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題名 不朽的活屍：葛羅伊斯的藝術烏托邦
Immortal Living Corpse: An Interpretation of Boris Groys' Art Utopia
作者 蔡承宇
Tsai, Cheng-Yu
貢獻者 高國魁
蔡承宇
Tsai, Cheng-Yu
關鍵詞 葛羅伊斯
烏托邦
博物館學
策展
不朽活屍
Boris Groys
Utopia
Museology
Curation
Immortal Corpse
日期 2025
上傳時間 1-Apr-2025 11:41:02 (UTC+8)
摘要 烏托邦的終結已成老生常談，甚至連討論烏托邦本身都顯得過時。然而， 當代社會現象卻揭示了烏托邦願景依然存在。本研究立基於葛羅伊斯的藝術理 論，探討其獨特的烏托邦概念如何能夠回應當代社會理論的侷限。 本研究首先質疑以「真實烏托邦」為代表的政治改良主義之局限性，並回 顧烏托邦概念的三大面向:「現實」、「時空間」與「行動」。在後續章節中， 這些面向透過葛羅伊斯的藝術理論被重新詮釋為「審美化」、「博物館」與 「策展」。藉由前衛藝術的審美化技術，葛羅伊斯將人類概念化還原至純粹形 式的藝術品，在新自由主義社會中創造出「活屍」狀態。在其主張中，烏托邦 並非遙遠未來的理想，而是此時此地既存的另類現實，需要被保衛而非改變。 最後，本研究闡述葛羅伊斯如何透過策展實踐，在生命政治時代將人類從 技術文件轉化為藝術文件，並結合前衛藝術與宇宙主義思想，創造出「不朽活 屍烏托邦」。這種烏托邦不再依賴靈魂的永生，而是透過藝術實現永恆存在， 為當代社會變革提供了新的視野。
The discourse on the End of Utopia has become a cliché, and even discussing utopia itself seems outdated. However, contemporary social phenomena reveal that utopian desires persist. This study is grounded in Boris Groys's art theory, and explores how his unique concept of utopia might address the limitations of contemporary social theory. The study begins by questioning the limitations of political reformism such as "Real Utopias", and reviews three major aspectss of the utopian concept: "reality," "spatio-temporality", and "action". In subsequent chapters, these aspects are reinterpreted through Groys's art theory into "aestheticization", "museum", and "curation". Through avant-garde technique of artistic aestheticization, Groys conceptualizes humans as artworks reduced to their pure form, creating a "living corpse" within neoliberal society. In his propose, utopia is not an ideal in the distant future but an alternate reality that exists here and now, demanding defense rather than change. Finally, this study explains how Groys, through curatorial practices, transforms humans from technical documents into artistic documents in the era of Biopolitics, combining avant-garde art with Cosmist thought to create an "Immortal Corpse Utopia". This utopia no longer relies on the immortality of the soul but achieves eternal existence through art, offering a new vision for contemporary social transformation.
