[Xiang Yunju] Revisiting "Cultural Space"
Abstract: Cultural space is a unique concept when UNESCO recognized intangible cultural heritage.
It replaces the appearance and presence of cultural places with virtuality and intangible nature.
Cultural spaces replace cultural places, which has profound meaning.
Thinking space is one of the mainstream discourses of contemporary thought and philosophy.
Lefebvre and Heidegger's thinking on space, as well as Suja's postmodern geography, all show that the core value of cultural space is the spirit of home and spiritual home.
By sorting out the cultural space in the sense of anthropology, its theoretical origins include: the cultural circle theory of the anthropological communication school, the mythological space of philosophical anthropology, and the academic tradition of the unity and interposition of time and space in anthropology.
As an intangible cultural heritage, cultural space is a fortress of cultural diversity; a poetic dwelling object; and a physical space.
The protection of cultural spaces will be beneficial to the construction of a reasonable, complementary and interactive pattern of human spatial production.
Keywords: space production; place and space; anthropological space; intangible cultural heritage space
1) Identification of the name of "space"
In 2008, I published the article "On" Cultural Space "" in the 3rd issue of the "Journal of the Central University for Nationalities", Philosophy and Social Sciences Edition.
The abstract of Xinhua Digest, No.
15th issue of 2008 was reproduced.
The full text of the "Cultural Research" monthly magazine was reproduced in the 9th issue of 2008, and included in several anthologies and anthologies), which attracted some praise and attention.
However, the "cultural space" expressed and recognized in the UNESCO International Convention for the Protection of Intangible Cultural Heritage or related documents should be translated as a "cultural place" culture place, which was used in some early Chinese documents).
As a specific expression, concept, and name of intangible cultural heritage, our understanding of Chinese and generally follows the unified usage of UNESCO's later translations of Chinese documents, calling it "cultural space" culture space).
I personally think that UNESCO's Chinese documents ultimately use "cultural space" rather than "cultural place", which has profound meaning.
At the very least, it enlightens us that we cannot simply understand cultural places or simply regard a place as a cultural place.
On the contrary, this place is a cultural space, the place is its signifier, and the space is its signifier.
This greatly enriches the connotation of intangible cultural heritage such as cultural space.
With its virtual and immaterial nature, cultural space replaces the appearance and presence of cultural places in the concept.
Corresponding to its "immaterial" nature, it more exquisitely expresses such a unique concept and type of intangible cultural heritage.
Connecting the philosophical discussion tradition of "place" and "space" in modern and contemporary European philosophy, we can better understand the profundity of this translation.
If we want to respond to the intangible cultural heritage protection actions promoted by UNESCO and participate in this global cultural trend, we have to carefully analyze the subtle intentions and profound meanings of these words and concepts.
2) Venue and appearance space
Understanding or translating cultural places into "cultural space" actually guides people to think about the relationship between place and space.
In the history of thought, the concept of space was first compared with the concept of time.
For a long time, time has been given profound and long-term attention."Space was regarded as something rigid, rigid, non-dialectical and static in the past.
On the contrary, time is rich, productive, vital, and dialectical." [①] However, this was before the 19th century.
Since the 20th century, spatialization has replaced temporalization, so that our era today is also called the Space Age.
"We are in an era of coexistence, we are in an era of juxtaposition, an era of near and far." [②] Marked by Lefebvre's publication of "The Production of Space" in 1974, space issues have become one of the mainstream discourses in contemporary thought and philosophy.
Space is first and foremost a natural space, ranging from the universe to the earth.
It is the environment and context in which humans can live and perceive.
The significance of space lies more mainly in its anthropological meaning, that is, humanized space or human space."It is a kind of humanized space, a product of social organization, social evolution, social transformation, social interactions, and social life.
It is a purposeful application of labor by humans, a natural context that is embodied and instrumented by humans, and a space full of various locations such as various sites, places, scenes, places, and locations.
It is a space that contains various social relations and heterogeneity, which is what Foucault called the 'heterotopic' space.
It is trinity with time and social existence and constitutes all specific aspects of human survival-a magnificent picture of reality." [③] Human space is a space with boundaries, boundaries, and signs, as well as a space with places and venues.
Long before Lefebvre, Heidegger pondered this.
