法學專業(yè)外文翻譯--論我國非物質文化遺產保護的法律制度架構

1、<p><b>　　外文文獻翻譯</b></p><p><b>　　保存奇跡</b></p><p>　　Karin, Richard，聯合國教科文組織成員</p><p>　　《MAS Ultra大學版》第9期（2001）第54-58頁</p><p>　　隨著經濟全球一體化的進程，在

2、我們的視野中傳統(tǒng)的婚禮舞和詩人的語言逐漸地消失，因此保護非物質文化遺產并非易事。教科文組織努力去保護瀕危的杰作，同時向全世界展示中國傳統(tǒng)的昆曲、日本的能樂、印度舞蹈、來自格魯吉亞的男子和弦合唱、制作立陶宛木制和金屬十字架古老的知識還有幾內亞的索索巴拉的傳統(tǒng)音樂。在一個新的名錄中，聯合國教科文組織宣布這些為“杰出的非物質文化遺產”。 </p><p>　　非物質文化遺產這個詞語是一個由專家而不是巫師或音樂家所用的專

3、業(yè)術語。它一般是指非物質方面的文化成果，如故事和語言本身，信仰和價值觀，以及賦予文化活力的各種形式的知識和技能。這一遺產可以包括婚禮和葬禮、舞蹈、工匠的技能、口頭流傳下來的農業(yè)知識，甚至可以包括節(jié)日和聚會，如坦坦地區(qū)的木賽姆牧民大會。您可能認為只有在博物館才能發(fā)現這些文化的蹤跡，但是這些文化在我們身邊，是世世代代流傳下來的優(yōu)秀文化。這不是玻璃下的文化！ </p><p><b>　　日本的活國寶<

4、/b></p><p>　　在日本，學者們早已認識到無形的文化。在18世紀和19世紀，語言學家、民俗學家和其他人試圖整理世界的口頭傳統(tǒng)。然而，全面的“非物質文化遺產保護”是從近年來開始的。在1950年，日本意識到了傳統(tǒng)文化的重要性，開始了一個保護活國寶的長期項目。 類似的方案隨后在韓國，菲律賓，泰國，美國和法國開始。非物質文化遺產被看作是一種資產或資源而得到保護、贊賞、使用和管理，這個想法可以溯源回到明治時

5、代。在西方，同時，法學家把非物質文化遺產看作是知識產權中的一種資產，利用專利和商標制度去保護它。但是，有些集體的文化的創(chuàng)造是不成文的或無記錄的，所以在保護的時候依然存在一些問題。 </p><p>　　在二十世紀七十年代，聯合國教科文組織商討了世界文化遺產名錄，其中包括自然景觀。這促進更廣泛的思考，人們意識到了保護非物質文化遺產的緊迫性。在隨后的專家會議中，專家們繼續(xù)討論制定建議和制定技術。直到2001年5月這個

6、討論達到了頂峰，當年的聯合國教科文組織總干事松浦晃一郎首次宣布了19個具有代表性的人類非物質文化遺產。 </p><p>　　為什么用了這么長的時間才使這一概念融入國際意識？其中一個原因就是，這一概念長期與含糊不清“文化”聯系在一起 ?！斑z產”和“無形”剛開始也很難一起進行理解。第二，還有一個問題就是如何稱呼這個專業(yè)術語？ “非物質文化遺產”這個術語經過多次討論才最后確定下來。雖然術語有些模糊，但全世界保護非物質

7、文化遺產的意識日益增強。 </p><p>　　在宏觀層面上，如果用對待自然資源的方式對待文化資源，文化資源很容易瀕?；蛘呦?。雖仍有超過6000種語言在這個星球上，但是語言學家預測， 百分之五十至百分之九十五會在下一世紀里消失。絕大多數語言沒有書面形式，有些語言甚至沒有任何有形形式。一種語言徹底消失，這對于后人是一個無法彌補的巨大損失 。在微觀層面上，許多人不希望漸漸失去了祖先的故事和有意義的經驗。地方文

