DSpace community: 英美語文研究所

The Noises Outside the Paradise: Unpacking the Concealed Female Children’s Subject Formations in Fang Si-Chi’s First Love Paradise via the Un/Empathetic and the Shameless;The Noises Outside the Paradise: Unpacking the Concealed Female Children’s Subject Formations in Fang Si-Chi’s First Love Paradise via the Un/Empathetic and the Shameless

Tue, 20 Oct 2026 07:41:51 GMT

title: The Noises Outside the Paradise: Unpacking the Concealed Female Children’s Subject Formations in Fang Si-Chi’s First Love Paradise via the Un/Empathetic and the Shameless;The Noises Outside the Paradise: Unpacking the Concealed Female Children’s Subject Formations in Fang Si-Chi’s First Love Paradise via the Un/Empathetic and the Shameless abstract: 本碩士論文是一項批判性複合敘事計畫，旨在回應早逝的台灣女作家林奕含之小說《房思琪的初戀樂園》中所體現之文化政治與性政治。小說晦澀難懂，然因其語言風格瑰麗、修辭奇巧而飽含韻律性，於作者逝世八年間，已對華語青少女讀者產生具爭議性之深遠影響。本計畫主體由兩篇互為補充的敘事組成，分別以兩種語言寫成，並遵循兩套不同的文體規範。兩篇敘事以導論為外框，闡述兩則敘事之間的批判性和實踐性連結。導論介紹本計畫設計初衷及佈局考量：此論文敘事的複合、雜揉，旨在質疑語言和形式屬性作為表意工具所產生的、常被忽視的內嵌意識形態效果（亦即：形式如何部分地決定了內容可說什麼，以及某些議題能如何被說）；基於此目的，本計畫採用了兩種截然不同的表意系統和敘事方式來回應林奕含的小說。導論部分首先闡述本計畫閱讀《房思琪的初戀樂園》的社會脈絡，以及計畫的方法論，先行說明乃是為減少對於後續段落中、對小說文本本身的深入分析（「論述介入」：學術論文），以及挑戰小說本身意識形態的創作作品（「反身實踐」：文學創作）的干擾。導論以後的內容分為兩部份：「論述介入」與「反身實踐」。第一部分是一篇英文學術論文，標題為〈拆樂園：《房思琪的初戀樂園》中的含蓄政治與對女童主體性的雙重封存〉；第二部份是一篇中文書寫的書信體回憶錄小說，標題為〈他人的臉（或我的擬人失敗）〉。兩則敘事皆採用了「罔兩問景方法論」中所提議的「閱讀位置的轉移／偏離預設路徑」之策略。「論述介入」展示了該策略在小說閱讀中的脈絡化應用，旨在觸發主體思維轉型的激進可能性；「反身實踐」則展示了該策略如何幫助主體在敘事創作中保持自我反思意識。;This master’s thesis is a critical project formed in response to the cultural politics and sexual politics represented in early-deceased Taiwanese female writer Lin Yi-Han’s difficult and controversially influential novel Fang Si-Chi’s First Love Paradise published in 2017. This project is composed of two mutually complementary narratives written in two different languages and according to two distinct sets of genre contracts and is overall framed by an introduction to identify the critical and practical relations between the two pieces. The introduction provides the contexts wherein this master’s project is formed. This project is designed to question the often-ignored ideological effects caused by language and formal properties as apparatuses of representation; based on this goal， two very distinct (and often taken as opposite) systems of significations and narrations are adopted tactically to make response to Fang Si-Chi’s First Love Paradise. The background information about the novel and the methodology of the project will be elaborated in this introduction in the first place in order to reduce the disturbance to the in-depth textual analyses of the novel itself as well as the creative writing challenging the novel. After the introduction， there are two sections. The first section (labeled as intervention) features a textual-analytical paper written in English titled “Penetrating Paradise: Politics of Reticence and the Double Concealment of Female Children’s Subjectivities in Fang Si-Chi’s First Love Paradise.” The second section (labeled as praxis) features a Chinese epistolary memoir-novel called “Visages of Others (or My Failed Human Mimicry).” Both pieces adopt the tactic of “shifting away from the default approach” from Liu Jeng-Peng， Ding Naifei， and Amie Elizabeth Parry’s activist-epistemic literary critique method “Penumbrae Query Shadow Methodology.” The intervention section displays a contextualized application of the tactic to the novel-reading for radical transformative purposes in subject formation and cultural production. The praxis section demonstrates how the tactic works for maintaining self-reflective consciousness in narrative production， which is also a process of subjectification and producing cultural products.