In Heidegger's famous works "Building, Living, Thinking"(1951) and "People Inhabit Poetically", Heidegger profoundly elaborated on the significance of man in it while thinking about the relationship between place and space, and pointed the ultimate understanding of this space to "cultural space", that is, people's poetic dwelling.
Regarding the relationship between place and space, Heidegger used bridges as an example to describe the causal relationship between them.
He pointed out: "The bridge spans the river...
it does not connect an existing river bank.
The reason why the river bank becomes the river bank is because the bridge spans the river, because the bridge has a straddle river bank, and because the bridge allows the two sides to extend towards each other.
Nor does the river bank extend indifferently along the river as two bands on a flat ground.
Through the river bank, the bridge brings the landscape behind the river bank to the river, making the river, bank, and land neighbors to each other.
The bridge gathers the earth along the river to form a landscape." [④]
"There is no doubt that the bridge is a thing by itself, because the bridge gathers the fourths in such a way that it allows a place for it, but only those things that are themselves a place can make a place into space.
The location didn't exist before the bridge appeared there.
Before the bridge was erected, there were many points along the river that could be occupied, and because of the bridge, one of them was confirmed as a location.
So, it is not the bridge that reaches a location in advance and then stands there; rather, it is the bridge that makes a location appear.
A bridge is a thing that gathers the quartet, but it gathers in such a way that the quartet has a venue.
The location and method are determined by the place and even provide space." [⑤]
It can be seen that the existence of space is determined by the place and place, and only through the place and place can space have the characteristics of life and the foothold of existence.
In other narratives, Heidegger even pointed out that analytical and mathematical abstract space is an extended space, or a purely three-dimensional combination of height, width and depth.
It belongs to a space without things such as bridges, and is therefore not a concrete and living space, nor is it the basis of such a space.
Only places and places are the basis of a concrete and vibrant living space.
Between the place and the space, there is a person present.
The presence of people lies in dwelling and building.
"The connection between person and location, and the connection between person and spaces through location, is based on dwelling.
The relationship between man and space is nothing more than a dwelling that is fundamentally thought about." [⑥]
Based on Heidegger's above statement, we can understand cultural space as intangible cultural heritage accordingly.
The cultural place here is its signifier, and the cultural space is its signifier.
As one of the types, categories, and styles of intangible cultural heritage, cultural space must first have a real and real place.
This place must have the existence of things (bridges, houses, villages, temples, streets, squares, etc.), or a fixed time period such as the permanence of things); secondly, there must be someone present."Space is not something corresponding to people.
It is neither an external object nor an internal experience." Heidegger) This space must be associated with the habitation of the human body and the habitation of the spirit before it can become a cultural space.
Habitat must be built.
Construction is the symbol and natural component of people's presence.
People's reality, existence, life, and behavior are people's immediate presence or living appearance.
The latter is the fundamental significance and core meaning of the cultural space of intangible cultural heritage.
This is the similarities and differences between the cultural space in the general philosophical sense and the cultural space of intangible cultural heritage.
The former is broader, while the latter tends to refer specifically.
In other words, the intangible cultural heritage cultural space is a space where people are present and present.
3) Philosophy of space and cognition of cultural space
In existing works by philosophers discussing space, the concepts of space involved are diverse and have no consensus.
The problem of space is not only a trend of thought with turning significance in modern and contemporary Western philosophy, but also a practical problem involving various fields, levels, and forms in social practice.
The ontology, epistemology, and methodology of space philosophy enable us to recognize and obtain a new era.
In fact, it is the great changes of the times: the earth has become smaller and the eyeballs have enlarged; time has shortened and space has expanded; that has made space an unavoidable problem.
In the expositions of philosophers such as Marx, Heidegger, Foucault, Sutter, Benjamin, Merlot Ponty, Lefebvre, Cassirer, Corbusier, Simmel, Baudrillo, Jameson, Suja, David Harvey, Basela, Castel, Giddens, Berman and other philosophers, the concepts and forms of space involved are very complex and broad.
Lefebvre's "The Production of Space" and Sugia's "Postmodern Geography: Reiterating Space in Critical Social Theory" refer to more than 60 types.
