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請用此 Handle URI 來引用此文件: http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/79488
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dc.contributor.advisor坂井隆(Takashi Sakai)
dc.contributor.authorEileen Yee Lin Chamen
dc.contributor.author詹憶琳zh_TW
dc.date.accessioned2022-11-23T09:01:43Z-
dc.date.available2021-11-05
dc.date.available2022-11-23T09:01:43Z-
dc.date.copyright2021-11-05
dc.date.issued2021
dc.date.submitted2021-10-20
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The Ambiguities of the Nouvelle Droite, 1968-1999. The European Legacy, 6(3): 333-351. https://doi.org/10.1080/10848770120051349 Benedict, R. O. G. A. (1973). Notes on Contemporary Indonesian Political Communication, Indonesia, (16): 39-80. Boonzaaier, C. Wels, H. (2017). Authenticity lost? The significance of cultural villages in the conservation of heritage in South Africa. Journal of Heritage Tourism, 13(2): 181-193. https://doi.org/10.1080/1743873X.2017.1284851 Cai, Y. (2020). Staging Indigenous Heritage: Instrumentalisation, Brokerage and Representation in Malaysia. Routledge. Cai, Y. (Forthcoming). Capacity-building as a Modern Civilising Mission: The Case of the Mah Meri Cultural Village in Malaysia. The Museum in Asia. Routledge. Chen, C.-l. (1987). People and Culture. Southern Materials Center. Cohen, E. (1988). Authenticity and commoditization in tourism. Annals of Tourism Research, 15(3): 371-386. Davison, P. (2001). Typecast: Representations of the Bushmen at the South African Museum. Public Archaeology, 2(1): 3-20. DeGroff, D. A. (2012). Artur Hazelius and the ethnographic display of the Scandinavian peasantry: a study in context and appropriation. European Review of History: Revue européenne d'histoire, 19(2): 229-248. Deland, M., et al. (2014). In the Tracks of Breivik: Far Right Networks in Northern and Eastern Europe, edited by Mats Deland, Michael Minkenberg and Christin Mays. Fascism, 4(2), 209-212. https://doi.org/10.1163/22116257-00402008 Dellios, P. (2002). The museumification of the village: Cultural subversion in the 21st century. The Cultural Mandala: Bulletin of the Center for East-West Cultural and Economic Studies, 5(1). Dellios, P., et al. (1999). The Museum as Artefact, Made in Malaysia. James Cook University. Fraser, J. (2019). A Discomforting Definition of Museum. Curator, 62: 501-504. https://doi.org/10.1111/cura.12345 Freytag, J. (1968). A New Day in the Mountains: Problems of Social Integration and Modernization Confronting the Tribal People in Taiwan. Tainan Theological College. Gittins, J. (1992). Mudpaths paved with gold. Weekend Guardian. Hendry, J. (2000). The Orient Strikes Back: A Global View of Cultural Display. Berg Publishers. Hitchcock, M. (2003). Taiwan's Ambiguous South-East Asian Heritage. Indonesia the Malay World, 31(89): 69. Hitchcock, M., et al. (2005). The South-east Asian ‘living museum’ and its antecedents. Heritage, museums and galleries: an introductory reader. Routledge: 291-303. Hlabathe, N. (2019). Exploring the Authenticity of Lesedi Cultural Village: A Local Tourists’ Perception. Neo Hlabathe. Hoekstra, M. (2019). A Place for Stupidity: Investigating Democratic Learning Spaces in the Diorama. International Journal of Art Design Education, 38(3): 649-658. Hoffstaedter, G. (2008). Representing Culture in Malaysian Cultural Theme Parks: Tensions and Contradictions. 