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本文從美國藝術社會學的理論介紹開始，並試圖藉由台灣畫家陳澄波聲譽建構的過程從事雙向性的探討：一為對台灣藝術制度內各個角色的互動形態有所了解；另一為對美國藝術社會學這門新興的學科發展有所省思。整個美國藝術社會學的發展一開始就是以社會學裡強調的「制度」為主要的方向，舉凡制度內的各個地位角色所扮演的功能、互動的狀態等等，都是探討的議題。這樣的研究角度有其優點，相對於人文學科只著重藝術家和藝術品在藝術世界的價值；社會學的觀點將研究的焦點，從美學的創造性轉移到藝術世界之社會關係的網絡中。只是這樣的觀點也有所欠缺：首先是不同於基本的社會制度，所謂的藝術制度其實尚未完全整合，制度內各個地位角色之間也不盡然會有所互動。其次是美國藝術社會學只談「社會關係」，不談「藝術」破壞了藝術社會學作為次領域的自我描述的基礎。最後則是藝術社會學著重制度內的角色互動，往往會形成靜止、不具歷史性的社會結構。 　　藉由陳澄波的百年境遇，從陳澄波的聲望建構、遺忘及重建的過程，我們可以了解制度面的關照雖有其關鍵性，但整個陳澄波所存在的台灣特殊的政治生態及所關連的台灣新美術運動的發展也在其中有所作用。也就是單從美國藝術社會學所強調的制度面是無法有其全面性的關照。就以日據時期的陳澄波為例，要了解日據時代陳澄波的聲譽構築，當時環繞著整個美術展覽的酬賞機制就不能不談。但不能體察當時台灣的政治命運，也就不能了解當時也是酬賞機制其中一環的輿論報導及「應援會」設立的意義。而藉由台灣美術的發展，我們才能對當時的前輩畫家有著體諒，不管是在當時酬賞制度的跟進，以及政治上是否具有抗日的意識。在一個「不知藝術家為何物」的年代，畫家從自身遠赴他鄉學習基本的西畫技巧，這批畫家是從無到有的過程，全然對西方美學的接受，且必須由最原初的模仿自然的寫實技法開始。所以從整個陳澄波的聲譽構築過程中，我們可以了解整個政治的大環境與藝術自身的發展領域，都是與美國藝術社會學所強調的藝術制度相互影響的，少了其任何一環，都無法窺視全貌。

我國文建會於2003年始視文化創意產業為重點發展方向，其中表演藝術產業（原名音樂與表演藝術產業）為《 文化創意產業發展法》中指稱的文化創意產業之一。但在此之前，我國早已經有許多蓬勃發展的表演藝術組織。已發展成全球規模的太陽劇團於2008年首次登台演出，大幅度提昇國人對太陽劇團的熟悉度。自此，不少國內碩博士論文從不同角度研究太陽劇團的成功，報章媒體也以大幅版面報導劇團來台，及其成功營運至全球規模的生意經。國內有許多發展已具備規模的表演藝術組織，這些組織與太陽劇團究竟有何差異是本研究要探討的議題之一。另外探討如果我國表演藝術組織希望擴大經營規模，太陽劇團作為一個全球性規模的表演藝術組織，其經營模式又有哪些是值得我國學習。 在這樣的背景下，期待透過本研究，研究表演藝術組織如何發展其經營模式，並描述分析太陽劇團及國內多個表演藝術組織其經營模式有何異同；同時探討表演藝術組織如何擴大經營規模，而國內表演藝術組織可持續努力學習的方向為何。 本研究以Staehler（2002）提出的經營模式為主要分析架構，依據四個構面—價值主張、產品/服務、價值結構及收益模式—來分析表演藝術組織。選定的個案包括一個國外營利表演藝術組織太陽劇團，以及三個台灣非營利表演藝術組織屏風表演班、紙風車劇團及相聲瓦舍。透過初級資料及二手資料蒐集後，研究整理成個案，並進一步分析討論。 表演藝術組織的構面之間會互相影響，是一個動態連結的關係。同為非營利組織的經營模式有其相異的地方，其收益來源與內部價值創造流程有所差異；不同組織型態的表演藝術組織也有共通點，同樣都會打造A型團隊、善待並留住人才、強調創意、塑造內部和諧氣氛及建立知識管理等。 另外，表演藝術組織如果想要擴大規模，可以透過建立A型團隊，與外部合作開發節目、鼓勵所有人共同創作、累積管理人才及完善知識管理的方式提昇組織規模化的能力。與顧客建立緊密連結、和外部價值夥伴建立長期良好的合作關係可共同擴大市場及影響範疇。 本研究是將整個組織做為一個分析單位，在有限的時間與資源下進行研究分析。期待本研究對於學界、實務界或政府政策都有所貢獻，成為台灣未來持續發展表演藝術產業的參考依據。 / The Council for Cultural Affairs (CCA) believes that the creative industry will become continuously important to economic well-being. The creative industry comprises thirty categories, one of this is performing arts. One of the most famous performance organizations is Cirque du Soleil, which makes significant amount of profit yearly on a global scale. This Research wants to analyze the difference between