Dissertations / Theses on the topic 'Museum special exhibitions'

One hundred years ago, the museum was founded in Taiwan by the Japanese government. This “new” cultural institution did not exist in the past, so the distance between the museum and the public was to be expected. On the other hand, the expositions broadly took place around Taiwan, and although most of them were mainly for commercial purposes, these exhibitions have become a form of social memory for most of the Taiwanese people and to allow for experiencing art and world wonders (Lu Shao-Li 2005). In the 1990’s, holding special exhibitions in Taiwan’s national museums was a vital strategy to increase the visit rate and international exchange. Because these special exhibitions were wildly accepted by the general public, the special exhibition culture in Taiwan was formed. This special exhibition culture creates the special visitor community which views special exhibitions as their major leisure activities. In order to attract large amounts of special exhibition visitors, the museum undertakes certain special exhibitions that might not match the purpose of the establishment. This situation has been questioned by Taiwanese scholars and cultural critics. It is my intention to investigate special exhibitions in Taiwan's national museums to find how they influence the museum and how the museum has been changed. The National Museum of History in Taiwan is my case study and also the major target of discussion, because this particular museum has been famous for being a special exhibition venue and, also, this old museum once was the most important museum for international exchange in Taiwan. The special exhibition has been an important medium to convey art and cultural concepts to the Taiwanese public; therefore, by exploring special exhibitions and the relationship with museums, I attempt to discover this tendency for future museum strategies.

This thesis looks at co-production in museums, specifically how external parties were involved in the production of temporary exhibitions. It explores the different patterns of co-production found in various museum contexts, offers an explanation for the differences based on values and discusses the implications for museum managers. The research explored the topic from a museum management perspective, an interdisciplinary field informed by museum and heritage studies as well as various management disciplines. The central research question was - why does the pattern of external involvement in temporary exhibitions vary in different museum settings? Over a 15 month period data was gathered from a range of museums in Britain to create 20 case studies. A grounded theory methodology (Goulding 2002; Glaser and Strauss 1967; Glaser 1996) meant that existing work in museum studies, eo-production, project management and organisational culture, informed rather than defined the direction of research. Data gathering and analysis were part of an iterative process which allowed for progressive focusing on the key issues (Stake 1981). Using a typology of eo-production developed specifically for this research the pattern of external involvement was analysed. This established similarities and differences in the pattern of eo-production across the case studies. This analysis found that some parts of the exhibition making process were more open to external involvement than others. It also found that some patterns of eo-production could be explained by particular exhibition variables, e.g. the size of the budget. However, it became apparent that important aspects of eo-production could only be understood by reference to the wider museum context. Hence a higher-level framework to represent the variety of museum contexts, in terms of values, priorities and norms, was needed. Such a framework needed to locate and illuminate the range of co-production documented in the study, be theoretically robust and make sense to practitioners. To this end, the Museum Values Framework, was developed from the work of Quinn and others (Quinn and Rohrbaugh 1981), used to interrogate the data further, and trialed in the field. This study offers new knowledge on the nature and variety of co-production in museums and highlights the importance of individual, group and organisational values in shaping behaviour in a museum context. The wider implications of the findings for museum management are also discussed. In addition this research makes a theoretical and methodological contribution in the form of the Museum Values Framework. Considerable scope exists to apply this analytic tool to other aspects of museums' work and behaviour.

The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.

