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  • 學位論文

博物館渴望「現代」:一座台灣科學博物館的歷史、政治與社會組織

Desiring ‘Modernity’: The History, Politics and Social Organization of a Science Museum in Taiwan

指導教授 : 李丁讚
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摘要


後進發展國家學習現代化的經驗中,移植西方高度發展國家的器物與文化裝置是常見的現象。1970年代後期以來,國家建構一系列的文化展演設施和博物館,以施行一種新的社會與文化的治理。在這波博物館浪潮,臺灣首度自行建構具現代性意涵的自然科學博物館,甫開幕即飽受大眾的青睞,成為這一波少數成功的現代型博物館,也加速後續的科學類博物館建設。這種「現代博物館」風潮如何與為何創生於臺灣,以及科學在這種博物館的角色,涉及複雜與衝突的社會、知識與文化的過程。近年科博館發生的展示與博物館事件,如中國科學廳誕生與更名的爭議、人體世界展示、瓦勒邁杉移植事件、自然史與災害科技展示爭議等,凸顯出博物館內專業者的知識、價值與其工作組織之矛盾處境,我稱之為博物館的避險性格。博物館誕生和變遷過程固曾受到博物館學與人類學的關注,然而,台灣社會學尚未深入梳理這一段攸關臺灣博物館發展的社會治理史,本研究試圖追溯這種我稱之為博物館親民和避險體制的歷史政治過程。 論文第一部分首先梳理臺灣戰後文化政策體制,如何從中華傳統意識形態的政略,逐步轉向擁抱現代科學、藝術文化的文化政治體制,並透過科博館設立過程的論述生產、實地考察與協商實作,國家與籌劃團體共同生產出威權政體轉型期的政治理性。在科博館開館之初吸引大眾參觀的背後,其科學文化生產亦相連於威權政體後期之親民式政治理性,使科博館與大型博物館日後特展政治的發展需依賴與轉換此一政治理性,也埋下博物館難以真正民主化的原因。 第二部份將焦點轉向近距—博物館展示與組織的爭議,透過科技爭議的社會建構與社會世界等觀點,闡明科博館如何藉由工作組織之合作和劃界過程,以解決其展示與組織的爭議,消除差異與轉換對手的利益以避開爭議帶來的風險,並對比不同博物館面對展示爭議之社會處置。據此博物館的個案研究,本研究指出博物館值遇困境和爭議時的自我組織以及社會劃界邏輯,使得被博物館視為非科學、非道德或非理性的一方被排除於博物館爭議的場域。雖然這種實踐邏輯能夠讓博物館解除政治、管理的危機,避開不確定性的風險,但卻使其社會聲望可能轉向趨近於市場理性的可信性,進一步侷限博物館的社會想像範疇。論文最後,我也針對促生台灣博物館作為公共領域的可能性,提出知識主張與具體建議。

並列摘要


It is common to see a complete transplantation of culture and apparatus of western modernity for developing countries in the midst of modernization. Since 1970s, the state had started to construct a series of cultural facilities and museums to demonstrate a new kind of social and cultural governance. In this wave of museum movement, Taiwan had no exception but constructed a modern science museum which became a rare success as in its popularity. Why and how this modern museum trend emerged in Taiwan, and the role science played in this kind of museum had involved with a complicated and conflicting social, epistemic, and cultural process. Some events occurred in National Museum of Natural Science (NMNS) in recent years, such as the controversy of the renaming of Chinese Science and Technology exhibition, the controversy of “Body Worlds” exhibitions, Wollemi Pine events. Those events have reflected a contradictory situation derived from the museum professionals’ knowledge , values, and the surroundings, which I called as a regime of “avoiding risk” of museum. The emergence and transition of museum have been a topic in museology and anthropology. However, there is no further analysis about the history of social governance of Taiwanese museums. This thesis is intended to trace the historical and political process of the regime of quasi-populist and ‘avoiding-risks’ institution of modern museums. The first part of the thesis is to analyze the cultural policies in the post-war Taiwan: how did the cultural policies evolved from traditional Chinese ideology to a cultural politics embracing modern science and arts? Through the discourse, on-the-spot- investigation and practice of the science museum in the emerging process of NMNS, we could find the planning team and the state had jointly created a new rationale in the transitional period of authoritarian regime. Behind the mass visiting in the opening period of NMNS, the scientific and cultural production of the museum was also connected to the quasi-populist political rationality of late authoritarian regime. The second part shifts the focus to the exhibition controversies in the museum. Through the perspectives of social construction on scientific controversies, it depicts how a science museum deals with the controversy by the cooperation and boundary work originated from the work organization of the museum. The museum also eliminated the differences and translated the interest of the competitors to avoid risks that came along with the controversies. Based on the case study of this science museum, this thesis points out that due to its logic of self-organization and boundary work, the museum had inclined to exclude the unscientific and irrational sides from the controversies when it faced obstacles and controversies. This logic of practice had made museums rid of political and management crisis as well as uncertain risks, which made its social reputation move towards the credibility of market rationality. However, this rationale constrained the social imagination of science museums. In the end, this thesis intends to advocate the possibility for Taiwanese museums to become a public sphere with its knowledge paradigm and positive advice.

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