遠古人類的生活領域總是離不開山巔水湄，文明的進展促使原始散居的人們逐漸形成聚落、城鎮，人口越 加集中的結果，「自然」這一心靈原鄉反而日漸失落，形成一條難以回溯的鄉愁。雖然如此，「自然」仍 是文學創作取材的重要來源，《小雅‧采薇》云：「昔我往矣，楊柳依依；今我來思，雨雪霏霏。」王夫 之《薑齋詩話》評論道：「以樂景寫哀，以哀景寫樂，一倍增其哀樂。」比興的表現方法，或譬喻，或象 徵，景物實為人情所生，為人所用。陸機〈文賦〉嘗言：「遵四時以歎逝，瞻萬物而思紛。悲落葉於勁 秋，喜柔條於芳春，心懍懍以懷霜，志眇眇而臨雲。詠世德之駿烈，誦先人之清芬。遊文章之林府，嘉麗 藻之彬彬。慨投篇而援筆，聊宣之乎斯文。」世俗的羈絆促使魏晉文人名士寄情山野，崇尚自然，徜徉其 間，超然物外，藉景以抒懷，故世有以陶、謝並稱為美。對此心靈原鄉的追尋、山林田園的歌頌終究只是 傳統中國文學中重要的一頁，好讓騷人墨客抒發胸臆，一吐為快罷了！
隨著文明的進展，工業、科技的極致追求常常伴隨著土地的超限利用，自然生態環境首當其衝，影響在所 難免。人類與環境相抗衡，消耗自然資源、擴張生活領域的結果，換來的卻是難以挽回的破壞。現代人感 慨失去心靈原鄉的同時，生態意識逐漸受到啟蒙，環境保護、環境權等觀念亦隨之崛起，成為現今自然生 態書寫所側重的面向。自然生態是指特定環境中生物彼此交互作用的體系，人類僅僅只是此一體系的部 分，但是絕對不是整個體系的核心。過度以人類自我為中心的思考模式及其衍生的作為，終將排擠其他生 物的生存空間，導致整個生態的改變，甚而覆滅，現代復育自然生態觀念的興起，即是對於文明過度發展 後的省思與補救。此刻，人與自然之間相互依存的態勢，至為明顯。現代文學創作者已然意識到無法將人 類置身於自然環境之外，需要以更積極的作為，藉由文學傳達生態保育的觀念，喚醒公眾對於自然環境的 良知。吳明益曾言：「『自然』不再只扮演文學中襯托、背景的位置，而成為被書寫的主位。」放棄以人 類為核心的思考模式，以客觀的角度重新檢視人類與自然的關係，正是現代自然書寫的積極意義。 本學期選文涵蓋了近年來，台灣生態環境的所面臨的衝擊與因應的方法，作家們在嘗試與摸索中逐漸 確立目標，然而，未來仍是漫漫長路。透過文學的閱讀，讀者得以認識所處的環境與面臨的課題，進而匯 集共識，思考環境議題的未來走向。The living areas of ancient humans were always inseparable from the mountains and rivers. The progress of civilization prompted the primitive scattered people to gradually form settlements and towns. As a result, the population became more and more concentrated. On the contrary, "nature", the spiritual homeland, was gradually lost, forming a difficult road. Retrospective nostalgia. Despite this, "nature" is still an important source of material for literary creation. "Xiaoya·Caiwei" says: "In the past, I left, and the willows clung to me; now I come to think about it, and the rain and snow are falling." Commentary on Wang Fuzhi's "Jiangzhai Poetry Talk" Said: "Use happy scenes to describe sadness, use sad scenes to write joy, and double the sadness and joy." The expression method of comparing happiness may be metaphor or image. Zheng, the scenery is actually born of human feelings and used by people. Lu Ji's "Wen Fu" said: "I sigh at the passing of the four seasons, look at all things and have many thoughts. I am sad for the fallen leaves in the strong autumn, I am happy for the soft branches in the spring, my heart is dazed with frost, my ambition is wandering in the clouds. I chant the virtues of the world. He is a hero, and he recites the fragrance of his ancestors. He travels to Lin Mansion, Jiali. Zao Zhibin is generous in writing, and the conversation is elegant. "The fetters of the secular world prompted the literati and celebrities in the Wei and Jin Dynasties to attach themselves to the mountains and wilderness, to wander among them, to detach themselves from things, and to use the scenery to express their feelings. In the old days, they were both called Tao and Xie. beautiful. The pursuit of this spiritual homeland and the praise of mountains and countryside are, after all, just an important page in traditional Chinese literature, allowing poets and poets to express their feelings and express them quickly!
