東華大學圖書館 |

Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan // Shih Chang.
作者:	Chang, Shih,
面頁冊數:	1 electronic resource (222 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-06, Section: A.
Contained By:	Dissertations Abstracts International86-06A.
標題:	Social change. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31777120
ISBN:	9798346775270

Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan /
Chang, Shih,

Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan /Shih Chang. - 1 electronic resource (222 pages)

Source: Dissertations Abstracts International, Volume: 86-06, Section: A.

This thesis discusses four national museums in Taiwan and their exhibitions on Asia and Southeast Asia, in which immigration histories play a crucial role. Since the 1960s, Taiwan has welcomed marriage migrants and, subsequently, migrant workers from Southeast Asia and Mainland China. Concurrently, civil movements regarding the revival of Hakka culture and aboriginal culture, both minority groups in Taiwan, pushed the Democratic Progressive Party (DPP) to establish related councils at the cabinet level. This attention to the rights of minority groups occurred in the 1980s to lessen conflicts and to create a multicultural society. The current dominant view created during this period was that Taiwan served as a 'migration post' for people from Mainland China as early as 1600, and peaks of population were reached in each stage of colonial history (Dutch-Qing period, Japanese Occupation, KMT rule). Therefore, the narrative was that the nature of Taiwan as a migrant and plural society makes it particularly important to manage and construct a cohesive national identity built divergent experiences of different social groups. This view continued to strengthen after the DPP won Taiwan's presidential election for a second time and became the majority ruling party in the unicameral Legislative Yuan in 2016. Along with this political development, national museums have been moving towards representing Taiwan as a multicultural nation and stressing cultural and ancestral ties with Austronesian and even more with Southeast Asian countries. In this representation, Taiwan is seen as a migratory island instead of a Chinese society. It is in this context that cultural institutions and national museums began creating content on the history and culture of Southeast Asian immigrants 'as part of Taiwan's community.'This thesis studies how Taiwanese identity is represented in national museums through the display of other / otherness during 2016-2020, by addressing the following questions. In what way do the national museums in Taiwan portray and represent Southeast Asia and Asia as a concept, and what does this imply? Why are museums in Taiwan exhibiting and collecting immigration history, and what does it reveal regarding the urgency to form a Taiwanese identity? This thesis critically examines the influence of emerging nationalist discourse on national museum exhibitions, its transformative effect in redefining the narrative of Taiwan's multicultural society, and its increasing entanglement with the field of museums worldwide.As revealed in the four selected national museums, exhibiting other/otherness by ways of display curation and education program is a method, technique, and means to build a national consciousness in Taiwan. This is problematic in two ways. First, it reflects a tipping point of the rise of the formation of Taiwaneseness after the 1990s. Second, it reveals how building narratives of Taiwanese identity seems only possible when referring to the boundary between self/other. This research critically argues that the studying of the other as foreign and representing them in museums and exhibitions has actually achieved an epistemological irony. Taiwan's case is particularly interesting because its museums are struggling to overcome the dichotomy of self and other, as their goal is to draw a boundary that defines Taiwan's national and cultural identity. These museums are 'playing' with concepts and elements of self and others, and this play is a result of the special position of Taiwan, politically isolated and culturally lost in Asia. I argue that Western thinking assuming a binary relationship between self and other proved to be useless in Taiwan when seeking to form a concrete national identity, since it is impossible for Taiwan to separate the self from the other due to complex, layered colonial pasts. The self and the other collapse inwards; thus, these museums continue to struggle to create 'clear-cut' representations regardless of how they include or exclude 'the other'.This thesis is, therefore, not simply concerned with museum practice and Western domination, but is connected to larger issues of collecting, archiving, and displaying culture in Asia, and how museum practice becomes a problematic instrument for defining one's national and cultural identity when the self/other is a collapsing dialectic rather than a binary.