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Bauman, Zygmunt, 1976, Socialism The Active Utopia. George Allen & Unwin Ltd. — 2007, Liquid Times. Cambridge: Polity Press. — 谷蕾、吳媛媛譯，2012，《流動的時代》。南京：江蘇人民出版社。（Bauman, Zygmunt, 2007, Liquid Times. Cambridge: Polity Press.） — 陳雅馨譯，2018，《液態現代性》。台北：商周出版。（Bauman, Zygmunt, 2000, Liquid Modernity. Cambridge: Polity Press.） — 朱道凱譯，2019，《重返烏托邦》。台北：群學出版。（Bauman, Zygmunt, 2017, Retrotopia. Cambridge: Polity Press.） Benjamin, Walter, 1999, “Critique of Violence vol. 1 1913-26.” In M. Bullock & M. Jennings (Eds.), Selected Writing. (pp. 236-252). Cambridge: Harvard University Press. — 莊仲黎譯，2019，《機械複製時代的藝術作品：班雅明精選集》。台北：商周出版。（Benjamin, Walter, 1996, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Suhrkamp Verlag.） Debord, Guy, 2021, The Society of the Spectacle. Cambridge: Unredacted Word. Eagleton, Terry, 2021, “The Marxist and the Messiah.” in London Review of Books, https://www.lrb.co.uk/the-paper/v43/n17/terry-eagleton/the-marxist-and-the-messiah. (Date Visited: October 26, 2023). Flynn, Alex, 2016, “Subjectivity and the Obliteration of Meaning: Contemporary Art, Activism, Social Movement Politics.” Cadernos de Arte e Antropologia 5(1): 59-77 Foucault, Michel, 2008, “Of Other Spaces.” In Dehaene, M. and De Cauter, L. (eds), Heterotopia and the City: Public Space in a Postcivil Society (pp. 13-29). London: Routledge. — 莫偉民譯，2016，《詞與物——人文科學的考古學》。上海：人民出版社。（Foucault, Michel, 1966, Les Mots Et Les Choses une Archeologie des Sciences Humaines. Gallimard.） — 王紹中譯，2020，《監視與懲罰：監獄的誕生》。台北：時報文化出版。（Foucault, Michel, 1975, Surveiller Et Punir. Gallimard.） García, N. Canclini, 2015, Art Beyond Itself: Anthropology for a Society without a Story Line. Durham, NC: Duke University Press. Groys, Boris, 2010, “The Weak Universalism.” E-Flux Journal #15. — 2011, Going Public. New York: Verso. — 2012a, “Under the Gaze of Theory.” E-Flux Journal #35. — 2013a, “Art Workers: Between Utopia and the Archive.” E-Flux Journal #45. — 2013b, “Becoming Revolutionary: On Kazimir Malevich.” E-Flux Journal #47. — 2014a, On the New. New York: Verso. — 2014b, “On Art Activism.” E-Flux Journal #56. — 2016, In the Flow. New York: Verso. — 2017, “Art, Technology and Humanism.” E-Flux Journal #82. — 2018a, “Curating in the Post-Internet Age.” E-Flux Journal #94. — 2018b, “Introduction: Russian Cosmism and the Technology of Immortality.” In B. Groys (Ed.), Russian Cosmism. (pp. 1-16). Cambridge, MA: E-Flux-MIT. — 2020, “Museum as a Cradle of Revolution.” E-Flux Journal #106. — 2021a “The Future Belongs to Tautology.” In Logic of the Collection (pp. 48-63). London: Sternberg Press. — 2021b, “Archive and Utopia. Boris Groys.” in Canaluntref YouTube Channel, https://www.youtube.com/watch?v=qQN9LtHzWDQ&t=618s. (Data Visited: Jan 16, 2024). — 蘇偉、李同良譯，2012b，《走向公眾》。北京：金城出版社。 — 郭昭蘭、劉文坤譯，2015，《藝術力》。台北：藝術家出版社。（Groys, Boris, 2013, Art Power. MIT Press.） — 潘律譯，2018c，《論新：文化檔案庫與世俗世界之間的價值交換》。重慶大學出版社。（Groys, Boris, 1992, Über das Neue. Versuch einer Kulturökonomie. Carl Hanser Verlag München.） — 赫塔譯，2023，《流動不居》。