DSpace community: 英美語文研究所

"Un/Redressing" the Injustices: Transpacific Cold War Knowledge Formations of "Comfort Women" and Feminist Politics in Taiwan

Fri, 06 Mar 2026 10:37:26 GMT

title: "Un/Redressing" the Injustices: Transpacific Cold War Knowledge Formations of "Comfort Women" and Feminist Politics in Taiwan abstract: 「慰安婦」議題自1990年代起獲得前所未有的關注，由女性主義專家、非政府組織以及各國政府所發起的全球平反／求償運動開始生產關於慰安婦歷史的知識，同時向日本政府施壓要求其道歉及賠償。順著這股全球慰安婦平反／求償運動的浪潮，臺灣也逐漸重視此一議題，並自1992年起委託婦女救援基金會（婦援會）展開調查。我分析由婦援會製作並發行的兩部紀錄片────《阿媽的秘密：台籍「慰安婦」的故事》與《蘆葦之歌》，以及其附屬的阿嬤家：和平與女性人權館，並將其生產臺灣慰安婦的知識形構與賦權過程問題化為長久以來缺乏對跨太平洋冷戰權力糾纏的反思。本論文爬梳自1990年代以來臺灣反淫行（娼妓）的運動系譜，直至後來延續美國–聯合國共構的普世化人權框架，如何使慰安婦得以成為容易識讀的女性主體，並重新思考當前的慰安婦運動論述如何被去性化，且問題性地置換以性別作為單一壓迫標準的多重性暴力形式。於此，我置疑以臺籍慰安婦為對象／途徑的性別正義如何建構一種反淫行現代「性」的慾望，同時，慰安婦的受害敘事在此過程中被重新編排，而其殖民歷史則被重新置放／置換。本論文指出，關於慰安婦的知識論與制度性框架往往忽略了對性的良／淫二分化概念與治理，如何透過後冷戰地緣政治的權力部署中被動員並階序化。將慰安婦論述為國族女性典範及全球性別暴力的受害者，揭示所謂性別正義與和解如何密切交織於全球治理時期被重新動員，其連續性卻始終被遮蔽的性知識生產。;As the issue of “comfort women” has gained unprecedented attention since the 1990s, the ensuing global redress movement launched by feminist experts, NGOs, and governments started to produce knowledge about comfort women’s histories, pressing the Japanese government for apologies and reparations. Following the worldwide redress movement, Taiwan has also taken heed of this issue and commissioned Taipei Women’s Rescue Foundation (TWRF) to investigate since 1992. I read TWRF’s two documentaries A Secret Buried for Fifty Years: Taiwanese Comfort Women and Song of the Reed, and its affiliated AMA Museum in their production of knowledge about Taiwanese comfort women as problematically formed and empowered in the long-absent reflections on the transpacific Cold War entanglements of power. Tracing the genealogies of Taiwan’s anti-obscenity (prostitutes) campaigns launched since the 1990s, to a later U.S.-UN notion of universalized human rights approach in making the legibility of comfort women, this thesis reconsiders the current discourse of redress that has been desexualized and has perilously interchanged multiple forms of gender-based sexual violence. As such, I problematize how gender justice is raised for and through Taiwanese comfort women in fabricating desires for an anti-obscene sexual modernity, as comfort women’s victimized narratives have been rearranged and their colonial histories re-(dis)placed. This thesis suggests how epistemologies and institutional frameworks of comfort women tend to overlook how both the dichotomized concept and the governance over good/obscene sex is mobilized and stratified through power redeployments that are sustained by post-Cold War geopolitics. Addressing/redressing comfort women as ethnonational female exemplars and global violence against women expose how an alleged gender justice and reconciliation are intimately tethered to the obscured continuities of knowledge about sex remobilized in times of global governance.

The Interrelated History of Okinawa and Taiwan in To Formosa: Okinawa, Taiwan－My Family Story and After Spring, the Tamaki Family