the Cirque du Soleil and Taiwan’s performance organization. There are three main purposes of this research. Firstly, the research will analyze each performance organization’s business model, including Cirque du Soleil, Ping-Fong Acting Troupe, Paperwindmill Theatre and Comedians Workshop. Secondly, the research looks into every aspect will have effect with each other, which is a dynamic connection. As nonprofit organizations, Ping-Fong Acting Troupe, Paperwindmill Theatre and Comedians Workshop organize “A type team”, create internal innovative atmosphere, and build mechanism of knowledge management, just like the profit organization. Finally, they also can expand the scale from several ways, like developing new program with external partner, retaining managers, building compact knowledge management mechanism and keeping good relationship with external partner and customers.

台灣表演藝術尚未達到像歐美商業劇場般，可以完全以營利為導向的成熟環境，現代劇團的營運大多採「以戲養戲」的方式，「票房」是劇團最主要收入來源，倘若某個製作獲利不如預期，劇團將立即面臨生存壓力。 為了讓劇團有更好的票房收入及更穩健的營運籌劃，除了藝術層面的投入，經營管理層面的培訓與治理也同等重要；然而，主導藝術的創意人與穩健經營的行政人卻常是用不同思維在處理事情，創意端的天馬行空與行政端的錙銖必較，在面對問題時，非常容易引起爭端與摩擦。 【相聲瓦舍】在20多年的發展歷程中，也歷經各式創意與行政間的爭執、磨合、妥協與認同，本論文企圖在瓦舍茁壯的過程中，找出創意與行政間的「最適平衡點」，並提供給相關表演藝術團隊參考。 / The market scale of Performing Arts in Taiwan that is not yet reaches the level of Europe or America. In Europe and America, the theatre could operate based on their profit concern; On the other hand, the theatres in Taiwan are always struggling on their survival. The main income for theatre in Taiwan is the box office. If the performance didn’t do well in the box office, the theatre would facing the pressure of dismiss. In case to make the better box office and more efficient operation plan in a theatre, we found the management skill and training is the same important as the investment on the artistic development. However, the mind set of creativity team and management team are different, sometimes even they are conflict. This kind of conflict is also happened in Comedians Workshop during the last 2 decades. This paper attempts to find out most appropriate way to balance all the conflicts, adjustment and compromise. Hope we could share our experience as the reference to other theatres.

