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 李翊雲《親愛的朋友，我從我的生命寫進你的生命》之中的碎片記憶與自我呈現(2024) 莊淯婷; Jhuang, Yu-Ting本論文研究了李翊云的《親愛的朋友，我從我的生命寫進你的生命》（以下簡稱《親愛的朋友》），並圍繞以下問題進行探討：作家如何表達他們的負面情感和艱難時期？作家的敘述如何影響讀者，並與讀者產生連繫？本文分析了李翊云的回憶錄，並探討她如何描繪自己過去的創傷、脆弱和抑鬱情感 (depression)。第一部分「互文性：在他人的生命中看見自己」聚焦於互文性 (intertextuality) 這一術語，探討李翊雲如何廣泛引用其他作家的作品作為其自我呈現的一部分。第二部分「記憶碎片，創傷敘事」，我引伸了創傷敘述理論 (trauma narrative) 以進一步分析李翊雲在《親愛的朋友》中呈現的「碎片化」敘事。在第三部分「痛苦情感與抑鬱：脆弱的主體」中，我更深入地研究了李翊雲的「脆弱性」 (vulnerabilities)，並結合「脆弱的主體」 (the vulnerable subject) 這一概念，提出對該術語不同的理解角度。第四部分「抑鬱：一種公共情感：記憶是一場情節劇」，我以李翊雲對情節劇這一詞語的觀點為基礎，探討她對記憶和負面情緒（如抑鬱）的表達。我還根據「公共情感」(a public feeling) 這一概念，探討抑鬱可能帶來的積極影響。第五部分「親愛的朋友，文類體裁和社會行動」強調將文類體裁分析視為社會行動 (genre as social action) 的觀點。透過展示《親愛的朋友》可能激發的社會行動，我總結以閱讀和寫作為連繫人們的的關鍵循環，並為未來提供可能的研究方向。Item Ungendered Narrative: A New Genre in the Making(英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita GhosalThis paper focuses on ungendered narrative with reference to select fictional works, to shed light on the elements that define the genre. One or more characters with an undisclosed gender are the focal point of the narrative. The paper discusses techniques that authors employ to keep gender hidden, such as employing inventive gender-neutral pronouns or not using them at all. First- and second-person points of view are also common modes of narration, as “I” and “you” are gender-neutral. In depicting characters, authors consciously merge masculine and feminine stereotypes to create gender-secretive characters. The heterosexual love interest that has hitherto ruled the creative world is thus replaced by endless gender possibilities with which a couple may identify. Love, rather than the characters’ gender, is at the forefront of these works. These narratives confront readers with the importance they assign to gender and heir habit of pigeonholing certain behaviors, characteristics, and tendencies into a binary gender system. They force readers to question gender segregation and the consequences of choosing to defy the gender one is assigned at birth. Ultimately, these narratives ask whether gender matters in life.Item Untitled(英語學系, 2020-03-??) Kyoung-Lae KangIn this essay I explore the Korean blockbuster, a film genre that enjoyedpopularity in South Korea as a local translation of the Hollywood blockbuster. Inexamining this hybrid cinematic form, I focus on the cultural dynamics informingthe genre’s ambivalent—at times even contradictory—aspirations toglobalization and localization, with both trends accelerating in Korea. As aparticularly poignant blockbuster film, The Good, the Bad, the Weird (dir. Jeewoon Kim, 2008) may well showcase and expand this complicated equation,particularly through its apparent adoption of several genres, including theManchurian Western. As a Korean sub-genre that was popular in the 1960s,Manchurian Westerns stage Manchuria of the 1930s, in which the Koreanpeople’s fight for the nation’s liberation from the Japanese occupation played outin part, thus inevitably converging on the theme of mimicry and post-colonialismthat has emblematized the Korean blockbuster’s genre-defining desire. In anattempt to understand the intercultural dynamics that inform this hybrid genre, Irely on contemporary post-colonial theory and film genre theories. I illustratehow this film—and the Korean blockbuster more generally—interplays withever-changing notions of Korean national boundaries and Koreanness todayItem 不同聽讀學習方式與文類的搭配對於單字學習之影響(2007) 程映蓁; Ying-jen Cheng先前研究指出，單字可藉由閱讀或聽的過程中有效習得，然而針對聽、閱讀或同時聽讀等方式習得單字的相關比較卻相當有限。