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, 2019-03-??) Robert TindolThe “Stolen Boat,” one of the most celebrated episodes from WilliamWordsworth’s The Prelude, recounts the occasion when the poet as a youth takesa boat from the shore of the Ullswater in England’s Lake District and beginsrowing into the middle of the lake. Suddenly, when he sees a higher peak emergefrom a lower hill adjacent to the bank from which he is rowing, he is taken abackby the sight and immediately returns to shore. The episode in recent years hasrightly been cited by critics as a representative example of the sublime, buton-site investigations by the author suggest that the matter should be furtherconsidered in light of physical evidence that the poet may have amalgamated theimage of the mountain with other information in a time-integration analogous tothe motion of the boat. The result is a new reading that does not necessarilyrefute earlier theoretical insights into the episode as a sublime experience, butrather qualifies them by underscoring the complicated manner in whichWordsworth incorporates nature into the “growth of the poet’s mindItem Untitled(英語學系, 2019-03-??) Kim-Su RasmussenThis paper analyzes the exchange between Ricoeur and Derrida concerningmetaphor. I argue that the exchange is not a “missed encounter,” as EftichisPirovolakis has suggested, but exemplifies a hermeneutic situation in whichtheoretical divergence is supplemented by a practical convergence. Rather thana mere exegesis of the exchange between Ricoeur and Derrida, I emphasize thepractical implications for the interpretation of poetic metaphors. To be morespecific, I emphasize the case of Paul Celan’s poem “Blume” and the semanticdensity of the central metaphor. Although Ricoeur and Derrida diverge in strictlytheoretical terms, their theoretical positions—when translated into practicalterms—establish different but convergent paradigms for the interpretation ofpoetic metaphorsItem 檔案書寫：麥可‧翁達傑《分離》的倫理研究(2011) 陳煒婷; Wei-ting Chen《分離》可視為麥可‧翁達傑寫作上的轉折。不同於以往關注政治及身分認同的議題，翁達傑在這本小說著重人與人之間的隱私及親密關係。著迷藝術表現的可能性及正史未說的部分，翁達傑慣於挑戰寫作的傳統及僭越未知的歷史。本文將就翁達傑的寫作風格及主題來探究《分離》中甚少被談及的倫理面向。築基於德希達的「檔案熱」(archive fever) 及列維那斯的倫理思維，筆者意欲解析小說女主角─安娜如何透過檔案書寫來回應他者的呼喚並以此轉移個人的創傷經驗。 第一章論及人們對過去的迷戀及現代身分認同政治。筆者援引德希達的「檔案熱」，企圖檢視安娜對史料的狂熱與她創傷經驗及身分危機之間的關係。第二章的討論側重於安娜尋找歷史中被消音他者的過程。本章的理論架構倚重理查‧福爾摩斯(Richard Holmes) 與蘿拉‧馬庫絲(Laura Marcus) 的論述。筆者認為透過寫作，安娜與其寫作對象之間產生了立即性及互為影響的力量。在這過程，安娜不只為歷史他者留下紀錄；相反的，他者也將喚醒安娜壓抑的過去。然而，唯有透過寫作，安娜才能間接地面對與檢視她與家人之間斷裂的關係。第三章的探討重點為檔案書寫的倫理觀。筆者挪用列維那斯的倫理論述探究安娜如何藉由回應他者的呼喚面對並了解過去的創傷。此外，透過書寫，安娜得以重新思索自我與他人的關係並建立新的倫理主體。 關鍵字：麥可‧翁達傑、德希達、檔案熱、檔案書寫、書寫他者、列維那斯、 倫理、創傷主體、《分離》Item 鬼魅與城市：法蘭克．奧哈拉詩中的德希達式「魂在論」(2017) 蔡之甯; Tsai, Chih-Ning本論文試圖從德希達所提出之｢魂在論｣的解構哲學視角，重新詮釋及反思法蘭克．奧哈拉詩中獨特之｢此時此刻的在場美學｣。 此一再詮釋的目的乃為雙向；其一，本論文以反思奧哈拉｢此時此刻｣美學中具極端｢當下性｣之在場為途徑，來檢視德希達的｢魂在｣哲學中死亡及鬼魂等核心概念的解構力量。其二，利用｢魂在論｣中對於形上學進行批判的幽靈纏繞之哲學觀為觸媒，重新剖析並質疑該美學中｢立即在場｣的純粹性。 本論文主要部分共分為三個章節；第一章前半部分主要闡釋德希達的｢魂在論｣中的鬼魅觀念如何從其早期所提出的｢延異｣發展而來。並進一步探討與此鬼魅性密切相關的原初死亡與哀悼等概念如何對形上學所認知的主體及在場之純粹性進行批判。本章後半部分探討法蘭克．