The Paradoxes of Cultural Property
The Paradoxes of Cultural Property
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文化财产的悖论
DOI：
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发表时间：
2007
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通讯作者：
Naomi Mezey
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作者：
Naomi Mezey
当前许多文化纠纷都以歧视或仇恨言论的法律语言和逻辑为基础。本文的重点是在文化财产的基础上明确或隐含的主张。用文化财产的概念来解决文化纠纷的问题在于，文化财产鼓励了文化的贫乏，因此它作为一种财产形式是有意义的。文化财产是一个悖论，因为它赋予文化产品和文物特殊的价值和法律保护，但这是基于对文化生产和身份的一种净化和驯化的观点。在文化财产的逻辑中，每个群体都拥有和控制——或者应该控制——自己的文化。这种对文化财产的看法表明了对文化的保护主义立场。本文反对这两种假设，并提出一种考虑到其动态、挪用、杂交和污染的文化观点。作为对文化财产悖论的纠正，本文提供了一种文化融合与混杂的反叙事。这些主题是通过一个扩展的例子来说明的，这个例子是对美国土著吉祥物的一般规定，以及一个这样的吉祥物的发明——伊里尼威克酋长。
Many current cultural disputes sound in the legal language and logic of discrimination or hate speech. The focus of this Essay is on the claims made explicitly or implicitly on the basis of cultural property. The problem with using ideas of cultural property to resolve cultural disputes is that cultural property encourages an anemic themy of culture so that it can make sense as a form of property. Cultural property is a paradox because it places special value and legal protection on cultural products and artifacts but does so based on a sanitized and domesticated view of cultural production and identity. Within the logic of cultural property, each group possesses and controls—or ought to control—its own culture. This view of cultural property suggests a preservationist stance toward culture. This Essay argues against both of these assumptions and for a view of culture that takes account of its dynamisms, appropriations, hybridizations, and contaminations. As a corrective to the paradoxes of cultural property, this Essay offers a countemarrative of cultural fusion and hybridity. These themes are illustrated with an extended example of the regulation of Native American mascots generally and the invention of one such mascot—Chief Illiniwek—specifically.