Fri, 17 Oct 2025 03:54:30 GMT

title: The Interrelated History of Okinawa and Taiwan in To Formosa: Okinawa, Taiwan－My Family Story and After Spring, the Tamaki Family abstract: 此篇論文並讀兩個非虛構文本與那原惠的《到美麗島：沖繩、台灣我的家族物語》和黃胤毓編導的《海的彼端》的家族歷史再現，試圖思考沖繩和台灣的歷史連結以及如何從相似的殖民/帝國歷史過程找到互相參照的可能，更擴大討論超越歷史分期的跨太平洋地區的地緣政治。主要對話台灣日治時期研究的去殖民、國族主義問題。藉著指出日殖台灣的沖繩移民和石垣島上的台灣移民在移動過程之中的現代性經驗和其現代主體形成，歷史化分析現代性在帝國中心和殖民地之間的多方向傳播以及移民與不同國族/種族之間的互相觀看和誤視，拆解現代性和殖民、種族、、性/別、階級的關係。並且論證日本殖民和美國冷戰的延續性如何作用於東亞地區，同時在當代沖繩和台灣複製殖民/帝國的種族邏輯而產生民族國家框架下的現代性想像矛盾。;This thesis mainly juxtaposes the familial historical representation of the two nonfictional texts—To Formosa: Okinawa, Taiwan－My Family Story written by Yonahara Kei and After Spring, the Tamaki Family directed by Huang Yinyu to tentatively contemplate the historical connection between Okinawa and Taiwan and how the similar colonial/imperial historical formation makes possible the interreference of the two islands, and to further expand the discussion by considering the transpacific geopolitics across the Second World War to nowadays. I problematize the decolonial and nationalist thinking of the academic research on Japanese colonialism in Taiwan in the process of reading these two historical narratives. Through indicating the modern experiences and the modern subjectivities of the Okinawan migrants in colonial Taiwan and the Taiwanese migrants in Ishigaki island, I historically analyze the multidirectional routes of modern dissemination among the imperial metropolitan and the colonies and the mutual inspection and misconception of the migrants and other ethnicities/races to entangle the complicated relation between modernity and colonialism, race, gender, and class. I argue how the continuity of Japanese colonialism and U.S. Cold War implicated in East Asia duplicates the colonial/imperial racial logic in the present moment of Okinawa and Taiwan and engenders the contradictions of modern imagination in the framework of nation-states.

重寫與同質化:小紅帽、文化與文化產業;Rewritings and Homogeneity in Little Red Riding Hood

Fri, 17 Oct 2025 03:54:17 GMT

title: 重寫與同質化:小紅帽、文化與文化產業;Rewritings and Homogeneity in Little Red Riding Hood abstract: 中文摘要重寫與同質化:小紅帽、文化與文化產業本文以小紅帽的故事為核心，探討其從中世紀歐洲的口述傳統到當代影視與文創產業的改寫歷程，並由此揭示文化商業化與敘事同質化的運作邏輯。透過法蘭克福學派對文化產業的批判、傅柯對知識與權力機制的分析、巴特對神話符號的拆解以及鮑德里亞對擬像社會的診斷，本文指出小紅帽中的紅斗篷從未以其原始形態存在，而是在文本和視覺再現中逐漸被塑造成一種全球化的文化商品，最終淪為一個具有高辨識度卻去語境化的視覺符號。本文分為三章。第一章追溯小紅帽故事的起源，從口述版本中的女性成長儀式與家庭記憶，到佩羅的道德寓言和格林兄弟的家庭倫理教育改寫，揭示女性主體性和母系敘事如何逐漸被男性權力所剝奪和取代。第二章分析當代消費文化中商業化的小紅帽形象。紅色斗篷在時尚、動畫和廣告中成為視覺品牌，女性角色表面上被強化，卻常常淪為觀看的對象。本文透過安琪拉卡特在《染血之室與其他故事》中的改寫如《狼人》《狼女愛麗絲》《與狼為伴》，比較當代商業改編如何去主體化，而卡特則重構了女性觀看與敘事的位置，展現了抵製商品同質化的可能性。第三章聚焦於文化與文創商品的矛盾關係，指出在全球化和政策的推動下，文化不再是歷史記憶的延續，而是被量化、管理和輸出的創意資源庫。紅色斗篷成為這結構中的典型案例。筆者認為，儘管文化商品化有其不可避免的現實性，但透過批判性思考和創作實踐，藝術文化在商業體系中仍可能保留其社會批判性和敘事深度。《小紅帽》中的紅斗篷尚未走到盡頭，其意義仍可在改寫、觀看和市場之間被重新 Liu i 召喚和轉化。最終，本文不僅為童話的重新解讀提供了文化理論視角，也試圖指出文化批判與市場邏輯可能共存的辯證空間。;ABSTRACT Rewritings and Homogeneity in Little Red Riding Hood This paper takes the story of Little Red Riding Hood as the core, explores its rewriting process from the oral tradition in medieval Europe to the contemporary media industries and cultural industries, and uses this to reveal the operating logic of cultural commercialization and narrative homogenization. Through the Frankfurt School’s criticism of the cultural industry, Foucault’s analysis of the knowledge and power mechanism, Barthes’s dismantling of mythological symbols, and Baudrillard’s diagnosis of the simulacrum society, this paper points out that the red cloak in Little Red Riding Hood has never existed in its original form, but has gradually been shaped into a globalized cultural commodity in text and visual reproduction, and finally reduced to a highly recognizable but decontextualized visual symbol. This thesis is separate into three chapters. The first chapter traces the origin of the story of Little Red Riding Hood, from the female growth rituals and family memories in the oral version, through Perrault’s moral allegory and the Brothers Grimm’ family ethics education rewriting, revealing how female subjectivity and matriarchal narratives are gradually deprived and replaced by adult male. The second chapter analyzes the commercialized image of Little Red Riding Hood in contemporary consumer culture. The red cloak has become a visual brand in fashion, animation and advertising, and the female role is superficially strengthened but often reduced to an object of viewing. Through Angela Carter’s rewriting in The Bloody Chamber and Other Stories — “The Werewolf”, “Wolf-Alice” and “The Company of Wolves”, this thesis compares how contemporary commercial adaptations de- subjectify, while Carter reconstructs the position of female viewing and narrative, showing the possibility of resisting commodity homogeneity. Chapter three focuses on Liu iii the contradictory relationship between culture and cultural and creative commodities, pointing out that under the promotion of globalization and policies, culture is no longer a continuation of historical memory, but a creative resource library that is quantified, managed and exported. The red cloak becomes a typical case in this structure. This paper argues that although cultural commodification has its inevitable reality, through critical thinking and creative practice, art and culture may still retain their social criticality and narrative depth in the commercial system. The red cloak in Little Red Riding Hood has not yet reached its end, and its meaning can still be re- summoned and transformed between rewriting, viewing and the market. In the end, this paper not only provides a cultural theoretical perspective for the reinterpretation of fairy tales, but also attempts to point out the dialectical space where cultural criticism and market logic may coexist.

