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 Spatial Representation in Three Detective Fiction Subgenres(英語學系, 2018-09-??) Zi-ling YanIn this study I examine a limited aspect of spatial representation in Golden Age, hard-boiled and postmodern detective fiction. I situate these representations within a theory of architectural enclosure, Tschumi's pyramid/ labyrinth distinction, then employ concepts derived from Gestalt theory as pointing up an ideological tendency in the Golden Age floor plans and diagrams by which crime is contained and spaces are normalized. John Dickson Carr's The Problem of the Wire Cage (1939) serves as a test case. The subsequent sections offer spatial analyses of Dashiell Hammett's "The Whosis Kid" (1925) and "Dead Yellow Women" (1925) and Paul Auster's City of Glass (1987). Hammett's stories illustrate the breakdown of visual mastery in disorienting spaces whose textual representation parallels the Op's own limited knowledge. Auster's diagrams appear to offer a synthesis of prior positions: he incorporates plans which seem to promise meaning but which ultimately fail to establish certainty. I argue, however, that Auster's plans are most effectively read in their specific socio-historical and political context and that the performantive loss of referential certainty in his potagonist reflects a form of critique that differs from earlier gernres' use of these figures.Item Rewriting the Bildungsroman and the Rise of Detective Fiction in The Moonstone(英語學系, 2018-09-??) Ilsu SohnWilkie Collins’s The Moonstone (1868) is widely regarded as a landmark in the history of British detective fiction. As a prototypical detective novel, it also exhibits influences from many fictional genres. In this essay, I focus on the coming-of-age plot in the novel and analyze how The Moonstone rewrites the Bildungsroman for its self-fashioning as detective fiction. Through a modern individual’s successful socialization, the classical Bildungsroman expresses the belief that organic national culture can domesticate social mobility in the age of rapid modernization and imperial expansion. Collins’s novel reproduces this coming-of-age narrative and demonstrates the restoration of social normalcy in the face of colonial threats posed to the imperial center. This essay contends, however, that the coming-of-age narrative and the detective narrative bifurcate as Blake, the central character who comes of age at the end, fails to develop necessary agency for detective work. During a time of increasing class conflicts allied to exploitative transnational economy, the normative socio-national fabric the Bildungsroman symbolizes proves to be incompetent. Instead, the agency that restores national identity and completes Blake’s coming of age derives from subjects associated with social uprootedness and degeneration, those who compromise the cultural logic of the Bildungsroman. The coming-of-age narrative in this quasi-detective novel provides a normative façade but fails to solve the problem for which it is summoned. This essay discusses how a detective fiction emerges in dialectic with the Bildungsroman.Item Spatial Representation in Three Detective Fiction Subgenres(英語學系, 2018-09-??) Zi-ling YanIn this study I examine a limited aspect of spatial representation in Golden Age, hard-boiled and postmodern detective fiction. I situate these representations within a theory of architectural enclosure, Tschumi's pyramid/ labyrinth distinction, then employ concepts derived from Gestalt theory as pointing up an ideological tendency in the Golden Age floor plans and diagrams by which crime is contained and spaces are normalized. John Dickson Carr's The Problem of the Wire Cage (1939) serves as a test case. The subsequent sections offer spatial analyses of Dashiell Hammett's "The Whosis Kid" (1925) and "Dead Yellow Women" (1925) and Paul Auster's City of Glass (1987). Hammett's stories illustrate the breakdown of visual mastery in disorienting spaces whose textual representation parallels the Op's own limited knowledge. Auster's diagrams appear to offer a synthesis of prior positions: he incorporates plans which seem to promise meaning but which ultimately fail to establish certainty. I argue, however, that Auster's plans are most effectively read in their specific socio-historical and political context and that the performantive loss of referential certainty in his potagonist reflects a form of critique that differs from earlier gernres' use of these figures.Item Rewriting the Bildungsroman and the Rise of Detective Fiction in The Moonstone(英語學系, 2018-09-??) Ilsu SohnWilkie Collins’s The Moonstone (1868) is widely regarded as a landmark in the history of British detective fiction. As a prototypical detective novel, it also exhibits influences from many fictional genres. In this essay, I focus on the coming-of-age plot in the novel and analyze how The Moonstone rewrites the Bildungsroman for its self-fashioning as detective fiction. Through a modern individual’s successful socialization, the classical Bildungsroman expresses the belief that organic national culture can domesticate social mobility in the age of rapid modernization and imperial expansion. Collins’s novel reproduces this coming-of-age narrative and demonstrates the restoration of social normalcy in the face of colonial threats posed to the imperial center. This essay contends, however, that the coming-of-age narrative and the detective narrative bifurcate as Blake, the central character who comes of age at the end, fails to develop necessary agency for detective work. During a time of increasing class conflicts allied to exploitative transnational economy, the normative socio-national fabric the Bildungsroman symbolizes proves to be incompetent. Instead, the agency that restores national identity and completes Blake’s coming of age derives from subjects associated with social uprootedness and degeneration, those who compromise the cultural logic of the Bildungsroman. The coming-of-age narrative in this quasi-detective novel provides a normative façade but fails to solve the problem for which it is summoned. This essay discusses how a detective fiction emerges in dialectic with the Bildungsroman.