本研究係探討臺北縣校園公共藝術規劃之構想、原則、程序、師 生對規劃之認知與意見、教職員對規劃之滿意度等。研究方式採文獻 探討、問卷調查、實地觀察、訪談進行，抽取臺北縣已規劃校園公共 藝術，且施作完成之五所國高中師生572 名為問卷調查對象，以每校 兩位學校教職員為訪談對象。資料採用描述性、以次數百分比統計、 獨立樣本t 考驗、單因子變異數分析、Scheffe′Method 事後比較分 析等方法研析，提出結論與建議。歸納本研究發現，獲致十二點結論， 並提出建議，供校際經驗交流，以提高規劃實務品質。茲將研究結論 摘要概述於后： 一、校園公共藝術之規劃緣起、規劃構想大多結合各校教育理念 與辦學目標，其中校長之教育理念最為關鍵。學校公共藝術規劃重要 原則有：公共性、藝術性、經濟性、教育性等。 二、臺北縣五所國高中校園公共藝術之規劃方式，多為邀請藝術 家製作。其規劃程序，係依據臺北縣政府規定程序進行。 三、臺北縣五所國高中所規劃完成之校園公共藝術，以具體類 型、戶外形式、視覺性、可以多角度觀賞作品為主。 四、學校師生較少參與校園公共藝術規劃；師生對問卷中有關校 園公共藝術規劃之敘述，皆表示同意；其中男性同意平均數，高於女 性；學生同意平均數高於教師。教職員年齡差異，則不影響教職員對 各題項的同意平均數。 五、不同學校規模，對問卷題項之敘述，學校班級數30班以下學 校師生之同意平均數最高。 六、創校歷史差距下，創校10 年以下學校師生，對各題項之同 意平均數最高。 ii 七、對於有關校園公共藝術類型題項之敘述，其中「喜歡公共藝 術類型」、「類型有地方特色」兩題項，以七年級學生之同意平均數最 高。 八、師生在問卷調查各層面中，同意平均數最低題項為：「校園 公共藝術具有教學功能」，次低題項為「公共藝術作品的材料具有地 方特色」。 九、師生在各層面中，同意平均數最高題項分別為：「覺得校園 公共藝術的類型很有創意」、「公共藝術使用了安全材料」、「覺得 校園公共藝術作品美化了校園」、「覺得校園公共藝術作品的色彩很 美觀」、「覺得校園公共藝術設置的地點很適宜」、「覺得很容易接 近校園公共藝術」。 十、臺北縣五所國高中在規劃過程中所遭遇之困難為，臺北縣可 供參考諮詢具有規劃經驗學校案例較少，各校多向臺北縣文化局人員 請教；部分學校在公共藝術設置後，因考量觀賞安全，要求藝術家更 改藝術品造型或作品附近之裝置，因而改變校園公共藝術原貌。 十一、學校教職員對訪談項目滿意程度最高之項目為「校園公共 藝術的規劃程序」；對「規劃構想的宣導」及「作品完成後的宣導活 動」兩項規劃之滿意程度最低。 十二、臺北縣五所國高中教職員依其規劃經驗，給其他學校的建 議：規劃時宜有專家學者、學校師生與家長代表參與；規劃宣導可結 合領域課程與辦學理念；作品宜標示公共藝術之緣起、構想、主題意 涵。 最後，根據以上研究結論與文獻資料，對規劃單位、藝術創作者、 未來研究者，提出建議。 關鍵詞：學校校園、公共藝術、公共藝術規劃 / Thesis Abstract Department of Education, National Chengchi University Management of public arts on the campuses of high schools in Taipei County –take five high schools for examples Yu-Ho, Chen Advisor: Dr. Chi-Min, Tang The purposes of this study are to examine the idea, principles, process, realization and suggestion from teachers and students, the satisfaction of staff. The research adopts various ways such as literature, questionnaire, campus Assessment , and interview to examine the feedback of five Taipei County high schools which have set up public art. The research includes 572 teachers, students, and staff. The conclusion and suggestion are made by carefully examination of descriptive statistics, percentage statistics, Independent Sample t-Testing, and Scheffe  method. Hope the research could provide more chances in exchanging experiences from campus to campus thus raise the quality of further management. The conclusion and detection of this study is as followed: 1. The origin of Taipei County high school public art is resulted from school goals and schools development. The most important factor that affects the public art is principal’s educational expectation. The key principles are publicity, beaux arts, economics, safety, education, integration, and access. 2. The management of Taipei County public art is made by licensed artists. The plan is processing by rules made by Taipei County Hall. 3. They are concrete, outdoor, multi-angled, visual, the campus public art works set up in Taipei County high schools. 4. Not all students and teachers participate in the management of campus public art. They feel the most satisfied with the description of campus public art. Male tend to agree to most of the questionnaire than female do. Students show higher agreement than teachers do. The age discrepancy does not involve in the degree of agreement. 5. Different school sizes affect the result. Students and staffs in the schools which have fewer than 30 classes show the highest agreement to the questionnaire. 6. Different school history involves in the result. Students and staffs in schools with less than 10 years history show the highest degree of agreement about other items. 7. Seven graders show the highest agreement than eight and nigh-graders in items “the art work has local characteristics” and “the fondness of public art”. 8. All the respondents show the lowest agreement toward item “campus public art contains educational function”, and the second lowest item is “the materials of the public art contain local characteristics.” 