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 The Heterotopic Agent in Chu T'ien-hsin's "The Old Capital"(英語學系, 2012-09-??) Chien-Hsin TsaiA number of heterotopias coexist in Taiwanese writer Chu T'ien-hsin's novella "The Old Capital": spaces of memory, reality, history; and here I analyze the female narrator in the story as a "heterotopic agent."Building on Michel Foucault's initial conceptualization of heterotopia as literature, I examine the agency of Chu's narrator in terms of the operation of walking, the act of seeing, and the art of remembering, which, I argue, make the construction of a heterotopic space possible. The purpose of my Foucauldian reading of "The Old Capital" is twofold. On the one hand, it seeks to reconceptualize "heterotopias" in relation to the human subject. On the other hand, it intends to cast a new light on the creative agency of Chu, substantiated in her attempt to rewrite the past, live the present, and realize the future. From the perspective of "heterotopic agent," we may further entertain a creative hermeneutics of contemporary Taiwanese identity.Item Untitled(英語學系, 2019-09-??) Yuh-yi TanThis study puts forward a critical investigation of two chivalrous swordswomen, Nie Yinniang in The Assassin (2015) and Gong Er in The Grandmaster (2013), applying Julia Kristeva’s writing on “intimate revolt,” a psychoanalytic concept that deals with a revival of inner psychic experience based on timelessness. In the triadic relationship of female subjectivity among the self, mother, and imaginary father, the characters constantly question themselves while facing life-and-death dilemmas. Their self-questioning reinvents heterogeneous visual images of the maternal to create the strengthened vitality of female empowerment. Yinniang’s “multiple maternal identity” disorder is tinged with Asperger’s syndrome, but the spell of difficult verbal communication is eventually broken through her inner probing of the archaic past that triggers a renewal of her psychic life. Lacking access to maternal care, Wong Kar-wai’s Gong Er identifies with the imaginary father. Coupled with her father Gong Baosen and his successor Ip Man, she doubles herself as a father-mother conglomerate and reclaims her father’s name. Whereas Yinniang’s external-and-internal transformation silently redirects energy from external maternal figures that are reborn from the interior, Gong Er’s internal-and-external maternal eroticism is reproduced from the inside to contend with the paternal hegemony. They both, however, retrieve the forgotten zone of the body in lost time to find their future recalled by the imaginary father/other. Finding an archaic inner world of the mother and searching for a future imaginary father shape retrospective temporality and future expectation to create a female heritage.Item Untitled(英語學系, 2019-09-??) Yuh-yi TanThis study puts forward a critical investigation of two chivalrous swordswomen, Nie Yinniang in The Assassin (2015) and Gong Er in The Grandmaster (2013), applying Julia Kristeva’s writing on “intimate revolt,” a psychoanalytic concept that deals with a revival of inner psychic experience based on timelessness. In the triadic relationship of female subjectivity among the self, mother, and imaginary father, the characters constantly question themselves while facing life-and-death dilemmas. Their self-questioning reinvents heterogeneous visual images of the maternal to create the strengthened vitality of female empowerment. Yinniang’s “multiple maternal identity” disorder is tinged with Asperger’s syndrome, but the spell of difficult verbal communication is eventually broken through her inner probing of the archaic past that triggers a renewal of her psychic life. Lacking access to maternal care, Wong Kar-wai’s Gong Er identifies with the imaginary father. Coupled with her father Gong Baosen and his successor Ip Man, she doubles herself as a father-mother conglomerate and reclaims her father’s name. Whereas Yinniang’s external-and-internal transformation silently redirects energy from external maternal figures that are reborn from the interior, Gong Er’s internal-and-external maternal eroticism is reproduced from the inside to contend with the paternal hegemony. They both, however, retrieve the forgotten zone of the body in lost time to find their future recalled by the imaginary father/other. Finding an archaic inner world of the mother and searching for a future imaginary father shape retrospective temporality and future expectation to create a female heritage.Item 形式與內容之間 -- 和莫言重探時間與敘事(2016) 陳奇聰; CHEN, CHI-TSUNG1980年代的中國文壇出現了一批文學家，在創作手法與內容選材上都有新的突破。有鑒於過去的研究大多針對敘事形式、主題內容做個別討論，本篇論文選定莫言的《紅高粱家族》、《酒國》、《生死疲勞》三本小說，透過實驗性頗高的先鋒派作品中，嘗試連結文學形式與內容。就敘述形式而言，敘事學近年來開始轉向「形式的內容」，嘗試跳脫過去「形式」作為討論「內容」的附屬工具。回應中國文壇對於形式與內容的爭辯，並借鏡敘事學的轉向，本篇論文預期藉由保羅・呂格爾(Paul Ricoeur)的「三重擬像論(threefold mimesis)」來討論這三本小說在自我、敘述與時間的交互作用。 本文分成三章。第一章旨在勾勒出莫言所處的時代背景，並簡介其在近代中文學界的定位。第二章首先就呂格爾如何用「三重擬像論」來連結時間與敘事，接著討論詩學如何透過轉向倫理學，並在「敘事時間」投射出關懷(care)與責任。第三章會就自我、敘述與時間在小說裡的交互作用，嘗試回答以下問題：時間與敘述如何透過日曆時間、世代演替與檔案來產生連結？如何讓毛治時期結束後受傷、破碎的自我產生責任？三部小說的敘事時間是否具開放性，進而像評論家所言，超越線性與進步的論述？這些作品是否挑戰進步論述，還是被進步論述所侷限住？這樣的敘事時間是否加強我們的道德觀感，或反倒是弱化了我們的道德觀感？