[Zhang Juwen] The shift from the practical concept of "intangible cultural heritage" to the subject concept of "cultural heritage"

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Important: Judging from the international perspective and the four protection levels in China, the practice of intangible cultural heritage protection in the past 20 years has been greatly adjusted and revised in terms of policy orientation and specific operations, which is also more conducive to the protection and inheritance of intangible cultural heritage projects.

At the same time, in terms of promotion of intangible cultural heritage education, academic research on intangible cultural heritage, and construction of intangible cultural heritage disciplines, basic concepts and their relationships need to be clarified in order to prepare for future development.

To this end, from a macro perspective, we can carry out a guided transformation of concepts and concepts from "intangible cultural heritage" to "cultural heritage," and proceed from the great tradition of China's culture, understand each cultural heritage from the perspective of overall protection and inheritance.

Finally, we can view the influence of tradition on personal identity, local identity and national identity from many aspects such as concepts, industry, consumption, ethics and daily life, so as to build a disciplinary system that combines practice and theory.

Absorb nutrition from cross-cultural exchanges among diverse human cultures, enrich the meaning of life, and maintain identity at all levels.

Keywords: Intangible cultural heritage; cultural heritage; practical concept; academic concept; subject author profile: Zhang Juwen, Professor of the Department of East Asia at Willamette University, University of Wilai, USA (Salem 97301, USA), Part-time researcher at the Intangible Cultural Heritage Research and Development Center of Beijing Normal University.

Today, when intangible cultural heritage (hereinafter referred to as "intangible cultural heritage ") has entered China as a practical concept for nearly two decades, it is of great significance to discuss" intangible cultural heritage education and discipline construction." After years of practice and exploration, issues such as conceptual relationships and legal rules related to the protection, inheritance, development, industry, consumption, ethics, and community of intangible cultural heritage have gradually become clear, and some paradoxes have also been analyzed in depth.

Now, from the discussion of these broad concepts, we have turned to the discussion of specific practical operations such as "intangible cultural heritage entering campuses" and "discipline construction", whether it is from the perspective of inheritors or inheritors 'communities, scholars or disciplines, or society or national development.

From the perspective of development, it is of positive significance.

This article attempts to focus on discussing some issues that need to be clarified in the process of "discipline construction" of intangible cultural heritage from social practice to colleges and universities.

The core proposition of its starting point is: Since "intangible cultural heritage" is a practical concept, and "cultural heritage" is an academic and disciplinary concept, therefore, in discipline construction,"cultural heritage" should, and can, constitute an academic discourse system including intangible cultural heritage, reflecting interdisciplinary characteristics.

To this end, in carrying out intangible cultural heritage education and subject construction, it is necessary to first complete the conceptual transformation from "intangible cultural heritage" to "cultural heritage", and then build a disciplinary paradigm of "cultural heritage", develop it into a regular academic category and form an academic community.

The premise of this proposition is as follows:

Premise 1: Conceptually,"intangible cultural heritage" is part of "cultural heritage".

"Cultural heritage" includes "intangible and intangible culture" and "material and tangible culture".

However,"intangible culture" and "material culture" are not the same as "spiritual culture" and "material culture".

Premise 2:"Cultural heritage" is the material and spiritual foundation for the existence of a country or nation, the foundation of national identity and group identity, and the foundation of people's daily life.

Losing "cultural heritage" means that the cultural group or country's cultural traditions are on the verge of disappearance.

At the same time, although the concept of "cultural heritage" needs to be further defined and differentiated, it has now become an academic concept in the international academic community and exists in every discipline together with related concepts such as "history","subject history" and "tradition".

Therefore, the interdisciplinary integration and reconstruction of "cultural heritage" will help integrate the concept of "cultural heritage" into the system of education, knowledge, national identity, and individual and group identity.

Become part of the mechanism that maintains different levels of identity.

Premise 3:"Intangible cultural heritage" is not only a practical concept and policy concept, but also a specific political and economic concept at a specific historical stage.

