The Research On The Assmanns’ "Cultural Memory" Theory And Its Significance

In the 1980 s,German scholars Jan Assmann and his wife Aleida Assmann,based on the issues of identity and memory crisis formed by the unification of the German nation after World War II,creatively constructed the theory of "cultural memory" and its theoretical interpretation framework to systematize the theory of cultural memory.In the 1980 s,German scholars Jan Assmann and his wife Aleida Assmann systematized the theory of cultural memory by creatively constructing the framework of "cultural memory" and its theoretical interpretation.Since then,"memory" has finally escaped the confines of physiological research,and "cultural memory" has been regarded as a form of theory inseparable from culture and history,and has been generalized to a cultural dimension.The conceptual meaning of "cultural dimension" was generalized.Subsequently,Assmann’s theory of "cultural memory",with its unique spatio-temporal properties,cultural tensions,and identity pointers,has rekindled the reflection and interpretation of many issues of "memory" in the academic community,and has gradually revealed the interdisciplinary and cross-cultural nature of "cultural memory" theory.It has gradually revealed the interdisciplinary and cross-cultural research vision and multi-dimensional path of "cultural memory" theory.Based on the existing theoretical translations and literature of the Assmanns,the dissertation takes the Assmanns’ "cultural memory" as the object of study and tries to identify and integrate it in a way that will reveal the deep tension of the meaning of "cultural memory".The study aims to identify the deep meaningful tension and theoretical significance of "cultural memory".Specifically,by exploring the domain of the expression "cultural memory",we trace its theoretical connotation and extension,define and clarify its origin,theoretical connotation,basic dimensions,uniqueness,academic value and path inspiration,and conduct a theoretical study of "cultural memory" in order to We will also examine the theoretical origins,theoretical connotations,basic dimensions,uniqueness,academic value,and pathological implications of "cultural memory" in order to fill in the gaps in existing research.First,the theoretical origins and development of Assmann’s "cultural memory" are discussed.Under the momentum of the cultural turn,Assmann’s "cultural memory" was born and developed amid the convergence of historical and cultural contexts and multiple theoretical trends.This section takes stock of the origins and cultural background of Assmann’s theory of "cultural memory" and clarifies the theoretical genealogy and evolutionary direction of "cultural memory".The first is to discuss the multiple immersions of philosophers of memory,Halbwachs,Warburg,and Nora in Assmann’s theory of "cultural memory";the second is to focus on the historical and cultural contexts in which "cultural memory" was generated,to gain insight into the practical dilemmas faced by "cultural memory",and to dissect the theories of "cultural memory".The second is to focus on the historical and cultural contexts in which "cultural memory" was created,to understand the real dilemma faced by "cultural memory",and to analyze the causes of the modernity of memory crisis.Secondly,we clarify the conceptual domain of Assmann’s "cultural memory".This part is based on the definition and analysis of the concept of "cultural memory",and analyzes its conceptual domain from the dual perspective of culture and memory theory to clarify the ambiguous boundary of Assmann’s "cultural memory" in order to clarify its connotation and theoretical conception.First,the term "cultural memory" is defined separately from "memory of interaction," "tradition" "archive" and "historical memory ";the second is to explore the cultural properties and memory mechanisms of "cultural memory" with an eye to the dual vision of cultural studies and memory theory;thirdly,the academic evolution and multidimensional interpretation of "cultural memory" is clarified,based on its continuous "memory wave" and theoretical conceptions,presenting its cultural contextual changes in different theoretical contexts over time.Further,the basic dimensions of Assmann’s "cultural memory" are explained.This section places "cultural memory" in a visual framework through five theoretical entry points:the temporal dimension,the spatial dimension,the medium dimension,the functional dimension,and the power dimension,and analyzes and explains it in depth one by one: the temporal dimension is highlighted from the dual temporality and the function of continuity over time;the spatial dimension is explored from the place of awakening and the dimension of remembrance;the materiality of the "image of memory" and the medium is turned to look at its medium dimension;and the distinction between functional memory and stored memory is examined from the The spatial dimension is explored in the context of the place of awakening and the dimension of remembrance;the media dimension is viewed in the context of the materiality of the "image of memory" and the media;the functional dimension is presented in the context of the division between functional memory and stored memory;and the power dimension is considered in the context of the intertwining of the symbolic system and power intervention.The above five dimensions together interpret "cultural memory",unblock the slightly ambiguous posture of the concept,and move it from the silent concealment to the clarity and openness.Then,the uniqueness of Assmann’s "cultural memory" is explored.This section focuses on four key words: temporality,identity,textuality,and reflexivity,and provides a theoretical explanation of the unique features of "cultural memory".The Assmanns hold a theoretical position of cultural studies,and the transformation of their rudder is not just a metaphor or a transfer of concepts,but also a unique element that permeates the shaping and representation of "cultural memory".The thesis brings together the four key words mentioned above as the core points to grasp the continuity,consistency,constructiveness and reflexivity of "cultural memory" and to restore and reveal the intrinsic value of "cultural memory".In addition,the academic value and pathological inspiration of Assmann’s "cultural memory" theory are reviewed,and its limitations are reflected upon."The introduction of the theory of "cultural memory" has advanced the construction of contemporary memory terminology and gradually formed a theoretical paradigm of "socio-cultural" memory.The concept of "cultural memory" has advanced the construction of contemporary memory terminology and gradually formed a theoretical paradigm of "socio-cultural" memory;it permeates the aesthetic practice and aesthetic introspection of "cultural memory" and gives an aesthetic view of it.However,as a cultural category that is still growing and open,it also has certain limitations.Finally,by grasping the real problems of fractured cultural memory and the lack of local memory terminology in China,the thesis tries to propose the idea of constructing "aesthetic memory" and "literary memory" and explore their possibilities as a framework for interpreting contemporary Chinese issues.From the above analysis,the thesis argues that the rise of Assmann’s "cultural memory" research may be interpreted as a paradigm shift and a new promised land.With its inclusive media orientation and material characteristics,"cultural memory" has overturned the "reductionism" of memory,which is superficial and confined to one corner.Under the current cultural context of spatial shift,memory fracture and forgotten classics,Assmann’s "cultural memory" takes a different approach to reconstruct the chain of time and space.In the accumulation of deep time of culture,the temperature and virtue of "cultural memory" keeps extending its theoretical tentacles,and as a "witness",it dispels the fog of the text and conveys a cohesive identity structure and a diachronic cultural identity.