民族文化政策下的兵團(tuán)民間藝術(shù)保護(hù)研究
發(fā)布時(shí)間：2018-12-11 16:39
【摘要】：新疆生產(chǎn)建設(shè)兵團(tuán)是一支由軍旅人員、轉(zhuǎn)業(yè)軍人、支邊青年、志愿者等組建成的屯墾戍邊、亦軍亦農(nóng)的準(zhǔn)軍事化組織。長(zhǎng)期生活在兵團(tuán)土地上的戰(zhàn)士、職工群眾，在守土戍邊、開(kāi)拓創(chuàng)業(yè)的生產(chǎn)勞動(dòng)和生活實(shí)踐中，集體創(chuàng)造了反映兵團(tuán)屯墾戍邊生活的民間藝術(shù)。軍墾戰(zhàn)士在繼承部隊(duì)文化傳統(tǒng)的同時(shí)，將原籍文化與新疆本土民族的風(fēng)俗習(xí)慣、民歌民曲、審美情趣相結(jié)合，賦予傳統(tǒng)民間藝術(shù)新的生命，將其傳承、創(chuàng)新、發(fā)展成兵團(tuán)特色的民間藝術(shù)。從國(guó)家民族文化政策視角，研究民族文化政策引領(lǐng)、實(shí)施對(duì)兵團(tuán)民間藝術(shù)的形成發(fā)展的影響作用，探討非遺法對(duì)兵團(tuán)民間藝術(shù)保護(hù)的指導(dǎo)意義；分析兵團(tuán)軍墾特色的民間藝術(shù)代表性作品及其價(jià)值，意在解決為什么要保護(hù)的理論問(wèn)題；針對(duì)傳承中存在的問(wèn)題，尋求解決怎樣保護(hù)的實(shí)踐問(wèn)題，提出了切實(shí)可行的政策保護(hù)和法律保護(hù)的主要路徑。這對(duì)兵團(tuán)文化認(rèn)同，傳承兵團(tuán)文化和弘揚(yáng)兵團(tuán)精神都有著重要的理論意義和現(xiàn)實(shí)意義。全文分為六部分闡述，具體如下： 第一部分，緒論�？傮w概括、評(píng)述本選題的國(guó)內(nèi)外背景、研究動(dòng)態(tài)，以相關(guān)理論成果為基礎(chǔ)，闡明論文的研究對(duì)象、研究目的及研究意義和方法，為論文寫(xiě)作打下理論根基。 第二部分，民族文化政策與兵團(tuán)民間藝術(shù)。學(xué)習(xí)、運(yùn)用學(xué)界對(duì)“文化”、“民族文化政策”等概念的界定，進(jìn)一步認(rèn)識(shí)本文要探討的民族文化政策與兵團(tuán)民間藝術(shù)，進(jìn)而表明我國(guó)民族文化政策與兵團(tuán)民間藝術(shù)的關(guān)系的觀點(diǎn)：民族文化政策目標(biāo)引領(lǐng)兵團(tuán)民間藝術(shù)發(fā)展方向；兵團(tuán)民間藝術(shù)在民族文化政策指導(dǎo)下健康發(fā)展。以此為下文做理論鋪墊。 第三部分，民族文化政策指導(dǎo)下的兵團(tuán)民間藝術(shù)。本章以時(shí)間為線索，縱向梳理、分析不同時(shí)期的民族文化政策對(duì)兵團(tuán)民間藝術(shù)的形成發(fā)展、傳承創(chuàng)新帶來(lái)了機(jī)遇，認(rèn)為非遺法的頒布實(shí)施對(duì)兵團(tuán)民間藝術(shù)保護(hù)具有指導(dǎo)意義，以緊扣民族文化政策視角下研究兵團(tuán)民間藝術(shù)思路。 第四部分，兵團(tuán)軍墾特色的民間藝術(shù)代表性作品及價(jià)值分析。本章在實(shí)地調(diào)研基礎(chǔ)上，重點(diǎn)對(duì)國(guó)家級(jí)、兵團(tuán)級(jí)具有軍墾特色的非遺代表作名錄屯墾小曲子戲、眉戶(hù)（迷糊戲）、現(xiàn)代套彩烙畫(huà)、軍墾鼓藝、剪紙等描述、分析，探尋傳承人的生活世界及其藝術(shù)作品中軍墾文化內(nèi)涵的挖掘及其價(jià)值意義，以解決為什么要保護(hù)及保護(hù)的意義所在。 第五部分，兵團(tuán)民間藝術(shù)傳承現(xiàn)狀及其保護(hù)。通過(guò)調(diào)研，概述兵團(tuán)民間藝術(shù)傳承現(xiàn)狀，針對(duì)傳承中存在的問(wèn)題理出四點(diǎn)主要原因進(jìn)行分析，探討兵團(tuán)民間藝術(shù)保護(hù)的政策和法律思考，尋求解決怎樣保護(hù)的實(shí)踐問(wèn)題，提出了切實(shí)可行的政策保護(hù)和法律保護(hù)的主要路徑。 第六部分，結(jié)語(yǔ)�？偨Y(jié)出本文主要論點(diǎn)，得出的結(jié)論以及創(chuàng)新點(diǎn)，，明確創(chuàng)造性成果在本領(lǐng)域的意義。
[Abstract]:The Xinjiang production and Construction Corps is a quasi-militarized organization formed by military personnel, demobilized servicemen, youth, volunteers and so on. The soldiers and workers who have lived on the land of the Corps for a long time, in the production, labor and life practice of guarding the soil and guarding the frontier and pioneering businesses, have collectively created folk art that reflects the life of the Corps in opening up, reclamation, and guarding the frontier. While inheriting the cultural traditions of the armed forces, the military reclamation soldiers combine their native culture with the customs, folk songs, and aesthetic interests of the native nationalities in Xinjiang, so as to give new life to the traditional folk art, pass it on and innovate it. Develop the folk art characteristic of the Corps. From the perspective of national cultural policy, this paper studies the influence of national cultural policy on the formation and development of bingtuan folk art, and probes into the guiding significance of non-posthumous law to the protection of bingtuan folk art. This paper analyzes the representative works of folk art with the characteristics of military reclamation