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国立情報学研究所で電子化したコンテンツを使用している。

本研究試圖以女性主義的角度及觀點，探討處理婚姻暴力事件之警察人員所持之性別意識，因此主要以有報案經驗之受虐婦女為研究對象，透過其對於警察人員在現場處理過程之陳述，瞭解警察人員在處理過程中是否有性別意識偏差之言語、態度及行為，並且進一步分析這些偏差的性別意識是否會對於受虐者的心理層面造成影響，而其對於婚姻暴力的處理結果的影響又為何？並以警察人員之性別意識量表施測為輔，希冀以一客觀、中立、有效性之量表測量警察人員本身所持有之性別意識之大致樣貌。亦即本研究試圖以質量並行之方式達成本研究之目的，並回答本研究之問題。最後，透過文獻分析以及理論上的探討，試圖對於本研究發現，基於政策制訂的角度，提出政策上之相關建議。

過去幾年，聯合國的維和任務因為不當的行為常常遭受抨擊，特別是維和人員所犯下和性有關的事件。由於聯合國對於犯罪者的懲罰並沒有發揮任何影響，而且例如零容忍政策的實施並不完全成功，所以相關決策者一直嘗試尋找其他方法來防止戰爭衝突中性剝削和性虐待的發生；其中有一種觀點認為，增加女性維和人員的人數將會對男性維和人員的行為產生正面的影響。然而，這一個觀點受到嚴厲的批判，主要是因為它依據傳統的性別刻板印象建構而成。本論文以2007-2016駐在賴比瑞亞的全印度女性的單位為例，旨在分析女性維和人員的增加是否有助於防止性侵害事件的發生。儘管研究結果無法充分證明女性維和人員有助於防止性暴力事件的發生，但作者主張更多的女性參與維和行動是正當的、也是一種平等權利而且不需要任何其他理由。

本論文研究的起點，始自我實習時聽到一位家暴社工抱怨參加「安全網」的網絡會議就像是去「演一場戲」。由於大學時代所學到的「家暴安全網」，是一個將家暴高危機案件篩選出來，藉由網絡會議進行工作交流與服務整合的方案。理想上，「家暴安全網」是將有限資源提供在需要密集服務的案件上，不解為何這樣提升服務效能的美意，卻淪為社工實務場上的「演戲」。於是，為了探究「社工為什麼要演戲」，我決定採用建制民族誌作為研究方法，並站在一線家暴社工的立足點上，解構這個「演戲」經驗如何在建制中被形塑。 當我實際投身成為一名家暴社工，與婦女工作的經驗，揭露了當前國家是如何治理「家庭暴力」，並以一種「安全至上」的意識形態，支配著整個網絡人員的工作。當各種建制的文本啟動，定義著婦女的「安全」，婦女的多元經驗便在「安全」的單一視框中被排除，以致「安全網」時常聽不懂婦女的需要，而網絡的資源也難以「投其所好」。 然而，一線的家暴社工，一面鑲嵌在「安全至上」的流程中，受到各種表單、指標與會議的規訓，一面又要與婦女的自主性並肩前行，在「建制最佳利益」與「案主自決」的角力下，「演戲」便成為社工在這場拔河下的生存方式。只要社工按照安全網所期待的安全劇本演出，婦女就有機會從安全網中「解除列管」。屆時社工就得以從各式的流程、指標中解放，讓工作回歸到相對低度建制的狀態，找回與婦女工作的彈性並減輕行政工作的負擔。 研究結果讓家暴社工看見自己在日常工作中，如何因著建制的流程為自己戴上了一副「安全」的眼鏡，產生了一連串權力關係所建構的知識，藉此看清楚社工所處的權力位置，進而長出抵抗的可能。 / The inspiration for my thesis came from a domestic violence social worker who complained that attending “Safety Network” conference is like acting in a show. From my understanding of “Domestic Violence Safety Networks” in college, these are programs for “high-risk” domestic abuse victims who are subsequently referred to the network conference. At this conference, the domestic violence network work together to explore possible safety options and coordinate resources for the victims. Ideally, the “Domestic Violence Safety Network” uses limited resources effectively. However, when it comes to a social work field, it becomes a “show act”. Based on this disjuncture, I decided to examine these conferences from a social worker’s perspective, using Institutional Ethnography as the analytical approach, to clarify the issue of why social workers are acting in the Safety Network. I started my fieldwork as a social worker. Through my working experience, I found that nation's adhering to the ideology of, “Safety is the top priority” with regard to domestic violence, tended to control how network members nanny battered women. When texts are activated in the institution, high-risk classification typically centers on a battered women's “safety” need to the exclusion of all others. Eventually, these “safety networks” fail to understand the multifaceted needs of abused women, and this, in turn, makes network resources more difficult to access. As a domestic violence social worker, safety and autonomy for abused women must be balanced. As a tool to mitigate the struggle between the “client’s best institutional interest” and the “client’s self-determination”, “acting with the safety script” appears to be a solution for social workers. In this way, battered women were able to remove their high-risk label while social workers were liberated from various processes and regulations. Hence, “acting” is the way by which social workers overcome this contradiction, bringing social work back to a less rigid set of working conditions, and increasing their overall flexibility in dealing with clients. The research maps the social relations of the “Safety Network,” determining where social workers stand with respect to this framework institution, how their “safety lens” are activated, and what aspects of it dominate their work. Once social workers understand how this framework functions, it may increase their potential for constructively opposing it.

