organ shortage, an openly acknowledged problem nationwide, it must harness the body as a source of life. Whose bodies, exactly, form the crux of this paper, and it is here that Giorgio Agamben’s work is useful for a discussion that expands beyond a biopolitics centered on disciplines and technologies of power. Drawing upon articles in the U.S. and Chinese media, this paper analyzes the disparate logics inherent in media coverage following the establishment of China’s voluntary organ donation system in 2010. Though conceived at a great distance, Agamben’s bios/zoe dialectic operates as a fitting tool in the examination of an emergent discourse that is evolving in China, one that harnesses a rhetoric centered on value(s), scientific rationalism and charity in order to re‐define zoe(s) and reinforce the legitimacy of the state.Item 荷蘭博物館中華書畫文物考察觀善記(國立臺灣師範大學國文研究所, 2004-09-01) 賴貴三Item 荷蘭博物館中華書畫文物考察觀善記(國文學系, 2004-09-??) 賴貴三Item On a Environmental Philosophy(地理學系, 2007-11-??) 榧根勇地球暖化顯示近代（modernity）非合理性的明確證據。近代將結束，近代哲學的支柱是笛卡兒（Rene’ Desccartes）的二元論，那是忽視人心對自然的效應，腦科學、認知科學、生命科學、火箭工學等，明示過去約十年的科學證實，笛卡兒的二元論有基不 合理處。後近代哲學是非二元論，為了近代新哲學的說明，列舉Ken Wilber的萬物理論，Erin Laszlo的AKasic（資訊）場，清水博的偏在性生命，中田力的腦理論等要點。基於新哲學提出新環境哲學。為了提安的新環境哲學應用的可能性採用 Wilber的四象限架構，對中國雲南省麗江古城的環境問題實施現地調查，最後對不發生環境問題的後近代「次社會system」的建構所必要的模式加以考 察。