Peripatetic without Hesitation—Illustrating Yang Mao-Lin’s Cultural Identities with Exploring his “MADE IN TAIWAN: CULTURE PAGE”

• Main Authors: Fang-Yu Su, 蘇芳瑜
• Other Authors: Jui-chi Lui
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/61967001894114222273

碩士 === 國立成功大學 === 藝術研究所 === 94 === Abstract This thesis regards the serial art works of Yang Mao-Lin’s MADE IN TAIWAN: CULTURE PAGE as the study text, and tries to discuss these works which are made with collaging and montaging. Those popular cartoon images of the modern spirit displays the content full of cultural hybridization in Taiwan. Yang intends to get rid of the destiny of historical minority that Taiwan was colonized before and tries to establish its identity and the local collective-consciousness. Yang uses allusive imagery to undercut the popular images to raise questions about the cultural identities. He makes an attempt to present the contemporary cultural state in Taiwan with rupturing a large number of popular imagery. His works are contained the postcolonial intention historically, but formed in a postmodern style externally. It seems that postmodernism and postcolonialism are contradicting to each other about their own awareness to subjectivity and history. But Yang takes his works as the strategy to combine conflicts, contradictions, and similarities with these two different theories. Not only his works show the appearance of the contemporary culture in Taiwan, but also provide us a new aspect to value the hybrid subjectivity under the globalization. With this thesis, the writer seeks to construct reasonable courses for his works by postmodernism and postcolonialism, including spectacle, consumption, popular culture, and hybridity, and explains how he created a positive position for the local culture with those subcultural icons.