在「中華民國─台灣」之符號交融下的金門認同：於「第四空間」下所再現之金門地區博物館的「社會責任」

Communitas of Kinmen Identity within“Republic of China-Taiwan”: The Meaning of Social Responsibility of Kinmen’s Museums from the View of Fourthspace

中華民國與台灣兩種對象的認同與其間的緊張，在當下台灣社會是關鍵的問題。本文以金門地區的博物館為研究的對象，即是以地緣及歷史上與本島台灣相當不同、並特別強調中華民國認同的金門，了解「中華民國－台灣」兩組認同符號間的關係，以及隨之而來所交融的金門認同。並且，為能系統又有效地掌握此間的符號，筆者以金門地區三種主要類型之博物館的展覽，作為本文的研究對象。其次，就此一認同現象的交融，本文從關係主義的存有來建構出「第四空間」，再具體說明其中固然存在著「中華民國－台灣」兩組符號的對比，但此間建構的並非是種實體，而是互為內在他者地相倚，並參照著總體的群體關係。如此一來，不僅在博物館之展覽的集體再現裡會出現兩種認同符號的交融，它們還在民主轉型期間益加緊密。再者，交融的發生及內容同時受到博物館之性質及其所處之制度形態的不同而有差異。以中國大陸為外在他者的戰地博物館，與向海外串聯的僑鄉博物館，大部分由內政部所屬之金門國家公園管轄，其所再現之符號的交融，較由金門縣府所主管、向中國大陸延伸之閩南文化類型之博物館為高。最後，不管是哪一種類型的博物館，金門所在的空間都因地緣及歷史文化上的特殊性，在民主轉型之「台灣化」的過程中成為較邊陲的角色，但它所再現之「中華民國台灣」的認同形式，卻正是當下台灣主流的認同論述。因此，在此間博物館中所集體再現的認同形式，即以其特殊的邊陲性，於「中華民國－台灣」的交融之間，實踐了當下台灣的社會責任，也就是在多元與差異之間，提醒著總體性的價值。

The question of identity is critical in Taiwan, while the case of Kinmen plays a special role in this regard because of its geo-historical position. As such, this research elaborates a relational perspective to study the representation of its three main types of museums, which are the minan (閩南), battlefield (戰地), and qiaoxiang (僑鄉), and to demonstrate the communitas of Kinmen’s identity. These museums are constructed mostly in the course of democratization, within which the symbolic struggle between Republic of China and Taiwan plays a central role, and leads to the construction of Kinmen’s identity. In other words, Kinmen’s identity is constructed vis-a-vis Taiwan on the one hand, and represents the communitas of “ROC-Taiwan” on the other. This is because Kinmen not only takes Taiwan as internal Other, but also intertwines itself with Taiwan in the construction of an imagined community, named “ROC-Taiwan”, which is the mainstream discourse of national identity of the present time. Yet, Kinmen’s museums demonstrate much more abundantly the image of the “ROC-Taiwan” among others, with their respective configurations. As a result, these museums represent Kinmen’s local identity and nation identity at the same time. Thus, the concept of fourthspace is capable of demonstrating the elaboration of identity in Kinmen. Moreover, the representation of the three types of museums manifests soundly the fact that the existence of Kinmen itself realizes the idea of social responsibility since it leads not only to the social inclusion and plurality, but also and more importantly to the reminder of “ROC-Taiwan” as a whole.