9. Among the six aspects of types, materials, realization, color, location, and access, students and teachers show the highest agreement toward “I feel the campus public art is creative”, “I feel the color of campus public art is beautiful”, “I feel our campus public art locates in proper location”, “It is easy to access our campus public art.” 10. The difficulties occurred during the execution and establishment of Taipei County high campus public art works are as bellows. First, there are fewer cases and experienced schools for suggestions and references of campus public art management. Most schools try to counsel the members of Taipei County Cultural Bureau to solve this problem. Besides, for the safety side, a few schools will ask to remodel the art work or to change its surroundings which change its original design. 11. The staffs show the most satisfied items toward “The process of management of campus public art”. They show the least satisfaction toward the items “The explanation of the idea of the public art” and “the explanation of the public art after it has been set.” 12. With their experiences, the five Taipei County high schools which have already own the public art work give suggestions to other schools that are processing to have their own public art. First, to have parent representative, students, teachers, and experts join the management of public art. Second, the propagation could combine school curriculum and the ideal of the school. Last, the art work should mark the origin and the meaning of the topics of campus public art. To conclude with the analysis of literatures and the results of the study, ten suggestions are offered to schools which are interested in campus public art. Key words: campus, public art, the management of public art

This thesis lays out a business plan for Vocal Arts Studio, a new voice school for singers who are interested in studying voice in an English environment. This will enable students to not only study with a teacher whose technique is based on some of the world’s finest voice teachers’ own methods, but this will allow them to become accustomed to hearing and using vocal terminology in English. As many talented musicians go on to study at universities and conservatories abroad, this training will help them overcome common communication gaps non-native English speakers face as they pursue advanced degrees or attempt to audition and perform in an English setting. In addition to targeting young learners in high school and college, Vocal Arts Studio will also create choirs for two additional groups: one for young people in grades 4 through 8; and another for adult women. These will also be conducted in English, again combining the learning of music and the English language together.

二○○三年百老匯音樂劇CATS來台演出，造成一股不小的風潮，包括媒體效應、周邊商品的大量熱賣以及觀眾的人次等等都造成不小的話題，且，民國九十三年外國人來台演出的活動個數為878個，相較於民國八十三年的461個，十一年來亦成長了90%，可見國內仲介外國團體來台演出的表演藝術經紀公司，在這十一年來也是蓬勃發展。但是由於藝術推廣公司手邊的節目長年不斷，而國內表演團體畢竟相當有限，加上藝術推廣公司都進口了不少國外節目，這不免影響了國內表演團體的演出機會，有專家擔心國內表演團體難以匹敵國外節目。 因此本研究從國內藝文環境著手，探討表演藝術經紀公司對於國內表演藝術環境的影響，根據觀眾的成長，演出內容對國內團隊的影響，行銷模式的改變，幾個角度切入，深度探討表演藝術經紀公司的過去與未來，希望從研究中找出對於國內藝文環境的影響因素，並對表演藝術進入文化創意產業找到方法，進而使國內藝文環境獲得良好的發展條件。 為了了解國外節目對國內藝文生態的影響，本研究分別以內容分析法與深度訪談法分別進行量化與質化的分析，量化的部份以國內直轄市經常演出的六個表演場地90-94年的演出紀錄進行資料蒐集整理分析。包括台北國家戲劇院、國家音樂廳、國父紀念館、城市舞台、新舞台，以及高雄的至德堂。質化的部份以國內知名的專家學者以及重要藝術經紀公司負責人進行深度訪談，藉由專家的經驗檢驗表演藝術經紀公司對國內藝文環境的影響。 近五年來，國外節目場次最多的是音樂類節目，其次是舞蹈類，現代戲劇類每檔節目演出的場次最多，其次是傳統戲劇類；演出場地部份國父紀念館演出國外節目的比例最高，其次是國家戲劇院；表演場地自辦國外演出比例最高的是國家音樂廳，其次是新舞台；演出場次最多的是93年在城市舞台演出的「貓」劇共演出30場，演出座位數最多的是93年在國父紀念館演出的「真善美」座位數共有55,308個座位。 未來希望表演藝術經紀公司除了引進國外節目外也可以將國內團體推廣出去，而希望政府在法令政策上對於國內團體與國外團體能有一些區隔，也期許表演場地在管理上能更有效率，在政府、表演場地、民間經紀公司與國內表演團體的共同努力下，為台灣的表演藝術開創美好的未來。 