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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    《哈利波特》中野性療癒力的探討
    (2017) 蘇麗娟; Su, Li-Juan
    艾爾吉奧(John Algeo)和格蘭傑(John Granger)認為J. K.羅琳受到神智學（證道學）的影響。關鍵性的證據反映在《阿茲卡班的逃犯》所提及的Vablatsky。Vablastky為布拉瓦茨基(Blavatsky)此名的字母重組，而(H. P.) Blavatsky為神智學會（證道學會）最主要的創辦人。另一重要證據為佛地魔與哈利波持在《火盃的考驗》和《死神的聖物》中的殊死戰；在兩次戰役中，兩人手中所持的由鳯凰佛客使製成的兩枝魔杖碰撞一起所發出的「金色火花」使人聯想到與神智學有密切關連性的「金色曙光」協會。魔杖與金色曙光協會有所關連，而金色曙光協會的成員之一E.奈斯比特(E. Nesbit)是羅琳最喜歡的作家。金色曙光協會又與性魔法和二十世紀中期的巫術運動有所關連。 本論文除了提供羅琳創作靈感的來源外，還檢視神話主題和神智學（證道學）的哲學理念如何透過神獸和蛇類生物的象徵而呈現於哈利波特英雄冒險系列作品。再者，蛇藥（特別與能量療法的起源相關）、布拉瓦茨基所提的七部分人類結構，和容格所闡釋的昆逹里尼心理都用以分析哈利如何在個人化歷程中取得身心靈的完整／療癒。 第一章，我主要運用「鳯凰悲傷模式」分析哈利的悲傷歷程，我認為哈利頭痛欲裂的痛苦來自於蛇類生物的詛咒，此蛇類生物即闇黑之王，佛地魔。哈利的傷疤暗示了精神分裂、未解決的悲傷和個人化歷程初期所遭受的創傷。這些都與哈利缺乏為死去親人哀悼的能力有關。第二章我討論到哈利內心神性與動物性的跨界，而這點則以哈利身為混種蛇類生物，最後卻能變身為基督—蘇菲亞相結合的雙性完整個體得以詮釋。我認為金妮可視為哈利的昆逹里尼阿尼瑪，喚起哈利的神聖慾力，進而協助哈利轉換為創意型鳯凰療傷者。第三章，我試圖藉由天狼星‧布萊克和彼得‧佩迪魯之間動物性、人性，與神性間的相互關係論證羅琳確實顛覆了女巫／巫師與魔寵的關係。而哈利從布萊克身上習得英雄式自我犠牲的精神，瞭解愛的本質，習得愛他者的能力，進而得到身心靈的完整／療癒。換言之，藉由靈性的提昇而進化為神智學者（證道學者）所稱的能者 (adept)，哈利可藉由提昇自我而減少巫師／麻瓜界中依然受苦之芸芸眾生的苦難。
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    (英語學系, 2016-03-??) Pei-lin Wu
    Jean Cocteau (1889-1963), a French poet and filmmaker, adapted the Greek myth of Orpheus and produced three movies centered on it, which are known as the Orphic trilogy: Le Sang d’un poète (1930), Orphée (1950), and Le Testament d’Orphée (1960). His films incorporate features of Neo-classicism and Surrealism to present the main themes of art, love, and death in the Orphic myth. Death, above all, turns out to provide him with the vigor of living as a poet because it is the way to maintain the real self, his unconscious. Hence, to Cocteau, death is transcendental. He created his personal myth by communicating between the public and the private spheres, through filmmaking and his unique artistic style in the hope to also break down the barrier between the living and the dead like Orpheus. What Cocteau yearned for was not the immortality of a conscious hero as that in the traditional myths, but of an unconscious poet, not confined by any rules.
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    (英語學系, 2016-03-??) Pei-lin Wu
    Jean Cocteau (1889-1963), a French poet and filmmaker, adapted the Greek myth of Orpheus and produced three movies centered on it, which are known as the Orphic trilogy: Le Sang d’un poète (1930), Orphée (1950), and Le Testament d’Orphée (1960). His films incorporate features of Neo-classicism and Surrealism to present the main themes of art, love, and death in the Orphic myth. Death, above all, turns out to provide him with the vigor of living as a poet because it is the way to maintain the real self, his unconscious. Hence, to Cocteau, death is transcendental. He created his personal myth by communicating between the public and the private spheres, through filmmaking and his unique artistic style in the hope to also break down the barrier between the living and the dead like Orpheus. What Cocteau yearned for was not the immortality of a conscious hero as that in the traditional myths, but of an unconscious poet, not confined by any rules.