【作者】 刘丽娜；

【导师】 肖贵田；

【作者基本信息】 山东大学 ， 文物与博物馆（专业学位）， 2024， 硕士

【副题名】女性视角下博物馆基本陈列的释读

【摘要】 20世纪80年代后,国内外在文化领域发生着重大变革,女性主义第二次浪潮、新博物馆学运动与性别考古学兴起。女性主义“冲破”博物馆大门,博物馆通过自身变革也与女性主义自然联结。因此,一定数量的女性博物馆、女性题材展览相继出现。近年来,在文学、影视等领域中“她题材”、“她文化”再度兴起,博物馆中女性题材展览数量激增,对此量化分析,可以看出博物馆与女性主义、女性题材的联结无疑是成功的。博物馆作为掌握公共话语权、知识生产以及加深身份记忆认同的重要场所,展示真相、为边缘群体发声、修正社会建构下的性别二元矩阵、构建更包容、更和谐的社会氛围是博物馆社会责任所在。然而,女性主义批评却忽视了博物馆这一重要文化机构。在女性题材展览中应用女性视角进行重新审视时,便会发现其中隐含着诸多问题——女性物品、女性历史的阐释仍在菲勒斯中心主义的影响之下、女性题材展览中女性视角释读缺失、基本陈列中女性故事表征不足和内容匮乏等。因此,这些问题促使我们重申博物馆与女性主义的关系,进而寻找修正、弥补女性题材展览中存在错误表征现象的方法,并为女性议题在博物馆中长效、稳定的传播寻找坚实有力的根基。文章以在博物馆中如何使女性题材得以长期、稳定、有效的传播为主要目的。因此本文以目的为导向,层层递进,将理论应用于实践,逐渐深入探讨博物馆与女性主义的关系、女性题材与女性视角的关系等,进而探寻女性议题在博物馆中常态化展示和传播的有力媒介——基本陈列,最终在山东大学青岛校区博物馆文韵齐鲁展中的邿国迷踪展区进行创新性尝试,以此探索在博物馆基本陈列中对女性题材内容进行女性视角释读的方法和路径。本文第一章首先对我国博物馆女性题材展览现状进行梳理,并得出博物馆女性题材展览近年来的发展初有成效、女性议题在博物馆领域得到重视等结论。但女性题材展览多以临时展览的形式开展,展示内容以馆藏品为主,以古代女性为主要展示对象。此外,在女性题材展览中存在错误表征、内容匮乏等问题,因此提出对于客观存在的女性题材应将女性视角融入策展、释展等环节;第二章通过对20世纪80年代左右第二次女性主义运动、新博物馆学运动、性别考古学的内涵和愿景进行梳理,得出女性主义进入博物馆领域既是第二次女性主义运动的内在要求,也是博物馆自身变革的结果。基于此,通过理论建立起博物馆与女性主义的紧密关系。理论促进实践发展,大量的女性专题博物馆得以建立、国际女性博物馆协会成立以及女性题材展览数量激增。并以历年妇好墓展览为个案,探寻博物馆展示女性题材视角的变化历程,提出女性视角是逐步在女性题材展览中被策展人发现和应用的,经历了无意识使用到有意识采用的过程;第三章基于上文对博物馆女性题材展览现状的梳理,寻找基本陈列可作为女性议题在博物馆中稳定传播的根基,并可以通过检索女性身影、寻找女性故事,进而采用女性视角进行释读可实现这一目的。因此对我国女性专题博物馆的基本陈列进行分析,并借鉴国外博物馆在基本陈列中采用的性别化阐释、“补妆式展出”等方法,为综合性博物馆基本陈列中的女性题材寻求释读的切入角度和实践路径;第四章以山东大学文韵齐鲁展览为创新尝试对象,对其中的艺术场景进行审视,发现其中存在对性别平等观念的理解产生偏差等问题。并以中国妇女儿童馆、陕西师范大学妇女文化馆的基本陈列为参考,探寻文韵齐鲁展中埋设女性故事主题线的可行性。最后对邿国迷踪展区进行女性视角释读的创新性尝试,依据应用女性视角检索女性题材、挖掘女性故事、撰写解释性文本的实施路径,期望为我国综合性博物馆讲好女性故事提供一点启发和参考,并为更多元的视角、更丰富的释读方法进入博物馆领域开辟道路。更多还原

