英文摘要 |
The focus of this study is on the reforms of the National Palace Museum during the time that Tu Cheng-sheng served as its director (2000-2004), including a deep exploration of why the museum transitioned to a multicultural national museum. How did Tu use multicultural identity to amend Chinese nationalism, as well as initiate discussions on and implement the objective of “Austronesian peoples” as members of the national citizenry? In 2003, Tu's views on multicultural national museum changed direction toward that of Universal Museum (including Asian museum). How did this transformation influence the Chinese nationalism revision methods and the citizenship status of the indigenous peoples? Indigenous peoples need to be recognized, not just for their unique identity, but also as general cultural citizens. The author analyses both cultural representation and cultural production, with particular focus on the making of “ourselves /coexistence”, museum classification and hierarchy. These were used to analyze the conditions for and the difficulties of indigenous peoples participating as peers in national cultural representation. In conclusion, the reforms of the National Palace Museum at the time were entangled in denationalization, deChinalization and depoliticization. This led to failure to concentrate indigenous peoples' participation as peers. Under the opposing duality of “Taiwanese culture” and “Chinese culture”, the main reasons why importance was placed on the Austronesian peoples were their “prehistoric” ancestry and “marine” geographical construct. Coexisting experiences, indigenous /Han Chinese relationship--the modernity of indigenous peoples, and the colonial encounter failed to be subjected to introspection. |