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.