碩士<br>南華大學<br>美學與藝術管理研究所<br>93<br>The loan exhibition of works of arts, for the museum itself, is the extension of education. It can promote the communications of cultures, economic development and resource sharing as well. It can also bring about business opportunity for the insurance company and reduce the risk resulting from the loan exhibition. It can be seen that the insurance for the works of arts can make positive effectiveness to the development and utility of loan exhibition of works of arts and the reasonable insurance will be covered in the case of any damages to the works of arts. However, in the domestic market, insurance companies have different underwriting standards of their own for the works of arts, and this is especially divided for the recognition and assessment of works of arts belonging to the public and private sectors. Another problem is that a mutual-trust mechanism between the museum and the insurance company has not been established yet. Therefore, this thesis focuses on this issue. 　 　　This thesis adopts the logical study as a primary means to collect data regarding the relationship between the loan exhibition of works of arts and the insurance and proceeds with the analysis and research. There are also intensive interviews with the insurance companies and employees working in the museums and galleries in case that more documents are needed. The first step to effectively analyzing the data collected is to have a case study on the underwriting modes, status and basic principles of the insurance companies for the loaning exhibition of works of arts, then it is followed by the discussion of risk management for the loaning exhibition of works of arts, collection and exhibition of works of arts, and the relation between the insurance and risk resulting from the conveyance of works of arts. All these lead to the discussion of the contract mechanism of the current insurance for the works of arts in Taiwan. Albeit there are different insurance underwriting types for different insurance companies, running for profit is the ultimate goal for these insurance companies. As for the museums, foreign insurance companies are excluded and domestic insurance companies are their sole options when they seek the insurance companies, due to the domestic regulations. Therefore, cultivating more professional independent rating agencies and deregulation of the foreign insurance companies will improve the current domestic status of the insurance for the works of arts. 　 　　There are six chapters in this thesis. Chapter 1, Introduction, includes the research motive, research scope and limitations, research methods and limitations, literature and terminology. Chapter 2 includes the underwriting types and principles of insurance companies for the loan exhibition of works of arts, utility of loan exhibition of works of arts and current underwriting status of insurance companies for the works of arts. Chapter 3 includes the risk management of the loan exhibition of works of arts, explaining the details of the risk management, the collection of works of arts, exhibition and the relation between the insurance and risk incurred during the conveyance of works of arts. Chapter 4 includes the contract mechanism for the loan exhibition of works of arts, discussing the procedures for the loan exhibition, details of the contract, current limitations of the loan exhibition in Taiwan and problem review. Chapter 5 includes a case study for the National Museum, discussing issues about risk, utility and safety. Chapter 6 includes the conclusion and suggestions, providing useful suggestions for the loan exhibition of works of arts.

碩士<br>國立臺南藝術大學<br>博物館學與古物維護研究所<br>100<br>Since the 1990s, the trend of blockbuster exhibitions have emerged in some Taiwan’s museums and these phenomena still exist until nowadays. The main reason blockbuster exhibitions can attract the audience includes that the themes are attractive, and the styles are diverse. Nevertheless, qualities and educative functions of these special exhibitions are usually questioned by the public because time of these exhibitions is usually short. What’s more, theses special exhibitions are often controlled by some cooperative media. Therefore, the museum educators need to play important roles, which provide knowledge and entertainment during educational programs in blockbuster exhibitions. And visitor studies provide the best tool to evaluate effects of these programs. The case study chooses the educational program “Welcome to Silk Paradise,” which was held by Naturalist Center in the National Museum of Natural Science, and this educational program was for the exhibition “Traveling The Silk Road” in 2011. After studying some relevant references and making proposals, the researcher used multi-methods, including participant observations, In-depth interviews and questionnaire surveys to collect data. By those methods, the researcher could understand how educators acquire elements in this exhibition, refer to the programming model, and combine resources. After that, the researcher could develop an ideal educational program. This research arranged the behavior and opinions of the participants, and validates the goals of the educator. The researcher participated the whole process of this program, including planning, executing and evaluating. Therefore, this study could survey every aspect in this educational program deeply. We also found out the educator chose the element “silk” as the main element in this exhibition, and developed the educational program which let participants learn the knowledge about the animals which provide rayon. In the planning process, the educator used GLOs to inspect every detail. This educational program also combined the center’s specimen, so this program can develop into packages or group lessons after the special exhibition finished. The educator even arranged dramas: let these participants imitate these animals and enhance their learning experiences. The result of Summative evaluation can help the researcher understand the relevant background of the participants; validate the goals by the participants’ responses. According to the results, the following conclusions can be proposed: 1.How to plan educational programs of special exhibitions When planning an educational program, educators should lead the process instead of repressed by cooperative units. Educators should combine features of special exhibitions and museums, let educational programs can still execute even special exhibitions are over. Planners should also consult the experts who are adept in these fields to make sure educational programs convey correct knowledge. Educational programs can also add some creative designs to accelerate the participants’ learning motivations. 2.Use GLOs while planning educational programs of special exhibitions This case use GLOs to make the educators survey different aspects more professional. The research suggests museum educational programs can usually refer this mode to develop. 3.How to execute educational programs’ evaluations of special exhibitions According to this case, the researcher thinks evaluations can assist museum to know the effects of educational programs. Nevertheless, we need to decide goals, methods and performers of evaluations in the beginning. Themes of evaluations include the backgrounds, satisfactions, learning outcomes, and opinions which are relevant to special exhibitions and educational programs. Finally, the researcher suggests that museums should make well-organized projects for educational programs and evaluations of special exhibitions, which include short-period, mid-period and long-period projects. And this policy should enhance educators’ professional domains in program planning and evaluating.