This concept is the result of a new understanding of the diversity of human culture, a means for "non-Western cultures" to strive for equal rights in world culture, and of course a concept that helps define and understand "human cultural heritage." As part of "cultural heritage", academic research on "intangible cultural heritage" not only helps guide practice, but also helps to subject "cultural heritage".

Therefore, academic research on "intangible cultural heritage" needs to be based on the academic concept and category of "cultural heritage".

Premise 4: To take "cultural heritage" as the basic concept of discipline construction, we must first make it clear that the disciplinary nature of "cultural heritage" lies in its multi-disciplinary nature, that is,"cultural heritage" exists in a multidisciplinary knowledge system and research category.

Therefore, it is necessary to regard it as a research object and field from a multidisciplinary perspective and develop interdisciplinary research methods and theories.

In other words, the discipline construction of "cultural heritage" cannot be equated with relatively independent disciplines such as "history" and "literature".

Instead, we should pay attention to its unique multi-disciplinary nature and explore the interpretation of "cultural heritage" from different disciplinary perspectives.

theory.

The conclusion drawn from this is that transforming the practical concept of "intangible cultural heritage" into the academic concept of "cultural heritage" can not only enrich the existing teaching and scientific research system, including the structure of subject knowledge and local knowledge and its pedigree, as well as the theoretical and methodological system of related disciplines, and is also necessary to strengthen national identity and enrich individual and group lives.

For more than a hundred years, the biggest challenge that China has encountered in rebuilding its national identity is how to understand, inherit, develop and enrich its own "cultural traditions" or "cultural heritage" and stick to its own "roots."

The following is a brief explanation of this proposition from three aspects.

1.

The conceptual extension from "intangible cultural heritage" to "cultural heritage" is an important prerequisite for intangible cultural heritage to enter the academic field

First of all, intangible cultural heritage is a legal and framework concept derived from the "United Nations" and is a practical concept or a concept that guides practice.

From the perspective of economic and social development, UNESCO established the concept of "heritage" in the 1970s, and then developed the concept of intangible cultural heritage in 2003.

In 2016, it proposed concepts and principles such as "ethical principles" to revise and improve the previous concept.

These concepts and their revisions show that they are framework concepts guiding practice and need to be constantly revised according to different times and societies.

For example, from natural heritage to cultural heritage, from tangible cultural heritage to intangible cultural heritage, from tangible heritage to intangible heritage), from cultural diversity to ethical principles, and even in China,"Intangible Cultural Heritage Day" was changed to "Cultural and Natural Heritage Day", etc.

So, in the context of China, how to understand the connotation of "cultural heritage"? One path is to understand China's cultural traditions and folk practices from the concept of "folk culture." For example, Zhong Jingwen proposed the concept of "folk culture" in the 1930s and even wanted to replace the word "folk culture" with this term.

In the 1980s, Zhong Jingwen even planned to use this term to replace the word "folklore" and called folklore "folk culture" and believed that the scope of folklore would include all aspects of folk culture.

It can be seen that the concept of "folk culture" reflects an understanding of cultural traditions or cultural heritage.

Of course, understanding cultural heritage in terms of the cultural traditions or traditional culture of the Chinese nation is also a popular discourse.

Secondly,"intangible cultural heritage" is a concept with small extension and exclusiveness, or even a contradictory concept, because "intangible" itself is an unclear concept.

In this regard, in addition to clarifying the three modified and limited concepts before "heritage":"non","material" and "culture" correspond to concepts in foreign languages, such as the English in-non, tangible-material/tangible, cultural-culture), these three pairs of concepts must also be clarified: heritage and tradition; intangible and material or intangible and tangible); and culture and nature.

According to the "Inheritance Law of the People's Republic of China" and other relevant laws, the concept of "inheritance" refers to "personal legal property left behind at the time of the death of a natural person" and must meet three characteristics: first, it must be property left behind at the time of the citizen's death; second, it must be property owned by the individual citizen; third, it must be legal property.

Among them, one of the conditions that must be met to constitute "heritage" is: "heritage must be property", and property refers to "tangible" property, not intangible concepts or spiritual will.

