大运河视觉形象的建构与当代阐释  

Construction and Contemporary Interpretation of the Visual Image of the Grand Canal

作　　者：张娜 ZHANG Na

机构地区：[1]南京农业大学人文与社会发展学院,江苏南京210095

出　　处：《中南民族大学学报（人文社会科学版）》2022年第3期68-76,183,184,共11页Journal of South-Central Minzu University (Humanities and Social Sciences)

基　　金：国家社会科学基金铸牢中华民族共同体意识研究专项“中华民族视觉形象与中华民族共有精神家园研究”(21VMZ019);江苏省社会科学基金项目“大运河江苏段民俗艺术传承与文化空间建设互动研究”(20YSB003)。

摘　　要：作为文化系统的大运河,是由多民族多地域所共同创造、所共有的——“我们”的大运河,具有“多元统一”的文化特点。“遗产化”重构了大运河与现代社会的关系,这种关系的建构只能基于文化、审美的意义,由此造成了大运河文化形象的当代转向问题,即其以文化遗产审美形象重回当下,成为构建文化认同的符号。在建构意义、实现说服、促进认同方面,视觉形象具有无可比拟的重要性。为促进大运河在世界范围内的符号蜕变,要将“大运河”视为一个开放性的概念,重塑运河之“大”,以意义阐释、象征生产、文化实践等持续提供意义系统,激活视觉形象,使得运河精神得以“可视化”。As a cultural system,the Grand Canal is jointly created and shared by many ethnic groups and regions—“our”Grand Canal has the cultural characteristics of“pluralism and unity”.“Heritage”reconstructs the relationship between the Grand Canal and modern society.The construction of this relationship can only be based on cultural and aesthetic significance,thus causing the contemporary transformation of the cultural image of the Grand Canal.That is,it returns to the present as a cultural heritage aesthetic image and becomes a symbol of building cultural identity.Visual image plays an incomparable role in constructing meaning,realizing persuasion and promoting identity.In order to promote the symbol transformation of the Grand Canal in the world,we should regard the“Grand Canal”as an open concept,reshape the“bigness”of the Canal,provide a continuous meaning system through meaning interpretation,symbolic production,and cultural practice and so on,and activate the visual image and make the spirit of the Canal“visible”.

关 键 词：大运河文化 中华民族视觉形象 铸牢中华民族共同体意识 

分 类 号：C95[社会学—民族学]