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SAGE Publications, Inc. Keith, A. N. (1939). Land Below the Wind. Little, Brown and Company. Kingsbury, D. (2003). Autonomy and Disintegration in Indonesia. Routledge. Lau, R.W.L. (2010). Revisiting authenticity: A Social Realist Approach. Annals of Tourism Research, 37, 478-498. Lewis, B.; Jurmain, R.; Kilgore, L. (2008). Cengage Advantage Books: Understanding Humans: An Introduction to Physical Anthropology and Archaeology. In Cengage Learning (p. 172). Wadsworth Publishing. ISBN 978-0495604747. Li, H. (2014). “Transplanting Yin Yu Tang to America: Preservation, Value, and Cultural Heritage.” Traditional Dwellings and Settlements Review, 25(2), 53-64. http://www.jstor.org/stable/24347717 MacCannell, D. (1973). Staged Authenticity: Arrangements of Social Space in Tourist Settings. American Journal of Sociology, 79(3): 589-603. Muzaini, H. (2017). Informal heritage-making at the Sarawak Cultural Village, East Malaysia. Tourism Geographies, 19(2): 244-264. Paridah, A. S., Bakar, D. (1992). Malaysia-Philippines Relations: The Issue of Sabah. Asian Survey, 32(6), 554-567. https://doi.org/10.2307/2645160 Pemberton, J. (1994). Recollections from Beautiful Indonesia (Somewhere Beyond the Postmodern). Public Culture, 6(2): 241-262. Reiss, M. and S. Tunnicliffe (2011). Dioramas as Depictions of Reality and Opportunities for Learning in Biology. Curator: The Museum Journal, 54: 447-459. Sadiq, K. (2008). Paper Citizens: How Illegal Immigrants Acquire Citizenship in Developing Countries. Oxford University Press. Sánchez Gómez, Luis. (2013). Human Zoos or Ethnic Shows? Essence and contingency in Living Ethnological Exhibitons. Culture History Digital Journal. 2. e022. 10.3989/chdj.2013.022. Sanggin, S. E. (2009). Community involvement in culture and nature tourism in Sarawak. Akademika, 77(1): 149-165. Spektorowski, A. (2003). The New Right: Ethno-regionalism, ethno-pluralism and the emergence of a neo-fascist ‘Third Way’. Journal of Political Ideologies 8(1): 111-130. Sterzuk, A. and V. Mulholland (2011). Creepy White gaze: Rethinking the diorama as a pedagogical activity. Alberta Journal of Educational Research, 57: 16-27. Wang, M. (2012). The Social Life of Scripts: Staging Authenticity in China's Ethno-Tourism Industry. Urban Anthropology and Studies of Cultural Systems and World Economic Development, 41(2/3/4), 419-455. http://www.jstor.org/stable/23339813 Wood, R. E. (1997). Tourism and the State: Ethnic Options and Constructions of Otherness. In M. Picard and R. E. Wood (Eds.), Tourism, ethnicity, and the state in Asian and Pacific societies (pp. 1-34). University of Hawaii Press. Worden, N. (2001). “Where it all Began”: the representation of Malaysian heritage in Melaka. International Journal of Heritage Studies, 7(3): 199-218. Worden, N. (2003). National identity and heritage tourism in Melaka. Indonesia and the Malay World. 31(89): 31-43. 独眼 (2013)。 荫余堂,外迁古建筑保护的孤例。 