摘要
本論文研究從「看得見與看不見的檳城峇峇娘惹」出發，以社群組織、節慶舞蹈及博物館展覽中娘惹的展演與實踐，去理解檳城娘惹的性別身分如何被看見，且在其中強化並同一化娘惹的形象；此外，本論文也指出當代檳城峇峇娘惹不同於以往以男性為主的峇峇論述，而是透過娘惹來建構其族群文化身分，意圖指出娘惹的主體能動性，並進一步解析在此背後對於峇峇娘惹的傳統想像與階級的隱喻，是不斷經由對公眾的展示及表演來再現的。 再者，本研究也指出在檳城娘惹從「家」跨越到公開的公領域的同時，娘惹手工技藝的傳續，出現了在家庭中傳承轉移到在社群中學習的變化，原本在家中傳承的檳城峇峇娘惹文化，在當代則是以社群作為傳承與學習的場域。 而論文最後以檳城娘惹的傳統想像總結娘惹文化展演背後混雜的族群本質，在檳城經歷遺產化過程後，娘惹混雜身分的傳統想像揭示了當代馬來西亞華人在找尋族群主體及位置時，尋根的根源不再只是遙遠的中國想像，也有混雜華巫文化的在地娘惹想像。而本論文也以當代活躍的檳城娘惹及漸漸成為歷史敘事的峇峇為對照，從展演、文化傳承與自我形象的敘事導向檳城娘惹的身分認同。相對於被認為是Dying cultue、歷史敘事上的檳城峇峇文化，本論文試以娘惹為族群主體的展演與認同，來論述當代以檳城娘惹為主的Living culture。
並列摘要
The aim of this paper is to point out the vividness of Penang nyonyas and the contemporary Penang baba nyonya community. Through anthropological view and gender aspect to see different aspects of Penang baba nyonya community, for instance, organizations, festivals like "Chap Goh Meh" (十五暝) and George Town festival and museums in Penang, to discover how the Penang nyonyas present themselves infront of public to making and being a ‘traditionsl nyonya’, and how they practice their daily culture in 21th century. Not like the previous baba studies, this paper also indicates that contemporary Penang baba nyonya community is built by vivid nyonyas’ images, whose ethnic characteristics are strongly emphasized. By representing the ethnic characteristics, we can found the traditional imagination of baba nyonya and the hierarchy metaphor behind. Comparing to baba studies which so-called ‘dying culture’ is historical narrated , nowadays, the lively Penang nyonya as a ethnic subject acquiring status and recognition, and is an important idenitification of Penang baba nyonya community. The Penang nyonya culture is not only material elaborations but accompanied with a living culture.