觀光•凝視•阿里山：以日治時期臺灣漢詩文與圖像為分析場域

Tourism•gaze•Alishan：An Analysis of Writing in Taiwanese Literature and image during Japanese Ruling Period（1895-1945）

江明慧(Ming-Hui Chiang)

指導教授 ： 黃美娥

國立臺灣大學/文學院/台灣文學研究所/碩士(2012年)

https://doi.org/10.6342/NTU.2012.01697

摘要

本論文的研究重點，在於釐析日治時期阿里山觀光形象的建構與形變，以古典漢詩文為考察對象，而輔以圖象的對照研究。本論文主要貢獻包括：（一）以「觀光凝視」考察作為主要研究方法，梳理日治時期阿里山山岳觀光化的進程；（二）辨析阿里山觀光意象的內涵與實踐。

論文共計五章：

　　第一章緒論部分，旨於說明研究材料來源與阿里山所具備的觀光意義和特色，接續對既有研究之現況作一回顧與對話，確立以「觀光凝視」概念作為觀光圖景形構之切入視角，使觀看的方式連結社會文化脈絡。

　　第二章釐析觀光環境與觀光視線的形成，以嘉義市及阿里山山岳空間為對象，考察日治時期臺灣重要經濟都市的歷時性空間轉化過程，一方面為經濟、政治結合的殖民過程，一方面則由清代相對孤立、地方化的經濟生產空間，提升為國家力量操控、規劃的各種計劃與調查。其次，透過各種旅遊制度的說明，審視林業漸竭後，阿里山轉型為觀光都市的過程，而旅遊制度化便創造了觀光凝視的視角、且擷取關鍵意象，透過組織的力量開發旅遊空間、予以固定化，使阿里山從經濟場域轉變為具有再生產性、特殊性的地方，從而承載豐富的經濟文化、政治意義，成為可視的風景。

　　第三章審視原本存在於阿里山的風景，如何轉變為重要地景。首先是具有雙重形象的鄒族，一方面以蠻民形象賦予統治文明進入之合理性，另一方面則被歸為較馴服的「南蕃」，與吳鳳故事撫順鄒族的意義大相矛盾，藉此討論鄒族在觀光發展中所扮演的角色，對應於此，吳鳳故事的「義人精神」如何建立，亦是本章關懷重點。再者，吳鳳故事在書寫上與清代所具原型相較產生諸多變革，更傳播至海外成為臺灣�阿里山形象的一環，據此興起的吳鳳廟及吳鳳受難碑等景點，則展示日本以阿里山鄒族的教化故事，作為臺灣形象擴及海外的進程，其中，旅遊者並非全然配合意象的重製，具有鬆動論述的可能。最後，世界稱頌的寶庫檜林資源，受到阿里山資源取向的開發，使得伐木風景背後，隱藏著旅者無法想像的真實後臺，由檜林運出到東亞第一製材廠，其間具有觀光圖景的深刻轉化。

　　第四章承繼前述觀光地景的討論成果，在此則要進以聚焦觀光圖像愈趨繁複，以及抽象的神木、鐵道與櫻花論述，透過觀光凝視的建構提煉視覺元素成為意象（image）。森林鐵路帶有封閉、框限的觀覽方式，以及林相、溫度變化的風景知覺，甚至沿途斷崖、隧道的刺激體驗，讓旅遊凝視從視覺靜態加入動態的身體感知層面，從而進入了臺民的生活與日常意識，徹底改變旅遊範式；而阿里山神木由日本名木、天然紀念物的保存風潮演變至具有天皇信仰意義的特殊地位，因為鐵道驛站的設立，反而更加普遍地迎向大眾，藉由鐵道旅行成為重要且固定的參訪景點，神性於焉為可掌握的論述權力，無論在官方或民眾的描繪中，都是相當具有代表性的視覺印象，更大量以不同角度、線條運用在寫真照片、明信片、戳章等媒材中，視覺符號因此廣博流通於各種用途；旅遊活動至賞櫻風俗進入阿里山後臻於完熟，阿里山山櫻為臺灣原生特有種，不同於霧社櫻或草山櫻，以往未嘗被託寓意象或作於詩歌，然而日人引進日本內地櫻後，臺灣原生種重新被「看見」，加以鐵道旅行模式大受歡迎，賞櫻團在每年三、四月絡繹不絕，置換風景的同時，阿里山由經濟場域轉為確立具備消費實踐的旅遊地域，賞櫻形式和景點選擇的豐富繁多，正式宣告阿里山觀光旅遊在島內的優勢條件。

　　第五章總結全文，綜合前述各章的研究所得，並敘述未完之計畫內容，以及展望後續研究。

透過以上梳理，觀光凝視之於地景空間，已然由文化作用力發酵為經濟作用力，其次，實體山岳地域，經由凝視所標記（marker）而創造的圖像或書寫，於此產生對風景的詮釋效果，再現為具有特殊性及再生產性的地景�地方，開始進入大眾生活，影響前現代的旅遊行為。

關鍵字

日治時期 ； 阿里山 ； 觀光凝視 ； 漢詩文 ； 圖像分析

並列摘要

The focus of this paper is readily the Japanese colonial period Alishan tourism image of the construction and deformation from classical Han poetry, and supplemented by the image control study. The main contribution of this paper include: (a) to examine the "tourist gaze" as the main research method, combing the Japanese colonial period Alishan Mountain Yue Guanguang process; (b) Discrimination of meaning and practice of Alishan's tourism image.

