麻辣香锅食材
议题I：文物保护与回归
文物保护与回归
ECOSOC
DESCRIPTIO OF THE COMMITTEE
The Economic and Social Council (ECOSOC) overes（监督）the economic and social work undertaken within the UN system. Member countries debate economic and social issues. And many different UN organizations that address（处理）the issues report to ECOSOC.
东风再起Unlike the General Asmbly, which includes all 192 member states, ECOSOC has only 54 members. Member states are elected（选举）by the General Asmbly, and are lected as to reprent respective（各自的）regions of the world. They rve three-year terms（任期）. Members draft（起草）and vote on resolutions to address global concerns, and each resolution requires a simple majority（简单多数）to pass.
TOPIC: THE PROTECTIO A D RETUR OF CULTURAL ARTIFACTS TO THEIR COU TRIES OF ORIGI
）
物保护与回归）
（文物保护与回归
I TRODUCTIO
Culture has a profound（深远的）influence on national identity（认同感）. It is a basis（基础）for mutual understanding（相互的理解）within a society. It defines civilizations and is pasd down to generations. Works of art, architecture（建筑）, religious icons（宗教的圣像）and even stories and songs provide insight（了解）into civilizations including our own. However cultural heritage（文化遗产）can be fragile. Art works become more difficult to prerve（保护）as they become old, and when poems or stories are pasd down through generations, there is a risk for them being forgotten.
For veral decades, the United Nations has placed special emphasis on prerving cultural heritage around the world. UN Member States have condemned cultural looting（掠夺）, or stealing, and the intentional（故意的）destruction of artifacts. However, factors（因素）such as war, political
instability（动荡）and greed（贪婪）have made prervation a difficult task. For centuries, the removal（转移）of works of art and other items from a country was considered to be the right of conquering nations（征服国）. Cultural artifacts were spoils （战利品）of war, symbols of a conquering nation’s military and political power. And though the looting of cultural artifacts sounds like a thing of the past, recent armed conflicts（武装冲突）show that the protection of cultural property（财产）is still a significant problem. To make matters wor, the illegal trade（非法贸易）of protected artifacts has become a profitable（有利可图的）business. Just as nations once claimed（索取）treasures through war, individuals and groups now claim them for economic profit.
In many cas, ownership（所有权）of cultural property remains highly disputed（有争议的）. Muums or private collectors may have legally purchad a work of art or religious item years ago. In such instances, the return of
the cultural artifacts becomes a complex issue. And although some nations may demand the return of the artifacts, many argue that they are unable to properly care for and prerve the items in question（被谈论着的）. In addition, cultural artifacts can be both beautiful and high-priced, making it all the more difficult for a current owner to give them up without compensation（补偿）.
The United Nations has called for the return of cultural artifacts to their countries of origin, but to date（时至今日）, there have been no universal guidelines（普遍方针）for this transfer. It is esntial（非常重要的）that all nations have the opportunity to study, reflect on and enjoy artifacts of their cultural heritage.
BACKGROU D
The History
According to the United Nations Educational, Scientific and Cultural Organization (UNESCO) （世界教科文组织）cultural property refers to “property which, on religious or cular（俗界的）grounds, is specifically designated（命名为）by each State as being of importance for archaeology（考古学）, prehistory（史前时期）, history, literature, art or science.”1 By the criteria（标准）, cultural artifacts include more than simply paintings or pottery（陶器）. According to UNESCO, any object that is reprentative（有代表性的）of a culture’s past should be protected so that future generations can learn more about that culture, its beliefs and its place in the world.
But for centuries, cultural artifacts have been stolen, bought, destroyed and traded without regard for prerving a nation’s or a people’s past. Today, professional archaeologists usually abide by（遵守）
如何申请营业执照strict guidelines in order to excavate（发掘）, or dig up, cultural artifacts. But even so, legal excavations rai questions over the proper destination（目的）for culturally significant（重要的）objects. While muums may be able to care for precious and fragile works, and put them on display（陈列）for thousands to view and rearch, many argue that artifacts lo significance when removed from their surroundings. Additionally, it is difficult to study how past cultures ud the items if they are removed from their original location.
Initially（最初）, UN Member States were concerned mainly with ensuring that artifacts were not stolen and sold on the worldwide black market（黑市）. Culturally significant sites (such as temples, historic villages, etc.) have been looted throughout history. In the past, theft（偷盗）was rerved for the most precious relics（遗产）–tho that were made of rare materials or that held a particular significance. Tomb robbers and grave diggers would often ek out prominent（著名的）religious sites becau many ancient cultures buried their dead with treasures. Similarly, invading（入侵的）armies would often take precious artifacts from conquered lands as symbols of their power.
