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30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 originally scattered people to gradually form settlements and towns. As a result, the population became more concentrated. The spiritual homeland of "nature" was gradually lost, forming a nostalgia that is difficult to trace back. Even so, "nature" is still an important source of material for literary creation. "Xiaoya Picking Wei" says: "In the past, when I left, the willows clung to them; now I come to think about it, and the rain and snow are falling." Wang Euzhi commented in "Jiangzhai Poetry Talk": "Use happy scenes to write sorrow, use sad scenes to write joy, and double the sorrow and joy." The expression method of Bixing is either a metaphor or a symbol. 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 think about it. I am sad at the fallen leaves in the strong autumn, and happy at the soft spring. My heart is filled with frost, and my ambition is wandering towards the clouds. I chant the virtues of the world, and the fragrance of the ancestors. I travel to Lin Mansion in the article, "Jia Lizao's gentleness and graceful writing inspired the literati of the Wei and Jin Dynasties to attach themselves to the mountains and wilderness, to admire nature, wander among them, and use the scenery to express their feelings. In the old days, they were both called "tao" and "xie". After all, the pursuit of the spiritual homeland and the praise of the mountains and countryside are just an important page in traditional Chinese literature, allowing poets and writers 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 excessive use of land. The natural ecological environment is the first to bear 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 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 creatures, leading to the change of the entire ecology, or even destruction. The rise of the modern concept of restoring natural ecology is a reflection and remedy for the excessive development of civilization. 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." Abandoning the human-centered thinking mode and re-examining the relationship between humans and nature from an objective perspective 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 the past 30 years. Writers have gradually established 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.

一、教學目錄：
1.提高修課者對古典文學較廣泛之欣賞能力。
2.側重人文薰育，藉作品尚友古人，期收以義役利之效。
3.加強文字傳達情思之能力。
二、授課內容：
1.範文的賞析
(1.)作者：簡要介紹作者生平，文學成就、作品風格等。
(2.)題解：闡釋題意，說明文章性質及大旨、旁及創作動機、寫作背景。
(3.)課文：從語言層面入手，並兼顧文章藝術性、思想性。
(4.)注釋：以貫通文意，有助閱讀為原則。
(5.)研析：從語言、經驗、思想三個層面加以探析。
2.應用文的學習
(1.)新式書信：中式、西式信封的寫法、親友函件的結構。
(2.)公文：分述的種類、格式、結構與作法、公文的處理程序等，著重「簽」和「函」稿的寫作。
三、期望學生通過程課學習之後，能習得文學基本鑑賞能力和閱讀力；另外，對公文有基本認識及對「簽」、「函」稿有初略的寫作能力。

1. Teaching catalog:
1. Improve students’ ability to appreciate classical literature more broadly.
2. Focus on humanistic education, use the works to make friends with the ancients, and hope to reap the benefits of volunteer service.
3. Strengthen the ability of words to convey emotions.
2. Teaching content:
1. Appreciation of model essays
(1.) Author: Briefly introduce the author’s life, literary achievements, work style, etc.
(2.) Question explanation: Explain the meaning of the question, explain the nature and main purpose of the article, the motivation for creation, and the writing background.
(3.) Text: start from the language level, and take into account the artistic and ideological aspects of the article.
(4.) Notes: The principle is to make the meaning of the text clear and to facilitate reading.
(5.) Research and analysis: Analyze from three levels: language, experience, and thought.
2. Learning of applied writing
(1.) New-style letters: Chinese and Western-style envelope writing, and the structure of letters to relatives and friends.
(2.) Official documents: Describe the types, formats, structures and methods, the procedures for processing official documents, etc., focusing on the writing of "signature" and "letter" drafts.
3. It is expected that after studying in the course, students can acquire basic literary appreciation and reading skills; in addition, they will have a basic understanding of official documents and have rudimentary writing skills in "signature" and "letter" manuscripts.

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，〈寄蝶〉，《迷蝶誌》(新店：夏日，2010)。
吳晟，《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, "Sending Butterflies", "The Lost Butterflies" (Xindian: Summer, 2010).
Wu Sheng, "Wetland." 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 People Who Seek the Sea (New Edition)" (Taichung: Morning Star, 2013).
Liu Kexiang, "Song of Little Green Mountain" (Taipei: Times Culture, 1995).