English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113656/144643 (79%)
Visitors : 51713662      Online Users : 583
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/153898


    Title: 參觀公共博物館的體感經驗探討:以2023台北雙年展為例
    Visitor’s embodied experience in public museum: A case study of Taipei Biennial 2023
    Authors: 何俞臻
    Ho, Yu-Chen
    Contributors: 王淑美
    Wang, Su-Mei
    何俞臻
    Ho, Yu-Chen
    Keywords: 身體感
    物質性
    博物館
    觀展人研究
    文化資本
    台北雙年展2023
    Embodiment
    materiality
    museum
    visitor studies
    cultural capital
    Taipei Biennial 2023
    Date: 2024
    Issue Date: 2024-10-04 10:32:17 (UTC+8)
    Abstract: 當代藝術已成為公立美術館展示與實驗藝術的趨勢。通過融入多種元素,包括沉浸式、討論性及互動性元素,博物館試圖吸引更多元化的閱聽人。然而,開放性與公共性之間的平衡往往在擁有不同文化資本的閱聽人之間產生分歧。本論文以2023年台北雙年展為案例,探討博物館閱聽人如何回應當代藝術展覽,特別是在身體感和物質性方面的反應。研究重點放在不同背景和經驗的閱聽人如何與藝術互動,並分析策展引導和背景資訊在閱聽人理解與享受藝術中的作用。通過這項研究,我強調了提供包容性和易於理解的體驗與保持藝術精英主義之間的張力,並主張博物館必須謹慎考慮兩者,以增進公眾參與,而不至於疏遠某些群體。
    Contemporary art has become a trend in which public museums demonstrate and experiment with art. By incorporating diverse elements, including immersive, discursive, and
    interactive components, museums attempt to engage a wider range of visitors. However, the balance between the promotion of open explorations and the mission of public service often creates a divide between visitors with varying levels of cultural capital. This thesis investigates how museum visitors respond to contemporary art exhibitions,
    particularly in relation to embodiment and materiality, using the 2023 Taipei Biennial as a case study. It explores how visitors with different backgrounds and experiences engage with the art, focusing on the role of contextual assistance and curatorial guidance in shaping visitor
    understanding and enjoyment. Through this study, I highlight the tension between providing inclusive, accessible experiences and maintaining artistic elitism, arguing that museums must carefully consider both to enhance public engagement without alienating certain visitor groups.
    Reference: 余舜德. (2006). 物與身體感的歷史:一個研究取向之探索 [Objects and History of Experience of the Body: Contemplation of a New Approach]. 思與言:人文與社會科學期刊, 44(1), 5-47. https://doi.org/10.6431/TWJHSS.200603.0005

    汪正翔. (2024). 《小世界》中的攝影:2023台北雙年展的視覺行動與再現. 報導者The Reporter. https://www.twreporter.org/a/photo-taipei-biennial-2023-small-
    world-photography-measurement-visualization-reproduction

    沈柏逸. (2024). 世界可以忽然什麼都沒有:2023台北雙年展《小世界》的尺(恥)度政治. 報導者 The Reporter. https://www.twreporter.org/a/photo-taipei-biennial-2023-small-world-the-world-can-suddenly-be-nothing

    林玟伶, 邱君妮, & 林詠能. (2019). 以英美日三國博物館補助單位模式看我國未來補助框架建置 [Developing a Framework for Museum Subsidies in Taiwan: Comparative Analysis of British, American and Japanese Models]. 博物館學季刊,33(3), 5-23. https://doi.org/10.6686/MuseQ.201907_33(3).0001

    林新惠. (2024). 在台積電的無塵室裡,一滴水的記憶被刪除了──林新惠記 2024 台北雙年展裡的「小世界」. BIOS monthly.https://www.biosmonthly.com/article/11435

    柳鳳儀. (2006). 從展覽成效探討美術館之現代化管理─以台北市立美術館2006台北雙年展為例 國立臺灣師範大學]. Article/Detail?docID=U0021-0712200716103749

    張雅婷. (2010). 台灣當代藝術場域與觀眾溝通經驗研究 - 以台北雙年展為例 國立臺灣師範大學]. Article/Detail?docID=U0021-1610201315181663

    張錦華. (1991). 電視與大眾文化 國立政治大學].
    https://mcr.nccu.edu.tw/web/backissues/backissues_in.jsp?pp_no=240

    張譽騰. (2000). 如何解讀博物館。臺北市:行政院文化建設委員會。

    劉偉傑. (2018). 我國公立博物館圖書室營運發展析論-以故宮圖書文獻館為例
    [Analysis of the Operations and Development of Public Museum Libraries in
    Taiwan: A Case Study of the National Palace Museum Library]. 博物館學季刊, 32(4), 71-87+89. https://doi.org/10.6686/MuseQ.201810_32(4).0004
    劉德祥. (2007). 博物館觀眾研究:研究方法回顧 [Museum Visitor Studies: Review of Research Methodologies]. 博物館學季刊, 21(1), 31-43. https://doi.org/10.6686/MuseQ.200701_21(1).0003

