【摘要】 研究立足于我国十一届三中全会前后两个政治语境存在巨大差异的时代,通过对不同时期四川大邑刘氏庄园文本表述进行了分析。结果表明,在20世纪60—70年代的极左时期,庄园的历史情境被现实化,文本在内容表述上体现出明显的阶级选择性,并且逐步用"历史事件"和艺术品取代了实物在文本中的地位,造成了文本表述中历史细节真实的虚无化。1979年,我国进入改革开放和社会主义建设新阶段,阶段斗争话语逐步被抛弃,文本开始进入文物表述阶段。特别是2000年以后,在保护和利用这一文物工作方针的引导下,庄园的遗产价值和旅游价值成为文本表述的基本框架,文物的规模、类型、艺术成就和历史意义促成了文本的历史叙事、文化叙事和地方叙事,也构建出了遗产的核心旅游吸引力。更多还原

【Abstract】 Although the selection and description of cultural heritage in specific political context has been fully discussed in existing literature, it is limited to research on the impact of changing political context on the description of heritage sites and artifacts. Few studies of the former socialist countries in Central and Eastern Europe, refer to the dilemma of how to deal with former socialist cultural heritage sites after the collapse of the socialist regime. On the one hand, new governments want to ignore and forget such memorials so that they can reconstruct the country’s past; on the other hand, they also want to use these sites to attract tourists. However, this ideological compromise is not applicable to China.Liu’s Manor Museum, which was established in the leftist period to answer the demand for class struggle education, represents the social history of Sichuan in the early 20th Century. In this paper, the changing description of Liu’s Manor alongside changes in the political climate is discussed.In the extreme leftist period, although the landlord class was wiped out, the continuing social imbalance among the people was regarded as the continuation of the previous class struggle. This struggle, a historical stage that was seemingly completed, once again dominated the political life of China. Liu’s Manor Museum was originally the private estate of Liu Wencai and his brothers, who were notorious landlords and warlords in Sichuan Province before liberation. It was selected as the most suitable site for conducting education about past class struggle because Liu’s family was regarded as a typical example of the landlord class, and it was described in the most common narrative structure of class struggle in that period: First, class oppression; second, class hatred; third, class struggle; and finally, victory in the struggle. In the selection of the narrative material, the descriptions of historical artifacts played a key role in the texts at the first stage. Later, fictional stories, as well as the description of the artwork that was made in accordance with the needs of political education, was playing a more and more important role, for they were thought to be more intuitive, more vivid, more emotionally appealing, and more educated. Since 1965, almost all of the descriptions have been literary and artistic.As a result, historical authenticity was replaced by artistic authenticity, for the latter can better meet the demands of the grand political narrative.During the period of reformation, opening, and modernization that began in the 1980s, leftist political context was abandoned. Lius Manor could be explained in a historical context. As the current government attaches great importance to the protection of cultural relics, the value of Liu’s Manor has been re-described in three dimensions. First, it is an important place to understand the politics,economy and culture of Chinese semi-colonial and semi-feudal society, as well as the history of Sichuan warlords. Second, it contains many valuable cultural relics, such as the manor’s architecture,clay, porcelain, and jade artifacts, calligraphy, and paintings. Third, it is an important place for understanding the history of the modern rural economy, as well as the social and traditional rural folk culture of Sichuan Province. In this reframing process, experts and scholars played a key role in describing Liu’s Manor, so the illustrative description of the size, type, artistic achievement and historical significance of relics became the basic dimensions in narrative materials, and more attention has been paid to maintaining accurate historical details of these relics. In addition, with the official policy of "rational utilization of relic resources", tourism has had increasing influence on relic description for tourism development is regarded as one of the main rational uses of cultural relics. For example, the description focused on the more representative cultural relics and more ornamental buildings or artworks, and was widely described in popular text as well as pictures.By contrasting the two types of description of Liu’s Manor, it can be recognized that as historical objects, relics can be described differently in different political contexts. In addition, China’s approach toward dealing with heritage sites from the ultra-leftist period is significantly different from that of Central and Eastern Europe. As a special political cultural "product" produced in the leftist period, Liu’s Manor has succeeded in achieving transformation in the current period. The retelling of this history,from the perspective of the semi-feudal and leftist periods, have both been effectively protected. Only in this way can China draw lessons and experience from history, so as to better prepare for the needs of the future.更多还原