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 論艾瑪·多諾霍《房間》的媒體、受害者、與正義(2023) 王愷琪; Wang, Kai-Chi本論文藉由分析艾瑪·多諾霍《房間》中的媒體、受害者、與正義來探討小說中主角因為媒體而遭受的二次傷害、以及受害者是否從司法系統獲得正義。最後，我也會闡述受害者是否能在媒體和社會壓迫的情況去面對自己最深的恐懼。論文最開始會先介紹小說背景，這本小說是由真實事件創作而成的，故事內容是由一個五歲男孩所敘述，因此我會從文獻中探討小說中特殊的敘事設定。接著，我會描述本論文將結合的媒體觀點，以此來分析小說中受害者和媒體的關係。上述介紹完後，我將進入第一章來探討受害者在被解救後所受到來自醫療、司法、警政、大眾的壓力，並會著重探討媒體對受害者所造成的影響和傷害。第二章會分析在面對這些壓力下，受害者將如何看待自己未來的人生以及如何從創傷中痊癒，以此來呼應作者希望讀者能從小說中體悟到的道理。最後結論我會對以上觀點做出總結，並提供可以解決或改善媒體與受害者關係的方法。Item 透過 《綠島》及《走出白色恐佈》再現台灣歷史創傷(2022) 張慧萱; Chang, Hui-Hsuan本論文藉由分析《綠島》及《走出白色恐佈》探討作者楊小娜(Shawna Yang Ryan) 及孫康宜(Kang-i Sun Chang)如何透過文本有效地重新審視過去的創傷，讓讀者以不同 於官方的視角來重建他們的集體記憶。因此，導言將會先回顧 228 事件及白色恐怖的 現有文獻，以幫助讀者了解歷史背景。同時，我將會進一步闡述受害者的創傷是如何 透過見證的方式得到緩解。第二章的重點將放在《綠島》，探討楊小娜如何運用虛構 的小說來見證真實的歷史事件及在白色恐怖時期國民政府的政策是如何帶給人民創 傷。因此，本章論文將會引用阿圖塞(Louis Althusser)的國家機器理論(Repressive State Apparatus and Ideological State Apparatus)，進一步闡述國民政府的統治方式並研究受害 者創傷的行為和心理狀態，以藉此警告後世不要重蹈覆轍。第三章將著重於回憶錄 《走出白色恐佈》，這一章主要分析台灣及大陸之間的省籍衝突，同時透過比較《綠 島》及《走出白色恐佈》來重建女性在過去這段歷史的主體性。第四章為結論，我將 會再次強調《綠島》及《走出白色恐佈》這兩本見證文學是如何讓後世以更多元的視 角來了解歷史創傷。其論文的最終目的在於審視白色恐怖中所發生的創傷，並重新思 考可以為那些受害者採取哪些有意義的行動。Item 批判式記憶白色恐怖:《綠島》與《返校》對於正義與創傷的再政治化(2021) 吳崇宇; Wu, Chung-Yu本論文藉由分析《綠島》及《返校》，探討作家楊小娜(Shawna Yang Ryan)與導演徐漢強(Han-chiang Hsu)如何透過小說及電影，提供讀者觀眾另類的途徑去面對創傷及建構正義的概念，並進而促成對於白色恐怖的批判式記憶。第一章首先爬梳現存對於二二八事件、白色恐怖及轉型正義的研究。而後，我援引米山麗莎(Lisa Yoneyama)提出的「九零後跨國補償文化」(post-1990s transborder redress culture)及「正義的再政治化」(re-politicization of justice)等理論架構。我主張將臺灣的二二八事件及白色恐怖置於米山麗莎的理論框架中重新檢視。第二章及第三章以前述理論概念對《綠島》與《返校》分別進行文本分析，探討兩個文本如何建構出另類的跳脫加害者/受害者二元對立結構的正義概念。此外，我援用拉卡柏(Dominick LaCapra)兩種面對創傷的策略: 行動化(acting out)及透工(working through)，分析《綠島》與《返校》中角色的創傷經驗。我主張，兩個文本藉由呈現角色透工(working through)創傷的過程，向讀者觀眾強調了歷史創傷的未來指向。第四章為結論，反思現今臺灣關於轉型正義執行及民主發展的議題，希冀藉此促使讀者(尤其是年輕世代)重新檢視自身與歷史創傷的關聯，並思考當代臺灣社會的正義及民主意涵。Item 返離之間：石黑一雄《群山淡景》的創傷閱讀(2015) 何惠琳; Hui-lin Ho本論文旨在探討石黑一雄《群山淡景》中的第一人稱敘述者悅子（Etusko）如何以追憶分身的方式處理失去女兒慶子（Keiko）的創傷。本論文深受沈偉赳（Sim Wai-chew）以及派翠（Mike Petry）所提及的悅子與幸子互為分身的概念啟發，並試圖進一步勾勒出分身與創傷之間密不可分的連結。小說以敘述者悅子敘事觀點為主軸，由悅子追憶昔日長崎的故友幸子（Sachiko）與悅子敘述在英國的情境兩者形成回憶與現況雙層敘述的架構。巧合的是，當悅子追憶昔日故友幸子與真理子（Mariko）之間的母女關係時，故友母女似乎與悅子慶子母女的過往經驗有所重疊。為了進一步檢視小說裡回憶與現況中他人與自己的母女關係的重覆交錯，本論文援引創傷理論深入剖析看似各自獨立的兩段母女關係，並試圖證實兩者之重覆交錯實為敘述者悅子因受創傷之反覆回訪與離去之影響，因而橫越回憶與現況的時空分界進而重現自己難以承受的創傷。 本論文分為五個章節。第一章回顧石黑一雄作品、作品評論與訪談，並從中探究第一人稱的瑕疵記憶如何直接抑或間接呈現出創傷與分身的概念。論文第二章試圖援引卡露思（Cathy Caruth）創傷的回訪與離去為理論架構理解《群山淡景》中悅子失去女兒慶子的創傷。同時，本章亦審視范德寇克（van der Kolk）與范德哈特（van der Hart）提出的見解：創傷者易囿限創傷於過去的框架之中，並試圖在創傷與現在的自己之間劃定界線。以上述兩理論為主軸，本章旨在建構可理解小說中敘述者母親與亡者女兒之間的創傷連結之理論架構。第三章接續探究敘述者如何透過分身處理創傷的母女關係。細察悅子與幸子互為分身之際，我認為此分身不僅是兩者互為分身，更是敘述者悅子、回憶層次中在長崎的悅子、與幸子三者互為分身的三角關係。透過此三角分身，可窺見創傷敘述者從中重建毋受時空框架束縛的創傷記憶。承續第三章探究分身與創傷之連結後，第四章審視一名多次出現在回憶中身分未曉的女人。細讀小說中回憶層次裡的兩則溺斃的片段時，我發現此身分未曉之女人不僅指涉回憶層次中真理子反覆提及看見此女人的現象，同時反映現況層次中敘述者悅子掛念縈繞她夢中的身分未曉的小女孩。雖然真理子與悅子的掛念分別顯現於回憶與現況層次，兩個看似異質的掛念卻因平行出現在雙層敘述之中反倒顯露出母女連結創傷的一致性。最後，本論文歸結出經由分身重現創傷回憶，敘述者得以展現創傷者的能動性。因此，敘述者得以避免受已全然屏除創傷的現況框架所困，或僅僅沉溺於創傷框架之中。超脫創傷與現狀兩層框架之外，敘述者得以在創傷縈繞之際，仍可游移框架與框架之間、來去自如。如同無法受任一時空框架羈絆的創傷一般，敘述者得以跳脫被動地受創傷反覆地來訪又離去所困，進而確立創傷者面對創傷的能動性。