身障者之再現與發聲：論「樂生博物故事館」之展示建構

This thesis explores how museums can effectively negotiate the ethical and children’s rights issues involved in the acquisition, interpretation and display of contemporary photographs of children. It does so in consideration of a heightened sensitivity towards child protection that has inspired a struggle for museums in the UK to adopt transparent and confident decision-making processes in their curatorial approaches around such images. This struggle is particularly fraught when photographs of children express a bodily awareness: a marker of the transition from childhood to adulthood.By advancing an ethically-informed discourse around freedom of speech and the sitter’s agency, the research aims to encourage more resilient and responsible decision-making amongst museums and galleries. Significantly, the thesis develops a language and a framework within which such a dialectic can take place.The research is interdisciplinary in nature and, building on the new museum ethics discourse, draws on the experiences of museum practitioners in the US, UK and Europe – including curators, directors and educators. Firmly grounded within everyday museum practice, it identifies innovative curatorial strategies that exchange self-censorship for a more socially relevant way of interpreting and exhibiting photographs of children. The thesis advocates approaches that enable children and young people to express their own perspectives on the ways in which they are represented today.Adopting qualitative research methods, the research relies on interviews and case studies. These include a number of ‘silent’ cases introduced by museum informants that reveal how self-censorship operates through external and internal barriers, and two case studies that embrace curatorial strategies that explore alternative ways forward (at The North Carolina Museum of Art in Raleigh, US and the Fotomuseum in The Hague, The Netherlands).

Departing from the questions: «What a body can do in the museum?» and «How it distributes and mediates different forms of knowledge within an institution of the experience economy?», the contribution shifts to what choreography can do in the museum. Choreographing relations as a mode of assembling and creating a public sphere seems one crucial element. The author examines three choreographic works under the aspects of the public monument, embodied heritage and the need to contextualize. She asks how the latter can be achieved beyond the logocentric use of language, which puts dance in the subordinated position of a silent art, and finishes with a claim for the institutions as sites of long-term practicing which could create specific conditions for dance and its needs beyond a merely product-oriented system.

Medicine intertwines with arts as part of the wider field of humanities since its origin; they integrate creating a new synergy. Clinical diagnosis involves the observation, description and interpretation of visual information. These skills can be developed and trained by analysing visual art works. Visual thinking strategy (VTS) has been recognized as a legitimate cognitive tool (1,2). Thanks to a collaboration between our medical faculty (Sant’Andrea Hospital) and the Borghese Gallery and Museum we are piloting an innovative experience with small-group interactive sessions within the course of Methodology (3rd-year students). This activity is carried out under the tutelage of art education curators and faculty members. Sessions focused on the analyses of selected original paintings. Students were evaluated through pre- and posttest questionnaires and with short oral presentations. Discussion was warm and enthusiastic and students appreciated the interaction with faculty on a non-medical level. By engaging with art works, students learn a broader conception of human-ness, enhancing mindfulness, rendering learning enjoyable and meaningful. Museums as teaching labs are valuable resources for enhancing learning beyond the classroom walls. VTS in medicine encourages critical thinking and problem solving, thus improving clinical abilities by means of observation and clinical reasoning, promoting empathy and getting used with team work. These activities can be integrated with art works shown in the classroom as clinical triggers: several figurative paintings are shown within our course of human and clinical anatomy (first and second-year students), i.e. self-portraits of Piero della Francesca and Mantegna’s “Virgin and child” well illustrate goiter; Raphael’s La Fornarina and Rubens’ “The three graces” show breast cancer. Rombouts’ “Allegory of the five senses” is a nice introductory image for the sense organs as Bigot’s “A doctor examining urine” for the urinary tract. An art-based approach to teaching observational skills should be included continuously within required courses in the medical curriculum.

