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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Subject: search.filters.subject.narratology

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    人類世中的文學：以超物件閱讀二十一世紀美國小說
    (2020) 許景順; Sheu, Chingshun J.
    本論文提出名為「超物件閱讀」的後批判閱讀模式，以回應同一現象於不同量尺之下以不同方式體現的人類世量尺差異問題。以往見到的解決方式無法兼顧不同量尺。超物件閱讀藉由向文本內的超物件調和並追尋其輪廓，得以闡釋不同量尺如何受超物件影響。 第一章說明超物件閱讀的脈絡與程序，尤其著重說明人類世、經修正的物件導向本理論、後批判轉折，以及稱為修辭詩學的敘事學分支等脈絡。第二章是三篇案例分析之首，向失能超物件調和以閱讀約書亞．費瑞斯的小說《The Unnamed》（2010）。為彌補醫學、社會與關聯等失能模型之不足，我提出辯證失能模型以闡釋位於身體、心理、物質生態與社會生態之交錯點的平衡生態位。第三章向數位超物件調和以閱讀林韜的小說《Taipei》（2013）。為正確勾勒數位邏輯對類比生命經驗的影響，我將迷因重新定義，並提出名為情感物件的新物件類型用以探索概念層次以下的思維量尺與生死間的觀點分野。第四章向敘事超物件調和以閱讀Ben Lerner的說《10:04》（2014）。藉由將主角於小說的後設小說與私小說敘事生態中定位，我描繪以惠特曼式序列化與回顧移位將社會概念化的新方法，以此方法所構成的敘事超物件抗衡新自由主義的敘事超物件。第五章透過史坦尼斯勞．萊姆的小說《索拉力星》（1961）對超物件作概念分析。索拉力星是一星球／外星生物超物件，因而在其身上體現超物件的五項定義性面向：黏性、非定位性、時間波動、分相性與互為物件性。小說的三個主要人物則分別體現對超物件的三種回應方式：終止、倡議人類中心主義，與調和。希冀閱讀文本超物件可提示如何向文本外的人類世超物件調和。
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    (英語學系, 2020-03-??) Brian Jansen
    This paper reads Joshua Ferris’s best-selling 2007 novel Then We Came to theEnd as an unconventional entry into the canon of 9/11 fiction. The novel, bestknown for its extended use of the first-person plural “we” narrator, deploys anumber of plot echoes and strategic elisions to draw attention to events that are—nevertheless—left unstated. Drawing on narratology and Freud’s sense of theuncanny (particularly critic Mark Fisher’s supplemental ideas of the “weird” and“eerie”), this paper connects the use of “we” and narrative absences to largercultural anxieties around the events of 9/11, ultimately arguing that the novel’sattempt to avoid “re-enacting the ‘terrorism of spectacle’” (Däwes 3) byforegrounding representational challenges runs into an alternate problem: turningreaders away from the genuine historical complexities of those events. The papercloses with a discussion of how other 9/11 novels have navigated this samedouble-bind.
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    (英語學系, 2017-03-??) Beatriz Penas-Ibáñez
    The 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.