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作 者:任家乐 刘春玉 Ren Jiale;Liu Chunyu(Journal Center of Chengdu University,Chengdu,610106,Sichuan,China;School of Foreign Languages,Chengdu University,Chengdu,610106,Sichuan,China)
机构地区:[1]成都大学期刊中心,四川成都610106 [2]成都大学外国语学院,四川成都610106
出 处:《民族学刊》2024年第7期69-78,153,共11页Journal of Ethnology
基 金:成都大学高级别项目培育基金“新中国公共文化服务体系政策文献整理与研究”(1949-2022);教育部人文社会科学研究项目“联合国教科文组织遗产保护政策研究”(22XJC870002)阶段性成果。
摘 要:文化遗产返还一直被各界关注,由于立场不同,文化遗产返还很难形成共识。近年来西方博物馆界对“非殖民化”问题的反思,为文化遗产返还提供了新的文化背景。数字返还是指文化遗产以数字照片、数字收藏、3D扫描和声音记录在内的虚拟展示方式回归其来源社区。数字时代的到来,促进了文化遗产数字信息的各方共享,非同质化代币(NFT)的出现,为文化遗产提供了“数字身份”,赋予其数字财产专有性价值,为文化遗产返还带来了新的思路。本文通过“非殖民化”以及数字返还两大主线,结合人类命运共同体理念,尝试提出文化遗产数字返还的“中国方案”:在尊重历史及客观现实的基础上,建立来源国与占有国之间的合作磋商机制;以新型双重所有权机制为框架,建立文化遗产数字返还各方的权利义务体系;通过数字返还加强来源国与占有国在展示、研究、利用等方面的合作;推动以数字返还的方式解决文化遗产返还问题,并形成相关国际公约。Digital repatriation can be described as a process of returning cultural heritage assets,including digital photographs,collections,3D scans,and audio recordings,to their original communities.It also encompasses the restitution of intangible cultural heritage,such as traditional skills and knowledge,through digital means.In recent years,the perspectives of the European and American museum communities regarding cultural heritage acquired through illegal means have been changing.They now regard the return of cultural heritage as an opportunity to enhance the knowledge and research surrounding these collections.Meanwhile,it may facilitate setting up a rapport with the original community,create dialogue about contested heritages,and have in-depth discussions on related cultural issues.Ergo,this article tries to explore methodologies for returning cultural heritage and aims to identify effective practices for this“return”in the digital era.The article reviewed the historical development and evolution of the concept of cultural heritage return,including the perspectives presented in international treatises,inadequacies in addressing the looting and illegal trade of cultural artifacts,and three typical perspectives regarding this question:Cultural nationalism,cultural internationalism,and object-contextualism.Additionally,this article proposes an understanding of cultural heritage return that emphasizes restoring,repairing,and revitalizing cultural heritage which can be conceptualized as a shaping of shared space,namely a“virtual return.”The goal of this“return”is to reintegrate dispersed heritage into its source community and create a shared space among heritage-holding institutions,source communities,interested scholars,and the general public.Early examples of digital repatriation initiatives in the museum sector at the beginning of the 21st century are also examined.The unique properties of non-fungible tokens(NFTs)can link digital and physical assets together to establish ownership,providing a unique“di
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