However, when used in "cultural heritage","heritage" transcends its meaning at the personal and legal levels and becomes the history and tradition of a society.

It can be the sum of spiritual or material wealth left over from history.

Therefore, there is a distinction between "tangible" and "intangible" heritage.

Regarding the concept of "intangible cultural heritage" in the UNESCO Convention for the Protection of Intangible Cultural Heritage, China scholars have had a in-depth interpretation of the translation of concept terms, and compared it with the usage in Japan and South Korea.

The opposing view or paradox between "intangible" and "material" intangible and tangible) has been falsified, that is,"intangible cultural heritage" includes "intangible and tangible." The "Intangible Cultural Heritage Day" that China government has legalized since 2006 was changed to "Cultural and Natural Heritage Day" in 2017.

It can be seen that the concept of "intangible cultural heritage" is a process of continuous revision from its emergence to development.

Then, in different societies, different historical stages, and different practical and academic contexts, the concept of "intangible cultural heritage" and "cultural heritage" also needs to be defined and interpreted differently, so that it is clear that different subjects and different stages have different use strategies for different purposes.

In short, as a practical concept, there has indeed been a phenomenon in the past two decades that "'intangible cultural heritage 'is a basket, and everything is packed into it." This seems to make some sense, but at the same time there are paradoxes.

For example, at the practical level such as declaration, approval, publicity, etc.), intangible cultural heritage is equated with "excellent traditional culture", but "excellent" and "tradition" are not clearly defined.

At present, thousands of projects have been listed on the fourth-level intangible cultural heritage list.

However, we must be clear that the practical concept of intangible cultural heritage has different meanings and purposes at different stages.

Generation stage: Intangible cultural heritage is to attract the world's attention to human cultural heritage, advocate the inheritance and protection of human diverse cultures, and especially recognize that those countries that have been colonized have sovereignty over their own cultural traditions.

This is a renewed declaration of war against Eurocentrism and colonialist ideas not only in a cultural sense, but also in a political and ideological sense.

In the 1970s, intangible cultural heritage began to be used in international discourse, starting in South America, while some countries such as the United States and the United Kingdom did not recognize the Convention for the Protection of Intangible Cultural Heritage (2003).

These facts illustrate this.

Development stage: From the promulgation and entry into force of the Convention for the Protection of Intangible Cultural Heritage (2003) to its practice in various countries today, intangible cultural heritage has been "localized" or "localized" in various places, although some places use different terms.

At the same time, public folklore, a public folklore developed in the contemporary era, is mostly engaged in intangible cultural heritage protection.

In addition,"sustainable development" has also become a pair of concepts that stand side by side with intangible cultural heritage.

These all reflect the practice of adhering to multiculturalism in protecting the diverse development of human culture.

Mature stage: Through the above-mentioned various practices, various countries and localities have successively promulgated and implemented laws and regulations with their own social and cultural characteristics, taking advantage of the international voice of intangible cultural heritage to institutionalize the protection of local "culture" and "traditions" and legalize.

It was at this stage that the practical nature of the concept of intangible cultural heritage began to shift to academic nature, and began to reflect theoretically whether intangible cultural heritage could develop into a "discipline".

In this regard, intangible cultural heritage needs to be considered in the broader context of human culture, human practice, human wisdom, etc., rather than just from the administrative and institutional and funding perspectives of discipline construction.

Similarly, the emergence of the concept of "intangible cultural heritage" shows that it is not an academic concept, although efforts to transform it into an academic concept have continued since then.

As Gao Bingzhong pointed out, there is still a long process to [transform] the "social engineering term" of "intangible cultural heritage" from an engineering concept to an academic concept.

We must strive to establish a connection with existing academic and knowledge systems.

Through this connection, we can have a continuous and in-depth understanding of the meaning and meaning of this concept, so as to have a stronger ability to care for the social reality issues and practices involved.

Academics are not just for academics themselves." In order to complete the transformation of this practical "engineering concept" into an academic and even disciplinary concept, it is necessary to expand it to the concept of "cultural heritage" and use intangible cultural heritage as part of "cultural heritage" to achieve complementary purposes.

