Written by Amelia Antolini. This article argues that Taoyuan Martyrs’ Shrine questions ‘authenticity’ as the universal standard for heritage conservation. Its successive layers of political and social meaning, accumulated through history, are themselves part of its heritage. Fieldwork further shows that visitors engage with the site in diverse ways, challenging rigid, material-based approaches to authenticity.
Written by Gabrielle Killick. This article examines the poetry of Yen Ai Lin and Hsia Yü through the concept of “phenomenological ecofeminism”. It argues that their representations of bodily and natural fluids challenge patriarchal ideas of femininity, expose the social abjection of women’s bodies, and foreground connections between embodiment, nature, and non-human life in post-Martial Law Taiwanese poetry.
Written by Phoenix, Fung Lam Chan. This article examines Pai Hsien-yung’s Crystal Boys through the relationship between fatherhood, masculinity, and queer identity. It argues that the novel exposes how patriarchal family structures and heterosexual norms marginalise homosexual men, while New Park provides an alternative space of queer kinship and belonging. Yet the novel also highlights the continuing limits of this resistance.
Written by I-Sheng Wang. This article argues that Tsai Ing-wen’s election marks a significant breakthrough for gender equality in Taiwan. The Tsai era changed the political meaning of gender equality by embedding it in Taiwan’s democratic identity and state governance. However, the progress was selective, and Tsai’s legacy of equality also becomes a political asset that remains contested and challenged.
Written by Simon Delpeuch. This article examines Taiwan’s Austronesian diplomacy, highlighting the deep tension between the state’s political exploitation of indigenous heritage to counter diplomatic isolation and a more authentic, community-driven approach. It focuses on the National Museum of Prehistory (NMP) as a vital model of informal, reciprocal museum-indigenous diplomacy. By explicitly abandoning Taiwan-centric “origin” narratives, the NMP fosters genuine regional partnerships, despite facing ongoing constraints from broader state agendas and complex geopolitical pressures.
Written by Tsai Min-Ying. This article puts Taiwanese artist Li Li-chung and Japanese artist Kota Takeuchi in dialogue through their representations of WWII aerial warfare. The author reads their two video works side by side, revealing how artists from Taiwan and Japan each remember and reflect on war, contrasting a colonial view with an imperial view in their differing concerns about aerial warfare and challenging dominant historical narratives. Their nonhuman perspectives expose war’s perceptual violence while demonstrating art’s power to preserve memory and resist future violence.
