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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    The Hugos and the Translation of Shakespeare into French, Texts and Cultural and Historical Contexts
    (英語學系, 2021-09-??) Jonathan Locke Hart
    Shakespeare did not go easily into French. Voltaire was ambivalent about him as he helped to introduce him into France, especially when he was in exile in England, but he also had reservations about Shakespeare not being neo-classical or, to put it another way, "barbaric." This neo-classical ambivalence also occurred among the English during the Restoration, after 1660, when Charles II returned from France to England and was restored to the throne. John Dryden and Alexander Pope, for instance, were ambivalent about Shakespeare. With Romanticism, Shakespeare became more popular in France, and Victor Hugo and his son, François-Victor Hugo, were instrumental in establishing Shakespeare in France, with the father, the great writer, lending a preface to his son's work and the son undertaking the work of translating Shakespeare systematically in 18 volumes. This article will focus most on the father's preface in the first volume and on the son's translations of the Sonnets in volume 15. The reason for this choice and method is that the pioneering work in the first phases of literary translation needs close examination, what I call the establishment of translation or reputation.
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    西方詩歌傳統與新月派詩人作品比較研究——以十四行詩爲例
    (2020) 蘇婷; Bedetti, Valentina
    本文以十四行詩為主要研究對象,由早期的義體格式與英體的格律演變至中國新月派詩人的十四行詩。一方面討論十四行詩固有的特色,包含格律及内容兩方面,另一方面探究中國五四運動後的新詩發展,並在「傳統」及「現代」之間的張力下,十四行詩如何表達詩人的新審美觀,而以形式、節奏及題材三方面為比較因素來進行討論。 再者,本文論點亦涵蓋十四行詩之「音樂性」與詩之「美」,並以一、二〇年代中國文學的巨大改變為出發點,來談五四運動後,詩人所面對的挑戰:白話的推廣與文學形式之新標準息息相關,而詩歌棄傳統格律為此現象效果之一,故詩人必須找到新的可以表達現代「情感」的韻律方式。新月派詩人的十四行詩當作新詩創作方法之一。