2.

The organic relationship between academic concepts and disciplines

In the process of "intangible cultural heritage" shifting from a practical concept to an academic concept of "cultural heritage","intangible cultural heritage entering campuses" should not be equated with academic or disciplinary.

First of all,"intangible cultural heritage entering campuses" should be subdivided: intangible cultural heritage entering kindergartens, primary schools, middle schools and high schools, and even universities should have different practical methods and purposes.

Among them, there can be three levels or phased goals.

The first is the "cognitive" level, that is, the understanding and feeling of traditional culture, and even the acquisition.

At this level, the introduction of intangible cultural heritage into campuses is a way of attaching importance to, attention to, and respect for cultural heritage.

It is a practice of seeking and guarding its roots.

It is something the country recognizes that it should and must be done.

In modern times, China once denied the roots of culture, and as a result, it lost its self-esteem and self-confidence in "Westernization." What is rare is that the inherent "self-healing mechanism" of China culture allows China to regain its cultural roots and gain consciousness and self-healing.

Nowadays,"intangible cultural heritage entering campus" is an understanding of the roots and a necessary way to inherit and adhere to the roots.

It is very necessary and meaningful for the growth, maturity and even national education of individuals.

The second is "perception","rationalization" and "academicalization" at the "cognitive" level.

Through practices such as "eye-moving" and "hands-on", we can cultivate and discover potential inheritors, workers, enthusiasts, as well as people who may be engaged in public cultural undertakings, cultural industry management, social work, psychological counseling, etc.

Of course, mass education is the necessary and inevitable foundation.

Even industrialization and commercialization are of great significance to people's understanding of history and enhancing national confidence and identity.

The third is "professional" education with "inheritance" nature, which combines the training of "inheritors" and relevant cultural workers with cultural industry management).

The practice of the past two decades has found a path for the protection and inheritance of intangible cultural heritage that is in line with the reality of China, and has also provided useful arguments for the theoretical transformation of "cultural heritage" and the theory and practice of inheritors.

These three should be an organic whole.

From kindergarten to high school, we should focus on perceptual universal education at the "cognitive" level to cultivate potential inheritors and workers; universities can focus on two "development directions":"practical" inheritors or cultural heritage workers, and "academic" theoretical researchers.

Of course, traditional knowledge education is the prerequisite.

As folklore scholars Ju Xi and He Shaoya have discovered through observation, over the past ten years, the practice of intangible cultural inheritance in primary and secondary schools has been separated and stratified from "traditional cultural inheritance" in classroom form, creating a dilemma for intangible cultural inheritance.The reasons are as follows: first, there are differences between the two concepts of traditional culture and intangible cultural heritage; second, intangible cultural heritage is largely restricted by the research paradigm and theoretical system of folk disciplines, the main constructor of intangible cultural heritage protection theory, such as cultural stratification theory, local complex, etc.; third, it is related to the inheritance characteristics of intangible cultural heritage itself; fourth, it is influenced by a relatively single traditional education model.

In this regard, they believe that "folklore scientists should combine the current paradigm shift of subject research to build a theory of intangible cultural heritage that meets the needs of the times and educational laws.

Some folklore scientists can actively participate in the practice of intangible cultural heritage education when conditions permit.

Promote intangible cultural heritage education; education policy makers and practitioners also have the responsibility to become important promoters of the inheritance of intangible cultural heritage education." It can be seen that the concept of "intangible cultural heritage education" needs to be understood and practiced from different levels, and relevant academic research also needs to first build a disciplinary paradigm.

In this regard, Yang Lihui's analysis of the two concepts of "intangible cultural heritage education" and "folk education" helps understand the difference between the public popularization level and the academic level of "education" and find an appropriate interactive path.

From a disciplinary perspective, almost all of China's modern disciplinary systems and basic theories have been "transplanted" from the Western system in the past century.

Therefore, they have seriously ignored the attention and attention to China's traditional cultural heritage.

This is also the most significant challenge for China in the construction of national identity in the past century.