Stealing and lling cultural artifacts is nothing new. In fact, a law against looting from tombs and gravesites can be found in the Amherst Papyrus– an Egyptian legal document dating back to 1134 B.C.
Source: “Fighting the Illicit Traffic of Cultural Property,” International Council of Muums,
icom.muums/traffic.html.
窟窿头The Reason Behind Stolen Artifacts
In the past few decades, theft of cultural artifacts has incread significantly. Not only are ancient sites being looted, but muums are being robbed as well. Today, even objects that do not contain precious metals or gems （宝石）can be sold at extraordinary prices. As a result, the artifacts that may reveal（显露）the most about a past civilization (such as pottery and art) are frequently stolen and transported away from their surroundings. Theft
and illegal trade occur for a number of reasons. First, some nations do not adequately （充分地）protect archaeological sites. This may be the result of political instability or simply the abnce （缺失）of laws concerning the issues. If nations are not able to impo （强制施行）laws, it becomes very difficult to prevent cultural artifacts from being taken out of the country.
Second, a porous border (one that can be easily crosd without checks by customs officials) allows artifacts to be smuggled （走私）into and out of a country more easily. Since obtaining information a
bout stolen artifacts is difficult, countries often also have trouble identifying （识别） legal or illegal shipments. Finally, the sheer （大量的） demand for the objects by buyers ensures that there is a profitable market for stolen goods. Interpol, the international police organization, estimates that the trade in cultural objects each year is worth almost $4.5 billion.2
The Problem of Restoration （回归回归））
Countries want the return of artifacts in order to study their own history, educate future generations and promote
tourism. According to UNESCO, “The restitution温室效应图片
（归还）of cultural property taken illicitly （违法地）from its place of origin can rve to restore a n of meaning and dignity （尊严）to the people of the society and, in this way, contribute to building a culture of peace.”3
However, even when stolen objects are discovered, returning them to their nation of origin is not an easy task. An object’s past may be unclear; its original site may not be identifiable. Additionally, cultural artifacts—even tho that have been stolen—may often be purchad legally by art buyers o
r muums. When nations demand the return of artifacts, muums and collectors may insist on being compensated.
In many cas, even though items may have been stolen initially, muums acquire them legally. Sometimes, muums are better prepared to care for and prerve an artifact. Some argue that by placing artifacts in a muum rather than a remote （偏僻的）cultural site, more people will have the opportunity to learn from the object and its originating culture.新年祝福语视频
The Elgin Marbles （埃尔金石雕埃尔金石雕））
Perhaps the most famous debate over the removal and return of culturally significant objects continues between the governments of the United Kingdom and Greece. In 1801, Lord Elgin, a British ambassador to the Ottoman Empire （奥斯曼帝国）, began cataloguing （记录）and studying works of art and architecture in Greece. Over the next decade, he excavated a site on the Acropolis of Athens （雅典卫城）– the center of the ancient city which has since become one of the most famous archaeological sites in the world. Soon, Lord Elgin acquired （获得）pieces from the Acropolis’ most renowned （享有盛誉的） temple, the Parthenon （帕特农神庙）. By 1816, the British government purchad the marble （大理石的）decorations and placed them in the British Muum in London.
According to Interpol, the international police organization, over 40,000 cultural objects were stolen in 2001 alone. But even this estimate （估计）is probably far below the actual number. Thefts are often difficult to determine becau not all countries report them (Interpol’s list includes information from only 39 countries). According to the organization’s databas, though, Italy, France, Belgium, Switzerland, the Czech Republic, Germany and Turkey report the most thefts of cultural objects.
Source: “Stolen works of art: Frequently Asked Question,” Interpol,
www.interpol.int/Public/WorkOfArt/woafaq.asp.
边城游侠Today, the Parthenon is widely considered to be one of the most important architectural designs known and the Acropolis has been placed on UNESCO’s World Heritage list. This list outlines over 300 of the world’s most treasured monuments（遗迹）, sites and buildings that, according to Article 1 of the Convention Concerning the Protection of World Cultural and atural Heritage, display “outstanding universal value from the point of view of history, art or science.”4The Parthenon itlf even appears in UNESCO’s logo.
But while the Parthenon still stands alongside the other Acropolis temples, much of its decoration, including sculptural panels（雕塑板）, resides（存留）in England. In 1816, a committee of the Unite
d Kingdom’s Hou of Commons found that Lord Elgin had acquired the Parthenon artifacts legally, though official documents proving their legal purcha are today either destroyed or insufficient as evidence（不充足的证据）. The British Muum then placed the items, known as the Elgin Marbles, on permanent（永久性的）public display. While they can be loaned（借出）to other muums around the world, they reside in a permanent exhibit built specifically for them.