For example: Absolute space, abstract space, suitable space, construction space, architectural space, behavioral space, body space, capitalist space, conceptual space, concrete space, contradictory space, cultural space, biological space, social space, practical space, cognitive space, real space, space, perceptual space, power space, imagination space, feeling space, dream space, mythological space, passionate space, interior space, leisure space, private space, family space, public space, working space, Living space, cyberspace, desire space, women's space, urban space, mobile space, virtual space, capital space...
space goes from absence to full appearance, all appearances, until the realization of spatial transformation.
Lefebvre's contribution was that he extracted clear historical clues from these chaos.
Lefebvre believed that moving from one mode of production to another must be accompanied by production in a new space.
Along the Marxist line of thought, he believed that the history of spatialization had and will have the following course: (1) absolute space: the state of nature;(2) sacred space: Egyptian-style temples and countries ruled by tyrants;(3) historic space: political states, Greek-style city-states, Roman Empire;(4) abstract space: capitalism, the political and economic space of property;(5) contradictory space: the opposition between contemporary global capitalism and localized meaning;(6) differential space: Reassess the future space of differences and life experiences.
[7] Lefebvre's view of space history is profoundly enlightening.
Heidegger also made a keen observation and description of the contemporary transformation of time into space and the changeable pattern of space, and expressed deep worries in it.
He pointed out: "All distances in time and space are shrinking.
Places that used to take weeks and months to reach can now be reached overnight by flying.
Things that people would not know until years later, or would not know at all, can now be learned immediately by radio at any time.
The cuteness and growth of plants were originally completely obscured by the rotation of the seasons, but now people can show it in one minute through movies.
The film shows the remote ruins of the oldest cultures as if they were in today's street traffic.
In addition, the film shows both the camera and the operator, thus confirming what it shows.
The television reaches the pinnacle of the elimination process of all possible distances.
Television will soon infiltrate and control the entire communication system.
"Humanity has traveled the longest journey in the shortest possible time.
Human beings leave the greatest distance behind, thereby bringing everything to themselves with the smallest distance.
"If by eliminating large distances, everything becomes equally distant and equally close, then what is happening here? In this sameness, everything is neither far nor near, and it becomes as if there is no distance-what is this sameness?" [⑧]
Heidegger's melancholy and questioning are deeply thought-provoking.
In addition to the categories of philosophy and sociology, space has always been a classic theory of humanities or historical geography.
In the expositions of David Harvey and Suja, the spatial characteristics formed in the globalization of politics and economy are their most important theoretical objects.
Globalization came and emerged with the great discovery of geography.
David Harvey believes that the high compression of time and space makes life rapid and empty.
Geography should especially remind people that geographical survey is an important starting point for understanding the differences between people.
At the same time, the artificial landscapes of Disneyland and closed suburban communities are a kind of "degenerate utopia".
They seem happy and elegant, but make people forget the disturbing real world.
Sujia tried to take geography as the standard and ontology, deconstruct "anti-geographical environment determinism" and reinterpret geographical environment as space.
Spatiality and ontology are naturally related.
In Suja's theoretical context, Heidegger's theory of existence and time should be replaced with existence and space.
After experiencing postmodern geography, geography has also turned from a traditional discipline to become an integral part of postmodern philosophy.
Space issues, especially the understanding of cultural space, have always had a narrow category: architectural space.
Architectural space is a three-dimensional geometric space, which can give people the perception of space.
People not only create cultural spaces through buildings according to scientific laws, but people's residence and residence also embody the principle of people building according to the laws of beauty.
The cultural significance of architectural space lies in that it is the product of human architecture, that is, human practice.
It is first expressed as the cultural significance of homes.
"Building a primitive land means dwelling." Heidegger) and dwelling should be "poetic dwelling".
The original starting point of poetic dwelling is home and home.
Basra put it well: "All truly inhabited spaces have the essence of the concept of home." [] In this architectural space,"the sheltered being is very sensitive to the boundaries of his sanctuary.
He experiences it in the reality and virtual reality of his home, experiencing it through thinking and fantasy.
Therefore, all sanctuaries, all hiding places, and all bedrooms have a common dream value." [⑩]
As a cultural space, architecture is not only induced by the cultural imagination of intuitive psychological experience of vision and perception, but also because it often has a kind of cultural superposition or accumulation and is diachronic isomorphism with the unintentional deep in the human soul.
