活历史:一种艺术人类学研究的方法论探析  

Living History:An Exploration into the Methodology of Art Anthropology

作　　者：方李莉 刘侗勋 FANG Lili;LIU Dongxun

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《民俗研究》2025年第1期5-19,156,共16页Folklore Studies

基　　金：国家社科基金艺术学重大项目“中国艺术人类学的理论与实践研究”(项目编号:21ZD10)的阶段性成果。

摘　　要：“活历史”的概念最早由人类学家马林诺夫斯基提出,被费孝通所完善,并在中国艺术人类学界的不断运用实践中得到进一步的深化。当今为人类社会所应用的不仅仅是自然资源,人文资源亦越来越重要。从某种程度上来说,人文资源具有“遗产资源”的属性,因为它往往是以遗产的形式呈现的。遗产资源不仅是当今文化发展的基础,也是促进当今经济(文化产业、旅游经济等)发展的入口处。正因为“遗产资源”这一概念的出现,历史就不再是静态的过去,而是成为被记忆、被重构的资源库,不断产生新的解释体系。遗产资源既活在过去,也活在当下甚至未来,而“活历史”的概念也由此有了新的价值和意义。The concept of“living history”was initially introduced by anthropologist Bronis?aw Malinowski and later refined by Fei Xiaotong.With continuous utilization and application within the sphere of art anthropology in China,it has been further deepened as a key term.Human beings face not only natural resources but also cultural resources.To a certain extent,cultural resources may be understood as heritage resources because they are often presented in the form of heritage.They serve not only as the substratum for contemporary cultural development but also represent the catalyst for propelling economic progress in the modern era,including the cultural industry and tourism economy.Owing to the concept of heritage resources,history is no longer a static past but has become a resource library that is remembered,reconstituted,and constantly generates new interpretive systems.It is vibrant not only in the past but also in the present,and even portends the future.The concept of“living history”thus acquires fresh significance and interpretive relevance.

关 键 词：“活历史” “三维一刻” 艺术人类学 遗产资源 

分 类 号：C912.4[经济管理] J0-05[社会学]