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以昆曲为代表的非物质文化遗产曾一度面临消亡的窘境,而近十多年来中国“非遗”保护的热潮似乎使这些传统艺术形式得到了有效的延续。然而大众文化与传媒时代的“记忆危机”仍然是当前传统文化遗产面临的问题,在大众传媒的笼罩下,“回忆”已成为消费品和人为编造的历史。德国文化学家阿斯曼所提出的“记忆的危机”也正是当前文化全球化境遇下,各民族与国家的传统文化遗产所面临的共同问题。“记忆”问题的提出,是20世纪人类文化史上值得注意的话题,而阿斯曼所归结的“文化记忆”理论对于非物质文化遗产——昆曲的保护更具有深刻的启示意义。
The intangible cultural heritage represented by Kunqu once faced the dilemma of extinction, and the upsurge of protection of non-legacy in China in the past ten years seems to have effectively prolonged these traditional art forms. However, the “memory crisis” in the mass culture and media era is still a problem that the traditional cultural heritage faces. Under the shadow of the mass media, “memory” has become the history of consumer goods and man-made fabrications. The “crisis of memory” put forward by German cultural scientist Asman is exactly the common problem faced by all ethnic groups and the country’s traditional cultural heritage under the current situation of cultural globalization. The proposition of “memory ” is a notable topic in the history of human culture in the 20th century, and the theory of “cultural memory ” boiled down by Asmann has a more profound implication for the protection of the intangible cultural heritage .