Tourism‧gaze‧Alishan：An Analysis of Writing in Taiwanese Literature and image during Japanese Ruling Period（1895-1945）

• Main Authors: Ming-Hui Chiang, 江明慧
• Other Authors: Mei-e Huang
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/sjzu74

碩士 === 國立臺灣大學 === 台灣文學研究所 === 100 === The focus of this paper is readily the Japanese colonial period Alishan tourism image of the construction and deformation from classical Han poetry, and supplemented by the image control study. The main contribution of this paper include: (a) to examine the "tourist gaze" as the main research method, combing the Japanese colonial period Alishan Mountain Yue Guanguang process; (b) Discrimination of meaning and practice of Alishan''s tourism image. Paper a total of five chapters: The first chapter of the introduction part, aims to explain the source of research material and the Mt. With tourism significance and characteristics, follow a review of the current status of both research and dialogue, established the concept of the "tourist gaze" as a tourist picture-shaped structure of the cutperspective, viewing link social and cultural context. Chapter II PCT analysis of the tourism environment and tourism sight, Chiayi and Alishan mountain space, study the important economic city in the Japanese colonial period lasted space conversion process, on the one hand, the combination of economic, political, colonial process. On the one hand be relatively isolated from the Qing Dynasty, the localization of economic production space to enhance national power manipulation, planning a variety of planning and investigation. Secondly, through a variety of travel a description of the system, examine forestry gradually dried up, the the Alishan transition process for the tourist city, travel institutionalized had created the tourist gaze perspective, and retrieve the key image, space travel through the power of organization and development, to be fixed, Alishan change from the economic field as reproducibility, specificity, which carries a rich economic, cultural and political significance, and visual landscape. The third chapter look at the original scenery of Alishan, how to change as important to King. The first is a double image of the Tsou tribe, on the one hand to give reasonable rule of civilization into the image of the very people the other hand, were classified as more tame "South Fan, Fushun Tsou meaning of Wu Feng story in contradiction to discuss the role of the Zou tribe in tourism development, corresponding to this, the Wu Feng story of "the spirit of the righteous" how to build, nor is the care the focus of this chapter. Furthermore, Wu Feng story in writing with the Qing Dynasty with the prototype compared to generate a lot of changes, but also spread to the overseas part of Taiwan''s / Alishan image, whereby the rise of Wu Feng Temple and Wu Feng suffering monument attractions, show Japan to Alishan Tsou enlightenment story, as the process of Taiwan''s international image expansion and overseas, where tourists are not totally with the image reproduction, with the possibility of loose discourse. Finally, the world praise the treasure house of cypress forest resources by the development of the the Alishan resource orientation, makes logging landscape behind, hide the true background of the trip can not imagine shipped to East Asia saw mills cypress forests, during which tourism picture profound conversion. The outcome of the discussions of Chapter IV inherited the aforementioned tourist landscape, this will have to enter in order to focus on tourism image is more complicated, and abstract of sacred trees, railway and cherry discussed and refined visual elements through the tourist gaze constructed image (image). Forest Railway with a closed box limit Ferris, as well as the changing landscape of forest, temperature perception, and even along the cliff, the exciting experience of the tunnel, so that the tourist gaze to add dynamic and static from the visual body perception level to enter Taiwan and China the daily life and consciousness, completely changed the tourism paradigm; Alishan sacred trees by the Japanese wood, natural monuments, save the wave of the evolution of a special status to the Emperor significance of faith, because the establishment of the Railway Inn, but Looking more generally public. fixed visiting attractions, traveling by railway divinity Yu Yan master discourse powers, both in the official portrayal of people are quite representative of the visual impression, but also a large number of different angles, lines used in pictorial photos, postcards, Stamp, and other media, visual symbols so extensive circulation in a variety of purposes; after reaching the ripe tourism activities to the cherry blossom customs to enter Alishan Alishan mountain cherry native to Taiwan endemic species, different from the fog Social cherry or Grassy cherry, not a bad idea in the past been entrusted meaning as for poetry, however, the Japanese introduction of the Japanese Mainland cherry native species re-"see" them. Rail travel mode popular cherry blossom viewing group in each year three, April flocked to the replacement landscape at the same time, Alishan by the economic field to the established tourist region, with consumption practices cherry blossom viewing in the form and attractions selected range of rich, formal declaration of Alishan tourism in the island''s advantages. Chapter V summarizes the findings of the full text of the preceding chapter, and a description of the contents of the unfinished plan, as well as the outlook of future research. Through more than combing the tourist gaze space in the landscape, already fermented by cultural forces as economic forces, Second, the entity mountain geographical, through the gaze of the mark (marker) and create an image or writing, and this generated landscape interpretation of results, reproducibility for special reproduction of the landscape / place, began to enter public life, the impact of pre-modern travel behavior.