【Abstract】 After the 1980s,major changes took place in the field of culture at home and abroad,with the rise of the second wave of feminism,the new museology movement and gender archaeology.Feminism ’broke through’ the doors of museums,and museums,through their own changes,naturally associated themselves with feminism.As a result,a number of women’s museums and exhibitions on women’s themes have appeared one after another.In recent years,there has been a resurgence of‘her themes’ and‘her culture’ in the fields of literature,film and television,as well as a surge in the number of exhibitions on women’s themes in museums.Quantitative analyses of this show that museums have undoubtedly succeeded in their association with feminism and women’s themes.As an important place for public discourse,knowledge production,and deepening of identity,museums have a social responsibility to present the truth,speak out for marginalised groups,correct the gender binary matrix constructed by society,and build a more inclusive and harmonious social atmosphere.However,feminist criticism has neglected the museum as an important cultural institution.When we re-examine the application of women’s perspectives in exhibitions on women’s themes,we will find that there are many hidden problems-the interpretation of women’s objects and women’s history is still under the influence of Fellows’ centrism,the interpretation of women’s perspectives in exhibitions on women’s themes is missing,and the representation of women’s stories in the basic displays is insufficient and lacking in content,and so on.Therefore,these problems prompt us to reiterate the relationship between museums and feminism,to find ways to correct and compensate for the misrepresentation of women’s themes in exhibitions,and to find a solid foundation for the long-term and stable dissemination of women’s issues in museums.The article takes how to make women’s issues in museums spread in a long-term,stable and effective way as the main purpose.Therefore,this article takes the purpose as the guide,progresses step by step,applies the theory to practice,gradually explores the relationship between museums and feminism,the relationship between women’s themes and women’s perspectives,and then explores the powerful medium for the regular display and dissemination of women’s issues in museums-basic display,and finally makes an innovative attempt to explore women’s themes in basic displays in the Essence of Qilu Exhibition in the Qingdao Campus Museum of Shandong University.Finally,an innovative attempt was made to explore the methods and paths of interpreting women’s themes from women’s perspectives in the basic displays of museums through the Lost of the Shi state at the Qingdao Campus of Shandong University.The first chapter of this paper firstly combed the status quo of female-themed exhibitions in museums in China,and came to the conclusion that the development of female-themed exhibitions in museums in recent years has begun to be effective,and women’s issues have been paid attention to in the museum field,and so on.However,female-themed exhibitions are mostly carried out in the form of temporary exhibitions,and the display content is mainly based on museum collections,with ancient women as the main display objects.In addition,there are problems such as misrepresentation and lack of content in female-themed exhibitions,so it is proposed that female perspectives should be integrated into the curatorial and interpretative processes of objective female-themed exhibitions;Chapter 2,by sorting out the connotations and visions of the second feminist movement,the New Museology movement,and gender archaeology around the 1980s,concludes that the entry of feminism into the museum field is both inherent in the second feminist movement and a result of the museum’s own transformation.Based on this,the close relationship between museums and feminism is established through theory.The theory has contributed to the development of practice,with the establishment of a large number of women’s museums,the founding of the International Association of Women’s Museums,and the proliferation of exhibitions on women’s themes.Taking the Fuhao’s Tomb exhibitions over the years as a case study,we explore the history of changes in the perspective of museums in presenting women’s themes,and suggest that women’s perspectives are gradually discovered and applied by curators in women’s theme exhibitions,going through the process of unconscious use to conscious adoption;Based on the above analysis of the current situation of women’s theme exhibitions in museums,Chapter 3 seeks to find out that the basic display can serve as the foundation for the stable dissemination of women’s issues in museums,and that this can be achieved by searching for women’s figures,finding women’s stories,and interpreting them from women’s perspectives.Therefore,we analyse the basic displays of women-themed museums in China,and draw on the methods of gendered interpretation and‘make-up display’ adopted by foreign museums in their basic displays,in order to seek entry angles and practical paths for the interpretation of women’s themes in the basic displays of comprehensive museums;Chapter 4 takes the Essence of Qilu Exhibition of Shandong University as the object of innovative attempts,examines the art scenes therein,and discovers that there are problems such as bias in the understanding of the concept of gender equality.It also takes the basic displays of the China Women’s and Children’s Museum and the Women’s Culture Museum of Shaanxi Normal University as references to explore the feasibility of burying the theme line of women’s stories in the Essence of Qilu Exhibition.Finally,I make an innovative attempt to interpret women’s perspectives in the Lost of Shi state,based on the implementation path of applying women’s perspectives to retrieve women’s themes,excavate women’s stories,and write explanatory texts,with the expectation that it will provide a little inspiration and reference for China’s comprehensive museums to tell women’s stories well,as well as open up the way for more diversified perspectives and richer interpretative methods to enter the field of the museums.更多还原