Item Untitled(英語學系, 2016-03-??) Yanjie WangThis paper examines the traumatic experience of migrant workers through a reading of Lixin Fan’s award-winning documentary film Last Train Home (2009). I am not primarily concerned, like most trauma-studies-based research, with grand, clearly recognizable catastrophes. I also avoid generalizing about human suffering in the age of global capitalism. I focus rather on post-Socialist China’s more hidden social violence and its traumatizing effect on the quotidian life of migrant workers—a subaltern group on the periphery of society. I argue that the trauma of the marginalized population must be socially and politically contextualized. The first section of the essay investigates the traumatic sense of homelessness suffered by the film’s migrant family. I show how the family members’ loss of home is due to both the alienating capitalist mode of production and the cunning hukou system that turns migrant workers into a perpetually floating population. The second part concentrates on the painful intergenerational chasm. Here I argue that the father-daughter strife is a symptom, not just of the clash between modernity and tradition but of the falsehood maintained by neoliberal discourse. Neoliberal narratives of education and consumption construct fantasies such as that of mobility and freedom, subsuming migrant laborers within the nation’s capitalist economy and trapping them in a prison of unrealizable hopes. The film ultimately exposes and critiques the state-capital alliance that controls and deprives migrant workers through its economic, political and epistemic strategies.Item ＂An Archivist's Fantasy Gone Mad＂: The Age of Exhibition in Cao Fei's Posthuman Trilogy(英語學系, 2017-09-??) Angie ChauThis paper argues that in her recent films, the Chinese artist-filmmaker Cao Fei (曹斐, b. 1978) shows how the futility of art and technologies of exhibition is linked to the danger of overexposure to images without context, and the numbing of public consciousness. In the twenty-first century, the fear of forgetting seems increasingly obsolete in the face of social media tools like Facebook's ＂See Your Memories: Never Miss a Memory＂ feature, which excavates photos uploaded, shared, or tagged on the site years ago, reminding users to ＂look back＂ on otherwise lost memories. However, in recent Chinese fiction (Ma Jian's Beijing Coma; Chan Koonchung's The Fat Years; Liu Cixin's ＂The Weight of Memories＂), the trope of dormant memories remains noticeably prevalent, reflecting an urgent cultural concern about the conscious ＂act of deleting memories＂ (Yan Lianke) in the process of recording modern Chinese history. Whether in the form of documentary-style animation (i.Mirror, 2007), zombie-horror film (Haze and Fog, 2013), or stop-motion train-replica dioramas (La Town, 2014), Cao Fei fantasizes about a new posthuman consciousness, whose most serious trespass against humanity is not forgetting, but rather not feeling. Presenting disjointed scenes that call upon instances of trauma and surveillance, Cao's ＂posthuman trilogy＂ films