文學院

Permanent URI for this communityhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/2

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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    Žižek’s Return to the Idealist Subject: Beckett, the Failed Absolute and the Poetry of Anxiety
    (英語學系, 2021-03-??) Will Greenshields
    This paper introduces the distinctiveness of Slavoj Žižek's reading of literature by examining the import of his praise (proffered in the recently published Sex and the Failed Absolute) for Samuel Beckett as "the great writer of abstraction" and deployment of Friedrich Hölderlin as a counterexample. It begins by distinguishing what Žižek refers to as "idealism pushed to its limits"—that is, his retention of the idealist subject within a materialist project—from other contemporary idealisms and materialisms before turning to the question of how it informs his understanding of literature and other modes of literary criticism such as new historicism. Specific attention is paid to the apparently antimaterialist importance granted to the negative power of abstraction as opposedto a materialist analysis of the concrete and particular. To further elucidate the stakes of Žižek’s project, a comparison is drawn between Kant's transcendental "I" and the "transcendental poetry" or "literary absolute" of the German Romantics on one hand and Žižek's "failed Absolute" and what he has baptized "poetry (of anxiety)" on the other.
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    餘音裊裊: 從精神分析論誌異怪物想像與當代哥德金屬樂
    (2011) 邱楷雯; Kai-wen Chiu
    透過拉岡/齊澤克式精神分析探討當代哥德金屬音樂中的聲音,本文企圖連結誌異研究與後現代哥德次文化。以模棱兩可和毫無節制著稱,誌異文學在本文中被視為啟蒙主義的必然產物,一種精神分析中的似是而非的幻想(fantasy)。在現代與後現代中,誌異怪物都扮演著真實怪物的代替品;然而這些代替品往往證明真正的恐怖與替代的區分是多模糊。儘管後現代的怪物熱潮不免物神化、寵物化了誌異怪物,想像怪物與真實怪物間不斷的波動依舊證明了誌異的模稜兩可超越後現代的快想幻界,更非後現代對他者的理想化可以限制住。從齊澤克式精神分析談聲音的理論基礎,本文進一步闡述「餘音」(the object voice):餘音對於身體與語言都是陌異的核心(the extimate),徹底挑戰了主體的完整性,以及人、動物、機器之間的區別。哥德金屬的詭譎音效產生了在崇高與怪異間游移的餘音;餘音取悅、陶醉,但亦驚嚇、使人厭惡、甚至導致主體的瓦解。臨界(liminal)的餘音也表達出哥德金屬的政治/社會/文化批判。做為內化差異(otherness)的核心,它提供了一套非建立在理想化與暴力式排他的主體與他者的關係。哥德金屬中震慄的聲音/餘音,從此角度看來,不僅再度證明了誌異的模稜兩可特質,更展現哥德次文化對於後現代中針對他者的非理性暴力的一種倫理回應。
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    (英語學系, 2017-03-??) Bruce Carroll
    This article redresses an oversight in current eco-theory that offers no means for revising still-persistent conceptions of nature and the natural. It proposes an ecologizing mode of analysis as one corrective. Throughout the essay is an attempt to redeem the human, the artificial, and with them, the city. The argument discovers along the way that in order to profess its non-existence, one must name and thus reify nature, a linguistic curiosity that makes clearer the extent of nature’s ideological reach. This reflexive foil should be taken into consideration by those who find the persistence of nature troubling to the future of eco-theory and eco-awareness.