碩士<br>大葉大學<br>設計暨藝術學院碩士在職專班<br>100<br>This research studied the class which the author taught to establish an art education content and method combing exhibition resource with the designed “Chagall Exhibition”. According to the teaching model of before the tour, during the tour, and after the tour, we discussed the influence of the application of the designed art lesson to the elementary school fifth and sixth graders in the experiences of art learning and museum touring. This research found that through the exhibition touring lesson, the teachers had grown professionally in teaching lesson design, teaching strategies, teaching evaluation, and teacher’s self-recognition. As for students’ attitude in art, learning and the desire to participate in museum activities had grown and transformed. Meanwhile, after the lesson, the students could have interest, love, and confident in art. The different learning accomplishments or different backgrounds had no relation to the learning effects. Finally, we provide conclusion and advice to people who would like further discuss the issue for reference.

碩士<br>亞洲大學<br>休閒與遊憩管理學系碩士在職專班<br>97<br>National Museum of Natural Science (hereafter abbreviated as Museum of Science) is the top one domestic museum for natural history, which has many rich natural, scientific, historical and cultural resources; in addition to the constant exhibition, there are also many gorgeous exhibitions in the past that attract so many people to visit; therefore, it is a very important recreation area in central Taiwan. To the museum, the most important thing is to satisfy the expectation and need of the visitor and to possess the function of education as well as entertainment, that is, to attract the visitors to come uninterruptedly. In this study, tourists visiting Museum of Science exhibition will be used as the survey targets. During the tourists’ participation process, the attractive power of the special exhibition will be used to investigate the influence and correlation of tourists’ participant motivation, participant constraint and satisfaction; moreover, tourists of different basic background and attribute will be used to understand the correlation among attraction, participant motivation, participant constraint and the satisfaction of the special exhibition of Museum of Science; moreover, what type of special exhibition the tourists prefer will be further understood, and the tourist attribute that has participant motivation will be analyzed too. Five hundred and thirty people were selected in this cross-sectional, descriptive study by using a structured questionnaire. Five hundred and twelve valid data were used to analyze as the results, the valid corresponding rate was 96.6%. The surveys were conducted during the period of February 1 to February 28 2009. The results of this study are the followings: 1. For the attraction of the special exhibition of Museum of Science, tourists all show highest agreement on “unique historical relic exhibition”; the next are items such as: “the possession of recreation, entertainment and knowledge content” and “education, enlightening and inheritance meaning”. For item with less attraction, the result shows that “the reputation of Museum of Science” has the lowest attraction; the next is “good image of the special exhibition of Museum of Science” and “the visibility of the special exhibition”, etc. 2. For the participant motivation from tourists on the special exhibition of Museum of Science, “learning and growth” has the highest agreement; the next are “the satisfaction of the desire of knowledge” and“personal interest”, respectively. For the item with weaker participant motivation in the special exhibition of Museum of Science, tourists thought that “the upgrade of social status” has the lowest motivation; the next are respectively “the acquisition of respect from others” and “promotion of friendship”, etc. 3. For the participant constraint from tourists on the special exhibition of Museum of Science, “the ticket of the special exhibition is too expensive” and “it is expected that the exhibition site will be very crowded” are listed together as the most agreed items; the next is “Museum of Science is too far away from home”. Tourists thought that item such as “bad interaction with the participators” has the lowest participant constraint; the next are items such as: “no partners suitable for the participation together” and “no convenient public transportation vehicle to Museum of Science”, etc. 4. For the satisfaction from tourists on the special exhibition of Museum of Science, “the expansion of vision and the increase of knowledge” has the highest degree of agreement; the next are “trying of new things” and “the satisfaction of the curiosity of natural science”, respectively. Tourists thought that “the making of good friends” has the lowest satisfaction; the next are items such as “the increasing of confidence” and “the tourists participating in the special exhibition are very friendly”, etc. 5. There is no significant correlation between the tourist’s participant motivation and recreation participant constraint; there is significant correlation between the recognition of special exhibition’s attractive power and tourist’s participant motivation; there is significant correlation between the recognition and satisfaction of special exhibition; there is significant correlation between the tourist’s participant motivation and satisfaction. 6. Tourists ever participated in the special exhibition of Museum of Science prefer most and have the highest satisfaction on special exhibition such as “archeology and historical relic type”, the next is “scientific type”. 7. Special exhibition type with the highest participant willing by the tourists is “archeology and historical relic type”; the next is “scientific type” and “artistic type”. 8. Significant difference exists for the recognition and satisfaction on the special exhibition’s attraction as seen by tourists in terms of “`gender”, “education” and “occupation”; but for “age”, no significant difference can be seen. 9. Significant difference exists for the participation and recreation participant constraint as seen by tourists in terms of “gender” and “occupation”, etc.; but for ”age” and “education”, no significant difference can be seen. Based on the results of this study, eight suggestions are proposed to be used as reference for business operation by the Museum of Science; it is hoped that this study can be helpful and important reference, in the future promotion of special exhibition, to the planning of exhibition that can meet the tourist’s expectation and to the development of tourist resource; we also hope that the cultural industry of special exhibition of the museum can have a prosperous development and that the result of this study can be used as a guiding for future efforts and as reference for subsequent related researches.