認知不公 - 年齡、性別和種族的隱性影響;Epistemic Injustice – The Covert Effect of Age, Gender, and Race

Fri, 17 Oct 2025 03:54:01 GMT

title: 認知不公 - 年齡、性別和種族的隱性影響;Epistemic Injustice – The Covert Effect of Age, Gender, and Race abstract: 本論文探討「認知不公」（epistemic injustice）。分析年齡、性別與種族偏見如何隱性地影響社會互動與制度結構。本研究以 Miranda Fricker 的知識不正義理論為核心框架，透過兩部改編自真實事件的電影——韓國電影《69歲》（An Old Lady, 2019）與美國電影《關鍵少數》（Hidden Figures, 2016）來檢視證詞不正義（testimonial injustice）與詮釋不正義（hermeneutical injustice）的表現形式。第一個案例分析探討《69歲》中一位年長女性在報案後遭遇的可信度貶損（credibility deficit）。透過 Fricker 的證詞不正義概念，本研究揭示社會對高齡女性的偏見如何妨礙其作為知識主體的可信度。此外研究亦結合 Gaile Pohlhaus Jr. 的「社會契約與協調性無知」（social contract and coordinated ignorance）概念，說明制度性忽視如何強化知識邊緣化與沉默機制。第二個案例分析則聚焦於《關鍵少數》中 1960 年代美國太空總署（NASA）的非裔女性科學家，探討性別與種族偏見如何形成「無意識的雙重標準」（unintentional double standards），使非裔女性的專業貢獻被系統性低估。本研究透過 Fricker 與 José Medina 的理論，分析詮釋抵抗（hermeneutical resistance）與美德式傾聽（virtuous listening）如何作為可能的應對策略，以減緩知識不公正的影響。本研究透過哲學理論與電影文本的對話，揭示認知不公在日常生活中的運作方式，並重新檢視整體社會與文化如何分配可信度。最終，本文主張提高人們在生活中對負面偏見的意識。盡可能從自身開始鬆動那些根深蒂固的認知不公。減少社會中因身份差異而產生的不公正現象。 ;This thesis examines the theme of epistemic injustice by analyzing how biases related to age, gender, and race subtly shape social interactions and institutional structures. Drawing upon Miranda Fricker’s theory of epistemic injustice as the primary framework, this study explores the manifestations of testimonial and hermeneutical injustice through two films based on real events ― the Korean film An Old Lady (2019) and the American film Hidden Figures (2016). The first case study, examined in Chapter One, investigates the “credibility deficit” faced by an elderly woman in “An Old Lady” after reporting sexual assault. Through Fricker’s concept of testimonial injustice, this study demonstrates how social biases against older women hinder their credibility as epistemic agents. Additionally, Gaile Pohlhaus Jr.’s concept of “social contract and coordinated ignorance” is incorporated to explain how institutional neglect reinforces epistemic marginalization and silencing. The second case study, analyzed in Chapter Two, focuses on “Hidden Figures,” which depicts the experiences of African American women working at NASA in the 1960s. This chapter explores how gender and racial biases create “unintentional double standards,” leading to the systemic undervaluation of African American women’s contributions. Through the theories of Fricker and José Medina, this study examines how hermeneutical resistance and virtuous listening serve as potential strategies to counteract epistemic injustice. By integrating philosophical theories with cinematic narratives, this research reveals how epistemic injustice operates in everyday life and calls for a reassessment of how credibility is distributed within social and institutional contexts. Ultimately, this study aims to appeal to greater awareness and systemic reform to reduce the injustices caused by epistemic biases.