本文選題：美術(shù)館　切入點(diǎn)：知識生產(chǎn)　出處：《山東師范大學(xué)》2014年碩士論文

【摘要】：美術(shù)館作為一種文化空間，用最直觀的方式保存著人類的文明成果，見證著歷史變遷，傳遞著知識生產(chǎn)的功能�？v觀美術(shù)館的歷史發(fā)展，其職能不斷變化，從早期以“物”為中心逐漸演變?yōu)楝F(xiàn)在的以“人”為中心。隨著社會的變遷，美術(shù)館的理念也在不斷變化，特別在知識經(jīng)濟(jì)時代的今天，其知識生產(chǎn)功能越來越受到重視。在美術(shù)館的空間中，藝術(shù)作為知識得以生產(chǎn)與再生產(chǎn)，知識得以廣泛傳播。 美術(shù)館的知識生產(chǎn)的過程，可以概括為解碼—編碼—解碼的過程。在這一生產(chǎn)過程中，人作為知識的主客體不斷變化，使得這個知識空間充滿著不同的權(quán)力關(guān)系。這導(dǎo)致了美術(shù)館知識生產(chǎn)過程被權(quán)力不斷形塑和建構(gòu)，與此同時，權(quán)力運(yùn)作亦在美術(shù)館知識生產(chǎn)過程中呈現(xiàn)出來。正如知識社會學(xué)所探討的那樣，知識與社會是緊密相連、密不可分的。本文基于知識社會學(xué)的視角，借助�？潞筒嫉隙蜿P(guān)于知識與權(quán)力的哲學(xué)理論，把知識當(dāng)作一種生產(chǎn)性的活動，轉(zhuǎn)而用微觀的視角解讀不同時期美術(shù)館的知識生產(chǎn)方式及其背后權(quán)力的運(yùn)作模式，以此來為美術(shù)館的知識生產(chǎn)提供一個準(zhǔn)確的分析路徑。 本論題采用理論闡述與個案分析相結(jié)合的研究方法。文章分為四章。第一章是就美術(shù)館及其知識生產(chǎn)方式做簡單的概念界定，指出美術(shù)館的知識生產(chǎn)特點(diǎn)，并對相關(guān)知識與權(quán)力的關(guān)系進(jìn)行理論梳理。接下來二、三、四章均以時間為線索，通過梳理美術(shù)館的歷史發(fā)展軌跡，闡釋不同時期它的不同知識生產(chǎn)方式及其權(quán)力演變，以凸顯知識與權(quán)力之間的那種“共生”關(guān)系。 第二章是就美術(shù)館的傳統(tǒng)知識形態(tài)及其權(quán)力功能展開論述。歸納傳統(tǒng)美術(shù)館的知識生產(chǎn)方式，分析其知識生產(chǎn)所具有的傳統(tǒng)藝術(shù)特性、藝術(shù)展示的私密特性及其知識是權(quán)與貴之間相互滲透的權(quán)力特性。表述這時期美術(shù)館知識生產(chǎn)是在元資本的權(quán)力掌控之下，以神話、宗教、國王的神授之權(quán)的形式呈現(xiàn)出來的觀點(diǎn)。 第三章是對美術(shù)館的現(xiàn)代知識生產(chǎn)方式及其權(quán)力支配的論述。闡述此歷史階段美術(shù)館從傳統(tǒng)的私人收藏走向國家所有的變化和公共美術(shù)館時代到來的事實(shí)；分析美術(shù)館的知識生產(chǎn)改變了傳統(tǒng)模式，轉(zhuǎn)向以精英文化為主導(dǎo)的特征；強(qiáng)調(diào)國家作為符號權(quán)力的壟斷者，借助與精英階層的“共謀”，依靠教育以及階級區(qū)隔的方式來達(dá)到權(quán)力合法化，，實(shí)現(xiàn)統(tǒng)治目的的論點(diǎn)。 第四章是對美術(shù)館在知識經(jīng)濟(jì)時代背景下，其知識生產(chǎn)與權(quán)力關(guān)系呈現(xiàn)出多元形態(tài)的論述。闡述當(dāng)代美術(shù)館形態(tài)是館內(nèi)多方資本權(quán)力實(shí)踐的結(jié)果，其權(quán)力關(guān)系更加復(fù)雜多變的現(xiàn)實(shí)。論證了當(dāng)代美術(shù)館打破原有知識生產(chǎn)模式，依據(jù)藝術(shù)創(chuàng)作的多元形態(tài)，轉(zhuǎn)而主動迎合公眾趣味，采取多元方式滿足觀者需求，提升館內(nèi)知識生產(chǎn)功效，以實(shí)現(xiàn)其作為公共藝術(shù)空間理想的論題觀點(diǎn)。
[Abstract]:As a cultural space, art galleries preserve the achievements of human civilization in the most intuitive way, witness the historical changes and transmit the function of knowledge production. The concept of art gallery has been changing from the "object" as the center of the early period to the "human" as the society changes, especially in the era of knowledge economy. More and more attention is paid to the function of knowledge production. In the space of art gallery, art as knowledge can be produced and reproduced, and knowledge can be widely disseminated. The process of knowledge production in art galleries can be summed up as the process of decoding-coding-decoding. In this process of production, people as the subject and object of knowledge are constantly changing. It makes this knowledge space full of different power relationships. This leads to the process of art museum knowledge production being constantly shaped and constructed by power, at the same time, The operation of power is also presented in the process of knowledge production in art galleries. As the sociology of knowledge explores, knowledge and society are inextricably linked. This paper is based on the perspective of sociology of knowledge. With the help of Foucault and Bourdieu's philosophical theory on knowledge and power, knowledge is regarded as a productive activity, and the mode of knowledge production and the operation of power behind it are interpreted from a micro perspective. In order to provide an accurate analysis path for art museum knowledge production. This thesis adopts the research method of combining theoretical elaboration and case analysis. The article is divided into four chapters. The first chapter is a simple definition of art museum and its knowledge production mode, and points out the characteristics of art museum knowledge production. In the next two, three and four chapters, with time as the clue, through combing the historical development track of the museum, it explains the different modes of knowledge production and its power evolution in different periods. To highlight the "symbiotic" relationship between knowledge and power. The second chapter is to discuss the traditional knowledge form and its power function of the art gallery, summarize the knowledge production mode of the traditional art museum, and analyze the traditional artistic characteristics of the knowledge production. The private nature of the art display and its knowledge are the power characteristics of the interpenetration between power and nobility. It is stated that art museum knowledge production during this period was controlled by the power of meta capital, in mythology, religion, The view presented in the form of the king's divine power. The third chapter discusses the modern mode of knowledge production and its power of art gallery. It expounds the fact that the art gallery has changed from traditional private collection to national ownership and the public art gallery era has arrived in this historical stage; Analysis of the knowledge production of art galleries has changed the traditional model and shifted to the characteristics of elite culture, emphasizing that the state is the monopoly of symbolic power. With the help of "collusion" with the elite, relying on education and class division to achieve the legalization of power and achieve the goal of domination. In the fourth chapter, the author discusses that the relationship between knowledge production and power of art museum in the era of knowledge economy presents multiple forms, and expounds that the form of contemporary art museum is the result of the practice of multi-capital power in the museum. Its power relationship is more complicated and changeable reality. It demonstrates that contemporary art museum breaks the original knowledge production mode, according to the multi-form of artistic creation, instead actively caters to the public interest, and adopts multiple ways to meet the needs of the viewer. To improve the efficiency of knowledge production in the library, to realize its ideal as a public art space point of view.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J114

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