關鍵字：表演藝術、表演藝術經紀、表演藝術仲介、兩廳院 / In 2003 the famous Broadway musical “CATS” came to Taiwan, generating high ticket sales and product merchandizing, gaining major media coverage and creating considerable discussion. In fact, a total of 878 international performances were staged in Taiwan in 2004; a 90 percent increase of the 461 foreign performances of 1994. This helped create a major growth industry in local Entertainment/Performance Booking Agencies specializing in the importing of international entertainment act into Taiwan. In fact, experts are concerned that the large number of overseas performances Agencies/Promoters have available to import into Taiwan is considerably higher than what can be produced locally. This could result in the local market being overwhelmed by international performances, greatly hurting the long-term competitiveness of Taiwan’s Cultural and Arts industry. 　　This research looks at Taiwanese Performance Arts Industry and the impact of Agencies/Promoters on Taiwan’s Culture and Arts environment. Methodology used is an evaluation of the Taiwan market, the impact of the content of foreign performances on Taiwanese groups and the ensuring changes to local promotional techniques. This paper will also look in detail at the past and future of Agencies/Promoters specializing on introducimg foreign cultural and arts entities and performances. It is the objective of this report to identify the impact of these entities on Taiwan’s Culture and Arts industry and propose a roadmap for the successful development Taiwan’s local Culture and Arts industry and its eventual development into a Creative Cultural Industry. 　　Method used for this research project is content analysis coupled with interviews to obtain qualitative and quantitative analysis. 　　Quantitative analysis consists of records collection and analysis of Taipei and Kaohsiung’s six major performance venues for 2001-2005. These six venues are: National Theater、National Concert Hall、National Dr. Sun Yat-sen Memorial Hall、Taipei City Stage、Novel Hall and Kaohsiung’s Chih-Teh Hall. 　　Qualitative analysis consists of interviews with Taiwanese scholars and key executives of Entertainment/Performance Booking Agencies. Through this methodology the author hopes to clarify the impact of Promotors on Taiwan’s Artistic environment. 　　Over the past five years, the most common foreign programs have been musicals followed by modern dance . The greatest number of performance have been staged by contemporary theater followed by traditional theater. The National Dr. Sun Yat-sen Memorial Hall had the highest percentage of foreign vs. local performances followed by the National Theater. The National Concert Hall sponsored in the highest percentage of overseas performances followed by The Novel Hall. The overseas performance with the longest stage run in Taiwan was the 2004 performance at the Taipei City Stage of “CATS” with 30 performances. The highest potential seats sold for a foreign program was the 55,308 sold for the 2004 performance of “The Sound of Music” at the National Dr. Sun Yat-sen Memorial Hall. 　　It is hoped that in the future, Agencies/Promotors will not only introduce foreign programs but will facilitate the export of Taiwanese performing art program and entities to overseas audience. It is also hoped that the Taiwanese government will amend laws to differentiate between local performance . It is also hoped that there will be an improvement in the management of local venues resulting in more efficiencies. And through the joint efforts of the government, the venues, Entertainment/Performance Booking Agencies and local performance groups, Taiwan’s Arts and Cultural environment will see positive future growth. Key Terms: Performing Arts, Performing Arts Agents, Artist Management Companies, Performing Arts Promotors, CKS Cultural Center.

