1
97學年度下學期「藝術人類學」
教學計畫表

授課老師：趙綺芳 授課時程：2009/2-2009/6
上課時間：週四上午9：10-12：00 上課地點：RM 206
Office Hour：與教師約定
授課教師聯絡電話: 28961000轉5317 E-mail: chifangchao@gmail.com

一、教學目標：
藝術究竟是不是一項普遍性的範疇？美感經驗是存在於人的知覺體系或由
藝術品所誘發？藝術創作是否僅止於個人經驗的詮釋？藝術和道德界限如何區
分？從以上的問題出發，這門課程期望藉由閱讀人類學民族誌與相關著作中，從
藝術品的生產、詮釋到使用與消費，對於藝術與社會的關係之剖析，以反思人類
學研究途徑對藝術與美學討論所帶來的影響。

二、教學方法：教師講義、文獻導讀與討論、報告

三、評量標準： 課程參與 10%
文獻導讀 20%
兩次文獻回顧 40%（於2009/4/6與6/1繳交）
期末論文 30%（於2009/6/25繳交）

四、主要閱讀教材
Morphy, Howard and Morgan Perkins ed. 2006. The Anthropology of Art: A Reader.
Malden, USA; Oxford, UK; Calton, Australia: Blackwell Publishing. (以下簡稱
Reader)

五、課程計畫：（暫訂）
2/26第一週 課程結構簡介；書目與評分方式講解。

3/5第二週 藝術人類學的發展
許功明，1993年，「藝術人類學的發展脈絡」，《魯凱族的文化與藝術》，台北：
稻鄉。
Firth, Raymond, 1992. ‘Anthropology and Art,’ in J. Coote & A. Shelton eds.
Anthropology, Art and Aesthetics, pp.15-39. Oxford: Oxford University press.
Morphy, Howard & Morgan Perkin. ‘The Anthropology of Art: A Reflection on its
History and Contemporary Practice, in Reader, pp.1-38.

3/12第三週 原始主義與「原始藝術」
Boas, Franz. 1928. Primitive Art, in Reader, pp. 39~57.
Rubin, William. 1985. ‘Modernist Primitivism: An Introduction,’ in Reader, pp.
129~146.
Miller, D. 1991 ‘Primitive art and the necessity of Primitivism of art,’ in S. Hiller ed.
In The Myth of Primitivism, pp. 50-71. London: Routledge.

3/19第四週 人類學的研究取徑I
Bateson, Gregory. 1973. ‘Style, Grace and Information in Primitive Art,’ in Reader,
2
pp.78~90.
Firth, Raymond. 1973. ‘Tikopia Art and Society,’ in Reader, pp.91~108.
Clifford Geertz著，2000[1983]，「作為文化體系的藝術」，楊德睿譯，《地方知識》，
台北：麥田。

3/26第五週 人類學的研究取徑II
Levi-Strauss, Claude. 1963 ‘Split Representation in the Art of Asia and America’ in
Reader, pp.39~56.
Leach, Edmund. 1971. ‘A Trobriand Medusa,’ in C. Jopling ed. Art and Aesthetics in
Primitive Societies, New York: E.P. Dutton.
Munn, Nancy. 1973. ‘The Spatial Representation of Cosmic Order in Walbiri
Iconography,’ in A. Forge ed. Primitive Art and Society. Oxford: OUP.

4/2第六週 閱讀週

4/9第七週 視覺文化與藝術
Babb, L. A. 1981. ‘Glancing: Visual Interaction in Hinduism,’ Journal of
Anthropological Research, 37.
Tylor, S. 1984. ‘The Vision Quest in the West: Or, What the Mind’s Eye Sees,’
Journal of Anthropological Research, 40(1): 23-40.
Berger, J. 1972. Ways of Seeing. Hammondsworth: Penguin Books.

4/16第八週 美感
賈克.瑪奎(Jacques Maquet)著; 武珊珊等譯，2003，《美感經驗: 一位人類學者眼
中的視覺藝術》，臺北市: 雄獅。
Weiner, James F. et al., 1996. ‘Aesthetics is a cross-cultural category,’ in T. Ingold .ed.
Key Debates in Anthropology, pp. 249-293.
Weiner, J. F. ed. 1995. Too many meanings : a critique of the anthropology of
aesthetics . Adelaide: University of Adelaide, Department of Anthropology.