Constructing Authenticity: Market Power， Authorship， and the Commodification of Asian American Identity in Yellowface;Constructing Authenticity: Market Power， Authorship， and the Commodification of Asian American Identity in Yellowface

Tue, 20 Oct 2026 07:41:50 GMT

title: Constructing Authenticity: Market Power， Authorship， and the Commodification of Asian American Identity in Yellowface;Constructing Authenticity: Market Power， Authorship， and the Commodification of Asian American Identity in Yellowface abstract: 本論文以當代出版市場為脈絡，質疑在多元文化與後種族話語將創作自由視為理所當然的前提下，「誰有資格書寫亞裔美國經驗」這一問題，是否本身即被出版市場的權力結構所預先框定。本文指出，在此類看似開放的文化語境中，出版產業作為一種文化霸權機制，實際上持續介入並規範文化再現的形式與內容。本文主張，「真實性」並非文化再現的內在屬性，而是受到市場邏輯與讀者期待所形塑的價值判準；同時，「作者性」(authorship) 亦是在結構性不平等與出版機制的運作下被生產與界定。透過分析小說《黃臉》（Yellowface）中人物與文本再書寫的過程，本文說明敘事如何在修訂、簡化與策略性調整中，被導向符合主流閱讀市場（特別是以白人讀者為主）的期待。在此過程中，具有文化特殊性的元素被選擇性保留或刪減，使亞裔美國文學成為一個高度競逐且受控的場域，其再現形式取決於何者被視為可出版與具市場價值。本文進一步指出，出版產業不僅負責流通亞裔美國敘事，更積極參與「何謂真實」的建構與規訓，並透過常態化與隱匿的機制，遮蔽文化挪用的運作方式。由此可見，亞裔美國文學中的「真實性」與「作者性」並非自發生成，而是在文化權力與市場機制交織之下被持續塑造與界定。;This paper examines how authenticity in Asian American literature is constructed within the contemporary publishing market， situating this process within the broader frameworks of multiculturalism and post-racial discourse. It argues that authenticity is not an inherent quality of cultural representation， but rather a value shaped by market forces and reader expectations within the hegemonic structures of the publishing industry. Moving beyond the question of who is entitled to tell Asian American stories， it contends that both authorship and authenticity are produced within broader structures of inequality and regulated by the demands of the literary marketplace Through an analysis of the characters in Yellowface by R. F. Kuang， this study demonstrates how narratives are revised， simplified， and strategically reshaped to align with market expectations， particularly those of a predominantly white readership. In this process， culturally specific elements are selectively modified， revealing how Asian American literature operates as a contested field in which representation is filtered through what is deemed publishable and marketable， which further argues that the publishing industry not only circulates Asian American narratives but also actively constructs and regulates what is recognized as “authentic，” while obscuring the mechanisms of cultural appropriation through processes of normalization and omission

詮釋不正義與包容性敘事：重新思考電子遊戲中的 DEI 與知識論條件;Hermeneutical Injustice and Inclusive Storytelling: Rethinking DEI and the Epistemological Conditions of Video Games

