中文書目
王秀滿譯，Pam Meecham and Julie Sheldon著，2003。現代藝術批判。台北：韋伯文化。
王勇智、鄧明宇譯，Catherine Kohler Riessman著，2008。敘說分析。臺北：五南。
吳乃德，1996。省籍意識、政治支持和國家認同──台灣族群政治理論的初探，
族群關係與國家認同，頁 27-51。台北:明田。
吳家恆譯，丹尼爾．李伯斯金著（2006）。光影交舞石頭記──建築師李伯斯金回憶錄。
臺北：時報。
吳莉君譯，約翰．柏格，2005。觀看的方式。臺北：麥田。
吳震環譯，傑佛瑞．亞歷山大，2008。文化社會學：社會生活的意義。臺北市：五南。
吳霈恩譯，Toby Clark著，2009。藝術與宣傳。臺北：遠流。
吳叡人譯，班納迪克．安德森譯，2010。想像的共同體。臺北：時報。
沈志中，2004。解構事件與 911 創傷，當代，207：42-55。
周靈芝、項幼榕譯，陳香君著，2014。紀念之外：二二八事件.創傷與性別差異的美學。臺北：典藏藝術家庭。
林蕙玟，2008。具變動力量的集體性文化資產：論標注性事件紀念物之紀念性意涵。成功大學建築學系博士班，未出版。
林蕙玟，2010。關於猶太浩劫痛苦過去的「回想」與「遺忘」:歷史現場做為創傷文化的省思，文化資產保存學刊，13：5-18。林寶元譯，1990。電影與人民記憶──<電影筆記>訪傅柯( I )，電影欣賞雙月刊，44：8-17。
施正鋒，1998。族群與民族主義──集體認同的政治分析。台北:前衛施宏達、陳文琪譯，Judith Herman著，2004。從創傷到復原。台北:遠流。
施國政，2009。台北二二八紀念館的過去現在與未來。中山大學劇場藝術學系碩士論文，未出版。
施植明譯，諾伯舒茲著，2010。場所精神──邁向建築現象學。武漢：華中科技大學出版社。
倪明萃譯，葛莉賽達．波洛克著。2011。創傷年代的美學感同與見證，藝術學研究，8：73–126。
尉遲秀譯，米蘭．昆德拉著，2002。笑忘書。臺北：皇冠。
張峰譯，阿多諾著，1993。否定的辯證法。中國：重慶。
張婉真。2001。如何分析博物館展示----研究方法旨趣，博物館學季刊，15(3)：13-24張譽騰，2001。博物館理想的展示呈現，博物館學季刊，15(3)：25-37。
張譽騰，2004。生態博物館。台北：五觀。
曹欽榮，2011。紀念博物館、記憶研究與轉型正義—從國際經驗到綠島人權文化園區。臺北藝術大學博物館所碩士論文，未出版。
畢然、郭金華譯，哈布瓦赫著，2002。論集體記憶。上海：上海人民。
許綺玲譯，羅蘭巴特著，1997。明室。台北:台灣攝影工作室。
陳佳利，2007。被展示的傷口：記憶與創傷的博物館筆記。臺北：典藏藝術。
陳芸芸譯Nicholas Mirzoeff著，2004。視覺文化導論。台北:韋伯文化
陳香君，2004。藝術檔案社會閱讀。台北：典藏藝術家庭。
陳郴，2007。克服過去：柏林歐洲猶太人大屠殺紀念碑的歷史啟思，思想，5：129-152。陳雪雲、吳慎慎、陳仲彥、郭文耀，2013。重返歷史、人權與記憶-臺灣烏腳病醫療紀念館的新未來，博物館學季刊，27(2)：31-53。陳智文譯，安奈特．西蒙斯著，2008。說故事的力量：激勵、影響與說服的最佳工具。臺北：臉譜。
陳瑛譯，肯．霍爾斯著，2003。口述歷史。台北：播種者。
陳齊奐，2014。展演性的博物館：景美人權文化園區課程文本探究。臺北藝術大學藝術與人文教育所碩士論文，未出版。
陳耀成譯，蘇珊．桑塔格著，2010。旁觀他人之痛苦。臺北：麥田。
單德興，2007。創傷、記憶、和解:析論林瓔的越戰將士紀念碑，思想，5：95-127。彭舜譯，佛洛伊德著，2010。精神分析引論。臺北：左岸文化。
覃方明、渠東、張旅平譯，保羅．湯普遜著，1999。《過去的聲音：口述歷史》。香港：牛津大學出版社。
黃郁菁，2014。創傷事件紀念博物館展示與社會責任之研究。中山大學劇場藝術學系碩士論文，未出版。
黃曉晨、汪民安，2007。文化研究關鍵詞。南京：江蘇人民出版社。
納日碧力戈譯，保羅．康納頓著，2000，社會如何記憶。上海：上海人民出版社。
黃龍興ㄝ2011。於負面遺產中重構創傷記憶-從奧斯維辛博物館到景美人權文化園區，文化資產保 存學刊，17：73-81。
黃燦然譯，蘇珊．桑塔格著，2010。論攝影。臺北：麥田。
楊愉珍，2012。台北二二八紀念館常設展應用口述歷史之研究。臺北藝術大學博物館所碩士論文，未出版。
楊渝東、史建華譯，齊格蒙．鮑曼著，2002。現代性與大屠殺。南京：譯林。張朝霞譯， 杜威．德拉伊斯瑪著，2013。記憶的風景 :我們為什麼「想起」, 又為什麼「遺忘」?。臺北市：漫遊者文化事業。
漢寶德，2000。展示規劃理論與實務。台北：田園城市。劉小楓，1998。沉重的肉身：現代性倫理的敘事緯語。上海：上海人民出版社。
蔡佩君譯，漢娜．鄂蘭著，2008。責任與判斷。臺北：左岸文化。
鄭仰恩，1999。歷史與信仰:從基督教觀點看台灣與世界。台南:人光出版社。
鄭邦彥，2014。書評 Book Review 揭露隱匿傷痛,有多困難?: 評《難解知識的策展:公共空間裡的暴力過去》，博物館與文化，7：127-137。
鄭莉蓉，2014。創傷展示的策展建構與觀眾詮釋：<堅強的理由—獻給台灣慰安婦阿嬤的攝影展>個案研究。輔大博物館學研究所，未出版。蕭阿勤，1997。集體記憶理論的探討:解剖者、拯救者、與一種民主觀點，思與言，35(1)：247-296。戴麗娟譯，皮耶．諾哈著，2012。記憶所繫之處。臺北:行人。
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Charney, L., 1995. ln a Moment: Film and the Philosophy of Modernity. In Leo Charney, Vanessa R. Schwartz (Eds.). Cinema and the Invention of Modern Life
Clarke, G., 1992. “Public faces, private lives: August Sander and the social typology of the portrait photograph.” In: Graham Clarke (Ed). The Portrait in Photography. London: Reaktion Books.
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Coser, Rose L., 1991. Role Complexity and Individual Autonomy. California: Stanford University Press.
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Giedion Sigfried, J. L. S., Fernand Léger (1984) . Nine Points on Monumentality. Harvard Architecture Review , IV:62-63.
Giesen, B., 2004. The trauma of perpetrators: the holocaust as the traumatic reference of German national identity. In: J. C.Alexander., (Ed.). Cultural trauma and collective identity. pp.112-154. Berkeley: University of California Press.
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網路資料
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關秀惠（2007）。〈在死亡中看見你溫柔的臉龐〉，《文化研究月報-三角公園》。瀏覽日期2013年10月24日，檢自：http://csat.org.tw/csa/journal/74/journal_74.htm。