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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    Father's Farmland, Daughter's Innerland
    (英語學系, 2003-01-??) Ying-chiao Lin
    Jane Smiley in A Thousand Acres reinterprets King Lear, giving us the “other side of the story” by retelling it from the point of view of the two “evil” older daughters. Smiley lets us understand this evil as something more like psychological suffering at the hands of an abusive father: her main theme is the most brutal form of domestic violence—father-daughter incest—and the originally innocent daughters’ reaction to it. In this study I center my analysis on the narrator-daughter’s traumatic memory of sexual abuse and the therapeutic discourse through which she tries to overcome it. Here the domestic situation of the incest “survivor” greatly resembles the paradigm observed by Judith Herman and Lisa Hirshman: a dominating and controlling father, an absent or weak mother, and an abused daughter who is silenced by the tyrannical father from speaking about his abusive behavior. By utilizing Herman and Hirshman’s clinical evid- ence on incest cases, Pierre Janet’s theory of traumatic memory (as against narrative memory), and Herman’s study on the recovery of the abused victim, this paper examines the image of the incestuous father, the survival strategies of the daughter, the disclosure of amnesia, and the victim’s progress toward recovery through retelling her story of sexual violence. Even if in a state of mourning, the incest survivor, showing no sign of rage, “survives twice: survives the violation; and survives the death that follows it, reborn as a new person, the one who tells the story” (Culbertson 191).