{"created":"2023-06-19T08:50:11.909620+00:00","id":1395,"links":{},"metadata":{"_buckets":{"deposit":"8ca047cd-2a67-478a-a7e6-8137b4400320"},"_deposit":{"created_by":15,"id":"1395","owners":[15],"pid":{"revision_id":0,"type":"depid","value":"1395"},"status":"published"},"_oai":{"id":"oai:suac.repo.nii.ac.jp:00001395","sets":["215:171:205"]},"author_link":["107","443","442"],"item_10006_contributor_6":{"attribute_name":"論文指導","attribute_value_mlt":[{"contributorNames":[{"contributorName":"田中, 啓"}],"nameIdentifiers":[{"nameIdentifier":"107","nameIdentifierScheme":"WEKO"},{"nameIdentifier":"1000080387521","nameIdentifierScheme":"CiNii ID","nameIdentifierURI":"http://ci.nii.ac.jp/nrid/1000080387521"},{"nameIdentifier":"1000080387521","nameIdentifierScheme":"NRID","nameIdentifierURI":" "},{"nameIdentifier":"80387521","nameIdentifierScheme":"e-Rad","nameIdentifierURI":"https://kaken.nii.ac.jp/ja/search/?qm=80387521"}]}]},"item_10006_date_11":{"attribute_name":"学位授与年月日","attribute_value_mlt":[{"subitem_date_issued_datetime":"2017-03-31"}]},"item_10006_description_10":{"attribute_name":"学位授与年度","attribute_value_mlt":[{"subitem_description":"2016"}]},"item_10006_description_17":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"PDF"}]},"item_10006_description_7":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"　現代中国の文化政策は1979年の改革開放以降に誕生したものである。その後、21世紀以降の文化体制改革により文化政策が本格化された。中国型文化政策は次の3つに分けられる。政府が主導する文化事業政策、政府の主導のもと民間が主導する文化産業政策、芸術文化政策である。この文化産業政策と芸術文化政策を具体化する試みとして、文化創意園区政策が始動した。\n　本論文では、まず中国型文化政策における文化創意園区政策の位置づけを論じた。続いて、文化政策の変化の影響により、芸術文化政策による文化創意園区政策がどのように変容したのか、事例研究から把握した。さらに、現在の文化創意園区政策の状況と抱える課題を明らかにした上で、今後のあり方への提言を試みた。\n　中国型文化政策は文化を産業として捉えると同時に、現代美術に対する支援も重視している。そのため、同政策の柱となる文化創意園区政策も同様の方向性を持つ。しかし近年、文化創意園区政策は、文化産業政策への偏りを見せ始め、芸術文化政策が弱体化している。\n　この変容を実証するため、上海M50文化創意園区を取り上げ、事例研究を行った。その結果、芸術文化政策の観点によるM50の問題点は①芸術家が選別されること、②現代美術に対して十分な効果が得られないこと、③観光地化によって芸術の拠点の役割を果たしていないこと、が浮かび上がった。\n　以上の結果を踏まえ、今後の文化創意園区のあり方として、芸術家、行政、監理会社に提言した。\n"}]},"item_10006_description_8":{"attribute_name":"取得学位","attribute_value_mlt":[{"subitem_description":"修士(文化政策)"}]},"item_10006_description_9":{"attribute_name":"学位授与大学","attribute_value_mlt":[{"subitem_description":"静岡文化芸術大学"}]},"item_10006_full_name_3":{"attribute_name":"Author","attribute_value_mlt":[{"nameIdentifiers":[{}],"names":[{"name":"XU, Sheng"}]}]},"item_10006_textarea_22":{"attribute_name":"Abstract","attribute_value_mlt":[{"subitem_textarea_value":"Modern Chinese cultural policy was introduced after the reform and opening up policy in 1979. With the reform of the cultural system in 21st century, the cultural policy was formally introduced. The Chinese style cultural policy included the following three aspects. The first one was the government-led cultural policy. The second one was the private cultural policy under the guidance of the government and the last one was the private art cultural policy under the guidance of the government. As an attempt to materialize the cultural industrial policy and art cultural policy, the Cultural Creative Garden (CCG) policy was introduced.\nThe thesis first discussed the positioning of CCG policy under the Chinese cultural environment, and the evolution of CCG policy through the change of cultural policy. In addition, it also pointed out the current situation and problems of CCG policy and proposed some suggestions for the development in the future.\nThe Chinese style cultural policy emphasized on the cultural industry as well as the support for contemporary art. Therefore, the CCG policy also needed to share the same idea. However, with the tendency towards cultural industry, the art cultural policy has been weakened in recent years.\nTo demonstrate this transformation, the thesis demonstrated the case study conducted in the Shanghai M50 CCG. The conclusion was that three major problems waited to be settled. First, only extremely talented artists could stay in M50; second, the demonstrative effect of modern art was not that good; third, the function of an art exhibition has been weakened with more emphasize on scenic spots.\nBased on the conclusion, the thesis illustrated some suggestions to artists, administrative and management companies on the future development of CCG."}]},"item_10006_version_type_18":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_ab4af688f83e57aa","subitem_version_type":"AM"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"徐, 声"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-05-10"}],"displaytype":"detail","filename":"修士論文　1531006　徐声.pdf","filesize":[{"value":"5.7 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"修士論文","url":"https://suac.repo.nii.ac.jp/record/1395/files/修士論文　1531006　徐声.pdf"},"version_id":"89d0a0b5-b025-4b74-8229-c4fb14161695"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"中国型文化政策, 文化創意園区, 現代美術, 上海M50","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"thesis","resourceuri":"http://purl.org/coar/resource_type/c_46ec"}]},"item_title":"中国型文化政策としての文化創意園区：上海「M50」に見る変容と課題","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"中国型文化政策としての文化創意園区：上海「M50」に見る変容と課題"}]},"item_type_id":"10006","owner":"15","path":["205"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-05-11"},"publish_date":"2017-05-11","publish_status":"0","recid":"1395","relation_version_is_last":true,"title":["中国型文化政策としての文化創意園区：上海「M50」に見る変容と課題"],"weko_creator_id":"15","weko_shared_id":-1},"updated":"2023-06-19T09:17:57.604850+00:00"}