碩士<br>國立臺南藝術大學<br>博物館學與古物維護研究所<br>99<br>The Museum Blockbuster Exhibition in Taiwan has been created by museums and mass media. Media has played an important role in marketing the blockbuster exhibition . As an result, the placement marketing has been an significant tool in promoting these exhibitions and caused lots of critics on cultural interpretation in museums. Another critical issue is that the quality of visitor experience is sacrificed by visitor numbers. This paper aims to evaluate the effectiveness of the marketing between museum and mass media, with the example of ”Van Gogh: The Flaming Soul” exhibition in 2009. The aims of this research include: 1.To understand how media participates in the exhibition which it has sponsored, and to have a basic comprehension of how media provides news report on the cultural activities it invested is also significant. 2.To review if the missions and goals could be achieved. 3.To focus on the cooperation between the museum and media, to see how the museum deliver knowledge to its visitors and if it understands visitors needs. The research questions are listed below: 1.The modes of marketing by news media 2.The effects of museum marketing, 3.The effects of joint marketing between the media and museums, 4.Visitors’ perception of museum education and esthetics under the marketing efforts by the news media. This paper first reviewed related newspaper articles and videos and then did a questionnaire survey of 400 visitors on-site between December 2009 and March 2010. Meanwhile, the researcher conducted several in-depth interviews with experts to collect different opinions from various aspects. This research has concluded three points and described them as below: 1.There are ten modes of the placement marketing in the media sponsored museum blockbusters. 2.There is a danger on the placement marketing because it could make art education out of focus. 3.There are pros and cons of the effects on visitors ethetical perception. There are some suggestion from the author, as listed below: 1.Four points for museums. (1)They should emphasis visitor’s ‘museum experience’. (2)They need to have better professional training. (3)It is well worth it to cultivate mid-age and older citizens, as well as those who live further away. (4)They must have their baselines and to fight for more controlling power. 2.Three points for media. (1)The effect of placement marketing has proved useful, however, the media should still consider the public interests. (2)The media should take the ‘edge-out effect’ from others into account, (3)The media has to respect the professionalism and educational purpose of museums. 3.Two points for the co-operation between museums and the media. (1)The first priority should be on visitors interests, (2)They should consider the issue of broadening new visitors.

