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  • 學位論文

文化治理之代理研究─以宜蘭縣「村落美學」策展人為個案

On Agency of Cultural Governance A Case Study of the Curatorship of “Art in Village” in Yilan County

指導教授 : 廖仁義

摘要


2013年,宜蘭縣政府以「村落美學」計畫,試圖提升社區文化公民意識及生活美感。這項文化政策由數十組「策展人」各自規劃暨執行一至四場不等的活動內容,2013年累計至2016年已有154場次,這也使得該政策有別於許多文化活動由文化局內部或藉採購法委託特定廠商「單一中心、辦理多元」之操作模式。 另外,上述提及之策展人,並非博物館、視覺藝術等領域受過專業策展訓練的專家、學者,而是來自社區組織成員、地方文史工作者、村里長或總幹事、返鄉青年等不同脈絡,可視為「非典型」的策展人。換言之,這些非典型策展人,亦即公民主體,乃成為該項政策被授予公權力的施為者,以及文化治理網絡中的政策代理人,發揮影響且共同決定了政策成敗。 為了釐清文化治理網絡中不同施為者對於政策目標實現的可能性,本研究將運用「代理理論」的概念為架構,採取訪談法進行探索,視非典型策展人為代理人、宜蘭縣政府文化局為委託人,逐一探討:一、公部門如何挑選村落美學策展人;二、策展人如何回應村落美學政策;三、文化局與策展人的合作關係為何。本研究的目標,除了一窺文化治理的代理型態與可能發展,也試圖呼應當代文化治理應朝向公民論述途徑,尊重文化多樣性、提升文化公民權之實現。

並列摘要


In 2013, the Yilan County Government, with its "Art in Village " program,sought to enhance the civic awareness and beauty of community culture. This cultural policy is composed of dozens of "curators" planning and implementing one to four different activities. There have been 154 events since 2013. This also makes the policy different from many cultural activities by Culture Affairs Bureau or by the procurement law commissioned by a specific vendor "single center, for multiple" mode of operation. In addition, the above-mentioned curators are not experts or academics in the fields of museums, visual arts and so on, who have received professional curatorial training, but from different members of community organizations, local literature and history workers, village chiefs or the director-general, returning youth, can be regarded as "atypical" curator. In other words, these atypical curators, namely citizen, are the agents of public power and the policy agents in the network of cultural governance, who influence and determine the success or failure of the policy. In order to clarify the possibility of different implementers in the cultural governance network to achieve policy objectives. This study uses the concept of "agency theory" as the framework, taking the interview method as the exploration, regarded the atypical curator as the agent, Yilan County Cultural Affairs Bureau as the client. First, the public sector how to select the "Art in Village " curator; Second, the curator how to respond to the "Art in Village " policy; Third, what is the cooperative relationship between the Cultural Affairs Bureau and the curators? The aim of this study, besides a glimpse into the pattern and possible development of cultural governance, also tries to respond to contemporary cultural governance towards civic discourse, respecting cultural diversity and promoting the realization of cultural citizenship.

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