Paper a total of five chapters:

The first chapter of the introduction part, aims to explain the source of research material and the Mt. With tourism significance and characteristics, follow a review of the current status of both research and dialogue, established the concept of the "tourist gaze" as a tourist picture-shaped structure of the cutperspective, viewing link social and cultural context.

Chapter II PCT analysis of the tourism environment and tourism sight, Chiayi and Alishan mountain space, study the important economic city in the Japanese colonial period lasted space conversion process, on the one hand, the combination of economic, political, colonial process. On the one hand be relatively isolated from the Qing Dynasty, the localization of economic production space to enhance national power manipulation, planning a variety of planning and investigation. Secondly, through a variety of travel a description of the system, examine forestry gradually dried up, the the Alishan transition process for the tourist city, travel institutionalized had created the tourist gaze perspective, and retrieve the key image, space travel through the power of organization and development, to be fixed, Alishan change from the economic field as reproducibility, specificity, which carries a rich economic, cultural and political significance, and visual landscape.

The third chapter look at the original scenery of Alishan, how to change as important to King. The first is a double image of the Tsou tribe, on the one hand to give reasonable rule of civilization into the image of the very people the other hand, were classified as more tame "South Fan, Fushun Tsou meaning of Wu Feng story in contradiction to discuss the role of the Zou tribe in tourism development, corresponding to this, the Wu Feng story of "the spirit of the righteous" how to build, nor is the care the focus of this chapter. Furthermore, Wu Feng story in writing with the Qing Dynasty with the prototype compared to generate a lot of changes, but also spread to the overseas part of Taiwan's / Alishan image, whereby the rise of Wu Feng Temple and Wu Feng suffering monument attractions, show Japan to Alishan Tsou enlightenment story, as the process of Taiwan's international image expansion and overseas, where tourists are not totally with the image reproduction, with the possibility of loose discourse. Finally, the world praise the treasure house of cypress forest resources by the development of the the Alishan resource orientation, makes logging landscape behind, hide the true background of the trip can not imagine shipped to East Asia saw mills cypress forests, during which tourism picture profound conversion.

The outcome of the discussions of Chapter IV inherited the aforementioned tourist landscape, this will have to enter in order to focus on tourism image is more complicated, and abstract of sacred trees, railway and cherry discussed and refined visual elements through the tourist gaze constructed image (image). Forest Railway with a closed box limit Ferris, as well as the changing landscape of forest, temperature perception, and even along the cliff, the exciting experience of the tunnel, so that the tourist gaze to add dynamic and static from the visual body perception level to enter Taiwan and China the daily life and consciousness, completely changed the tourism paradigm; Alishan sacred trees by the Japanese wood, natural monuments, save the wave of the evolution of a special status to the Emperor significance of faith, because the establishment of the Railway Inn, but Looking more generally public. fixed visiting attractions, traveling by railway divinity Yu Yan master discourse powers, both in the official portrayal of people are quite representative of the visual impression, but also a large number of different angles, lines used in pictorial photos, postcards, Stamp, and other media, visual symbols so extensive circulation in a variety of purposes; after reaching the ripe tourism activities to the cherry blossom customs to enter Alishan Alishan mountain cherry native to Taiwan endemic species, different from the fog Social cherry or Grassy cherry, not a bad idea in the past been entrusted meaning as for poetry, however, the Japanese introduction of the Japanese Mainland cherry native species re-"see" them. Rail travel mode popular cherry blossom viewing group in each year three, April flocked to the replacement landscape at the same time, Alishan by the economic field to the established tourist region, with consumption practices cherry blossom viewing in the form and attractions selected range of rich, formal declaration of Alishan tourism in the island's advantages.

Chapter V summarizes the findings of the full text of the preceding chapter, and a description of the contents of the unfinished plan, as well as the outlook of future research.

Through more than combing the tourist gaze space in the landscape, already fermented by cultural forces as economic forces, Second, the entity mountain geographical, through the gaze of the mark (marker) and create an image or writing, and this generated landscape interpretation of results, reproducibility for special reproduction of the landscape / place, began to enter public life, the impact of pre-modern travel behavior.

並列關鍵字

Japanese Ruling Period ； Alishan ； the tourist gaze ； Image analysis ； Writing in Taiwanese

參考文獻

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