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 藝術作為能動主體：奧斯卡．王爾德《格雷的畫像》中的酷兒時間感(2024) 黃昱豪; Huang, Yu-Hao這篇論文奠基在Elizabeth Freeman、Carolyn Dinshaw和José Esteban Muñoz所論述的酷兒時間感之上，旨在探討《格雷的畫像》中，作為能動主體的藝術如何呈現出多元的酷兒時間感。我認為，在這部作品中，藝術激發出多元豐富的酷兒時間感，主角們因此得以流露同性情慾及異端狂想。尤其，我討論了小說中三種藝術形式（繪畫、言談、戲劇）、三種酷兒時間（停滯的、倒帶的、循環的）和三位男性主角（巴索爾、亨利勳爵、格雷）之間的密切關聯。首先，我闡述繪畫如何使巴索爾駐足過去並藉此抒發同性情慾。再者，在第二部分，我試圖剖析為什麼文字能夠逆轉時間並且使亨利勳爵得以魅惑格雷。最後，我把焦點放在繪畫、言談、戲劇如何交織出格雷的複雜多樣的時間感。Item 語言、大腦與時間的相遇：漢語的觀點(2022) 理克; Collart, Aymeric時間被視為人類認知中至關重要的概念，時間標記則因語言而異。不過，大腦處理時間標記仍然不清楚。現今絕大多數的相關研究皆是針對印歐語系語言中的「時態」(tense)標記。本論文將要探討漢語中的「了」及「過」兩個「時貌」(grammatical aspect)標記和過去時間的關係，以及大腦如何處理「了」及「過」之時間標記。首先，本論文針對漢語中存在已久的「了」及「過」是否具有「時態」成分之辯論提供反證，並且主張「了」及「過」被用於表示過去時間是因為其時貌特徵。本論文將兩者時貌特徵與表示過去時間的關係分析成對應到不同語法的意義、功能：「了」對應到「時間先後關係」的認知功能，而「過」對應到「時間定位」的認知功能。接著，本論文透過三個採用事件相關電位(event-related potential，稱ERP)技術的實驗測試/探討以上的分析。相關結果顯現了兩種質變上不同的效果進而支持上述分析：「了」在時間標記上的大腦處理誘發前腦及早期之負極性波幅(early frontal negativity)，而「過」則是誘發晚期之正極性波幅(P600)，此外，「了」及「過」在時間標記上的大腦處理方式與「了」及「過」在時貌上(非時間上)不同。最後，為使以上兩種大腦處理方式有廣義的且跨語言的功能解釋，本論文將漢語的時貌標記在時間上的大腦處理與印歐語系的時態標記在時間上的大腦處理方式做相互對比：前腦及早期之負極性波幅(early frontal negativity)被視為反映「時間先後關係」的認知功能，晚期之正極性波幅(P600) 被視為反映「時間定位」的認知功能。總而言之，本論文採用以上分析及證據提供大腦如何處理時間標記之類型神經語言學模式。Item 《三言》中的命(2021) 卜慧文; PU, HUIWEN本文以《三言》為研究文本，探討《三言》中的「命」。小說的寫定者透過作品，將特定的思想主題，透過設計過的小說情節、人物特點、寫作技巧等一一呈現，《三言》中的文本共計有一百二十篇，其中小說內容所包含的主題相當繁雜，歷來研究者多將研究重點置放在小說人物的角色分析，或是情節的解釋與闡述，針對蘊藏在小說背後的思想主題，以及其所展現的世界觀較未深入探討。筆者在深入研讀《三言》過後，發現在不同的篇章當中，有一核心概念貫穿其中。本論文的書寫，試圖整理出《三言》中「命」的樣貌，並總結出《三言》中的「命」的真正意涵。馮夢龍透過「時、運、緣」三個面向，來呈現出其對於「命」的看法。在中國文化中，「時、運、緣」三者的意義繁雜，不同的思想家或是宗教都提出了不盡相同的解釋，在不同朝代中的發展也不盡相同，而在《三言》中，「時」是「時機」，「運」是「氣運」，「緣」是「偶然」，三者皆與「命」有密切的關聯，「命」的哲學內涵玄妙難解，馮夢龍面對話本小說的讀者主要為庶民的事實，該如何確實的將其所欲傳達的道德準則傳達給讀者？「時、運、緣」三者在命運故事中的獨特地位將可給予解答。筆者以《三言》為研究對象，從「時、運、緣」三個面向切入，首先爬梳在中國文化中，「時、運、緣」三者的原始義以及衍生義，接著再深入分析文本，探討《三言》中的「時、運、緣」所呈現出的類型表現、藝術表現、文化意蘊，最終歸結出馮夢龍《三言》中的「命」的終極意義。Item 重探弗拉基米爾˙納博科夫生命敘事中的記憶與光學科技(2018) 李玫青; Li, Mei-Ching本研究旨在重探弗拉基米爾˙納博科夫(Vladimir Nabokov)生命敘事中的光學科技圖像及隱喻與其筆下所描繪之記憶世界。本研究將筆者運用的鑽石型態寫作法(diamond-pattern method)視為一種介導生命的「新媒體科技」，並將(新)媒體理論的觀點及相關概念融入本研究對文本的解讀及分析。這些觀點及概念包含了初始技術性(originary technicity)、中介過程(mediation)、流變(becoming)、技術時間(technical time)、刺點(punctum)、盲區(the blind field)等。第一章顯示光學科技圖像及隱喻確實是理解時間、記憶及生命記敘之間複雜關係的關鍵。他們被排序、構成及呈現的方式，都表明了納博科夫的自傳有自己的一套記憶邏輯及藝術。第二章證實了納博科夫所呈現的記憶實踐確實可被理解成一種包含了無數個光學科技流變的光學科技流變(becoming-optical-technology)，且這些光學科技流變跟文本中多次提及的永恆感、合一感及喜樂感有所關聯。第三章結合了羅蘭˙巴特(Roland Barthes)對攝影的看法，把納博科夫於自傳修訂版中加入的十八張照片及照片說明視為一種包含了數個照片流變的攝影流變(becoming-photography)。這些照片流變跟照片說明中呈現的距離感、破碎感、滿足感及思緒空間有關。本研究最後發現，當這些(新)媒體觀點及相關概念可用來對光學科技、攝影、記憶記敘和生命書寫之間的關係做細微探討時，納博科夫文本本身的特殊性亦在微調我們對這些(新)媒體觀點及相關概念的認知，為他們注入新的活力。Item Untitled(英語學系, 2017-03-??) Shruti DesaiEnvironmental time is one of the most pivotal yet least explicated issues raised by anthropogenic environmental change. This essay contributes an understanding of this issue by exploring the temporalities of ethical regard and disregard for trees in the context of urban timescapes. The exploration of ethical urban temporalities is organized around three digital artistic interventions focused on Paris (One Heart One Tree), New York City (PopUP Forest), and London (Trees on Sidewalks). These interventions are examined as ecocritical case studies, which aim to confront and subsequently rearticulate human-tree relations, using the city as a material and symbolic site to facilitate ecological awareness and disruption. Each case study is discussed with respect to how environmental time is at once magnified