8、化有一種新的主張，“我的世界可能越來越大，但我仍然在一個小圈子里”。 在惡性的情況下，非物質文化遺產在宗教和種族的沖突演變成為暴力事件時引起世界的注意力。 </p><p>　　如何才能最好地理解和響應被聯合國教科文組織指定為無形“杰作”的非物質文化遺產，這個問題引發(fā)了陪審團考慮和辯論。首先是定義問題。非物質文化遺產具體包括那些內容，這沒有一個明確的答案。什么是無形的傳統(tǒng)？多久的文化習俗才能被稱為傳統(tǒng)？文化是否為

9、人廣泛傳播嗎？如果人們改變傳統(tǒng)的做法是應對不斷變化的情況，傳統(tǒng)應該被看作是一個成功的適應過程還是失去其本來的面貌？ </p><p>　　由于定義很難，所以意義就更加重大了。從某種程度上說，每一種語言是都一個杰作。 如何衡量一種語言在歷史上的作用和價值，這很重要。</p><p>　　也許更困難的問題是如何廣泛地保護遺產和傳統(tǒng)。如何維護消失或脆弱的傳統(tǒng)要？為了保持傳統(tǒng)，我們讓有維護能力的人

10、去信奉它。我們可能會喜歡有外觀或聲音的傳統(tǒng)，但這一想法會使一些人們的勞動報酬低和生活條件艱苦。 </p><p>　　辯論常常迸出智慧的火花，總能想到一些解決問題的方法。在某些情況下，非物質文化遺產可以被看作一個國家的精神財富，值得政府去大力支持對非物質文化遺產的保護，在稅收方面給予優(yōu)惠并給予相應的補貼。 </p><p><b>　　潛在的危險 </b></p

11、><p>　　保護非物質文化遺產是積極的，但它可能在社會實踐中被官僚機構所控制。在一些情況下，儀式慶祝活動可能會被看作是利用資產促使商業(yè)投資。這可能會帶來資金支持，但也可能摧毀具有重要意義的傳統(tǒng)，把它變成一項為游客演出活動。非物質文化遺產資源的價值可能會引發(fā)或者加劇人們之間的沖突，因為人們在爭取社會傳統(tǒng)的控制權，人們試圖從外部影響內部的權力平衡。更重要的是，什么是需要保存的文化，比如在一首歌里 ，需要保存的文化是創(chuàng)新

12、的記錄方法（錄音），是人（歌手）還是過程（歌唱）?</p><p>　　最后，還有一個問題是誰決定那些是需要保護的非物質文化遺產。聯合國教科文組織必須提名一些文化傳統(tǒng)以供審議。許多提名可能會出于很好的意圖，但有些人可能只是為了狹隘的利益集團的權力，導致有一些少數民族的傳統(tǒng)可能被忽略或者不能得到審議。鑒于許多民俗形式會產生對抗的國家統(tǒng)治的想法，國家的提名可能有缺陷。 </p><p>　　給

13、我留下了深刻的印象是聯合國教科文組織第一次認定的19個非物質文化遺產。 人們可以放心，在全球化的時代，當地的文化幸存下來了，有的甚至是蓬勃發(fā)展。人們會明白，在這樣一個不斷創(chuàng)新的時代，傳統(tǒng)有一些永恒的價值。地方、國家和國際組織提出了越來越多的保護計劃，這將更好的繼續(xù)激勵子孫后代保護非物質文化遺產。</p><p><b>　　外文文獻翻譯原文</b></p><p>　

14、　PRESERVING THE MAGIC</p><p>　　Karin, Richard, UNESCO Courier</p><p>　　MAS Ultra - School Edition, Vol. LXI (2001), pp.54-58</p><p>　　We can be swept away by a traditional wedding d

15、ance or entranced by the poets of a vanishing language-but defining this intangible cultural heritage is far from simple, as UNESCO'S efforts to safeguard endangered masterpieces go to show traditional Kumquat opera

16、of China, Novak theatre of Japan, Kutiyattam dance in India，men's polyphonic choral singing from Georgia, the ancient knowledge of crafting Lithuanian wooden and metal crosses, the Niagassola So-so Baal musical tradi

17、tion of Guinea. In a </p><p>　　Intangible cultural heritage is a technical term used by experts, not by shamans or musicians. It generally refers to immaterial aspects of culture--ephemeral products like sto

18、ries and language itself, as well as to the beliefs, values, and forms of knowledge and skill that give cultures their vitality. This heritage can, for example, include wedding dances and funeral laments, artisans' s

19、kills and orally conveyed knowledge of farming. It can even include festivals and spaces where people gather</p><p>　　Japan’s living national treasures </p><p>　　Scholars have long recognized t

20、he intangibility of culture. In the 18th and 19th centuries philologists, folklorists and others tried to document the world's oral traditions. Yet the term "intangible cultural heritage" is relatively rece

21、nt. In 1950, Japan initiated a living national treasures program to recognize the great skills of masters of the traditional arts. Similar programs began in Korea, the Philippines, Thailand, the United States and France.

