راهبردهای کلان حفاظت از میراث فرهنگی ایران با تاکید بر میراث مستند و مکتوب

این پژوهش با هدف یافتن راهبردهای کلان جمهوری اسلامی ایران برای حفاظت از میراث فرهنگی و با تاکید بر میراث مستند و مکتوب نگارش یافته است. برای این منظور ابتدا لازم بود وضعیت فعلی میراث فرهنگی در کشور مشخص شود تا بر مبنای آن بتوان راهبردهای حفاظت از میراث فرهنگی را شناسایی کرد. برای شناخت وضعیت فعلی میراث فرهنگی در کشور از روش تحلیل محتوای اسناد بالادستی (شامل قانون اساسی، سند چشم‌انداز، سند اصول سیاست فرهنگی و برنامه‌های پنج‌سالۀ توسعۀ اقتصادی، اجتماعی و فرهنگی جمهوری اسلامی ایران) و مصاحبه با 10 نفر از خبرگان این حوزه استفاده شد. پس از تحلیل محتوای اسناد و مصاحبه‌ها، نقاط قوت و ضعف، فرصت‌ها و تهدیدهای پیش روی جمهوری اسلامی ایران در مسئله حفاظت از میراث فرهنگی (مستند و مکتوب) مشخص و احصا شد. نتایج حاکی از آن بود که فرصت‌ها و تهدیدهای پیش روی جمهوری اسلامی ایران در مسئله حفاظت از میراث فرهنگی در حالت برابری قرار دارند و میراث فرهنگی جمهوری اسلامی ایران بیشتر از ناحیه عوامل استراتژیک داخلی در معرض آسیب قرار دارد. درنهایت و با توجه به نتایج به‌دست‌آمده 40 راهبرد کلان تدوین شد که در 4 مقوله اصلی «سیاست‌گذاری و مدیریت فرهنگی»، «نهادها و سازمان‌های فرهنگی»، «آگاهی اجتماعی» و «هویت ملی» احصاء شدند.

macro-strategies for the protection of iran’s cultural heritage with an emphasis on documentary and written heritage

today, the importance and position of cultural heritage and its cultural, social, economic, and political functions are undeniable. it is due to this significance and fundamental impacts that various societies strive to preserve and promote their cultural heritage. cultural heritage is also one of the most important and essential pillars of identity formation, cohesion, and national self-confidence in any country. countries with this foundation enjoy high stature and respect in international forums. iran, with its rich historical and cultural background, houses a vast heritage, making research in the field of cultural heritage in iran even more necessary. given this, the protection of cultural heritage is crucial, and in this context, establishing appropriate laws, planning, and taking proper actions to build a present and future based on historical experiences is an unavoidable necessity. therefore, understanding the current situation of cultural heritage in iran and seeking suitable policies for the future is the aim of this research. for this purpose, the current state of cultural heritage protection needs to be examined so that strategies can be developed based on this assessment. it is important to note that in this study, “protection” refers to safeguarding the “iranian identity” of cultural heritage, rather than its “material form.” achieving this goal requires attention and policy-making from cultural managers at the national level so that these policies can prevent interference, appropriation, or even claims of ownership over iran’s cultural heritage by other countries. additionally, this study specifically focuses on a type of cultural heritage referred to as “documentary and written heritage.”documentary heritage, which gained global attention after the establishment of the “memory of the world programme” by unesco in 1992, symbolizes the cultural identity of various nations, forms an important part of national memory, reflects each nation’s contribution to shaping different periods of human civilization, and is a central subject of the memory of the world programme. in this program, works that have national, regional, and global significance and meet one or more criteria related to time, place, individuals, theme, form, style, and social or spiritual importance are registered in national, regional, and global lists. the reality is that registering works in the memory of the world list significantly enhances the status of a heritage. this registration raises awareness among governments, ngos, foundations, and the general public about the importance of their heritage and increases expert attention to a work from various perspectives, including both its content and its preservation quality. many universities and research institutions have become sensitive to this and strive for the longevity of these works. furthermore, world heritage works are promoted globally in books and unesco catalogs. these factors have led different countries to adopt regular and targeted policies to register their documentary heritage in the unesco memory of the world programme, using it as a tool for soft power in their international relations. however, in iran despite its rich heritage resources-the necessity of such actions has not yet been seriously recognized, and if there is any awareness, it mostly comes from the public and civil society organizations.