Research On The Production And Acceptance Of The Meanings Of Hunan Museum

As a representative cultural and tourist card of Hunan,Hunan Museum is an important window for people to understand Hunan culture.The meaning of local culture is not abstract.It is often produced and expressed through a specific representation system.Especially in the context of digital media,the channels of production meaning of Hunan Museum are more diversified,and visitors are also deeply involved in the generation of meaning.This paper takes Hunan Museum as the research object,and uses the methods of field work,in-depth interview and text analysis to discuss the following topics: how does Hunan Museum carry out referential practices through representation system,so as to create what kind of local culture? How does digital media intervene in visitors’ viewing practices,and how does visitors’ media practice affect the flow and generation of meaning? How do visitors accept the meaning presented by the museum?The research finds that: first,in the museum,"Hunan people" exhibition presents the connotation and characteristics of Hunan culture.Through the moving line of the exhibition,space-time narration and the interaction between literature and objects,it weaves the linear progress history of Hunan,creates the group image of "Hunan people" and condenses its spiritual core;second,Mawangdui exhibition further integrates the significance of Hunan archaeological remains into the grand narrative of Chinese civilization through the creation of wonders.In addition,the architectural configuration of the museum is intended to highlight the contemporary revival of Hunan civilization,and embed itself into the cultural and tourism network of Changsha through its location linkage and the setting of tourism special lines,so as to expand the communication context to Changsha as a whole as a red city and online red city.At the same time,the media practice of visitors is also deeply involved in the generation of Museum significance.Digital technology enables visitors to implement media interaction activities in the exhibition hall or text production on social platforms.The specific manifestations are as follows: in the exhibition hall,they independently plan the visiting route,change the uniqueness of the exhibition hall narrative,or make instrumental misappropriation of multimedia resources;At the same time,the meaning of the text is reconstructed through the expression and transformation of the text.That is,the media practice of visitors urges them to adapt,subvert or expand the meaning system of the museum.Therefore,visitors’ acceptance of the meaning of Hunan Museum has a pluralistic trend.On the one hand,visitors regard the museum as a provider of historical and cultural knowledge,from which they learn cultural knowledge and imagine the characteristics of the place,thus forming a local identity consistent with the meaning of the museum;On the other hand,they are immersed in the sensory stimulation brought by wonders,or consume the symbolic value of the museum.The visiting behavior shows the characteristics of fragmentation and entertainment,which dispels the cultural meaning contained in the museum.The above methods are not either or.They may be intertwined in individuals.In fact,they may be "cross subjects of multiple discourse".