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 Untitled(英語學系, 2019-09-??) Angie ChauThis paper arises from a series of class discussions inspired by Shen Congwen’s (沈從文, 1902-88) short story about child marriage, “Xiaoxiao” (蕭蕭, 1929), which is set in the spring of 2018 during an unending series of breaking news stories related to sexual assault and sexual harassment in the workplace. Beginning from the close reading of one seemingly innocuous line in the English translation—“Finally, one day, she let Motley sing his way into her heart, and he made a woman of her”—the paper seeks to address the following questions: How can translational practices inform and revise conventional ways of reading canonical fictional texts, especially in relationship to current conversations about sexual harassment, rape, and the #MeToo movement? What is the pedagogical responsibility of educators teaching literature to address instances of sexual violence, especially in cultural and historical contexts that seem remote from our own? And finally, what is at stake in this rereading of modern Chinese literary classics? Drawing from examples in two frequently studied and taught short stories published in China during the Republican period—Shen Congwen’s “Xiaoxiao” and Mao Dun’s (茅盾, 1896-1981) “Chun can” (春蠶 “Spring Silkworms,” 1932)—I argue that translation in the present moment offers readers a valuable opportunity to re-examine commonly overlooked scenes of sexual ambiguity and abuse, especially in the field of East Asian literature, where many students arrive with a wide range of preconceptions and stereotypes about gender relations.Item Untitled(英語學系, 2019-09-??) Angie ChauThis paper arises from a series of class discussions inspired by Shen Congwen’s (沈從文, 1902-88) short story about child marriage, “Xiaoxiao” (蕭蕭, 1929), which is set in the spring of 2018 during an unending series of breaking news stories related to sexual assault and sexual harassment in the workplace. Beginning from the close reading of one seemingly innocuous line in the English translation—“Finally, one day, she let Motley sing his way into her heart, and he made a woman of her”—the paper seeks to address the following questions: How can translational practices inform and revise conventional ways of reading canonical fictional texts, especially in relationship to current conversations about sexual harassment, rape, and the #MeToo movement? What is the pedagogical responsibility of educators teaching literature to address instances of sexual violence, especially in cultural and historical contexts that seem remote from our own? And finally, what is at stake in this rereading of modern Chinese literary classics? Drawing from examples in two frequently studied and taught short stories published in China during the Republican period—Shen Congwen’s “Xiaoxiao” and Mao Dun’s (茅盾, 1896-1981) “Chun can” (春蠶 “Spring Silkworms,” 1932)—I argue that translation in the present moment offers readers a valuable opportunity to re-examine commonly overlooked scenes of sexual ambiguity and abuse, especially in the field of East Asian literature, where many students arrive with a wide range of preconceptions and stereotypes about gender relations.Item 誰的文學？誰的產權？--日治臺灣報刊雜誌刊載中國文學之現象研探(國立政治大學中國文學系, 2012-12-01) 許俊雅本文討論日治台灣報刊雜誌刊載中國文學之現象，當時選擇哪些了哪些文本？選刊的文本又以何種面貌呈現？文學作品的再次轉刊及改寫可視為一個「文化跨越過程」，在這一過程中存在大量的文化適應、選擇、保留、淘汰等現象，從刊載改寫敘述的角度來看，編者需做出許多選擇與處理，以適應不同國度下的政治、文化需求，甚至是休閒娛樂的商業考量。中國文學被轉錄報刊時除了少數原汁原味保留外，多數做了變更，其變更形式除了篇幅增刪、情節前後挪動外，本文著意討論以下數種方式：改立題目、竄改作者姓名及原作的內容文字。改易篇名的方式，或另以小說中人物命篇，或取原文首句為篇名，或根據內容大意。竄改作者姓名則形成抄襲、冒名之嫌，更動原文情形又有數種策略：省略故事來源的敘述者，人名、地名、年代之更易或省略，合題材相近之數篇為一篇等等。追索原出處及所做之變造，可據以判斷文本來源及理解刊載用意，並進一步連結近代東亞各國報刊的流動現象，俾得客觀詮釋日治台灣文學。Item 日治時期臺灣報刊小說的改寫現象及其敘述策略(國立政治大學中國文學系, 2013-12-01) 許俊雅本文處理日治台灣報刊小說改寫現象及敘述策略，諸多改寫作品取材自文言筆記小說、社會新聞、翻譯小說，其改寫策略約可分為「改易時空」、「文白互改」、「小說詩文轉換」、「虛實等同」等手法，實際操作時，則落實在題目的更動、內文字句或段落的增刪改寫上，以及人稱敘述的轉變、故事刊載次序的倒換，或合併綜合不同文本。其中白話文改寫成淺近文言文，或文言文改寫成白話文，以及小說改寫成論述文，詩歌改寫成小說，其改寫方式，各類現象所在多有，有些恐是僅見於台灣報刊。由於編輯個人文學觀念、美學品味及客觀現實的考量，這些經過改寫的文本，除了保留原作精神外，也經常可見突顯因果報應、貞孝倫理道德思想及對商業消遣的追求，同時編輯也經常透過結尾的添寫，呼應殖民統治下官方意欲推動的政策，或改寫者個人主觀的評感。所增添內容五花八門，而此一改寫手法極易誤識作者為台灣人氏，因此本文特別強調版本考察、出處追索的重要性，避免誤入歧途及隨意擴大解釋。Item 《洪水報》、《赤道》對中國文學作品的轉載--兼論創造社在日治臺灣文壇(國家臺灣文學館籌備處, 2012-04-01) 許俊雅