| Summary: | 碩士 === 國立臺北藝術大學 === 藝術跨域研究所 === 100 === As a reflection of historical and social context, contemporary art works play an important role in cultural translation. There are also plenty discourses focus on the power structure and identity issues of cultural translation. This thesis discusses the notion of self-consciousness and its development under cultural hybridity in globalization through Fiona Tan’s cultural translation and self-interpretation. The discussion involves with how Fiona Tan translates and interprets her identity from her growing experience as immigrant and mix-blood. The performance of the artist does not aim on showing differences among cultures; it aims on constructing self-consciousness by inherited different cultural elements in her personal experience under heritages among plural cultural backgrounds.
This thesis first sorts out the relations between cultural translation and contemporary art works. In the beginning, the historical change from language translation to cultural translation is clarified. The feasibility of regarding art works as contexts of cultural translation is also assured; that is, the reason that the mutual cultural translations of multi-cultures become a kind of crossing-over instead of mutual mixture lies in the action of crossing-over itself shows the consciousness of the subject. Therefore the intention and purpose of her translation and how a piece of work becomes a translation, are explained by the artist’s expression. Second, the artist’s life along with her creation experience is introduced, and how her experience affects the train of thought of her works is described, especially the transformation of her core issues from constructing identification to discussing relations between memory and imagination. Two video works “Disorient” and “A Lapse of Memory” are selected for illuminating the notion of cultural translation. The hybrid contexts shaped in these two image works and their artistic meanings are analyzed. Furthermore, how the artist construct identification through self translation in the hybrid context are indicated here.
In conclusion, this paper again emphasizes the impact of globalization on the meaning of cultural translation in art works; we should carefully analyze every translating individual, not hastle to the simplified version of multi-culturalism. The formation of cultural identification nowadays can rely on the process of self-consciousness by continuous self-interpretation of every generation
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