類博物館研究：一個博物館的現象

「類博物館」借自歐洲語彙，在台灣的博物館學中多指涉為文化資產性質的方法論與運作機能，與歐美應用多指稱以博物館為參照對象基礎有所不同。這個源自西方的複合詞，與九〇年代末期博物館定義不斷擴張的現象有關，指涉不以博物館之名，但有博物館之實的機構。本文為了理解類博物館是什麼，它與博物館的關係為何，它有什麼特色與功能，與對台灣博物館的意義為何，因此從類博物館這個詞彙的來源與應用展開研究，試圖尋找它與博物館的系譜關係後，並提出建議。ICOM等博物館相關組織在為博物館下定義的探索歷程中，不斷吸收與融合文化資產，可以發現擴張的範疇在後現代文化中以「類博物館」為一種權宜之計，使文化評論與博物館學衝突的部分成為必須關照的對象，本文試圖以博物館現實（museality）與傅柯的異托邦（heterotopia）的原則，分析類博物館的物質與非物質關係、時空流動的不確定性與並置等特色，以說明類博物館的開放性，並據此歸納類博物館三種特色：「博覽式的」、「敘事性的」與「時空性的」，以台灣民間廟會信仰為實例說明這些特色是藉由「參與」式的身體詩學經驗，與傳統博物館的「參觀」學習有所不同。最後提出類博物館趨勢的觀察、建議與展望未來，包括在資訊社會新媒體藝術應用衝擊視覺的博物館的經驗，與文化治理類博物館的趨勢中，倡議以倫理介入話語權空間的建置，避免敘事霸權主義的專斷帶來的浩劫。台灣應強化以文化生產為城市和國家發展的重點項目，在國際競爭中召喚話語權，展現實力。

關鍵字

類博物館；博物館現實；文化觀光；異托邦；文化治理

並列摘要

“Quasi-museum” is a vocabulary borrowed from European terminology refers to the methodology and operation function of the nature of cultural heritage in Taiwan museology, which meaning is divergent from the usage in Europe and America museology to refer to a museum based rhetoric. This western compound word, associated with the expanding definition of museums in late 1990s, in relate to institutions that do not use by the name of museum, but are solid functioned as museums. In order to investigate what a quasi-museum is, its relationship with museums, its features and functions, and its significance to Taiwan museums, this dissertation probe into the origin and application of the terminology to search out its genealogical connection with museum and puts forward suggestions into use. For ICOM and museum contributed organizations have been absorbing and integrating cultural heritage in their exploration of defining museums that have emerged quasi-museum played as an expedient role while expanded museum category in post-modern culture, so that the parts in conflict between cultural criticism and museology should be addressed. By applying theories such as museality and Foucault's heterotopia as examine tool to analyze the characteristics, the relationship with tangible and intangible cultures, the uncertainty and juxtaposing of time-space flow make possible to illustrate the openness of quasi-museum that leads to summarize three characteristics accordingly: "Extensive", "Narrative" and "Spatio-temporal". Examples referring to these characteristics will be elaborate including Taiwan folk belief activities that resulted differentiation between "visiting" learning of traditional museums and the "participating" body of poetics experience. Finally, trend observations and future prospect of quasi-museum will be proposed, including the visual impact of new media art of information age and cultural governance as a solution for museum phenomenon, advocate intervened by ethics for inevitably the havoc brought by narrative hegemony. In regarding to cultural production as the key project of urban and national development summon a voice in international competition and show strength for Taiwan is in need.