根據國內的人權教育相關研究，當前臺灣學校人權教育的發展未臻成熟，尚有待改善之處。時有所聞的校園反人權現象亦突顯「紀律/規訓」的魔咒仍是當前首需「問題化」的關鍵。 本研究藉由國內學術文獻的研究成果，檢視臺灣學校人權教育的可能問題癥結，包含：(1)主體性概念的缺席；(2)多元價值的匱乏。 並以傅柯在其著作《監視與懲罰》中對「規訓」之析論：(1)被規訓者的身體柔順性；(2)規訓者的管教手段；(3)全景敞視的規訓環境等三方面，以及(4)傅柯對主體的關注，闡釋傅柯規訓觀對臺灣學校人權教育未來的啟示，包括：(1)教育場域中主體的關注及(2)校園生活中多元價值的實踐。 / According to the related research for human rights education in Taiwan, the current development of human rights education has not been mature yet; it could be improved in most schools. The phenomenon of anti-human rights at campus which occasionally published in the news also emerged that we should urgently problematize “Discipline/power” and disciplinary institutions in the modern society. Michel Foucault vividly described the disciplinary power which permeated through our society by presenting four manifestations: (1) Docility of bodies, (2) Facilities for disciplining, (3) Panoptic environment, and (4) Care for the self in late Foucault. By analyzing Foucault's theory of discipline, this research surveyed the possible problems of human rights education in school in Taiwan─(1)the lack of discussion on subjectivity/self ,(2)the disregard of multi-values. Furthermore, this research elaborate on its implication for human rights education in school, including: (1) Care for the school subject/self, (2) Putting multi-values into practice in campus.

南西. 弗萊德的《我的秘密花園》在探討女性思想，身體透過對和性意識的議題上被認為是其中一本最重要及有用的書。透過對性廣泛及露骨的討論，女性不僅在幻想中，甚至在現實面也能對其生理的欲望和需求有非常深入的了解。 在第一章中，我首先討論南西. 弗萊德搜集女性性幻想的意圖，緊接著強調女性對性並非是沉默的一群，因為在《我的秘密花園》中女性而非男性對性愛握有主控權。為了要明顯區隔《我的秘密花園》與男性為主的色情之差異，我討論女性如在何在南性色情中被錯誤的表現成為性商品及《我的秘密花園》所要顛覆的主題。 而第二章主要強調一些女性主義者對啟蒙時期二元論的攻擊，因為她們深信深藏在此二元論中的階級意識是造成女性地位低下的主因。因此，班森及傅柯的全景敝視的概念在此當成審視女性被父權物化所限制的主要架構，此觀念介紹後，我便詳加敘述全景敝視主義之主要效果並探索此一效果是如何壓制一般女性。 在第三章中，我不僅將重點集中在女性書寫的建立，更將《我的秘密花園》視為其中一例。從主題中可清楚發現女性之主體性。 在第四章中，《我的秘密花園》被比喻為性的嘉年華會，其參與者無不盡情享受性之歡愉，因此審視巴克定狂歡化的概念，可幫助讀者更深一層了解嘉年華式顛覆的力量及其相關的特性。 最後，我在第五章中重述各章之要點並指出認知女性欲望對其自主發展之重要性。我在此也相信，性對男女而言，都是最基本的生理需要，假如男性對性渴望，女性也一樣。南西. 弗萊德是第一位搜集女性性幻想的作家，但是她絕非是探討女性性論述的尾聲。 / Nancy Friday's My Secret Garden is regarded as one of the most important and useful books on the issueof women's thoughts, bodies and sexuality. Though a wide-ranging frank discussion on sexual matters, women are fully cognizant of their physical desires and needs of heir bodies, not only in their fantasies but also in their real lives. In chapter one, I discuss, first of all, Nancy Friday's intention of collecting female sexual fantasies and then emphasize that women are not sexually silent in My Secret Garden because it is they, instead of men, that hold the key to sex. To show how remarkably My Secret Garden differs from male pornography, I discuss how women are fallaciously represented as sexual objects in pornography and what My Secret Garden is aimed to subvert. In chapter two, some feminist's attack on the Enlightenment dualism are brought into focus, because they believe that it is the hierarchy lurking in the Enlightenment that results in women's inferiority. Therefore, Jeremy Bentham's and Michel Foucault's ideas of panopticon and panopticism are used as a framework to examine how women are confined by patriarchal culture. After introducing their ideas, I specify the main effect of panopticism and explore how the effect subjugates women. In chapter three, I concentrate my attention not only on why feminine writing has to be established but also on how My Secret Garden can be viewed as one. After the discussion on feminine writing, I focus on the textual analysis of My Secret Garden by investigating its main themes. From those themes, women's subjectivity is clearly observed. In chapter four, I compare My Secret Garden to a sex carnival where every participant enjoys sex. Hence, Mikhail Bakhtin's notion of carnivalization is examined in order to help the readers understand better the subversive power of carnivalization, and some of its important features are thus carefully analyzed. In chapter five, I recapitulate the central points of each chapter and point out the significance of understanding women's own desires in the development of their subjectivity. I also believe that sex is one of the most basic needs for both men and women. If men have the propensity for sexual needs, so do women. Nancy Friday is the first one to collect female erotic fantasies, but she will not be the last one to investigate discourse on sex.