重慶大學出版社。（Groys, Boris, 2016, In the Flow. New York: Verso.） Han, Byung-Chul 著、莊雅慈、管中琪譯，2015，《倦怠社會》。台北：大塊文化。（Han, Byung-Chul, 2010, Müdigkeitsgesellschaft. Matthes & Seitz Berlin.） Heidegger, Martin, 1977, The Question Concerning Technology and Other Essays. New York & London: Garland Publishing Inc. Hunt, Kent, 2020, “How ‘Woke’ Became the Word of Our Era” in The Guardian, https://www.theguardian.com/books/2020/nov/21/how-woke-became-the-word-of-our-era (Date Visited: August 26, 2023). Huxley, L. Aldous著、吳碩禹譯，2019，《美麗新世界》。台北：漫遊者文化。（Huxley, L. Aldous, 1998, Brave New World. Harper Collins.） Jacobson, M. Hvild, 2016, “Zygmunt Bauman – An Ambivalent Utopian.” Revue Internationale de Philosophie 277(3) 347-364. — 2020, “Retrotopia Rising: The Topics of Utopia, Retrotopia and Nostalgia in The Sociology of Zygmunt Bauman.” In M. Jacobson (Ed.), Nostalgia Now: Cross-Disciplinary Perspectives On The Past In The Present. (pp. 78-98). New York: Routledge. Jameson, Fredric, 2004, “The Politics of Utopia.” New Left Reviews 25: 35-54 — 2005, Archaeologies of the Future. New York: Verso — 2012, “Ernst Bloch, Utopia, and Ideology Critique.” Pp. 23-35 in Existential Utopia: New Perspective on Utopian Thought, edited by Patrícia Vieira and Michael Marder. Continuum International. — 吳美真譯，1998，《後現代主義或晚期資本主義的文化邏輯》。台北市：時報文化。（Jameson, Fredric, 1992, Postmodern or, The Cultural Logic of Late Capitalism. Duke University Press.） — 莊仲黎譯，2022，《班雅明：多重面向》。台北市：商周出版。（Jameson, Fredric, 2020, The Benjamin Files. New York: Verso.） Kanai, Akane & Gill, Rosalind, 2020, “Woke? Affect, Neoliberalism, Marginalised Identities and Consumer Culture.” New Formations 102: 10-27. Kant, Immanuel, 1997, Kant: Critique of Practical Reason. New York: Cambridge University Press. Kellner, Douglas, 2012, “Ernst Bloch, Utopia, and Ideology Critique.” In P. Vieira & M. Marder (Ed.), Existential Utopia: New Perspectives on Utopian Thought. (pp. 83-97). New York: Continuum International Publishing Group. Lijster, Thijs, 2018, “The Museum vs. The Supermarket: An Interview with Boris Groys.” In T. Lijster (Ed.), The Future of the New: Artistic Innovation in Times of Social Acceleration, (pp. 115-142). Antennae-Arts in Society No. 26. Valiz. Levitas, Ruth, 2013, Utopia as Method: The Imaginary Reconstitution of Society. Palgrave Macmillan. Mannheim, Karl, 1976, Ideology and Utopia. London: Barakaldo Books. — 張明貴譯，2005，《意識形態與烏托邦》。臺北：桂冠圖書股份有限公司。 Marx, Karl 著、中共中央馬克思恩格斯列寧史達林著作編譯局編譯，2018，《資本論（紀念版）第一卷》。北京：人民出版社。 Marcuse, Herbert, 1970, “The End of Utopia.” Pp. 62-69 in Five Lectures: Psychoanalysis, Politics and Utopia, edited by Marcuse Herbert. Boston, MA: Beacon Press. Montez, Jeffrey & Manson, Sherry, 2020, “Consuming for the Greater Good: Woke Commercials in Sports Media.” Communication & Sport 1-23. Mumford, Lewis 著、梁本彬、王社國譯，2019，《烏托邦的故事：半部人類史》。北京大學出版社。（Mumford, Lewis, 1922, The Story of Utopias. LULU Press.） Neiman, Susan, 2023, Left is not Woke. Cambridge: Polity Press. Nietzsche, Friedrich 著、李超杰譯，2009，《偶像的黃昏：或怎樣用錘子從事哲學》。