【摘要】： 營(yíng)銷學(xué)提出,經(jīng)濟(jì)形態(tài)已經(jīng)進(jìn)入體驗(yàn)經(jīng)濟(jì)和知識(shí)經(jīng)濟(jì)時(shí)代,競(jìng)爭(zhēng)的不再是品質(zhì)的講究,生產(chǎn)者需要從消費(fèi)者的角度出發(fā),更進(jìn)一步要提供獨(dú)特的經(jīng)驗(yàn)。博物館所提供的是提煉編碼過(guò)后的文化內(nèi)涵,正是在體驗(yàn)經(jīng)濟(jì)時(shí)代所需重視的。 本文經(jīng)過(guò)由博物館提高國(guó)民素養(yǎng)、培養(yǎng)科學(xué)探索精神這一特殊且重要社會(huì)教育功能發(fā)揮引出現(xiàn)實(shí)問(wèn)題,針對(duì)中國(guó)絕大部分博物館利用率低、知識(shí)編解碼水平較低的特點(diǎn),我們將博物館展覽設(shè)計(jì)和觀眾參觀行為作為重要考察對(duì)象,主要考察上述兩者如何影響參觀者的主觀效用體驗(yàn)過(guò)程。 引用現(xiàn)有消費(fèi)者行為研究、認(rèn)知學(xué)習(xí)理論,構(gòu)建博物館知識(shí)傳播與觀眾參觀學(xué)習(xí)行為簡(jiǎn)化模型,本文的工作主要包括如下內(nèi)容。 (1)觀眾知識(shí)獲得和學(xué)習(xí)行為分類研究 參考符號(hào)傳播理論和認(rèn)知學(xué)習(xí)理論,引入現(xiàn)代學(xué)習(xí)行為理論中學(xué)習(xí)機(jī)制的差異作為分類標(biāo)準(zhǔn),以認(rèn)識(shí)論和學(xué)習(xí)理論兩個(gè)維度,我們針對(duì)博物館觀眾對(duì)展品的解讀以獲得知識(shí)的行為特征,將博物館展覽和觀賞過(guò)程視為編解碼過(guò)程,將參觀觀眾分成四類：發(fā)現(xiàn)式學(xué)習(xí)、傳統(tǒng)學(xué)習(xí)模式、行為主義學(xué)習(xí)模式和知識(shí)建構(gòu)型學(xué)習(xí)模式。并且,進(jìn)一步針對(duì)現(xiàn)實(shí)中觀眾不同的體驗(yàn)行為特征和學(xué)習(xí)機(jī)制,為博物館策展方設(shè)計(jì)不同的展覽模式和推廣策略。根據(jù)既定的四種觀眾新知識(shí)的習(xí)得機(jī)制,通過(guò)聚類分析方法對(duì)受訪觀眾進(jìn)行分類。 (2)觀眾在參觀展覽過(guò)程中因主觀體驗(yàn)而獲得的主觀效用度量及影響因素 從展覽編碼和觀眾解碼學(xué)習(xí)以獲得知識(shí)角度,建構(gòu)本研究提出的博物館知識(shí)傳播與觀眾參觀學(xué)習(xí)行為簡(jiǎn)化模型假設(shè),完成對(duì)觀眾在參觀展覽過(guò)程中因主觀體驗(yàn)所獲得主觀效用的測(cè)度。發(fā)現(xiàn)影響該體驗(yàn)主觀效用過(guò)程的主要因素——觀眾預(yù)期效用、觀眾感知價(jià)值、觀眾知識(shí)結(jié)構(gòu)、觀眾解讀學(xué)習(xí)模式、觀眾體驗(yàn)效用和博物館設(shè)計(jì)的參觀情境、博物館展覽編碼技術(shù)等,并揭示其影響作用的一般性。 本文選擇因子分析、結(jié)構(gòu)方程模型等數(shù)據(jù)處理手段調(diào)查所得數(shù)據(jù)進(jìn)行挖掘和深入分析,以檢驗(yàn)上述假設(shè)的真?zhèn)巍?(3)博物館展覽模式的分類測(cè)度和評(píng)價(jià) 相對(duì)應(yīng)地,采用應(yīng)對(duì)不同學(xué)習(xí)機(jī)制對(duì)博物館展覽的不同模式加以區(qū)分,將博物館展覽的組織設(shè)計(jì)者作為這一具體場(chǎng)景知識(shí)的傳播者,而將博物館的參觀訪問(wèn)者(消費(fèi)者)作為這一知識(shí)的學(xué)習(xí)者,則可以得到四種博物館展覽類型：發(fā)現(xiàn)式展覽、系統(tǒng)化展覽、組織有序的展覽和建構(gòu)知識(shí)型展覽。根據(jù)編碼過(guò)程對(duì)觀眾接受、學(xué)習(xí)行為的影響,初步給出評(píng)價(jià)一次展覽社會(huì)效果的幾個(gè)方面。 此外,本文開(kāi)發(fā)設(shè)計(jì)了博物館觀眾參觀體驗(yàn)的知識(shí)習(xí)得行為量表,尤其注重從觀眾認(rèn)知行為和作為編碼過(guò)程的展覽設(shè)計(jì)模式的角度考察博物館整個(gè)展覽的邏輯過(guò)程,不同于已有博物館觀眾研究所采用的量表。并通過(guò)實(shí)證數(shù)據(jù)對(duì)量表的效度和信度進(jìn)行了檢驗(yàn),這既是本項(xiàng)實(shí)證研究所必需的前提,同時(shí)也為后續(xù)其它相關(guān)實(shí)證研究建立可操作化的基礎(chǔ)。
[Abstract]:Marketing has put forward that the economic form has entered the era of experience economy and knowledge economy. The competition is no longer the quality of quality. The producer needs to start from the angle of the consumer and further provide the unique experience. The museum provides the cultural connotation after the extraction and coding, which is the important importance in the experience of the economic era.
In this paper, through the development of the museum's national literacy and the cultivation of the spirit of scientific exploration, this special and important social education function leads to practical problems. In view of the low utilization rate of the vast majority of museums in China and the low level of knowledge codec, we take the museum exhibition design and the audience tour as an important investigation object, and take the main examination. Observe how the above two factors affect visitors' subjective utility experience process.
Citing existing consumer behavior research, cognitive learning theory, and building a simplified model of Museum knowledge dissemination and audience visit learning behavior, the main work of this paper is as follows.
(1) a study on the classification of the audience's knowledge acquisition and learning behavior