奧哈拉藉由再現具高度在場性之｢稍縱即逝的當下｣所呈現的｢此時此刻｣美學；並從德希達的｢魂在｣哲學觀點，反思書寫中此種｢永恆化的稍縱即逝｣所展現的其實是一種極度鬼魅性的不在場(缺席)。第二章透過德希達針對攝影及檔案的鬼魅性之論述，將奧哈拉詩中的｢此時此刻｣美學視為一種攝影式的死亡書寫。奧哈拉為呈現極端主體在場所建構之｢立即｣的場景(包括｢當下｣時刻的即時捕捉及永恆現在式時態)，其｢當下性｣已然被一種書寫的死亡性及鬼魅性的時態結構所制約；其所表現的因而是一種純粹在場的原初異化，｢單一｣的永恆回返。第三章前段首先討論奧哈拉如何利用高度自傳性的｢命名｣來強化一種獨特的､排他性的主體之立即在場經驗；而後根據德希達將｢署名｣及｢自傳｣視為一種被異化的死亡書寫之理論視角，檢視奧哈拉詩中此種自傳性的命名如何在初始便已被｢他者化｣；此種試圖透過命名來達成的獨特在場經驗呈現的反而是一種自我異質化的過程。本章後段藉由延伸｢命名｣之異化的論述，進一步論證奧哈拉詩中同樣為呈現自傳性之立即在場的第一人稱｢我｣其實是一種被鬼魅化的自我分化及自我抹除；｢我｣在此處並不作為主體在場的建構，而是一種魂在的哀悼狀態，不斷指向主體的原初死亡､離去､及鬼魂纏繞式的回歸。 透過闡論奧哈拉詩中在場之鬼魅性，本論文嘗試驗證並總結其所構築之純粹的立即在場其實在初始便被一種自身的延異狀態所｢空間化｣；所謂｢在場美學｣所呈現的因而是一種原初的魂在式書寫。Item Untitled(英語學系, 2016-03-??) Shawn NormandinJane Austen’s Pride and Prejudice opposes Darcy, a character closely associated with writing, to Wickham, one associated with speech. Elizabeth Bennet’s earlyprejudice in favor of Wickham and against Darcy—by extension, in favor of speech and against writing—is, among other things, an example of what Jacques Derrida calls phonocentrism. Her prejudice is as much a literary necessity as a moral defect, since Austen has ensnared her in a phonocentric allegory. After the unfolding of Darcy’s letter, the novel complicates the allegory, empowering Elizabeth, who, in her final argument with Lady de Bourgh, triumphantly exploits the fact that speech can function like writing. The novel does not replace phonocentrism with its opposite, a prejudice in favor of writing; rather, it shows how both speech and what we commonly call writing depend upon arche-writing. The novel stages its own retroactive detachment from the media prejudice it exploits.Item 溫柔的反叛：從舞鶴的《餘生》看認同書寫與見證書寫的倫理與美學問題(國立台灣師範大學台灣語文學系, 2017-04-??) 邵毓娟; Shao, Yuh-chuan本篇論文試圖思考美學的反叛與美學如何反叛，最重要的是希望揭顯美學維持自身一種「弱化」卻尖銳的反叛位置。論文中主要討論並串連三個面向：第一部分首先回顧台灣解嚴後的認同政治思考對於文學創作與文學評論形成的開放與侷限；第二部分將借助當代法國哲學家賈克．德希達（Jacques Derrida）與賈克．洪席耶（Jacques Rancière）關於美學政治與倫理議題的思考，他們的美學思索提供了一個非常具有洞見的感知框架，讓我們能夠藉以理解舞鶴書寫《餘生》這樣一個超越「認同書寫」的美學行動所質疑與開創的倫理提問；第三部分則進入《餘生》這部作品，藉由這部小說文本與相關評論，展開《餘生》一書虛構與見證並置的弔詭雙重性，以及這樣的雙重性對於認同政治的倫理與政治思考。這樣的美學思考是一次溫柔的反叛，如此困難卻又如此重要的反叛。Item Untitled(英語學系, 2016-03-??) Shawn NormandinJane Austen’s Pride and Prejudice opposes Darcy, a character closely associated with writing, to Wickham, one associated with speech. Elizabeth Bennet’s earlyprejudice in favor of Wickham and against Darcy—by extension, in favor of speech and against writing—is, among other things, an example of what Jacques Derrida calls phonocentrism. Her prejudice is as much a literary necessity as a moral defect, since Austen has ensnared her in a phonocentric allegory. After the unfolding of Darcy’s letter, the novel complicates the allegory, empowering Elizabeth, who, in her final argument with Lady de Bourgh, triumphantly exploits the fact that speech can function like writing. The novel does not replace phonocentrism with its opposite, a prejudice in favor of writing; rather, it shows how both speech and what we commonly call writing depend upon arche-writing. The novel stages its own retroactive detachment from the media prejudice it exploits.