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 Untitled(英語學系, 2017-03-??) Beatriz Penas-IbáñezThe present analysis of strategic narrative empathy in Rushdie’s life narrative Joseph Anton: A Memoir (2012) is rooted in cultural narratology and complemented by the explanatory tools provided by the Girardian theory of violence as the outcome of a vicious circle set off by mimetic desire. René Girard’s theory has been confirmed by the latest neuron system research findings. Bakhtinian dialogical hermeneutics linguistically frames the former accounts in terms of both successful empathic human communication and its failure when the right conditions for it are not met. The relevant textual and contextual aspects of Rushdie’s life narrative—including the fatwa affair as thematized in Joseph Anton—are included in the present analysis with a view to explaining the causes for Rushdie’s defense of parrhesia. Parrhesia, as defined by Foucault, explains Rushdie’s central concerns after the fatwa, and the defense of free speech becomes a central empathic strategy deployed in Rushdie’s memoir. Joseph Anton’s highly empathic textuality is shown to rely heavily on Rushdie’s intertextual exploration of The Moor’s Last Sigh in the memoir. Rushdie's life narrative adds empathetic momentum by means of a very apt use of this and other relevant intertextual allusions, especially to Ernest Hemingway’s theory of literary truth.Item Untitled(英語學系, 2016-09-??) Suzanne KeenThis essay revisits Suzanne Keen’s claim in Empathy and the Novel (2007) that writing perceived as fictional is especially effective at evoking readers’ empathy. Building on her discussion of narrative nonfiction in Narrative Form (2015) and her prior theorization of narrative empathy, the essay proposes that we should see life writing as a special category of nonfiction that shares with fictional narratives the capacity to invite feeling responses and to evoke readers’ empathy. The distinctiveness of life writing as a mode of nonfiction has infrequently qualified the conclusions of empirical comparisons of the impact of fiction and nonfiction on readers. In an attempt to redress the neglect of life writing in empirical research programs investigating the fiction/nonfiction contrast in narrative empathy, the essay theorizes how strategic narrative empathy might work in a nonfictional context and poses questions for future study.Item 明清夫婦合葬墓誌銘義例探研(國立台灣師範大學歷史硏究所, 2017-12-??) 衣若蘭; Yi, Jo-lan隨著明代印刷出版與文集流傳之盛行，明代墓誌銘基本上已經類似公開化的生命傳記，惜與這種發展相關的性別面向，似較為學界所忽略。十四到十八世紀文人學士對墓誌銘例義的討論，不僅驗證了當時撰著墓誌銘之興盛，也可作為我們考察時人撰寫女性生命史所斟酌的史學、性別、禮學與情感之參考。本文探究明清人們對於女性墓志寫作之論述，特別針對夫婦合葬墓誌銘的義例，從中發現，清初學者對於合葬墓誌標題揭示「暨配某氏」的批判，正可返照明代中晚期文人著重「夫妻之情」的描寫與其對合葬墓誌銘「名實相符」的遵循，此與清人執於「古法」和「古禮」不書婦女的堅持，大異其趣。Item A Tale of Two Diaries: Robert Hart’s Encounter with “Mont Blanc Albert” in Canton, Sept. 1858(英語學系, 2015-03-??) Henk VynckierWhen still a junior official in the British Consular Service in Canton, Robert Hart (1835-1911), who would later achieve fame as the Inspector General of the Chinese Maritime Customs Service, met Albert Richard Smith (1816-60), the mid-Victorian comic writer and diorama presenter, who was traveling in China to collect material for a stage show. Though both reported on Smith’s visit to Canton in their respective diaries, Hart’s brief interlude with Smith has never been discussed and the relevant passages in their diaries have not been cross-examined. Yet, close reading the respective diary entries next to one another for the first time some one hundred and fifty years after they were composed can achieve several objectives. First, the diaries provide some raw material for the biographical understanding of the young Robert Hart, which is important considering that more than a hundred years following his death there is as of yet no complete biography of “the most powerful Westerner in China” (Jonathan Spence). Second, they illustrate the generic and stylistic differences between a diary which is meant to be published and one which is conceived as a purely private “closed book” diary. Third, they shed light on two different modes of seeing/narrating China—the sightseeing tourist Smith and the long-term expatriate resident Hart—and, thus, contribute to our understanding of the British imaginary of China during the heyday of empire.Item 東歐流放經驗之生命書寫與歷史論述(2010/09-2011/08) 路愷宜東歐流放經驗之生命書寫與歷史論述 本研究計畫將以現居於英美且具有東歐血統的作家（如Vesna Goldsworthy、Kapka Kassabova、Susan Suleiman、Eva Hoffman、Anca Vlasopolos）為主要研究對象，藉由他們的作品來探討目前仍屬較少學者涉獵的後共產主義之生命書寫經驗，期能透過本研究拓展自傳文學研究領域。這些移居國外或是具有跨國經驗的當代東歐流放作家於其幼年或是青少年早期都曾受到共產主義的影響，即使後來因為某些原因離開家鄉，在西元1989年後，這些作家都在實際生活或是寫作經驗中重新探訪祖國。也由於具備著跨越不同空間的生活經驗以及個人獨有的人生體驗，這些作家的自傳作品具有相當高的研究價值。而這份研究計畫將試圖呈現這些東歐流放作家的作品於文學批評理論或是（後）共產主義領域中的研究價值與地位。因此，本計畫的研究重點將會著眼於這些作家是如何回憶、紀錄以及呈現其祖國飽受爭議的歷史以及（後）共產主義的事實，並試圖探討將自傳書寫記憶置放於後共產主義之時空背景中的意義與價值。此外，本計畫亦將重新檢視這些以英文書寫並以西方讀者為主要閱讀對象的自傳作品如何讓英美國家的讀者重新理解與建構他們的東歐歷史文化觀。