群体记忆、审美仪式与治理性——以侵华日军南京大屠杀遇难同胞纪念馆和渡江战役纪念馆新馆为例

Collective Memory,Aesthetic Ritual and Governmentality:Exemplified by the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders and the New Memorial Hall of the Yangzi River Crossing Campaign

作为战争记忆的物化遗存,侵华日军南京大屠杀遇难同胞纪念馆和渡江战役纪念馆以迥异的方式展示战争的文化记忆,在传统急剧消解的今日反而创造出新的文化形式参与到当下的文化生活中。在面临日益私人化、个人化情感危机、价值虚无和政治冷漠的今日,这种集体性的文化体验是很值得我们去研究的。民众在参观纪念馆这种审美"仪式"过程中,群体记忆被唤醒,纪念馆的空间美学意义被解读,爱国主义和政治认同、身份认知、历史阐释等作为一种新的文化被创造,国民作为文化和审美意义上的主体被塑造,实现审美教育和政治认同。

As sites of war memory,the Memorial Hall of The Victims in Nanjing Massacre by Japanese Invaders and the New Memorial Hall of the Yangzi River Crossing Campaign display the memory of war culture in totally different styles.They create new forms of culture and participate into the existing cultural life against the tradition-deconstructing setting.In view of the crisis of emotional individualization and privatization,value nihilism and political indifference,such collective cultural experience is worthy of studying.While the masses visit the War Memorial Halls,the aesthetic ritual awakens their collective memory,the aesthetic implication of space of the War Memorial Halls is recognized,patriotism,political identification,personal identity and historical interpretation are constructed as a new culture,the masses are shaped into the cultural and aesthetic subject.The aesthetic ritual achieves aesthetic education and political identification.