龜山眷村故事館之建構與展示性別意象之研究

A Study on the Construction and Gender Images of Exhibition of the Gueishan Military Dependents Village Museum

江濡因(RU-YIN CHIANG)

指導教授 ： 陳佳利

國立臺北藝術大學/文化資源學院/博物館研究所碩士班/碩士(2009年)

https://doi.org/10.6835/TNUA.2009.00013

摘要

本研究以桃園縣龜山鄉的眷村故事館為個案，運用參與觀察與展示分析方法，探討眷村故事館策展團隊成員建構展示之過程及其展示與敘事手法，以分析眷村故事館展示之性別意象。詮釋取向方面，抱持「多元共響」的理念，運用紐約州立博物館性別公平委員會提出之六種性別偏見的類型與標準作為閱讀視角，省思與檢視展示之性別意象有何框架與侷限。

研究發現眷村故事館的策展團隊成員多數都不是住在眷村，也不在龜山成長，她們聚在一起是為了開創自己的「家鄉」，以及建立非血緣關係而形成的「家庭」。因此不難理解眷村故事館展示為何是採取「把他鄉變故鄉」作為論述主軸，試圖從日常生活出發，大量的以居民曾使用之老文物拼貼出眷村家庭之場景。而策展團隊成員所形塑之眷村意象也就會是美好且令人懷念的，藉著強化眷村傳統二元的性別意象－如「男人出走，女人創造」、「男人管理，女人照護」、「男性軍旅、女性家庭」，勾起觀眾對「勞動的鄉愁」之回憶，使得展示顯得更為「真實」，也更容易凝聚觀眾對龜山眷村之認同。可惜，這種展示與敘事手法為了召喚人們對眷村的懷念與認同，卻會將某些男性與女性不對等的關係忽略或視為理所當然，而難以在展示中藉著表達遷徙對眷村女性造成的衝擊、突顯女性的生活經驗與感受。

關鍵字

眷村 ； 展示 ； 性別意象 ； 龜山眷村故事館

並列摘要

In order to introduce the gender issues of the museum, we take the Gueishan Military Dependents Village Museum as the case in this research, applying with the methods of participant observation method and a displaying analysis technique. The research discusses how the members in the museum establish, display and narrate to analyze the gender images displayed in the Gueishan Military Dependents Village Museum. The interpretation lies in the concept of “multi-sharing.” Besides, the research applies the six types of gender bias and standards proposed by Gender Equity Committee in the New York State Museum as the reading perspective to reflect and examine what limits the displayed gender images.

In this research, we find that most of the members in the Gueishan Military Dependents Village Museum do not live in the military dependent quarters nor do they grow up in Gueishan Township. They gather together is to establish their “hometown” and their “family” without any relationship. Therefore, there is no difficulty in understanding why the museum adopts the concept of “changing others’ homes to their hometown” as the discussion topic, with the trying to make use of the daily life and many residents’ old and cultural objects to piece the scene of the military families together. And the images of the military dependents established by the members will be also beautiful and memorable. For example, the strengthened and traditional dual gender images – “men’s leaving home and women’s creation”, “men’s management and women’s taking care of”, and “men’s military life and women’s family” attract the audience to remember their “homesickness in labor” to make the display appear truer and identify the audience with the military dependents in Gueishan more easily. However, it was a pity that in order to summon people to yearn for and identify themselves with the military dependents, this display and narrative technique will ignore some unequal relationship between males and females and does not express the impact, life experiences and feelings of the females in their migration to the military quarter.

並列關鍵字

Military Dependents Village ； exhibition ； gender images ； the Gueishan Military Dependents Village Museum

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