社區美學與文化建構的省思：香港上海街社區個案的視覺文化敘述、詮釋及意涵

Introspection of the Community Aesthetics and Cultural Construction: A Case Study of the Narrative, Interpretation, and Meaning of the Visual Culture of Shanghai Street in Hong Kong

黎明海(Ming-Hoi Lai)；劉仲嚴(Chung-Yim Lau)

社區美學 ； 香港上海街 ； 敘述 ； 視覺文化 ； 意涵 ； 詮釋 ； community aesthetics ； Hong Kong Shanghai Street ； interpretation ； meaning ； narrative ； visual culture

藝術教育研究

13期（2007 / 05 / 01）

67 - 94

繁體中文

本文針對香港極具本土文化特色的舊社區之一油麻地上海街為探究核心，藉此探討生活和活動在該場域內的當地人如何藉視覺影像去詮釋、建構屬於場域內人、事、物三者之間的生態依存關係，及它們在社會急劇轉型的大環境背後的深層意義。研究發現上海街視覺文化敘述、詮釋及意涵可分為形而上和形而下兩個不同但息息相關的層面來加以論述。當地人對視覺影像作詮釋時，不但結合物理和心理層面對社區文化作出重新詮釋，還指出了上海街的視覺文化隱含著某種統整形而上和形而下及異常含糊的美學特質，而這種特別的美學觀念卻形塑了大眾集體回憶。然而，在面對全球化、社會轉型、人口老化和大型資本百貨的入侵，使這美好回憶為創建未來新社區帶來變數和挑戰。

Yau Ma Tei's Shanghai Street community, an old community with rich Hong Kong cultural features, is the core center of this visual narrative case study. Probing into the lives and activities of the locals, the study analyses how the locals interpret and construct the biological interdependent relationship of people, events and things through visual images, and the deep-seated values they represented behind the abrupt transforming society. It discovers the Shanghai Street's visual cultural narrations, interpretations and meanings which can be classified into two bound up layers to expound: the metaphysical and the physical layers. To interpret the visual images, the locals not only integrated the physical and psychological layers to reinterpreted the community culture, but also pointed out that the Shanghai Street visual culture hidden certain integrated metaphysically and physically with extraordinary ambiguous aesthetics characteristics. In addition, these particular aesthetics concepts molded the public collective memories. Nevertheless, with globalization, social transformation, aging population, and large-scale capital merchandise invasion, exquisite reminiscences will bring variables and challenges to the establishment of new community in the future.