English

ISBN: 9798346775270Subjects--Topical Terms:

526824
Social change.

Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan /
LDR:05648nmm a22003733i 4500 001 2437954
005 20251121100743.5
006 m o d
007 cr|nu||||||||
008 261011s2022 miu||||||m |||||||eng d
020 $a 9798346775270
035 $a (MiAaPQD)AAI31777120
035 $a AAI31777120
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Chang, Shih, $e author. $3 3829112
245 1 0 $a Politics of Imagining: National Museums and the Display of Southeast Asia in Taiwan / $c Shih Chang.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2022
300 $a 1 electronic resource (222 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 86-06, Section: A.
500 $a Advisors: Goh, Daniel Pei Song.
502 $b Ph.D. $c National University of Singapore (Singapore) $d 2022.
520 $a This thesis discusses four national museums in Taiwan and their exhibitions on Asia and Southeast Asia, in which immigration histories play a crucial role. Since the 1960s, Taiwan has welcomed marriage migrants and, subsequently, migrant workers from Southeast Asia and Mainland China. Concurrently, civil movements regarding the revival of Hakka culture and aboriginal culture, both minority groups in Taiwan, pushed the Democratic Progressive Party (DPP) to establish related councils at the cabinet level. This attention to the rights of minority groups occurred in the 1980s to lessen conflicts and to create a multicultural society. The current dominant view created during this period was that Taiwan served as a 'migration post' for people from Mainland China as early as 1600, and peaks of population were reached in each stage of colonial history (Dutch-Qing period, Japanese Occupation, KMT rule). Therefore, the narrative was that the nature of Taiwan as a migrant and plural society makes it particularly important to manage and construct a cohesive national identity built divergent experiences of different social groups. This view continued to strengthen after the DPP won Taiwan's presidential election for a second time and became the majority ruling party in the unicameral Legislative Yuan in 2016. Along with this political development, national museums have been moving towards representing Taiwan as a multicultural nation and stressing cultural and ancestral ties with Austronesian and even more with Southeast Asian countries. In this representation, Taiwan is seen as a migratory island instead of a Chinese society. It is in this context that cultural institutions and national museums began creating content on the history and culture of Southeast Asian immigrants 'as part of Taiwan's community.'This thesis studies how Taiwanese identity is represented in national museums through the display of other / otherness during 2016-2020, by addressing the following questions. In what way do the national museums in Taiwan portray and represent Southeast Asia and Asia as a concept, and what does this imply? Why are museums in Taiwan exhibiting and collecting immigration history, and what does it reveal regarding the urgency to form a Taiwanese identity? This thesis critically examines the influence of emerging nationalist discourse on national museum exhibitions, its transformative effect in redefining the narrative of Taiwan's multicultural society, and its increasing entanglement with the field of museums worldwide.As revealed in the four selected national museums, exhibiting other/otherness by ways of display curation and education program is a method, technique, and means to build a national consciousness in Taiwan. This is problematic in two ways. First, it reflects a tipping point of the rise of the formation of Taiwaneseness after the 1990s. Second, it reveals how building narratives of Taiwanese identity seems only possible when referring to the boundary between self/other. This research critically argues that the studying of the other as foreign and representing them in museums and exhibitions has actually achieved an epistemological irony. Taiwan's case is particularly interesting because its museums are struggling to overcome the dichotomy of self and other, as their goal is to draw a boundary that defines Taiwan's national and cultural identity. These museums are 'playing' with concepts and elements of self and others, and this play is a result of the special position of Taiwan, politically isolated and culturally lost in Asia. I argue that Western thinking assuming a binary relationship between self and other proved to be useless in Taiwan when seeking to form a concrete national identity, since it is impossible for Taiwan to separate the self from the other due to complex, layered colonial pasts. The self and the other collapse inwards; thus, these museums continue to struggle to create 'clear-cut' representations regardless of how they include or exclude 'the other'.This thesis is, therefore, not simply concerned with museum practice and Western domination, but is connected to larger issues of collecting, archiving, and displaying culture in Asia, and how museum practice becomes a problematic instrument for defining one's national and cultural identity when the self/other is a collapsing dialectic rather than a binary.
546 $a English
590 $a School code: 1883
650 4 $a Social change. $3 526824
650 4 $a Citizenship. $3 530862
650 4 $a Minority & ethnic groups. $3 3422415
650 4 $a Immigrants. $3 558623
650 4 $a East Asian studies. $3 3764093
650 4 $a Ethnic studies. $2 bicssc $3 1556779
650 4 $a Sociology. $3 516174
690 $a 0773
690 $a 0631
690 $a 0626
710 2 $a National University of Singapore (Singapore). $e degree granting institution. $3 3765631
720 1 $a Goh, Daniel Pei Song $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-06A.
790 $a 1883
791 $a Ph.D.
792 $a 2022
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31777120