[Ling Jianying] Choice of Literature and Art in Cultural Heritage Protection

Current situation of cultural heritage protection

At present, the protection of cultural heritage has become a worldwide theme, and both countries and countries attach great importance to the protection of cultural heritage.

Since 2001, UNESCO has published the world's "Representative Works of Oral and Intangible Heritage of Humanity" every two years.

Our country's Kunqu Opera, Guqin art, Xinjiang Uyghur Muqam art, Mongolian long-tune folk songs (jointly declared with Mongolia), and China calligraphy are all on the list.

In 2003, the United Nations promulgated the Convention for the Protection of Intangible Cultural Heritage, which opened up people's understanding of the wonderful spiritual home created by mankind over the past thousands of years.

In 1950, Japan promulgated the Law on the Protection of Cultural Property; in 1962, South Korea promulgated the Law on the Protection of Cultural Property; in 1964, France conducted a national and most important census of cultural heritage in cultural history, proposing the concept of "as big as a church and as small as a spoon".

Hu Jintao emphasized in his report to the 17th National Congress of the Communist Party of China: "Strengthen education on China's excellent cultural traditions, and use modern scientific and technological means to develop and utilize the rich resources of national culture.

Strengthen the excavation and protection of the cultures of all ethnic groups, attach importance to the protection of cultural relics and intangible cultural heritage, and do a good job in sorting out cultural classics.

Strengthen cultural exchanges between China and foreign countries, absorb the outstanding achievements of civilizations of various countries, and enhance the international influence of Chinese culture."① In February 2002, China Folk Literary and Art Association launched the "China Folk Cultural Heritage Rescue Project-Watching the People" to collect and organize folk culture, conduct theoretical research, and improve academic theory.

In May 2006, the State Council announced the first batch of 518 national-level intangible cultural heritage lists, marking that my country's intangible cultural heritage protection has entered a new stage.

Since 2006, the government has set the second Saturday in June every year as the national "Cultural Heritage Day", proposing slogans such as "Protecting cultural heritage and protecting spiritual homeland","Protecting cultural heritage and building a harmonious society", and "Protecting cultural heritage, strengthening scientific development".

Since 2008, the country has added traditional holidays such as Qingming Festival and Mid-Autumn Festival.

Local cultural heritage research institutions, especially colleges and universities, have been gradually established, which reflects my country's concepts and measures for rescuing, protecting and inheriting cultural heritage in many aspects.

Through national efforts, on September 30, 2009, UNESCO approved my country's 22 projects, including "China Sericulture Silk Skills, Fujian Nanyin," Gesar "Epic, Dragon Boat Festival, and Paper-cutting," to be selected into the list of representative works of human intangible cultural heritage.

Cultural heritage is a typical representative of national culture and one of the carriers of national emotion and spirit.

It reflects both the individuality and diversity of culture.

In the context of China culture, national culture needs to be recognized, otherwise it will be a fractured culture.

The prerequisite for this identification is to protect the cultural diversity of different communities.

Cultural diversity is composed of the cultural personalities of different communities.

Our country is a multi-ethnic country with a vast territory and abundant resources.

One side of water and soil supports one side of people.

Different behaviors, etiquette, and customs have their own uniqueness, uniqueness and non-reproducibility.

With the cultural individuality of the community, there is cultural diversity in the overall sense.

Each of us lives in a certain community.

Only when members of a cultural community can communicate with each other and be proud of their shared and unique cultural background can a society composed of such a community produce spiritual cohesion.

The foundation of true national cultural identity is the social harmony formed by this cultural diversity.

"Ethnic groups have found in their heritage the natural and cultural heritage, tangible and intangible heritage, which is the key to finding themselves and their source of inspiration."②

Choice that literature and art should have

Traditional literature and art is a discipline that takes literature as its object, reveals the basic laws of literature, and introduces relevant knowledge.

To say it is literature and art, it actually only refers to literature.

It was translated from Russian after the founding of the People's Republic of China in 1949.

The correct name is "Literature", but it does not quite conform to the word-building habits of Chinese, so it is called Literature and Art.

