英語學系

Permanent URI for this communityhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/42

研究表現

根據最新2017年國際高等教育資訊機構QS(Quacquarelli Symonds)公布「全球大學學科領域排名」,本校排名持續上升至全球310,而本系專精三大領域學科均獲佳績。包括語言學科從過去4年名列51至100名,進步到第48名;現代語言學科從去年101至150名,進步到51名至100名,進入全球百大;英語文學學科從去年201至250名,上升至151名至200名。顯見本系於外國文學、語言學及英語教學三大領域具備高度國際競爭力。

就業輔導

為考量同學未來邁向學術,公務體系與不同行業的就業需求,本系每學期固定舉辦多場升學就業座談,邀請傑出系友回系分享於本系的學習經驗與收穫,以及如何將此經驗轉化成本身職場的動力,藉此幫助同學規劃未來職涯方向,並及早擬定選課計晝。也另藉由邀請業界專業高階主管加強學生職場倫理、態度與文化的訓練。希藉知識面與態度面的教育,讓本系畢業生在進入職場時更具競爭力。

獎學金

本系提供許多獎學金鼓勵成績優異或家境清寒之學生就讀,例如:英語系教育基金會獎學金、傅一勤教授獎學金、文學獎學金、馬春英教授獎學金、楊景邁教授獎學金、優秀學生獎學金和清寒獎學金。另外也提供學生僱傭型工讀與學習型獎助金的學習機會。各項計畫亦提供兼任助理及工讀的機會。

未來發展

本系各班制學生未來不管進入到學術研究、公務體系或是各行各業,最重要的憑藉就是紮實的語文能力。一向為各界所肯定,同學在經過文學、語言學與英語教學的學術研究專業訓練後,絕對是國內外同領域的佼佼者。本系對培養在學生語文知能不僅有很高的期許,也鼓勵修習校內跨領域學程,以提升就業競爭力與終身學習能力。目前本校已與臺灣大學及臺灣科技大學組成臺灣大學聯盟,地緣利便,課程與圖書等各項軟硬體資源共享,本系學生可以針對未來各項需求,跨校選修需要的學分學程。

本系有悠久的歷史與優良的傳統,身為師大英語人一向是一種榮譽、一種驕傲,但面臨瞬息多變的時代,加強充實自己的語文能力與專業知能以讓「師大英語,英語大師」的卓越口碑傳承下去,就成了每一個師大英語人的責任,也是本系師生共同努力的目標。