本文以論述（discourse） 為切入點，並將觀察的對象明確化為：我們社會上的「法律語言」，或者說「法律論述」（legal discourse）。以「論述」為切入點的前提假設是：我們日常生活世界由各式各樣的論述所構成 ，而這些論述都對於我們的日常生活世界產生種種的效果，形成我們的世界觀或生活方式。本文將以這個角度切入法律的層次，針對我們社會上現存的「法律論述」對我們產生什麼樣的效果，以及如何產生效果，做有意義的觀察與解讀。 　　本文預計分為五章，包括緒論、兩層理論探究、具體案例分析與結論。在第一章裡，主要是研究動機、思考脈絡，以及本文架構。 　　第二、三章是針對理論部分，呈現論述、法律論述在定義上、論理上的細部討論。第二章是「論述」的討論部分，先從一般西方discourse的理論開始談起，有意義地挪用、鋪陳理論家的定義和解釋，並特別取法傅柯對「論述」的見解，延伸探討「論述」的細緻化特性（如：論述的稀釋作用）。 　　第三章是「法律論述」的討論部分，首先區分「法律論述」的兩個思考方向：「法律即是論述的一種」與「法律文體的論述」，並以後者為描述的重心，但穿插前者的思維模式，在具體操作的分析上作為解讀論述現象的背景預設（見第四章第三節）；「法律文體的論述」藉著西方對legal discourse的模型討論，參照我國法律文書的格式，描述出法律論述的外形及其字句結構。本文相信，掌握「論述」的效果一定要由觀察論述可見的形式部分開始，透過描繪論述的外形，分析論述的結構，歸納出結構的規則，才有可能切實推論出論述的效果。 　　第四章則是以張志輝一、二、三審判決書為觀察對象，進入判決文字的字裡行間的搜查，配合參酌第二章與第三章細緻化的「論述」預設，以及法律論述理論，佐以西方理論界提出的legal discourse模型、外部語言特徵，嘗試觀察描述出現下台灣社會中，「法律論述」的樣貌，以及法律論述作用於社會的效果與影響。相關司法新聞報導也列入觀察的對象（第四節），綜合前面討論的結果，檢討法律論述內部，判決文本與新聞文本之間，以及法律論述與日常生活經驗世界之間，所產生的「稀釋化」作用。 第五章是結論，自我評估觀察所得的結果，與檢視本次觀察研究所有的種種限制，並期待能對當今社會現存的論述情境，有所反省與思考。