4/23第九週 跨文化美感
Coote, J. 1992. ‘“Marvels of everyday vision”: the anthropology of aesthetics and the
cattle-keeping Nilotes,’ in Reader, pp. 281~301.
Morphy, H. 1992. ‘From Dull to Brilliant: the Aesthetic of Spiritual Power among the
Yolngu,’ in Reader, pp. 302~320.
Drewal, H. J.1988. ‘Beauty and Being: Aesthetics and Ontology in Yoruba Body Art,’
in A. Rubin ed. Marks of Civilization. L.A. Museum of Cultural History,
University of California.
胡台麗，2008，〈排灣族的影像展演與在地美感〉，於林美容、郭佩宜、黃智慧主
編之《寬容的人類學精神—劉斌雄先生紀念論文集》，頁307-41，南港：中
央研究院民族學研究所。

4/30第十週 技術
O’Hanlon, Michael. ‘Modernity and the “Graphicalization” of Meaning: New Guinea
Highland Shield Design in Historical Perspective,’ in Reader, pp. 387~406.
Gell, A. 1992. The Technology of Enchantment, and the Enchantment of Technology,
in J. Coote & A Shelton eds. Anthropology, Art and Aesthetics. Oxford: Oxford
University press
Weiner, J. n.d. ‘Technology and Techne in Tribriand and Yolngu Art.’
3

5/7第十一週 藝術品
Danto, A.C. 1988. ‘Artifact and Art,’ in S. Vogel ed. ART/Artifact: African Art in
Anthropology Collections, pp. 18-32. New York: Centre for African Art.
Faris, J.C. 1988. ‘“ART/Artifact”: On the Museum and Anthropology,’ Current
Anthropology, 29(5): 775-779.
Megaw, V. 1982. ‘Western Desert Arylic Painting—Artifact or Art?’ Art History, 5,
205-218.
Gell, A. 1996. ‘Vogel’s Net: Traps as Artworks and Artworks as Traps,’ Journal of
Material Culture, 1(1): 15-38.

5/14第十二週 藝術中的身體
Drewal, H. J.1988. ‘Beauty and Being: Aesthetics and Ontology in Yoruba Body Art,’
in A. Rubin ed. Marks of Civilisation. L.A. Museum of Cultural History,
University of California.
O’Hanlon, M. 1989. ‘Handsome is as Handsome Does,’ in Reading the Skin:
Adornment, Display and Society Amongst the Whagi. London: British Museum.
Press.
Hollis, M. 1985. ‘Of Masks and Men,’ in M. Carrithers, S. Collins & S. Lukes eds The
Category of the Person: Anthropology, Philosophy, History, pp. 217-233.
Cambridge: Cambridge University press.

5/21第十三週 藝術的社會再/生產
Wolffe, J. 1981. The Social Production of Art. London: Macmillan.
Bourdieu, P. 1984. Distinction. London: Routledge.

5/28第十四週 閱讀週

6/4第十五週 傳統與創新
Bason, W. 1969. ‘Creativity and Style in African Art,’ in D. Biebuyck ed. Traditional
And Creativity in Tribal Art, pp. 98-119. Berkeley: University of California Press.
Layton, R. 1991. ‘The Creativity of the Artist,’ in The Anthropology of Art.
Cambridge: Cambridge University press
Arens, W & I. Karp. 1989. ‘Introduction,’ in Creativity of Power. Washington, D.C:
Smithsonian Institute.
Thomas, N. 1992. The Inversion of Tradition,’ American Ethnologist, 17(2): 213-232.

6/11第十六週 藝術收藏與文化行銷
Clifford, J. 1988. Predicament of Culture: twentieth-century ethnography, literature
and art, pp.187-252. Cambridge, Mass.; London: Harvard University Press.
Reader, pp. 412~466.

6/18第十七週 當代藝術與人類學
Schneider, Arnd and Christopher Wright eds. Contemporary Art and Anthropology, pp.
29~52, 85~94.
Reader, pp.472-548.
盧梅芬，2007，《天還未亮：台灣當代原住民藝術發展》，台北：藝術家。

6/25第十八週 繳交期末論文截止日期（網路繳交）