Dioramas are at the crossroads of artistic, scientific and cultural practices. They bring together painters, sculptors, scientists, and collectors, thus providing an opportunity to reflect on the polyvalence of these actors and the definition of their expertise. In 1822, the painter and scientist Louis Daguerre coined the term “diorama” when describing his theater. The word diorama means literally “seeing through.” In accordance with this etymology, dioramas embody a sense of transparency and life-likeness. In addition to providing theatrical and visual experiences, dioramas are multidimensional installations that incorporate paintings, objects, stuffed animals or mannequins. Habitat groups mixing taxidermy and painted backgrounds were designed for natural history museums, while anthropological dioramas were disseminated all over Europe during the second half of the nineteenth century. They were usually life-sized and site specific but they could also be reduced to maquettes. To date, these installations have been studied by scholars from various disciplines, mainly as side topics. Media historians have considered them primarily as proto-cinematic, whereas within the fields of anthropology, museum studies and postcolonial studies, they are generally analyzed as displays that reflect political taxonomies and stereotyped representations. However, dioramas are not merely images or displays: they are also physical objects made of multiple materials, such as plaster, wood, paper, paint, glass, fur, wax, and metal. The discipline of art history thus provides us with the opportunity to approach the materiality of these installations. Indeed, dioramas are composite and hybrid things, created through cultural interaction and physical encounter. Multiple hands as well as various visions are involved in the process of their creation – and later on, during their conservation. Dioramas therefore allow for the study of contact zones and material exchanges between private and public spheres, as well as between Western and non-Western contexts. Finally, dioramas as objects of study within the field of art history enable us to address values such as authenticity and realism in various contexts.

Alicia Bewicke Little (1845-1926) was one of the earliest English writers who traveled deep into the interior of China during the late imperial period. She was also the most active feminist campaigning for the abolition of the old Chinese custom of footbinding. Her travelogue In the Land of the Blue Gown (1901) meticulously records such events as her sojourn in rural Sichuan, the anti-foreign riots in West China, and her anti-footbinding tours around China, offering us precious first-hand accounts of the early encounter between East and West. The ethics of travel is a promising new topic in travel literature studies, as yet little discussed in Taiwan. The present paper tries to find concrete examples from Little's book for an engaging discussion of cross-cultural negotiations, focusing particularly on moments of unease when cultural alterity is intensely felt and exploring its ethical implications. In recent years, owing to the influence of postcolonial theory, Anglo-American travel writing scholarship has tended to adopt a more rigid approach to ethical issues, often sacrificing the more nuanced understanding of moral complexities and ambiguities for pointed ideological critiques. This paper seeks to redress the balance by attending to the more confusing and aporetic kinds of travel experience. The major themes to be discussed include the civilizing mission, social sympathy, self-preservation, tolerance, and the importance of intercultural communication.

This session explores ideas on how to apply active learning techniques when the classroom is set up in a more traditional tightly-spaced room lacking in whiteboard space and few options for moving around or reconfiguring the space. This will be an interactive session; participants can add their experiences to enhance the ideas included in this abstract. For creative teachers and cooperative students, there are multiple solutions for most academic disciplines when there is flexibility in approaches to learning. Participants will be able to describe at least 3 adaptations they can use in their courses. _______________________________________________________________ FULL ABSTRACT This session explores ideas on how to apply active learning techniques when the classroom is set up in a more traditional tightly-spaced room lacking in whiteboard space and few options for moving around or reconfiguring the space. This will be an interactive session where participants can add their experiences to enhance the ideas included in this abstract. One of the ideas comes from a blog: “Creating the Space for Engaged Discussion” by Kevin Gannon, PhD, that had ideas for solving the kind of problem. His banner photo shows him standing in front of classroom of students, a traditionally laid out space. Gannon’s idea of doing a check-in exercise that can meet the objective of: 1) getting to know the students; 2) helping them get used to hearing their own voice spoken in the classroom; and 3) teaching them to listen to each other. The technique uses a format that encourages a more open discussion. This exercise meets the objectives and takes no more than 8 minutes for 25 or 30 students. Another way to open up discussion is a variation on the well-practiced “think-pair-share” activity where students respond to an appropriate comprehensive open-ended question for each student to think about for 5 minutes; than joining with another student or a small group (shifting around the school desks in place); and then sharing with the class the ideas they and their group came up with. Other Techniques: One of the simplest solutions to the traditional classroom setting could be to move a few chairs and rotate others in place, though sometimes chairs and tables are fixed in place, so we will explore ways of handling those kinds of problems. There are other work-arounds, when considering the constraints of the classroom. When possible, students usually appreciate the option of going out onto the larger campus when doing so would enhance learning. This idea from an architecture class at the University of Minnesota, where the general education architecture course planned to meet in a different location every week. The students would propose a meeting place and the professor would select appropriate locations, scheduling them for future class meetings. They would meet in such places as the student center atrium, the entrance hall to the basketball arena, an art museum, and a park. For the architecture class, it allowed students to see how different environments served different needs; for our class, a similar plan allowed our students to experience how different environments and contexts contributed to class discussions and conflict resolution projects. At Mason, we can meet in one of the amphitheaters on a day when the weather is suitable. This is a good opportunity to work together on an experiential learning activity that requires spreading out and moving around freely. Another solution to classroom constraints is to find an alternate classroom solution on some days, such as reserving multiple study rooms in the Johnson Center on days that were convenient for students. For those sessions, breaking into small groups, so students can jump-start small-group projects. and each group successfully met their objectives.

