本文選題：加拿大 + 西北沿岸印第安人　； 參考：《中央民族大學(xué)》2007年博士論文

【摘要】： 圖騰柱是西北沿岸印第安人文化最突出、最引人注目的濃縮象征，也是加拿大寶貴的歷史文化遺產(chǎn)。在現(xiàn)代社會，圖騰柱仍然是西北沿岸印第安人豐富視覺文化最突出的表現(xiàn)形式之一。圖騰柱不僅是印第安人的文化認(rèn)同符號，也是其他加拿大人的驕傲。在這里，印第安人與白人、傳統(tǒng)與現(xiàn)代、遺產(chǎn)的保護(hù)與開發(fā)、文化與經(jīng)濟(jì)，緊密聯(lián)系在一起，密不可分，形成一道靚麗的風(fēng)景線。一方面，由于眾所周知的原因，包括西北沿岸印第安人圖騰柱在內(nèi)的世界民族文化研究一直是中國民族學(xué)的薄弱環(huán)節(jié)，研究西北沿岸印第安人圖騰柱，對于拓寬中國民族學(xué)研究領(lǐng)域，填補(bǔ)中國民族學(xué)在世界民族文化研究方面的某些空白，具有重要的學(xué)術(shù)價(jià)值。另一方面，印第安人圖騰柱在旅游中廣泛利用，已成為當(dāng)?shù)芈糜蜗笳鳂?biāo)志物，這一成功處理民族文化遺產(chǎn)保護(hù)與旅游開發(fā)關(guān)系的典型個案，對于中國當(dāng)前矛盾重重困惑不斷的民族文化遺產(chǎn)保護(hù)和旅游發(fā)展具有多種參考價(jià)值和現(xiàn)實(shí)意義。 本文所使用的材料主要源自中國國家圖書館、美國和加拿大的大學(xué)在線圖書館和博物館。以往中國學(xué)者對西北沿岸印第安人的圖騰柱關(guān)注不多，但在國外，圖騰柱研究卻是炙手可熱，研究成果可謂汗牛充棟。他們的研究大體可分為圖騰柱專題研究和與圖騰柱相關(guān)的西北沿岸印第安人文化研究，是民族學(xué)、人類學(xué)、博物館學(xué)、藝術(shù)學(xué)、歷史學(xué)、旅游學(xué)等多學(xué)科綜合、交叉的特別地帶。由于西方人獨(dú)特的學(xué)術(shù)研究傳統(tǒng)，他們或是重點(diǎn)關(guān)注西北沿岸印第安人傳統(tǒng)社會中的圖騰柱，或是視圖騰柱為西北沿岸印第安人文化系統(tǒng)中的一個構(gòu)成元素，并沒有將圖騰柱本身作為一個完整獨(dú)立的文化體系加以綜合考察。借用西方學(xué)者的豐富資料，運(yùn)用文化人類學(xué)的理論與方法，將圖騰柱文化作為一個獨(dú)立完整的文化體系而展開歷時性與共時性的綜合研究，是本研究的突破口。 象征人類學(xué)認(rèn)為，所謂文化，就是人類創(chuàng)造的、作為意義系統(tǒng)的表達(dá)、顯示、交流和傳承的象征符號系統(tǒng)，是符號載體(能指)、符號規(guī)則(編碼或符碼)和符號意義(所指)的統(tǒng)一。圖騰柱文化是一種典型的象征文化，在圖騰柱象征符號系統(tǒng)中，作為表層結(jié)構(gòu)的符號載體，是圖騰柱文化中可感知、可觀察的感性外觀形態(tài)和載體，既包括具有實(shí)用功能作為物質(zhì)器物的圖騰柱，也包括圍繞圖騰柱而產(chǎn)生的各種行為如圖騰柱的雕刻豎立、燒毀、買賣、偷盜、觀看、修復(fù)和保護(hù)等，還包括圖騰柱上專司信息傳遞的各種非語詞的圖像，如人形紋、動物紋、超自然神靈紋、物質(zhì)實(shí)體紋等各種形象。透過圖騰柱文化中的表層符號，破譯控制上述載體要素的組合規(guī)則，解讀闡釋圖騰柱文化中不可感觸、卻可以通過表層的圖騰柱載體要素和深層的文化規(guī)則來傳遞或顯示的意義系統(tǒng)，從而把握圖騰柱文化的內(nèi)涵。在圖騰柱文化象征符號系統(tǒng)中，作為深層結(jié)構(gòu)的文化規(guī)則是圖騰柱文化的核心。18世紀(jì)下半葉，白人抵達(dá)西北沿岸地區(qū)之后，圖騰柱文化的深層文化規(guī)則經(jīng)歷了巨大變化，，導(dǎo)致圖騰柱文化的主體更加多樣化，有更多呈競爭關(guān)系的不同利益主體通過對圖騰柱文化載體和文化規(guī)則的能動運(yùn)用，參與圖騰柱文化意義的解構(gòu)與再構(gòu)�？傮w而論，西北沿岸印第安人圖騰柱文化呈現(xiàn)出鮮明的獨(dú)特性、流動性和豐富多樣性的特色。本文表達(dá)了一個東方人對圖騰柱文化的解讀。 全文分為緒論、正文和結(jié)語三個部分。 緒論主要介紹選題背景、文獻(xiàn)綜述和資料的搜集整理。正文分為五章。 第一章——西北沿岸印第安人的圖騰柱文化。主要從西北沿岸印第安人文化生態(tài)大視野的角度，對西北沿岸印第安人的圖騰柱文化做基本介紹。 第二章——失落的象征。圖騰柱負(fù)載著西北沿岸印第安人深厚的傳統(tǒng)文化，今天步入現(xiàn)代社會的西北沿岸印第安人已失去了傳統(tǒng)文化的生存語境，圖騰柱成為一種傳統(tǒng)失落的象征。本章由特權(quán)地位的象征和神靈的象征兩節(jié)組成，集中說明闡釋圖騰柱在西北沿岸傳統(tǒng)社會中的文化內(nèi)涵或意義。 第三章——厄運(yùn)的象征。18世紀(jì)下半葉，隨著歐洲殖民主義不斷向外擴(kuò)張，與歐洲白人的相遇改變了西北沿岸印第安人的命運(yùn)，其社會文化遭遇毀滅性的打擊，圖騰柱成為印第安人厄運(yùn)的象征。本章從西北沿岸印第安人傳統(tǒng)文化的衰敗過程和殖民主義戰(zhàn)利品的象征二個層面，闡釋說明歐加白人殖民主義者對西北沿岸印第安人傳統(tǒng)文化全方位的摧殘破壞過程與掠奪所導(dǎo)致圖騰柱生成的新意義。 第四章和第五章——復(fù)活的象征。20世紀(jì)以后，隨著民族國家的日漸成長，加拿大在構(gòu)建統(tǒng)一民族文化的漫長旅程中，逐漸認(rèn)識到圖騰柱的重要性，拉開了將圖騰柱再構(gòu)為加拿大民族國家文化認(rèn)同符號的序幕。與此同時，隨著土著民族主義運(yùn)動的興起，印第安人不斷發(fā)起捍衛(wèi)文化傳統(tǒng)和討回本屬自己權(quán)利的運(yùn)動。到20世紀(jì)70年代，加拿大聯(lián)邦政府終于放棄同化政策，實(shí)施多元文化主義，印第安人文化發(fā)展揭開新篇章，現(xiàn)代旅游藝術(shù)成為傳承圖騰柱遺產(chǎn)的重要載體，圖騰柱煥發(fā)出旺盛生命力，成為印第安人文化復(fù)活的象征。 結(jié)語總結(jié)了圖騰柱遺產(chǎn)保護(hù)模式，提出了作者對于圖騰柱遺產(chǎn)保護(hù)與旅游開發(fā)相關(guān)問題的思考。
[Abstract]:The totem column is the most prominent culture of the Indians in the northwest coast, the most noticeable symbol of concentration, and the precious historical and cultural heritage of Canada. In modern society, totem column is still one of the most prominent manifestations of the rich visual culture of the Indians on the northwest coast. Totem columns are not only the cultural identity symbols of the Indians, but also the others. The pride of Canadians. Here, Indian and white, traditional and modern, heritage conservation and development, culture and economy are closely linked and closely linked, forming a beautiful scenery line. On the one hand, the world