and their value in order to solve the theoretical problem of why to protect. In view of the problems existing in inheritance, this paper seeks to solve the practical problem of how to protect, and puts forward the main path of practical policy protection and legal protection. This is of great theoretical and practical significance to the cultural identity of the Corps, the transmission of the culture of the Corps and the promotion of the spirit of the Corps. The full text is divided into six parts, as follows: the first part, introduction. In general, the background and research trends of this topic are reviewed, and the research object, purpose, significance and method of the thesis are expounded based on the relevant theoretical achievements, thus laying a theoretical foundation for the writing of the thesis. The second part, national culture policy and bingtuan folk art. Study, use academic circles to "culture", "national culture policy" and other concepts, further understanding this article to explore the national cultural policy and bingtuan folk art, Furthermore, this paper points out the relationship between the national cultural policy and the folk art of the Corps: the goal of the national culture policy leads the development direction of the folk art of the Corps; The bingtuan folk art develops healthily under the guidance of national culture policy. This is the theoretical foundation for the following. The third part, the folk art under the guidance of national culture policy. This chapter takes time as the clue, vertically combs, analyzes the different period national culture policy to the bingtuan folk art formation development, the inheritance and the innovation has brought the opportunity, believed that the non-inheritance law promulgates the implementation to the bingtuan folk art protection has the instruction significance, This paper studies the ideas of bingtuan folk art from the perspective of national cultural policy. The fourth part, the representative works of folk art and value analysis of bingtuan army reclamation characteristic. On the basis of field investigation and investigation, this chapter focuses on the description and analysis of national and regiment level non-relic masterpieces, such as small tunes, eyebrow (maze play), modern color painting, military reclamation and drum art, paper-cut, etc. This paper explores the cultural connotation of military reclamation and its value meaning in inheriting the life world of human beings and their works of art in order to solve the significance of why to protect and protect. The fifth part, the present situation and protection of folk art inheritance. Through investigation and investigation, this paper summarizes the present situation of folk art inheritance in Bingtuan, analyzes the four main reasons for the problems existing in the inheritance, probes into the policy and legal considerations for the protection of folk art in the Corps, and seeks to solve the practical problems of how to protect it. Put forward the feasible policy protection and the main path of legal protection. The sixth part, conclusion. This paper summarizes the main arguments, conclusions and innovation points, to clarify the significance of creative results in this field.