The Greek government concedes（容许）that articles of ancient Greek civilizations are displayed all over the world for millions to appreciate. But the Elgin marbles, it argues, “are a unique ca.”5According to the former Greek minister of culture, Elissavet Papazoi, “The sculptural decoration and architectural elements of the Parthenon were not created as independent works of art; they were conceived（构想）and designed from the outt （从一开始）as integral parts of the monument. And the monument, built in the 5th century BC, still stands on the Acropolis of Athens.”6
The debate over the final location of the Parthenon marbles continues today. In 2002, both sides emed to edge clor to an agreement by avoiding the topic of ownership: the pieces were to be loaned to Greece by the British Muum in time for the 2004 Olympic Games in Athens, assuming（如果）a muum that could protect the marbles was built in time. However, in 2003, Greece again asrted that the British Muum had no rightful ownership of the marbles. The Muum then refu
军训的活动内容d to transfer the pieces, regardless of whether a Greek muum was constructed in time for the Olympics.7
While the Elgin marbles are perhaps the most famous dispute over the return of cultural artifacts, they are by no means（一点也不）the only objects in question. Nations around the world continue to argue over who should hold precious artifacts from past civilizations and what the objects mean for culture, identity and national pride.
Iraq and Cultural Artifacts
The situation in Iraq has become one of the most widely debated issues at the United Nations in recent years. But while nations have argued over military action and political reconstruction, other issues involving cultural curity also need to be addresd. Lying at the crossroads（十字路口）of veral ancient civilizations, including the Assyrian（亚述的）, Babylonian（巴比伦的）and Sumerian（苏美尔的）dynasties（王朝）, Iraq has always held an important place in archaeological and historical study. As a result, the recent war raid many concerns over the protection of important cultural artifacts.
During the military conflict of early 2003, and throughout the period of reconstruction that followed, s
ome of the world’s oldest cultural artifacts were reported missing. It was believed tho artifacts were looted from Iraqi muums or destroyed. Initially, many nations argued that proper curity near Iraqi cultural sites would
have prevented looting and destruction. Many blamed the United States, the leading authority in the coalition（结合体）that overthrew（推翻）the Iraqi government. According to some reports in the spring of 2003, as many as 170,000 ancient artifacts had been stolen or destroyed.8 This staggering（令人震惊的）figure, coupled with（外加）the historical importance of the Iraqi artifacts, led many nations to rai concerns over the protection of cultural artifacts in times of conflict.
Since the spring of 2003, many cultural items that were thought lost or destroyed have been recovered. Sometimes, the artifacts had been removed from their sites by Iraqi muum workers and citizens in order to protect them. In other cas, they were found abroad either at auctions（拍卖会）or in the posssion of private owners who had purchad the items from other sources. Nonetheless, there are still thousands of objects missing, and Iraq and UNESCO both have called upon the international community to assist in identifying stolen artifacts so that they may be returned to their rightful sites.9
To make matters more difficult though, few Iraqi muums have maintain up-to-date records of their artifacts. Without accurate catalogues（准确的记录）, it is almost impossible to determine exactly how many objects remain missing, or even how many existed in the first place. Nonetheless（虽然如此）, UNESCO and Iraqi authorities （当局）are working together to try to regain the objects of Iraq’s past so that future generations can study and enjoy the nation’s rich cultural heritage.
PAST I TER ATIO AL ACTIO
In the aftermath（后果）of WWII（第二次世界大战）, world leaders came together to draft the first international treaty（条约）to protect cultural artifacts in times of war. The 1954 Convention for the Protection of Cultural Property in the Event of Armed Conflict and its protocol（议定书）prohibited（禁止）the exportation（出口）of stolen property from its country of origin and required that already stolen property be returned. As of May 2005, 114 countries have adopted the treaty. However, most countries with a major art market—tho that have prominent muums or large private collections—have yet to do so. Since 1954, the stealing of cultural property during arm conflict has continued to occur.
U ESCO
The United Nations Educational, Scientific and Cultural Organization (UNESCO) was created in 1945 as the primary body concerned with（与…有关）prerving cultural artifacts. In 1970, the organization drafted the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. The convention（协定）t out to define cultural objects and to call for international cooperation regarding the protection and transfer of cultural artifacts. According to Article（条款）4, cultural property refers to any object created by the people of a particular country or found in the territory of the country.10 The convention also requires that states parties create national bodies to overe the protection of cultural heritage and to establish guidelines for transferring cultural property across borders（边界）. Importantly, the convention also requires that states ize illegally-traded cultural goods and return them to their countries of origin. To date, 107 countries have ratified（签署）the treaty. But of the major art market nations only France and the United States have joined.11
The Member States of UNESCO also decided to create a body that could overe the return of cultural artifacts and uphold（维护）the provisions（规定）of the 1970 convention. In 1980, the Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin or its Restitution in Ca of Illicit
