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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Item Fear and Love in the Tide Country: Affect, Environment, and Encounters in Amitav Ghosh's The Hungry Tide(英語學系, 2018-09-??) Shu-ching ChenThis paper examines Amitav Ghosh's novel The Hungry Tide (2004) to explore Ghosh's dramatization of the affective impacts of a specific environment on local subjects and the role of cosmopolitan subjects play in translating those affects into knowable forms through their embodied and affective encounters with the local. My investigation draws upon recent theories of affect-negotiating between constructive and deconstructive views- and places the discussion in a framework of eco-cosmopolitan connections. By invoking the coexistence of the affects of fear and love, I seek to move beyond the concept of the uncanny, exploring affect both as emotions and intensity generated by the socio-ecological conditions of the wetlands. I take the affective encounters between the locals and the cosmopolitans as a relational medium through which modes of feeling and knowing on the part of cosmopolitan subjects can be transformed. The uncanny of the environment experienced by the local can also be translated into accessible forms through this medium, bringing into our sensory ken the slow violence that is far away and out of sight and thereby enabling ethical actions.Item 當代魯賓遜文類中的生態轉向：豪斯霍弗爾、圖尼埃、巴拉德、馬泰爾(2018) 楊宗樺; Yang, Tsung-hua笛福（Daniel Defoe）的《魯賓遜漂流記》（Robinson Crusoe）常被視為是第一部英國小說，在出版將近三百年的期間被許多作家所改寫。誕生許多關於魯賓遜故事的改編作品、甚而產生次文類，稱之為魯賓遜文類。在魯賓遜的改編故事中，背景常是在無人的荒島上，基本情節包括船難、冒險與不幸、船難者與生還者，也包含描述人和自然的衝突、或是個人與社會之間的對立。如批評家指出，魯賓遜是一個殖民者，他掌控島嶼視之為他的王國，並且以自我為世界的中心。在此研究中，我以人類掌控自然的這個議題為轉折點，點出《魯賓遜漂流記》文本中自我與他者的問題。而進一步思考，魯賓遜改編故事如何提供我們其他觀看世界的角度，並探究生物與環境間超越自我／他者二元而產生新關係的可能性為何。此研究將進行四部小說的文本分析，包括豪斯霍弗爾（Marlen Haushofer）的《牆》（The Wall）、圖尼埃（Michel Tournier）的《星期五》（Friday）、巴拉德（J. G. Ballard）的《水泥島》（Concrete Island）與馬泰爾（Yann Martel）的《少年Pi的奇幻漂流》（Life of Pi）。我主張這些作品揭示了當代魯賓遜文類中的生態轉向。有許多改編作品鮮少注意到笛福小說裡的生態議題，但是這四部小說以不同的方式挑戰魯賓遜敘述中人類凌駕於自然與動物之上的觀點，並企圖重新塑造人與自然的關係。從生態的觀點來閱讀這些文本，我認為當代魯賓遜的改編文本，不僅只囿於探究在殖民與後殖民下自我—他者二元分野的情境，而更是對於自我的重新定位，與再次探索我們時代中關於倫理、本體、與性別的議題。在此研究裡，因受到涅斯（Arne Naess）生態哲學T（Ecosophy T）的啟發，我鑄造「生態哲學M」（Ecosophy M）一詞，此詞探究六個生態相關的概念：環境（Milieu）、網絡（Mesh）、相互性（Mutuality）、母性（Maternity）、少數（Minorities）和情態（Mood）。其他啟發生態思想的主要思想家亦包括德希達（Jacques Derrida）、德勒茲（Gilles Deleuze）、瓜達里（Félix Guattari）和莫頓（Timothy Morton）。Item Untitled(英語學系, 2015-05-??) Jaesik ChungThis article attempts to offer a new mode of the baroque by juxtaposing Bateson’s notion of plateaus and ecology with the Deleuzian neo-baroque. Inspired by Bateson’s plateaus, this paper defines the Deleuzian baroque as the baroque of plateaus and examines how Deleuze grounds the possibility of nonhuman ecstasy in the sacredness of immanence at the heart of the seventeenthcentury Christian baroque. Drawing on Naess’s ecological reading of Spinoza’s Ethics in the context of Bateson’s immanence, “plateaus” can be defined as an ecological assemblage of the non-human ecstasy of immanence. The philosophy of plateaus features the profound art of avoiding the obsessive and excessive fixation on the orgasmic climax and “the exterior and transcendent ends” in Occidental thought. Informed by the logic of plateaus, this paper then examines how Deleuze converts Leibnizian baroque folds and harmony into the ecological cosmology of immanence, which features the magnificent and smooth waves of plateaus orchestrated by the graceful concertation of an infinite number of monads. In this cosmological space of immanence, this paper explores how Deleuze excavates the non-human ecstasy that dynamically flows into the texture of Bernini’s The Ecstasy of St. Teresa by concentrating on the process of defacializing the facialized human-based Christian ecstasy.Item Fear and Love in the Tide Country: Affect, Environment, and Encounters in Amitav Ghosh's The Hungry Tide(英語學系, 2018-09-??) Shu-ching ChenThis paper examines Amitav Ghosh's novel The Hungry Tide (2004) to explore