This has formed a classic humanistic academic concept that focuses on literary texts.

In the final analysis, academic research in this tradition is an activity of interpreting, interpreting and evaluating texts.

The times are developing and changing, and literary and artistic phenomena are also rich and diverse.

Does China's literary and artistic circles always adhere to the concept of literary text as the center, or does it truly restore the concept of literature and art and make corresponding choices?

In the 1990s, cultural studies gradually emerged as an academic trend of thought in China, with its focus on mass culture, consumer culture, media culture, etc.

This is a carrier of mass culture produced in the context of globalization, and a new cultural phenomenon emerging in the times, reflecting the leisure function and emotional catharsis function of literature and art.

This has caused a debate in the academic community about the "crossing","expanding" and "turning" of the research objects of literature and art to cultural studies.

Although there has been a debate for several years, the fact that literature and art conducts cultural research is no longer in doubt.

Concepts such as cultural research, cultural industrialization, and cultural turn have become hot topics in my country's academia and have also formed an academic force.

Similarly, in the international and domestic call for cultural heritage protection, literature and art should select cultural heritage and incorporate it into their own research fields.

Some people may say that cultural research itself includes the study of cultural heritage.

Yes, this is the case in theory, but cultural research in recent years has specifically targeted shopping centers, fitness centers, beauty centers, theme parks, movies and television, entertainment stars, pop music, animation and video games, etc.

Cultural heritage is mainly aimed at cultural relics sites, cultural spaces, folk customs, folk literature and traditional drama, music, dance, art, craftsmanship, etc.

Compared with the two, some people often think that they are the two poles of new and old, fashion and tradition.

Therefore, the research of the former can form a hot spot and call for hundreds of responses, while the latter cannot attract more people.

In fact, in essence, if cultural research shows a postmodern value orientation, or even that some literary and art researchers are no longer interested in today's literary works and literary criticism, then the research of cultural heritage reflects A value orientation that promotes national traditions is a manifestation of literary and art researchers 'responsibility to protect national culture.

The protection of cultural heritage is not just a matter for the government, but also requires the participation of intellectuals.

In November 1927, the "Popular Society of the Institute of Language and History of National Sun Yat-sen University" was established and the quarterly "Folk Customs" was founded, which published a large number of high-level folklore papers and research reports; the "Yunnan Ethnic Survey Report" written by Yang Chengzhi is the first in China to investigate ethnic customs with high academic value.

It not only influenced the academic community, but also provided theoretical support and practical basis for the government's cultural protection at that time.

In the 1960s, under the severe situation of industrialization, urbanization, and Westernization, a large number of Korean folk culture scholars actively devoted themselves to the protection and practice of cultural heritage.

The concept of cultural heritage called "cultural wealth" quickly spread among intellectuals and college students.

They actively advocated and launched a movement to revitalize Korean national culture.

By the 1980s, this movement had expanded from campuses to the general public.

Through the influence of various activities, the Korean public's preference for cultural heritage had reached the point of "loving money like life" ③.

At present, some journals in our country regularly open columns on "Intangible Cultural Heritage" to establish the concept of cultural protection and inheritance, and build the theory of cultural protection.

At present, a large number of scholars in art, fine arts, folklore and other disciplines in my country have invested in the research of cultural heritage, and are actively building the discipline of cultural heritage.

The participation of literature and art disciplines is emphasized here, because only by joining the research of the literature and art team can relevant theories be more systematic and rich, more pioneering and profound, and better conduct dialogue and exchanges in the context of globalization.

Just like the study of the aesthetics of daily life.

In the context of cultural heritage protection, how literature and art can better play its social functions and become an important part of contemporary social and cultural construction depends on the extent to which scholars participate in the work, which requires my country's literary and artistic circles to make efforts.

This is the call of the times.

Therefore, advocating literature and art to further explore the research content of cultural heritage, including material and intangible, especially intangible, reflects the traditional nature of literature and art and is a reflection of national responsibility.

Wang Yichuan said: "In the past, I once divided aesthetic culture into mainstream culture, elite culture and mass culture.

