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標題: | 荷西・馬希達研究論著與音樂作品中的策略本質主義與亞洲作為方法 The 'Strategic Essentialism' and 'Asia as Method' in Jose Maceda's Academic Writings and Musical Compositions |
作者: | Hui-Ping Lee 李惠平 |
指導教授: | 楊建章(Chien-Chang Yang) |
關鍵字: | 荷西?馬希達,策略本質主義,亞洲作為方法, Jose Maceda,strategic essentialism,Asia as method, |
出版年 : | 2016 |
學位: | 碩士 |
摘要: | 本文以菲律賓民族音樂學者、作曲家荷西・馬希達(1917–2004)的研究論著與音樂作品為例,重新將其文化實踐的內容與晚期的東亞轉向,分別放置於「策略本質主義」與「亞洲作為方法」兩個概念來重新理解。
西方學者邁克爾・坦瑟、思想悟子、麥特・馬波對馬希達的寫作中,他們多以某種先驗的二元觀點來理解馬希達在文化實踐上的困境,卻又不願去深入考察馬希達身後菲律賓社會的殖民脈絡。本文認為,馬希達的文化實踐能夠以策略本質主義的概念來重新詮釋。其策略性格在於,馬希達不僅在研究方法上連結擁有類似經驗的文化體,其文化策略更在不同的歷史階段有著有著明確的變動。最重要的是,若能考察馬希達所身處的菲律賓社會脈絡,更能夠確認他的文化實踐並不是單純地複製某種文化宰制結構,而是作為「獲得力量」、「理解自我」的方法之一。 再者,雖然多數學者均注意到馬希達晚期的轉向,卻鮮少人將馬希達作曲與研究關心的轉向互相連結。因此,本文試圖以承自竹內好、溝口雄三、陳光興三人寫作下「亞洲作為方法」的概念,提供一個理解馬希達晚期「東亞轉向」的不同觀點。藉由考察馬希達晚期在研究與作曲實踐當中地理空間的開展,本文將聚焦於其實踐背後關心那仍舊值得參考的思想資源,同時也試圖使馬希達晚期文化實踐內容中的張力,在名為「亞洲作為方法」的理論空間裡,找尋可能的文化詮釋方案。 This thesis re-examines the renown Filipino ethnomusicologist/composer Jose Maceda’s (1917–2004) academic writings and musical compositions in views from the concepts of “strategic essentialism” and “Asia as method”. While the existing literatures by Western writers such as Michael Tenzer, Christian Utz and Matt Marble all tend to concentrate on Maceda’s cultural practices within a pre-supposed binary oppositional frameworks, none of them has really mined into the colonial contexts of the Maceda’s Philippines. In contrast to their writings, this thesis argues Maceda did not only connect cultural entities who share similar colonial experiences in his research methods, several distinct turns are easily found in his cultural strategies between different historical periods. Most importantly, as reviewing the social context of the Philippines, it is evident that Maceda’s cultural practice is by no means a replication of any kinds of dominating cultural structures, but rather a way of empowerment and self-understanding, a “strategic essentialism” from a post-colonial concern. Moreover, although most of the writers do pay attention to the changes in the compositional approaches during Maceda’s late years, they rarely relate Maceda’s compositional changes in relations to his research. Therefore, this thesis also provides a different viewpoint on Maceda’s late “East-Asian” turn by way of “Asia as method,” a concept derived from the writings of Yoshimi Takeuchi, Yuzo Mizoguchi and Kuan-Hsin Chen. By reassessing Maceda’s late ethnomusicology works and musical compositions, such an approach of “Asia as method”, does not only notice the productive food for thought beneath Maceda’s late practices, but also at the meanwhile suggests a possible cultural interpretation as an intention to reconcile the tension occurred during his late practices. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/3674 |
DOI: | 10.6342/NTU201603180 |
全文授權: | 同意授權(全球公開) |
顯示於系所單位: | 音樂學研究所 |
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