Page 188 - 《社会》2026年第3期

灾难如何收藏：记忆的物质性与文化创伤的图腾

practices transform local，mundane objects into carriers of national and collective
remembrance. Drawing on the Strong Program in cultural sociology，particularly the
“icon theory”，the analysis develops an “authentic and aesthetic” framework to
investigate how disaster artifacts acquire iconic power through the interplay between
their material appearances and their deeper meanings. The findings show that by
directly incorporating everyday objects from disaster鄄stricken areas into their
exhibitions，museums，on the one hand，restore the symbolic meanings of disaster
memory to the complexity and reality of everyday life. On the other hand，the
destruction and trauma captured in material form give rise to aesthetic experiences
imbued with moral significance. In this way，exhibited objects preserve the
experiential texture of disaster while becoming materially grounded “totems” that
crystallize collective consciousness. More broadly，this study argues that the
durability of collective memory depends on material forms capable of directly
embodying moral sentiments，rather than on fluid discursive narratives alone. By
foregrounding materiality，it shows how local commemorative practices supplement
dominant narrative frameworks through irreducible material experience，thereby
sustaining collective disaster memory.
Keywords：disaster memory，materiality，collective consciousness，cultural trauma

一、 问题的提出：民间博物馆中的灾难纪念与记忆保存

灾难记忆研究涉及纪念行动、仪式、礼俗等经验现象，其理论指向
在于通过形成“正确的记忆”的话语过程形塑身份认同（ Schwartz，1982；
Eyerman，2019；王晓葵，2008），该研究路径揭示了记忆与共同体产生集
体意识的关联与作用机制。 灾难记忆因其负面属性和作为社会团结的
“暗面”，成为官方力量关注并介入的对象。主流叙事对负面记忆进行引
导、转化和消除，通过宣示政府在灾难应对和处理中的“在场”与作用形
塑集体认同（ Xu，2018）。 由此，灾难记忆的塑造是一种动态文化活动，
核心在于“拥有”与“定义”记忆的文化权力（Xu，2016）。 围绕灾难记忆
的保存与处理，官方与民间形成了不同的路径：主流叙事倾向于通过话
语过程确立整体性的叙事框架， 而民间往往以更为贴近经验现实的方
式延续对灾难的感知与记忆传承（王晓葵，2016）。
在由官方主导的纪念活动之外， 地域社会共同体存在着自在的灾

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