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 台南人劇團「莎士比亞不插電」系列研究(2022) 黃鈺琳; Huang, Yu-Lin於文化交流密切、頻繁之今日，「跨文化劇場」、「跨文化改編」早已成為東西方學術研究關注的議題。本文以台南人劇團「莎士比亞不插電」系列作品為題，探討統攝在「不插電」的整體概念下，劇團所為之改編策略。自導演編排調度、舞美設計、情節結構、語言運用、角色形塑等層面，討論系列劇作於遵循原著經典的脈絡下，為何及如何進行改編、改編版本的戲劇內涵，以及原著文化至標的文化所為之調整。本研究主要從二面向進行資料耙梳，一是從劇團發展策略之角度，分析台南人劇團之領導理念和方針，以了解其面對改編之中心思想；二是從莎士比亞不插電劇目相關研究之角度，探討文化跨度之於戲劇詮釋的影響。跨文化戲劇主要橫跨文化、戲劇與文學三大領域，本論文以謝克納（Richard Schechner）主張的四大跨文化表現解釋文化流動現象；巴維（Patrice Pavis）的跨文化劇場分類及羅（Jacqueline Lo）和吉伯特（Helen Gilbert）所提出的「三橢圓圖」，檢視戲劇在改編後的屬性及文化轉譯。並以赫全（Linda Hutcheon）《改編理論》（A Theory of Adaptation）提出的六何法為檢視改編戲劇之方向，討論不同背景對於文學的側重和解讀。研究成果發現：於形式上，本系列作品皆承襲台南人劇團捨繁入簡的態度實踐「不插電」之概念；內涵層面因考量社會文化及目標觀眾之喜好，多著墨人物心理的發展變化，且容納諸多議題於戲劇中，如速食愛情、性別、毒品、生命意義、倫常、欲念追求等。表現手法多以幽默、詼諧的口吻將嚴肅的議題輕描淡寫，安排丑角、節奏輕快的音樂使戲劇氛圍不致太過沉重。語言詮釋部份從《羅密歐與茱麗葉》、《哈姆雷》反覆出現大段生僻難懂的念白，至《馬克白》、《維洛納二紳士》調整語言，臺詞兼顧文學性和表演性。台南人劇團「莎士比亞不插電」體現本土化、在地化之改編策略，特別是語言之運用，可謂塑造了莎劇臺灣化的風貌。Item The Hugos and the Translation of Shakespeare into French, Texts and Cultural and Historical Contexts(英語學系, 2021-09-??) Jonathan Locke HartShakespeare did not go easily into French. Voltaire was ambivalent about him as he helped to introduce him into France, especially when he was in exile in England, but he also had reservations about Shakespeare not being neo-classical or, to put it another way, "barbaric." This neo-classical ambivalence also occurred among the English during the Restoration, after 1660, when Charles II returned from France to England and was restored to the throne. John Dryden and Alexander Pope, for instance, were ambivalent about Shakespeare. With Romanticism, Shakespeare became more popular in France, and Victor Hugo and his son, François-Victor Hugo, were instrumental in establishing Shakespeare in France, with the father, the great writer, lending a preface to his son's work and the son undertaking the work of translating Shakespeare systematically in 18 volumes. This article will focus most on the father's preface in the first volume and on the son's translations of the Sonnets in volume 15. The reason for this choice and method is that the pioneering work in the first phases of literary translation needs close examination, what I call the establishment of translation or reputation.Item Issues of Transcultural Mobility in Three Recent French Balcony Scenes(英語學系, 2021-09-??) Stephanie MercierRomeo and Juliet's translation and staging by Olivier Py (2011), Pascal and Antoine Collin and David Bobee (2012), and Éric Ruf, who staged FrançoisVictor Hugo's 1868 version of the play (2016-17), provide a stimulating illustration of recent French translations/adaptations of the Balcony Scene in particular. I examine instances of verbal and non-verbal translation of the canonical texts through such elements such as props, costume, gesture, posture, and the body. They all bring to mind Stephen Greenblatt's concept of "cultural mobility"—first formulated as "cultural transfer" by historians Michel Espagne and Michael Werner in the late 1980s to account for interaction and relations between France and Germany. The scenes particularly seemed to defy previous notions of foreignization or domestication, where the source culture is seen as the "self" and the target culture as the "other," and where the process of domestication tends to erase all "foreignness" from the former. Here, I explorehow just three instances of one of the most iconic scenes in Shakespeare is emblematic of a more general cultural mobility in French theatre, thanks to the choice (or choice not) to incorporate French contextual elements in Gallic productions of Shakespeare. I discuss, through the lens of cultural transfer, how the translations repeat or redefine canonical material, and how they show FrancoBritish stages in contact with one another within the context of contemporary French theatre.Item On Modernizing the Language of Romeo and Juliet for Finnish Teenagers(英語學系, 2021-09-??) Nely KeinänenThis article examines a recent production of Julia and Romeo at the Finnish National Theater (2018) as an example of innovative linguistic adaptation, accomplished through the use