Item "Floundering between Worlds Passed and Worlds Coming": The Charm of the Unstable Balance in Henry Adams(英語學系, 2012-09-??) Myrto DrizouAt the turn of the century, Henry Adams flounders between the past and the future, trying to keep up with scientific discoveries and predict the outcome of new social forces. For most critics, Adams's predictions express an entropic view of history or justify the ends of the American empire. This article addresses the role of time in Adams's historical theorization as a critique of his contemporary capitalist and imperialist discourses. Through a close reading of Adams's historical essays, I show how the immeasurability of time frustrates his attempt to triangulate the future, and shapes his theory of history. For Adams, the future is inherently unpredictable insofar as the historian should ask "how long" man will keep developing new phases and "what direction" his genius can take. Adams poses this question in "The Education", as the historian becomes the modern intellectual who faces the new socioeconomic forces while keeping a critical mind against their ends. Adams thus reinstates the importance of social critique when the limits between knowledge and power are hard to define.Item The Heterotopic Agent in Chu T'ien-hsin's "The Old Capital"(英語學系, 2012-09-??) Chien-Hsin TsaiA number of heterotopias coexist in Taiwanese writer Chu T'ien-hsin's novella "The Old Capital": spaces of memory, reality, history; and here I analyze the female narrator in the story as a "heterotopic agent."Building on Michel Foucault's initial conceptualization of heterotopia as literature, I examine the agency of Chu's narrator in terms of the operation of walking, the act of seeing, and the art of remembering, which, I argue, make the construction of a heterotopic space possible. The purpose of my Foucauldian reading of "The Old Capital" is twofold. On the one hand, it seeks to reconceptualize "heterotopias" in relation to the human subject. On the other hand, it intends to cast a new light on the creative agency of Chu, substantiated in her attempt to rewrite the past, live the present, and realize the future. From the perspective of "heterotopic agent," we may further entertain a creative hermeneutics of contemporary Taiwanese identity.Item The Remains of History: Gao Xingjian’s Soul Mountain and Wuhe’s(英語學系, 2011-03-??) Andrea BachnerThis essay analyzes Gao Xingjian’s Soul Mountain (Ling shan 1990) and Wuhe’s The Remains of Life (Yusheng 1999) and their reflections on history and what lies beyond or outside of history. In the face of past traumas, the Cultural Revolution in Gao’s, the Musha Incident, in Wuhe’s case, both authors and their respective protagonists turn to prehistory. Gao and his protagonists, split into different perspectives, travel through China in search not only of the “soul mountain” of the title, but of natural preserves and minority cultures. Wuhe’s protagonist dwells among the indigenous Atayal in Taiwan and becomes especially interested in the practice of headhunting—one of the rituals conventionally associated with the “primitive.” And yet, each author effects much more than a simple return to an imagined prehistory. In their texts, the renegotiation of historical trauma acquires a complex temporality: not only a return to the traumatic event, not merely a finally unfulfilled and unfulfillable desire for a world untouched by trauma and history, but also a reflection on what remains of and after trauma. These texts highlight and question the construction of history with and through its other(s): If the logos of history always needs its own constructed other—as non-logos, as nature or bios—in order to function, how can we rethink its temporal and conceptual logic? Can we craft the remains of history into a site of possibility? Can we glimpse a moment that neither succumbs to the dichotomy between history and its ineffable other nor to a total immanence of history? What is the hallmark of a representation of the past that would allow us not to become absorbed in it without remainder? What kind of text can reflect on history’s violent character without inviting an eternal return of trauma, but also without fetishizing a pristine prehistory, unmarked by trauma?Item Spectral History: Unsettling Nation Time in "The Last Communist"(英語學系, 2013-03-??) Fiona Lee"The Last Communist" ("Lelaki Komunis Terakhir") traces the biographical narrative of Chin Peng, the exiled Secretary-General of the Communist Party of Malaya who led the armed uprising against the British during the Malayan Emergency. Going against the grain of official history, the film presents the communist-led uprising as contributing to the anti-colonial nationalist struggle. This essay argues that the film's significance lies not merely in its retrieval of a marginalized perspective of national history. Subverting the conventions of the documentary genre, the film eschews interviews or archival footage of its eponymous subject, withholding him from sight to articulate the figure of the spectral communist. Moreover, the film stages scenes of everyday life as a site for conjuring the past in the present, a method of historical knowledge production that constitutes a translation of time. The figuring of a spectral historical subject, as signaled by a visual absence and the summoning of the past in the present, unsettles the linear, chronological time of national history. In doing so, the film not only presents a critique of the national narrative's ideological project of modernity, but conceives of history as a political act of redefining the historical present.