本文分析五○年代公共領域中的敘事，以闡釋流亡情境與國家權力間的關係。分 析的文本包括隨國府來台之中國流亡者的自傳、政府受難者回憶錄、反共文學、報紙新聞、 及檢肅匪諜的政府文告。結論為，一，流亡者常藉由一代表「美好的過去」之物，以闡釋本 質虛無的「當下」；二，「女性」對流亡者、及反共文宣，均佔特殊之地位：對前者，「母 親」的象徵意義被等同於「故鄉」；對後者、「女匪諜」則被建構為共匪「不可自抑」的邪 惡的代表。

　　　　　Through analyzing cultural texts such as political propaganda, policies regarding and works of popular literature (as officially coined "anti-Communist literature" [fangong wenxue] of "literature and arts of combating" [zhandou wenyi]), as well as personal files of military personnel, this paper seeks to highlight linkages between exercise of state power, construction of public culture, and ramification of modernity in the fifties Taiwan－an era that is commonly termed that of "White Terror." In particular, it attempts to show these linkages as manifested in the constitution of the diasporic subjectivity. It argues that, through certain specific means on both levels of individual and collective identification, the diasporic subject of the fifties could manage to suture itself with the hegemonic state power, and the state could possibly imagine itself as the only legitimate representative of both mainland China and Taiwan. Of particular interest in this paper are means of "fisheye lens by detour of technology" and that of "developing pure evil through heterosexuality," as both coined by the author. In the former case, by detour of vision mediated through "modern technology," especially that should theoretically bring about continually accumulative product in terms of either life (such as that involved in constructing the Central Cross-Island Highway) or death (such as that of military forces), the grandeur of the state could be turned into spectacle and then identified by its subjects. In the latter case, by positing heterosexuality as the predicate of both virtue and authenticity, the pure evil of Communism could be made representable.