of style variations and a touch of rewriting. While most of the FNT Finnish text is based on Marja-Leena Mikkola's poetic translation (WSOY 2006), the dramaturg Anna Viitala, working closely with the director and actors, added a layer of colloquial, teenage language. Features include tiny insertions, such as vou [wow]," okei [OK], and phrases teens use with each other or to annoy their parents. Sometimes a single poetic line is replaced with a shorter and more colloquial speech, framed by much more poetic text. In a larger piece of rewriting, Romeo and Juliet's shared sonnet is turned into a hilarious poem Romeo is writing on love, drawn in part from Troilus and Cressida. For the most part, these juxtapositions of colloquial language added a comic touch, inviting teenage audience members to relate to the characters. But they were also effectively used to heighten tragedy, as for example in the simple repetition of a Finnish word for hello and goodbye, hei, which Romeo and Juliet awkwardly said to each other when they first met, and which was repeated three more times later in the play at key moments. The analysis points to the significant role stylistic variation can have in theatrical translation and adaptation, and suggests translators think beyond a simple continuum between archaizing and modernizing as strategies for translating historical texts.Item Untitled(英語學系, 2020-03-??) Peter D. MathewsThe ambivalence at the heart of Rachel Kadish’s third novel, The Weight of Ink(2017), comes from the tension between Kadish’s exploration of Jewish identity,on the one hand, and her position as a feminist on the other. Kadish thus usesthe form of the historical novel to critique patriarchal traditions in Jewishculture that exclude women from the domain of scholarship and philosophicalthought. The Weight of Ink weaves a complex narrative contrasting the life of atwenty-first-century historian, Helen Watt, to the fierce intellect of EsterVelazquez, a female scribe from the seventeenth century, who is forced todevelop her philosophy secretly under a series of male pseudonyms. This essaystarts out by examining the delicate balance required for this kind of culturalcritique, for while Kadish excoriates the past ill-treatment of women andhomosexuals, she nonetheless is also clearly proud of her identity as a Jewishwoman. The second section of this paper looks at the extent to which Kadishlaunches a successful feminist analysis of Jewish culture and traditions. Herstrongest points come when she turns the logic of this tradition back on itself:the very existence of Ester’s intellect or Alvaro’s homosexuality, she argues,are proof that such things are ordained by divine will rather than itscontradiction. The conclusion of the paper explores the limitations of Kadish’sapproach, focusing in particular on the way she creates a biological tie betweenEster and Shakespeare. This narrative twist appropriates Ester to the realm ofthe patriarchal law, encapsulating the irresolvable tension between Kadish’sJewishness and her feminist politics.Item 莎士比亞之漫畫與動畫改編研究: 以《哈姆雷特》及《羅密歐與茱麗葉》為例(2016) 江俞弦; Chiang, Yu-Hsien本文旨在探討莎士比亞的《哈姆雷特》及《羅密歐與茱麗葉》中的情節和台詞，如何透過圖片敘述及原著台詞的刪減，交織應用在21世紀的動畫及漫畫中，而使其產生新的詮釋及視聽感受。本論文分為五章: 緒論陳述本文所提及的漫畫及動畫版本之取材原因，以及簡述各章節概要。第一章則提供漫畫及動畫的初步認識，並運用Barbara Postema所列出的漫畫技巧，解讀圖片在故事中的敘述方式。將圖片視為一種在文本中敘述的語言，並透過漫畫的敘事架構及圖片在畫面上的配置技巧，作為分析第二章的基礎。第二章主要著重在Manga Shakespeare改編的漫畫版本中，分析僅是文字的原著劇本，如何在漫畫圖片的框架中，結合既有的台詞與漫畫的敘述架構而得以重新演釋，而產生不同的閱讀可能性及解讀方式。為了區別漫畫和動畫在改編上有所不同，第三章則以Zetsuen no Tempest和Romeo X Juliet兩部動畫作品為例，探討莎劇的角色、台詞及劇情，如何經由應用與修飾，融合劇情，進而在動畫中產生新的詮釋。與漫畫相比，動畫的重點已經不再是以不同媒介演繹莎士比亞的劇本。反之，原著中的元素(角色、情節、台詞)變成動畫敘事中的潤飾品，或是作為劇情轉折的關鍵點。最後，結論概述漫畫和動畫改編的異同，並提出閱聽者在閱讀或欣賞的當下，應將劇本或是改編作品結合自身經驗，使其產生更具意義的解讀方式。Item 音步譯趨/趣：方平之《羅密歐與朱麗葉》探討(2011) 張桐恩; Tong-en Chang《羅密歐與朱麗葉》一劇可說家喻戶曉，然而其翻譯史卻少有人探究，故本文一方面整理《羅》劇之翻譯史，勾勒自林紓以降各譯者之風格。 另一方面，多年來，中文莎士比亞以梁實秋與朱生豪的散文版本最為流通，然而不少學者與研究都認為應該以詩譯詩，且劇本翻譯應以「可演」與否為最主要的考量。2000年，方平以「音組」的原則翻譯《新莎士比亞全集》，號稱以詩譯詩並以「可演」為目標，為有心探究莎劇翻譯者提供了新的素材。 然而在探究《羅》之相關問題時，不免遇到意識形態之問題，其一是「可演性」一詞過於空泛，其二是《羅》劇中，主角刻骨銘心的愛情，實則牽涉了未成年人偷嚐禁果的禁忌、挑戰了傳統社會的價值。故本文亦從意識形態出發，以比利時學者 Lefevere 之操縱理論，及以 Susan Bassnett 對「可演性」之質疑為基礎，檢視方平之意識形態，及其在詩學、論述系統方面之操縱。 