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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    翻譯：轉換的歷程—以高行健《八月雪》為例
    (2011) 張婉君; Wan-chun Chang
    本研究運用米勒翻譯即「跨越邊界」的理論，分析《八月雪》一連串跨文本、跨媒介的轉換歷程。高行健將《六祖壇經》慧能生平故事轉換為《八月雪》中文文本，再從中文文本改寫為劇本，而後搬上舞台，透過演員表現、舞台設計、服裝、燈光及音樂等戲劇符碼呈現禪宗精神；另一方面，方梓勳將中文文本翻譯為英譯文，也是跨語言的轉換過程。 高行健將《八月雪》定位為全能戲劇，融合京劇、歌劇、舞劇與話劇，混融東西文化要素與不同媒介，充滿實驗精神。本文發現，從文本到劇本，從劇本到戲劇表現，以及從中文文本到英譯文，一連串轉換過程即是連續加碼、解碼、再加碼，在轉換過程中混融出新的異質文化，有助於刺激新的藝術表現方式，並提昇整體文化水準，此即為翻譯的作用與貢獻。 從劇本的文字、題材而言，《八月雪》做了成功的詮釋；從情節安排而言，最後一幕的大鬧參堂顯得過於紊亂，且與之前其他各場次營造的基調相去太遠。整齣戲劇運用無調性音樂，表現太過艱澀、陰暗，不一定可以引起觀眾共鳴；相對而言，複調音樂較為成功，可將不同時空呈現在同一舞台，豐富戲劇的表現方式。而本劇充滿宗教色彩，英譯並非易事，方梓勳運用不同翻譯策略解決文化詞、韻文、雙關語的問題，值得其他譯者參考。本研究從文本、劇本、戲劇表現及英譯文各層面的分析方式，可作為其他戲劇翻譯研究之參考。
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    The Remains of History: Gao Xingjian’s Soul Mountain and Wuhe’s
    (英語學系, 2011-03-??) Andrea Bachner
    This essay analyzes Gao Xingjian’s Soul Mountain (Ling shan 1990) and Wuhe’s The Remains of Life (Yusheng 1999) and their reflections on history and what lies beyond or outside of history. In the face of past traumas, the Cultural Revolution in Gao’s, the Musha Incident, in Wuhe’s case, both authors and their respective protagonists turn to prehistory. Gao and his protagonists, split into different perspectives, travel through China in search not only of the “soul mountain” of the title, but of natural preserves and minority cultures. Wuhe’s protagonist dwells among the indigenous Atayal in Taiwan and becomes especially interested in the practice of headhunting—one of the rituals conventionally associated with the “primitive.” And yet, each author effects much more than a simple return to an imagined prehistory. In their texts, the renegotiation of historical trauma acquires a complex temporality: not only a return to the traumatic event, not merely a finally unfulfilled and unfulfillable desire for a world untouched by trauma and history, but also a reflection on what remains of and after trauma. These texts highlight and question the construction of history with and through its other(s): If the logos of history always needs its own constructed other—as non-logos, as nature or bios—in order to function, how can we rethink its temporal and conceptual logic? Can we craft the remains of history into a site of possibility? Can we glimpse a moment that neither succumbs to the dichotomy between history and its ineffable other nor to a total immanence of history? What is the hallmark of a representation of the past that would allow us not to become absorbed in it without remainder? What kind of text can reflect on history’s violent character without inviting an eternal return of trauma, but also without fetishizing a pristine prehistory, unmarked by trauma?