國立臺南大學教師基本資料

基本資料
姓名 簡月娟
系所 國語文學系
職稱 副教授
校內分機 #921
傳真 06-2137382
辦公室/研究室 文薈樓J623
E-mail crjpf@mail.nutn.edu.tw
網址 http://blog.xuite.net/crjpf/blog & http://www.wretch.cc/blog/crjpf
專長/研究領域 書法美學、文藝美學、華語文教學、(對外)漢字教學
 

畢業學校國別主修學門學位修業期間
國立政治大學R.O.C.中文系博士2000/08~2004/06
國立中興大學R.O.C.中文系碩士/學士7年

服務機關部門 / 系所職稱服務期間
國立空中大學台中中心共同科兼任講師、兼任助理教授1999/08~2007/07
國立台灣警察專科學校 國文科 兼任講師2001/08~2003/07
中興大學 中文系 大一國文代理講師2002/08~2003/09
國立台中教育大學語教系兼任助理教授2006/08~2007/07
國立臺南大學語文中心華語文組長2007/08~2009/07
國立臺南大學國語文學系專任助理教授2007/08~2012/07
科技部人文學研究中心暑期訪問學者2011/07~2011/08
中央研究院 國內學人短期來院訪問研究者2012/07~2012/09
國立臺南大學國語文學系專任副教授2012/08~迄今
國立台中高農國文科兼任教師2年
南投縣平和國小/台中縣瑞城國小 教師5年
台中市四育國中國文科教師8年
東方工商代課教師國文科教師數週

