歷史的召喚計畫：以景美人權文化園區為例

Abstract

本研究試圖以阿圖塞的召喚理論，探討國家人權博物館籌備處轄下的景美人權文化園區，如何利用園區內看守所等歷史建築的復原及相關展示的規劃，呈現台灣白色恐怖時期的氛圍與內涵。主要的焦點在於分析園區展示呈現的內容與敘事觀點，及其運用的展示技術，來理解園區欲向觀眾召喚的內容。

本研究主要採取文獻分析法與半結構式訪談，對景美人權文化園區的經營階層、管理人員、導覽員，以及觀眾四方面進行訪談，探討園區的召喚計畫，及其對外展示的技術；並討論觀眾的參觀感受，檢視園區展示的召喚效果，理解觀眾是否對園區的展示框架有所認知與突破。

研究發現，在台灣的歷史脈絡中，景美園區的發展經過不同的階段，從軍法學校時期、看守所時期，一直到今日的人權園區時期，其場域功能截然不同，但透過建築的保存與再利用，時至今日觀眾仍能經由參觀這些建築來感受到過往的氛圍。園區自詡為開放的溝通平台，其召喚計畫主要架構在白色恐怖的歷史與政治受難者的生命故事上，並期望觀眾透過感受受難者的情感與遭遇，在參觀之後能對相關的人權議題付出關注和行動。在情感召喚的部分，園區主要透過陳述受難者的觀點與故事，述說園區的歷史脈絡，以及受難者在看守所的生活情景，頗能獲得觀眾的認同與共鳴。然而實際上園區整體的召喚效果是不完全的，觀眾的情感雖然能夠在參觀過程中被激發，卻難以維持，以至於很難持續對相關議題付出實質的關注與行動。究其原因，可分為三者：缺乏多元的觀點陳述、展示技術互動性不足，以及展示場域之間無法連貫的主題與氛圍。

The purpose of the study was to understand the project of interpellation on history from Althusser’s theory of interpellation based on the displays of historic buildings and the history of Taiwan White Terror period in Jing-Mei Human Rights Memorial and Cultural Park. It mainly focused on the analysis of the strategies of the historic displays, included its contents, viewpoints and the technologies it used. Taking interview method and literature analysis method, the results revealed that Jing-Mei Human Rights Memorial and Cultural Park had different roles and functions from White Terror period till now. In the White Terror period, the park was a detention center that kept political dissidents in custody for trial and turned into a human rights memorial and museum featuring Taiwan's democracy movement in 2007. The preparatory office of the National Human Rights Museum, the operator of the park, converted the detention center into an exhibition hall showing oral history films and displays. The purpose of these displays was to summon visitors’ affection to those political victims and expected visitor could pay more attention and actions on the issues of human rights in Taiwan, but the effect of interpellation was not complete.