    蔡牧容. (2021). 2020台北雙年展(一):「雙年展」到底是什麼?是否淪為商業行銷、另一種資源聚集在精英階層的派對?. 關鍵評論 The News Lens. https://www.thenewslens.com/article/145676
    Abercrombie, N., & Longhurst, B. (1998). Audiences: A Sociological Theory of
    Performance and Imagination. In. SAGE Publications Ltd. https://doi.org/10.4135/9781446222331 Abt, J. (2006). The Origins of the Public Museum. In A Companion to Museum Studies (pp. 115-134). https://doi.org/https://doi.org/10.1002/9780470996836.ch8

    Antonsen, M., & Jørgensen, T. B. (1997). The ‘Publicness’ of Public Organizations. Public Administration, 75(2), 337-357. https://doi.org/https://doi.org/10.1111/1467- 9299.00064

    Bal, M. (1985). Narratology: Introduction to the Theory of Narrative.

    Bal, M. (1992). Telling, Showing, Showing off. Critical Inquiry, 18(3), 556-594. http://www.jstor.org/stable/1343816

    Bennett, J. (2010). Vibrant Matter: A Political Ecology of Things. Duke University Press. https://doi.org/10.2307/j.ctv111jh6w

    Bitgood, S. (1992). Visitor Orientation and Circulation: Some General Principles. Visitor Behavior, 8(2).

    Bitgood, S. (2000). The Role of Attention in Designing Effective Interpretive Labels.
    Journal of Interpretation Research, 5(2). https://doi.org/10.1177/109258720000500205

    Bitgood, S., & 陳惠美. (1992). 觀衆的導引及參觀動線問題的探討. 博物館學季刊,6(2), 83-90. https://doi.org/10.6686/MuseQ.199204_6(2).0012 Bourdieu, P. (1968). Outline of a Sociological Theory of Art Perception. https://web.mit.edu/allanmc/www/bourdieu3.pdf Bourdieu, P. (1977). Outline of a Theory of Practice. https://doi.org/https://doi.org/10.1017/CBO9780511812507

    Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. https://monoskop.org/images/e/e0/Pierre_Bourdieu_Distinction_A_Social_Critique
    _of_the_Judgement_of_Taste_1984.pdf

    Chris Rust, A. R. (2003). Show or tell? Opportunities, problems and methods of the
    exhibition as a form of research dissemination. https://doi.org/https://shura.shu.ac.uk/id/eprint/961

    Classen, C. J., & Howes, D. (2020). The Museum as Sensescape: Western Sensibilities
    and Indigenous Artifacts. Sensible Objects. Clavir, M., & Pearlstein, E. Museum Conservation. In The International Encyclopedia of Anthropology (pp. 1-9). https://doi.org/https://doi.org/10.1002/9781118924396.wbiea1409

    Dana, J. C. (2008). Museum Origins. https://www.taylorfrancis.com/chapters/edit/10.4324/9781315424019-24/new-
    museum-john-cotton-dana

    Darlene E. Clover, L. B. (2013). Contemporary adult education philosophies and
    practices in art galleries and museums in Canada and the UK. Dewey, J. (1934). Art as experience. Minton, Balch.

    Dewey, J. (1934). Art as Experience. https://scottbarrykaufman.com/wp-
    content/uploads/2014/12/Dewey-ArtasExperience.pdf

    Dijk, J. A. G. M. v. (1999). The Network Society: Social Aspects of New Media. https://ams-forschungsnetzwerk.at/downloadpub/The_Network_Society- Jan_van_Dijk.pdf

    Dudley, S. H. (2009). Museum materialities: objects, sense and feeling. https://figshare.le.ac.uk/articles/chapter/Museum_materialities_objects_sense_and_ feeling/10161242/1

    Duncan, C. (1995). Civilizing Rituals: Inside Public Art Museums (1st ed.). Routledge. https://doi.org/10.4324/9780203978719

    Farnell, B. (2018). Techniques of the Body. In.

    Fiske, J. (1986). Television: Polysemy and popularity. Critical Studies in Mass Communication, 3(4), 391-408. https://doi.org/10.1080/15295038609366672

    Fiske, J. (1987). Television Culture (1st ed.). https://doi.org/https://doi.org/10.4324/9780203133446

    Fiske, J., & Hartley, J. (2004). Reading Television (2nd ed.). https://doi.org/https://doi.org/10.4324/9780203356623

    Gamble, C., Hanan, J., & Nail, T. (2019). WHAT IS NEW MATERIALISM? Angelaki, 24, 111-134. https://doi.org/10.1080/0969725X.2019.1684704

    Graburn, N. (1977). The Museum and the Visitor Experience. Roundtable Reports, 1-5. http://www.jstor.org/stable/40479310

    Gurian, E. H. (1999). What Is the Object of This Exercise? A Meandering Exploration of the Many Meanings of Objects in Museums. Daedalus, 128(3), 163-183. http://www.jstor.org/stable/20027571

    Hall, S., Hobson, D., Lowe, A., & Willis, P. (2003). Culture, Media, Language: Working Papers in Cultural Studies, 1972-79. 1-305. https://doi.org/10.4324/9780203381182

    Harvey, David. (2002). The Art of Rent: Globalization, Monopoly and the Commodification of Culture. Socialist Register. 38.

