风水——中国古代的聚落区位理论

风水是一种相地术,是中国古代一种选择居住环境的学问。风水起源于原始先民的定居活动,起源于古老的天人合一思想。风水学说有着丰富的内涵,融汇了古代哲学、科学、伦理学,美学、民俗学多方面的智慧,并与自然环境各要素间有着密切的关联。     

A vernacular way of “safeguarding” intangible heritage: the fall and rise of rituals in Gouliang Miao village

This paper documents a vernacular method of interpreting and safeguarding intangible heritage in an ethnic Miao village in China. Tracing the conflicting discourses of ritual in different stages of the past and the present, it shows how ritual practices were transformed by imperial Qing officials in the mid-nineteenth century, demonised and denounced as feudal superstition during the Cultural Revolution (1966–1976), exploited as cultural resources for ethnic tourism since the early twentieth century and involved in the evaluation system of intangible cultural heritage in the twenty-first century. Based on ethnographic materials collected in 2008 and 2009, this paper argues that it is the inherited vernacular narratives and ritual performances that are negotiating with the state’s constant effort of shaping the ritual through various discourses, constructing the meaning of inheritance and safeguarding the intangible heritage within the community.     

The reproduction of heritage in a Chinese village: whose heritage,whose pasts?

The study investigates heritage practices in a Chinese village, by describing the tensions that have played out among different voices, meanings and understandings centred on the village’s heritage. In the process of ‘heritageisation’, stakeholders that include the state, the local government, the villagers and the principal lineage strive to negotiate different cultural meanings, values and the traditions. Consequently, three different heritage discourses coexist alongside each other in one locality. On the one hand, the ‘authorised heritage discourse’ is taken up by the government to weave and frame a narrative of nation-building around a Memorial Park. On the other hand, the village uses the past to foster local identity of the place in an attempt to attract tourists. For its part, the major lineage in the village uses the ancestral hall to continue the long tradition of remembering their ancestors via worshiping ceremonies. In between are a medley of heritage sites and artefacts existing in a state of flux and struggle over their conservation. The authors contend that, no matter how mundane, grand or hybrid, assemblages of rich and locally meaningful heritage, such as depicted in this article, should be cherished and utilised for the present agenda of cultural construction in rural China.     

非物质文化遗产转型为旅游产品的路径研究——以大型天然溶洞实景舞台剧《夷水丽川》为例

近年来非物质文化遗产的保护与旅游开发问题倍受各方关注.以<印象·刘三姐>为代表的大型实景舞台剧成为非物质文化遗产转型为旅游产品的重要栽体形式,带来了巨大的市场效应.基于恩施腾龙洞<夷水丽川>实景舞台剧的实践表明,大型实景舞台剧确实为非物质文化遗产转型为旅游产品提供了重要的载体形式,也是非物质文化遗产转型为旅游产品的成功路径.同时,这种转型必须遵从非物质文化遗产的原真性,必须与天然物质景观交融呼应,才有可持续发展的活力.     

Engaging with the future of ‘critical heritage studies’: looking back in order to look forward

This article engages with the Association for Critical Heritage Studies Manifesto which argues that heritage studies is in need of a complete renovation. We do so by looking back to two earlier moments. The first when museum studies also called for a renovation, drawing on those experiences as potentially instructive for the immediate future of heritage studies. The second a debate within cultural studies on the value of engagement with the world outside of academia to achieve the discipline’s political aims. Thus, while agreeing with the questions posed by the Manifesto, we argue that rather than casting the terms of the debate in a way that positions the professional field as needing renovation from without, we might do better by fostering a more ‘organic’ sense of intellectual work, one that values engagement and collaboration rather than critique for its own sake. Our conclusion points to the importance of the teaching of heritage studies as a potential site for such a practice as well as more collaborative models of research practice.     

水陆画研究的“图像学”意义

水陆画是以图像遗存为特点的物质文化遗产,其中蕴含着涉及历史、民俗、宗教、艺术等方面丰富的信息,如果以图像学研究方法入手,深入发掘水陆画的各种文化内涵,使之不仅成为艺术史、美术史的研究素材,而且更可能成为历史学、民俗学、宗教史,乃至整个文化史研究的经典范例。     

Scaling heritage. The construction of scales in the submission process of alpinism to UNESCO’s intangible cultural heritage list

ABSTRACT

For the last two decades, the polysemous notion of ‘scale’ has drawn an increasing amount of attention among scholars studying heritage policies and practices, often with regard to UNESCO conventions. Significantly, in many of these works, terms such as ‘global’, ‘national’ and ‘local’ are connected to categories of ‘scale’ or ‘level’ that are taken for granted by the scholars who use them to guide their analysis. This paper, in contrast, promotes a different, constructivist understanding of the notion of scale. From our perspective, there is an added value to be found in focusing—without using any preconceived or external conception of scale—on the ways in which stakeholders conceive of and use scale throughout the processes of heritage making. Using the case of alpinism and the creation of its file for submission to the Intangible Cultural Heritage list, we show that the interest of this approach lies in its comprehensive ability to highlight how people define, elaborate and use scale in order to qualify their practices or to achieve specific goals.     