本論文的研究主題是探討當代義大利哲學家阿岡本（Giorgio Agamben）關於法律與生命之關係的思想，而其中的關鍵概念則為「例外狀態」（state of exception）。延續著由傅柯（Michel Foucault）所鋪展的生命政治（biopolitics）分析，當代政治確實面對著如下困徑（aporia）：其所欲展演人類幸福與自由之處─神聖的生命本身─同時正是政治權力所試圖全面掌控的對象。政治如此，作為其運作綱要的法律亦然。這可由大法官釋字603號關於換身份證需按指紋的爭議透露出來：為了保障「身家性命」的基本人權，國家要求介入該權利的核心領域，將每個人的生物性特徵─指紋─強制建檔以進行更全面的人口治理。 這個法與生命的弔詭關係，在阿岡本的思想中，乃是透過一個特殊的法權裝置─例外狀態─而產生。相對於一般所認為的，法與生命的關係在於以法律規範生命，或由生命創造法律，阿岡本認為法與生命的關係首先在於法與生命的區分（distinction）本身，而例外狀態便是建立這個區分的裝置。所謂的例外狀態，就是透過懸置法律（憲法），用不受法律限制的措施進行治理的狀態。例外狀態彷彿是一個無法狀態（anomie），而生命彷彿被棄置於法律之外成為赤裸的生命（bare life）。然而，根據史密特（Carl Schmitt）的名言：「主權者就是決斷例外狀態之人」，例外狀態並非與法律無關，相反地，其作用在於創造或回復一個讓法律能夠適用於生命的正常情境。因此，正是透過將生命排除於法律之外，例外狀態試圖建構一個能將生命包含進來的法秩序。這個透過排除而包含的關係，就是阿岡本所定義的例外關係，也就是法律與生命的根本關係。而阿岡本認為現代生命政治的特性，便在於例外狀態已非例外，而逐漸成為常態，也因此法與生命的關係本身也日益成為對抗爭議的焦點所在。 因此，本文的工作便在於探討阿岡本的思想中，法與生命間如何透過例外狀態而建立關係，其形式、力道、所構作之生命形象與可能的出路。本文的作法主要在於理論的耙梳與思辨；然而，例外狀態並非僅是一個抽象概念。放在台灣的歷史脈絡中，伴隨著現代化的殖民統治、戒嚴統治，甚至直到今天的「事實上國家」，無一不是例外狀態的常態體現。911之後由美國所主導的全球化反恐活動亦是此結構的更新部署。甚而，在日常實踐上，例外的潛在揭示著每一個「依法行政」、「依法裁判」背後所無可避免的決斷，以及賦予此決斷以法的效力（force of law）的國家暴力。阿岡本《例外狀態》一書的第一句話因此問道：「你們法律人為何對那與你切身相關之事保持沈默？」

本研究嘗試透過傅柯系譜學的架構，從台灣哈日迷思到數位傳播生態，由歷史、符號、語言等三面向檢視線上遊戲「殺Online」延燒之童顏巨乳現象蘊藏的性別文化與符號意義，從內隱到外顯、從他者到再現，跳出性別二元對立之窠臼，反覆辯證此一女體性象徵符號如何在父權巧妙操控下，孕育滋長壯大卻又悄然銷聲匿跡，以及其與國家機器、社會菁英「論述、權力、知識」間之微妙接合（articulation，闡述與扣連）關係。 / Genealogy as the framework to Foucault, from Taiwan Japanophile myth to digital television environment, using history, symbols, language, three for viewing online game "kill Online" big phenomenon spread of 「Baby Face -Big Breast」 hidden meaning of the gender culture of the times, from the implicit to explicit, from the other to representation, beyond gender dualism of mold, and repeated the dialectical nature of body of women in the patriarchal symbol how clever manipulation, breeding grow stronger but quietly disappeared, and its state apparatus, social elite "discourse, power, knowledge," the delicate bonding between articulation and buckle set relationships.

在高度醫療化的現代社會當中，醫病關係是一個不容忽視的重要議題。二十世紀的醫療科技突飛猛進，但是病患所接受的醫療品質卻是越來越低劣。醫生過度強調科學與理性，失去對病人的尊重，因而導致醫療系統凌駕於人性之上的情境。《哈維》與《心靈病房》分別描述了病患在醫院所經歷的治療過程。透過這兩齣戲的比較，本文發現二十世紀下半葉的醫療系統對待病患的態度並無改善。透過傅柯與生命倫理學的觀點，本文旨在說明二十世紀醫療系統對人性所造成的迫害，並且探討醫療體系的威權如何被建立以及病患的自主權如何被剝奪。 　　本論文分為四章。第一章說明柴絲和愛德森的生平背景、《哈維》與《心靈病房》的相關評論以及本論文的理論架構。第二章透過傅柯的觀點闡述醫護人員無形中施加於病患身上的醫療暴力。第三章透過生命倫理學的角度分析病患任由醫療體系擺佈的過程。第四章總結醫護人員對病患的操控以及病患在醫療系統中所遭遇的困境，並且重申醫療系統應該以「以病患為中心」的醫療模式取代傳統霸權式的醫療。 / In the madicalized society, the doctor-patient relationship is a significant issue because medical science has had tremendous breakthroughs in the twentieth century, yet the quality of hospital care has become worse. Doctors, over-relying on science and rationality, lose respect for their patients, which leads to a situation of medical apparatuses above humanity. Mary Chase’s Harvey and Margaret Edson’s Wit describe patients’ experience in hospital respectively. Through the comparison and contrast of the plays, this thesis cannot see any improvement in doctors’ treatment of patients. Therefore, aiming at demonstrating the dehumanizing evil of medical apparatuses, this thesis elaborates the construction of medical authority from the perspective of Foucault’s analysis of disciplinary power and reflects on the deprival of patients’ autonomy with the approach of biomedical ethics. This thesis is divided into four chapters. Chapter One introduces the backgrounds of the authors, literature review of Harvey and Wit and the theoretical frameworks of Foucault and biomedical ethics. Chapter Two, focusing on the rigid disciplinary power of medical apparatuses, illustrates hospital staff’s evil practice on patients. Chapter Three demonstrates the dehumanized patients under the manipulation of medical discipline and unethical treatment. Chapter Four concludes hospital staff’s manipulation of patients and patients’ dilemmas in medical institution and then reiterates the significance of the patient-centered treatment.

