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 陰性崇高：以精神分析閱讀安·卡森的《解創造》(2014) 吳佩茹; Pei-ju Wu本文企圖探討安·•卡森在《解創造》中所呈現的崇高概念。透過拉岡式精神分析的閱讀,筆者主張安·卡森在本書中帶領了讀者看見了康德式崇高的幻想(fantasy)、穿越了此幻想而最終建立以自我消亡為方的陰性崇高。本論文分為五章。序論簡短介紹卡森的寫作生涯及《解創造》的內容。第 一章仔細探討崇高概念的歷史及卡森如何在〈泡沫〉一文中結合不同的崇 高概念而組成一主要觀點:自我消亡。第二章試圖以拉岡式的精神分析閱 讀組詩〈崇高們〉。在筆者〈崇高頌〉的閱讀中,莫妮卡·維緹對所有事物的欲望展現了獲得康德式崇高之後的後果:康德式主體受控於超我道德律法。卡森在〈康德對莫妮卡·維緹的問題〉中描繪了在康德觀看下的崇高物。在此詩的結構中,詩行的轉變展現了穿越康德崇高幻想的可能性,最後詩中也指出虛構的康德終於了解到維緹並不是一個他原本所認知的崇 高物。第三章筆者試圖藉著拉岡性分化的公式檢視在〈我的妻子〉中作為 「全無」的陰性主體:她不僅是一個在陽具控制下的康德崇高主體,也是一個大他者快感(the Other jouissance)的主體。在〈解創造〉一文中,筆者 認為書寫神靈經驗中的大他者至爽快感將帶來自我的消解,是一個試圖邁 向真實界界線中由死亡驅力帶來的致命行為。除了潛在的自我滅亡,死亡 驅力也指向了象徵界的重新創造,呼應了《解創造》的核心意義:「解放我們心內的活物」。此章以〈諾斯底主義I〉作結,此詩展現解創造的自我消亡過程是一個自我質疑及掙扎的旅程,而這觀點在陰性崇高論述中從未被提及。結論重申以精神分析閱讀《解創造》可以看見卡森企圖重新詮釋崇高的概念,同時也帶給了陰性崇高另一個新的觀點。Item 翻譯「原始」：再現《露西》與《出神入化2》的亞洲城市(2018) 王方; Wang, Fang本研究由當代電影的視覺呈現出發，以盧貝松的《露西》和朱浩偉的《出神入化2》兩部影視作品探討東方與西方世界之間的文化翻譯，針對東亞城市、語言、以及凝視三個面向分析其中的轉化與再現。首先藉由拉普朗虛的謎樣信息概念，研究發現劇中主角先是因為外在環境陌生而與其產生負面連結，而後成功解讀周遭東方符碼而突破困境；片中東方與西方城市原始與文明的對比於此正巧與角色們的心境轉換互相呼應。論文接著由文字切入，分析二片數次是否通曉中文／英文的對話、語言選用以及著重文字的場景布置；借助拉普朗虛他者重心的概念，此處找出在多語環境下偏好英語及混用多語二種對比的態度。最後著眼於角色視角安排，本文利用凝視探討東西世界間拉鋸的權力關係，發現二部電影皆由互相分化的眼光逐漸聚合，終而形成單一卻同時多元並立的視角。經過分析，研究歸納出二作雖有分化東方城市風貌、語言使用、角色塑造之事，但實已納入不同文化色彩，創造出相較過往更加複雜而連結世界的觀點。Item Seeing Bones Speaking(英語學系, 2012-03-??) Jun-nan ChouThe central question that informs the South Central Review special issue on women detectives published in 2001 is, “Whose body makes it possible to identify mystery and detective fiction as feminist?” In response to the above concern, this essay aims to address the issue of the body in terms of the posthuman embodiment. The body is important in women’s crime fiction because it provides a perspective nearer to that of the victim and his/her body, in contrast to the kind of police procedural novel that is focused on the psyche of the killer. Women’s crime fiction has two other features that distinguish it from its police procedural counterpart: the female forensic pathologist’s “affective” view of the dead and her becoming an intended victim herself. These three aspects of women’s crime fiction point to the possibility of posthuman embodiment in the relationship between the heroine’s gaze and the victim’s body. The TV series Bones, which is adapted from Kathy Reichs’s novels, provides the visualization of the heroine’s posthuman embodiment. For us, this posthuman embodiment is based on a “parallax view” (to follow Slavoj Žižek’s usage of the term), an interface, or an empty screen, by which the heroine’s gaze is inscribed into the bones, enabling her to embody them. We will borrow Jacques Lacan’s theory of the gaze and N. Katherine Hayles’s idea of posthuman embodiment to help us understand the interface or interplay between the gendered technological gaze and the body, as well as the twofold process of disembodiment and reembodiment of the body as rendered in Reichs’s novels.Item On the Use of Animals in Contemporary Art: Damien Hirst’s “Abject Art” as a Point of Departure(英語學系, 2015-03-??) Tsung-huei HuangContemporary artists inclined to integrate animal elements into their works previously justified animal art as a means of reframing thought about life and ethics. But it is debatable whether the juxtaposition of animal and art is simply a gimmick. Damien Hirst’s animal installations, for example, have garnered both widespread acclaim and controversy. Do Hirst’s displays of animal carcasses amount, at best, to so-called “abject art,” or does the auratic perception they evoke serve to catalyze reflexive thoughts on ethics? Investigating Hirst’s animal works, this paper not only seeks to arrive at a better understanding of his oeuvre but also discusses the function of animal death in contemporary art. In the first two sections, Lacanian gaze and Benjaminian aura are drawn upon to explore whether eye-catching art is particularly thought-provoking and more likely to stimulate ethical thinking. The third section inquires into whether some of Hirst’s works are capable of evoking the auratic gaze; and if so, under what conditions do those works cease to be auratic and become abject? The last section compares the works of Hirst and Mark Fairnington to investigate how the auratic gaze emerging from artwork propels us to confront questions of life and ethics without remaining silent on the theme of animal concern.Item Seeing Bones Speaking(英語學系, 2012-03-??) Jun-nan ChouThe central question that informs the South Central Review special issue on women detectives published in 2001 is, “Whose body makes it possible to identify mystery and detective fiction as feminist?” In response to the above concern, this essay aims to address the issue of the body in terms of the posthuman embodiment. The body is important in women’s crime fiction because it provides a perspective nearer to that of the victim and his/her body, in contrast to the kind of police procedural novel that is focused on the psyche of the killer. Women’s crime fiction has two other features that distinguish it from its police procedural counterpart: the female forensic pathologist’s “affective” view of the dead and her becoming an intended victim herself. These three aspects of women’s crime fiction point to the possibility of posthuman embodiment in the relationship between the heroine’s gaze and the victim’s body. The TV series Bones, which is adapted from Kathy Reichs’s novels, provides the visualization of the heroine’s posthuman embodiment. For us, this posthuman embodiment is based on a “parallax view” (to follow Slavoj Žižek’s usage of the term), an interface, or an empty screen, by which the heroine’s gaze is inscribed into the bones, enabling her to embody them. We will borrow Jacques Lacan’s theory of the gaze and N. Katherine Hayles’s idea of posthuman embodiment to help us understand the interface or interplay between the gendered technological gaze and the body, as well as the twofold process of disembodiment and reembodiment of the body as rendered in Reichs’s novels.