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 Female Desire and Transformed Masculinity: Imogen Cunningham's Photographs of the Male Nude(英語學系, 2021-03-??) Jui-Ch'i LiuThis paper explores how Imogen Cunningham boldly envisioned woman-made, white masculinity and parodic subversions of the normative gender roles in her pioneering photographs of male nudes, which have received little attention in gender studies. Of special interest to me will be investigating the collusion and collision of Cunningham's gaze with the New Woman's gaze toward the woman-made men in the early-twentieth-century dance culture in theater and dance hall. My argument is that the New Woman's emergence as the primary figure in the consumption of the ethnically-other type of androgynous masculinity, gradually established in dance culture, inspired Cunningham to articulate her own fascinations and desire for the male nude through herphotographs. However, her most innovative performative intervention, I believe, lies in directly offering a startling transformation of gender norms through shooting the sexually desirable white, male body without dissimulating her fantasy around the liminal Oriental scenarios. I would also like to apply Judith Butler's gender theory to further interpret how Cunningham created a radical New Woman's alternative visual practices for female desire and pleasure, which enacted a feminist deconstruction of the normative gender roles of the white man and woman in her day.Item 欲求「圭範」vs. 「規範」欲望：宣成政治，流離主體，與「旅館國家/狀態」(2013) 張恆睿; Heng-jui ChangBuilding on Wayne Koestenbaum’s fragmentary reflections on the hotel in Hotel Theory, this thesis deploys the qualified neologism, “hotel state,” to denote an exilic perspective on “home.” Through this perspective, I hope to explore the productive connection between Judith Butler’s theory of performativity and the realism discussed in Anglo-American ethical and political philosophy, with Hegel, Spinoza, and J.L. Austin as common grounds between the two. The connection between Butler and realism refines and problematizes Butler’s formulations of home and exile, desire and recognition, in the issues of Israel/ Palestine and gay marriage. After a chapter-length discussion on each, I take the Jewish-Arab inter-racial homosexuality presented in Israeli director Eytan Fox’s film, The Bubble, and the film’s perceived failure, as a test case to summarily drive home the realism into which I hope to extend Butler’s theory, and with which to supplement the normative dimension that is lacking in it. The realism in question shares with Butler’s performative ethics/politics a rejection of both foundationalism and communitarianism. Home, viewed through foundationalism, is a label attachable to any context, provided that a basis in liberal consensus and individualist respect stands. The goal, on the foundationalist model, then, is to construct such a basis, regardless of cultural or historical differences. Contrarily, communitarianism, in emphasizing solidarity and cultural autonomy, rejects the foundationalists’ thin notion of home. In its salutary stress on the local and the specific, nevertheless, it risks either subjecting home to localist determinism or rendering it an apology for relativism (with recourse to the atomistic individual). Taking the realist and Butlerian middle way in rejecting both, the “hotel state” proposed in this thesis portrays home, or subjectivity, as displaced, linked to an unwilled, unpredictable and local network of relationality that both constitutes a challenge to the bounded subject assumed by foundationalism and a plurality that captures the performative creativity and transferentiality, pivoted on transience, of local affinities. The “hotel state” finds its inspiration in the “hotel,” meant to evoke associations with placeness, instituionality, and various social statuses such as can be conjured up at the mentioning of “hotel.” Hotel needs management, in the way that an anti-foundationalist realism, assessing political and ethical issues from inside a parochial perspective, has to answer normative problems. The specifying, normative associations of hotel, together with the capacity of a hotel point of view to pivot “inhabitation of space” upon voyage, cohabitation with strangers, and the freedom and unfreedom of exile, form the focal point of this thesis. The thesis embarks on two trajectories. One consists of a recontextualization of Judith Butler’s theory of “performativity” and “social ontology” in light of “realism,” premised upon the “hotel state.” The other, closely related, ventures a historical, conceptual analysis of the