With the advancement of civilization, the ultimate pursuit of industry and science and technology is often accompanied by the over-use of land. The natural ecological environment bears the brunt, and the impact is inevitable. Human beings compete with the environment, consume natural resources, and expand their living areas. What they get in return is irreparable damage. While modern people lament the loss of their spiritual homeland, ecological awareness is gradually enlightened, and concepts such as environmental protection and environmental rights have also emerged, becoming the focus of today's natural and ecological writing. Natural ecology refers to a system in which organisms interact with each other in a specific environment. Human beings are only part of this system, but they are definitely not the core of the entire system. The overly self-centered thinking mode of human beings and its derived behaviors will eventually crowd out the living space of other organisms, leading to changes in the entire ecology, or even destruction. The rise of the modern concept of restoring natural ecology is a response to the over-development of civilization. Reflection and Remedy. At this moment, the interdependence between man and nature is most obvious. Modern literary creators have realized that humans cannot be isolated from the natural environment and need to take more active actions to convey the concept of ecological conservation through literature and awaken the public's conscience about the natural environment. Wu Mingyi once said: "'Nature' no longer only plays the role of foil and background in literature, but has become the subject of writing." Abandon the human-centered thinking mode and re-examine the relationship between humans and nature from an objective perspective. It is the positive meaning of modern nature writing. This semester's selection of articles covers the impacts and response methods faced by Taiwan's ecological environment in recent years. Writers are gradually establishing goals through trial and exploration. However, the future is still a long way to go. Through reading literature, readers can understand their environment and the issues they face, and then gather consensus and think about the future direction of environmental issues.
本校大一中文課程名稱為「文學欣賞與實用」（一般班）與「文學閱讀與寫作」（加強寫作班），奠基於培養文學素養的基礎上，因應各學院學科屬性之不同，以及面對職場的多元需求，將課程內容規畫為四大方向：
A. 經典閱讀：針對各學院系學科屬性，擇選相應之文本進行閱讀與討論。
B. 溝通表達：藉由各式課程活動，提昇學生的書面寫作與口語表達之能力。
C. 場域連結：透過文本的閱讀與書寫，引導學生思索「自我」與社會的橫向連結。
D. 文本實踐：將文本閱讀與日常生活進行連結，付諸書寫與創作。
未來四大模組可依學院系性質、任課教師專長、以及學生興趣與需求，配搭出不同模組之組合，供學生多元學習。
The freshman Chinese courses at our school are titled "Literary Appreciation and Practicality" (General Class) and "Literary Reading and Writing" (Enhanced Writing Class). They are based on cultivating literary literacy and are adapted to the different subject attributes of each college and the challenges they face. In order to meet the diverse needs of the workplace, the course content is planned into four major directions:
A. Classic reading: Select corresponding texts for reading and discussion based on the subject attributes of each college and department.
B. Communication and Expression: Improve students’ written writing and oral expression abilities through various course activities.
C. Field connection: Through the reading and writing of texts, students are guided to think about the horizontal connection between "self" and society.
D. Text practice: connect text reading with daily life and put it into writing and creation.
In the future, the four major modules can be combined with different modules according to the nature of the college and department, the expertise of the teachers, and the interests and needs of the students to provide students with diversified learning.
小野，《蛹之生(三十週年紀念版)》(台北：遠流，2005)。
方梓，《采采卷耳》(台北：聯合文學，2008)。
吳明益，《迷蝶誌》(新店：夏日，2010)。
吳晟、吳明益，《溼地．石化．島嶼想像》(台北：有鹿文化，2011)。
凌拂，《山童歲月》(台北：親子天下，2006)。
夏曼‧藍波安，《冷海情深》(台北：聯合文學，1997)。
楊牧，《葉珊散文集》(台北：洪範，1994)。
廖鴻基，《討海人新版》(台中：晨星，2013)。
劉克襄，《小綠山之歌》(台北：時報文化，1995)。
Ono, "Birth of the Chrysalis (30th Anniversary Edition)" (Taipei: Yuanliu, 2005).
Fang Zi, "Cai Cai Juan Er" (Taipei: United Literature, 2008).
Wu Mingyi, "The Lost Butterfly" (Xindian: Summer, 2010).
Wu Sheng and Wu Mingyi, "Wetlands." Petrochemical. Island Imagination" (Taipei: Youlu Culture, 2011).
Ling Fu, "Mountain Child Years" (Taipei: Parent-Child World, 2006).
Charman Ramboan, "The Cold Sea Love" (Taipei: United Literature, 1997).
Yang Mu, "Collected Prose of Ye Shan" (Taipei: Hong Fan, 1994).
Liao Hongji, "The New Edition of the People Who Seek the Sea" (Taichung: Morning Star, 2013).
Liu Kexiang, "Song of Little Green Mountain" (Taipei: Times Culture, 1995).
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 期中成績期中成績 Midterm results |
25 | 期中考 |
| 期末成績期末成績 final grade |
25 | 期末考 |
| 出席成績出席成績 Attendance results |
25 | 上課點名、學習態度 |
| 平時成績平時成績 usual results |
25 | 隨堂測驗、網路作業 |