At the beginning of the 21st century, in China, due to various objective and subjective factors, from the country to the individual, people's "cognition" and "perception" of the "roots" of China's traditions, cultural heritage, etc.

have undergone substantial changes.

More than a hundred years ago, China culture was regarded as "inferior" or "inherently deficient," so that today many elites believe that "Westernization" is the only way out for China's development.

However, hundreds of years of practice have proved that China culture has "innate" and "advantages" such as the outlook on the universe and life and the attitude towards real life related to sustainable development of mankind).

The reason for the change at the level of "values" is that China culture has gone through the stage from "total denial" to "objective" cognition, so it has also found its "roots", which has enabled China culture to activate the intrinsic "cultural self-healing" mechanism and gain new vitality.

Therefore, the concept of "cultural heritage" not only combines "historical tradition" with "present", but also opens up development space for intangible cultural heritage.

"Intangible cultural heritage entering campuses" is a good thing.

It is missing in the current protection of intangible cultural heritage.

It is a necessary behavior to maintain individual and national identity.

It is a reflection of the national cultural self-healing mechanism, but it must have clear phased goals and corresponding means.

The academic evolution of intangible cultural heritage from practice to "cultural heritage" is progress.

It is a theoretical improvement of the intangible cultural heritage practice of China society, country, elites and people.

It is a good start for building a disciplinary system based on China's history and culture.

It is also the internationalization of the academic system.

When discussing the academic and disciplinary turn of intangible cultural heritage, folklore scholars are also working hard to explore new academic paths and have raised the need for "critical heritage research" on "intangible cultural heritage" and "cultural heritage." Wang Xiaokui pointed out from the perspective of thinking about the research paradigm on intangible cultural heritage,"In the field of folklore, there is a serious tendency to 'theology'.

This is specifically reflected in the direct misappropriation of the significance and value of intangible cultural heritage recognized by cultural administration into academic research conclusions.

The analysis process is then transformed into a demonstration and deduction of this conclusion.

Truly scientific research should abandon any predetermined conclusions, relativize the objects of investigation, and conduct a theoretical examination of their essence." Zheng Tuyou pointed out from another perspective,"The problem now is that intangible cultural heritage covers a very wide range and is a new interdisciplinary subject.

If the original subject system of colleges and universities is not broken, the positioning of 'intangible cultural heritage protection research' is difficult to clarify." These discussions on subject paradigms and disciplines illustrate, on the one hand, that intangible cultural heritage cannot be hastily added to the existing education system as an independent subject, and on the other hand, they also illustrate the interdisciplinary nature of "cultural heritage".

In short, academic nature and disciplinary nature are also two different concepts, and their relationship needs to be deeply considered from the perspective of practice and theory.

"Cultural heritage" has academic and disciplinary nature; but its disciplinary nature is not single, let alone unique; its disciplinary nature exists in the multi-disciplinary nature, that is, cultural heritage must be based on multidisciplinary theories and methods.

Improvement at the academic theoretical level, or theorization.

Therefore, it should first become a research area of concern for each relevant discipline; then, a theoretical system should be extracted from the research results of multiple disciplines, and then research and practice from various disciplines should be promoted accordingly.

3."Cultural Heritage Science" is part of the knowledge system and academic system of higher education, and is also an important foundation for maintaining the value system of China culture

It needs to be clarified that the concept of intangible cultural heritage and its practice in China are strategies and means, but not ends.

Even transforming the practical concept of intangible cultural heritage into an academic concept is not for the sake of academia itself.

Relevant discussions are all processes, not ends.

The real purpose of building the academic discourse and disciplinary nature of intangible cultural heritage is to promote China people to more effectively understand, grasp and use China traditional culture through intangible cultural heritage practice, so as to build and maintain personal identity, China cultural identity, and national identity, and fully understand China cultural traditions, and ultimately inherit the "long-term""nature" of China culture, which is the core of China culture.

Focusing on this goal, after thousands of years of practice, China culture has developed a unique "cultural self-healing mechanism" that maintains the vitality of China culture.

