The framing, shaping and re-shaping of the comfort women redress campaign are the primary concerns of this thesis. In the thesis, I argue that the campaign is deeply entangled in the multiple representations of comfort women. Although it is difficult to argue that one representation is necessarily better than the other, it is important to understand how each representation helps to frame the issue it seeks to engage. Put otherwise, it is necessary to comprehend the ways comfort women are represented and how each representation assists in and interferes with their quest for delayed justice. By looking at different representational attempts at engaging with the comfort women issue, including non-English representations produced in Taiwan, in this thesis, I contend that current English representations of comfort women are limiting and a multigeneric and multilingual approach is needed to overcome these limitations. I argue that a multigeneric and multilingual approach would reveal the highly charged historical and geopolitical contexts that have overdetermined comfort women’s quest for justice.
Chapter One traces the comfort women redress movement. Through reviewing the redress movement and the predicament of comfort women, I try to illustrate that the movement is deeply entangled in each form of representation of comfort women. Chapter Two discusses Asian American novelist Nora Okja Keller’s Comfort Woman and Chang-rae Lee’s A Gesture Life. In this chapter, I argue that although comfort women are represented, their voices are also more or less appropriated and silenced because the two novels are most concerned with Asian American identity struggles. Chapter Three analyze two survivors’ autobiographies: Maria Rosa Henson’s Comfort Woman: A Filipina’s Story of Prostitution and Slavery under the Japanese Military and Jan Ruff-O’Herne’s Fifty Years of Silence. By focusing on the survivors’ autobiographies, I emphasize the importance of letting the survivors be story-tellers of their own stories as well as the necessity of understanding that each survivor is an individual and should not be confined to their comfort woman identity.
Chapter Four examines how the Taipei Women's Rescue Foundation (TWRF) situates the survivors' oral history in the redress movement and how and why the movement is cramped by the colonial legacy and male-centered nationalism in Taiwan. The TWRF is successful in documenting the survivors' oral history and in restoring the survivors' personal stories and agency. However, the movement is stranded as a result of the divergent experiences of people in Taiwan as well as the geopolitics in East Asia. Chapter Five begins with my personal experiences of meeting the survivors and I argue that the groundwork of the redress movement resides in the everyday practice of getting along with the survivors and winning their trust. By revealing my clumsy interactions with some of the survivors, I contend that what the movement should be concerned about is not merely a demand for redress, but also the individual feelings of the survivors.

此篇論文旨在探討慰安婦如何被再現以及慰安婦對日求償運動如何被形塑與定義。藉由點出求償運動與再現慰安婦之間密不可分的關連，此篇論文企圖分析不同形式的再現如何介入與形塑慰安婦對日求償運動，而非探討何種形式的再現比較適切或優越。正因為各種形式的再現影響慰安婦對日求償運動，理解這些再現如何幫助或阻礙倖存者爭取正義顯得更加重要。藉由分析不同形式的介入與再現，包括以英文書寫的文本與在台灣出版的中文資料，筆者企圖說明目前以英文呈現的文本之侷限與不足處，並且試圖指出多元文本與多元語言的介入方式可以克服這些缺陷，甚至可以揭露影響慰安婦對日求償運動的社會歷史因素與地緣政治考量。
第一章回顧慰安婦對日求償運動的緣起、運動面臨的困境、介入與再現的政治，以及這些再現如何形塑這個議題與影響受害者所處的邊緣位置。筆者試圖藉由這個回顧來說明發展以受害者為出發點的求償運動與再現的重要性。
第二章探討亞美文學如何介入慰安婦議題。藉由分析亞美小說家Nora Okja Keller與Chang-rae Lee如何透過Comfort Woman與A Gesture Life再現慰安婦以及這些再現的貢獻與侷限，筆者認為亞美小說家對於慰安婦的再現往往與亞美身分認同的主題緊密扣連而無法忠實呈現慰安婦。
第三章分析兩位倖存者的自傳：Maria Rosa Henson的Comfort Woman: A Filipina’s Story of Prostitution and Slavery under the Japanese Military 與Jan Ruff-O’Herne 的Fifty Years of Silence。藉由閱讀倖存者的自傳，筆者企圖說明讓倖存者自己發聲、形塑自己的故事、尋回被剝奪的主體，以及認知到每位倖存者都是一個完整的個人，而非只是日軍性奴隸制度的受害者的重要性。
第四章則探討台籍慰安婦的口述史與婦女救援基金會如何將倖存者的故事置放於求償運動的論述裡，主要的文本是《台灣慰安婦報告》與《沉默的傷痕》。從台灣的角度出發可以看見求償運動面臨的困境背後糾纏不清的歷史因素與地緣政治考量，同時也揭露國族想像裡父權對女性的壓迫，以及第二次世界大戰結束後至今仍未被攤開來檢視與譴責的同盟國共犯結構。
第五章總結前四章的分析，筆者回顧自身與倖存者接觸的經驗，試圖再次強調以受害者為運動主體、關懷與照護她們的重要性。

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