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 Mapping Formosa: Settler Colonial Cartography in Taiwan Cinema in the 1950s(英語學系, 2018-09-??) Lin-chin TsaiThis paper suggests a methodological intersection of cultural geography and settler colonial criticism to critique and reflect on the Han settler colonial structure in Taiwan by examining two representative but rarely studied propaganda films made at the inception of the Nationalist rule in the 1950s, Bai Ke’s Descendants of the Yellow Emperor (1955) and Chen Wen-chuan’s Beautiful Treasure Island (1953). More specifically, by investigating the discursive function of maps and mechanisms of mapping, it will be demonstrated how these two films construct a form of “settler colonial cartography” through the cinematic visualization of space and the use of multimedia, and how the Han settler colonial consciousness is formulated and expressed in cinema. To further differentiate the narrative and discourse of settler colonialism from classic colonialism, I compare these two films with another imperial policy documentary from the Japanese colonial period, Southward Expansion to Taiwan (1940). By doing so, this paper argues that the comparative analysis between the two modes of colonial domination can allow us to envision more effective ways of decolonization practices to “unsettle” the Han settler society. That is why settler colonial criticism matters, particularly for Taiwan at this point in its history.Item Fear and Love in the Tide Country: Affect, Environment, and Encounters in Amitav Ghosh's The Hungry Tide(英語學系, 2018-09-??) Shu-ching ChenThis paper examines Amitav Ghosh's novel The Hungry Tide (2004) to explore Ghosh's dramatization of the affective impacts of a specific environment on local subjects and the role of cosmopolitan subjects play in translating those affects into knowable forms through their embodied and affective encounters with the local. My investigation draws upon recent theories of affect-negotiating between constructive and deconstructive views- and places the discussion in a framework of eco-cosmopolitan connections. By invoking the coexistence of the affects of fear and love, I seek to move beyond the concept of the uncanny, exploring affect both as emotions and intensity generated by the socio-ecological conditions of the wetlands. I take the affective encounters between the locals and the cosmopolitans as a relational medium through which modes of feeling and knowing on the part of cosmopolitan subjects can be transformed. The uncanny of the environment experienced by the local can also be translated into accessible forms through this medium, bringing into our sensory ken the slow violence that is far away and out of sight and thereby enabling ethical actions.Item Spatial Representation in Three Detective Fiction Subgenres(英語學系, 2018-09-??) Zi-ling YanIn this study I examine a limited aspect of spatial representation in Golden Age, hard-boiled and postmodern detective fiction. I situate these representations within a theory of architectural enclosure, Tschumi's pyramid/ labyrinth distinction, then employ concepts derived from Gestalt theory as pointing up an ideological tendency in the Golden Age floor plans and diagrams by which crime is contained and spaces are normalized. John Dickson Carr's The Problem of the Wire Cage (1939) serves as a test case. The subsequent sections offer spatial analyses of Dashiell Hammett's "The Whosis Kid" (1925) and "Dead Yellow Women" (1925) and Paul Auster's City of Glass (1987). Hammett's stories illustrate the breakdown of visual mastery in disorienting spaces whose textual representation parallels the Op's own limited knowledge. Auster's diagrams appear to offer a synthesis of prior positions: he incorporates plans which seem to promise meaning but which ultimately fail to establish certainty. I argue, however, that Auster's plans are most effectively read in their specific socio-historical and political context and that the performantive loss of referential certainty in his potagonist reflects a form of critique that differs from earlier gernres' use of these figures.Item Pastoral Place and Violence in Contemporary British Fiction(英語學系, 2018-09-??) John ArmstrongThis paper close-reads Jon McGregor’s Reservoir 13 (2017), Graeme Macrae Burnet’s His Bloody Project (2016) and Jim Crace’s Harvest (2013) as exemplars of a larger wave of fiction reimagining the British village as a microcosm of global violence. Against a backdrop of theories on pastoral from Raymond Williams’s The Country and the City (1974), Paul Alpers, Terry Gifford, and John Kinsella, and ideas on violence, the essay considers in each novel the dynamics of pastoral and violence, testing whether existing critical ideas on the pastoral have the scope and reach to encompass the darkest and most visceral elements of contemporary rural fiction. The study finds that 1) McGregor’s Reservoir 13 is a quintessential post-pastoral text, engaging with all of Gifford’s tenets of the mode, yet with suggestions of child-murder and pedophilia that create a tense relationship between the novel and post-pastoral’s predominantly eco-critical bent; 2) Macrae Burnet uses a remote Scottish estate to attack the pastoral in nearly all of its historical forms, de-romanticizing lives of shepherds and crofters through representation of a traumatized place of structural and physical violence and sexual abuse; 3) Crace’s anti-pastoral novel Harvest presents a nameless, timeless English village, where enclosure for pasture is a catalyst for destruction rather than development. The study concludes that while these novels engage the pastoral in various extant forms, their elements of extreme violence denote a globalized, twenty-first-century development of the mode.Item Prosthetic Configurations and Imagination: Dis/ability, Body, and Technology(英語學系, 2018-03-??) Hsiao-yu SunProsthesis has been a useful medium for thinking about the identity of people with disabilities, who often rely on artificial devices in their daily lives. Recent advances in technology have altered the biological body via so-called enhancement technologies, which can augment bodily forms and functions to improve human characteristics. Given its corrective abilities, prosthesis has become the “interconstitutive” point which links body and machine, blurring the borderline between normal and abnormal, abled and disabled, human andcyborg. People with disabilities are no longer the only ones using prostheses to fix their bodily deficiencies; non-disabled people need them even more to modify their “imperfect” bodies. Being human, as Lennard Davis points out, has become “an aspect of supplementarity” (69). The essay will take a