民居博物馆场所营造中的原真性、表演和身体

Authenticity,Performance,and Body in a Folk House Museum’s Placemaking

面临商业化挑战的历史城镇经常因违背原真性原则而被诟病。本研究借助“存在主义原真性”和“表演性原真性”的理论框架,对原真性的偏狭理解进行批判性反思,并倡导对身体感知的重视,以对抗视觉中心主义的束缚。LJ古城私立民居博物馆的地方知识精英,在场所营造中体现了存在主义和表演性的原真性特质,他们介于经营策略与文化自救之间的地方行为,构成对“视觉中心主义”这个现代性桎梏的有力批判。根据自身对“传统”的理解,民居博物馆主理人突破了“复原日常生活”民居博物馆的常规做法,为古城镇建筑遗产的动态维护开创了新的路径。其中,身体的在场,是实现存在主义真实性的必要条件,包括东道主和游客在内的各类人群都参与其中。身体在连接环境与人、融合多元主体方面,展现出显著的建设性效用。该民居博物馆的经验也说明,在场所文化保育的过程中需要正视文化重建的逻辑,在积极干预之下,让场所精神驻留,并认可情感伴随的意义及相应的经济文化价值。

Historical towns and cities facing the challenges of commercialization are often criticized for violating the principle of authenticity.Drawing on the theoretical frameworks of“existential authenticity”and“performative authenticity”,this study critically reflects on the parochial understanding of authenticity and advocates the importance of bodily perception to counter the constraints of ocularcentrism.Taking the LJ Old Town Private Folk House Museum as a case study,this article explores how its local intellectual elites have embodied existentialism and performative authenticity in their placemaking.Based on their own understanding of“tradition,”the directors of the private house museum broke away from the conventional practice of“restoring everyday life”in private house museums.They no longer believe in the theory of restoration,and therefore have been opposing the use of props to reproduce the scenes of daily life as to“seal”the daily life.Instead,they now emphasize the spirit of the place through decorations made by local literati.In fact,this novel approach criticizes the objectivist and subjectivist viewpoints of authenticity together with the standard of authenticity that maintains the original state.The LJ Ancient City Private Folk House Museum has gone through several capital sieges and the splendor of private clubs,and today it has become a pure public welfare cultural facility with the support of the local government.During these several rounds of transformation,historical changes,personal grudges,economic trends,the landscape of LJ itself,the special texture of the ancient city,and many other fields are mixed,constituting a“terrain”of LJ courtyard.During the complex process of breakout,what remains constant is the body’s physical presence that matches the scene.The organizers are not only cultural conservationists,but also tour guides and owners of the courtyard.Their half-life,half-professional performances,using the practice of embodiment,allow the personal initiative of both the host and the guest to interact with the outside world so that everyday actions are naturally transformed into the production of meaning.The hosts convey the details and stories of the courtyard to the tourists and collaborate with them to write about the place,naturally injecting the history of the location and the emotion of“protecting the ancestral house”into the tourists’experience,making the flat tourist experience three-dimensional and allowing the tourists to establish a deep connection with the courtyard.Visitors not only have a visual experience but also feel the spirit of the place on the level of auditory and comprehensive sensory context.This casestudy furthermore illustrates that,in practical terms,local literati need to be given enough space to mobilize the cultural resources they have accumulated through“embodied cognition”in the middle ground between commercial operation and cultural redemption,and to explore the path of heritage revitalization that guarantees a livelihood and allows for the transmission of the essence of culture.The experience of this residential museum also reminds us that in the process of cultural conservation,we need to face the logic of cultural reconstruction and keep the spirit of a place with active guidance,as well as recognize the significance of emotional accompaniment and the corresponding economic and cultural value.