1. Abbas, A.(2000).Public Culture.
2. Bach, H.(1997).Edmonton, AB,University of Alberta.
3. Ball, S.(1998).Big policies/small world: An introduction to international perspectives ineducation policy..Comparative Education.
4. Ball, S.(1990).Politics and policy making in education: Explorations in policy sociology..
5. Ballengee-Morris, C.,Striedieck, L. M.,D. R. Walling(1997).Under construction: The role of the art and visual culture and humanities in postmodern schooling.Bloomington, Ind.:Phi Delta Kappa Educational Foundation.
6. Barnard, M.(1998).Art, design, and visual culture: An introduction.
7. Blandy, D.,Congdon, K. G.(1987).Art in a democracy.
8. Bolin, P.(2000).The value of local history and place within art education.Art Education.
9. Brah, A.(1996).Cartographies of diaspora: Contesting identities.
10. Brown, R.(2000).Social identity theory: Past achievements, current problems and future challenges.European Journal of Social Psychology,30,745-778.
11. Bullivant, B. M.,James W. Tollefson(1995).Ideological influences on linguistic and cultural empowerment: An Australian example.Power and inequality in language education.
12. Crossley, N.(1996).Body-subject/body power.Body & Society.
13. Danto, A.(1981).The transfiguration of the commonplace: A philosophy of art.Cambridge, MA:Harvard University Press.
14. Dewey, J.(1956).The child and the curriculum, the school and society.Chicago, IL:The University of Chicago Press.
15. Dikovitskava, M.(2002).A look at visual studies.Afterimage.
16. Duncum, P.(2001).Visual culture: Developments, definitions, and directions for art education.Studies in Art Education,42(2),101-112.
17. Edwards, R.,Usher, R.(2000).Globalization and pedagogy: Space, place and identity.
18. Foucault, M.(1980).Body/Power|C. Gordon.Power and knowledge: Selected interviews and other writings (1972-1977).
19. Foucault, M.,P. Rabinow(1998).Different spaces.Aesthetics, method and epistemology: The essential works of M. Foucault, 1954-1984.
20. Freedman, K.(2003).Teaching visual culture: Curriculum, aesthetics, and the social life of art.New York:Teachers College Press.
21. Freedman, K.(2000).Studies in Art.
22. Gombrich, J.(2000).The uses of images: Studies in the social function of art and visual communication.London:Phaidon.
23. Gonzalez, R.,Brown, R.(2003).Generalization of positive attitude as a function of subgroup and subordinate group identifications in intergroup contact.European Journal of Social Psychology,33,195-214.
24. Hassan, I.(1987).The postmodern turn: Essays in postmodern theory and culture.Columbus, OH:Ohio University Press.
25. Hebdige, D.(1990).New Formations.
26. Hebdige, D.(1979).Subcultures: The meaning of style.London:Methuen.
27. Held, D.(1993).Democracy and the new international order.London:Institute of Public Policy Research.
28. Holstein, A.,Gubrium, F.(2000).The self we live by: Narrative identity in a postmodern world.New York/Oxford:Oxford University Press.
29. Jameson, F.(1991).Postmodernism or the cultural logic of late capitalism.London:Verso.
30. Jeffers, S.(2003).Art Education.
31. Jenks, C.,Chris Jenks(1995).Visual culture.London:Routledge.
32. Kellner, D.(1995).Media culture: Cultural studies, identity and politics between the modern and the postmodern.London:Routledge.
33. Lefebvre, H,Donald Nicholson-Smith(1974).The production of space.Oxford:Basil Blackwell.
34. Levin, D. M.,I. Heywood,B. Sandy well(1998).Interpreting visual culture: Explorations in the hermeneutics of the vision.New York:Routledge.
35. Lowenfeld, V.,Brittain, W.(1987).Creative and mental growth.New Jersey:Prentice Hall.
36. Machimura, T.(1992).The urban restructuring process in Tokyo in the 1980s: Transforming Tokyo into a world city.International Journal of Urban and Regional Research,16(1),114-128.
37. Marcuse, H.(1964).One dimensional man.London:Routledge.
38. McFee, J. K.,Edward L. Mattil(1966).Society, art and education.Seminar for Research in Art Education,College Park, PA.:
39. Mead, H.(1967).Mind, self and society.Chicago, IL:University of Chicago Press.
40. Miller, R.(2000).Researching life stories and family history.London:Sage.
41. Mirzoeff, N.(1999).An introduction to visual culture.
42. A visual culture enterprise
43. Mitchell, J.(1994).Picture theory: Essays on verbal and visual representation.Chicago, IL:Chicago University Press.
44. Morley, D.,Robins, K.(1995).Spaces of identity: Global media electronic landscapes and cultural boundaries.London:Routledge.
45. Pile, S.,Keith, M.(1997).Geographies of resistance.London:Routledge.
46. Polkinghorne, P.(1988).Narrative knowing and the human sciences.Albany, NY:SUNY Press.
47. Potter, J.,Wetherell, M.(1987).Discourse and social psychology: Beyond attitudes and behaviour.London:Sage.
48. Rogoff, I.,N. Mirzoeff(2001).The Visual culture reader.New York:Routledge.
49. Rose, G.(2003).Visual methodologies: An introduction to the interpretation of visual material.London:Sage.
50. Shohat, E.,Stam, R.,N. Mirzoeff(1998).Visual culture reader.London:Routledge.
51. Sontag, S.(2001).On photography.New York:Picador.
52. Stankiewicz, M.(1998).Art Education.
53. Sturken, M.,Cartwright, L.(2001).Practices of looking: An introduction to visual culture.
54. Tavin, K.,Anderson, D.(2003).Teaching popular visual culture: Deconstructing Disney in the elementary art classroom.Art Education.
55. Taylor, P. G.,Ballengee-Morris, C.(2003).Using visual culture to put a contemporary "fizz" on the study of pop art.Art Education.
56. Taylor, S.(1989).Positive illusions: Creative self-deception and the healthy mind.
57. Walker, J.,Chaplin, S.(1997).Visual culture: An introduction.New York:Manchester University Press.
58. Wilson, B.,G. Hardiman,T. Zernich(1974).The other side of evaluation in art education.Curriculum considerations for visual arts education: Rational, development and evaluation.
59. 高宣揚(1999)。後現代論。臺北:五南圖書。
60. 郭禎祥、趙惠玲、黃壬來(2002)。視覺文化與藝術教育。藝術與人文教育。
61. 劉仲嚴(2004)。藝術教育學新論：後現代藝術教育。香港:劉仲嚴。
62. 劉伸嚴(2004)。文化與藝術教育：當代的觀點。香港:香港教育學院。
63. 黎明海、劉仲嚴(2004)。文化與藝術教育：當代的觀點。香港:香港教育學院。

1. 劉仲嚴(2008)。微型流行視覺文化社群的自主創造性創造力。藝術教育研究，15，1-32。
2. 劉仲嚴(2010)。藝術本位研究方法論與方法的議題和前景。藝術教育研究，19，1-23。