In the National University of Colombia there are currently 25 museums and collections including art, medicine, natural science, anthropology and history. Taken together, they comprise the largest, most diverse and most important museum in Colombia, and also the least known. The collections are the product of the conservation and research work of the university in the 141 years of its existence. In recent years, the National University of Colombia has not only become more aware of the importance of its cultural and scientific heritage, but also of the marginality of the work in the university museums. For that reason, in 2006 the university began to work on a Museums and Cultural Heritage Project to develop policies for the conservation, acquisition, documentation, research and communication of its own cultural heritage. The National University of Colombia hopes, through the development of a stronger, structured, ethical, responsible, efficient and representative project about Museums and Cultural Heritage to be better prepared for current challenges. In addition, the project hopes to generate a new landscape of accessibility to the museums and collections of the National University of Colombia. In short, the Museums and Cultural Heritage System of the National University of Colombia, through a ‘Museums portal’ located in a colonial building in Bogota known as Claustro de San Agustin (Cloister of St. Augustine) seeks to highlight the cultural heritage of the university, and become, beyond the classrooms and research centers of the campus, an important reference for the meeting of teachers, students, citizens and other cultural and academic institutions. Open door policy Colombia National University has 25 museums and collections, which together give the university the largest and most diverse collections in Columbia. The collections of science, art, medicine, natural science, and anthropology are the result of the research and collecting of the university during its 141 year history. The goal of the Cultural Patrimonio and Museums System (PMS) is to provide more public access to the cultural heritage of the university so that the university becomes meeting place; a place where teachers, students, academic and cultural institutions, social actors, and citizens can come together. In October 2007 the San Agustin Cloister opened its doors as the headquarters of the PMS of the National University. At that time we had 3 to 5 visitors daily and in December 2008, the average was 125 people daily. To date, we have had a total of 27,400 visitors. Yet even more important information can be obtained by looking beyond the numbers. The essential question is: Why is it so important open the doors of university to the citizens? The answer is as simple as it is political: because the audience has to have access in order to contribute to the preservation of National University heritage. Beyond the campus: The other visitors of the university museums The museums that are located on the campus of the university are known to the community because of the importance of the campus, but access to the museums was limited in the past because the activities of the museums were primarily linked to the university’s curriculum. The cloister is located strategically in downtown Bogota, in the main cultural zone. It is able to distribute information about the university museums, resulting in visits from people who work in the

Universities and university museums are faced with numerous challenges regarding access to their collections for diverse user communities. In today’s electronic age, a new model has emerged for granting online access to collections. This paper will present some challenges and successes of current solutions in use by Carleton University’s Great Lakes Research Alliance for the Study Aboriginal Arts and Culture (GRASAC), the University of Pennsylvania Museum collaborative virtual exhibition Tipatshimuna and the McCord Museum, formerly administered by McGill University. The research and knowledge dissemination mandate of universities, together with the issues surrounding the repatriation of objects, online collaboration and access to collections, the digital form presents a real opportunity to benefits universities, researchers, students and the general public.