在海德格一生的思考中，最核心的問題就是「存有」(Sein)。 長期以來傳統哲學在處理存有問題時，已經形成了各式各樣的認識論或形上學種種的學說，但也就是這眾多種種的知識化的學說體系，使得海德格想要扭轉傳統哲學這種以日常生活經驗去符應已經僵化的知識體系的處理存有問題的方式。就海德格來看，傳統哲學中的主體是一個知識化的主體，不管主張唯我或唯物，主體與外界始終是分離的，主體對外界的掌握是靠知識模式來進行掌握，於是各式各樣的學說主要的目的是在彌補或證成主客體之間這道不可跨越的鴻溝。然而，不管主體多精準地描述出客體，這種知識上的精準度對海德格來說都只是次生的。在《存有與時間》中海德格就是要以現象學的精神「回到事物自身」，來說明知識上的掌握要以最原初的日常生活經驗為依據，倘若抽離了日常生活經驗，那麼我們就成了失去真實體驗的掛空主體。

面對著文化工業 (culture industry) 的崛起，藝術家高喊著「藝術自主性」 (autonomy of art) ，來對抗國家機器與資本主義對藝術的侵蝕。前衛的藝術家就已經面臨內部矛盾的論證：一部分認為藝術應該當作社會真實的反映工具，進而觸發社會的整體革命，另一部分則抱持著「為藝術而藝術」 (l'art pour l'art) ，不應該被任何社會的風潮牽動。本文挑選阿多諾的美學思想作為研究的課題，研究其批判文化工業的藝術哲學，並且就《啟蒙的辯證：哲學的片簡》 (Dialec-tics of Enlightenment) 的篇章〈文化工業：大眾欺騙的啟蒙〉 (The Culture Indus-try: Enlightenment of Mass Deception) 以及《美學理論》 (Aesthetic Theory) 當作本文研究之原典。 除了緒論與結論，本文共分為三個章節。第一章分析的是「文化工業」：藉由商品拜物教的形式，文化工業從藝術的外部性質──傳播媒體──來取得藝術的社會形式，卻也因此異化藝術本身的內在邏輯，甚至使得傳播媒體異化且取代了藝術作品本身。第二章分析的是「前衛藝術」：雖然前衛藝術是文化工業的對立面，但是它們都享有共同的外在語法與邏輯。因此，前衛藝術與文化工業的對立是基於什麼原因，則是本章所要分析的。第三章分析的是「藝術的雙重性」：藝術的雙重性是阿多諾《美學理論》的重要貢獻，也一直是後繼者研究其藝術哲學的重點。藝術的雙重性──社會性與自主性──都是藝術作品內部精神，而表現在它的物質形式上，這都可被視為藝術作品本身的物化。 從阿多諾的觀點中分析，藝術的自主性──就如同資本主義對於自由的形容──是不切實際的虛假意識，藝術是物質的、社會的產物，也只是反映下層建築的菱鏡、主體的附庸；另一方面，藝術卻又渴望不被他者束縛的自由，對於現實的理所當然是不屑一顧的，而試圖在化外之地找尋更好的理念。在阿多諾的美學理論，藝術的雙重性是其自身內部矛盾的辯證過程，卻也是藝術最迷人之處，無論傾向哪一個層面之體現，都無法完整表達藝術的真面目而使之終結。如果要為藝術找尋其雙重性的辯證，最終必然為找尋其動態的平衡，時而接近主體，時而離開主體，與主體展開曖昧不明又難分難捨的關係。也因為如此，藝術為達到自身辯證的平衡，就成為了縈繞於社會邊緣的遊蕩者。 / The artistic manifestation for “autonomy of art” is against the rise of culture in-dustry which corrupts art’s sake in the capitalist society. Those artists who claim self as the avant-garde argue whether their artwork should be the reflection of social real-ity or should be “l'art pour l'art”. My thesis is focus on T.W. Adorno’s aesthetic theory, and his critique against the culture industry. T.W. Adorno’s aesthetic theory should be rediscovered from his “The Culture Industry: Enlightenment of Mass Deception” from Dialectics of Enlightenment and his masterpiece Aesthetic Theory. Besides the epilogue and the conclusion, there are other three chapters. The first chapter is focus on “culture industry”: from commodity fetishism, the culture industry claims art’s form by its externality: media. However, it also reifies the internal logics of art which media takes over art in its own sake. The second chapter is on “avant-garde art”: though it is the counterpart of culture industry, avant-garde art shares the same syntax and logic with the culture industry. The reason of their conflicts should be explored by the history of modern art. The third chapter is on “the duality of art”: as the most important part in Adorno’s aesthetic theory, the duality of art contributes the essential idea in the aesthetic history. Nevertheless, the autonomy and social faux are both elements of art’s