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 鄉關何處(國立臺灣大學外國語文學系, 2008-06-01) 高瑪莉在探索「原鄉」多樣而變動的定義上：個人私密的居處空間、原生或收養的國籍，或作為身份認證上一個有力的文學隱喻，本文將聚焦於兩位移居海外的美國女性作家，賽珍珠與葛楚德‧史坦，在原鄉之外建構故鄉的努力。賽珍珠是長於遙遠中國的傳教士之女；史坦則是巴黎文化革命的先導，生活於二十世紀之交，處於遙遠地域的這兩位作家，在其真實生活及文學隱喻之下，創造出了一個遠離她們祖國美國的原鄉。雖然，賽珍珠與史坦在文風和文化觀照上，有著極大的歧異，但在本文中之所以將她們兩人並置，是因為在其生命及書寫中，地理及位置實占有舉足輕重的角色。兩位作家在作品中，均反覆去推敲自己與祖國美國，及與其他足以被自己稱為原鄉的地方之間，究竟存在著何種關係，並試圖去探討這些關係的本質。而就在兩人於現實與虛構中，為自己建構原鄉的同時，其也歷經了一個脫離文化及家庭的預期與限制，並脫離傳統性別角色的過程。更有甚者，兩位作家也投身於下世紀一些理論性的關注中。就賽珍珠而言，這些包含了對帝國主義野心的抗拒、在跨文化場域中進行的協商、以及對文化及生物學上的「混血」概念，所採用的煽動性觀點。於此同時，史坦全神貫注於其私密的「家庭」韻事上，特別是她在自己與愛麗絲‧托克拉斯同居的巴黎住所及其書寫中，均小心翼翼維護著的那份長久以來的友伴情誼。史坦並也將她的「原鄉」，建置於自己與一個跨國社群（以前衛派藝術家為成員）的友情中，而這樣的關係也導致了沙龍成為她最受好評的幾部作品中的核心特色。賽珍珠與葛楚德‧史坦，她們不遺餘力地試圖將「原鄉」建置在傳統的居處場域之外，而在兩人的努力下，她們也的確在人文藝術與生活上，為以一個新的角度去思索居處於這個世界中的問題，奠下了基礎。Item Inscribing the Palimpsest(英語學系, 2003-01-??) Jung SuThe employment of the politics of hybridity in The Moor's Last Sigh envisions Salman Rushdie's enthusiastic anticipation of cultural eclecticism. Using palimpsest as a metaphor, Rushdie inscribes intersecting trajectories of variegated cultural legacies and their imbrications in the course of cultural formation and historical mutation. This politics of hybridity is manifested in three dimensions: (1)The metaphor of the palimpsest visualizes the nature of hybridity and dominates the book's cultural vision, featuring the germ of the novel; (2) Hybrid characters in the novel interrogate and destabilize the fixity of “the Other” and decouple the homogeneous definition of “the Other” in the logic of Manichean division of “Self and Other”; (3) Cultural legacies left by the British Empire are inevitably intertwined with local cultures, which illustrate that cultural hybridity is the predictable product of cultural formation. Aurora's death in the very end alludes to the dim prospect of cultural eclecticism. The closing lament for a commodified Alhambra, likewise, implies a false multiculturalism. In parodying Martin Luther's persistence in his religious ideal in exile, Rushdie indicates that exile can never shatter a writer's literary conviction, which rescues the novel from turning into a melodrama, thereby allowing it to emit the positive glow of exile.Item "Masters of the Wild"(英語學系, 2006-01-??) Chrulew, MatthewItem Metamorphosis and the Genesis of Xenos(英語學系, 2010-09-??) Ronald BogueIn the Xenogenesis Trilogy (1987-89), Octavia Butler recounts the recolonization of earth by human-alien hybrids following a catastrophic nuclear war. Although Butler never read the works of Deleuze and Guattari, her trilogy provides apt illustrations of Deleuze-Guattari's concept of "becoming." Diverse forms of becoming—becoming-woman, becoming-child, becoming-animal, becoming-molecular, and becoming-imperceptible— characterize various elements of Butler's plot, and all these becomings have ramifications in the domain of gender politics. Deleuze-Guattari valorize becoming as a mode of metamorphic invention, and they situate it within a general ontology of affective intensities, whereby human sexuality is at once fully sociohistorical and cosmic. Butler, too, imagines a world of sociohistorical and cosmic intensities, and she grants becoming a privileged role in creating new possibilities for future life. Yet she also envisions in alternative sexual, social and natural relationship the ambiguities and dangers of reconfigured networks of affectivity. Especially of concern to her are the perils of unbridled metamorphosis and the antithetical threat of addiction as a means of stabilizing the chaotic tendencies of uncontrolled processes of becoming. Ultimately, Butler's saga poses the question of free will and its relationship to biological imperatives. Deleuze-Guattari also see the dangers of anarchic becoming, arguing frequently that becoming-other must always be pursued with caution and in selected domains of activity. They do not address the topic of addiction in the same manner as Butler, but their articulation of the politics of social oppression implies a similar concern with the concept of agency in relation to desire. Finally, both Butler and Deleuze-Guattari subordinate their speculations about becoming, sexuality, politics, and sociohistorical and cosmic networks of relation to the general task ofimagining a new mode of collective living, which Deleuze-Guatta