and muted, foregrounded and marginalized, by a given intervention, whose timespan and relationship with the temporalities of urban living are as much ethical considerations as is the temporal logic of capitalism that mediates against inhabiting human-tree relations with care and consideration. The use of digital media in each case is discussed with respect to how the interventions differentially make urban ecological temporalities (in)visible. The essay suggests ways in which the interventions stimulate reflection on employing digital media technologies in art, research, and everyday life to make empirically accessible and theoretically meaningful the elusive but substantial role of time in facilitating human care about and for trees.Item Historical Distance and Textual Intimacy(英語學系, 2011-09-??) Hsiu-chuan LeeToni Morrison’s A Mercy (2008) encourages a meditation on literature’s interaction with history. Focusing on the way in which “novel time” operates here to challenge the serial, diachronic conception of history, I seek in A Mercy a space to negotiate the historical distance between periods, events, and peoples. The shifting tenses of narrating voices introduced by the novel, along with the linkages that memories create between times, prompt the spreading-out of seventeenth-century American history into a textual network of elastic ligaments and a kind of dialogism. Moreover, challenging the logic of ethnic division and racial segregation, A Mercy elucidates the proximity of different races in early American history. It enacts cross-color intimacy as a new way of conceiving the origins of American culture. Morrison’s writing about history in A Mercy is not simply a return to the past or a retrieval of the repressed. By evoking a lost age and digging out from what has disappeared logics and ideas that resist existent historical lines and racial categorizations, the novel fosters in its textual present an intermediary agency for negotiating the structure of history, thereby ushering in new historical epistemes.Item A Time to Dance: Frank O’Hara Reading Edwin Denby(英語學系, 2011-09-??) Aaron DevesonAcademic interest in the post-war American poet writers generally gathered together under the label of “the New York School Poets” has never been greater; at the center of this perceived milieu is Frank O’Hara. My article is intended to fill a gap in the critical literature on O’Hara, which has failed to take into account the significant textual relations between his work and the still under-appreciated writings of Edwin Denby. Prompted by O’Hara’s paratextual responses to Denby but above all by the multiple allusions to the latter’s writing which I have found in the 1956 poem “A Step Away from Them,” this essay offers readings that suggest O’Hara’s highly original poetry developed at least partly through a revisionary engagement with the temporal themes and structures he found in Denby’s poetry and dance-themed prose. This article appropriates Clive Scott’s Bergsonian approach in order to illustrate how, contrary to critical responses which emphasize O’Hara’s deliberate lack of “depth,” his poetry’s intertextual engagement with Denby is in fact productive of a highly textured presence of inter-involved memories corresponding to Benjamin’s concept of Erfahrung. Reading O’Hara back through Denby’s already very suggestively phenomenological writings helps us to see the ways in which strategies