national cultural research, including the Indian totem poles of the northwest coast, has always been in the middle of the world. In the weak link of national ethnology, the study of the Indian totem poles of the northwest coast is of great academic value for widening the field of Chinese Ethnology and filling some gaps in the study of national culture in the world. On the other hand, the Indian totem pole is widely used in tourism and has become a symbol of the local tourism. As a typical case of the relationship between the protection of national cultural heritage and tourism development, it has a variety of reference and practical significance for the current contradictions and perplexities in the protection of national cultural heritage and the development of tourism.
The materials used in this paper are mainly from the National Library of China, the online libraries and museums in the United States and Canada. In the past, Chinese scholars have not paid much attention to the totem poles of the Indians on the northwest coast, but in foreign countries, the research of totem columns is hot and the research results can be known as totem. Their research can be divided into totem. The special study of the northwestern coast, which is related to the totem pole, is an integrated and intersecting area of ethnology, anthropology, Museology, art, history, tourism and other interdisciplinary areas. Because of the unique tradition of academic research in the west, they are focusing on totem in the traditional Indian society of the Northwest coast. The column, or the view tengzhu, is a constituent element in the Indian cultural system along the northwest coast. It does not take the totem column itself as a complete and independent cultural system, and uses the rich materials of western scholars to use the theories and methods of cultural anthropology to take totem column culture as an independent and complete cultural body. A comprehensive study of diachronic and synchronic features is a breakthrough in this study.
Symbolic anthropology believes that the so-called culture is the symbolic system of expression, display, communication and inheritance of the meaning system, the symbol carrier (energy), the symbol rule (code or code) and the symbolic meaning (referred to). Totem column text is a typical symbolic culture, in the totem column symbolic system, as a symbol system. The symbol carrier for the surface structure is a perceptible, observable, perceptible appearance and carrier in the totem culture, including a totem pole with practical functions as material objects, as well as the engraving, burning, buying and selling, stealing, watching, repairing and protecting the totem columns surrounding the totem columns. A variety of nonverbal images, such as human pattern, animal pattern, supernatural deity pattern, material physical pattern, etc., which are transmitted by special information on the column, such as the surface symbols in the totem column culture, are used to decipher the combination rules that control the above carrier elements and interpret the culture in the Totem column culture, but can pass through the surface totem column elements. In the symbol system of totem column culture, the cultural rules of the totem column culture are the core of the totem column culture in the second half of the.18 century, and the deep cultural rules of the totem column culture have gone through the deep cultural rules of the totem column culture. As a result of the great change, the subject of totem column culture is more diverse, and more competitive stakeholders are involved in the deconstruction and restructure of the cultural significance of totem columns through the active application of the totem column culture carrier and cultural rules. In general, the Indian totem culture in the northwest coast shows distinct uniqueness and mobility. And the characteristics of richness and diversity. This article presents an oriental interpretation of totem pole culture.
