美术馆的知识生产方式及其权力演变研究

发布时间：2018-03-29 08:38

本文选题：美术馆　切入点：知识生产　出处：《山东师范大学》2014年硕士论文

【摘要】：美术馆作为一种文化空间，用最直观的方式保存着人类的文明成果，见证着历史变迁，传递着知识生产的功能。纵观美术馆的历史发展，其职能不断变化，从早期以“物”为中心逐渐演变为现在的以“人”为中心。随着社会的变迁，美术馆的理念也在不断变化，特别在知识经济时代的今天，其知识生产功能越来越受到重视。在美术馆的空间中，艺术作为知识得以生产与再生产，知识得以广泛传播。美术馆的知识生产的过程，可以概括为解码—编码—解码的过程。在这一生产过程中，人作为知识的主客体不断变化，使得这个知识空间充满着不同的权力关系。这导致了美术馆知识生产过程被权力不断形塑和建构，与此同时，权力运作亦在美术馆知识生产过程中呈现出来。正如知识社会学所探讨的那样，知识与社会是紧密相连、密不可分的。本文基于知识社会学的视角，借助福柯和布迪厄关于知识与权力的哲学理论，把知识当作一种生产性的活动，转而用微观的视角解读不同时期美术馆的知识生产方式及其背后权力的运作模式，以此来为美术馆的知识生产提供一个准确的分析路径。本论题采用理论阐述与个案分析相结合的研究方法。文章分为四章。第一章是就美术馆及其知识生产方式做简单的概念界定，指出美术馆的知识生产特点，并对相关知识与权力的关系进行理论梳理。接下来二、三、四章均以时间为线索，通过梳理美术馆的历史发展轨迹，阐释不同时期它的不同知识生产方式及其权力演变，以凸显知识与权力之间的那种“共生”关系。第二章是就美术馆的传统知识形态及其权力功能展开论述。归纳传统美术馆的知识生产方式，分析其知识生产所具有的传统艺术特性、艺术展示的私密特性及其知识是权与贵之间相互渗透的权力特性。表述这时期美术馆知识生产是在元资本的权力掌控之下，以神话、宗教、国王的神授之权的形式呈现出来的观点。第三章是对美术馆的现代知识生产方式及其权力支配的论述。阐述此历史阶段美术馆从传统的私人收藏走向国家所有的变化和公共美术馆时代到来的事实；分析美术馆的知识生产改变了传统模式，转向以精英文化为主导的特征；强调国家作为符号权力的垄断者，借助与精英阶层的“共谋”，依靠教育以及阶级区隔的方式来达到权力合法化，，实现统治目的的论点。第四章是对美术馆在知识经济时代背景下，其知识生产与权力关系呈现出多元形态的论述。阐述当代美术馆形态是馆内多方资本权力实践的结果，其权力关系更加复杂多变的现实。论证了当代美术馆打破原有知识生产模式，依据艺术创作的多元形态，转而主动迎合公众趣味，采取多元方式满足观者需求，提升馆内知识生产功效，以实现其作为公共艺术空间理想的论题观点。
[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.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J114

【参考文献】