记忆与叙述:关于知青题材展览的思考——以“佛山知青大旺记忆展”为例

Memory and Narrative:Reflections on Exhibitions on Zhiqing:A Retrospective Exhibition about the Educated Youth of Dawang as an Example

出于博物馆见证历史的属性以及相关史料驳杂等原因,博物馆展览在现当代史叙事方面多持谨慎态度,这在知青题材的叙述上也表现得较为明显。作为一种群体叙事,知青集体记忆具有三个维度:个体记忆存在共性和差异性,以国家话语和纪念性事件作为记忆建构的支点以及去日常化倾向。博物馆策划知青题材展览具有现实意义,从“记忆”角度出发,关注知青集体记忆,强调知青作为“叙述者”和“受述者”的双重角色,并自觉将展览形塑为“记忆之场”。这既是回应知青诉求的重要方式,又是博物馆发挥社会功能的体现。不过博物馆展览作为“记忆之场”,又是生产“记忆之场”的方式,它在形塑、强化某一种记忆时,有可能遏制另一种记忆的发展,也有可能停滞甚至中断记忆的自然进程。

Museums represent history.However,due to the complicacy of historical materials,museums are rather cautious in handling contemporary history such as the history related to the Zhiqing generation(the Educated Youth).As a group narrative,the collective memory of Zhiqing has presented three features:the existence of commonalities and differences in individual memories,the use of national discourse and monumental events as the fulcrum of memory construction,and the tendency to downplay everyday life.It is advantageous for museums to have Zhiqing themed exhibitions.Focusing on the collective memory of Zhi-qing,highlighting their dual identity as the subject and object of narrative,and turning the exhibition into a field of memory,museums are not only responding to the generation’s nostalgia but also realizing their role as a social institution.However,as a“field of memory”and a way to produce the“field of memory”,museum exhibitions may shape and reinforce one kind of memory while curbing another kind of memory,and may even stagnate or interrupt the natural process of memory shaping.