The latter was revealed by Jung: "We are going to discover a building and explain it: its upper floors were built in the 19th century and the lower floors date back to the 16th century.
A closer examination of the building shows that it was built on the basis of a castle dating from the 2nd century.
In the cellar, we will find Roman foundations, and beneath the cellar lies a filled cave.
We will find flint implements in the upper floors of the cave and the remains of ice age beasts in the deeper floors.
This is roughly the structure of our soul.[11] In short, setting up buildings and any artificial environment objects in borderless spaces and natural environments is an activity to build homes; various activities to set up places, distinguish between inside and outside, distinguish between man-made and uncivilized, and distinguish between humanities and nature are all activities to establish homes and create "places", as well as activities to build cultural spaces.
The space of a building is man-made and human, and the space must be combined with the behaviors that occur in the space.
The clustering, supporting, cutting and complementation of buildings constitute a city with a unified architectural style.
Urban space is a collection of architectural spaces and the most basic existence of cultural space.
The urban space with walls, streets and squares is a pure cultural space in the sense of "besieged city".
Among them, those with special historical and cultural value can also be called cultural spaces in the form of material cultural heritage.
The great discovery of geography has finally entered the era of globalization.
The arrival of the era of capitalism and its globalization of markets, economic integration, and technological modernization have opened all doors, walls, obstacles, and distances.
When everything has no distance and is "the same", the value and significance of the space of differences and cultural space are demonstrated.
The core value of cultural space is the spirit of home or spiritual home.
Cultural spaces, homes, buildings, places) have boundaries, structures, time and space, signs and logos, people present or appear, uniqueness, fantasy and romance, production and growth, existence and habitation, poetic and utopian beauty, tranquility, and purity.
Human survival relies on good physical and psychological relationships in residences and places.
Only this spirit of places and the cultural space it constitutes can our living space always transcend geometric space.
The cultural space of intangible cultural heritage directly arises and originates from such a spatial philosophical background, so it has profound cultural direction and meaning.
4) Anthropological space and spatiotemporal interposition
In UNESCO's relevant documents on the protection of intangible cultural heritage,"cultural space", as the concept, category, form, and form of intangible cultural heritage, has been clearly explained as the concept of cultural space in anthropological sense.
Cultural spaces in the anthropological sense are specially designated, and relevant UNESCO documents specifically point out: "The anthropological concept of cultural places (cultural spaces) is determined as a place where folk and traditional cultural activities are concentrated, but it is also determined as a general period of time characterized by a certain cycle, season, schedule, etc.).
The existence of this time and this place depends on the existence of cultural activities themselves carried out in traditional ways." [12]
The cultural space of intangible cultural heritage under the above anthropological concept has the following elements: (1) the location or venue of cultural activities;(2) the period or time of cultural activities;(3) the existence of cultural activities itself is the foundation of existence.
In short, it is the activity venue and activity time, and the activity space, that is, the cultural space.
Therefore, the cultural space here is a trinity of place, activities and time.
Activities are of course the presence of people and culture."The cultural space where people are present is the cultural space of anthropological significance and the cultural space of intangible cultural heritage." [13]
But this is only the state of cultural space that can be signified in the sense of anthropological concepts.
What is the cultural space referred to in the ontology of anthropology?
The first is the cultural circle theory of the anthropological communication school.
The communication school, which directly originated from the geographical discovery, believes that the similarity of cultural phenomena occurs through the spread, influence, and reference between different ethnic cultures, and strives to prove that the spatial distribution and transfer of different cultures can explain the similarity and spread of cultures.
The communication school emphasizes that communication is the main content of the historical process, and communication is the spatial transfer of cultural phenomena.
This is a dynamic anthropological view of cultural space, which attempts to paint a general picture of human ground distribution space and cultural development time from the perspective of geographical conditions.
In the interaction of time and space, communication scholar Flobenius proposed the concept of cultural circle.
In "The Origin of African Culture"(1898), he proposed the division of African cultural circles).
Each cultural circle has a series of characteristics that mainly come from the field of material culture.