Tue, 20 Oct 2026 07:41:49 GMT

title: 詮釋不正義與包容性敘事：重新思考電子遊戲中的 DEI 與知識論條件;Hermeneutical Injustice and Inclusive Storytelling: Rethinking DEI and the Epistemological Conditions of Video Games abstract: 近年來，電玩遊戲產業積極推動「多元、平等與包容」（ DEI）倡議，然而這類實踐往往僅停留在提升邊緣群體的表面能見度，未能實質改變敘事權力的分配。本研究以「認知不公」（ epistemic injustice）為理論核心，借鏡 Miranda Fricker 的「詮釋不公」（ hermeneutical injustice）、 José Medina 的「詮釋責任」與「認知摩擦」，以及 Gaile Pohlhaus Jr. 對「蓄意無知」的批判，重新審視遊戲中的包容性問題。本論文指出，評估 DEI 實踐不應侷限於多元角色或議題的出場率，而須深究邊緣視角是否具備重塑遊戲世界觀、角色刻畫與玩家體驗的可能。為具體印證上述論點，本論文針對當代主流遊戲與玩家文化進行多重個案分析。首先，透過《鬥陣特攻》（ Overwatch）、《凱薩琳》（ Catherine）與《俠盜獵車手：聖安地列斯》（ Grand Theft Auto: San Andreas）等案例，揭示當邊緣角色被納入遊戲框架，卻被剝奪敘事能動性、社會可理解性與認知可信度時，所謂的「再現」（ representation）極易淪為受限、扭曲甚至去人性化的標籤。隨後，研究焦點轉向玩家社群，檢視其中的反彈聲浪與審查機制；同時透過《刺客教條：暗影者》、《永不孤單》（ Never Alone）與《謂何》（ Tell Me Why）等作品，探討包容性敘事在面臨敵意而遭到削弱之餘，如何亦能藉由共同創作、詮釋支架及制度性責任來強化其正面效益。總結而言，本研究提出「認知上空洞的包容」（ epistemically hollow inclusion）此一核心概念，定位當前那些「僅提升多元能見度、卻未改變意義生產條件」的 DEI 表面包LIN iv 容。真正的包容性敘事絕非單純的樣板再現，而是必須建立在認知敏感度、共享的詮釋資源以及敘事權威的重新分配之上。作為具備高度互動性的文化載體，電玩遊戲既潛藏著再製詮釋不正義的風險，同時也蘊含著促成認知轉化的強大契機。;This thesis examines how diversity， equity， and inclusion (DEI) in video games can remain epistemically hollow when marginalized identities become visible without gaining genuine interpretive authority. Drawing on theories of epistemic injustice， especially Miranda Fricker’s concept of hermeneutical injustice， José Medina’s accounts of hermeneutical responsibility and epistemic friction， and Gaile Pohlhaus Jr.’s critique of willful hermeneutical ignorance， this study argues that inclusion in games should not be evaluated only by the presence of diverse characters or themes. Rather， it should be evaluated by whether marginalized perspectives are allowed to reshape the interpretive frameworks through which game worlds， characters， and player experiences become meaningful. The thesis analyzes several case studies from contemporary and mainstream gaming culture. Chapter 1 examines Overwatch， Catherine， and Grand Theft Auto: San Andreas to show how representation can become contained， distorted， or dehumanizing when games include marginalized figures without granting them narrative agency， social intelligibility， or epistemic credibility. Chapter 2 turns to backlash， interpretive policing， and more promising models of just narrative participation. Through cases such as Assassin’s Creed: Shadows， Never Alone， and Tell Me Why， the thesis considers how inclusive storytelling can either beLIN ii undermined by hostile reception or strengthened through co-authorship， interpretive scaffolding， and institutional responsibility. Ultimately， this thesis proposes the concept of epistemically hollow inclusion to describe forms of DEI that add diversity without transforming the conditions of meaning-making. It argues that genuinely inclusive storytelling requires more than representation; it requires epistemic sensitivity， shared interpretive resources， and the redistribution of narrative authority. Video games， as interactive cultural forms， can therefore either reproduce hermeneutical injustice or become sites of epistemic transformation.

