本課程以三項能力的實際運用為核心——「敘事策略意識」、「對象意識」以及「文本轉譯及分析能力」，強調在不同情境中，進行有效精確的表達。透過文學作品細讀、傳統戲曲分析，再進一步結合電影與當代劇場等不同形式之對照，引導學生理解故事內容（content）如何在不同媒介中被轉譯、重構與再生產。課程關注的不僅是「說什麼」，更是「如何說」以及「對誰說」，引導學生理解故事內容與目標對象（如觀眾、讀者等）之間的關係，並培養其在不同的平台或是多元媒介之中，轉換的敏銳度。
　　在案例選擇上，將透過小說、電影與舞台作品的對照，觀察同一題材在不同形式中的處理差異，例如台灣作家王禎和《嫁妝一牛車》的多重版本（電影及阮劇團舞台劇版本）、王安祈《王友道休妻》的傳統與改編，以及京劇《荷珠》與小劇場運動史經典作品《荷珠新配》的重新詮釋。此外，亦納入當代劇場對經典文本的轉化案例，如《暴風雨》、《仲夏夜之夢》及《慾望城國》等作品，觀察 其在不同文化語境中的再詮釋方式。同時參照當代創作者之改編實踐，例如青年編劇簡莉穎之作品《遙遠的東方有一群鬼》，作為跨文本與跨媒介創作的案例。分析其敘事選擇如何形成特定觀點，並回應不同時代與觀眾的需求。
　　課堂將結合視覺與表演元素，透過影像片段、舞台呈現與案例分析，使學生理解畫面、節奏與聲音如何參與內容。並強調文學作為敘事基礎，指出文字不僅承載情節與意義，本身亦能生成畫面與節奏，進而轉化為視覺表現。課程練習中將導入數位工具，以AI輔助主題發想、版本延伸與表達測試。例如以既有文本為基礎進行改寫，練習撰寫故事大綱與宣傳文案，進一步掌握表達策略的調整。
　　本課程希望學生不僅能分析文本，更能主動運用敘事作為溝通與思考的工具。使其在未來不論從 事何種領域，無論是日常溝通、藝術創作、社群媒體經營或內容企劃，皆能掌握表達的精準度與適切性，並理解敘事與視覺之間的互動關係。與此同時，培養學生對文本所承載之價值觀的辨識能力，例如性別角色、身分認同與權力關係等議題，進一步形成對文化現象與人文議題的基本關懷。

This course is centered on the practical application of three abilities - "narrative strategy awareness", "object awareness" and "text translation and analysis skills", emphasizing effective and accurate expression in different situations. Through close reading of literary works, analysis of traditional operas, and further comparison of different forms such as film and contemporary theater, students are guided to understand how story content (content) is translated, reconstructed and reproduced in different media. The course focuses not only on "what to say" but also "how to say it" and "to whom" it is said, guiding students to understand the relationship between the content of the story and the target audience (such as the audience, readers, etc.), and cultivating their sensitivity in switching across different platforms or multiple media.
In terms of case selection, we will compare novels, movies and stage works to observe the differences in the treatment of the same subject in different forms, such as Taiwanese writer Wang Zhen and multiple versions of "Dowry and an Ox Cart" (film and Ruan Opera Troupe stage play version), the tradition and adaptation of Wang Anqi's "Wang Youdao Divorced His Wife", and the reinterpretation of the Peking Opera "Lotus Pearl" and the classic work "Lotus Pearl New Match" in the history of the small theater movement. In addition, it also includes cases of contemporary theater's transformation of classic texts, such as "The Tempest", "A Midsummer Night's Dream" and "City of Desire" to observe how they are reinterpreted in different cultural contexts. At the same time, we refer to the adaptation practices of contemporary creators, such as the work "There Are a Group of Ghosts in the Far East" by young screenwriter Jian Liying, as a case of cross-text and cross-media creation. Analyze how its narrative choices shape specific points of view and respond to the needs of different eras and audiences.
The class will combine visual and performance elements, through video clips, stage presentations and case studies, to enable students to understand how images, rhythm and sound participate in the content. He also emphasized literature as the basis of narrative, pointing out that words not only carry plots and meanings, but can also generate images and rhythms, which can then be transformed into visual expressions. Digital tools will be introduced in the course exercises to use AI to assist in topic development, version extension and expression testing. For example, rewrite based on existing texts, practice writing story outlines and promotional copy, and further master the adjustment of expression strategies.
This course hopes that students can not only analyze texts, but also actively use narrative as a tool for communication and thinking. No matter what field they are engaged in in the future, whether it is daily communication, artistic creation, social media management or content planning, they can master the accuracy and appropriateness of expression, and understand the interactive relationship between narrative and visuals. At the same time, it cultivates students' ability to identify the values ​​carried by texts, such as issues such as gender roles, identity, and power relations, and further develops a basic concern for cultural phenomena and humanistic issues.

　　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: Through various course activities, students’ written writing and oral expression abilities are improved.
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.

張愛玲《金鎖記》
王安祈《絳唇珠袖兩寂寞──京劇．女書》
黃春明《 兒子的大玩偶 》
王禎和《嫁妝一牛車》
京劇《荷珠》、《王友道休妻》
簡莉穎《服妖之鑑: 簡莉穎劇本集 2》（含《遙遠的東方有一群鬼》）

Zhang Ailing's "The Story of the Golden Lock"
Wang Anqi's "Red Lips and Beaded Sleeves Are Lonely──Peking Opera". Nv Shu》
Huang Chunming's "Son's Big Doll"
Wang Zhenhe's "Dowry and an Ox Cart"
Peking Opera "Lotus Pearl", "Wang Youdao Divorces His Wife"
Jian Liying's "Learning from the Demon: Jian Liying's Script Collection 2" (including "There Are a Group of Ghosts in the Far East")