發(fā)布時間：2018-06-21 23:30

  本文選題：小規(guī)模展演 + 旅游情境��； 參考：《民族藝術》2016年03期

【摘要】：民間藝術通過"非遺"化獲得了相應的文化資本與象征資本,從而為從文化資源轉化為經(jīng)濟資本——展演化提供了可能性。值得思考的是,成為"非遺"的民間藝術也并不是都具備商業(yè)展演的條件。小規(guī)模展演社團具有民間自發(fā)性、小團體、經(jīng)營規(guī)模小,演出目的以自我娛樂與追求一定的經(jīng)濟利益為主的特點。在旅游情境中,原來熟人社會中的娛樂、修身養(yǎng)性為目的的白沙古樂演奏逐漸讓位于商業(yè)逐利。因自身經(jīng)營能力不足,與那些大規(guī)模旅游展演企業(yè)、社團相比,它們更多處于生存與展演之間的困境中。
[Abstract]:Folk art obtains the corresponding cultural capital and symbolic capital through "non-inheritance", which provides the possibility for the transformation from cultural resources to economic capital-exhibition. What is worth considering is that not all folk art that becomes non-posthumous has the conditions for commercial exhibition. Small-scale exhibition community has the characteristics of folk spontaneity, small group, small management scale, and its purpose is to entertain itself and pursue certain economic benefits. In the tourism situation, the entertainment and self-cultivation in the society of acquaintances gradually give way to commercial pursuits. Because of their own lack of management ability, compared with the large-scale tourism exhibition enterprises, the mass organizations are more in the dilemma between survival and exhibition.
【作者單位】： 中國社會科學院民族文學研究所;
【分類號】：J0

【相似文獻】

相關期刊論文 前10條

1 薛曉源,曹榮湘;文化資本、文化產(chǎn)品與文化制度——布迪厄之后的文化資本理論[J];馬克思主義與現(xiàn)實;2004年01期

2 戴維·思羅斯比,潘飛;什么是文化資本?[J];馬克思主義與現(xiàn)實;2004年01期

3 馬漓，

本文編號：2050506