「非暴力」的概念雖非甘地所創，但在人類歷史上，將「非暴力」的理念與實踐應用 於政治範圍內的，則甘地是古今之第仄。他不僅在「非暴力反抗」的理論上有十分完 備的體系；而在運用的策略上，更展現了他獨創的智慧與技巧。因而「非暴力反抗」 不僅成為印度在爭取自由獨立時之理想，更是一種印度人民在政治反抗中所使用之手 段。甘地所領導的這項運動不但為人類歷史開創了新紀元，也為往後的群眾反抗運動 立下了示範。 本文將甘地的「非暴力反抗」的理論與策略，共分為五章來討論。 第一章為緒論：旨在說明本文之研究動機、目的、及研究的範圍、架構，並略述印度 之社會概況，英滅印度之經過，及印度尋求獨立之過程。 第二章為「非暴力反抗」理論之闡述：針對「非暴力反抗」之意涵、「非暴力」的理 念根源、及人類對暴力的迷思，做探討。 第三章為「非暴力反抗」的策略：主要分為抗法、抗稅、土布運動、罷工、罷市、社 會抵制、及絕食等。 第四章在探討「非暴力反抗」成功之必要條件：甘地的領袖魅力與領導風格、及群眾 之動員、組織與訓練。 第五章為評估與結論：除了檢討印度之案例外，並探討此經驗是否能運用於任何其他 地區？這種反抗模式是否具有普遍性？

台灣報紙正面臨廣告主、讀者市場失利，報社調整組織目標，加強業務合作案已成為報業新趨勢，報社記者長久以來秉持的新聞意理，與報社商業化新聞操作方式多所衡突。本研究援用傅科權力的觀點，深入地方記者的工作情境，以瞭解報紙企圖透過與消息來源交換業務合作案，增加報社的盈收，是如何妨礙記者的工作自主權？而記者面對報社內外諸多權力的夾擊，又是如何絕處逢生？在組織中存活，並展現反抗的策略。 本研究發現，面對報社目標的改變、組織權力的施展，新聞工作者雖然夾處在報社、消息來源、廣告主等三方權力的操弄下，壓力沈重，但記者仍可以藉著制度的漏洞與權力的縫隙，累積資源，施展反抗策略。 本研究進一步主張，記者應該善用人際網絡中的社會資源，適時與組織內外的權力進行「合縱」或「連橫」，必要時還要對權力進行分化、阻斷策略，才能在權力的夾縫中求生。

本創作分為兩條主軸，一條為攝影作品集取向的攝影製作，另一條為研究結果取向的創作論述與田野研究。兩者在內容呈現上互為輔佐，在方法上互相補充。筆者通過在雲南L市的紀實攝影與相關闡釋，為閱聽人提供一副較為真實的精神病患的生存圖景。 在X精神病院中的醫護人員與病人之間的確存在著巨大的權力落差，其中權力的運作方式基本符合Foucault的描述：與空間緊密的結合。病區中的規章制度與大大小小的日常活動依依顯示出醫護人員對病人的控制。醫生在診斷與治療的過程中並未完全依循西方醫學，而是加入了地方知識。病人也在個體層面上有著微小的反抗，雖然有效，但也未破壞醫院秩序的正常運轉。 而在LJ村拍攝的民族誌影片中，顯示出了村中年輕人與老一輩在地方文化傳承上的斷裂。相較於民俗治療儀式，他們更願意相信西方醫療體系，更加傾向於去現代醫院中進行診斷與治療。 / This paper is mainly based on two guidelines: the photography creation aiming at photo collection, and the discussion and field research for research achievements. Theses two guidelines work as supplement for each other. Through the record by photography and related discussion in L City, Yunnan, I hope that the real current situation for mental patients could be showed to readers. Indeed, there is a great “power gap” between the staff and patients in psychiatric hospital, in which the way the staff use their power almost complies with Foucault’s description: “Space, Knowledge and Power”. All the rules and daily activities in the area indicate the control of the staff to patients in different degree. The doctors don’t completely rely on western medical for healing, instead they add traditional knowledge, for which patients sometimes make small fight for. Although these small fights are effective, they don’t make effect on the normal operation of the hospital. In terms of the ethnography film recorded in L Village, it indicates a disruption between the young and the old on the inheritance for traditional culture. The young generation is more likely to choose modern hospital for disease, rather than relying on traditional method.

近代明治是國民國家形成的時期、文明開化的時期，但是，女性的生存方式依舊受到社會制度的束縛。樋口一葉小說從人道主義的精神出發，對社會性差規範和封建道德等制度規範開始產生懷疑，進而表現出反叛意識與反抗行為。作品以「女性的自覺和解放」此一女性表現的主題為主，追問女性的生存方式及主體性的問題。一葉後期作品與前期的作品相較之下明顯得可看出作品表現趨近成熟，對於「我是女人」的自我認識，從中感到身為女性的無價值性，在後期作品中很濃厚的表達出此種身為女性的悲哀。 本研究的目的是想要探討女性在被要求扮演家庭裡面賢妻良母的角色，選擇過其他生活方式的主權被剝奪的明治時代之下，樋口一葉後期作品中描繪的女性們，以何種的方式來反抗社會的家長制度與兩性差別文化？以及，如何表現女性的自我？並且，如何去尋找新的生存方式？如此的「女性的性」（女性的自我意識和身體）的表現，與主體性的問題。再者，想去探討同時代的女性作家如何去摸索近代女性的新的生活方式與如何去表現自我，進而去探求明治女流文學中樋口一葉文學的解放思想之位置。 關於研究方法，本研究以樋口一葉後期作品中生活在家庭空間內部的少女與人妻，以及生活在家庭空間外部的娼婦對象，以從家族關係成立的「家族幻想」(共同幻想)，以及由戀愛的關係所成立的「戀愛幻想」(對幻想)的觀點來作思考，考察女性的自我意識與行為表現。此外，從作品論衍伸到作家論，藉由作者在日記中記述，或同時代的評論、作品，來論及作家的思想及作品表現之特性。 / Women were still confined to traditional social norms while the Meiji Era (1868-1912) started its modernization and industrialization, and rose to world power status. Higuchi Ichiyo, considered as the first major woman writer of Japan's Meiji period, examines and argues gender issue, social class and feudalism from the perspectives of humanism, especially women's roles. Her literary focuses on women’s self-awakening and liberation, exploring women’s autonomy and the way of how women live in the society. Compared with her own early works, her writing mechanism and thinking become more delicate and sophisticated with time passing by, and she, at the end, deeply realizes the ill-fated destiny of being a woman in the self-exploration process of I-am-a-woman. This research aims to examine how women oppose the paternalism and gender discrimination by looking at the novels of Higuchi Ichiyo’s later years in which women have no choice but to be housewives to meet social expectations. From the standpoint of female, this research also tends to review how women express and identify themselves, and how they find their own way to live physically and consciously at that time. At last, the study investigates other woman writers of the same period to re-define and re-position Higuchi Ichiyo in the Japan Meiji Era’s literature. The methodology employed in the study is to analyze women’s self-awareness and behaviors by using two types of “fantasy” concept: (1) family fantasy, also called co-fantasy, formed by family relationships and (2) romance fantasy created by love relationships. Two kinds of women are analyzed in this study. One is the ladies and housewives in the household, and the other is the prostitutes outside the socially-expected family life. In addition, contemporary criticism, literary theory, authorship theory, and author’s journals are reviewed to analyze Higuchi Ichiyo’s writing mechanism and thinking.

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.