suggest that when cosmopolitan memories become decontextualized, mere images no longer possess any meaningful symbolic power. Further, Cao's films demonstrate that voyeurism becomes an unavoidable yet inconsequential daily practice in the digital age of exhibition.Item Untitled(英語學系, 2016-03-??) Yanjie WangThis paper examines the traumatic experience of migrant workers through a reading of Lixin Fan’s award-winning documentary film Last Train Home (2009). I am not primarily concerned, like most trauma-studies-based research, with grand, clearly recognizable catastrophes. I also avoid generalizing about human suffering in the age of global capitalism. I focus rather on post-Socialist China’s more hidden social violence and its traumatizing effect on the quotidian life of migrant workers—a subaltern group on the periphery of society. I argue that the trauma of the marginalized population must be socially and politically contextualized. The first section of the essay investigates the traumatic sense of homelessness suffered by the film’s migrant family. I show how the family members’ loss of home is due to both the alienating capitalist mode of production and the cunning hukou system that turns migrant workers into a perpetually floating population. The second part concentrates on the painful intergenerational chasm. Here I argue that the father-daughter strife is a symptom, not just of the clash between modernity and tradition but of the falsehood maintained by neoliberal discourse. Neoliberal narratives of education and consumption construct fantasies such as that of mobility and freedom, subsuming migrant laborers within the nation’s capitalist economy and trapping them in a prison of unrealizable hopes. The film ultimately exposes and critiques the state-capital alliance that controls and deprives migrant workers through its economic, political and epistemic strategies.Item Witness and Recuperation: Cambodia's New Documentary Cinema(英語學系, 2013-03-??) Annette HamiltonThe documentary cinema of Rithy Panh has played a significant role in the effort to overcome the traumatic heritage of the Khmer Rouge era in Cambodia (1975-79). His cinema of witness advances claims for the restoration of memory as an ethical imperative, and his films have provided encouragement for the claims of justice for survivors. Witness and reenactment are central to his mode of address. A new movement has emerged in recent years from a younger generation whose work continues to explore the value of documentary in challenging the prevailing cultural amnesia and seeks to recuperate the connection between the present and the past. This paper discusses the work of some of the emerging documentary makers, highlighting their distinctive voices and visions, their debt to the style and framework of Rithy Panh's cinema, as well as new perspectives which seek to build on the past through the exploration of the value of the artists and intellectuals who preceded them.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?