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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    李易修「超神話」二部曲研究
    (2025) 伍筱媛; Wu, Siao-Yuan
    中國傳統神話人物為劇場借用及發揚的作品所在多有，例如符宏征的《英雄密碼》、王榮裕的《山海經》及吳興國的《女神．西王母》等。在此之列，李易修的「超神話」二部曲（《大神魃‧世界之夢》、《蓬萊》）以《山海經》的女神旱魃、刑天為主角，首部曲講述旱魃見棄於神與人，流離轉徙，歷經自我探尋終能回歸的歷程，二部曲以刑天之眼，描繪崑崙眾神相互爭鬥的神國黃昏，揭示爭名逐利背後隱含的重要價值。異於過往作品發揚舊有神話故事精神的習慣，新編故事除了重新詮釋角色內涵，改寫故事走向，更鎔鑄泉州腔台語、客家話、廣東話及蘇州話四種方言，創造新的神國語言。由於語言的殊異性及跳躍的敘事手法，觀眾不致全然陷入戲劇幻象，而能保有後設思考的空間，與自我生命經驗相映照。 本文嘗試以弘比（Richard Hornby）Drama, Metadrama, and Perception提出的後設戲劇技巧：戲中戲、戲中儀典、角色的角色扮演、文學與真實人生的指涉、自我指涉，分析「超神話」二部曲對於原文本《山海經》的繼承及創新之處，並以坎伯（Joseph Campbell）的英雄之旅檢視人物的成長歷程。除此之外，筆者將「心」視為系列作的內在主題，試由唐君毅詮釋的孟子道德心釋之，並關照於舞台美術方面，討論王船、面具等設計對於補充作品的宇宙論的助益。 最後，經過上述理論分析及田野調查，筆者將以劇場人類學為進路，淺析數部近十年間的神話劇作，試圖從中觀察現代神話承先啟後之處，以及作品對於當代社會的啟示，藉此梳理現代神話劇場可能帶有的批評觀點，思考劇場應該帶給觀眾的刺激與想像。
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    Narrating Sense, Ordering Nature: Darwin's Anthropological Vision
    (英語學系, 2012-09-??) Nihad M. Farooq
    In this essay, I argue that the recurring themes of perception and the place of the human in the scale of geological time came together for Charles Darwin first in an anthropological context aboard HMS Beagle in the 1830s. Though his primary interests in his early research years were geology and zoology, the foundational influence of the Beagle journey on his burgeoning theories of the human is not to be discounted. I contend that it was Darwin's few but important anthropological observations during this significant 1831-36 excursion, especially of the native inhabitants of Tierra del Fuego, that left the most indelible impression on the young naturalist, and to which he would anxiously return in subsequent years. This is where he puzzled over the seemingly single-generation shift between the three pleasant, Anglicized Fuegians (who, after a three-year British sojourn, traveled back to Tierra del Fuego aboard the Beagle with him) and their "savage" brethren who greeted the ship on the shores of their native homeland. I begin my essay by tracing the foundational influence of language in shaping Darwin's re-vision of the human, as his prose often shifts between the perceptual immersion of the curious naturalist and the ordered prose of a calculating scientist. I then examine Darwin's actual experience with the Anglicized Fuegians, and his perplexity at their eventual "reversion." This is the moment, I argue, when Darwin's theory and gaze begin to focus on the human. Through his exposure to the Anglicized Fuegians and their unassimilated counterparts at home, coupled with the "new way of seeing" and writing that his landscape and experiences demanded, Darwin inaugurates a burgeoning concept of cultural relativity and cultural fluidity, one that eventually enables him-and paves the way for future scholars and practitioners-to link all humans "along the arc of culture."