Later, I realized that the existence of folk culture cannot be ignored."④ Therefore, the definition of culture includes four levels: dominant culture, elegant culture, mass culture, and folk culture.

This summary is relatively comprehensive and objective.

Although the folk culture mentioned here cannot be completely equated with cultural heritage, it actually represents the importance of cultural heritage.

As the saying goes,"The countryside is a museum of national culture." As an important representative of cultural heritage, folk culture is a cultural phenomenon full of national, popular, mass, aesthetic and regional characteristics.

It reflects folk psychology, wishes and tastes, so it can be accepted and loved by the public.

In addition to being preserved with the help of certain unofficial histories, local chronicles, notes and certain written texts, it is mainly passed down through the people's exposure and oral instructions.

In the process of spread, there is both inheritance and variation.

Such as folk literature, songs and music, opera and folk art, clothing and food, weddings and funerals, life etiquette, seasons, beliefs and superstitions, entertainment and competition, arts and crafts, etc.

Yao Si, a representative figure of acceptance aesthetics, said: "In this triangle of author, work and public, the public is not a passive part, not just as a reaction.

On the contrary, it is itself a dynamic component of history.

The historical life of a literary work is unimaginable without the active participation of the recipient.

Because only through the reader's transmission process does the work enter a continuous and changing experience vision."③ Today's literary and artistic researchers should become loyal "readers" of cultural heritage, allowing it to fully reflect the historical and cultural connotations while also radiating the brilliance of the culture of the times.

Recognizing the importance and necessity of literature and art studying cultural heritage, how should literature and art transform its research paradigm?

Facing national cultural heritage, literature and art should break through the research perspectives of archaeology, history, folklore, etc., and engage in dialogue with cultural heritage in the context of globalization.

Regarding material culture, if archaeology and history focus on "what is", literature and art focus on "how".

A historical relic must span the times.

When recipients of different eras face this same culture, they will inevitably have different emotions and enlightenments.

Literary and artistic scholars should explore the cultural implications of their times in the context of globalization and sublimate a historical relic into a "contemporary existence." As for intangible culture, we should accept and study it as a beautiful existence, and jointly explore the laws of inheritance to protect cultural heritage.

Through this expansion, we can break the limitations of the study of classic literary and artistic theories.

The new research paradigm can update the traditional concepts of literature and art research and explore new academic horizons and research spaces for literature and art.

First, from the perspective of research objects, expand from literary texts to cultural heritage

"Theory of Literature" by René Wellek and Austin Warren of the United States said: "In popular oral literature, we can study the role of singers or storytellers, and their status depends almost entirely on whether the people like it or not: folk singers in ancient Greece, ancient Trout poets, professional folk storytellers in the East and Russia are all objects of study." 6 Literature and art needs to be freed from the text-centered research concept, establish non-classic academic research ideas, expand the research objects from literary texts to cultural heritage, and understand them in a broader social and cultural context.

For example, in Suzhou Pingtan, the euphemistic singing makes people feel a changeable, melodious, clear and penetrating sound; the lyrics are also humorous, which makes the audience attracted by the twists and turns of the plot and the exquisiteness of the drama.

At the same time, they can also smile easily and be loved by people.

Traditional literature and art only interprets scripts.

Today's literature and art should be expanded to the entire performance system, including actors 'performance, audience acceptance, artistic atmosphere, etc., revealing its artistic, aesthetic, regional, and national nature.

Developing research beyond texts is of more theoretical significance to the protection and inheritance of Suzhou Pingtan.

The times require a broad theoretical vision,"expanding the vision of literature and art to various literary and artistic cultural issues involved in adjacent disciplines such as ecology, folklore, folk literature, anthropology and sociology, and incorporating the objects and issues suppressed, obscured or excluded by classic theories into them to form an ecologically complete and living research context, thereby constructing a diversified and ecological new theoretical research field of literature and art, allowing the discipline of literature and art to gain new vitality" ④.

Second, in terms of research methods, from quiet reading in study to field research

From quiet reading in the study to field research, that is, the traditional method of book-style research that breaks the closed and silent reading, and analyzes the text, has expanded to open field surveys, watching, sitting and listening, and goes deep into the cultural space of folk art expression., consult literature and materials, conduct on-site surveys, collect relevant materials, pictures and data, and make necessary audio interviews, etc.

