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 穿越家族凝視：哀悼攝影之精神分析式閱讀(2015) 謝伊柔; Hsieh, Yi-jo本文從精神分析的觀點閱讀陳順築的哀悼攝影，藉由理解視覺於拉岡式觀看（gaze）結構底下的作用，輔以拉岡對於佛洛依德《哀悼與憂鬱》一文的重新閱讀，嘗試將哀悼攝影的觀看倫理建立於「觀看者能夠察覺主體存有的欠缺本質」此ㄧ命題之上。全文共分成三章。第一章首先將拉岡式觀看置入論及視覺的哲學脈絡當中，特別著重於從「視覺至上性」過渡至「視覺中心論的危機」的軌跡，從中指出拉岡式觀看主要反思的對象，既非透視法整體亦非笛卡爾的哲學思想本身，而是「笛卡爾式透視主義」，一種依賴空間配置而無須肉眼參與就能觀看世界的模型。第二章一方面論述拉岡式觀看的內涵，說明視覺場域的不可見向度是如何決定了主體的結構，而藝術作品如何以回應大他者的慾望為前提，又兼具馴服觀看者的效果，其中拉岡特別推崇那些能夠讓觀看者察覺自己存在之欠缺的作品。另一方面探討拉岡對於佛洛依德《哀悼與憂鬱》的閱讀，如何將哀悼與憂鬱藉由主體與小對形的關係來重新定義，進一步闡述因為主體的存有欠缺不可能被真正填補，使得哀悼工作的本質必然處於進行式並帶著憂鬱的特質。第三章以此為框架閱讀陳順築的哀悼攝影，並將其作品與傳統的哀悼攝影進行區隔，後者經常透過影像讓觀看者在哀悼的工作當中以既定的形式來安置記憶。有別於此，陳順築的作品儘管受制於來自於家族的凝視，環繞著一系列傳統哀悼的習俗、家庭的核心價值、甚至對於家鄉的情感等。但他卻透過框格與拼貼的設計，避免讓觀看者停留於影像所直接承載的哀悼客體之上（如父母的相片等）。換言之，藉由讓觀看者在視覺活動當中的連續性被上述的設計所打斷，抑或是認同於其後期作品當中那些模糊不清又失焦的影像，陳順築試圖讓觀看者在影像當中察覺自身存有的欠缺，並以此來開展哀悼攝影的倫理意義。Item The Transforming Aesthetic of the Crime Scene Photograph(英語學系, 2012-03-??) Brittain BrightThe crime scene photograph, which came into being as part of an official evidence-gathering process, evolved through the tabloid news industry in the mid-century United States into a form of entertainment. From sensational news, the imagery, which had become ingrained in the public imagination, was co-opted by fashion and art to stage photographs that stylistically evoked the crime scene’s visual rhetoric. The crime scene aesthetic is now part of the vocabulary of many major fashion photographers, and a number of contemporary artists use both fashion and crime to question popular perception of these images. The various adaptations of the crime scene photograph have altered the aesthetic consideration of the original, so that archival examples from police departments and newspapers are being treated as art in galleries and glossy monographs. These re-imaginings and re-uses raise questions about the impact of staged imagery on the perception of authentic imagery.Item Darkrooms as Metaphors; Darkrooms as Origins: Michael S. Harper’s Dark Room Poems(英語學系, 2013-09-??) Andrew MillerThe article explores the poet Michael S. Harper’s use of the darkroom as a metaphor for family history and African American identity. Acknowledging that the changes in photographic technology over the last decade have spelled the end of the darkroom as the actual workspace of the photographer and as valid, contemporary metaphor for the unconscious, the article describes Harper’s 1977 selected poems, Images of Kin, as one of the last great invocations of this metaphor, and it further examines how this metaphor and its counterpart (the metaphor of the photographic negative) develop for Harper as ekphrastic models of composition.Item The Transforming Aesthetic of the Crime Scene Photograph(英語學系, 2012-03-??) Brittain BrightThe crime scene photograph, which came into being as part of an official evidence-gathering process, evolved through the tabloid news industry in the mid-century United States into a form of entertainment. From sensational news, the imagery, which had become ingrained in the public imagination, was co-opted by fashion and art to stage photographs that stylistically evoked the crime scene’s visual rhetoric. The crime scene aesthetic is now part of the vocabulary of many major fashion photographers, and a number of contemporary artists use both fashion and crime to question popular perception of these images. The various adaptations of the crime scene photograph have altered the aesthetic consideration of the original, so that archival examples from police departments and newspapers are being treated as art in galleries and glossy monographs. These re-imaginings and re-uses raise questions about the impact of staged imagery on the perception of authentic imagery.