著作
名稱書法「形式」與「內容」再詮釋──以「經典」形成史觀為主軸
年度2012
類別期刊論文
摘要帖派作品成為經典系統有其獨特的闡釋體系,文化時空與書法經典範式彼此影響,形成一個為互文指涉的網絡。具有高度美學規律的書法透過權力機制流傳經典網絡,而以二王父子文人系統的帖派書法為核心。 經典書法的本質具有層次多元的特性,西方美學系統化論述提供再詮釋契機。書法可分為三重「形式」層次:第一重書法形式為書寫用具,第二重為具有傳承網絡的用筆、結構與章法,而經典作品重視筆法嚴謹、典雅優美。至於第三重為抽象層次的神采與書家情性,並與內容相互重疊,成為是經典作品的關鍵層次。至於經典作品的內容奠基於漢字,多為文學作品,其意境強調中庸與平和。 直至清代碑派書法推崇北碑庶民書法,書家對於書法本體形式的掌握能力取代書家與文化素養的絕對關係。隨此審美理想轉換,帖派書法不再是唯一經典系統,書法「形式」與「內容」的本質或另為碑派,或碑帖融合,其定義也隨之改變。
關鍵字經典、帖派書法、形式、內容、範式
名稱「字本位」理論與對外華語文教學
年度2012
類別期刊論文
摘要
關鍵字
名稱「經典」的建構與轉型—書法史觀再脈絡化
年度2012
類別期刊論文
摘要
關鍵字
名稱以書法為志業的學者書家陳欽忠教授
年度2014
類別期刊論文
摘要陳欽忠先生為國立中興大學中文系專任教授,最鮮明卓越的專長領域在於文字與書法,且兼擅理論、創作與教學,素為學界與書壇敬重。陳教授是國內第一位選擇「書法」作為博士論文題目之學者,自大學時期即立志研究書法,當時王建安先生以開放室私塾制的方式現身說法,對陳教授奠定書法為志業產生極大影響,也因此養成每天練字的習慣。陳教授認為書法是生活的一部份,而不是特地操練的功課。對於書法,陳教授強調白紙黑字的根本元素,因為「脫離了黑白對映線條律動文字可識的基本要素,便很難在社會上立足,因為此一書法素質早已融入民族審美觀念中,成為有機的組成,不可能強加扭曲割捨。」故當代書法的人文關懷雖各具見解,然必須以可辨識的文字為前提,而浩瀚廣博的尺牘、題跋等等,都是書學精神所在。 陳教授的書學觀點強調人品的重要,〈筆與書家〉一文中提到:「(清代)書法思想,重視圓潤含蓄,不可露才揚己,羊毫的柔腴,正可滿足此一需要。因此,羊毫綩合了碑帖兩派的分歧,成為清代書家最普遍使用的書寫工具,絕非偶然。」文中論述清代羊毫普及、羊毫特點與碑帖的關係,恰以表述陳老師推崇書法必須「圓潤含蓄」,並自我要求「不可露才揚己」的理念。不論是學術研究或是書法創作,陳教授皆強調因應環境與社會需求而撰述的重要。
關鍵字書法 ; 書學 ; 陳欽忠
名稱九年一貫書法課程之學科取向探究
年度2014
類別期刊論文
摘要自晚清光緒末年實施新式教育以後,「習字」課程曾經分別歸屬於語文與美術領域。自推行 九年一貫課程後,「書法」課程在國內中小學的授課時數急遽減少,其學科定位亦在語文與美術 之間搖擺,導致相同學科內容卻有「寫字」與「書法」兩種稱謂;另一方面,書法歸屬相關研究 不足以提供建構書法的學科意識。因此,本文嘗試探討書法課程在九年一貫課程裡的學科取向。 文中從歷史與學理的觀點、九年一貫課程綱要與能力指標的觀點,以及教學現場的觀點三方面出 發,以文獻分析、學科內容分析與觀察教學現場現況為主要研究方法,以剖析書法的學科定位與 教育功能。本文建議國小階段的相關課程應結合寫字與識字,在國語文學習領域實施;中學階段 則應關注書法的藝術性,強調美育教學與文化薰陶,故宜在藝術與人文學習領域實施。希冀本文 結論適以提供教育部重新釐清書法學科取向、修訂九年一貫課程目標與內容,並有助於師資培育 單位規畫與建置書法專業師資之培育課程。
關鍵字九年一貫、書法課程、學科取向
名稱Instructional Assisted E-magazine System for Elementary School: Design and Development
年度2011
類別研討會
摘要According to the latest education trend, the learning necessitues for elementary school students have become diversified. Teachers have to encourage students to develop their multiple abilities. By tutoring students in topic-oriented publication, teachers can assist students to develop their multi-disciplinary skills. However, there is no well functioned computer program could support the teachers to publish and present their students’ topic publication. For the purpose, this study intended to develop a free E-magazine platform system to fulfill the need of teachers for the cross-field teaching. After the E-magazine platform system established, ten elementary school teachers and 15 fifth-grade students were invited to participate in the system test. They evaluated the system by answering the questionnaires and interview questions. From their feedbacks, the researcher found out that this system is easy for the users to navigate and publish their own e-magazines. In addition, the teachers are willing to integrate this system into their instruction. And, the researcher observed that the students have to prepare the abilities, such as computer operation, art design, information exploration, and so on… cross-field abilities to complete an e-magazine. The results showed that the e-magazine system in this research has the possibility to support teachers’ instruction and develop the students’ cross-field abilities.
關鍵字E-magazine, Platform system, Flipping magazine, Cross-field teaching
名稱Whose “Classics,” Whose “Calligraphy?”Interpreting the Artistic Tendencies of Contemporary Calligraphy from the Perspective of Eastern Thought
年度2012
類別研討會
摘要Calligraphy is a unique cultural treasure of the Orient; however its status as an art was gradually established over the past century only. Since the time written language was invented, the field of calligraphy and handwriting were inseparable. Until the end of the Qing Dynasty the writing styles of the literati were the main stream to be followed in the world of calligraphy, and because of the rigid requirements of the imperial civil-service examination, even sample books of Chinese character writing were compiled that examinees could follow and rely upon. The five traditional styles of calligraphy, namely the Seal Script (Zhuan shu, 篆書), Clerical Script (Li shu, 隸書), Cursive script, or Grass Script (Cao shu, 草書), Semi-cursive, or Running scrip (Xing shu, 行書), and Regular Script (Kai shu, 楷書) styles all have their long lasting tradition, model works, their method of brushstrokes and special techniques of composition that influenced later generations until the present day. However, there were always those who went counter the tradition with their peculiar style and became the center of attention; they most likely had no alternative than to do it, thus they less deliberately became engaged in the development of “calligraphy’s artistic style.” At the end of the Qing Dynasty a new tendency aroused, the Eastern trend of Western learning. Calligraphy had lost its pragmatic value of everyday usage, and crossed the border of its own realm at the same time. Gradually it blunt together with other forms of visual art and developed its new characteristic, gradually unfolded its new life. Renowned calligrapher and university professor Shi Zichen’s (史紫忱) study of chromatics started to attract attention from the world of academics; the forms of calligraphy broke out from the limited realm of black and white, and overturned the brush, ink, paper and ink stone quartet’s traditional regime of working tools. Following the impact of cross-cultural inter-textuality, the art compositions of every sort didn’t abide by one single authority anymore; the form of Chinese writing threw off the burdens of the forerunner calligraphers’ classical paradigm, and the expression of individual style became more and more important. In the field of content, serious changes also took place. Along with the tendency of written characters heading toward the display of lines, and the classical poetry and lyrics moving toward contemporary vocabulary, the Chinese characters and different writing styles also had an inclination of gradual fading. At the same time, the artistic expression of lines became more and more enhanced. In the diverse development of modern calligraphy art, viewers from all around the world constantly try to reconstruct the classical meaning of calligraphy, and decipher the synchronism and intrinsic spiritual meaning within by using their own aesthetic experience.
關鍵字Calligraphy Art; Oriental Culture; Reconstruction of classics; Representing calligraphy in the form of art.
名稱〈書法區域文化景觀芻議──以台南白河為例〉,2012文化與區域研究學術研討會:臺南人文與環境
年度2012
類別研討會
摘要
關鍵字
名稱書法對兒童人性教育及老人健康長壽之影響
年度2015
類別研討會
摘要書法在古典時期是全人教育的素養之一,隨著時空變遷,地球村與資訊網絡時代來臨,學童面資訊瀑炸與媒體充斥的學習現場,導致速食文化與多元價值並呈。如何誘導孩童培養善良人性,從小奠定學童品德,以「百年樹人」 的態度重整當代的精神文明,乃是臺灣當局關注的議題。另一方面隨著人口壽命的延長,老人面臨身、心靈安頓的問題,而書法藝術或可舒緩或是解決部分問題。
關鍵字書法、兒童人性教育、老人健康