本課程「敘事思辨與溝通表達」的對象為大一新生，藉由文學作品的主題式閱讀，引導學生思考不同層面的議題。課程首先以文本閱讀與分析的方式進行，進而思辨文本及文本之外衍生而出的相關問題，試圖將文本與個人經驗連結、與社會狀態互動。課程以小說為主，並加入紀錄片、散文，以及AI生成的實作，以增加課程的廣度和深度。透過不同作品的閱讀，希望能讓初進大學的新生們，了解到文學的多元性，也讓學生主動建立起自己的文學觀。

This course "Narrative Thinking and Communication Expression" is aimed at freshmen. Through thematic reading of literary works, students are guided to think about issues at different levels. The course first proceeds through text reading and analysis, and then discusses the text and related issues derived from the text, trying to connect the text with personal experience and interact with social conditions. The course focuses on novels, with documentaries, essays, and AI-generated practices added to increase the breadth and depth of the course. Through the reading of different works, I hope that freshmen entering college can understand the diversity of literature, and also allow students to actively establish their own literary views.

　　本校大一中文課程名稱自114學年度起調整為「中文：敘事思辨與溝通表達」，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模組：
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 name of the freshman Chinese course at our school has been adjusted to "Chinese: Narrative Thinking and Communication Expression" starting from the 2014 academic year. Based on the cultivation of literary literacy, the course content is planned into four modules in response to the different subject attributes of each college and the diverse needs of the workplace:
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.

吳曉樂：《你的孩子不是你的孩子》（台北：大塊文化，2014）。
陳春成：《夜晚的潛水艇》（台北：麥田，2021）。
王文興：《十五篇小說》（台北：洪範，1979）。
鍾旻瑞：《觀看流星的正確方式》（台北：九歌，2019）。
袁瓊瓊：《自己的天空》（台北：洪範，1981）。
李昂：《殺夫》（台北：聯經，1983）。
趙南柱：《82年生的金智英》（台北：漫遊者文化，2013）。
林新惠：《瑕疵人型》（台北：時報，2020）。
郝景芳：《孤獨深處》（台北：遠流，2016）。
劉宇昆：《摺紙動物園》（台北：新經典文化，2018）。
吳明益：《複眼人》(台北：新經典文化，2016)。
吳明益：《家裡水邊那麼近》（台北：二魚，2007）。
胡慕情：〈幻獸之死──垃圾漩渦與人類世的滅絕〉，https://www.mirrormedia.mg/projects/2022-sea-turtle/index.html，（2022）。
王久良：《塑料王國》（2016）。

Wu Xiaole: "Your Children Are Not Your Children" (Taipei: Big Block Culture, 2014).
Chen Chuncheng: "Submarine at Night" (Taipei: Maitian, 2021).
Wang Wenxing: "Fifteen Novels" (Taipei: Hong Fan, 1979).
Chung Min-rui: "The Correct Way to Watch Meteors" (Taipei: Jiuge, 2019).
Yuan Qiongqiong: "My Own Sky" (Taipei: Hong Fan, 1981).
Li Ang: "Killing the Husband" (Taipei: Lianjing, 1983).
Zhao Nanzhu: "Jin Zhiying Born in 1982" (Taipei: Wanderer Culture, 2013).
Lin Xinhui: "Flawed Human Form" (Taipei: The Times, 2020).
Hao Jingfang: "Depths of Loneliness" (Taipei: Yuanliu, 2016).
Liu Yukun: "Origami Zoo" (Taipei: New Classic Culture, 2018).
Wu Mingyi: "The Man with Compound Eyes" (Taipei: New Classic Culture, 2016).
Wu Mingyi: "My home is so close to the water" (Taipei: Eryu, 2007).
Hu Muqing: "The Death of the Fantasy Beast - Garbage Vortex and the Extinction of the Anthropocene", https://www.mirrormedia.mg/projects/2022-sea-turtle/index.html, (2022).
Wang Jiuliang: "Plastic Kingdom" (2016).