22、 Intangible heritage was seen as an asset o</p><p>　　In the 1970s, discussion of UNESCO'S World Heritage List, which later came to include natural landscapes, stimulated broader thinking about the need t

23、o safeguard intangible cultural heritage. Meetings of experts ensued, recommendations were developed and the technical discussions continued until they reached a pinnacle in May 2001, when UNESCO'S Director-General C

24、oacher Matsuura proclaimed the first 19 Masterpieces of the Oral and Intangible Heritage of Humanity. </p><p>　　Why so long for this concept to make it into international consciousness? Well, for one, it has

25、 suffered the problem of vagueness long associated with the term "culture." "Heritage" and "intangible" just compound the difficulty. Second, there's a terminology problem--what to call

26、it? It is hard to imagine the term "intangible cultural heritage" sliding off the tongue of any laureates. Vagueness and terminology aside, interest in the subject has grown with public awareness of globalizati

27、on. </p><p>　　On the macro-level, cultural resources, in a similar way to natural resources, seem to be endangered or disappearing. Of more than 6,000 languages still spoken on the planet, linguists predict

28、that 50 to 95 percent will not last through the next century. The great majority is not written and lacks any tangible form. When a language dies, there is a startling loss of knowledge and expression accumulated over ge

29、nerations. On the micro-level, many people do not want to accept a social universe of h</p><p>　　Questions of how best to understand and respond to intangible cultural heritage sparked debate among the jury

30、considering nominations for the UNESCO's designation as intangible "masterpieces." First, there is the question of definition. A staged performance of an ancient play may have many tangible elements-written

31、 scripts, a temple theatre and elaborately crafted costumes. Yet does the fact that it is a performance render the tradition intangible? How long does the cultural practice have to be </p><p>　　As hard as it

32、 may be to define this heritage, the question of its value looms larger. To some extent, every language is a masterpiece. How to weigh the worth of one language against another in determining value and significance--by t

33、he number of speakers, its role in history, the beauty of its poetry? </p><p>　　But perhaps more difficult is the question of if and how to preserve the wide range of this heritage. Is it more important to s

34、afeguard vanishing or fragile traditions than popular, vital ones? To preserve the tradition, it is necessary to preserve the ability of people to practice it. We might like the look or sound of the tradition, but its co

35、ntinued practice would condemn people to labor with low pay and terrible conditions. </p><p>　　The strategies used also spark debate. In some cases, intangible cultural heritage may be viewed as a national t

36、reasure meriting government support, tax breaks, or subsidies. </p><p>　　Looming dangers</p><p>　　This can be positive, but it can also turn a practice controlled by the community into an instit

37、ution controlled by bureaucrats. In other cases, a ritual celebration may be seen as an under-exploited asset prompting commercial investment. This may bring funding support, but it may also destroy the very meaning of t

38、he tradition, turning it into an activity staged for tourists. The very recognition of the value of intangible cultural resources can initiate or exacerbate conflicts--people within th</p><p>　　Finally, ther

39、e is the issue of who decides. Nations belonging to UNESCO must nominate those cultural traditions for consideration as treasures. Many nominations may be put forth with the best intentions, but some might reflect narrow

40、 interests of a group in power. Some minority traditions may be overlooked or even censored from consideration. Given that many folk traditions arise as forms of resistance to national domination, the idea of national no

41、mination may be flawed. </p><p>　　I must say that I was impressed with UNESCO'S selection of the first 19 "masterpieces." One could take heart that in the age of globalization, local cultures h

42、ave survived, and sometimes even flourished. One would appreciate that in an age of constant innovation, tradition had some lasting value. The power and tenacity of the selected traditions and their practitioners was pal