biocultural approach to the study of the scientificized and medicalized body to construct a dialectical discourse between ableism and dis/ability, the natural body and the artificial hybrid, humanity and technology, and related issues. Concurrently critiquing, historicizing, and theorizing prosthetics, the essay lays out a balanced and complex picture of the merging of flesh, machine, and subject, and, by doing so, offers a reconceptualization of dis/ability and post/humanity in a futurist society from the perspectives of materiality, metaphoricity, and reflexivity of prosthetics.Item Cooling China’s Body: Herbal Cooling Tea and Cultural Regionalism in Post-SARS China(英語學系, 2018-09-??) Tsung-Yi Michelle HuangSouth China, and the role it plays in the popularization of Chinese herbal cooling tea as an example to lay bare how a traditional medicine-focused nationalist project is enacted and enabled at the local level. The first part of the essay explains how the resulting discursive practice of traditional medicine reinforces the link between nationalized Chinese culture and health security agenda, shaping an ethic of communal biosecurity. The second part foregrounds the importance of scale, especially that of the provincial and the regional, in scrutinizing the ways through which the nation-wide Chinese medicine policies come into force in contemporary China. Thirdly, by looking at the incident of the joint application for promoting cooling tea as a state-authorized intangible cultural heritage among Guangdong, Hong Kong, and Macau, we emphasize the leading role of the Guangdong provincial government in promoting Chinese medicine in the region. The final section is devoted to unraveling the disputes involved in such a regionalist scheme.Item Trying to Grow Out of Stereotypes: The Representation of Disability, Sexuality and the “Modern” Disability Subjectivity in Firdaus Kanga’s Novel(英語學系, 2018-03-??) Rimjhim BhattacherjeeFirdaus Kanga’s novel, Trying to Grow, tells the story of Brit Kotwal, a young Parsi boy with osteogenesis imperfecta, negotiating his life in the Bombay of the 1970s. From the beginning, this semi-autobiographical work draws our attention to the common religious and medical perceptions of disability in Indian society. This paper proposes to study how the novel focuses on several aspects of the lived reality of a person with “brittle bones” who does not grow more than four feet tall. The paper also explores how the novel focuses on and confounds the commonly perceived notion of the asexuality of disabled individuals. Brit’s voice is extremely aware and articulates positions of difference within disability and sexuality discourses. He is able to occupy what can be called a truly modern disability subjectivity. But, this paper shall show that Brit presents the reader with this modern, emancipatory rhetoric of disability because of the privileges of his gender and class status in the Indian context. Within the same text, Brit’s disabled female cousin is literally andfiguratively mute and meets with a very different fate. The paper shall thus investigate and try to complicate the representation of disability, sexuality and the “modern” disability subjectivity in Kanga’s novel.Item Rewriting the Bildungsroman and the Rise of Detective Fiction in The Moonstone(英語學系, 2018-09-??) Ilsu SohnWilkie Collins’s The Moonstone (1868) is widely regarded as a landmark in the history of British detective fiction. As a prototypical detective novel, it also exhibits influences from many fictional genres. In this essay, I focus on the coming-of-age plot in the novel and analyze how The Moonstone rewrites the Bildungsroman for its self-fashioning as detective fiction. Through a modern individual’s successful socialization, the classical Bildungsroman expresses the belief that organic national culture can domesticate social mobility in the age of rapid modernization and imperial expansion. Collins’s novel reproduces this coming-of-age narrative and demonstrates the restoration of social normalcy in the face of colonial threats posed to the imperial center. This essay contends, however, that the coming-of-age narrative and the detective narrative bifurcate as Blake, the central character who comes of age at the end, fails to develop necessary agency for detective work. During a time of increasing class conflicts allied to exploitative transnational economy, the normative socio-national fabric the Bildungsroman symbolizes proves to be incompetent. Instead, the agency that restores national identity and completes Blake’s coming of age derives from subjects associated with social uprootedness and degeneration, those who compromise the cultural logic of the Bildungsroman. The coming-of-age narrative in this quasi-detective novel provides a normative façade but fails to solve the problem for which it is summoned. This essay discusses how a detective fiction emerges in dialectic with the Bildungsroman.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 Song of Ariran and the Question of Translation(英語學系, 2018-09-??) Suk KimA quasi-autobiographical text recounting the lifelong journey of a Korean revolutionary named Kim San (a.k.a. Jang Jirak), Song of Ariran (1941) emains a unique work offering an intimate view of the incessant political strife into which East Asia was thrown in the early twentieth century. The text stands out from many hagiographic works of its genre through the way that its narrator casts his political peregrination—one that takes in nationalism, anarchism, and communism—under a thematic rubric of compulsive failure. One outcome of this avowal of failure is an aporetic logic of narrativity, whereby the text is structured around a desire to invest meaning in experiences that consistently resist such signification. But the theme of failure in Song of Ariran extends beyond its probing of the problematic boundary of life and writing. For in acceding to the offer of a joint literary project with the American journalist Nym Wales (a.k.a. Helen Foster Snow) in the foreign medium of the English language, Kim San in effect raised the question of failure to the text’s formal level by problematizing the idea of translation as a derivative form of linguistic communication. By drawing on Naoki Sakai’s theoretical formulation of translation as “heterolingual address,” my article attempts to show that the significance of a text like Song of Ariran for our time lies not so much in the moral or psychological dimension of its textual content as in its positing of the possibility of a special form of literary readership, which Kim San enacts via the traces of incommensurability arising from his collaborative encounter with his American writing partner.