文化資產與國族想像：臺南府城日治時期古蹟詮釋中的時空再現

看到著名的白金漢宮、巴黎鐵塔、泰姬瑪哈陵，心中則立刻出現某個國家的名字，這是John Urry與Jonas Larsen視文化資產為國族想像之載體的原因。從這個觀點出發，反思當代臺灣之文化資產與國族認同議題，嘗試提問，深具帝國色彩者，就如日治時期的古蹟，如何引起臺灣之國族想像？臺灣的日治時期之遺跡，隨着政治民主化，意義幾度變遷，由帝國侵略的殖民意義者之遺物，轉型為文化資產，而標記臺灣文化。這個現象雖然反映出臺灣之文化論述的轉型，卻也引導重新思考臺灣的國族認同議題，就如此類具日本帝國殖民色彩的文化資產，又如何可能論述臺灣文化且傳達臺灣認同。雖說文化資產詮釋推動符碼轉型，深具殖民政治與文化色彩者，如何跳脫殖民論述的框架，將臺灣呈現為具有獨立時空情境的國族共同體，則是一個提問。本研究以文化資產詮釋為方法論，臺南府城日治時期古蹟資產為研究對象，官方之文本為實證資料，論證日治時期文化資產詮釋，何以具體化臺灣共同體想像。古蹟詮釋的過程中，多元的文本交互使用，將古蹟的個別意義再製成臺灣文化的載體；既具體化臺灣文化，也在選擇記憶與遺忘的過程中，過濾掉帝國殖民者的角色，定義臺灣國族共同體的範疇與疆界。

關鍵字

文化資產詮釋；國族想像；國族認同；日治時期

並列摘要

John Urry and Jonas Larsen maintain that cultural heritage is a vehicle of national identity. When one sees the image of Buckingham Palace, Eiffel Tower, or Taj Mahal, it is the country's name that immediately comes to mind. Focusing on the interpretation of the cultural heritage, this study argues that a certain kind of heritage sites from the Japanese era is perceived as an insignia with socio-cultural significance as well as an embodiment of Taiwanese identity. The transformation of cultural policy of post-war Taiwan reflects the shift of the culture discourse, and also raises the concern how those monuments which were mostly associated with the foreign rule can incite ＂Taiwanese＂ national imagining. The key concept of historical and territorial notions which serves as the fundamental elements of ＂national pattern＂ constitutes the analytical framework of this study. I use various types of resources to explain the way in which the state of ROC built up the cultural discourse of Taiwan. Through those interpretive approaches, one single heritage site becomes a sphere which not only conjoin a myriad of affective realms, but also re-marks the boundary of Taiwanese national community.