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 Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.Item Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.Item 雙重易裝：梁祝易裝劇場中的酷兒操演(2011) 陳瑄; Chan Shuen本論文以變裝為中心，探討民間故事梁祝所呈現的性別混亂和酷兒潛在性。不少梁祝的現代改編都對同志議題加以著墨，視祝英台之易裝為同性戀的暗喻，因此，不難在其中發現將易裝和同性戀硬性掛鉤的傾向。針對這一點，本篇論文強調易裝的矛盾性質，並質疑認定易裝與同性戀必然有關的看法，在以易裝（而非同性戀）為重心的前提下，尋求突顯梁祝之酷兒面向的其他可能性。本論文提出中國戲曲中的反串傳統可把梁祝的酷兒性發揮至極至，當文本梁祝的內在易裝與戲曲梁祝的外在反串在舞台上結合時，會產生一個「雙重易裝」結構。本文借用茱蒂‧巴特勒的性別操演理論，討論該雙重易裝結構作為酷兒表演如何在舞台上下建構性別，不只強化了梁祝的酷兒性，同時在反串演員的身上製造性別混亂，塑造其延伸至台下的酷兒形象。 本篇論文共有三章。第一章探討梁祝戲曲中的雙重易裝結構，以及該結構如何深化梁祝的酷兒面向。第二章以香港電影《魂魄唔齊》（2002）為例，分析其中所呈現的雙重易裝結構，以及反串表演如何把反串演員塑造成為酷兒角色。第三章討論反串表演在反串演員離開舞台後的延伸，以及透過反串表演建立第三性別的可能性。Item Breaking Language Down: Taiwan Sound Poetry and Its Ways of Saying(英語學系, 2017-09-??) Cosima BrunoThis paper explores the appearance and rapid development of a genre that crosses the boundaries between art, music, drama, and literature, and that is being variously called “sound poetry” (聲音詩 shengyin shi), “language art” (語言藝術 yuyan yishu), or “text-sound art” (文本聲音藝術 wenben shengyin yishu). I argue that Taiwan sound poetry develops as an alternative genre to Chinese poetic tradition, forging a disorienting aesthetics that is disruptive of conventional ideas of artistic quality. I conceptualize this phenomenon in its unique history and politics, extrapolating some key features that include: a poetics that strives not for semantic extension or enrichment, but that radically aims at “semantic abjection”; intervention in Taiwan language politics and translingual context, through its contribution to a “culture of the ear”; a shift of attention from textual semantics to performance with audience/users’ participation; strategic denial of a genealogy rooted in the Chinese tradition,with sound poets’ pronouncements about their poetics as being an entirely Western import; double nature as local, Sinophone, and global.