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|Title: ||受過法國教育的台灣藝術家對台灣藝術場域及藝術家角色定位之觀感;Le regard port? par les artistes ta?wanais form?s en France sur le monde de l'art et le r?le de l'artiste ? Ta?wan|
|Issue Date: ||2013-08-22 11:46:37 (UTC+8)|
指導教授：劉柏桑 (Tanguy Lepesant) 老師
In recent years, more and more people in Taiwan have paid attention to cultural issues, which also provoke a lot of debates and discussions. The Council for Cultural Affairs (CCA), the prime cultural organization of Taiwan, has been upgraded in May 2012 to the Ministry of Culture. It shows that the government of Taiwan has a great intention of developing art and culture. However, it doesn’t stop the controversy. A lot of artists ask for some requests from the government. This phenomenon gives us a question: Do cultural policies of Taiwan offer a favorable environment of creation to art creators? My research tries therefore to figure out the current circumstances of the field of art in Taiwan by interviewing some Taiwanese artists and analyzing its causes, to clarify if there is a gap between the cultural policies of Taiwan and the actual champ of art.
We will discuss in the first chapter what concepts the interviewed artists have regarding “art” and its functions, in an attempt to understand what the importance of art is in society. After the interviews, I will divide the chapter into three concepts: First of all, art is considered as a human heritage and inseparable from “people”. Past history and tradition can be transferred from generation to generation through artistic works. These are exactly what the necessity of art in society is based on. Secondly, both art and culture have the characteristic of changing with time. All the art of the past is not an obstacle of future development but a base of progress and innovation. In the end, work of art can be a silent critical power to rouse revolutions in spirit and thoughts. Besides, in the last half of the first chapter, we will talk over the reasons of the interviewees to choose France as their place for studying art. After generalizing the superiority of the II
field of art in France compared with that in Taiwan, we will discuss the composition and the structure of the champ of art in France via the history of its development.
The second chapter will focus on the current cultural issues. I will analyze, with the experience and observation shared by the interviewed artists, the problems existing in current champ of art in Taiwan and its cultural policies, as well as the difficult situation which the artists face in this kind of environment, including disequilibrium of distribution of funds and budgets, mistakes in administration and problems of personnel appointment. In addition, the interviewees offer some introspections for the policy “Cultural and Creative Industry” which the government is currently and which could cause promoting at present as the topic. They will point out some potential dangers on its excessive development in society.
Based on the two former chapters, I will sum up in the third chapter the thoughts and suggestions of the interviewed artists about the reorganization of the champ of art in Taiwan. The first thing to do is to cultivate the agents and renew their thoughts. The second thing to do is to establish a favorable environment for the agents to meet art, which will shorten the distance between people and art works, make people able to immerse themselves in culture and be more sensitive to art, and even attract people’s curiosity about art. At last, the champ of art should be autonomous, without any political and economic interference or domination. Artists need a titular status among the society of Taiwan by obtaining acceptance and respect from people and the government administration, which, they should have the right to be part of.
|Appears in Collections:||[法國語文研究所 ] 博碩士論文|
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