One of the most important specific strategies is "localization." In the process of adhering to the core of China's culture, we will continue to absorb new cultures with the inclusive spirit of "harmony but difference" and gain vitality that keeps pace with the times.

The specific practices of localization can be viewed from three perspectives: heritage, tradition, and industrialization.

The mechanism is that inheritance is to inherit something useful, while drawing the boundary between "past" and "present" in time, building a "sense of history", and constantly revising it due to changes in time.

This is also a process of legalization of present behavior; Tradition is to connect "past" and "present" in time and space, gain the authority of "history" and "tradition", and strengthen the rationalization and legalization of the right to apply heritage; Industrialization is to obtain an economic foundation through an economic model, and then engage in superstructure construction.

Therefore, industrialization is also a prerequisite for heritage and tradition.

Therefore, in addition to actively facing the desire to elevate intangible cultural heritage to a disciplinary academic status, it is also necessary to analyze the conceptual relationships and logic discussed above.

For example, folklore scholar Zhang Bo believes that "After nearly two decades of continuous efforts, in my country, intangible cultural heritage has become a research field jointly worked by multi-disciplinary scholars, and many research results have emerged.

As social needs increase, the construction of intangible cultural heritage disciplines should receive more attention." In fact, the concept of "intangible cultural heritage science" has been used and discussed for some years.

Some scholars have also recently proposed to establish "Intangible Cultural Heritage Science" on the basis of retaining the existing academic status of folk literature and folklore and become a discipline alongside "Folklore" and "Ethnology".

In addition, the construction of "cultural heritage science" is also the direction of some scholars 'efforts.

However, when integrating the practical concept of "intangible cultural heritage" into the university education system through the subject concept of "cultural heritage", some questions still need to be clarified: What should be the core focus in this process? Should this process be reflected in a "disciplinary" nature or in an academic nature? What is the manifestation of disciplinary nature? What is the manifestation of academic nature? What is the relationship between the construction of "cultural heritage" disciplines and the protection and inheritance of intangible cultural heritage? In addition, how to coordinate administrative management and funding and human resources relationships beyond academic relationships?

To build the discipline of "cultural heritage science", we can draw on the discipline of folklore, that is, we regard the disciplinary nature of cultural heritage science as an academic concept that exists in its interdisciplinary nature.

In other words, cultural heritage research should pay more attention to its academic nature rather than its disciplinary nature, which should at least be the current phased goal.

To this end, incorporating or integrating "cultural heritage" into existing disciplines is the best path.

For example, Wang Fuzhou takes the "broad concept of 'great heritage' as the background, breaks through the conceptual domain, regards material cultural heritage and intangible cultural heritage as two forms of existence of cultural heritage, and conducts research and discussions on their connotation and system," and proposes to build a "cultural heritage science" with China characteristics.

Here, it may be possible to imagine what the course content, academic theory and method support that may be provided to the subject of intangible cultural heritage may be.

Perhaps an analogy can be made with the situation of related majors or degree projects such as "cultural industry management").

Or you can ask, what courses can be offered in this subject? For example, in addition to introducing the history, policies, China's regulations, and practices through introductory courses on intangible cultural heritage and "intangible cultural heritage studies", what other "intangible cultural heritage theory courses" are there? Whether there can be necessary basic courses in disciplines such as "Intangible Cultural Heritage Field Investigation Methods" and "Intangible Cultural Heritage Classification Methods", and how the core theoretical perspectives are different from anthropology, sociology, folklore, psychology, etc.

In the same way, you can also imagine that courses that can be established with "cultural heritage" as a discipline, including relevant theoretical and methodological courses).

Such courses can not only be a "public course" for university education, but can also be combined with some disciplines and offered in different departments.

For example, whether it is the history of science or basic mathematics and physics, the content of "cultural heritage" can be the excavation of historical documents and archaeological data; architectural techniques as cultural heritage can be analyzed, such as the construction of family stoves, the production of carriages, hoes and ceramic basins and bowls, etc.; it may include not only folk stories and legends, but also scientific knowledge such as pi and nine-chapter arithmetic; It is even possible to analyze how beliefs become part of scientific development from the basis of knowledge such as science and medicine, rather than completely negating each other.