论冯桂芬对李鸿章的影响

李鸿章是近代中国一位争议颇大、又在许多方面值得肯定的历史人物,实与他的诸多师友对其思想言行的影响分不开。这其中,冯桂芬对李鸿章的影响不可低估。本文从三个方面分析冯桂芬与李鸿章的密切关系：冯桂芬撰＂乞师＂书,促成李鸿章领兵上海并为其洋务观的产生形成提供了机遇;冯桂芬的《校邠庐抗议》对李鸿章奏设上海广方言馆等洋务思想和洋务实践的深化产生了重要影响;冯桂芬全力影响并促成李鸿章奏减苏松太浮赋,为整饬地方吏治,缓和阶级矛盾,重建社会秩序作出了重要贡献。     

Representation as work in ‘America's most historic city’

This paper examines how the practices of heritage tourism reproduce identities in and of Fredericksburg, Virginia. In particular, we focus on the everyday practices of tourism workers who are essential in the representation and reproduction of this heritage space. In so doing, we want to move away from research in geography that theorizes representation and embodiment as distinct realms of experience and inquiry. Instead, we argue that representation is work and within this very material process, city workers weave memory with history as they guide visitors through ‘America’s Most Historic City'. Through an examination of three of Fredericksburg's tourism work environments we show how representations succeed in reproducing heritage tourism spaces precisely because representation is work.     

Ödemiş-Dereuzunyer: Architectural Features of a Rural Settlement to Be Submerged by Dam Waters

ABSTRACT

The village of Dereuzunyer located in the Rahmanlar Valley of the Küçük Menderes Basin is a settlement that is a natural extension of a topography shaped by a joint contribution of culture and nature. It has preserved the authenticity and integrity of its traditional rural fabric and gives detailed information about the architectural approach, building technology, construction techniques, landscape features and traditional craftsmanship of past rural life. While some of the cultural assets in the settlement containing detailed information about the rural lifestyle of the past have survived to date despite the harsh natural conditions, the remainder have been neglected, become dilapidated, and fallen into ruin over time due to lack of maintenance by the local people because of rumors about the possible dam project and expropriations in progress. After completion of the Rahmanlar Dam in 2019, the cultural landscape values of Dereuzunyer will be lost irretrievably. This article aims to make a contribution to creating awareness about avoiding such losses, not only by introducing the non-renewable values of Dereuzunyer, by documentation of its historical development, its traditional architecture, its traditional building types, its construction techniques, and its plan and façade features, but also by promoting and interpreting its lost cultural heritage.     

21世纪前20年非物质文化遗产保护的中国理念、实践与经验

现代非物质文化遗产保护运动的兴起,是人类珍贵的文化自觉和重要的行为选择。中国21世纪前20年的非物质文化遗产保护,既秉持了《保护非物质文化遗产公约》的理念与精神,亦进行了独具特色的创造性实践,构建了文化多样、整体、科学、人本、文化再生产等理念,进行了涵盖面较广、涉及人数较多、影响意义较大、成效卓著的实践与探索,形成了系统完备、富有活力的措施体系,积累了独特、宝贵的经验,走在了世界非物质文化遗产保护的前列,并为之提供了智慧启迪。     

The intergovernmental platform for biodiversity and ecosystem services (IPBES) – a role for heritage?

Following establishment in 2011, the Intergovernmental Platform for Biodiversity and Ecosystem Services (IPBES) has begun to produce outputs. The initial development of a conceptual framework was an important step in the platform’s development. That conceptual framework identified nature, its benefits to people, the contribution to a good quality of life of those benefits, and drivers of change, as the key areas of work for the Platform. While heritage is not specifically mentioned in the framework, it is by implication. And several of the papers dealing with elements of the programme of work for IPBES, as well as the first Assessment (accepted by the Platform at its meeting in 2016), have explicit mention of heritage and heritage activities. Helping elucidate and contribute to the range of knowledges within the IPBES conceptual framework is an important role for heritage professionals, who can play a key role ensuring heritage issues are appropriately and accurately portrayed in IPBES outputs. In turn, as those outputs produce outcomes they will have lessons for future natural and cultural heritage practice and communication. It is timely, therefore, for heritage professionals to explore ways of interacting with IPBES and its work programme.     

民俗学艺术论题的转向——从民间艺术到支撑人之“生”的艺术(vernacular艺术)

民俗学研究中关于艺术的讨论通常是在民间艺术或民俗艺术概念之下展开的。然而,这类议论往往深受传统与历史性的束缚,普通人在生活世界里所制作的平凡作品很少有机会能被视作"艺术"。要使这样略失偏颇的论题实现在现代社会中的转向,vernacular艺术这个概念应能发挥效用。它所指的,是并不自许为"艺术家"的普通人受难以抑制的创作冲动所驱使而作成的艺术;是在那原本与正统艺术世界的制度、权力或权威无涉的世界里,自学习得艺术技能与知识的人们苦心巧思而成的艺术。它是呈现在普通人生活现场与路上的艺术,有时亦是支撑人生、充实生活的艺术,是寻回新生、填补生命的艺术。在民俗学中采用vernacular艺术这一视点时,艺术本身并不是真正需要我们考察的对象。我们应当考察的是艺术背后人们千姿百态的生活形象与方式,是他们别具特征的人生观与人性,这些都是极好的研究材料。另外,将"艺术家"的个人史与其生活社会的当代史加以描述,从中亦能生长出研究的良材。