今日我們探討博物館的經營管理，不僅應考慮各種影響其運作的外在因素，如社會、文化、制度等生態性的變遷，更應深入分析博物館本身實際運作的基礎－亦即「組織結構」之優劣。博物館的組織結構是否健全、人員編制是否得當以及運作方式是否有效，攸關博物館的功能是否得以完全發揮。組織是博物館的軀體，亦是其運作的基礎，唯有健全的組織結構，才能使博物館有效運作，達成經營目標。簡言之，經由博物館組織結構的探究，博物館將可對本身的功能、資源的分配及管理做深入與多種層面的瞭解，進而提出改革的方案，成為博物館順利發展的契機。 本研究以「藝術博物館」作為研究對象，探討目前國內公立藝術博物館組織結構以及組織中工作內涵、人員編制與運作概況。首先，經由相關文獻的蒐集與彙整，釐清藝術博物館組織功能發揮與組織結構發展之關係；其次，透過具體資料的分析，瞭解國內公立藝術博物館組織結構演進與變遷以及組織運作現況，並歸納出我國公立藝術博物館組織結構的特色。最後，探究現今國內公立藝術博物館組織所面臨的重要課題，並提出相關建議，供我國藝術博物館未來規劃組織結構之際，作為參酌。 / The Organizational Structure of Art Museums of the Republic of China The factors influencing the management of museums include social,cultural levels. But the most important factor is the organizationalstructure. The reason is that the design of organizational structureof a museum is the basic operation. This study focuses the organizational structure of art museums. We discuss the job, staff and operation of art museums. Then we analysis the relationships between the structure and functions ofart museum. At last, we try to find some problems of the operation of artmuseums and suggest how to solve them.

This dissertation analyzes the appropriation of the political theory "soft power" within Japanese national bureaucracies as a discursive mechanism through which anxious concerns for Japan's present are manufactured into hopeful sentiments for its future. In doing so, it examines how certain nonconscious capacities to feel, affects , are made knowable in more formally narrated and perceived sentiments, emotions . These terms constitute the two sides of what I call the affect-emotion gap , whereby the slippages between what one feels and what one knows about what one feels are made into sites of political and economic investment. Based on two years of fieldwork conducted at the major national bureaucracies engaged with cultural diplomacy and policy in Japan--the Ministry of Foreign Affairs, the Agency for Cultural Affairs, the Ministry of Economy, Trade and Industry, and the Japan Foundation--I observe how soft power ideologies are translated into administrative policies that seek to turn aesthetic production, specifically within the field of Japanese popular culture, into political resource. Ultimately, I argue that the uneasy accommodation of soft power ideology to everyday bureaucratic practice reveals a contradictory movement in which soft power is at once delegitimized as practical policy and activated as discursive ideology which, in suturing economic anxiety in the present to hope for Japan's culture industries in the future, nonetheless sustains soft power's circulation.

This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.

Cette thèse traite de l’exposition du patrimoine d’origine catholique dans l’Espagne contemporaine. Elle a pour ambition d’étudier et de circonscrire les différents modes d’exposition de ce patrimoine — musée public, collection privée, musée d’art religieux, musée de confrérie, exposition temporaire etc. — et leur histoire. Les objets d’origine catholique semblent être dans les pays de tradition latine à la racine de la conception de patrimoine culturel. Pourtant, en Espagne, leur intégration dans l’héritage culturel national ne s’est pas déroulé sans heurts. Il est alors question dans cette thèse de retracer les deux trajectoires parallèles de patrimonialisation et de muséification et d’étudier dans quelle mesure elles se nourrissent et contribuent à définir l’objet religieux en patrimoine culturel national. Il est ainsi question de revenir sur les conditions de création des institutions par leurs différents acteurs : les pouvoirs publics, le clergé, ou encore les associations religieuses de laïcs. Enfin, il est question de voir comment politiques culturelle, d’évangélisation et touristique s’entremêlent, dans un pays où aujourd’hui encore les célébrations religieuses rythment le temps. Cette thèse s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : une première période caractérisée par la confrontation entre le clergé et une classe intellectuelle et politique, à l’origine d’une politique sécularisatrice ; les années 1939-1970, temps de l’alliance entre l’Église et le régime franquiste ; et enfin la période 1970-2007, pendant laquelle on assiste à une politique conjointe de mise en valeur culturelle et touristique. / This thesis deals with the exhibition of catholic heritage in contemporary Spain. Its goal is to study and delineate the different ways in which this patrimony is exposed – public museum, private collections, religious art museums, guilds museums, temporary exhibition, etc. – and their history. Artifacts of catholic origin seem to be, in countries of Latin tradition, at the root of the conception of cultural heritage. Yet, in Spain, their integration into the national culturalheritage has not been entirely smooth. Therefore this thesis aims to chart the two parallel trajectories of patrimonialization and museumization and to study how they both take form and contribute to the definition of religious artifacts as part of the national cultural heritage. This thesis also tracks the conditions of creation of the institutions by their stakeholders: public authorities, clergy, as well as religious and secular associations. Finally, this thesis explores how cultural, evangelization and touristic policies intertwine in a country where religious celebrations still rhythm daily life. This study is based on three chronological periods to trace the main changes of these projects: the first period characterized by the confrontation between the clergy and the intellectual and political classes; the period between 1939 and 1970 when the Church and Franco’s regime allied; finally the period between 1970 and 2007 during which there is a joint policy to emphasize the cultural and touristic value of the religious heritage.

民國七十六年，行政院體認到行政院組織法修正的必要性，乃決議調調整 八部二會的體例限制。經研議結果，決定增設「衛生福利部」、「文化部 」、「農業部」及「勞工部」。其決議成立「文化部」的理由在於：我國 經濟建設雖業已締造奇蹟，唯文化建設仍呈偏枯失調現象。且由於現階段 文化建設工作，係由各相關機關辦理，事權分散，不相聯屬，難作整體規 劃，亟宜成立文化部，以專責成。文化部成立之後，地方文化行政機構料 將作相對的調整，以建構完善而健全的文化行政體系，唯目前在整個體系 架構、體例設計方面並未定論。筆者基於對文化行政運作與藝術欣賞、創 作的高度興趣，決定深入此一領域察訪探究，期能藉由本研究貢獻一己棉 薄之力，為我國未來文化行政體系規劃可行模式，以為參考。本研究採行 質的研究途徑，因此，在本文的研究流程與方法的設計上，率皆依循「質 的研究」有關的理論概念與原則。在研究架構方面，期望藉由以下各種因 素的考量，得致我國未來文化行政組織體系的建構：（一）組織理論的應 用：以期實務與理論的契合。（二）文化行政過去與現況分析：以期鑑往 知來。（三）外國案例的借鏡：以收「他山之石，可以攻錯」之效。（四 ）我國社會與文化環境探究：以期符合生態性的要求。由於考量層面廣泛 ，資料蒐集工作殊為繁複，因此在研究方法的採行上尤含及文獻分析法、 歷史研究法、深度訪談法、符號互動論、自然觀察法、及歸納分析法等。 藉由整個研究過程，筆者為我國未來文化行政體系的建構，歸納出三套可 行模式，並透過各個層面因素的比較分析，排列其優先順序，最終推定第 二方案為最優先考量。依該方案內容，筆者建議我國未來文化行政體系採 三級制型態為宜，即中央設置文化部、省設文化廳（處）（北、高二市設 文化局）、各縣市設文化局。同時直轄市立及各縣市立文化局，得於轄區 內籌設文化中心（名稱暫定），文化中心設置數量依區域均衡發展原則及 業務實際所需而定。