Based on this, we can also imagine different "professional directions" under "cultural heritage", such as intangible cultural heritage and "folk culture" or setting up courses with reference to the current "intangible cultural heritage classification").

For example, seismometer, pi, playing diabolo, rope skipping, etc.

should not be regarded as a single subject concept or entertainment custom, but should be incorporated into the subject knowledge system, using history and scientific research, scientific research and folk traditions, oral and physical perspectives to interpret and inherit these traditional knowledge and customs.

For another example, from learning to write calligraphy to the production of the four treasures of the study, as well as related history, literature, craftsmanship, technical equipment, regional culture, industry and personal lifestyle, etc., through such a spirit of "studying things to learn knowledge" and practical actions can lay the foundation for the "disciplinary" of cultural heritage.

In contrast, the practices of countries such as Japan and South Korea in introducing "intangible cultural heritage education" into campuses and cultivating inheritors are worth learning from, while countries such as Europe and the United States are also worth learning from in the discipline construction of "cultural heritage".

For example, the newly established master's degree program in "Cultural Sustainability Studies" at Goucher College in Maryland, USA is mainly based on folklore theory and cultural protection as the basis of practice.

In addition, there are several universities that use "cultural heritage" or "heritage", which actually means "cultural heritage") as their disciplines and degree points, such as the University of Western Kentucky, the University of Arkansas, the University of Montana, and the State University of New Jersey.

degree.

In Europe, almost every country has a doctoral degree in "Cultural Heritage".

It can be seen that it is necessary and feasible to establish a major, master's and doctoral degree in "cultural heritage" research in China.

It is also a necessary platform and path for cross-cultural dialogue and exchanges at the international academic level, and it is also a theoretical support for international exchanges of experience in intangible cultural heritage protection.

What is particularly significant is that over the past century, the birth, growth and development process and experience of folklore in China can be the most direct and useful reference object in the discipline construction of cultural heritage, because the two should be the most closely related disciplines.

In short, through the conceptual transformation from "intangible cultural heritage" to "cultural heritage", we can pay more scientific attention to "cultural heritage", which will help promote the improvement of "cultural heritage" from policy practice to academic theory, and will also Promote the construction of related disciplines and play a positive guiding role in the protection, inheritance and development of "intangible cultural heritage" and "tradition".

However, in this process, we must first clarify the conceptual relationship, clarify the difference between means and purposes, and emphasize the multidisciplinary nature of "cultural heritage" research, especially its importance to the construction of national identity and the meaning of personal life.

Thinking from this perspective, the discipline construction of "cultural heritage" is not only feasible, but also necessary.

Especially now, the discipline construction of "cultural heritage" coincides with a historical opportunity to inherit and develop China culture.

At the beginning of March 2021, two official media reports appeared on various social platforms, and no doubt related reports will follow up): The Ministry of Education has added the major of "Intangible Cultural Heritage Protection" to the undergraduate majors of ordinary colleges and universities, and included it in the art theory major under the category of art; the School of Liberal Arts of Nanjing Agricultural University has been approved to add an undergraduate major of "Cultural Heritage".

In fact, since Capital Normal University was approved by the Ministry of Education to establish the undergraduate major of "Cultural Heritage" under the category of "History" in 2016, many universities have established the major of "Cultural Heritage".

In this regard, many scholars will naturally think of a series of debates on the practical concept of intangible cultural heritage: who owns intangible cultural heritage, who is the inheritor of intangible cultural heritage, who has the right to own intangible cultural heritage, etc., and then continue to explore: Who determines the disciplinary attributes, status and academic "legitimacy" of "intangible cultural inheritance" and "cultural heritage", who owns and evaluates relevant disciplinary authority, and what the relationship between the disciplinary attributes of national cultural "heritage" and its practical content and significance.

I believe that only through practice can we find a promising path.

This article is published in "Folklore Research", issue 5,2021.

The annotations are omitted.

See the original issue for details)