Among them, the main cultural characteristics of the West African cultural circle are: right-angled houses built with sloping houses on both sides, bows with plants as strings, compiled shields, multi-stringed musical instruments with plants as strings, hourglass chronometer-like drums, masks, etc.
[14]Grabner, another important scholar of the communication school, also emphasized the regionalization of culture, believing that cultural circles are a distribution state that focuses on cultural characteristics from a spatial perspective.
He divided nations with similar material and spiritual cultures into a cultural circle.
He further believes that there are also different cultural substances and their chronological order in which they appear within a cultural circle and constitute a stratigraphy-like cultural layer.
From the space and distribution of cultural circles, we can find that they overlap, which is a cultural layer with chronological order.
The chronological order of their appearance can also be found between non-overlapping cultural circles and the path of connection and dissemination can be found.
After studying Oceania, Grebner believes that there are eight cultural circles arranged in chronological order in Australia and Oceania: (1) Tasmanian culture, early Negro culture);(2) Bummilange culture, Negro culture, ancient Australia culture);(3) Totem culture, West Papua culture);(4) Two-level culture, East Papua culture);(5) Melanesian arc culture;(6) Original Bonasian culture;(7) New Polynesian culture;(8) Indonesian culture.
Each cultural circle has 5 to 20 cultural components.
For example, the two levels of culture (East Papua Culture)) The various cultural components are: (1) agriculture for growing tubers;(2) fishing using fixed nets;(3) boats made of wooden boards;(4) small huts built on sloping houses;(5) fire saws;(6) spiral woven baskets;(7) heavy clubs with enlarged ends;(8) large wooden or woven shields;(9) two exogamous grades based on female descent;(10) secret male associations and costume dances;(11) worship of the soul and skull of the dead;(12) The myth of the moon;(13) The myth of cannibalism;(14) The image of an elf on the thin plate;(15) Circular decorative patterns; Signal drum;(17) Panxiao; Single stringed instrument; Pronunciation small board.
[15]
The anthropological communication school actually pays attention to two fundamental issues of culture, one is the universality of culture, and the other is the uniqueness of culture.
The communication school uses cultural circles and their hierarchies and sub-centers to explain universal issues, and uses the differences of material culture and the cultural circles it constitutes to mark uniqueness.
This provides ideological roots and theoretical basis for the cultural space of intangible cultural heritage.
Determine different cultures of mankind based on geographical environment, cultural changes, and cultural spaces, intuitively present cultural maps, divide different cultural spaces, and display cultural diversity pictures and different worlds.
This is the pursuit of the communication school.
For example, Ratzer wrote "Human Geography" and "Land and Life-Comparative Natural Geography".
Frobenius attached a set of cultural maps to his famous book "The Origin of African Culture", which is still praised), It is still an ideal picture for the protection of intangible cultural heritage today.
Today's world has been completely transformed through globalization, modernization, integration and marketization.
Therefore, to protect the cultural space that remains or survives in pieces, the concept, identification and determination of the cultural circle, and its historical time and space value, boundary division, origin and dissemination research are all enlightening for the protection of intangible cultural heritage cultural space.
Among them, the determination of the material and cultural elements of the cultural circle is not only that the cultural space should be directly used, but also that it should be supplemented by intangible cultural elements.
The two-pronged approach will promote the internal structure, constituent elements, and protection concepts and methods of cultural space.
Understanding and construction.
The second is the "mythical space" in the sense of philosophical anthropology.
The mythical space originated in ancient times and is a product of the development and evolution of human senses."It contains the components of all different types of sensory experience-visual, tactile, auditory and kinesthetic components." [16]In other words, this primitive space is a visual space, a tactile space, a auditory space, a sense space, and a space for action.
According to anthropologists 'investigations and observations from primitive tribes, the emergence of this kind of space is the following situation: "In terms of primitive man being able to carry out various technical activities in space, in terms of his ability to measure distance, paddle canoes, throw harpoons and other activities, the primitive man's space is a field of action and a practical space, and its structure is no different from our space.
But when primitive people made this space an object of description and an object of reflective thinking, a particularly primitive idea emerged that was fundamentally different from any intellectual description.
For primitive people, even after being systematized, the concept of space was always closely integrated with the subject.
