查詢結果分析
來源資料
頁籤選單縮合
題名 | Why Should Nostalgia Exist at All? The Secrets from the Past=懷舊:一個被建構的歷史 |
---|---|
作者姓名(中文) | 郭建慧; | 書刊名 | 環境與藝術學刊 |
卷期 | 5 2007.06[民96.06] |
頁次 | 頁55-68 |
分類號 | 922 |
關鍵詞 | 懷舊; 歷史; 擬仿物; 擬像; 布希亞; Nostalgia; Simulation; Simulacra; Hyperreal; |
語文 | 英文(English) |
中文摘要 | 文化認同與歷史記憶是當代台灣文化重要的議題,同時台灣建築專業亦強調歷史建築對城市地景與形塑共同記憶的重要性。這樣的堅持也意涵著歷史是客觀的且不可變。然而,後結構論述宣稱歷史是一被建構的事實,是一社會產物,並非一客觀且中立的事實客體,因此當歷史成為文化生產的基礎,同時亦須揭露其中所隱藏的政治意圖(the political intention)。本文企圖從布希亞的「擬像秩序」檢視歷史再現的本質。當台灣建築文化強調歷史性的同時,本文指出所謂的歷史再呈現(re-present)並不符合「再現」(representation)法則,而是如同布希亞所宣稱,歷史的再呈現與任何事實並無關聯,它是純粹的擬仿物,有效地誘惑主觀意識沉溺於某種無意義的懷舊氛圍。 |
英文摘要 | This paper develops a new understanding of the relationship between architecture and cultural identity that is often elaborated on the basis of the grand narrative of history. While nostalgic sentiment has come into being, there are certain attempts, theories and practices of reviving our historical past. Likewise, Taiwanese architects and theorists often stress the importance of integrating historical elements of a city or building into new architectural design as a way of generating a city's totality and a cure for sustaining or restoring collective memory as if our sense of history is universally and objectively determined. Nevertheless, when history is considered as a re-constructive product of power/knowledge exercises, its unchangeable nature is untenable. Fredric Jameson has implied that the political might be more privileged than the historical. While history serves as a prior source of governing cultural patterns and making cultural artefacts, we shall not omit the political implication that history serves as a mechanism of producing knowledge and shaping cultural identity. In no sense can history be more "autonomic" and "privileged" than other political apparatuses that also have effects on our cultural identity and its representation. As poststructuralist historicism argues, the past can never have the capacity to reveal itself again, or repeat the primitive originality of itself, to the present world. Instead, the past is endlessly deferred in images that are deployed to amount to the same thing. History has lost its meaning and been mutated into a pure object. Those signs or images about the past are not the historical, but the simulative, simulacra as Jean Baudrillard claims. Taiwanese architecture appears to anticipate a return to tradition, to generate an atmosphere of the historical, but in reality is trapped in symbolic exoticism. Such a nostalgic symbolism is not dominated by the logic of representation but by the logic of simulation. It bears no relation to any reality. It is its own pure simulacrum, and has turned itself into a hyperreal world, as an alternative world, that effectively seduces the subjects into an illusive nostalgic sentiment. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。