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 areas of life in ancient people were always unable to leave the mountains and rivers. The progress of civilization prompted the primitive scattered people to gradually form settlements and towns, and the population was increasingly concentrated. "Nature" this spiritual country has become increasingly lost, forming a difficult country to trace back. Even so, "nature" is still an important source of literary creation. "Xiao Ya Cai Wei" says: "I went there in the past, and the willows were swaying; now I think about it, and the rain and snow are drizzling." Wang Fuzhi's "Yingling Poems" commented: "Write sorrow with the scenery, and write sorrow with the scenery, double the sorrow." The expression method of comparing happiness, either metaphor or symbol, is actually born of human feelings and is used by people. The "Wen Qi" said: "Four times to pass by, look at all things and think about the tranquility. The sadness of the fallen leaves in autumn, the tenderness of the soft spring, the heart is filled with frost, the ambition is filled with clouds. The virtuous virtue of the world is praised by the clean and fragrant beauty of the ancestors. The forest house of the article is celebrated, the politeness of the algae is praised. The politeness of the poem is praised by the politeness of the poem, and the politeness of the algae is expressed in this way." The secular lyrics prompted the literati and famous scholars of Wei and Han to express their feelings for the mountains and fields, admire nature, wandering around, transcending things, and expressing their thoughts through scenery. Therefore, the worldly citations and thanks are called beauty. The pursuit of this spiritual land and the songs of mountains, forests and fields are ultimately just an important page in traditional Chinese literature, which makes the enthusiastic poets express their feelings and speak out quickly!
With the progress of civilization, the ultimate pursuit of industry and technology is often accompanied by the excessive use of land, and the natural ecological environment is at its best, which is difficult to avoid. The result of humans competing with the environment, consuming natural resources and expanding the life area is difficult to recover. Modern people feel that while losing the spiritual land, ecological consciousness is gradually being awakened, and concepts such as environmental protection and environmental rights have also risen, becoming the focus of today's natural aquatic writing. Natural ecology refers to the 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 model and its derived actions will eventually dispel the living space of other organisms, leading to changes in the entire ecology, and even overturning. The rise of modern rejuvenation of natural ecology is the reflection and rescue of the excessive development of civilization. At this moment, the interdependence between man and nature is obvious. Modern literary creators have realized that they cannot put humans outside the natural environment and need to use more intense behaviors to generate the concept of conservation through literature, so as to awaken the public's conscience about the natural environment. Wu Mingyi once said: "Nature no longer only plays the role of the position of support and background in literature, but becomes the main position of being written in books." Giving up the thinking mode with humanity as the core and re-examine the relationship between humanity and nature from an objective perspective is the most important meaning of modern natural writing. This period's selection covers the impact and response methods faced by Taiwan's ecological environment in recent years. Writers have gradually set goals through trial and exploration. However, the future is still a long way. Through literature reading, readers can understand the environment and the topics they face, and then combine them and think about the future direction of the environment topics.
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 first-year Chinese course in this school is called "Literature Appreciation and Practice" (General Class) and "Literature Reading and Writing" (Strengthen Writing Class). It is based on the foundation of cultivating literary literacy. Due to the different subject attributes of each college and the diverse needs of the job site, the course content specifications are planned in four major directions:
A. Classical reading: Select corresponding texts for reading and discussion on the subject attributes of each department.
B. Communication expression: Through various course activities, students can improve their ability to write and oral expression in writing.
C. Field link: Through text reading and writing, students are guided to think about the directional link between "self" and society.
D. Text implementation: Link text reading with daily life, write and create.
In the future, the four major models can be combined with different models based on the nature of the department, as well as the teacher's director, as well as the interests and needs of students to learn in a diverse manner.
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 Pupal (Thirty Years Commemorative Edition)" (Taipei: Far, 2005).
Fang Zi, "Cai Cai Juan Er" (Taipei: Joint Literature, 2008).
Wu Mingyi, "The Butterfly Magazine" (Xindian: Summer, 2010).
Wu Sheng, Wu Mingyi, "Qi Di. Petrochemical. Imagination of Islands (Taipei: Youlu Culture, 2011).
Ling Fu, "The Moon of the Mountain Child" (Taipei: The World of Family, 2006).
Shaman, Blue Bo'an, "The Deep Love of the Cold Sea" (Taipei: United Literature, 1997).
Yang Mu, "Ye Shan's Essay Collection" (Taipei: Hong Feng, 1994).
Liao Yuji, "New Edition of the Seaman" (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 achievements |
25 | 期中考 |
| 期末成績期末成績 Final results |
25 | 期末考 |
| 出席成績出席成績 Attendance |
25 | 上課點名、學習態度 |
| 平時成績平時成績 Regular achievements |
25 | 隨堂測驗、網路作業 |