It is more a concrete concept that expresses feelings than an abstract space as people with developed cultures think of it...
It displays egocentric or anthropological characteristics and is the driving force of physiognomy rooted in concrete objects and actual beings." [17]
Mythical space is the underlying consciousness and depth model of cultural space, and is the prototype and unconscious existence of space.
The core of mythical space is people: human body, human subject, and human actions.
The material boundary of mythical space is the thing that groups identify, share, and co-create.
The image world of mythological space is the mythological world and symbolic space imagined and personified by people.
As Cassirer puts it: "The mythical worldview forms a spatial structure that, although far from identical in content, is similar in form to geometric space and the empirical, objective 'natural' structure.
It functions like a schema, through the medium of which extremely diverse factors, factors that at first glance seem completely inestimable, can be placed in correlation with each other." [18]Regarding the core significance of man in the mythical space, Merlot Ponty pointed out the profundity in his body philosophy.
He believes that the body is the most primitive space, and spatiality is a congenital nature that belongs to the body itself.
The spatiality of places generated by practical activities can only be understood when it is placed in its relationship with the body space.
"In space itself, if there is no psychophysical subject present, there is no orientation, no distinction between inside and outside, and space is placed between the faces of a cube, just as we are confined between the walls of a room.
In order to be able to think about a cube, we need to occupy a place in space, sometimes on the surface of the cube, sometimes on the inside, sometimes on the outside, so that we can see the cube from a certain perspective." [19]The research tradition and achievements of anthropological mythological space inspire us to grasp the nature, nature, form and value of human presence in the concept of intangible cultural heritage cultural space.
Third, the unity and interposition of time and space.
As mentioned above,"a certain cycle, season, schedule, etc.)" or "a period of time" can be directly expressed and recognized as an intangible cultural heritage cultural space away from the place, that is, time can be designated as a space.
Of course, the cultural content repeatedly and repeatedly demonstrated at this time also needs to be presented in fixed or irregular places, but the core of this kind of cultural space is cultural time, which is a cycle, reproduction, and cycle in time.
Identifying time as a cultural space is a reflection of the academic tradition of anthropology.
When anthropology studies the view of time in the primitive era, it points out two characteristics:
First, time is planar and simultaneous, that is, the past, present and future are simultaneous and on the same plane, that is, time is "spatialized".
Anthropological observations have proved that in the primitive era, and even among various ancient civilizations in ancient society, the phenomenon of understanding time in the same way as space was generally popular among ancient people.
In ancient society, the present was inseparable from the unity of time of the past and the future.
This understanding has become a philosophical view of time under the modern scientific view.
Leibniz said: "The present contains the past and is full of the future." The view of time in ancient society was concrete and concrete.
"The ancients believed that the past and the present that extended around him were mixed and explained to each other.
Its existence has never ceased in the past, and it has the same reality as it is now.
It is this description of time, based on ancestral worship and all archetypes, that is constantly reborn through mythological and ceremonial celebrations during the festival.
Tradition that is devoutly observed is the materialization and perpetuation of the past, thereby controlling the present.
But the future is also involved in the present: people can observe the future and exert some magical influence on the future; this leads to fortune-telling, prophecy, prophetic dreams, and belief in destiny." [20]The flattening and spatialization of time symbolize the unique lifestyle and survival experience of human beings.
The second is that the cycle of time makes an event that occurred in the past and an event that is happening now in the same plane.
In the same time duration, time and space are mutually disposed or unified, that is, another state of spatialization of time.
For example, festival time, sacrifice time, ritual time, and mythological time are characterized by periodicity, seasonality, and circularity.
These times and cultural activities and cultural behaviors in time cannot be simply regarded as linear time.
They achieve stillness in the cycle and transform into space in time.
"In primitive society, time does not pass in a linear manner from the past to the future; it is either static or cyclic.
Therefore, every fixed time, what has already existed will reappear.
This cyclical view of time perception will still be found in a new form and in a new social system long after-it is largely related to the fact that humans have not freed themselves from nature, and their consciousness is still subject to seasonal cyclical changes.
The rhythm of social life is controlled by seasonal changes and corresponding production cycles.