碩士<br>元智大學<br>資訊傳播研究所<br>89<br>In pace with the advance of information technology, the “digital museum” has been a trend for cultural property reservation and social education. Now the challenge is changing to how to provide best experiences for users, not about technical issues. Those digital museums which just follow the usual rules for ordinary web development didn’t consider the appropriate needs for their users in specific contexts. The digital museum should be beyond “another web site.” This research reviewed the nature of museum as a start to discuss about the better way to construct a digital museum. This research was practice-oriented. The focus was put on the application of theory integration and examination of practical feedback. The method of grounded theory was used to explorer the real world in the new area. The interaction between users and designers is a core concept of exhibition, and also a important viewpoint of this research. With the challenge to make visitors learn happily under limited time and bandwidth, we started to review the basic museum exhibition conceptions, to take information design as the foundation of exhibit, and to develop a model for digital museum exhibition design. We also develop a new way to use “interactive diagram” as a main exhibit method for digital museum. Here a project will be completed with the new method for a web special exhibit, “Car.” Through the exploration of the project, the findings could help to improve the integration of theory and practice.

碩士<br>國立中山大學<br>企業管理學系研究所<br>102<br>In recent years, people do leisure activities more than before. There are more and more leisure activities. However, one of leisure activities is museum visiting. Therefore, the intense museum competitions is increasing. On the other hand, museums seldom change the permanent exhibitions, so people haven’t interested in museums. Therefore, museums cooperate with company or media to host special exhibitions. It not only let people know the new information but also let people visit the museum. Special exhibitions could help upgrade people’s civil life. This research attempt to explore when people visited the special exhibition whether it will affect people’s brand attachment toward the museum, or it will affect people’s revisit intention. This research survey seven museums in Taiwan. Totally 500 questionnaires are responsed. The result shows that the special exhibition satisfaction has significant difference in revisit intention of special exhibition and permanent exhibitions. Brand attachment has significant difference in revisit intention of special exhibition and permanent exhibitions. Finally, the research proposes and discusses a few managerial implications based on these findings.

碩士<br>國立臺灣藝術大學<br>藝術管理與文化政策研究所<br>103<br>With the development of science and technology, the dependence of human life on scientific research and technology development is becoming deeper and deeper day by day. Meanwhile, people today have more ways to approach scientific knowledge than in the past, while science museum is a comparatively credible source of scientific information apart from formal education. Science museums always deliver scientific contents through exhibitions, it is necessary to integrate the characteristic and spirit of humanity into exhibition if it wants to make audiences grow interests in science, understand the technological environment where they live, even consider the scientific issues and then change their behaviors. However, so far there is still little researches include humanity in the discussion of scientific exhibitions. Through literature review, this study reviews the essence of humanity and concludes its characteristics in scientific exhibitions. In addition, based on the special exhibition “Biological Rhythm” in National Taiwan Science Education Center (NTSEC), the study explores the practices and features of humanity in the exhibition, and then conducts in-depth interview with curating staffs to analyze humanity thoughts implies from their work experiences and opinions they shared. By in-depth exploration and discussion, the study finds that in the self-managed special exhibitions in recent years, NTSEC have conducted multiple practices of humanity through displaying aesthetic design of space, multiple opinions of narration and interdisciplinary combination of objects. All the staffs have the concept of humanity, and most of the audience holds positive appreciation to the exhibition. Thus it can be seen that blending humanity into science has become a tendency of planning exhibitions and it has the potential to develop. If it can practice the humanity more comprehensively and develop the future exhibitions in this direction, it is believed that the science exhibitions will have more impacts on society.