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    馬來西亞華語「了」的語音變異因素
    (2024) 王家輝; Wong, Kah-Fai
    本研究探討馬來西亞華語「了」(le和liao)的語音變異因素。本研究假設語域和性別是影響le和liao 變體分佈的顯著的語言外部因素,並假設「了」的句法位置(動詞後「了」和句末「了」)是影響「了」語音變異的顯著的語言内部因素。從BBK Network YouTube頻道中新聞播報、紀錄片、採訪以及趣味辯論四種不同的語域為語料,研究「了」語音變異的分佈。本研究采用了GoldVarb X (Sankoff et al. 2005),一種用於變異研究的定量工具。該結果表明語域對「了」語音變異的影響是最大的,尤其新聞播報和紀錄片傾向於le變異的使用,而採訪和趣味辯論更傾向於liao變異。此外,「了」的句法位置也是影響「了」語音變異的顯著因素,尤其動詞後「了」傾向於le變異的使用,而句末「了」則傾向於liao變異的使用。然而,性別並沒有對「了」的語音變異因素造成顯著的影響。
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    《冰雪奇緣》系列中女性之間愛的傳承
    (2022) 黃毓晴; Huang, Yu-Ching
    時至今日,《冰雪奇緣》系列仍舊是受大眾喜愛的動畫電影。本論文旨在探討《冰雪奇緣》系列中女性之間愛的傳承,且著重於艾莎這一角色。《冰雪奇緣》系列是迪士尼第一部著重於刻劃女性親人之間的愛,而非公主王子的愛戀。第一部關於姊妹之間的愛,第二部則是母女之間的愛,這種女性親人之間的「愛」可以讓女孩成長為女人,甚至於跳脫父權社會的枷鎖,這種轉變在艾莎身上尤為明顯,因為艾莎在第二部結尾成為了半精靈,不再受世俗的性別影響,她已跳脫出框架,變成超然的存在。
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    中文母語人士對英文「塞音」之口說實證研究
    (2021) 劉偉昀; Liu, Wei-Yun
    本研究旨在探討臺灣英語學習者英語口說時的塞音表現及影響其表現的可 能因素,包含英文程度、性別、音位、元音特性等。實驗方法為一英語口說測驗。 研究對象共分四組:兩組母語組(中文母語與英文母語),另兩組為二語組,依 其英文程度分低程度與高程度,除中文母語組為 32 人外,其餘各組皆為 16 人, 男女各半。研究發現,英語二語學習者的塞音表現與其母語及英文程度呈現顯著相關 性,低程度學習者仍受母語影響,高程度學習者已習得英語塞音規則與噪音起始 時間。此外,研究亦發現性別並非影響英語二語學習者塞音表現之關鍵因素,男 性與女性二語學習者之塞音表現並無顯著差異。然音位對二語學習者之塞音表現 則具顯著影響,影響順序由大到小依次為軟齶音、其次為齒齦音及雙唇音。最後, 元音亦是影響研究對象塞音表現的關鍵因素之一,由難而易依序為塞音出現在低 元音之前時、其次是出現在高元音之前時。
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    政治質詢中規避語「其實」的使用與性別的關聯:以高雄市議會質詢為例
    (2021) 何亦翎; Ho, Yi-Lin
    本文旨在探討高雄市議員在議會質詢,規避語「其實」的語用功能,並以Lakoff(1975)性別理論為基礎,探討規避語「其實」的使用是否跟性別相關。口語中規避語的使用,主要是說話者積極面子(positive face)跟消極面子(negative face)的保護以避免面子威脅的行為(face threatening acts)發生。本文收集三十二名男性議員跟二十四名女性議員在質詢中使用「其實」的語料。首先,我們使用AntConc 搜集語料,再用Python進行卡方檢定(Chi-square)。研究結果顯示,在質詢中「其實」有六個語用功能,分別是: (1)批評政府官員的回應,(2)議員給予官員可行的辦法,(3)對於官員的看法表示同意,(4)保護議員自己的積極面子,(5)避免過於彰顯議員自己的努力,(6)質詢內容涉及死亡相關的內容,研究結果顯示,只有一個語用功能跟性別相關。另外,根據Hsieh and Huang (2005)所提出「其實」的架構(qishi construction),說話者用「其實」表達不同意(disalignment)之後,會用「因為」或是「可是」,更進一步說明不同意的理由;在議會質詢,議員也使用相同的模式,表達不同意官員的回答。不論是在充滿面子威脅的質詢,或是口語言談或訪問,規避語都扮演著重要的角色。而對於議員,在質詢中使用規避語的目的,除了表達他們同意或是不同意的態度,更進一步表達他們的立場跟建議,以達到代表民意監督政府的責任。
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    (英語學系, 2019-09-??) Rowland Chukwuemeka Amaefula
    Expressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.
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    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 Bhattacherjee
    Firdaus 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.
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    Ungendered Narrative: A New Genre in the Making
    (英語學系, 2018-09-??) Khuman Bhagirath Jetubhai, Madhumita Ghosal
    This 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.
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    中文衝突策略之語用研究
    (2020) 翁翊芳; Weng, Yi-Fang
    人與人交際言談之間,想法的分歧所引發的言語衝突會因為對談者在社會上的條件而有不同的話語模式。本研究探討之目標為談話者在與家人和同事的交流中,面對威脅的情境下所使用的語用策略。從五十六位臺灣人在中文衝突語境的問卷研究結果中發現,社會距離和社會權力確實對語用策略選擇上有所影響。當對談者的關係較為親近,且受威脅者的權力較高時,威脅策略的使用佔相對高的比例。然而,在工作場合上,威脅策略並不常見,取而代之的是請求和妥協的策略,以顧及雙方的面子。此外,當被威脅者的權力較低時,無論是與家人或是同事交流,有採取相同策略的傾向,亦即受試者傾向使用妥協、懇求或道歉等策略。最後,男性和女性在處理言語衝突的情況亦有所不同。男生易使用威脅策略,在與家人交流時特別明顯,女性則是偏好溫和的語用策略,社會關係和權力的影響並不明顯。
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    (英語學系, 2019-09-??) Rowland Chukwuemeka Amaefula
    Expressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.
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    (英語學系, 2020-03-??) Leo Chia-Li Chu
    This paper will examine the ambivalences and contradictions in post-handoverHong Kong cinema through the lens of gender, border, and the body politic inthree crime films. The first of them, Intruder (恐怖雞 Kongbu ji, 1997),released when sovereignty over Hong Kong had just been transferred fromBritain to China, may evoke a “crisis of masculinity” through itsborder-crossing female antagonist; in contrast, the portrayal of women, as wellas transgender and queer people, in Ming Ming (明明, 2006) and I Come withthe Rain (2009), appears to be more nuanced. Reading the three films againstone another and against established narratives about the city, I intend toinvestigate how these films adopt gendered narratives and the questions ofborder in the construction of identity politics in post-handover Hong Kong. Byjuxtaposing the fluid, unstable, and multi-faceted bodies of fictional characterswith the city’s history, this paper argues that the representation of past andfuture in these films reflects the struggle to narrate anxiety and hope inpost-handover Hong Kong.