In dealing with ethical issues, non-profit managers are often faced with dilemmas that defy a simple choice between right and wrong. When there is no obvious way of prioritizing responsibility, and no precedent to emulate, resolution of such dilemmas demands careful consideration of stakeholder expectations when looking at the ethical options, so that decisions satisfy not only the immediate problem but also align with the organization's mission, values and ethical code. This paper follows research that examined the types of ethical dilemmas experienced across thirty-seven non-profit organizations, where it was found that a reliable method for depicting and resolving dilemmas was needed. The paper uses two cases from non-profit organizations in Australia and Taiwan, to illustrate the use of the Business Ethics Synergy Star (BESS) (Robinson, et. al. 2007)-a technique that allows non-profit organizations to concisely depict a dilemma in order to then resolve it using a step-by-step process known as the Seven Cs.

Both of ”Taipei Fine Arts Museum” and ”Sun Yat-Sen Memorial Hall” are important galleries in Taiwan. They held exhibitions of ink painting at almost the same time in 2006, and attempted to arrange and annotate the developing of ink painting and let people understand more about modern ink painting, and also tried to achieve the objectives of promotion and education. This article wants to compare the differences between these two exhibitions on the purposes, artists, and works and to express some of my thinking about that. Besides, I attempt to find out the same and the different characteristics of those works exhibited and also try to generalize some dimensions of ink painting works. I found that most of the works belong to abstract ink painting or experiment ink painting. Although, modernization is not necessarily same as abstract, the abstract is an important style in these two exhibitions. Because of different understanding and choices of the ink painting traditions, the style of the works of modern ink painting will be different. However, all artists do their best to try. The arguments of ink painting have been proceeding since l950s. After the debate again and again, many years later, the critics and artists find their footholds at last. In the last paragraph of my article, I hope to provide a point for creators to think about how to integrate and innovate. I'll give my opinions as well.

The use of agricultural landscapes to create interventions to improve health and wellbeing (care farming) is increasingly being advocated as a viable alternative to more traditional forms of health and social care. Yet the views and experiences of people with intellectual disabilities (the UK care farm industry’s main service user) have rarely been sought. Given the current lack of evidence, this study aims to fill this gap through an in-depth exploration of the wellbeing effects of care farming for people with intellectual disabilities. Theoretically, this thesis is situated within the field(s) of social and health geography. Specifically, it draws together recent work on therapeutic landscapes, non-representational theory and disability geographies to build a conceptual framework, through which to explore the material, embodied, relational and inter-subjective elements that foreground people’s therapeutic landscape encounters. Using a range of qualitative methods of data collection (including photography and film) this research draws on empirical findings from seven ethnographic case studies. Three substantive chapters examine the experiences of people with intellectual disabilities engaged in care farming activities for health and wellbeing. The first describes participants’ embodied engagements with various features of the care farm environment and ways in which these served to facilitate or hinder the formation of a therapeutic landscape experience. The second explores the wider impact that these kinds of encounters had on the everyday lives of participants. The third chapter examines in more detail the place experiences described in the previous two chapters, and the extent to which these experiences may facilitate feelings of belonging (both at the care farm and within the wider community). This, I argue, is an important wellbeing outcome of care farming for people with intellectual disabilities. In drawing together the arguments presented throughout, I argue that this thesis contributes to the field of therapeutic landscapes by drawing attention to the transformative power of the therapeutic encounter, as well as the broader socio-spatial environments in which people live and ways in which these can limit that power. This thesis also contributes to disability scholarship by moving beyond purely discursive accounts of disability centred on meaning and identity, to consider actual visceral experience, as this relates to health and impairment.