碩士<br>輔仁大學<br>博物館學研究所碩士班<br>104<br>Many museums have been vitalizing their operations by taking up vigorous marketing activities and hosting ever more special exhibitions. Based on the marketing principle of “understanding the needs of audiences,” could we promote museums by targeting certain groups of infrequent visitors? Thus, my research aims at junior high school students, who rarely go to museums but remain potential audiences. Taking special exhibitions into consideration, this study discusses factors determining why junior high school students visit a special exhibition and what appeals to them, for the purpose of building the junior high school audience in museums. From the perspective of special exhibition marketing, my research explores (1) what are the features of junior high school students and what motivates them to visit special exhibitions, and (2) factors contributing to their visits, in order to find out what attracts them to special exhibitions. Using descriptive statistics, factor analysis, t-test, one-way ANOVA, and discriminant analysis, my research surveyed students at three municipal junior high schools in Taipei City. The results are as follows: (1)Overall features: A.Source of information: television commercials, recommendation of family and friends, social media. B.Ways of ticketing: on site, on campus, at convenience stores. C.Visiting companions: family members only, friends only, together with family and friends. D.Preferences for special exhibition themes: entertainment/popular/life, ancient civilizations, pre-history. (2)Extent to which motivations and visiting factors are affected by subjects’ backgrounds: The gender and maternal education level of subjects have significant differences on their motivations for special exhibitions and visiting factors. (3)Key factors for visiting a special exhibition: The main variable factors of subjects’ going to a special exhibition are “gender” (under the category of backgrounds), “western arts” (under the category of preferences for special exhibition themes), “family interaction”/”escape” (under the category of motivations), and “means of promotion”/ “reference group recommendations”/ “discounts” (under the category of visiting factors). As a result of the present study, museums could develop junior high school audience building plans according to their needs and goals.

碩士<br>華梵大學<br>美術學系碩士班<br>103<br>In 1993, National Palace Museum and China Times held an international special exhibition, Monet and Impressionist Paintings Exhibition. It was the first time ever for museums to cooperate with the media, and it was a success having 300,000 visitors. Since then, many have followed the pattern of cooperation between museums and media. More and more special exhibitions are held by museums in Taiwan. Analyses of past special exhibitions show that the main themes museums often choose are as follows: western artists, exhibition of well-known international museum collections, fashion design and contemporary art. Most museums choose well- known western artists or mass culture for display, and in cooperation with the media and the exhibiting organizer. With marketing strategies, they successfully draw massive visitors in. This study is based on the marketing strategy of CAI GUO-QIANG- Hanging Out in the Museum, held by Taipei Fine Arts Museum and ESLITE GALLERY. This exhibition adopted an ingenious marketing strategy that attracted over 220,000 visitors, which is rare for contemporary special exhibitions held by Taiwanese museums. This study gathers information about exhibition activities, news reports, reviews from the art field, and information provided by the organizer. Further, this study shows the difficulties that Taiwanese museums face when holding exhibitions by analyzing the marketing strategy. This study discovers that the marketing strategy of CAI GUO-QIANG- Hanging Out in the Museum targeted the young. It created a fashionable impression by celebrity effect, campaigns, online live broadcast and co-organizer’s active promotion. It successfully set the record as the most visited contemporary art exhibition. However, because of relying on resources poured by businesses organizations, museums become ambiguous in regard of holding large public exhibition.

碩士<br>國立臺北藝術大學<br>博物館研究所碩士班<br>102<br>In this research, National Taiwan Museum of Fine Arts (NTMoFA) is the main subject to discuss how to interpret art history through public art museums. In this research, we first want to summarize and analyze the researches about the art history of Taiwan since the NTMoFA was founded. The second part is to characterize the concept and the presentation of the art historical exhibitions by the art museum. Last but not the least, to understand how to spread and construct the knowledge of the art history of Taiwan through the exhibitions. In 2013, the NTMoFA had a series of exhibition, “The Pioneers of Taiwanese Artists”, in the 25th anniversary. Series of “The Pioneers of Taiwanese Artists”, came from Shiji-The Pioneers Biographies, presented the collection dated between 1931 and 1980 and showed the artistic style and the influences from the artists. Through this exhibition series, the museum suggests a new direction for the research of Taiwanese art. This was an exhibition different from all other series. Would there be a different but new direction for the museum to understand the art history of Taiwan? How would they look upon the interpretation of the art history from the past quarter century? There are two main concepts, the research of Taiwan art history, and, the research of Taiwan art museum, weaved through the entire paper. To understand the art history, we compared and contrasted the pathway of Taiwan art research since 1945 and then classified the features from different era. The art museum, on the other hand, we focused on the relationship between the museum and the history. Furthermore, “The Pioneers of Taiwanese Artists”, were analyzed for the concept of the entire series, the preparation of the exhibitions, and the annotation of the art history. We understand the point of view of the museum through the collections, researches, and exhibitions of the NTMoFA. We hope to understand the hidden concepts of the Taiwan art history in the exhibition and to record the trace of the art research by museums in Taiwan.