    Haythornthwaite, C. A. (2016). New Metaphors for Networked Learning. https://surface.syr.edu/cgi/viewcontent.cgi?article=1193&context=istpub

    Hein, G. E. (2007). Museum Education. http://www.george- hein.com/downloads/MuseumEdBlackwellHein.pdf

    Hetherington, K. (2014). Museums and the ‘Death of Experience’: singularity, interiority and the outside. https://doi.org/https://doi.org/10.1080/13527258.2012.710851

    Howes, D., Clarke, E., Macpherson, F., Best, B., & Cox, R. (2018). Sensing art and artifacts: explorations in sensory museology. The Senses and Society, 13(3), 317- 334. https://doi.org/10.1080/17458927.2018.1516024

    Huang, X. (2019). Understanding Bourdieu - Cultural Capital and Habitus. Review of European Studies, 11, 45. https://doi.org/10.5539/res.v11n3p45

    Ingold, T. (2005). The eye of the storm: visual perception and the weather. Visual Studies, 20, 104 - 197.

    Ingold, T. (2017). On human correspondence. Journal of the Royal Anthropological Institute, 23(1), 9-27. https://doi.org/https://doi.org/10.1111/1467-9655.12541 Jung, Yuha. (2014). The ignorant museum: Transforming the elitist museum into an inclusive learning place. https://www.researchgate.net/publication/283081219_The_ignorant_museum_Tran sforming_the_elitist_museum_into_an_inclusive_learning_place

    Lam, A. (2004). A Comparative Study of the Educational Role of Public Art Museums in Three Asian Cities: Taipei, Singapore, and Shanghai.

    Newman, A., Goulding, A., & Whitehead, C. (2013). How cultural capital, habitus and class influence the responses of older adults to the field of contemporary visual art. Poetics, 41(5), 456-480. https://doi.org/10.1016/j.poetic.2013.07.001

    Mauss, M. (1973). Techniques of the body ∗. Economy and Society, 2(1), 70-88. https://doi.org/10.1080/03085147300000003

    McLean, K. (1999). Museum Exhibitions and the Dynamics of Dialogue. Daedalus, 128(3), 83-107. http://www.jstor.org/stable/20027568

    Morley, D. (2007). Media, Modernity and Technology: The Geography of the New.

    Pink, S. (2007). Walking with video. Visual Studies, 22(3), 240-252. https://doi.org/10.1080/14725860701657142

    Reiss, J. H. (1999). From Margin to Center: The Spaces of Installation Art. https://paralelotrac.files.wordpress.com/2011/05/jreiss-from-center-to-margin.pdf

    Rick Dolphijn, I. v. d. T. (2013). New Materialism: Interviews & Cartographies. http://www.openhumanitiespress.org/books/titles/new-materialism/

    Roberts, J. (2008). The Intangibilities of Form: Skill and Deskilling in Art After The Readymade. https://doi.org/10.2752/174967808X379524

    Roppola, T. (2012). Designing for the Museum Visitor Experience. https://doi.org/10.4324/9780203070284

    Sitzia, E. (2023). Museology and Its Others: Analyzing Exhibition Storytelling Through Narratology, Space Analysis, Discourse Analysis, and Ethnographic Research. In K. Bijsterveld & A. Swinnen (Eds.), Interdisciplinarity in the Scholarly Life Cycle: Learning by Example in Humanities and Social Science Research (pp. 153-171). Springer International Publishing. https://doi.org/10.1007/978-3-031-11108-2_9

    Tzanev, P. (2011). Autonomy or Elitism? A Critical Glance at the 54th Biennial of Venice. https://www.academia.edu/17596720/Autonomy_or_Elitism_A_Critical_Glance_at
    _the_54th_Biennial_of_Venice

    Vigerland, L., Borg, E.A. Cultural Capital in the Economic Field: A Study of
    Relationships in an Art Market. Philosophy of Management 17, 169–185 (2018).
    https://doi.org/10.1007/s40926-017-0061-2

    Wigley, M. (2016). Discursive versus Immersive: The Museum is the Massage.
    https://stedelijkstudies.com/journal/discursive-versus-immersive-museum-massage/
    Description: 碩士
    國立政治大學
    國際傳播英語碩士學位學程(IMICS)
    111461010
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0111461010
    Data Type: thesis
    Appears in Collections:[國際傳播英語碩士學程] 學位論文

    Files in This Item:

    File Description SizeFormat
    101001.pdf2834KbAdobe PDF0View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback