
用電影《大濛》作為入口,帶聽眾回到 1950 年代白色恐怖時期:主角阿月為了取回被槍決哥哥的遺體而北上,在迷霧般難以追索真相的年代裡,見證制度暴力如何碾碎個人與家屬的人生。
趙公道這個以喜劇包裝悲劇的角色與「手錶」意象,談罪惡感、互相扶持的台灣式憨厚,以及「正義/公道」在那個時代為何如此遙遠。
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《三日間的幸福》,從金錢、他人理解到自我認同三個層面,反思生命價值是否能被外在標準衡量。
唯有由自己定義、並讓自己真心感到快樂的事,才構成生命真正的意義。
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透過「可能世界的遠近」與 Lewis 的「微小奇蹟」概念,我們得以在保持自然法則大致相同的前提下判斷反事實句的真偽。
核心結論是:即使討論的是抽象的可能世界,本質仍是為了更精準地理解日常語言中的因果關係。
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回到自然世界的因果,透過「反事實條件句」來理解「若無A則無B」的因果分析。
為了判斷反事實的真假,我們使用「可能世界」:在與現實高度相似、但把關鍵事實改動的世界中,觀察結果是否隨之改變,以區分真正因果與巧合
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相當因果關係雖能縮小責任範圍,但在某些情境下(如父母生子導致死亡)仍難以判斷應否負責。
客觀可歸責理論主張,只有在行為人製造了「法律所不允許的風險」且該風險在結果中實現時,才應負責。
此理論的價值在於回到法律制定的本意,思考規範想保護的對象與社會責任的合理邊界,而非僅拘泥於因果判斷。
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法律判斷因果關係的目的是希望找到可歸責的想法,僅靠反事實條件句建立的「條件因果關係」容易把過遠或偶發因素也納入責任。
因此需引入依一般生活經驗與通常情形判斷的「相當因果關係」,以較嚴格標準篩除不該負責者。
但「相當」仍有模糊與悖論(如「生則終將死」)的問題,難以單獨界定罪責,我們還能有更好的理論上處理法律上想要達成的負責效果嗎?
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我們常以為兩件事同時發生,就代表有因果關係。但其實不一定。冰淇淋賣得好與去海邊人多,只是因為夏天,不是彼此造成。
哲學上,我們可以用「反事實條件句」來判斷因果:如果沒有A,就不會有B。這能幫助我們區分關聯和真正的因果。不過也有挑戰,例如:人終究都會死,那「開槍導致死亡」該怎麼界定?
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當我們面對社會上最極端的暴力行為時,常常希望以死刑作為終結惡的手段。然而,這樣的懲罰是否真能帶來正義?
我們是否過於依賴一套簡化的故事框架,將人性化約為非黑即白的標籤,從而快速分辨「應該同情」與「應該唾棄」的人?
當我們支持一種懲罰時,我們是否也準備好承擔它所代表的社會與道德責任?
📖 本集提到的書籍:《一位女性殺人犯的素描:她如何謀弒母親、婆婆與丈夫》
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