Thus, consistent with mythological concepts, this interpretation of nature and society leads to the belief in 'eternal reincarnation.' Human actions simply repeat the activities of previous admired people or 'cultural heroes', and ancestors are reborn in their descendants." [21]The spatialization of time here often shows the stillness and timelessness of history in dynamics.
This is one of the roots of cultural diversity, the reason for the emergence of cultural "living fossils", and an important perspective for us to understand the other of culture.
The temporal cultural space is a space-time tunnel that human history has experienced together.
It once closely integrated mankind with its own ancestors and history, and mankind with the natural universe, time-of-time traditions, astronomical phenomena, and calendar traditions.
In this cultural tradition, time has developed a rich spatial form for us and preserved rich cultural memories for us.
Whether in terms of its signifier or signified, cultural space in the anthropological sense plays a crucial role in our understanding of the intangible cultural heritage space.
The former is not only the epistemological foundation and ideological and theoretical roots of the latter, but also lays the basic categories and principles for the latter in protection practice.
5) Cultural space as an "intangible cultural heritage"
UNESCO specifically lists categories or projects of cultural spaces in the identification and publication of representative works on oral and intangible cultural heritage of mankind, which should be said to be thought-provoking and admirable.
As intangible cultural heritage, cultural space is a fortress of cultural diversity in the process of globalization, integration and modernization.
An important feature of capitalism is that it "strives to use time to eliminate space."Marx said: "On the one hand, capital strives to destroy all local restrictions on communication, that is, exchange, and conquer the entire earth as its market; on the other hand, it strives to use time to eliminate space, that is, to minimize the time it takes to transfer goods from one place to another.
The more capital develops, the more the market through which capital circulates and the market that constitutes the spatial path of capital circulation expand.
At the same time, capital strives to expand the market in space and to use time to eliminate more space." [22]The unified impulse of spatial economics will inevitably be accompanied by a potential crisis of cultural integration.
The proposal, persistence and protection of cultural space are recognition of the history of space and the laws of space production and development.
As a differentiated space, cultural space is the predecessor of the "degenerate Utopia", an authentic Utopia paradise, the spiritual home of mankind and the heterotopia of others.
Therefore, it is the most precious common spiritual and cultural wealth of mankind in the era of globalization.
As a cultural space of intangible cultural heritage, it has a visible, touchable and audible boundary and a perceptible object.
There is a place here with many houses and residents living poetically in it.
There are a number of iconic cultural symbols, cultural substances, and cultural symbols, including seasons, ceremonies, performances, narratives, behaviors, beliefs, customs, habits, etc.
Living and ecological culture, with bodies, postures, movements, activities, etc.
in it, and with symbols and symbols of humanity, humanity, personality, life, human history, reality, future and the integration of time and space.
As a cultural space of intangible cultural heritage, its spatiality is expressed in the following levels or aspects: (1) The landscape space of the geographical environment, geography, environment, villages, and residential buildings, but this cannot be large and unreasonable.
The theory of cultural circle is criticized here);(2) The social spatial collection and cluster places, activities, social organizations and their common history and destiny);(3) The physical space that humanizes nature and humanizes nature.
Our bodies are historic in two respects.
On the one hand, bodies were historically involved in the world and then engaged in manufacturing; on the other hand, bodies are historic because they were formed through history.
[23]);(4) Mythical spaces with symbolism, difference, originality and origin: presence and appearance, time and space, poetic dwelling, activity and vitality, ecology and life).
As a cultural space of intangible cultural heritage, its place, presence, and physical nature determine that it is a cultural heritage and cultural phenomenon of this nature: It has its original nature and must be placed in the existing historical time and space.
It has its ecological nature and must rely on the geographical environment and determine its destiny by the relevant geographical environment.
It has its physical nature and must be present and present on the spot through creation shapes or symbolic performances.
Perceived, it has the otherness and must present a foreign country, differences, diversity.
Therefore, the significance, value of existence, and nature of observation of this cultural space protection are completely different from Heidegger's melancholy "sameness" or "no distance".
The preservation of cultural space and its experience and true understanding of cultural space are conducive to deconstructing and dispelling this "sameness" or "no distance".
To truly understand cultural space, we must walk into and approach it.
This is what Heidegger pursued but failed to achieve, the magic weapon to resist and eliminate "sameness" and "no distance":"proximity".