女性主義與解放知識論視角下的知識正義：臺灣殖民與後殖民時期的情境化案例研究;Feminist-Liberatory Epistemologies and Epistemic Justice: Situated Cases Within the Colonial and Postcolonial Periods in Taiwan

Tue, 20 Oct 2026 07:41:39 GMT

title: 女性主義與解放知識論視角下的知識正義：臺灣殖民與後殖民時期的情境化案例研究;Feminist-Liberatory Epistemologies and Epistemic Justice: Situated Cases Within the Colonial and Postcolonial Periods in Taiwan abstract: 本論文探討殖民主義、父權體制與後殖民國家形成之交織歷史如何形塑台灣女性的認知能動性。本文借鑒女性主義與解放知識論，尤其是 Miranda Fricker 關於證言不公正與詮釋不公正的理論，以及 Kristie Dotson 關於認知沉默的論述，透過兩個形成對比的文化案例分析邊緣化與抵抗：津島佑子小說《太過野蠻的》（2011）與吳瑪悧的社會參與式女性主義藝術作品（1997）。這兩個案例之所以形成對比，是因為津島的小說是從日本殖民者取向出發，對殖民時期台灣所進行的回顧性文學再現；相對而言，吳瑪悧的作品則是台灣後殖民女性主義實踐，透過合作、口述歷史與另類檔案重建邊緣化女性的歷史知識。第一章建立本論文的理論框架，並將其置於日本殖民時期台灣的歷史脈絡之中。透過 Fricker、Dotson、José Medina 與洪郁如等學者的研究，本文主張台灣女性的認知邊緣化並非偶然或個別現象，而是一種由殖民治理與詮釋權不平等所共同生產的歷史結構性條件。第二章將此理論框架應用於兩個案例研究，藉此追蹤從表徵限制到認知重建的轉變。第一節分析《太過野蠻的》中台灣女性在日本殖民者家庭中的「薄弱可見性」（thin visibility），說明殖民階序與殖民者敘事如何限制她們的可信度、可理解性與敘事能見度。第二節則探討吳瑪悧的合作藝術計畫如何在後殖民台灣中重新取回邊緣化女性的歷史經驗。透過社群口述歷史與另類檔案，吳瑪悧的藝術實踐成為一種抵抗刻意詮釋無知的策略。最終，本文透過整合哲學理論、文學敘事與參與式藝術，主張認知不公正在殖民統治下往往未被標記或辨識；然而，後殖民女性主義實踐能夠協助重建承認、可理解性與認知能動性的條件。;This thesis examines how the intertwined histories of colonialism， patriarchy， and postcolonial state formation shape Taiwanese women’s epistemic agency. Drawing upon feminist and liberatory epistemologies， particularly Miranda Fricker’s account of testimonial and hermeneutical injustice and Kristie Dotson’s account of epistemic silencing， the study examines marginalization and resistance through two contrasting cultural cases: Tsushima Yūko’s novel Too Barbaric (2011) and Wu Mali’s socially engaged feminist artworks (1997). These cases are contrasting because Tsushima’s novel is a retrospective Japanese settler-oriented literary representation of colonial Taiwan， while Wu Mali’s projects are Taiwanese postcolonial feminist practices that use collaboration， oral history， and alternative archiving to reconstruct marginalized women’s historical knowledge. Chapter One establishes the theoretical framework， situating it within the historical context of Japanese colonial Taiwan. Drawing on scholars such as Fricker， Dotson， José Medina， and Hung Yuru， the thesis argues that Taiwanese women’s epistemic marginalization is a historically structured condition produced by colonial governance and unequal access to interpretive authority. Chapter Two applies this framework to the two case studies in order to trace a movement from representational limitation to epistemic reconstruction. The first section investigates the “thin visibility” of Taiwanese women within the Japanese settler household in Too Barbaric， showing how colonial hierarchy and settler narration restrict their credibility， intelligibility， and narrative access. The second section examines Wu Mali’s collaborative art projects， which reclaim marginalized women’s historical experiences in postcolonial Taiwan. By utilizing community-based oral history and alternative archives， Wu’s practice functions as a strategy for resisting willful hermeneutical ignorance. Ultimately， by integrating philosophical theory with literary narrative and participatory art， the thesis argues that while epistemic injustice often remains unmarked under colonial rule， postcolonial feminist practices can help rebuild the conditions for recognition， intelligibility， and epistemic agency.