本文試結合禮物致贈和待客之道，討論其在經典文學作品和人類學記錄中，隱含對文明發展及個人主體的省思。禮物實踐的弔詭和難題，自人類學家摩斯（Marcel Mauss）以來，到文學批評學者德希達（Jacques Derrida），屢在當代不同學科引發興趣。禮物的經濟效益似乎直接挑戰命題本身，搖擺於權宜交換的迷思和禮物的形上真諦。待客之道，則屬當代法國哲學家列維納斯（Emmanuel Levinas）的倫理思想中心。列維納斯認為待客之道隱喻無限可能的化身，能解套傳統主體為上的僵局，亦為主體對未知／上帝的責任。德希達將之援引，同視為（不）可能任務。在此脈絡下，本文試圖在不同文本／文明間對照，探究禮物和待客之道所指之善行本質，超越的欲望，及與他人／它者互動的界限辯證。所用方法主要為重新闡述西方文明重要來源之《聖經》，文藝復興時期莎士比亞四大悲劇中的《李爾王》，以及作為西方文明它者的泛伊斯蘭文學遺產《一千零一夜》。本文認為，以顯在(present/presence)為軸的人文精神，其先驗的暴力特質，一方面淋漓表現於禮物(gift/present)及待客之道；一方面正因這不可迴避的暴力和超越可能性(possibility)恆使文學作品以禮物和待客之道作為生命常軌之外的轉折點，彷彿是作家和學者對於智識外的不可計算(uncalculated economy)，以不可能(the impossibility, the absolute other)的踪跡(the trace)形式，留下對彼在(there is)／他者(the other)的悅納(welcome)。 / The themes of hospitality and gift-giving in literature oftentimes pass unnoticed by literary critics because the themes seem to be so naturally embedded in literature that perhaps an event of murder might interest the critics more. But hospitality and gift-giving are important because, as part of our living experience and with the possibility of going beyond the logic of exchange and altruism, hospitality and gift-giving subtly reveal to us the eternal concerns of astonishment, death, God, violence, and human relations. In this respect, hospitality and gift-giving radically challenge our conception of subjectivity. The following dissertation which consists of my collection of thoughts is therefore, metaphorically, a tangent touching, or better yet, approaching yet without appropriating the other in the postmodern philosophical context. My interpretation of “the absolute other” aims to make an argument that actions of hospitality and gift-giving, albeit without the acknowledgement of the subject, exhibit the desire of approaching “the absolute other” and simultaneously acknowledge the limit of subjectivity. In this attempt to lay open the interrelationships between hospitality and gift-giving by illustrating the “otherness” in subjectivity, responsibility, and God “the absolute other,” I draw from various sources in philosophy, sociology, anthropology, and Lacanian psychoanalysis. Through review of these multiple sources I contend that genuine hospitality and gift-giving can give rise to various levels of meanings to the absolute alterity of otherness. The selected literary texts under the discussion respectively are: the Bible, King Lear, and the Arabian Nights. The reasoning behind this choice is an intention to comprehend the otherness across cultural boundaries. I examine the Bible to contend for the Hebraic tradition and Pauline Christianity, King Lear the renaissance enlightenment, and the Arabian Nights the Western other.

莎拉肯恩《4.48精神異常》以破曉時分為題，描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現，有別於此，本劇大量使用影像，並以不連續的片段，文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty)，片段式語言搭配影像的使用，能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節，傳達精神病患者不見容於社會的破碎思緒，並在病患的語言中採用拼貼式影像(collaged images)，企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章，分析《4.48精神異常》中的語言，將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構，研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像，其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 / Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence.

