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帝国主义与文物返还叙事 被引量:4

Imperialism and Discourses of Repatriation
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摘要 大规模的文物流失以及20世纪70年代以来的文物返还诉求植根于西方帝国主义,并在不同的话语下被赋予不同的含义。文物返还的反对者与支持者分别以1954年《海牙公约》及1970年《UNESCO公约》为依据,就艺术品来源的合法性,"文化财产"的界定以及与文物返还相关的伦理、道德等问题引发诸多争论。在全球化及后殖民语境下,文物来源国与博物馆从对抗走向协商、合作,并试图以对话方式实现共赢。 Large-scale losing of cuhural relics and the appeal of repatriation arising from the 1970s are rooted in western Imperialism and have been given different meanings in different discourses. Respectively based on the 1954 Hague Convention and the 1970 UNESCO Convention, the opponents and supporters of repatriation have debated issues such as the legitimacy of the origin of art, the definition of "cultural proper- ty", and the ethic and moral questions regarding cultural repatriation. In the context of globalization and post-colonialism, the source country and the museums where the cultural property is kept are stepping to- ward negotiation and cooperation from confrontation trying to achieve a win-win solution through dialogue.
作者 杜辉
出处 《东南文化》 CSSCI 北大核心 2013年第4期11-16,127-128,共6页 Southeast Culture
基金 中央民族大学民族学人类学理论与方法研究中心、“985工程学科建设项目--北京市重点学科人类学”资助
关键词 文物返还 帝国主义 话语 叙事 repatriation Imperialism discourse narrative
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  • 1[美]约翰·亨利·梅里曼.《导言》,[美]约翰·亨利·梅里曼编、国家文物局博物馆与社会文物司(科技司)译《帝国主义、艺术与文物返还》,译林出版社2011年,第3、9、10页.
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