The New York Times. Retrieved 2 September 2021. https://cn.nytimes.com/culture/20130815/cc15architecture/?fbclid=IwAR2xu0KRl_cZVOwtKJYpjOBktZtES6hsz1f6agcvWr6cccgImXpTmM8OaO8 九族文化村。九族文化村。 九族文化村。Retrieved 12 May 2021, https://www.nine.com.tw/ 九族文化村。表演節目。 九族文化村 。Retrieved 12 May 2021, https://www.nine.com.tw/https://www.nine.com.tw/page/about/index.aspx?kind=64 lang=TW 原住民族委員會原住民族文化發展中心。歌舞節目。 原住民族委員會原住民族文化發展中心。Retrieved 12 May 2021 https://www.tacp.gov.tw/News/SongDanceIndex 原住民族委員會 (2021)。原住民族16族簡介。原住民族委員會 2021。 Retrieved 2 May 2021. https://www.cip.gov.tw/portal/cateInfo.html?CID=8F19BF08AE220D65 ACTIONLINE (2018). Sabah Museum's dirty sight a shock to visitors.The New Straits Times 16 September 2018, Retrieved 2 May 2021, https://www.nst.com.my/actionline/2018/09/411778/sabah-museums-dirty-sight-shock-visitors Borneo Admin (2019). Sabah Museum: An Abode Of History, Art And Culture. Borneo Travel, Retrieved 1 September 2021, https://www.borneotravel.com/blog/sabah-museum Chanvirak, K. (2020). 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dc.identifier.urihttp://tdr.lib.ntu.edu.tw/jspui/handle/123456789/79488-
dc.description.abstract文化村在過往研究多以民族學及遺產學角度爲主,甚少在博物館學研究以案例或主題討論。此外,文化村因多爲營利性,在博物館學及博物館專業界之定位模糊。本研究以沙巴州立博物館遺產村(Heritage Village)為實際觀察,證實文化村居屋展示除了本身已是有效地展示主題,也是物質文化及造型藝術之載體。此外,居屋展示也有限的程度上,能重建文化情景;文化村居屋展示具有博物館展覽之沉浸(immersive)作用。本研究澄清以民族多元主義(ethnopluralism)之雙重社會目標,即(1)區域性文化均質化,及(2)在多元民族區域維護各族群獨特性,將5所來自多元民族國(馬來西亞、臺灣、印尼及泰國)之文化村範例分兩大類進行討論:(1)全數民族展示(以「相同性」爲主),及(2)少數民族展示(以「差異性」爲主)。5所範例皆以不同程度達到民族多元主義不同面相之目標;然而本研究提出主案例沙巴博物館遺產村(Heritage Village)為兩者之混合,是民族多元主義之最佳實踐。主案例證實文化村除了展示手法吻合博物館學之指引,也在多元民族社會具提升之作用。zh_TW
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Previous issue date: 2021
en
dc.description.tableofcontents論文口試委員審定書 i 謝辭 ii 中文摘要 iii 英文摘要 iv 目錄 v 圖目錄 vii 表目錄 xiii 第一章:緒論 1 研究動機 1 動機1:介紹遺產村 1 動機2:文化村與博物館學 4 研究意義 8 研究回顧 9 馬來西亞文化村: 政治 9 馬來西亞文化村: 觀光、遺產學 10 馬來西亞文化村: 博物館學 11 臺灣文化村:民族學 11 臺灣文化村:近期研究 12 文化村相關議題淺談 13 文化村與舞台化真實性理論 13 文化村與遺產移植的關係 15 文化村與主題公園 16 文化村與人體動物園 19 研究方法與架構 21 研究方法 21 研究對象 21 研究限制 22 架構章節 22 第二章:沙巴州立博物館之遺產村 24 沙巴州立博物館歷史 24 沙巴州立博物館園區 26 沙巴州立博物館現況 32 沙巴州立博物館之遺產村 34 小結 36 第三章:居屋展示為博物館展覽手法 37 居屋展示為物質文化或造型藝術之載體 39 居屋展示重建文化景色之作用 47 Skansen:居屋展示為博物館展覽手法之先驅 51 與居屋博物館之區別:以Agnes Keith House 範例討論 55 小結 58 第四章:討論民族多元主義 59 民族多元主義及文化村展示 61 展示全數民族:「相同性」 62 範例:Taman Mini Indonesia Indah 62 範例:Mini Malaysia ASEAN Cultural Park 66 延申範例:Skansen 71 展示少數民族 :「差異性」 72 範例:臺灣屏東原住民文化區 72 範例:九族文化村 77 沙巴州立博物館之遺產村:民族多元主義最佳實踐 82 僅展示多數民族 85 範例:Ancient Siam 85 小結 92 第五章:結論 93 參考文獻 95 書、期刊、論文 95 電子文章、網頁 100 附錄 104
dc.language.isozh-TW
dc.title居屋展示在博物館學及民族多元主義中的意義 – 馬來西亞沙巴遺產村個案研究zh_TW
dc.title"House Exhibitions and their Roles in Museology and Ethnopluralism – A Study of Heritage Village in Sabah, Malaysia "en
dc.date.schoolyear109-2
dc.description.degree碩士
dc.contributor.oralexamcommittee盧慧紋(Hsin-Tsai Liu),黃蘭翔(Chih-Yang Tseng),趙金勇
dc.subject.keyword文化村,居屋展示,遺產學,博物館學,民族多元主義,zh_TW
dc.subject.keywordcultural village,house display,heritage studies,museum studies,ethnopluralism,en
dc.relation.page104
dc.identifier.doi10.6342/NTU202103573
dc.rights.note同意授權(全球公開)
dc.date.accepted2021-10-21
dc.contributor.author-college文學院zh_TW
dc.contributor.author-dept藝術史研究所zh_TW
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