Ocean Movement‧Body Code: The Formation of the Writer Syaman Rapongan in Museum and Image Field
| Autor: | Liu, Pei-Chun, 劉姵均 |
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| Rok vydání: | 2017 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 106 This thesis focused on how media influences a writer to build his own writing patterns in the post-industrial society. The author used Syaman Rapongan as a subject and observed his different images showed in several aspects, namely his works on the display of museums and image media, his writing patterns in novels, and the writer himself, without any interference of media. The thesis is divided into five chapters, 1) introduction, 2) the writer’s formation in museum field 3) the writer’s formation in image field, 4) the phenomena of manipulation and production of writers in museum andimage field, and 5) conclusion. The second chapter will elaborate on two cases, “Conversation with the Spirit of Boat: The Poetry and Literature Exhibition of Taos’ Tatala Boat” and “Mountains and Sea: Stories of Making and Rolling boats in Langdao tribe of Orchid Island”. In the third chapter the author uses three media as cases namely “Old Seafarer”, “Ocean Etudes”, “Literary Landscape ninth episode: Syaman Rapongan”. In a capitalistic society, Orchid Island inevitably faces modernisation. Although during the Japanese rule the island was used as a field of anthropologic research and was isolated from the outside world, keeping the original life of the island, while during the rule of Republic of China, due to increasing interaction with Taiwan, the Tao on the island had to face the modernised society and during this transition, Tao youngsters responded abnormally. The focus of this thesis is Syaman Rapongan, who grew up in this modernised, postcolonial society. With the modernisation in Orchid Island and the interaction with Hans from Taiwan, this thesis also focuses on the event of the Tatala boat “1001 ipangan na” reaching Taiwan which represents ‘move’ and ‘contact’, which could build a ‘contact zone’. The thesis also explains how Syaman Rapongan’s image was excessively reproduced in media and museums in the postcolonial society, and how to remove the manipulation of media and reveal the genuine writer in terms of the writer himself and the Tao language. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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