故本研究旨在探討不同的聽讀學習方式與文類的搭配對於單字習得的影響。 本研究以三班高二的學生為實驗對象，共計一百二十一人。施測教材為兩篇不同文體之文章，分別為「敘述文（故事體）」與「說明文」。教學方式共有三種：(1)唯讀：藉由閱讀文章之過程來學習。(2)唯聽：藉由聆聽文章之過程來學習。(3)聽讀：閱讀之過程中，輔以老師的逐句朗讀來學習。為探討不同聽讀方式與文類搭配之學習成效，三班學生分別以上述三種聽讀方式進行學習，每班再各分為兩組，分別由「敘述文」與「說明文」來學習。共計六組。為測量學習成效，進行三次單字測驗。測驗內容為英翻中測驗(recall test)與單字選填測驗(recognition test)。而三次測驗分別為：施測前一週之前測(pretest)，施測後之後測(immediate posttest)，施測過一週之追蹤測(delayed posttest)。另於後測結束後，請受試學生填寫問卷，以輔助評估學習時的動機、專注力、焦慮度以及對教材的理解度，作為分析之參考依據。 本研究結果指出，不同的聽讀學習方式對於單字的習得有顯著影響。唯讀及聽讀組的學生在單字學習上比唯聽組顯著優異。而一週後的追蹤測發現，三組在英翻中的單字測驗上沒有顯著差異，然而在單字選填的測驗上，唯讀組及聽讀組的表現依舊顯著優於唯聽組。但就學習保留率來說，唯聽組表現最佳，有極高的保留率；相較之下，另外兩組卻有顯著遺忘。此研究中，上述三種學習法在敘述文與說明文中的成效無顯著差異。此外，問卷分析的結果顯示，本實驗受試者於施測時的學習動機、專注力及焦慮度和單字學習成效並未呈現顯著相關。然而，學習者對於文章的理解度和單字學習成果卻有顯著相關。針對以上發現，本研究分別統整出不同聽讀學習方式對於單字習得的影響，並於最後提供教學上的運用策略及後續研究的方向。Item 臺灣大學生篇章凝結性分析:質與量的研究(2009) 曾玉婷; Yu-ting Tseng摘要 過去的研究主要探討篇章凝結及寫作優劣之間的關係，然而研究學者對高低成就寫作者凝結詞的使用有無差異性則有不同看法。此外，少有學者在研究凝結詞時把文體也列為變項，尤其在臺灣，尚無學者比較不同能力的第二語言學習者在不同文體裡凝結詞的使用，因此，此研究目標試著以質與量化的方式，探討臺灣大學生不同能力及寫作不同文體下，篇章凝結性的研究。一共有六十個臺灣師範大學的大學生參與這份研究，所有的人都必須寫敘述文及說明文，並依據寫作的分數來分高成就及低成就組。之後，計算高低組文章所有凝結詞並依據Halliday&Hasan’s (1976), Stostky (1983)及Hasan’s (1985)三人凝結詞的架構來做為研究分析的新架構。此外，不適當的凝結詞也會被挑出來進行寫作者錯誤的質性分析。 主要研究的發現可從二方面來做摘要—量化及質化。量化方面，首先，高低成就寫作者在凝結詞的總數上有顯著差異，其顯示能力是主要影響凝結性多寡的要素。此外，高成就組裡，指涉詞(reference)比例最多，接著是連接詞(conjunction)、取代詞(substitution)及省略詞(ellipsis)，低成就組裡也可以找到一樣的比例順序。另外，在敘述文或說明文裡，高成就者比低成就者用比較多的同義字(synonym)，第二，文體比較上，高低二組在二文體中凝結詞的總數沒有顯著差異。此外，二組在敘述文裡都使用較多的人稱指涉詞(pronominal reference)，此現象或許顯露出文體可能對作者指涉詞的使用有影響，因為在敘述文裡，角色的闡述說明是不可欠缺的，及故事的發展主要以角色為中心發展。另外，在說明文裡有較多的反義詞(antonym)被使用，這可能也顯示出文體對反義詞的使用有影響，因為在說明文裡，從不同的角度來說明主題，進而支持論點是很重要的。 質化方面，首先，在敘述文及說明文，低成就者比高成就者有更多不適當的凝結詞錯誤，低成就者因基礎文法結構和基本用字拼讀很弱，導致於他們寫出的凝結詞上都帶有錯誤。第二，在敘述文裡，高低成就主要問題在於欠缺及不必要定冠詞的使用，而在說明文裡，高低成就主要問題在說代名詞的使用上出現無法辯認的指涉詞。至於詞彙凝結性方面，二組都有用字問題。第三，文體比較方面，文體對高低成就的錯誤沒有影響力。總結來說，程度是主要影響凝結詞總數的指標，而文體差異在寫作者凝結性的使用上沒有很大差異。Item Ungendered Narrative: A New Genre in the Making(英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita GhosalThis paper focuses on ungendered narrative with reference to select fictional works, to shed light on the elements that define the genre. One or more characters with an undisclosed gender are the focal point of the narrative. The paper discusses techniques that authors employ to keep gender hidden, such as employing inventive gender-neutral pronouns or not using them at all. First- and second-person points of view are also common modes of narration, as “I” and “you” are gender-neutral. In depicting characters, authors consciously merge masculine and feminine stereotypes to create gender-secretive characters. The heterosexual love interest that has hitherto ruled the creative world is thus replaced by endless gender possibilities with which a couple may identify. Love, rather than the characters’ gender, is at the forefront of these works. These narratives confront readers with the importance they assign to gender and heir habit of pigeonholing certain behaviors, characteristics, and tendencies into a binary gender system. They force readers to question gender segregation and the consequences of choosing to defy the gender one is assigned at birth. Ultimately, these narratives ask whether gender matters in life.Item ＂The Misplaced Familiar＂: Aesthetic Crisis in China Miéville's The City & The City(英語學系, 2017-09-??) Justin PrystashChina Miéville’s novel The City & The City (2009) presents the city as a massively ramified ecosystem that comprises humans, other species, and objects, and is also embedded in larger systems like capitalism and environmental catastrophe. Cities are so deeply textured, and so continually scattered by the circulations of their component parts, that we cannot perceive them as a whole; the borders we use to define them are ultimately arbitrary. I argue that this perceptual disorientation, or aesthetic crisis, embodies the politics of the novel. Miéville depicts the continuous crises of urban existence-chemical spills, refugees seeking asylum, even a weed growing in the wrong place-as so many possibilities for metonymically grasping the larger ontological and political reality. Crisis does not entail a specific political (or artistic) response, however, since it can traumatize into complacency and xenophobia just as easily as expand one’s commitments. The same kind of aesthetic crisis is provoked by the novel itself, because it frustrates expectations and eludes a clear genre, and readers can respond in analogous ways: with the urge to impose allegorical meaning and genre borders, or with a more refined perceptual sense. Thus, the form of the novel cleverly reflects its content and, in both cases, we are pushed to renew our sense of wonder at the strange alterity that inheres in the familiar and proximal.Item 從「生產鄉土」到「科幻鄉土」──台灣新世代鄉土小說書寫類型的承繼與衍異(國立台灣師範大學國文學系, 2014-06-??) 陳惠齡; Chen, Wei-lin當以「世代」作為分析的概念，所謂前行代與新世代作家或可概分為文壇「主流」（姑以收錄於台灣文學史的經典名家為指標）與「潛流」（概指在多數學界與評論者眼中「學血統」未臻純正卻具有潛力者），在二者之間自有其不可迴避的承繼與衍異的書寫現象。循是而論，當針對前行代作家所擁有書寫文類特徵而進行「重寫」或「改寫」時，特別是新世代作家群表現最多的「鄉土地誌」文類，其操作策略與書寫行為為何？又亟於形塑「作品辨識度」的新世代作家，在小說主題、文類的延展與轉異現象為何？基於上述問題意識及所涉及的「世代」理論觀點，本論文所研擬議題，主要以被歸類為「新鄉土書寫」流派的文學世代結構者，作為觀察對象，至於「新世代」的界定，大致即以年齡層落於1965 年以後出生者為據。論述進程先是藉從新世代「生產新鄉土」作為上溯起點，繼則下探其所衍異而成擬歷史——家族的「魔魅鄉土」，以及晚近越界而寫就「末日小說」文類形式的「科幻鄉土」，作為觀測脈絡。Item Understanding Genre in Use(英語學系, 2012-11-??) 戰麗莉; Lili ZhanThe past fifteen years have witnessed a dramatic re-conceptualization of genre and its role in the production and intepretation of discourse in which genre analysis has been transformed from a descriptive to an explanatory activity. Bhatia's (1993) cognitive structuring model integrates sociology, psychology and linguistics with genre study. According to Bhatia， cognitive structuring is composed of moves, which are in tum realized through strategies. The present study, taking prepared public speeches (PPS) as data， conducts a genre analysis within Bhatia's famework. This paper aims to investigate the cognitive structuring of English PPS, examine typical strategies which speakers choose to convey their communicative purpose and explore the factors that influence speakers' choices, and uncover linguistic realizations of moves and strategies. This study reveals that: (1) a strategy does not solely belong to a definite move; it may appear in other moves as well; however, the function differs ， (2) the choice of strategy is principally determined by a speaker's communicative purpose and influenced by the subject of the speech, the audience, the place, and the occasions， (3) sequencing of moves displays a great flexibility, which to some degree reflects the dynamic nature of genre. The research findings are assumed to promote understanding of how writers/speakers select strategies to achieve their communicative purposes within the constraints imposed by the genre to which that discourse belongs