Referring to the theory of symbolic communication and the theory of cognitive learning, the difference of learning mechanism in the modern learning behavior theory is introduced as the classification standard, and the two dimensions of epistemology and learning theory are used to interpret the exhibits by the museum audience in order to obtain the behavioral characteristics of the knowledge, and the exhibition and ornamental process of the museum will be considered as a codec process and will be visited. The audience is divided into four categories: discovery learning, traditional learning model, behaviorism learning model and knowledge constructivism learning model. Furthermore, it designs different exhibition models and strategies for the museum curators, according to the different experience behavior characteristics and learning mechanism of the audience in the reality. The clustering mechanism is used to classify the audience.
(2) the subjective utility measurement and influencing factors of visitors in the exhibition process.
From the exhibition coding and the audience decoding learning to obtain the knowledge angle, the paper constructs the hypothesis of the simplified model of the museum knowledge dissemination and the audience visit learning behavior proposed by this study, and completes the measure of subjective utility gained by the subjective experience of the audience during the tour of the exhibition. The expected utility, the audience perceived value, the audience's knowledge structure, the audience reading the learning model, the audience experience utility and the museum design visit situation, the museum exhibition coding technology, etc., and reveal the general effect of its influence.
In this paper, data processing methods such as factor analysis, structural equation modeling and so on are selected for data mining and in-depth analysis, so as to test the authenticity of the above assumptions.
(3) the classification measure and evaluation of the museum exhibition model
Correspondingly, the different learning mechanisms should be used to distinguish different modes of Museum exhibition, and the organization designer of the museum exhibition is used as the disseminator of this specific scene, and the visitors (consumers) of the museum can be used as the learner of this knowledge, then four types of museum exhibitions can be found: discovery The exhibition, the systematic exhibition, the organized exhibition and the construction of the knowledge-based exhibition. According to the acceptance of the audience and the influence of the learning behavior, several aspects of the evaluation of the social effect of an exhibition are preliminarily given.
In addition, this paper develops a knowledge acquisition behavior scale for the visitors' experience of the museum. It pays more attention to the logical process of the museum's entire exhibition from the perspective of the audience's cognitive behavior and the exhibition design pattern as the encoding process. It is different from the scale used by the existing Museum audience research. Validity and reliability were tested. This is not only the prerequisite for this empirical study, but also an operable foundation for other related empirical studies.
【學(xué)位授予單位】：南京理工大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：G265

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 鮑賢清;博物館場(chǎng)景中的學(xué)習(xí)設(shè)計(jì)研究[D];華東師范大學(xué);2013年

相關(guān)碩士學(xué)位論文 前6條

1 胡s，

本文編號(hào)：2122283