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 黃哲倫劇作之發展與轉變(2005) 張金櫻; Chin-ying Chang本文旨在探討華裔劇作家黃哲倫劇作內容及風格之發展與轉變。全文分三部份。第一部份探討其早期三本以美籍華人為題材的作品 --《剛下船的》, 《舞與鐵路》, 《家庭崇拜》。在第一章指出黃哲倫對美籍華人圈內的衝突作了細緻描寫與反省。第二章探討此三劇中描述的華人屬性(Chineseness) -- 中國傳奇人物、飲食、及京劇元素。 第三章針對美籍華人的特殊語言形式作一分析。從這三部作品可看出作者強調美籍華人文化之族群特色，與擴展美國文學範疇之企圖心。第二部份討論作者受多元文化主義影響下寫出的三本劇本：《睡美人之家》、《聲音之聲》、《有錢的親戚》。在此時期，黃哲倫認為美國劇場應該製作以各個不同族群文化為題材的作品，作家的寫作題材也不必局限於自己的族群文化。第四章及第五章分別討論了以日本文化及白人家庭為主的作品。作者除了深刻描述日本及白人的文化觀，也點出了一些跨文化的主題供人深思。本文第三部份討論較後期包含不同種族的角色的作品。在此階段，黃哲倫宣稱自己已轉變為平跨文化主義的思想模式，他認為發掘出不同族群間的相似點更是迫切之需。第六章討論的作品中點出不同文化、性別、及階級的人之間共有的生活體驗。第七章針對兩齣在美國百老匯曾上演的作品：《蝴蝶君》及《金寶貝》做深入的分析，藉由檢視劇中呈現的中國文化，了解作者在多種族及多文化並存的美國社會裏，對自己身為“美國作家”之定位。Item Untitled(英語學系, 2016-03-??) Christopher B. Patterson; Y-Dang TroeungThis paper explores how Larissa Lai’s novel Salt Fish Girl (2002) and Changrae Lee’s novel On Such a Full Sea (2014) use speculative tropes to unsettle the “post-racial” futures imagined through the tethering of neoliberalism and multiculturalism. By combining speculative elements with tropes of queer reproduction, both novelists forgo the racial identities that make individuals recognizable to neoliberal multiculturalism. Instead, these texts focus on how the bodies, talents, stories, and memories of racialized subjects become appropriated and reconstructed for the purpose of maintaining a multi-racial upper class. In this essay, we consider how these Asian diasporic speculative texts enact their critique of neoliberal multiculturalism and its instrumentalization of ethnic/diasporic memory through the deployment of speculative tropes of (queer) reproduction.Item Untitled(英語學系, 2016-03-??) Zhang DexuSince its publication, V. S. Naipaul’s The Enigma of Arrival has been read as either a national allegory or English postcolonial literature. Based on the dual models, critics are prone to getting trapped in identity politics, unable to break away from the postcolonial interpretive framework. In this essay, I revisit the issue of identity from a transnational perspective in hopes of capturing the complexity and significance that Naipaul invests in his representation of identity in this novel. Specifically, I argue that Enigma mobilizes identity not so much as a fixated category but as a radically revisionary act of knowing the self. The perspectival oscillation between the narrating ‘I’ and the experiencing ‘I’ enables readers’ access into the narrator’s emotional responses to his uneven development, whereby he comes to a fruitful understanding of human identity. Through a series of vision and revision, Enigma enacts a cognitive process of inward self-examination that culminates in a kind of ethical knowledge, unravelling identity discomfort as a universal human experience at the global moment of cultural mixing in the second half of the twentieth century. Moreover, Naipaul’s deconstruction of identity executes a critique of his own formation and thereby illuminates the great significance of recognizing the self’s foreignness to himself in cultivating cultural cohesion in a multicultural society.Item Untitled(英語學系, 2016-03-??) Christopher B. Patterson; Y-Dang TroeungThis paper explores how Larissa Lai’s novel Salt Fish Girl (2002) and Changrae Lee’s novel On Such a Full Sea (2014) use speculative tropes to unsettle the “post-racial” futures imagined through the tethering of neoliberalism and multiculturalism. By combining speculative elements with tropes of queer reproduction, both novelists forgo the racial identities that make individuals recognizable to neoliberal multiculturalism. Instead, these texts focus on how the bodies, talents, stories, and memories of racialized subjects become appropriated and reconstructed for the purpose of maintaining a multi-racial upper class. In this essay, we consider how these Asian diasporic speculative texts enact their critique of neoliberal multiculturalism and its instrumentalization of ethnic/diasporic memory through the deployment of speculative tropes of (queer) reproduction.Item Untitled(英語學系, 2016-03-??) Zhang DexuSince its publication, V. S. Naipaul’s The Enigma of Arrival has been read as either a national allegory or English postcolonial literature. Based on the dual models, critics are prone to getting trapped in identity politics, unable to break away from the postcolonial interpretive framework. In this essay, I revisit the issue of identity from a transnational perspective in hopes of capturing the complexity and significance that Naipaul invests in his representation of identity in this novel. Specifically, I argue that Enigma mobilizes identity not so much as a fixated category but as a radically revisionary act of knowing the self. The perspectival oscillation between the narrating ‘I’ and the experiencing ‘I’ enables readers’ access into the narrator’s emotional responses to his uneven development, whereby he comes to a fruitful understanding of human identity. Through a series of vision and revision, Enigma enacts a cognitive process of inward self-examination that culminates in a kind of ethical knowledge, unravelling identity discomfort as a universal human experience at the global moment of cultural mixing in the second half of the twentieth century. Moreover, Naipaul’s deconstruction of identity executes a critique of his own formation and thereby illuminates the great significance of recognizing the self’s foreignness to himself in cultivating cultural cohesion in a multicultural society.