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 Untitled(英語學系, 2019-03-??) Xiulu WangLu Xun’s 魯迅 Wild Grass (野草 Ye Cao, 1927) is the first important prosepoetry collection in modern Chinese literary history. While most scholarshipfocuses on its emotional atmosphere, complex images, and metaphors, thisarticle explores the issue of musicality as a fundamental poetic quality of WildGrass. Through a close reading of some of the poems from Wild Grass, thisarticle examines how Lu Xun employs the modern Chinese vernacular as a newliterary language, how various stylistic devices add levels of musicality, andhow the language of musicality, in turn, serves as a living, pulsating aestheticforce that enhances the poeticity and communicability of these texts.Item 爵士化黑人身份認同:童妮．摩里森《爵士樂》中的重複與差異(2009) 簡鈺娟; Yu-Jyuan Jian本論文研究爵士樂與童妮‧摩里森《爵士樂》之間的多重連結，並據此探討《爵士樂》如何藉由形式上的重複與差異塑造黑人身分認同。第一章對爵士樂的雜糅歷史及表演性質進行檢視，並試圖解釋我為何將《爵士樂》視為未定的黑人身分認同之表現形式。藉此，我以摩里森書中所運用的爵士樂技巧，證明她對黑人身分認同所持的非本質主義式態度。第二章運用爵士樂中的即興重複段，解釋《爵士樂》裡的重複如何即興演繹黑人身分認同。在我看來，循環出現的主題與反覆的節奏能使不同情境的主題呈現出多重樣貌，以及藉「衍異」產生個人身分認同的多種解釋。第三章研究《爵士樂》如何將聖經故事轉變為非裔美國人的爵士樂曲，使書中人物、敘事者、及讀者皆可在其中隨意即興演繹個人身分的意涵。藉由《聖經》跟《爵士樂》的比較，我企圖檢視《爵士樂》如何以重寫聖經裡的場景來建構黑人身分認同。總之，我詳細說明《爵士樂》中的人物宛如爵士樂演奏者般，經歷認同的過程且以多變的形式演奏出他們的身分認同。藉由分析爵士樂中的重複與差異，我將黑人身分認同詮釋為可藉演奏而重複的範疇。作為雜糅的產物，《爵士樂》允許自身被再製為「衍異」形式下的產物，且持續激發此本小說被嫁接到不同情境下的黑人身分認同之新詮釋。Item 重複與差異的等待——等待果陀、進城、車站之主題研究(國立台灣師範大學國文學系, 2015-12-??) 廖玉如; Liao, Yu-ru貝克特的成名作《等待果陀》（1949）以兩幕雷同卻又不一樣的等待情節開始，其後所有劇作無不以重複內容表現其要旨。華文劇作家馬森和高行健，深受貝克特劇作的影響，也以等待為主題，先後完成《進城》（1982）和《車站》（1983）；無獨有偶，兩齣作品皆以重複對話和動作表現等待的焦慮和茫然。從表現形式，可見兩齣劇作模仿《等待果陀》的痕跡，但從不同的結構，我們看到三齣劇作呈現明顯差異的思想觀點佛洛伊德（Sigmund Freud）的「超越快樂原則」探討人類重複行為的心理動機，而德勒茲（Gilles Deleuze）的「差異與重複」理論則是對於西方哲學和美學經驗（文學、繪畫、音樂、電影和戲劇）問題的探索。本論文除了細論三齣戲劇的重複內容和其隱含的哲學意義和社會議題；也借用兩位學者的論點，比較《等待果陀》、《進城》和《車站》的主題內容。Item Seeing is Believing(英語學系, 2012-03-??) Aviva Dove-ViebahnThis essay considers the fascination and seduction of death as it is portrayed in the long-running American crime show CSI: Crime Scene Investigation (CBS, 2000-present), exploring the relatively recent trend in and popularity of crime procedurals in which death, dying, and violence are repetitively enacted. CSI’s narrative and visual form both suggest that the more investigators repeat, the closer they arrive to truth and justice. As with the episodic imperative of narrative television more generally, CSI’s repetitive drive offers eventual visual gratification for its viewers while situating them in a discourse of true vision—or, vision as truth—in which the show’s investigators also circulate. This essay ties these specific interrogations of CSI to an articulation of the concept of the televisual gaze, a scopic function that derives its meaning from the subject imagining herself as part of a field of other gazers and gazes.Item Seeing is Believing(英語學系, 2012-03-??) Aviva Dove-ViebahnThis essay considers the fascination and seduction of death as it is portrayed in the long-running American crime show CSI: Crime Scene Investigation (CBS, 2000-present), exploring the relatively recent trend in and popularity of crime procedurals in which death, dying, and violence are repetitively enacted. CSI’s narrative and visual form both suggest that the more investigators repeat, the closer they arrive to truth and justice. As with the episodic imperative of narrative television more generally, CSI’s repetitive drive offers eventual visual gratification for its viewers while situating them in a discourse of true vision—or, vision as truth—in which the show’s investigators also circulate. This essay ties these specific interrogations of CSI to an articulation of the concept of the televisual gaze, a scopic function that derives its meaning from the subject imagining herself as part of a field of other gazers and gazes.