商務印書館。（Nietzsche, Friedrich, 1990, The Twilight of the Idols and the Anti-Christ: or How to Philosophize with a Hammer. Penguin Classics ed.） — 孫周興譯，2018，《瞧，這個人——人如何成其所是》。新北市：大家出版：遠足文化發行。（Nietzsche, Friedrich, 1988, Ecce Homo: Wie Man Wird, Was Man Ist. Walter de Gruyter GmbH & Co. KG, Berlin. New York.） Rhodes, Carl, 2022, Woke Capitalism: How Corporate Morality Is Sabotaging Democracy. Bristol University Press. Romano, Aja, 2020, “Stay Woke: How a Black Activist Watchword Got Co-opted In the Culture War.” in Vox, https://www.vox.com/culture/21437879/stay-woke-wokeness-history-origin-evolution-controversy (Date Visited: October 2, 2023). SÁ, de, Franco, Alexandre, 2012, “From Modern Utopias to Contemporary Uchronia.” Pp. 23-35 in Existential Utopia: New Perspective on Utopian Thought, edited by Patrícia Vieira and Michael Marder. Continuum International. Sailofsky, Daniel, 2022, “Masculinity, cancel culture and woke capitalism: Exploring Twitter response to Brendan Leipsic’s leaked conversation.” International Review for the Sociology of Sport 57(5) 734-757. Sartre, Jean-Paul, 1989, No Exit and Three Other Plays. New York: Vintage Books, A Division of Random House Inc. Stallabrass, Julian著、蔡宜真譯，2024，《當代藝術：自由意志的箝制與對抗》。新北市：日出出版。（Stallabrass, Julian, 2020, Contemporary Art: A Very Short Introduction. Andrew Nurnberg Associates International Limited.） Strehovec, Janez, 2021, “Art State, Art Activism, and Expanded Concept of Art.” Cultura. International Journal of Philosophy of Culture and Axiology 18(2) 55-73. Soukup, R. Stephen, 2021, The Dictatorship of Woke Capital: How Political Correctness Captured Big Business. Encounter Books. Tester, Keith & Bauman, Zygmunt, 2001, Conversations with Zygmunt Bauman. Cambridge: Polity Press. Vidokle, Anton & Wood, K. Brian, 2018, “Foreword” In B. Groys (Ed.), Russian Cosmism. (pp. vi-ix). Cambridge, MA: E-Flux-MIT. Vieira, Fátima, 2010, “The Concept of Utopia.” Pp. 28-51 in The Cambridge Companion to Utopia Literature, edited by Gregory Claeys. Cambridge University Press. Wright, Olin, Erik 著、黃克先譯，2015，《真實烏托邦》。台北：群學出版。（Wright, Olin, Erik, 2010, Envisioning Real Utopias. Verso.） Zuboff, Shoshana著、溫澤元、林怡婷、陳思穎譯，2020，《監控資本主義時代》。台北：時報出版。（Zuboff, Shoshana, 2019, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. PublicAffairs.）
描述 碩士
國立政治大學
社會學系
109254017
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109254017
資料類型 thesis
dc.contributor.advisor 高國魁zh_TW
dc.contributor.author (Authors) 蔡承宇zh_TW
dc.contributor.author (Authors) Tsai, Cheng-Yuen_US
dc.creator (作者) 蔡承宇zh_TW
dc.creator (作者) Tsai, Cheng-Yuen_US
dc.date (日期) 2025en_US
dc.date.accessioned 1-Apr-2025 11:41:02 (UTC+8)-
dc.date.available 1-Apr-2025 11:41:02 (UTC+8)-
dc.date.issued (上傳時間) 1-Apr-2025 11:41:02 (UTC+8)-
dc.identifier (Other Identifiers) G0109254017en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/156456-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 社會學系zh_TW
dc.description (描述) 109254017zh_TW
