辛亥革命敘事與新加坡國族建構：晚晴園中的展覽政治

Narratives of Revolution of 1911 and Nation-building of Singapore: Politics of Display in Singapore's Sun Yat Sen Nanyang Memorial Hall

本文以新加坡的晚晴園（亦稱孫中山南洋紀念館）為例，分析新加坡的國族建構如何在辛亥革命的脈絡下被重新想像。晚晴園自2009年開始，隸屬於新加坡國家文物局之後，經過翻修、擴建，於2011年重新開放。自隸屬於新加坡國家文物局之後，晚晴園的展覽內容、分類系統即須肩負彰顯文物局成立目標之責任，即國家文物肩負國族建構、凝聚認同的責任。本文主要探討：一、辛亥革命、抗日救（中）國的新展覽內容如何在減少與南洋的連結之際，增加了與新加坡歷史更為相關的部分，亦即晚晴園的展覽如何再現國家意識型態？二、孫中山與當地革命先賢之歷史，如何與新加坡認同凝聚息息相關，其中的文化政治如何從泛華人民族主義轉化成新加坡國族認同？據此，本文分為三大部分：第一部分介紹晚晴園的歷史、過去展覽及其改變歷史定位的過程與官方論述；第二部分以文化展覽上所發展的「詩學」與「政治」理論為基礎，分析晚晴園於2011年重新開放的展出內容；第三部分則將展覽內容的文化政治與新加坡在殖民時期與二次大戰時期的歷史圖像做一對照，並藉此檢視新加坡作為一「國族」的想像，以及新加坡的生存危機想像。經過對照與分析，本文認為，晚晴園的展覽顯示新加坡政府試圖將國族想像的歷史系譜推至獨立建國之前，並試圖為重商意識型態展開歷史鋪陳。

Taking Singapore's ＂Wanqingyuan,＂ also termed ＂Sun Yat Sen Nanyang Memorial Hall＂ as an example, this paper firstly explores how the new display of the Revolution of 1911 and overseas Chinese anti-Japanese movement relate to Singapore's history? In other words, how the display serves Singapore's national ideology? Secondly, this paper explores how pan-Chinese nationalism has transformed into fortification of ＂Singaporean＂ identity? This paper is divided into three parts accordingly. The first part introduces Wanqingyuan's history, past display and the official discourses regarding its historical status. Secondly, this paper analyzes the new display based on Henrietta Lidchi's theory. This paper then compares the cultural politics of the display and Singapore's historiography during colonial and war period. Based on this comparison, the imaginary of Singapore as a ＂nation,＂ the imaginary of ＂Singaporean＂ identity and the imaginary of Singapore's survival will be examined. Finally, this paper argues that the new display not only extends but also re-affirms the priority and necessity of economic development of Singapore.