Experience, experience, interaction, dialogue and perception.

"Culture" is a semantic change from natural cultivation to spiritual improvement.

The customs, beliefs and values reflected in the process show the migration of a certain spatial scope of human activities and the sublimation of one's own historical understanding.

The function of culture can only be understood in people's real life.

Therefore, it is emphasized that cultural researchers must go deep into the real life of the people being studied.

Life is a human activity, and culture is the living humanistic world.

This is a perspective and realm that can only be understood by those who have left the study and experienced life on the spot.

Feng Jicai appealed: Go to the people! Go back to the parent culture! We cannot accuse the rampage of popular culture in cities while waiting for the demise of our parent culture.

Leave our study for a while.

In the vast fields and villages, we will surely be aroused by the plight of our parent culture, and we will surely feel the vivid and charming vitality of Chinese culture.

Third, from the perspective of research thinking, focus on case analysis and academic improvement

Literature and art focuses on theoretical research, and macro theoretical research is important and necessary.

However, cultural heritage research is highly regional and often targets individual cases.

We should focus on case analysis and combine overall research with case special research: Select typical examples, use points to guide the area, and make theoretical summaries through the interpretation and interpretation of cases, rising from individuality to universality.

For example,"Talking about the Nationality of China Puppet Art from Quanzhou Muppets"(Chen Shiming,"Theory and Criticism of Literature and Art", No.

3, 2008) and "Landscape and Imagination--Space Poetics of Canglang Pavilion"(Ji Jin,"Contending in Literature and Art", No.

7, 2009).

This will help enhance the academic nature of regional culture, reflect the diversity of national culture, and strengthen people's high understanding of regional culture.

Three meanings and values

Reflecting the responsibility of literature and art to the times

Feng Jicai said sadly: "When we return to our own culture, we will strongly feel its dilemma, especially folk culture.

It is suffering from cold treatment, discrimination, destruction, and is becoming endangered and extinct.

Our cultural foundation has not only been shaken, but has also been loosened and disintegrated."Literary and art scholars have the mission of protecting and promoting cultural heritage, which plays a decisive role in cultural protection.

Literature and art develops the contemporary content of cultural heritage in the context of globalization, enriching the protection of cultural heritage theoretically and improving the theory.

From the perspective of the discipline itself, incorporating the concept of cultural heritage protection into literature and art research does not simply incorporate the research object into the perspective of a so-called culture, but a perspective on the discipline at a high starting point of national consciousness and responsibility.

It is the recognition of the national sense of literature and art and its responsibility for the times.

It is a remedy and salvation.

For example,"Protection of Intangible Cultural Heritage and Public Cultural Services"(Gao Xiaokang,"Cultural Heritage" No.

1, 2009),"Be wary of" two-person shows "and eliminate" two-person transfers ""(Xiao Ying,"China Book Daily" June 10, 2009).

Development of the discipline itself

We should fully consider the cultural context of China to provide new opportunities and perspectives for the development of China literary theory and the discussion of related practical issues.

This is one of the important forms for scholars in literary and artistic theory to participate in society.

Effectively intervening cultural heritage into the field of literature and art and incorporating the concept of cultural protection into literature and art research, under the deep impact of cultural perspectives, the conceptual system of understanding and understanding of the concept of "literature and art" has been impacted.

This is the expression of literature and art keeping pace with the times and is an expansion and enrichment of the discipline itself.

Therefore, we should form the concept of "regional literature and art", incorporate the literary and artistic concepts of a certain regional culture into the process of historical development and the system of social and cultural representation for perspective and inspection, and regionalize the research of literature and art.

This is the responsibility of literary and art scholars to face reality and pay attention to the living environment.

Especially in local colleges and universities, local research in literature and art will help improve the development of local literature and culture, and then compare each other in the study of respective cultures, which will help literature and art to learn from and promote each other, and at the same time reflect the richness of literature and art.