Photography and media - ethical issues

Arundhati Roy’s debut novel The God of Small Things breathes despair. The narrative jumps back and forth between the past and the present, mapping out the tragic downfall of the Ipe family, whose members suffer the fatal consequence of the forbidden love affair between Ammu and Velutha, a transgression of the Love Laws. The Love Laws, a term coined by Roy, refers to the implicit social discrimination and sexual regulation of the caste system in India. The enforcement of the caste system delimitates people’s everyday life, restrains their personal freedom and potential, and further punishes those who attempt to temper with it. Focusing on Estha’s and Rahel’s inability to work through the trauma inflicted by Ammu and Velutha’s transgression, Roy structures her novel in terms of the “return of the repressed,” with reiterated traumatic scenes, fragmented passages, and ungrammatical phrases, etc., serving as both catalysts to trigger traumatic memories of unresolved familial conflicts and indictment of the oppressive power of the Love Laws. Other than demonstrating the disciplinary force of the Love Laws, Roy also proffers a different view to explore the underside of love as love is not merely a pure affection but it also involves the lovers’ calculating move to flee from the suffocating life each is respectively leading. Chapter One of this thesis elaborates on Gayatri Chakravorty Spivak’s discussion on the subaltern agency to deal with Velutha’s and Ammu’s struggle to defy and escape the defiled social order and the psychic anxieties their subversive act of transgression has provoked in the dominant class. Even if their rebellion against the Love Laws fails to solicit the response from the dominant class, Roy, in dramatizing the terrific consequence of the society’s collective failure to listen to their mute demand for recognition, invites the reader to rethink the ethical possibilities of listening to the subaltern other, and to comprehend the urgency of such an ethical project. Chapter Two takes Cathy Caruth’s and Greg Forter’s perspectives on trauma as a point of departure to trace the characters’ traumatic experiences back to the two deep-rooted social evils, class antagonism and gender oppression, prevalent in the Indian society. The impossibility of redemption suggested in the young generation Estha’s and Rahel’s symptomatic responses to their previous generation’s trauma articulates Roy’s spirited critique of India’s social system, in which trauma unfortunately becomes a cultural legacy tormenting the Indian people from generation to generation. Chapter Three discusses the politics of love by juxtaposing Anthony Giddens’s assumption of the pure love relationship with Roy’s three tales of love. By doing so, I propose to contend that, whereas Giddens’s investigation of the human intimacy explains what intimacy should be, it fails to clarify why intimacy turns into hatred and how it becomes a justification for acts of violence. The three tales of love in Roy’s novel, by contrast, unveil the dark side of love and unmask its excess, proving that love is the “incalculable” something that goes beyond instincts and law. The excess of love which can transform the lovers either to be better or to be worse, displays itself as the true nature of the interpersonal relationships among people.

John Dewey Was an Atheist who argued that no one could reasonably accept the existence of supernatural powers. Religious naturalists may claim him as one of their own if Dewey’s peculiar meaning to “religious” as almost synonymous with “ethical” is kept in mind. Although Dewey encouraged a lessening of influence of organized religions over society, he also prioritized full democratic participation for every citizen. His political philosophy never endorses the idea that political discourse should restrict or exclude appeal to religious values or religious faith. Dewey’s political liberalism explicitly invites faith, religious experience, and religious values into public discourse and deliberation. The point of democracy is to discuss all values held within a society.

Emerging technologies like Tandem Mass Spectrometry (TMS) enable multiple tests on a single blood sample and allow the expansion of Newborn Screening (NBS) to include various metabolic diseases. Introducing TMS for NBS raises important social and ethical questions: what are the criteria for adding disorders to screening panels? What evidence justifies expansion of screening? How can equity in NBS access and standards be ensured? How can policy standards be set, given the multiplicity of stakeholders? To address emerging issues, policy-makers, patient advocates, clinicians and researchers had a workshop during the 2005 Garrod Symposium. The participants received a summary of the discussion and understood the workshop's goal was to provide a basis for further discussion. This article contributes to this ongoing discussion. Several proposed recommendations assert the centrality of including social and ethical issues in the assessment of whether or not to introduce TMS. The article outlines five key recommendations for advancing the NBS agenda: national public health leadership; transparency; increased national consistency in NBS strategy, including minimum standards; collaboration between the federal and provincial/territorial governments and diverse stakeholders; and supporting research and/or programs based on effectiveness, which integrate ethical and social issues into assessment.