臺灣博碩士論文加值系統

自二十世紀中，美學始成為探究人類學文物的新取徑，著重族群多樣性和美學的普世價值。2006年六月於巴黎成立的龐麗碼頭博物館（又譯：凱布朗利博物館、布朗利河岸博物館）是一間國家級的民族學博物館，致力於收藏和展示來自亞洲、非洲、美洲和大洋洲的藝術品。整合法國境內早期人類博物館和國立非洲和大洋洲藝術博物館，並重新置放於極具現代感的建築空間內，龐麗碼頭博物館冀望提供一個可彼此對話的空間，並以美學重新審視人類多樣性與平等性。

本研究旨在探討當連繫上他者展覽實踐，博物館作為一種治理技術，在文化治理和族群多樣性所扮演的角色。借用Tony Bennett之「治理性」為理論架構，輔以文件分析、田野調查和質性訪談，並以龐麗碼頭博物館為研究對象。本研究的目的有三：其一，將文化治理放置在法國多元民族社會的脈絡中，分析博物館如何透過展覽政治達成文化多樣性與族群平等；其二，審視博物館為達成文化多樣性所採用的美學化手法如何於展覽品、建築空間及城市景觀中再現與其達成的效果為何；其三，分析在全球化時代下移民與觀光如何建構參觀主體。

本研究以文化治理的框架探究龐麗碼頭博物館，深入剖析他者美學之再現，思索在全球化時代中展覽實踐與人權議題連結的意涵，並試圖由族群文化和全球流動性擴展分析範疇。

Aesthetics has become an approach to anthropological objects with the concern of cultural diversity and aesthetic universalism since the mid 20th century. Opened in Paris in the year of 2006 as a new type of ethnographic museum, the Musée du Quai Branly centralizes objects from the Musée de l’Homme and the Musée national des Arts d’Afrique et d’Oceanie in a modern architecture, exhibiting non-European cultures from Africa, Asia, America, and Oceania. With an aesthetic perspective and consideration for the diversity of humanity, the museum is determined to provide a space for the dialogue between different cultures to take place.

The current thesis aims at probing into the role museum plays in relation to cultural governance and ethnic diversity when associated with the exhibiting practice of the Other. This thesis, drawing upon Tony Bennett’s theory “governmentality,” achieves the goal with the support of documents analysis, field investigation, and semi-structured interviews, and targets at the Musée du Quai Branly. The research first of all analyzes the politics of museum as an operational technique toward cultural diversity and ethnic equality within the context of multiethnic society in France. Second, my research concern is also given to the representation of the Other, in which multiethnic cultures are exhibited through an aesthetic perspective on collections, architectural space, and urban landscapes. Third, museum’s visitors are considerably important to the construction of the visiting subject shaped by migration and tourism in the age of globalization.

Through the case study of Musée du Quai Branly, the thesis attempts to further enlarge the scope of governmental concepts by the integration of ethnicity and mobility to reconsider the implication of drawing the relation of exhibitionary practices with human issues in the age of globalization.

謝誌 i
摘要 ii
Abstract iii
List of Figures vi
List of Tables ix
CHAPTER 1 Introduction 1
I. Research Background 1
II. Problematiques 7
CHAPTER 2 Literature Review 11
I. Museum and Governance 11
II. Representation of the Other 17
III. Formation of the Visiting Subject in the Age of Globalization 29
CHAPTER 3 Methodology 34
I. Research Object 34
II. Research Methods 43
CHAPTER 4 Cultural Governance and Ethnic Diversity 51
I. France as a Country of Ethnic Hybridity 51
II. Cultural Legacies of Politics 56
III. Musée du Quai Branly: Aesthetics and Ethnic Dialogue 66
CHAPTER 5 Musée du Quai Branly: Representation and the Formation of the Visiting Subject 83
I. Exhibition 83
II. Architecture and Garden 102
III. City and Tourism 132
CHAPTER 6 Conclusion 144
I. Concluding Remarks and Implications 145
II. Research Limitations and Suggestions 162
References 167
Chinese Literature 167
English/French Literature 167
Appendix 175
A. Interview Guide 175
B. Interview Transcript 177
C. Statistics 193
D. List of Temporary Exhibitions From June 2006 to June 2015 198

Chinese Literature
王嵩山（2003）。博物館展示與族群辨識。載於潘朝成，劉益昌，施正鋒（主編），台灣平埔族，頁：273-324。臺北市：前衛出版；臺北縣中和市：旭昇圖書總代理。
曹之鵬（2001）。 法國布利碼頭博物館的建館與展示構想。博物館學季刊，15(3)，頁：59-63。
許功明（2003）。原住民藝術與博物館展示。臺北市：南天。
Moulinier, P. (2010). 44個文化部：法國文化政策機制（陳羚芝譯；張譽騰審訂與導讀）。臺北市：五觀藝術。
Peltason, R. and Ong-Yan, G. (2011). 與普立茲克獎建築大師的對話（呂奕欣譯）。臺北市：馬可孛羅（The original work published in 2010）。
Rose, G. (2006). 視覺研究導論：影像的思考(王國強譯)。台北市：群學（The original work published in 2001）。
Smith, M. (2014). 文化觀光學(國立臺灣師範大學歐洲文化與觀光研究所譯;劉以德審訂)。臺北市：桂魯（The original work published in 2003）。

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