"Regional literature and art" is different from "classic literature and art".

Classical literature and art focuses on classic texts and universal cultural phenomena, and advocates dominant culture and elite culture; while regional literature and art focuses more on folk cultural phenomena with individual characteristics, exploring cultural heritage based on local history, geography, environment, and people.

The humanistic environment and cultural process that continues and develops vividly.

The development of "regional literature and art" has enabled literature and art to reflect more reality, practicality and inclusiveness, and to express the democratic attitude of literature and art.

Establishing a paradigm for literature and art research with China characteristics

Please look at Yu Guangzhong's poem "Kuafu": Why do you have to work hard to save the dusk? It is just the back of the sunset, and it is not necessary to absorb the swamps and rivers.

It is just the reflection of the sunset.

Instead of chasing the vast twilight scene and being buried in the cold embers of purple mist, why not turn around and wave his staff, run head-on to the newly blooming sun, and explore the core of the thousand petals of light? The future of a strong man is not last night.

In the morning, it is futile to run west.

Let's run back to the east.

Since we can't catch up with them, we will bump into them.

The poet hopes that China will not blindly worship the West, but will carry forward their historical initiative, set up ambitions, and explore the future of mankind from the ancient Oriental civilization.

Indeed, the theoretical community is now enthusiastically following Western theories.

In an article, Mr.

Tong Qingbing said that some scholars opened their mouths "Podrilla" and closed their mouths "Featherstone", taking their theories as the norm.

Cultural heritage research has opened up a new world in literature and art, and can establish the DNA of China's literature and art research, which cannot be replaced by other literature and art.

Here, the research vision is always the image of the nation, the unique cultural landscape in the world, and the reflection of the image of the country.

Feng Jicai said: "We should return to our roots, to the foundation and origin of our culture, and to our parent culture.

Only there can we find our distinctive cultural individuality, our cultural blood type, and the basis for pride and self-esteem." We can see from the research conducted by some scholars: "Wangfujing Pedestrian Street: Cultural Images in China's Transformation Era"(Zhang Fa, Journal of Northwest Normal University, No.

3, 2006),"The Aesthetic Image and Folk Cultural Implication of Olympic Fuwa"(Li Jianjian, Journal of Henan Education University, No.

2, 2006),"China's Doudou-A Cultural History of Expressing Sentiment"(Pan Jianhua,"Drama Art", No.

3, 2006).

With the deepening of research, a good foundation will be laid for the construction of "China Literary and Art Discipline."

Promoting cultural education is the inheritance of the national spirit

The slogan of my country's first Cultural Heritage Day is "Protect cultural heritage and protect spiritual homeland." The national spirit is the spiritual pillar on which a nation relies for its survival and development.

It is manifested in its sense of identity, belonging, cohesion and centripetal force towards the nation.

It is the prerequisite for a nation to stand tall in the forest of the world.

Conducting research on cultural heritage is not only to record a cultural form, but also to witness and inherit a historical spirit.

Cultural heritage represents the cultures of different ethnic groups, different regions, and different communities, and is also precious cultural resources that are difficult to regenerate, because they best reflect the characteristics of the nation, are the link connecting national sentiments, and are the embodiment of the national spirit.

Material and intangible cultural heritage, as existing cultural memories, the visibility of material cultural heritage determines that people generally will not turn a blind eye to its value; while the living rheology of intangible cultural heritage determines that the cultural memory it contains is more easily ignored and forgotten by people as the times change.

In the movie "Alive", although the rich shadow puppet props went through hardships, they ultimately failed to escape the fire of the "Cultural Revolution".

Former Singapore Prime Minister Lee Kuan Yew said: "When bidding farewell to the past, we have a profound uneasiness that losing tradition will leave us with nothing." On June 9, 2007, on my country's second Cultural Heritage Day, Premier Wen Jiabao believed that intangible cultural heritage is the essence of national culture, a symbol of national wisdom, and a crystallization of national spirit.

The song "A Grateful Heart" sings: "Where do I come from, where do my feelings go?" With the acceleration of the process of world cultural integration, the characteristics of the country and the nation have gradually faded.

