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THESIS from RAW-BARBARIAN to MISS BEAUTY QUEEN: INDIGENEITY, IDENTITY and the PERCEPTION of BEAUTY in TAIWAN Submitted by Hsiao

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THESIS from RAW-BARBARIAN to MISS BEAUTY QUEEN: INDIGENEITY, IDENTITY and the PERCEPTION of BEAUTY in TAIWAN Submitted by Hsiao THESIS FROM RAW-BARBARIAN TO MISS BEAUTY QUEEN: INDIGENEITY, IDENTITY AND THE PERCEPTION OF BEAUTY IN TAIWAN Submitted by Hsiao-Ching Lin Department of Ethnic Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2017 Mastes Coittee: Advisor: Joon K. Kim Sue Doe Thomas Michael Swensen Copyright by Hsiao-Ching Lin 2017 All Rights Reserved ABSTRACT FROM RAW-BARBARIAN TO MISS BEAUTY QUEEN: INDIGENEITY, IDENTITY AND THE PERCEPTION OF BEAUTY IN TAIWAN Using an auto-ethnographical method and sharing my own experience growing up in Taipei, Taiwan, this thesis discusses the association between Taiwanese indigeneity and the perception of beauty in contemporary Taiwan. For the purpose of this study, this thesis references the theory of beauty and indigenous studies to explore the affectability regarding the colonial history of Taiwan, body images, international influence, the eliminatory elements of colonial structures, and the modern pastiche of Taiwanese aesthetic. Furthermore, this thesis analyzes Chinese-settle oloial ifluee i Taia disussig the edias ipat ad the atisti innovations in the biggest city, Taipei. Two major conclusions are drawn: first, Taiwanese indigeneity, infused in contemporary art, counteracts the forces of Chinese orthodoxy, international influence, and Taiwanese modern aesthetics. Second, Taiwanese indigenous characteristics often contain pastiche of Taiwanese aesthetics, a fixed beauty standard, which consists of various elements such as Chinese elegance/nostalgia, modern comfort/convenience, and the indigenous acceptance/sublimation. ii ACKNOWLEDGEMENTS Without identity affliction of the Taiwanese indigenous, who often feel stranded, this thesis would not exist. Thanks to my mother and my gadothe fo teahig e Be joful i hope, patiet i afflitio, faithful i pae ‘oas :. Thaks to fathe, siste, and my brother for being cheerful, understanding, generous, and laughing about life with me. Thanks to Dr. Joon K. Kim. His editing hours after hours contributes to the fluidity of this thesis. I especially thank him, as my thesis advisor, for guiding me with the thesis topic while trying to comprehend my flow-in-the-air thoughts and passions about what I wanted to pursue for this thesis and my academic goals. Thanks to Dr. Thomas Michael Swensen. He is the first professor who makes me feel that I will be fine in the MA program. Also, his advice contiutes to this thesiss dietio egadig the indigenous studies. Much thanks to him for encouraging and valuing my academic work as worthy enough to take the next step. Thanks to Dr. Sue Doe. Her encouragement and advice regarding auto-ethnographical ethodolog ad tasatioal litea otiute to this thesiss oie. I espeiall thak he for her confidence in my academic ability in a graduate English course of hers; this makes my thoughts of pursuing a next learning journey less intimidating and doubtful. Thanks to Matthew Hehn. His strict English writing advice and correction helps me accomplish this thesis. As my life and language partner, husband, best friend, and comrade, he supports, perseveres, laughs, grieves, and reminisces with me about Taiwan, China, and the U.S. iii TABLE OF CONTENTS ABSTRACT ......................................................................................................................................... ii ACKNOWLEDGEMENTS ................................................................................................................... iii TABLE OF CONTENTS....................................................................................................................... iv LIST OF FIGURES ............................................................................................................................... v INTRODUCTION ............................................................................................................................... 1 CHAPTER ONE ............................................................................................................................... 10 CHAPTER TWO .............................................................................................................................. 24 CHAPTER THREE ............................................................................................................................ 45 CONCLUSION ................................................................................................................................. 89 BIBLIOGRAPHY .............................................................................................................................. 92 iv LIST OF FIGURES Figure 1: Tools of Atayal's Facial Tattoos ...................................................................................... 24 Figure 2: Atayal's Facial Tattoos in the Contemporary Atayal Experience ................................... 25 Figure 3: Contemporary Atayal Real Facial Tattoos ...................................................................... 25 Figure 4: News in Today's UDN ..................................................................................................... 29 Figue : As ost stikig ............................................................................................................. 33 Figure 6: W's Beauty ..................................................................................................................... 33 Figure 7: Q's Handsomeness ......................................................................................................... 34 Figure 8: W's Beauty ..................................................................................................................... 35 Figure 9: K's Beauty ....................................................................................................................... 36 Figure 10: D's Beauty and Handsomeness .................................................................................... 36 Figure 11: The Indigenous in the Movie ....................................................................................... 37 Figue : Daos Potest Agaist Nulea Waste i Daid Loa ........................................... 38 Figue : Daos Protest Against Nuclear Waste (2) in David Loman ........................................... 39 Figue : Daos Potest Agaist Nulea Waste i Daid Loa ........................................... 39 Figure 15: Me as a Teenager ......................................................................................................... 47 Figure 16: Me as a Senior High ..................................................................................................... 47 Figure 17: Taipei City Montage ..................................................................................................... 48 Figue : Taipeis Mass ‘apid Taspotatio ............................................................................ 49 Figure 19 ....................................................................................................................................... 49 Figure 20 ....................................................................................................................................... 50 Figure 21 ....................................................................................................................................... 50 Figure 22 ....................................................................................................................................... 51 Figure 23 ....................................................................................................................................... 51 Figure 24: The Façade of National Taiwan Normal University ..................................................... 52 Figure 25 ....................................................................................................................................... 52 Figure 26: “tles of Modeit o Displa i Taipeis Coffee “hops ....................................... 53 Figure 27: “tles of Modeit o Displa i Taipeis Coffee “hops ....................................... 53 Figure 28: Aeia ad Euopea “tles o Displa i Taipeis Coffee “hops ...................... 53 Figure 29: Aeia ad Euopea “tles o Displa i Taipeis Coffee “hops ...................... 53 Figue : Taipeis Coffee “hops: Japanese Style (1) .................................................................... 54 Figue : Taipeis Coffee “hops: Japaese “tle .................................................................... 54 Figue : Taipeis Coffee “hops-Old-Time Taiwan Style ............................................................. 54 Figue : Hoe Taiaese “tle i Taipeis Coffee “hops ........................................................ 55 Figure 34: Taipeis Coffee “hops i ‘esidetial Aeas ............................................................. 55 Figure 35: Taipeis Coffee “hops i ‘esidetial Aeas ............................................................. 55 Figure 36: Taipeis Coffee Shops in Residential Areas (3) ............................................................. 56 Figure 37: Alishan Sunrise, Chiayi ................................................................................................. 58 Figure 38: Taipei 101 ..................................................................................................................... 59 Figure 39: Buddha Memorial Center, Kaohsiung .........................................................................
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