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 巴代伊《眼睛的故事》中演示的情色觀(2016) 陳慧真; Chen, Hui-zhen本篇論文旨在以巴代伊於《情色論》中闡述的情色觀，來詮釋他的短篇小說《眼睛的故事》。在巴代伊眼中，情色是人「有意地踰越存在界限，而造成的不平衡」。這意味著故意迷失自我、故意不知輕重、與故意失去現實感。這些種種的故意失序，帶來失去生命的危險，但對巴代伊而言，卻導向一種他稱為「神聖接續」的境界。在這種境界中，人的存在融入了無始無垠的宇宙，有如水存在於水中。他終身所有的關懷與追求，都與之有關。 在第一章，我試圖用巴代伊「異質學」的概念，解釋《眼睛的故事》看似毫無章法的敘事手法，並探討《眼睛的故事》的情節如何演示自我意識、合宜舉止、現實感的全盤消融。在第二章，我根據《情色論》中，『情色與宗教系出同源』的說法，介紹巴代伊思想中「神聖接續」令人費解的雙重面相：崇高純潔，和汙穢下流。兩種層面都以各自的方式，通往巴代伊追求的「神聖接續」。我分別列舉宗教文獻中的記載和《眼睛的故事》情節，說明兩種層面的相似性。在第三章，我說明自我界限的消除，反而凸顯內在本有的神聖接續。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 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.