of silence, of retrospective transformations at the endings of poems, and of the accumulation of perceptual “instants” become the self-protective means by which privileged “moments” of freedom and memorialization can occur. A fuller understanding of these strategies adds to criticism’s recognition of O’Hara’s conflicted relationship with America’s post-war expansionism.Item Historical Distance and Textual Intimacy(英語學系, 2011-09-??) Hsiu-chuan LeeToni Morrison’s A Mercy (2008) encourages a meditation on literature’s interaction with history. Focusing on the way in which “novel time” operates here to challenge the serial, diachronic conception of history, I seek in A Mercy a space to negotiate the historical distance between periods, events, and peoples. The shifting tenses of narrating voices introduced by the novel, along with the linkages that memories create between times, prompt the spreading-out of seventeenth-century American history into a textual network of elastic ligaments and a kind of dialogism. Moreover, challenging the logic of ethnic division and racial segregation, A Mercy elucidates the proximity of different races in early American history. It enacts cross-color intimacy as a new way of conceiving the origins of American culture. Morrison’s writing about history in A Mercy is not simply a return to the past or a retrieval of the repressed. By evoking a lost age and digging out from what has disappeared logics and ideas that resist existent historical lines and racial categorizations, the novel fosters in its textual present an intermediary agency for negotiating the structure of history, thereby ushering in new historical epistemes.Item A Time to Dance: Frank O’Hara Reading Edwin Denby(英語學系, 2011-09-??) Aaron DevesonAcademic interest in the post-war American poet writers generally gathered together under the label of “the New York School Poets” has never been greater; at the center of this perceived milieu is Frank O’Hara. My article is intended to fill a gap in the critical literature on O’Hara, which has failed to take into account the significant textual relations between his work and the still under-appreciated writings of Edwin Denby. Prompted by O’Hara’s paratextual responses to Denby but above all by the multiple allusions to the latter’s writing which I have found in the 1956 poem “A Step Away from Them,” this essay offers readings that suggest O’Hara’s highly original poetry developed at least partly through a revisionary engagement with the temporal themes and structures he found in Denby’s poetry and dance-themed prose. This article appropriates Clive Scott’s Bergsonian approach in order to illustrate how, contrary to critical responses which emphasize O’Hara’s deliberate lack of “depth,” his poetry’s intertextual engagement with Denby is in fact productive of a highly textured presence of inter-involved memories corresponding to Benjamin’s concept of Erfahrung. Reading O’Hara back through Denby’s already very suggestively phenomenological writings helps us to see the ways in which strategies of silence, of retrospective transformations at the endings of poems, and of the accumulation of perceptual “instants” become the self-protective means by which privileged “moments” of freedom and memorialization can occur. A fuller understanding of these strategies adds to criticism’s recognition of O’Hara’s conflicted relationship with America’s post-war expansionism.