dc.description.abstract (摘要) 烏托邦的終結已成老生常談，甚至連討論烏托邦本身都顯得過時。然而， 當代社會現象卻揭示了烏托邦願景依然存在。本研究立基於葛羅伊斯的藝術理 論，探討其獨特的烏托邦概念如何能夠回應當代社會理論的侷限。 本研究首先質疑以「真實烏托邦」為代表的政治改良主義之局限性，並回 顧烏托邦概念的三大面向:「現實」、「時空間」與「行動」。在後續章節中， 這些面向透過葛羅伊斯的藝術理論被重新詮釋為「審美化」、「博物館」與 「策展」。藉由前衛藝術的審美化技術，葛羅伊斯將人類概念化還原至純粹形 式的藝術品，在新自由主義社會中創造出「活屍」狀態。在其主張中，烏托邦 並非遙遠未來的理想，而是此時此地既存的另類現實，需要被保衛而非改變。 最後，本研究闡述葛羅伊斯如何透過策展實踐，在生命政治時代將人類從 技術文件轉化為藝術文件，並結合前衛藝術與宇宙主義思想，創造出「不朽活 屍烏托邦」。這種烏托邦不再依賴靈魂的永生，而是透過藝術實現永恆存在， 為當代社會變革提供了新的視野。zh_TW
dc.description.abstract (摘要) The discourse on the End of Utopia has become a cliché, and even discussing utopia itself seems outdated. However, contemporary social phenomena reveal that utopian desires persist. This study is grounded in Boris Groys's art theory, and explores how his unique concept of utopia might address the limitations of contemporary social theory. The study begins by questioning the limitations of political reformism such as "Real Utopias", and reviews three major aspectss of the utopian concept: "reality," "spatio-temporality", and "action". In subsequent chapters, these aspects are reinterpreted through Groys's art theory into "aestheticization", "museum", and "curation". Through avant-garde technique of artistic aestheticization, Groys conceptualizes humans as artworks reduced to their pure form, creating a "living corpse" within neoliberal society. In his propose, utopia is not an ideal in the distant future but an alternate reality that exists here and now, demanding defense rather than change. Finally, this study explains how Groys, through curatorial practices, transforms humans from technical documents into artistic documents in the era of Biopolitics, combining avant-garde art with Cosmist thought to create an "Immortal Corpse Utopia". This utopia no longer relies on the immortality of the soul but achieves eternal existence through art, offering a new vision for contemporary social transformation.en_US
dc.description.tableofcontents 第一章 導論:烏托邦及其不滿 1 第一節 、再論真實烏托邦 1 第二節 、烏托邦的概念:從空間到時間 4 第三節 、烏托邦終結?歷史天使的行動綱領 12 第四節 、今日專案烏托邦初探 20 第二章 何以重提烏托邦 28 第一節 、異數/藝術的社會學 28 第二節 、研究問題暨章節安排 37 第三章 審美化的此時此地烏托邦41 第一節 、藝術之眼:從必定失敗的未來回望現在 41 第二節 、藝術審美化:現實的去功能化 46 第三節 、審美化停滯:此時此地烏托邦 53 第四節 、小結 60 第四章 博物館作為「藝」托邦 64 第一節 、博物館的三重異托邦性:物質基礎、時間積累與檔案邏輯 65 第二節 、超越差異的差異:藝術空間中的「新」 74 第三節 、檔案的藝術力:從網路空間到博物館實踐 83 第四節 、小結 91 第五章 肉體不朽的活屍烏托邦 93 第一節 、藝術烏托邦行動(一):靈光空間再造的策展 93 第二節 、藝術烏托邦行動(二):活屍身體與商品屍體 102 第三節、小結:超人的藝術——不朽活屍烏托邦 108 第六章 結論:在宇宙中心呼喊藝術的怪獸 118 參考資料 122zh_TW
dc.format.extent 2197321 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109254017en_US
dc.subject (關鍵詞) 葛羅伊斯zh_TW
dc.subject (關鍵詞) 烏托邦zh_TW
dc.subject (關鍵詞) 博物館學zh_TW
dc.subject (關鍵詞) 策展zh_TW
dc.subject (關鍵詞) 不朽活屍zh_TW
dc.subject (關鍵詞) Boris Groysen_US
dc.subject (關鍵詞) Utopiaen_US
dc.subject (關鍵詞) Museologyen_US
dc.subject (關鍵詞) Curationen_US
dc.subject (關鍵詞) Immortal Corpseen_US
dc.title (題名) 不朽的活屍：葛羅伊斯的藝術烏托邦zh_TW
dc.title (題名) Immortal Living Corpse: An Interpretation of Boris Groys' Art Utopiaen_US
dc.type (資料類型) thesisen_US
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