往昔的暗流：日本博物館的殖民遺緒與策略反思，1977-2017

Abstract

這本論文探討博物館的殖民論述如何在十九世紀晚期與二十世紀的日本被創造、在後續幾十年之間的演變，以及它如何持續形塑對過去與現在的（殖民）主體的再現。 透過歷史學、博物館學與人類學的文獻，本研究著眼於從1872年以來，日本對博物館一系列概念化的過程。藉由歷史材料，試著重構戰前與戰後的日本對於愛努人與韓國殖民論述的變化。本研究主張多層次地理解這個構框，它一方面反映了日本對於西方國家與他者的自我意識，另一方面也合法化了殖民統治。 在研究方法上，本研究採用質化的個案研究法，比較東京國立博物館（Tokyo National Museum）以及日本國立民族學博物館在1977年到2017年之間對於愛努人與韓國人的再現。本研究指出演變後的殖民論述持續與殖民詞彙相互作用，最終導致了負面的再現。然而這並非一個靜態的過程，透過對能動性的關注，新的詮釋逐漸有了發揮空間。 最後，將人類學理論結合對殖民國文化與政治領域變化的關注，本研究試圖挑戰殖民論述的預設，主張我們不應將博物館與社會、政治的關係的理解為二元且單向的互動（如殖民者／被殖民者），而是一個複數力量交錯的場域；博物館需要扮演至關重要的角色，作為展品的「中介者」，揭露更寬廣的脈絡以及所有不應被抹除的歧異。

This thesis focuses on how a colonial discourse formulated in the late nineteenth and twentieth century in modern Japan and evolved and changed in the subsequent decades, continues to impact the representation of former and current (colonial) subjects. By relying on historical, museological, and anthropological literature, it sets out a discussion on the conceptualization of museums and how they came to be and continue to be in Japan from 1872 onwards. By focusing on historical literature, it sets out to formulate the dynamics of colonial discourses regarding the Ainu and Koreans in pre- and post-war Japan. This research argues for a multi-layered understanding of such a framework, as a reflection upon the Japanese self-concerning Western countries and others, while at the same time legitimizing control. By applying a qualitative case study-approach and comparing the representation of the Ainu and Koreans in the Tokyo National Museum (TNM) and the National Ethnographic Museum (Minpaku) between 1977 and 2017, it argues that evolved forms of colonial discourses interplay through the continuation of the vocabulary of colonial discourses, negatively affecting modes of representation. However, this research argues against the notion that this is a static progress, as space is slowly provided for new interpretations through a focus on agency. Lastly, through the application of anthropological theory and a focus on changes in the cultural and political domain in Japan and other former colonizing nations, it tries to construct tools for challenging the presumptions of the colonial discourse. This research argues that we need to understand the interaction of museums and society or politics as a two-way or three-way street, but rather as intersection; museums need to play a crucial role of ‘broker’ for the objects on display, revealing the social context and all its discrepancies.