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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Item Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions 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.Item Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions 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.Item 童妮‧摩里森《爵士樂》與《愛》中黑人音樂的中介與意義(2008) 陳玟勳; Wen-shiun Chen本論文探討童妮‧摩里森在《爵士樂》與《愛》兩本小說中，以黑人音樂傳統為基礎，所呈現出的美非小說形式。第一章藉由非洲傳統音樂美學與社群觀念的研究，檢視黑人音樂傳統中的概念，並指出摩里森的寫作策略，是以音樂傳統觀點出發，因此小說中的主題可追朔到非洲根源的文化傳統。第二章探究《爵士樂》中，爵士樂的概念如何延續非洲文化傳統，以及摩里森以爵士樂鼓動小說中的人物，以「合奏音樂」作為再造黑人社群的方法。摩里森將小說人物安排在一塊爵士音樂的「記憶遺址」，以喚起他們過去的回憶及對音樂的感知能力。隨著爵士音樂驅使小說人物互動，在共同經驗與情感分享中再造黑人社群，摩里森也同時創造了她自己的文學社群。第三章究查摩里森在《愛》中如何檢視爵士音樂，以「咆伯」爵士曲風反思「搖擺」曲風中傳統概念的萎靡。小說的敘事結構利用故事中的女性角色對比爾‧柯西不同的愛慕形式，表現咆伯樂風的「不協調」特色。以比爾‧柯西為遺忘傳統的代表，L則象徵傳統，聯繫柯西家族中的女人，並促使她們在分享與互相關懷中改變人生。《愛》反省《爵士樂》中對爵士音樂的樂觀態度，為摩里森展現黑人音樂傳統不同層面的手法，而兩本小說更呈現出自詡為黑人音樂傳統繼承者的摩里森，在美非文學中的發展與成就。Item 臺灣中學生英文名詞可數性質學習成效之研究(2005) 汪宜璇; Yi-xuan Wang本研究的目的是要探討臺灣中學生英文名詞可數性質的學習成效。主要議題是傳統文法書中名詞可數性質的說明對於學習者的影響。四十位國三學生和四十位高三學生參加本實驗。他們依指示完成判斷可數性質的測驗。 整體而言，由於傳統文法中強調制式名詞分類教學的影響，受試者依此分類在普通名詞、普通可數名詞、特指用法的專有名詞的表現較佳，然而受試者亦因此種名詞分類，而在一些有明顯可數性質線索，但違反該分類的試題中，正確率偏低。其他因素像是集合名詞的特殊型式、該用語常用與否、在真實世界中的外觀、母語的影響、以及名詞前的量詞等，都是可能影響可數性判斷結果的因素。 比較高中生和國中生，高中程度者對於可數性質的判斷優於國中程度者。可能是因為他們閱讀的內容較廣，而有更多機會做可數性質判斷的練習。然而進一步探究則發現，高中生傾向於過度把普通名詞當作可數名詞使用，而過度把專有名詞和物質名詞當不可數名詞使用。高中生在這些名詞次類的表現不佳很可能是受到傳統文法書中制式名詞分類法的影響。 此外，國中和高中生在不同名詞類別中可數和不可數名詞的使用亦顯示高中生受到制式分類法的影響較國中生深。國中生傾向於把普通名詞當作可數，專有名詞當不可數，但在意料之外的是他們過度把物質名詞當可數名詞使用, 但亦較能接受物質名詞當可數名詞的正確用法。相較之下，高中生傾向於過度把普通名詞當作可數，而專有、物質和抽象名詞則都當不可數用，而常常導致用法的錯誤。這種現象可能是因為高中生學習文法規則較久，所以受到的影響較深；國中學生，相反地，受到傳統可數類別劃分規定的影響就沒有那麼深，因而制式用法還並未建立得那麼僵化。Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.