中文摘要 |
本文探討民主化歷程中,創傷記憶場址如何在人權宣告及以文化為名的都市行銷裡,通過襲產化、景觀化和遊憩化等手段重組,轉生成為引渡轉型正義的紀念地景。作者結合文化治理、文化經濟與批判的襲產研究等觀點,運用文獻分析和田野觀察,比較韓國光州與台灣高雄這兩個非首都且擁有抵抗歷史的城市,其重塑創傷場址、治理暗黑記憶的異同之處與內蘊張力。作者主張,創傷場址的人權紀念地景塑造,體現了台灣與韓國民主化進程中,中央與地方政府在政治及經濟方面的複雜考量,通過文化轉生機制而彰顯出來,捲入了地方認同營造、城市經濟振興、以及區域政治抗衡。置身農業地帶的光州,比起仰望海洋城市策略的高雄,更依賴暗黑記憶的襲產化與文化經濟。相對的,在高雄追趕式的大型文化館舍興建風潮下,暗黑記憶與人權地景宛如聊備一格的點綴。然而,無論光州或高雄,人權紀念地景的文化轉生可能將歷史傷痛予以物質化和符號化,構成疏離的他者奇觀,卻錯失了轉型正義的實質內涵。
This article explores how the reincarnation of traumatic sites as memorial landscapes, which are expected to represent justice during democratization, might be the results of city marketing strategies conducted in the name of human rights and culture, such as heritagization, landscape-making, and recreationalization. The perspectives of cultural governance, cultural economy, and critical heritage studies are adopted as the analytical frameworks for understanding the two cases of Gwangju in South Korea and Kaohsiung in Taiwan, both of which are non-capitals with a history of resistance. The article discusses the respective transformation of their dark memories by shedding light on how their strategies differ according to specific urban agendas and on how the inherent tension is hence evoked in either case. It is argued that the reshaping of traumatic sites into landscapes of human rights embodies the complicated political and economic contestations between the central and local governments. In both cases, the tensions are made clear through the mechanism of cultural reincarnation, which involves local identification, urban revitalization, and regional counterbalance. Situated in the agricultural area, Gwangju appeals to the heritagization of dark memories and cultural economy more than the harbor city of Kaohsiung; the latter, in contrast, is more intent on building imposing cultural venues and thereby renders the landscape of dark memories and human rights rather decorative. Despite these differences, however, the memorial landscapes reshaped through cultural reincarnation in both cities still materializes and symbolizes historic traumas. While alienated spectacles are thus reassembled, the justice needed for successful social transformation might also be covered up. |