In the blending of Chinese and Western cultures, especially while young people are immersed in fashion and trendy culture, their sense of identity with the nation's traditions and even excellent culture is gradually weakening.

If this continues, national culture will have a fault.

For example, ancient Egyptian civilization began in 3500 BC and went through the rule of ancient Greece and Rome, until the conquest of the Arabs in 641 AD, and lasted for 4000 years.

Although the historical relics of the pyramids were left, the ancient Egyptian civilization was basically interrupted, because people could no longer see any "living" historical relics except the static glory of the past.

The study of cultural heritage in literature and art is a theoretical improvement of national culture and a deep call for the national spirit.

"Literary theory always responds to certain social needs in its own way and undertakes a certain historical mission.

Moreover, a theory can only gain legitimacy if it adapts to a specific social needs.

The construction of our literary theory is not only a kind of theoretical discussion and the construction of knowledge forms, but also an important part of the entire social and cultural construction, participating in the important task of promoting social development." From concrete to abstract, the theory of literature and art is universal and can enhance and guide the public's recognition and acceptance of cultural heritage.

Guide literary writing and pay attention to folk culture

In recent years, there has been a lot of discussion about bottom-level writing in literature, and all of them have selected the difficult lives of the "bottom-level" and "vulnerable groups" as basic materials.

But the bottom level mentioned here is mostly the life of "wage earners","working girls" and "laid-off people".

Although the Ministry of Culture announced the first batch of inheritors of intangible cultural heritage "national treasures" since June 2007, they are often "Xialiba people" who are not valued.

Compared with today's working people, they are also vulnerable groups.

Folk artists who inherit the roots of the nation are even weaker and have even been forgotten by writers.

Literary writing is the process of spreading folk culture from the bottom to the top.

Writing is a good way to improve folk art and can push them to a higher level.

The story of Song Jiang was compiled and rewritten by Shi Naian into "Water Margin", which enabled the development of folk oral literature.

Literary creation leaves the trajectory and impression of cultural heritage in the form of words and the system of discourse.

Even when culture dies out, writing can survive forever.

Literature and art develops the study of cultural heritage, guides literary writers to narrate folk culture, and maintains a correct writing attitude, that is, a strong love and true feeling for national culture, especially regional culture.

This is a better way and way to protect and inherit.

This article is supported by the 2009 Humanities and Social Sciences Research Project Fund of the Ministry of Education (No.: 09YJAZH053), the 2007 Ministry of Education Planning Project of the National Education Science Eleventh Five-Year Plan (No.: FCB070469), and the Shanxi Province Soft Science Research Project (No.: 2007041028 - 03)

Notes:

① Hu Jintao: "Compilation of Documents of the 17th National Congress of the Communist Party of China", People's Publishing House, 2007 edition, page 34.

② Sun Jiazheng: "Improving National Cultural Awareness and Doing a Good Job in the Protection of Intangible Cultural Heritage in my Country", Speech at the "Suzhou Forum on the Protection of Intangible Cultural Heritage in China"(July 2005).

③ Wang's article: "Introduction to Intangible Cultural Heritage", Culture and Art Press, 2006 edition, p.

249.

④ Wang Yichuan: "Towards Cultural Diversity-Taking Literature and Art as an Example", Social Science, No.

1, 2003.

③ Yao Si: "Reception Aesthetics and Reception Theory", Liaoning People's Publishing House, 1987, p.

24.

④ [Beauty] René Wellek, Austin Warren: Literary Theory, Jiangsu Education Press (2005), p.

105.

③ Gao Xiaokang: "Literary Ecology and Non-Classical Turn of Literary Theory","Literary and Art Studies", No.

1, 2007.

Feng Jicai: "Thinkers Go Alone and Go to the People", Huashan Literature and Art Publishing House, 2005 edition, p.

11.

Farid Zakaria: "Culture Determines Destiny-An Interview with Lee Kuan Yew", Sanlian Bookstore, 1997 edition, p.

210.

Li Chunqing: "Possible Ways to Build Contemporary Literary Theory", Journal of Zhanjiang Normal University, No.

10,2008.