spiritual perpective which will be reified as its form. From Adorno’s theory, art’s autonomy and social faux are dialectical. Art must seek its own autonomy from its heteronomy, which avoids itself from its own fetish character. It circulates it own vital experience, then it terminates itself in the reification. Therefore, in Adorno’s theory, art’s duality is both dialectical and mysterious. Whether any aspect could not embody the truth content of art, and hence art is so amusing. The dialectical duality of art comes with its equilibrium with the social; real-ity, while the former is object and the latter is subject. While art approaches with the society, it also detaches from the society. The dialectical relationships has made art and society both indistinct and inseparable, therefore, art must become the edge of so-ciety in its own sake as the “flâneur”.

盧那察爾斯基(Anatoly Lunacharsky, 1875-1933)於1917-1929年間擔任蘇聯教育人民委員部(Narkompros)首任委員，在任期間發表了大量關於藝術的文章及報告，其在蘇聯藝術發展史中扮演極為重要的角色，然而他以藝術達到社會主義理想的主張與正統馬克思主義的經濟決定論十分不同，他相信群眾意識才是推動革命的必要條件。而他從在俄國十月革命之前就抱持這種想法，因此曾一度主張將宗教與社會主義結合，使革命意識成為一種宗教情感而深植人心，而這種想法受到被極度反對宗教的列寧的嚴厲批評，隨後這種想法才轉向以藝術來實現。 在盧那察爾斯基思想中可見到實證主義(Positivism)、費爾巴哈(Ludwig Feuerbach)宗教哲學、尼采(Friedrich Nietzsche)哲學與華格納(Richard Wagner)的色彩，這使盧那察爾斯基的藝術理論在眾多馬克思主義美學家中顯得獨樹一格，本論文主要透過盧那察爾斯基的著作，並加上中西學者對於盧那察爾斯基的研究，不以馬克思主義為中心來理解盧那察爾斯基的藝術思想，探討盧那察爾斯基對於藝術與革命的認知與實踐。 / Anatoly Lunacharsky(1875-1933) was the first Commissar of The People's Commissariat for Education(Narkompros) from 1917-1929. During his tenure, he published many articles and reports about the arts and played a very important role in the history of artistic development in the Soviet Union. However, his proposal to achieve the ideal of Socialism through the arts was very different from the orthodox economic determinism of Marxism. He believed that mass consciousness was a must to promote the revolution. He already held this idea long before the October Revolution in Russia. Thus, he once advocated combining religion and Socialism, making revolutionary consciousness into a religion deeply rooted in everyone’s mind. Nevertheless, this idea was severely criticized by Lenin, who was very opposed to religion. Afterward, Lunacharsky’s thoughts changed, turning instead to realize ideals through art. The influences of Positivism, Feuerbach’s philosophy of religion, Nietzsche’s philosophy and Wagner’s concept of art can be seen in Lunacharsky’s thought, making his views on art unique among Marxist aestheticians. In this paper, instead of understanding Lunacharsky’s theory of art in the context of Marxism, discussion will focus on Lunacharsky’s works and Chinese/Western scholars’ studies on Lunacharsky in order to learn more about Lunacharsky’s thoughts and practice of art and revolution.