碩士<br>國立臺灣藝術大學<br>藝術管理與文化政策研究所<br>105<br>In recent years, the museum visitor studies focus more on the meaning-making process of visitors, instead of the learning outcome. In order to understand how visitor making their experiences, the research mainly explores the following three aspects: A. types of exhibition design and theories B. use of exhibition design C. construction of visitor experience. Through the literature analysis, this research explores the development of science museum’s exhibition design, and looks into the theoretical application. Based on the education theory and reception aesthetics, this research discusses visitor interpretation and the content of meaning-making experience to further understand how exhibition design facilitate visitor’s understanding of exhibition, interacting with the exhibit and making their visiting experiences. This research takes the special exhibition “Story of Water" in National Taiwan Science Education Center as the case study, and uses the Reception Aesthetics and Perry's Selinda Model to analyze the exhibition design and visitor experience. The study shows that the family audience is the main target of "Story of Water". Hands-on exhibit, interactive multimedia exhibit and video exhibit aim to fulfill their needs. The content of the exhibit still plays the key role to influences visitor’s meaningful experience. In addition, the museum label is still necessary in functioning as guidance. In regard to visitor’s meaning-making experience, the study shows that the visitor experience is individual related, and the factors might involve multiple aspects. In the Selinda Model, the deeper the visitor engages in different aspects, the higher possibility for visitor to gain meaningful experience.

碩士<br>中國文化大學<br>觀光事業學系觀光休閒事業管理碩士在職專班<br>103<br>Taiwan's cultural and historical life through special exhibition was given to at-tract tourists by Taipei Story House. A great amout of tourists were attracted to visit Taipei Story House in weekends and holidays. However, the relationships among museum special exhibition's attractiveness, leisure involvement, and leisure experience of participants remain unclear. This study was focused on the relationships among the special exhibition's at-tractive, leisure involvement and leisure experience of musueum participants. Using convenience sampling questionnaire to conduct research. The tourists which had visited at least one special exhibitons of Taipei Story House had been sampled. A total of 365 valid questionnaires had sampled. Pearson correlation analysis, student t test, one-way ANOVA analysis, regression analysis were used to analyze these collected data. The results show that the special exhibition's attractiveness of Taipei Story House and leisure involvement of participants had positively siginificant influences on their leisure experience. In terms of the perspective of spcial exhibition's attractiveness, 'unique cultural exhibitions' had obtained the highest score on average. There are significant differences in special exhibition's attractiveness regarding age, education, occupation, residence, average monthly income, information sources, times for visiting special exhibitons of Taipei Story House and accompanied people. In terms of the perspective of leisure involvement, 'enjoyable in Taipei Story House' had obtained the highest score on average. There are significant differences in leisure involvement regarding age, occupation, average monthly income, information sources, times for visiting special exhibitons of Taipei Story House and accompanied people. In terms of leisure experience, 'friendly staff attitude and good services of Taipei Story House' had obtained the highest score on average. There are significant differences in leisure experience regarding age, occupation, average monthly income, information sources, times for visiting special exhibitons of Taipei Story House and accompanied people. Several recommendations had been given includ-ing to raise the exposure and prestiage of Taipei Story House, multicomponent and fascinating experience area, unique and enterprizedly managed museum store, teconologization of permanent exhibition area, multilinqual museum introducation, smooth visitor movement patterns, and to increase visitor sources. had been given including to raise the exposure and prestiage of Taipei Story House.