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。
News
Browse
4 results
Search Results
Item 返離之間：石黑一雄《群山淡景》的創傷閱讀(2015) 何惠琳; Hui-lin Ho本論文旨在探討石黑一雄《群山淡景》中的第一人稱敘述者悅子（Etusko）如何以追憶分身的方式處理失去女兒慶子（Keiko）的創傷。本論文深受沈偉赳（Sim Wai-chew）以及派翠（Mike Petry）所提及的悅子與幸子互為分身的概念啟發，並試圖進一步勾勒出分身與創傷之間密不可分的連結。小說以敘述者悅子敘事觀點為主軸，由悅子追憶昔日長崎的故友幸子（Sachiko）與悅子敘述在英國的情境兩者形成回憶與現況雙層敘述的架構。巧合的是，當悅子追憶昔日故友幸子與真理子（Mariko）之間的母女關係時，故友母女似乎與悅子慶子母女的過往經驗有所重疊。為了進一步檢視小說裡回憶與現況中他人與自己的母女關係的重覆交錯，本論文援引創傷理論深入剖析看似各自獨立的兩段母女關係，並試圖證實兩者之重覆交錯實為敘述者悅子因受創傷之反覆回訪與離去之影響，因而橫越回憶與現況的時空分界進而重現自己難以承受的創傷。 本論文分為五個章節。第一章回顧石黑一雄作品、作品評論與訪談，並從中探究第一人稱的瑕疵記憶如何直接抑或間接呈現出創傷與分身的概念。論文第二章試圖援引卡露思（Cathy Caruth）創傷的回訪與離去為理論架構理解《群山淡景》中悅子失去女兒慶子的創傷。同時，本章亦審視范德寇克（van der Kolk）與范德哈特（van der Hart）提出的見解：創傷者易囿限創傷於過去的框架之中，並試圖在創傷與現在的自己之間劃定界線。以上述兩理論為主軸，本章旨在建構可理解小說中敘述者母親與亡者女兒之間的創傷連結之理論架構。第三章接續探究敘述者如何透過分身處理創傷的母女關係。細察悅子與幸子互為分身之際，我認為此分身不僅是兩者互為分身，更是敘述者悅子、回憶層次中在長崎的悅子、與幸子三者互為分身的三角關係。透過此三角分身，可窺見創傷敘述者從中重建毋受時空框架束縛的創傷記憶。承續第三章探究分身與創傷之連結後，第四章審視一名多次出現在回憶中身分未曉的女人。細讀小說中回憶層次裡的兩則溺斃的片段時，我發現此身分未曉之女人不僅指涉回憶層次中真理子反覆提及看見此女人的現象，同時反映現況層次中敘述者悅子掛念縈繞她夢中的身分未曉的小女孩。雖然真理子與悅子的掛念分別顯現於回憶與現況層次，兩個看似異質的掛念卻因平行出現在雙層敘述之中反倒顯露出母女連結創傷的一致性。最後，本論文歸結出經由分身重現創傷回憶，敘述者得以展現創傷者的能動性。因此，敘述者得以避免受已全然屏除創傷的現況框架所困，或僅僅沉溺於創傷框架之中。超脫創傷與現狀兩層框架之外，敘述者得以在創傷縈繞之際，仍可游移框架與框架之間、來去自如。如同無法受任一時空框架羈絆的創傷一般，敘述者得以跳脫被動地受創傷反覆地來訪又離去所困，進而確立創傷者面對創傷的能動性。Item 華語因果問句與方法問句之第一語言習得：以「怎麼會」和「會怎麼」為例(英語學系, 2015-11-??) 李奇璋; 陳純音; 楊立勤; Chi-Chang Roy Lia; Chun-Yin Doris Chen; Li-Chin Yang本研究藉由中文疑問詞「怎麼」來探討以中文為母語的學齡前兒童對於方法問句與因果問句的習得。主要的議題包括方法問句與因果問句的習得順序、主事效應、泛指效應、題型效應及其他相關問法的句型。本研究共設計兩個測驗：圖片選擇測驗與問句形成測驗。研究對象為48位以中文為母語的學齡前兒童，根據其年齡分為三組（第一組為四歲零個月至四歲十一個月、第二組為五歲零個月至五歲十一個月、及第三組為六歲零個月至六歲十一個月）。研究發現，學齡前兒童對於方法問句與因果問句的分辨，並未達到統計上的差異，但其在因果問句的表現仍較其在方法問句來得佳。其次，主事效應和泛指效應對孩童在「怎麼」問句的影響達到顯著性。孩童在含主事者之「怎麼」問句與非泛指之「怎麼」問句表現皆較佳。最後，相較於因果問句，學齡前兒童對方法問句掌握較差，因此錯誤回應較多，再次顯示「會怎麼」的問句比「怎麼會」難習得。Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.