intertwining issues of Israel/Palestine and gay marriage. The latter’s challenges to the former I would try to meet with a fine-tuning of Butlerian realism, elucidating the relation between “hotel state” and the ethics of cohabitation. The first chapter launches the project by reshaping the terrain of Butler study. It revisits “performativity” and “social ontology” by tracing their genealogy in Butler back to Spinoza and Hegel, so as to bring them, via this metaphysical origin, to realism. The resistance of Butler’s theory to metaphysics is weakened not only by its genealogical link with metaphysics but by its anti-positivist intentionality. By emphasizing this strand in Butler’s thought, I distinguish her theory from the strong anti-metaphysical constructivism alongside which her writing is often read. Realism, invoked here through Hegel, Iris Murdoch and Bernard Williams, hinges on reality both as immanent to a local outlook, pivoted on local praxis, and as transcendent to the representation conferred by the epistemic norm which structures the local context. I argue that the perception of reality, which pits the norms against their own limits, would require the subject to attend to reality in both the immanent register and the transcendent register. Ethical realism, as propounded by Murdoch and Williams, entails that transformation and progress must be derived from local critique, one that is informed by history and apprehends the reality that transcends the epistemic norm governing the local context. The power struggle routed through bodies and institutions in the probelmatization of the norms’ legitimacy, on the other hand, signifies political realism. Considering ethical and political realism together, I name Williams and Judith Shklar as thinkers who recognize the necessity for political realism to go hand in hand with ethical realism. The degree to which the particular reality and the particular individual mirror each other in ethical and political realism bridges the gap between the individualistic politics and other-oriented ethics in Butler’s theory of performativity, at the same time that it critiques liberal individualism with an emphasis on reality. To further my theorization of the hotel state apropos Butler and realism, I study the intersections of identity in the Jewish/Palestinian question, compounded by homosexuality, as well as the desire for norm, against normative desire, in the debate over gay marriage in the US. The two converge when we consider the vulnerability of life, and, as Butler enjoins over and over, the varying recognition of such vulnerability in different groups. I raise Fox’s badly received popular film, The Bubble, as a case where the internally vexed clusters of identity and normative issues further crisscross into each other. The aim, as I sum up in the coda, is to see what different “future” realism, in the grip of pessimism and “left melancholia,” may lead. The task I set myself in these chapters is, first, to engage both historically and theoretically the coercive and productive aspects of norms manifested at the crossroads between groups, as well as between group membership and allegiance to group, and second, to theorize on a form of affiliation and hospitality, apropos Butlerian realism, that attends not only to the phenomenological aspects of the crossroads, but also to their normative resolutions. All in all, I argue that the “hotel state” is a phenomenological precondition of ethical perception that displaces “home” from its possessive, individualist, exclusionary grid, enabling a model of spatial practice and accommodation attuned to the reality both partially represented as the “ethical fact” of a particular form of life, and as beyond that representation, keeping alive an unknown prospect that can challenge that form of life should life in it be rendered unlivable. As such, “hotel state” comprises a fruitful link between realism and hospitality, between the realism in Anglo-American philosophy and the realism in Butler’s poststructuralist Hegelianism, constituting an inviting point of departure for the renewal of both.Item 雙重易裝：梁祝易裝劇場中的酷兒操演(2011) 陳瑄; Chan Shuen本論文以變裝為中心，探討民間故事梁祝所呈現的性別混亂和酷兒潛在性。不少梁祝的現代改編都對同志議題加以著墨，視祝英台之易裝為同性戀的暗喻，因此，不難在其中發現將易裝和同性戀硬性掛鉤的傾向。針對這一點，本篇論文強調易裝的矛盾性質，並質疑認定易裝與同性戀必然有關的看法，在以易裝（而非同性戀）為重心的前提下，尋求突顯梁祝之酷兒面向的其他可能性。本論文提出中國戲曲中的反串傳統可把梁祝的酷兒性發揮至極至，當文本梁祝的內在易裝與戲曲梁祝的外在反串在舞台上結合時，會產生一個「雙重易裝」結構。本文借用茱蒂‧巴特勒的性別操演理論，討論該雙重易裝結構作為酷兒表演如何在舞台上下建構性別，不只強化了梁祝的酷兒性，同時在反串演員的身上製造性別混亂，塑造其延伸至台下的酷兒形象。 本篇論文共有三章。第一章探討梁祝戲曲中的雙重易裝結構，以及該結構如何深化梁祝的酷兒面向。第二章以香港電影《魂魄唔齊》（2002）為例，分析其中所呈現的雙重易裝結構，以及反串表演如何把反串演員塑造成為酷兒角色。第三章討論反串表演在反串演員離開舞台後的延伸，以及透過反串表演建立第三性別的可能性。