2006年6月國際勞工組織(ILO)所公佈名為工作暴力(Violence at Work)的調查報告中指出，不論是在開發中或已開發國家中，職場暴力：包括霸凌 (bullying)、聚眾滋擾 (mobbing)及受到精神狀態不穩定的同事威脅、性騷擾和他殺等在全球出現增加的趨勢，因此職場暴力已被認為是職業危害之一，近幾年逐漸受到社會大眾的注意，現今已經是超越國界、超越各種職業，變成一種全球性的問題，各個先進國家針對職場暴力問題進行了各項調查以及研擬了因應的措施與政策，只求降低職場暴力所帶來的經濟損失和勞工傷亡。但是從我國的勞動政策來看，職場暴力尚未受到相關政府行政單位的重視，由於過去我國主要產業以製造業為主，製造業的職業危害來自於機械以及化學物質，因此職場暴力這一種較容易發生於服務業的職業危害，在實務上缺乏相關研究報告以及調查數據，近年來我國產業逐漸轉向服務業以及高科技產業，職場壓力和職業暴力的隱憂逐漸浮現出來，令人無法輕視以及疏忽。 本研究透過蒐集國際勞工組織、世界衛生組織等國際性機構，有關職場暴力之研究與數據，並且配合美國、英國、加拿大和澳洲等國家的資料進行比較研究，對於職場暴力的定義和類型等基本要素，做了詳細的介紹；另外更是針對職場暴力的事前預防、過程控制以及事後處理等多方面步驟，整理出主要的應變措施。最後針對我國職場暴力政策不足之處，提出了些許的建議，希望透過這些不同的數據以及文獻，能夠對我國職場安全以及勞工安全衛生有些微的助益，並且能讓我國政府開始重視職場暴力的影響，不要讓高職場暴力風險行業的勞工獨自承受暴力的威脅，終日生活在恐懼的陰影之下，讓我國勞工可以享受工作所帶來的充實感，而非冒著生命財產安全受到威脅進入職場。 / International Labour Organization published the report(Violence at Work) in June 2006 , in the report , it mentioned whether in developed and developing countries, workplace violence (include: bullying, mobbing, sexual harassment and threat from co-worker with mental illness) increases exponentially over the world. Workplace violence becomes an occupational hazard and receives attention from the community; the issue has already beyond borders and race. All advanced countries survey and draft measures and policy of workplace violence for reduce economic losses and labour casualties. But in our labour policy, workplace violence didn’t receive attention from government agencies. In the past, our country had developed manufacturing industry and noticed the occupational hazard of mechanical and chemical substances, so we don’t do more study and survey with workplace violence. In recent years, our country’s industry toward the service industry and high-tech industry, the worry of workplace stress and workplace violence has surfaced and we can’t despise or neglect it. This study collects the international agencies’ research and data about workplace violence, and takes the data of United States, United Kingdom, Canada and Australia etc. country to compare. To introduce the definition and type of workplace violence in detail, and summarize the emergency measures for preventing, controlling and redeeming to workplace violence. Finally, to provide the suggestion of the deficiencies in our country’s workplace violence policy. To hope can supply some help to our country’s occupational safety and health, and then the government can start paying attention to the effect from workplace violence. Don’t let the labour face the threat from workplace violence alone and life under the shadow, let them can enjoy the happy from working really.

家庭暴力已是我國重要的社會問題之一。受暴母親往往被期待能夠照顧、保護子女，受暴母親不單要對抗暴力，更要努力扮演母親的角色。然而，受暴母親較少獲得到社會的支持，且社會普遍對她們抱持批判、缺陷的觀點；研究也甚少探究受暴婦女的母職經驗，絕大多數均著重在暴力對母親的負面影響與困境，忽略受暴母親堅強的母職能力。 本研究以質性研究深入訪談的方式，企圖瞭解在暴力情境之下，母親正向的母職經驗展現，並且探討受暴母親如何不受暴力摧毀，依舊能夠積極、持續地扮演母職角色。研究最終訪談十位受暴母親，研究結果發現： 1.受暴母親在父權文化下，其母職經驗面臨到許多的挑戰，但母親得以突破許多困境，她們在經濟、照顧、子女目睹暴力特殊議題以及發展保護策略上均有正向經驗。母親即使遭受暴力，依舊可以理性評估環境、進一步從中反思、學習與成長，展現出正向且積極的能力。 2.激發母親正向經驗的相關因子共有六項，包括：「個人因素」、「過程因素」、「子女因素」、「環境因素」、「配偶因素」以及「社會文化因素」。因素與母職展現有關聯性，隨著各因素的影響程度，母親的母職展現亦有所不同。 3.整體而言，環境支持的穩定、持續與適切最為重要。受訪者母職展現可分為四類型：「忍辱重負」、「學以致用」、「突破重圍」以及「自立救濟」。受暴母親的母職展現會隨因素的消長而在各類型中交替變動。 研究結果證實受暴母親並非不適任或沒有能力，相反的，她們是相當有智慧與勇氣，實務與學術界應該重視她們的努力，減少以缺陷觀點對待之。研究者依據研究結果提出實務上和學術上的建議。