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 Ungendered Narrative: A New Genre in the Making(英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita GhosalThis paper focuses on ungendered narrative with reference to select fictional works, to shed light on the elements that define the genre. One or more characters with an undisclosed gender are the focal point of the narrative. The paper discusses techniques that authors employ to keep gender hidden, such as employing inventive gender-neutral pronouns or not using them at all. First- and second-person points of view are also common modes of narration, as “I” and “you” are gender-neutral. In depicting characters, authors consciously merge masculine and feminine stereotypes to create gender-secretive characters. The heterosexual love interest that has hitherto ruled the creative world is thus replaced by endless gender possibilities with which a couple may identify. Love, rather than the characters’ gender, is at the forefront of these works. These narratives confront readers with the importance they assign to gender and heir habit of pigeonholing certain behaviors, characteristics, and tendencies into a binary gender system. They force readers to question gender segregation and the consequences of choosing to defy the gender one is assigned at birth. Ultimately, these narratives ask whether gender matters in life.Item 從社會語言學觀點看男女言談之差異-以臺灣電視談話性節目為例(2005) 劉靜孺; Ching-Ju Liu摘要 本研究旨在由臺灣電視談話性節目中探討男女性別言談之間的差異。為了比較男女間言談差異，本研究總共分析了『說話量、規避詞、附加問句、加強詞、閩南語、幽默語、禮貌用語及無意義的形容詞』共八項。此外，本研究亦以『調節理論』來解釋為何男女在身處不同性質節目裡與面對不同說話對象時，言談行為會有所改變。在資料收集上，本研究語料取自於十二個收視率最高的談話性節目，並將之錄影下來。 研究結果顯示，男女言語之間確實存在許多差異性。首先，在平均上，男性在公眾場合裡說話的量比女性還多，即使傳統上女性一直被認為是較多話的。此外，男性也較女性用了更多幽默語及閩南語。相較之下，女性說話時較喜歡用規避詞 (hedges)。以上所述幾點和前人研究結果相符。然而，本研究結果卻發現，平均而言，男性比女性用了較多Lakoff (1975) 所提出的『女性用語』，例如『附加問句、加強詞、與禮貌用語』，Lakoff認為這幾點是女性較偏愛使用的言詞。這樣的研究差異是可理解的，因為Lakoff和本研究探討的語言不同，時空背景也不一樣。 本研究結果亦發現，不管男性或女性，他們的言談會隨著說話場景與對話者的不同，而有所差異。他們調節自己的言談方式，旨在尋求聆聽者的認可與認同，及獲得正面的形象。Item Ungendered Narrative: A New Genre in the Making(英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita GhosalThis paper focuses on ungendered narrative with reference to select fictional works, to shed light on the elements that define the genre. One or more characters with an undisclosed gender are the focal point of the narrative. The paper discusses techniques that authors employ to keep gender hidden, such as employing inventive gender-neutral pronouns or not using them at all. First- and second-person points of view are also common modes of narration, as “I” and “you” are gender-neutral. In depicting characters, authors consciously merge masculine and feminine stereotypes to create gender-secretive characters. The heterosexual love interest that has hitherto ruled the creative world is thus replaced by endless gender possibilities with which a couple may identify. Love, rather than the characters’ gender, is at the forefront of these works. These narratives confront readers with the importance they assign to gender and heir habit of pigeonholing certain behaviors, characteristics, and tendencies into a binary gender system. They force readers to question gender segregation and the consequences of choosing to defy the gender one is assigned at birth. Ultimately, these narratives ask whether gender matters in life.