【學(xué)位授予單位】：石河子大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：D633;G127;J0
本文編號(hào)：2372881
[Abstract]:The Xinjiang production and Construction Corps is a quasi-militarized organization formed by military personnel, demobilized servicemen, youth, volunteers and so on. The soldiers and workers who have lived on the land of the Corps for a long time, in the production, labor and life practice of guarding the soil and guarding the frontier and pioneering businesses, have collectively created folk art that reflects the life of the Corps in opening up, reclamation, and guarding the frontier. While inheriting the cultural traditions of the armed forces, the military reclamation soldiers combine their native culture with the customs, folk songs, and aesthetic interests of the native nationalities in Xinjiang, so as to give new life to the traditional folk art, pass it on and innovate it. Develop the folk art characteristic of the Corps. From the perspective of national cultural policy, this paper studies the influence of national cultural policy on the formation and development of bingtuan folk art, and probes into the guiding significance of non-posthumous law to the protection of bingtuan folk art. This paper analyzes the representative works of folk art with the characteristics of military reclamation and their value in order to solve the theoretical problem of why to protect. In view of the problems existing in inheritance, this paper seeks to solve the practical problem of how to protect, and puts forward the main path of practical policy protection and legal protection. This is of great theoretical and practical significance to the cultural identity of the Corps, the transmission of the culture of the Corps and the promotion of the spirit of the Corps. The full text is divided into six parts, as follows: the first part, introduction. In general, the background and research trends of this topic are reviewed, and the research object, purpose, significance and method of the thesis are expounded based on the relevant theoretical achievements, thus laying a theoretical foundation for the writing of the thesis. The second part, national culture policy and bingtuan folk art. Study, use academic circles to "culture", "national culture policy" and other concepts, further understanding this article to explore the national cultural policy and bingtuan folk art, Furthermore, this paper points out the relationship between the national cultural policy and the folk art of the Corps: the goal of the national culture policy leads the development direction of the folk art of the Corps; The bingtuan folk art develops healthily under the guidance of national culture policy. This is the theoretical foundation for the following. The third part, the folk art under the guidance of national culture policy. This chapter takes time as the clue, vertically combs, analyzes the different period national culture policy to the bingtuan folk art formation development, the inheritance and the innovation has brought the opportunity, believed that the non-inheritance law promulgates the implementation to the bingtuan folk art protection has the instruction significance, This paper studies the ideas of bingtuan folk art from the perspective of national cultural policy. The fourth part, the representative works of folk art and value analysis of bingtuan army reclamation characteristic. On the basis of field investigation and investigation, this chapter focuses on the description and analysis of national and regiment level non-relic masterpieces, such as small tunes, eyebrow (maze play), modern color painting, military reclamation and drum art, paper-cut, etc. This paper explores the cultural connotation of military reclamation and its value meaning in inheriting the life world of human beings and their works of art in order to solve the significance of why to protect and protect. The fifth part, the present situation and protection of folk art inheritance. Through investigation and investigation, this paper summarizes the present situation of folk art inheritance in Bingtuan, analyzes the four main reasons for the problems existing in the inheritance, probes into the policy and legal considerations for the protection of folk art in the Corps, and seeks to solve the practical problems of how to protect it. Put forward the feasible policy protection and the main path of legal protection. The sixth part, conclusion. This paper summarizes the main arguments, conclusions and innovation points, to clarify the significance of creative results in this field.
【學(xué)位授予單位】：石河子大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：D633;G127;J0
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