被沉默的哀傷與抗議：1957年劉自然事件中的女性聲音與情感政治

Silent Grief and Protest: Female Voice and Affective Politics in the 1957 Liu Ziran Incident through the Lens of Liu Aotehua

1957年「劉自然事件」是冷戰時期臺美關係中象徵主權不平等與司法失衡的關鍵案例。美軍上士雷諾在臺北槍殺中華民國公民劉自然，最終被美軍軍法審判無罪，引發社會強烈憤慨與「五二四事件」。然而，在歷史敘事中，受害者遺孀劉奧特華（生卒年不詳）的聲音長期被邊緣化。本文以情感政治（affective politics）與性別展演（gender performativity）為理論視角，探討劉奧特華如何透過哭泣、請願與絕食等行動，將私人哀傷轉化為公共政治的抵抗實踐。透過相關資料的重構，本文指出，劉奧特華的悲傷並非單純的情緒反應，而是對冷戰體制下司法不義與國族屈辱的倫理質問。她的身體與情感成為可見的政治文本，既揭露國家與帝國權力的壓迫，也展現女性作為歷史行動者的能動性。同時，媒體對其哀傷的再現亦反映冷戰時期臺灣的情感治理邏輯—女性悲痛被「道德化」以利動員，卻被「去政治化」以防失控。本文主張，劉奧特華的哭泣既是抗議，也是見證，其「被觀看的哀傷」揭示了冷戰秩序中被壓抑的正義感與女性發聲的歷史可能，讓哀傷成為介入歷史的倫理語言。

The 1957“Liu Ziran Incident”stands as a pivotal case symbolizing sovereign inequality and judicial imbalance in U.S.–Taiwan relations during the Cold War. When U.S. Army Sergeant Robert G. Reynolds(?–?) shot and killed Liu Ziran劉自然（1924-1957）, a citizen of the Republic of China, in Taipei and was later acquitted by a US. military court, the verdict sparked public outrage and the May 24 Incident. Yet within historical narratives, the voice of the victim’s widow, Liu Aotehua劉奧特華（?–?）, has long been marginalized.
Drawing on the theoretical frameworks of affective politics and gender performativity, the present article explores how Liu Aotehua transformed private grief into acts of public resistance through crying, petitioning, and hunger strikes. By reconstructing relevant historical materials, the study argues that Liu’s sorrow was not merely an emotional response but an ethical questioning of judicial injustice and national humiliation under the Cold War order. Her body and emotions became a visible political text—exposing the oppression of both state and imperial power while revealing the agency of women as historical actors.
At the same time, the media’s representation of her mourning reflected the affective governance of Cold War Taiwan: women’s grief was aestheticized as a moral symbol yet depoliticized in meaning. This article contends that Liu Aotehua’s tears functioned as both protest and testimony. Her“spectacularized sorrow”unveils the suppressed sense of justice and the historical potential of female voices within the Cold War structure—turning grief itself into an ethical language of historical intervention.