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 異端者將永駐亡者之群：探討艾德蓋恩案子中的不死(2024) 林依文; Lin, Yi-Wen艾德·蓋恩 (Ed Gein)，這位二十世紀臭名昭彰的連環殺手，成為《驚魂記》、《沉默的羔羊》及《德州電鋸殺人狂》等眾多改編作品的重要靈感來源。雖然已有許多學術討論探討蓋恩對小說和電影的重大影響，但對其個人歷史的分析卻仍然缺乏。因此，本論文旨在透過不死的概念深入探討蓋恩的生活，以揭示他人性的一面及他與社會的疏離感。首先，我通過弗里德里希·尼采的虛無主義框架，探究蓋恩的家庭背景及其心理演變。這種探索使讀者能夠更好地理解蓋恩在其罪行背景下的人性。接下來，我研究蓋恩與死亡之間的矛盾關係，探討他對死亡的同時否認與接受，這突顯了社會對死亡的共同恐懼和迷戀。最後，我深入探討社會如何將蓋恩變成「牲人」(homo sacer)，一個可以被任何人不受懲罰地殺害但不能在宗教儀式中被獻祭的角色。通過這些多層次的分析，我從其心理和社會角度展示了蓋恩的不死身份。這樣一來，我揭示了普遍的人類焦慮和欲望，同時探討社會排斥與接受的流動。Item 形式-生命，情度，與非人類：愛蜜莉迪瑾蓀詩中的普世特異(2016) 李廼澔; Lee, Nai-Hao本論文旨在透過「普世特異」這個概念來評析美國文藝復興女詩人愛蜜莉迪瑾蓀的詩。其中特別以形式-生命，情度，與非人類等概念來討論。論文中所談的「普世」指的並不是普遍的，而指的是絕對而沒有緣由的。而「特異」指的則是在讀者在閱讀迪瑾蓀的詩感知或經驗中所「發生」的(像是一種「事件」)。本論文試圖說明為何人們，尤其是受過批判理論訓練過的人們，會發現迪瑾蓀的詩是如此地「不同」。死亡，這個在她詩中不斷重覆出現的主題，實際上是在我們所熟悉的一切與永生或空無間的過渡點。因此有理論家指出，迪瑾蓀的詩並不符合一般被視為標準卻無疑是有著重重限制的「偉大文學」。事實上我相信迪瑾蓀的詩與當代理論有著密切的關係。在某些方面而言，她的詩甚至預想到了許多當代文學理論的關鍵主題。的確，細讀她的詩就好像在「經歷現存模式中的缺口與未曾提及的」，更甚者，去「重新定義這些模式」。因為我要檢視的是：迪瑾蓀如何能夠在她的詩中啟動和活化其「普世特異」以對抗那一切過度抽象與同一不變的，並且在這些詩中尋找擺脫桎梏而脫身而出的文學「真理」。Item Surviving to Oneself after Tiananmen: Wang Xiaoshuai’s Frozen (1996)(英語學系, 2014-09-??) Erik BordeleauIn Remnants of Auschwitz: The Witness and the Archive, Agamben develops a subtle analysis of the irreducible ambiguity inherent to the verb “to survive.” “From the beginning,” writes Agamben, “the verb also has a reflexive form when referred to human beings, which designates the striking idea of survival with respect to oneself and one’s own life. In this form, the one who survives and the person to whom something survives thus coincide” (132). Strangely enough, it is exactly what is at stake in the performance around which Wang Xiaoshuai’s movie Frozen (1996) revolves. Qi Lei puts into work his own suicide, letting everybody believe that he is actually dead; everybody but the curator of the exhibit, who will take care of the artist’s secret “survival,” and Qi Lei’s sister, who, as a doctor, signs a false death certificate. Therefore, technically, the movie displays an artist who has survived performatively to himself. How to interpret the remnants of this performance? What has happened, what has “passed,” what has been lost in this passage between life and death? What does this movie tell us about life-that-continues after the 1989 Tiananmen massacre and China’s entrance into the global economy? Showing the precarious condition of a small Beijing performance art community, Wang Xiaoshuai’s Frozen offers a convincing and well-informed allegory of the aftermaths of the 1989 Tiananmen massacre, as well as an interesting glance at what has become one of the most dynamic sectors of Chinese underground culture of the end of the 20th century and beyond.Item What Remains of Tiananmen?(英語學系, 2011-03-??) Erik BordeleauConjugation, Emily Tang’s first feature film, describes the difficult love of a young unmarried couple, seeking to build a home away from the turmoil of the times after the Tiananmen events. Telling the story of their precarious active life, the sorrow about giving up their ideals, and the memories of fallen friends and comrades, Conjugation marks a temps mort, a time no verb can be conjugated with. In this article, I would like to think Emily Tang’s attempt at expressing the post-Tiananmen malaise in relation to the more general background of neoliberal globalization. More precisely, I would like to show how the existential itinerary depicted in Conjugation can be read as a powerful allegory about how neoliberalism operates as a reduction of the political to a postpolitical, economic management issue. Following on the work of Giorgio Agamben, this reduction will be thought of as an extraction of bare life that can be understood as the production of a form of survival. In the last instance, I wish to show how Emily Tang’s film constitutes a paradigmatic cinematic itinerary illustrating the complex passage from qualified form-of-life to a form of survival or bare life, a passage whose relevance far exceeds the Chinese context and can directly contribute to a better understanding of the formatting of subjectivities corollary to the ongoing global oikonomic mobilization.