There is how all things that have not been covered here are present, and there are also the proximity of beings that can be said to require objects in the cultural circle and oppose the "degenerate utopia").
When the phenomenon of spatialization of time is given more identification, when the turning of space further promotes the surge of spatial thoughts and promotes people's cultural consciousness of cultural space, no matter how powerfully capital has promoted and is promoting the movement of time over space, Cultural space will rise against the trend, build a new picture in the cultural and spiritual world of mankind, and give human spatial production a reasonable, complementary and interactive pattern.
Author's note: This article was published in the third issue of Folk Culture Forum in 2009.
This article is a sequel to the author's two papers, one is "On Cultural Space", so it is called "Rediscussion"; the other is "On the Intangible Cultural Heritage" published in the third issue of Sun Yat-sen University's "Cultural Heritage" in 2009.
Sex-One of Several Philosophical Issues on Intangible Cultural Heritage ", so it is called" Second ".)
[①] Foucault's "Geographical Problems", quoted from Sujia's "Postmodern Geography", Commercial Press, p.
15, 2007, Beijing.
[②] Foucault's "About His Space", quoted from Sujia's "Postmodern Geography" Commercial Press, p.
15, 2007, Beijing.
[③] Wang Wenbin's Postscript to Translation, Postmodern Geography, p.
405, Commercial Press, 2007, Beijing.
[④] Heidegger's "Jianju Si", translated by Chen Bochong, Architect, 47, p.
83.
[④] Heidegger's "Jianju Si", translated by Chen Bochong, Architect, 47, p.
84.
[④] Translated by Sun Zhouxing, Heidegger's Lectures and Essays, p.
166, Sanlian Bookstore, 2005, Beijing.
[7] See Lefebvre,"Space: Social Products and Use Values", see Bao Yaming: "Modernity and the Production of Space", page 50, Shanghai Education Press; see also Liu Huaiyu: "Western Academic Circle's Review of the Current Research on Lefebvre Thought","Philosophical Dynamics", No.
5, 2003.
[] Heidegger: Lectures and Essays, pp.
172-173, Sanlian Bookstore, 2005, Beijing.
[] [French] Gaston Basra's Poetics of Space, page 3, translated by Zhang Yijing, Shanghai Translation Press, 2009, Shanghai.
[] [French] Gaston Basra's Poetics of Space, page 3, translated by Zhang Yijing, Shanghai Translation Press, 2009, Shanghai.
[11]Quoted from "The Poetics of Space", page 24.
[12]Quoted from "Survey Manual of China Folk Cultural Heritage Rescue Project", page 218, Higher Education Press, 2003, Beijing.
[13]See my book "On" Cultural Space ", Journal of the Central University for Nationalities, Philosophy and Social Sciences Edition, No.
3, 2008, Beijing.
[14]See Tang Zhengfang's translation, The History of Foreign Ethnology by C.
A Tokarev of the former Soviet Union, p.
142, China Social Science Press, 1983, Beijing.
[15]See "History of Foreign Ethnology", page 150.
[16]French) Enswor Cassirer's On Man, p.
55, Shanghai Translation Press, 1985, Beijing.
[17]Weiner: "Comparative Psychology of Intellectual Development", quoted from "On Man", p.
58, Shanghai Translation Press, 1985, Beijing.
[18]Cassirer's "Mythical Thinking", p.
97, translated by Huang Longbao and Zhou Zhen, China Social Science Press, 1992, Beijing.
[19]Merlot Ponty, Phenomenology of Perception, p.
226, Commercial Press, 2001, Beijing.
[20]Gulevich,"Time: A Subject in Cultural History", see "Culture and Time", p.
317, Zhejiang People's Publishing House, 1998, Zhejiang.
[21]Gulevich,"Time: A Subject in Cultural History", see "Culture and Time", p.
316, Zhejiang People's Publishing House, 1998, Zhejiang.
[22]"The Complete Works of Marx and Engels", Volume 30, p.
538, People's Publishing House, 1995.
[23]See "Physical Music" by Arnold Burrint), quoted from "Environment and Art: Multidimensional Perspectives of Environmental Aesthetics"(edited by Arnold Burrint), p.
145, Chongqing Press, 2007.