本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。 本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。 / This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson. The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.

本論文的架構分作五章，第一章為緒論，第二章依序描繪西方十六世紀以來的知識空間，第三章探討法學在其中賦有的形象，第四章則以前兩章為框架，從知識空間和法學的轉變出發，重新檢討法典化之爭的實際意義，第五章為結論。

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

本篇論文企圖探討史蒂芬‧佛瑞爾斯 ( Stephen Frears ) 的電影《美麗壞東西》( Dirty Pretty Things ) 中的公民權與人權之議題。片中描述從奈及利亞非法入境的奧奎 (Okwe) 與來自土耳其申請政治庇護的桑娜 (Senay) 因其游移的身分，遭逢英國政府監控與資本主義社會剝削，並揭露倫敦城市中非法難民販賣器官以求生存的黑暗面。本篇論文著重分析政治庇護者的矛盾身分如何擾亂民族國家的監視、暴露僅以公民權利保障境內人民的缺失，並主張唯有透過跨種族、階級，與性別的聯合 ( solidarity ) 才能對抗國家機制裡的矛盾與全球資本主義的剝削。論文第二章以德希達 ( Jacques Derrida ) 的制約款待 ( conditional hospitality )，與傅柯 ( Michel Foucault ) 的監視 ( Panopticon ) 概念，探討片中監控 ( surveillance ) 機制的形成。第三章引進布斯克與夏弗 (Alison Brysk and Gershon Shafir ) 提出公民權 (citizenship) 與人權 ( human rights ) 的差距，來揭發片中政治庇護者與外籍勞工在地主國 ( host countries ) 因為缺乏公民權而導致人權被忽視的困境。第四章從傅柯 ( Michel Foucault ) 的反抗 ( resistance ) 與拉克勞 ( Ernesto Laclau ) 與穆芙 ( Chantal Mouffe ) 的激進多元民主 ( radical plural democracy ) 的概念，探討以跨種族、階級，與性別的聯合 ( solidarity ) 來對抗國家制度本身的裂縫與經濟全球化的無情剝削。最後總結在全球化時代，唯有檢視國家制度的缺失，並揚棄封閉排他的意識形態，才能體現種族與文化的差異與多元性，並促進跨界聯合之實現。 / This thesis aims to explore the issue of citizenship and human rights in Stephen Frears’s Dirty Pretty Things. Dirty Pretty Things describes the British government’s surveillance on asylum seekers, such as Okwe, an illegal refugee from Nigeria, and Senay, the Turkish asylum applicant, and unveils illegal refugees’ organ trade in exchange for passports in London. The thesis attempts to decipher how the ambivalent status of asylum seekers disturbs the surveillance of nation-states, exposes the defect of the citizenship gap and argues only through solidarity among different ethnicity, class and gender, could the subordinated fight against deficiencies in the mechanism of nation-states and exploitation of global capitalism. Through the perspectives of Derrida’s conditional hospitality and Foucault’s Panopticon, Chapter Two examines the surveillance of nation-states on asylum seekers in Dirty Pretty Things. In Chapter Three, I adopt Brysk and Shafir’s analysis to explore the citizenship gap between citizenship and human rights in the film, which reflects the difficulty in handling the cases of legal and illegal asylum seekers in nation-states on the basis of citizenship in the era of globalization. In Chapter Four, I will utilize the perceptive of Foucault’s resistance and Laclau and Mouffe’s radical plural democracy to suggest how counter strategies and solidarity could rebel against fissures in nation-states’ apparatuses and reveal a new possibility of alliance beyond borders in the era of globalization. The last chapter concludes by summing up the gaps in the system of nation-states and rejecting any enclosed ideology so as to articulate multiplicities and differences beyond limitations of ethnicity, class and gender across borders in the era of globalization.