Ghosh's dramatization of the affective impacts of a specific environment on local subjects and the role of cosmopolitan subjects play in translating those affects into knowable forms through their embodied and affective encounters with the local. My investigation draws upon recent theories of affect-negotiating between constructive and deconstructive views- and places the discussion in a framework of eco-cosmopolitan connections. By invoking the coexistence of the affects of fear and love, I seek to move beyond the concept of the uncanny, exploring affect both as emotions and intensity generated by the socio-ecological conditions of the wetlands. I take the affective encounters between the locals and the cosmopolitans as a relational medium through which modes of feeling and knowing on the part of cosmopolitan subjects can be transformed. The uncanny of the environment experienced by the local can also be translated into accessible forms through this medium, bringing into our sensory ken the slow violence that is far away and out of sight and thereby enabling ethical actions.Item Untitled(英語學系, 2017-03-??) Gry UlsteinThis paper investigates and compares language and imagery used by contemporary ecocritics in order to argue that the Anthropocene discourse contains significant parallels to cosmic horror discourse and (new) weird literature. While monsters from the traditional, Lovecraftian weird lend themselves well to Anthropocene allegory due to the coinciding fear affect in both discourses, the new weird genre experiments with ways to move beyond cosmic fear, thereby reimagining the human position in the context of the Anthropocene. Jeff VanderMeer’s trilogy The Southern Reach (2014) presents an alien system of assimilation and ecological mutation into which the characters are launched. It does this in a manner that brings into question human hierarchical coexistence with nonhumans while also exposing the ineffectiveness of current existential norms. This paper argues that new weird stories such as VanderMeer’s are able to rework and dispel the fearful paralysis of cosmic horror found in Lovecraft’s literature and of Anthropocene monsters in ecocritical debate. The Southern Reach and the new weird welcome the monstrous as kin rather than enemy.Item Untitled(英語學系, 2015-05-??) Jaesik ChungThis article attempts to offer a new mode of the baroque by juxtaposing Bateson’s notion of plateaus and ecology with the Deleuzian neo-baroque. Inspired by Bateson’s plateaus, this paper defines the Deleuzian baroque as the baroque of plateaus and examines how Deleuze grounds the possibility of nonhuman ecstasy in the sacredness of immanence at the heart of the seventeenthcentury Christian baroque. Drawing on Naess’s ecological reading of Spinoza’s Ethics in the context of Bateson’s immanence, “plateaus” can be defined as an ecological assemblage of the non-human ecstasy of immanence. The philosophy of plateaus features the profound art of avoiding the obsessive and excessive fixation on the orgasmic climax and “the exterior and transcendent ends” in Occidental thought. Informed by the logic of plateaus, this paper then examines how Deleuze converts Leibnizian baroque folds and harmony into the ecological cosmology of immanence, which features the magnificent and smooth waves of plateaus orchestrated by the graceful concertation of an infinite number of monads. In this cosmological space of immanence, this paper explores how Deleuze excavates the non-human ecstasy that dynamically flows into the texture of Bernini’s The Ecstasy of St. Teresa by concentrating on the process of defacializing the facialized human-based Christian ecstasy.Item 從乾坤到熊十力的存在空間(國立台灣師範大學國文學系, 2012-06-??) 潘朝陽; Pan, Chao-yang當代新儒家大師熊十力早年主要著作如《新唯識論》、《讀經示要》、《十力語要》等，以及晚年主要著作如《乾坤衍》、《體用論》、《明心篇》等，都是當代儒學最具有原創之力的本體宇宙論。基本上，熊氏在這些著作中均以「易經傳詮釋學」的進路闡揚「整全機體主義」的儒家哲學，且於其詮釋體系中表顯了生機滿盈的生態和演化之觀點。在此觀點中，視整體的自然環境是一個生機圓滿且力動的存在空間。本文依據存在空間觀點審思熊十力晚年著作，特別以《乾坤衍》為主，闡明其整全機體主義的本體宇宙論。筆者先敘明存在空間以及《易經傳》的存在空間的結構和意義。再以此觀念為基礎詮釋熊十力的「乾坤型」之存在空間觀點下的整全機體主義之生態倫理思想。