檢視研究結果，方平雖不斷強調劇本演出之可能，然而卻忽略演出仍牽涉演員、導演與其他非語言因素，在添加舞台指示時顯得畫蛇添足，且許多典故也因為字數限制而丟失。然而音組翻譯之短句結構，的確使節奏較為突出，不失為一項有意義的實驗。Item The Crime Scene of Revenge Tragedy(英語學系, 2012-03-??) Carol Mejia LaPerleAnalyzing the parallel gestures of ritualistic brutality deployed in the cannibal banquet of Seneca’s Thyestes and Shakespeare’s Titus Andronicus, I reveal how the genre of revenge tragedies is simultaneously an instance of, and challenge to, Georges Bataille’s socio-economic theory of excess within a general economy. Excess, and not scarcity, is the motive and the condition for revenge. Both revengers react to a surplus of energy, or what I will call the “excess of possibilities,” that threatens autonomy. Thus, the victims of revenge embody the excess of possibilities in the plays since they are reminders of the contingency, and potential indistinguishability, of the agents of revenge. Sacrificial cannibalism emerges as the revenger’s means for autonomous differentiation, thus eliminating the unbearable interchangeability generated by surplus. Furthermore, by theorizing the excess of possibilities as the underlying pressure driving Atreus as a Senecan revenge figure, I argue that the citation of a specifically Senecan cannibal banquet, appropriated in Shakespeare’s Titus Andronicus, is a gesture by the author to sacrifice, and thus gratuitously consume, the surplus violence generated by the act of representation itself.Item Moral Economy and the Politics of Food Riots in Coriolanus(英語學系, 2010-09-??) Elyssa Y. ChengFood riots in the Elizabethan-Jacobean period were an explosive expression of discontent over the threat of food scarcity and starvation. They were ritualisticacts used by the commoners to compel the authorities to meet the standards of moral economy and to respect the plebeians' legitimate right to eat. In Coriolanus, Shakespeare highlights contemporary Jacobean food riots by rewriting and transferring the belly fable incident of usury riots into food riots and by repetitively referring to famine, hunger, and food hoarding in the riot scenes. Like Shakespeare's contemporary food rioters, the mobs in Coriolanus do not rise up to subvert the established social order; they revolt in order to alert the authorities that their grievances must be heard and respected. By portraying the crowd as exceptionally well-organized, the playwright transforms the play into a social critique to encourage his audience to think about the potential danger of popular disruptions and to urge the authorities to contemplate the consequences of ignoring the popular voice. Through this critique, the dramatist also manages to display how hunger can turn into a formidably collective power that poses a serious threat to the ruling authorities.Item The Crime Scene of Revenge Tragedy(英語學系, 2012-03-??) Carol Mejia LaPerleAnalyzing the parallel gestures of ritualistic brutality deployed in the cannibal banquet of Seneca’s Thyestes and Shakespeare’s Titus Andronicus, I reveal how the genre of revenge tragedies is simultaneously an instance of, and challenge to, Georges Bataille’s socio-economic theory of excess within a general economy. Excess, and not scarcity, is the motive and the condition for revenge. Both revengers react to a surplus of energy, or what I will call the “excess of possibilities,” that threatens autonomy. Thus, the victims of revenge embody the excess of possibilities in the plays since they are reminders of the contingency, and potential indistinguishability, of the agents of revenge. Sacrificial cannibalism emerges as the revenger’s means for autonomous differentiation, thus eliminating the unbearable interchangeability generated by surplus. Furthermore, by theorizing the excess of possibilities as the underlying pressure driving Atreus as a Senecan revenge figure, I argue that the citation of a specifically Senecan cannibal banquet, appropriated in Shakespeare’s Titus Andronicus, is a gesture by the author to sacrifice, and thus gratuitously consume, the surplus violence generated by the act of representation itself.