The full text is divided into three parts: introduction, text and conclusion.
The introduction mainly introduces the background, literature review and data collection and collation of the topic. The text is divided into five chapters.
The first chapter, the totem column culture of the Indians on the northwest coast, mainly introduces the totem column culture of the Indians on the northwest coast from the perspective of the Indian culture and ecology in the northwest coast.
The second chapter is the symbol of the loss. The totem column is loaded with the deep traditional culture of the Indians in the northwest coast. Today, the Indian people who entered the northwest coast of the modern society have lost the living context of the traditional culture. The totem pole has become a symbol of the traditional loss. This chapter is composed of the symbol of privileged status and the symbol of the gods. Ming explains the cultural connotation or significance of totem poles in the traditional society along the northwest coast.
The third chapter, the symbol of bad luck, in the second half of the.18 century, with the continuous expansion of European colonialism, the encounter with the white Europeans changed the fate of the Indians in the northwest coast, its social culture was devastated and the totem pole became the symbol of the Indian bad luck. This chapter decayed from the traditional Indian culture of the northwest coast. The two aspects of the symbolism of Cheng and colonialism, explain the new significance of the process of destruction and destruction of the traditional culture of the European and Canadian white colonists on the traditional culture of the Indians in the northwest coast and the formation of the totem poles.
The fourth chapter and the fifth chapter - the symbol of the resurrection in the.20 century, with the growing growth of the nation and state, Canada gradually realized the importance of the totem pole in the long journey of building a unified national culture, and opened the totem pole as the prelude to the cultural identity symbol of the Canadian national state. At the same time, with the indigenous peoples In the 1970s, the federal government of Canada finally gave up the policy of assimilation, carried out multiculturalism, and opened a new chapter in the development of the Indian culture. Modern tourism art became an important carrier of the heritage of the totem pole. It has become a symbol of the revival of Indian culture.
The conclusion summarizes the protection mode of totem pole heritage, and puts forward the author's Thoughts on the protection of totem pole heritage and tourism development.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2007
【分類號】：D771.1

【引證文獻(xiàn)】

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1 李旭;一個文化資本的生成與運(yùn)作[D];中央民族大學(xué);2011年

2 麻三山;隱藏在記憶里的文化符號[D];中央民族大學(xué);2010年

相關(guān)碩士學(xué)位論文 前1條

1 葉曉申;鄂溫克族傳統(tǒng)圖形在文化創(chuàng)意產(chǎn)業(yè)設(shè)計(jì)中的應(yīng)用研究[D];哈爾濱工業(yè)大學(xué);2011年

本文編號：1916810