本文選題：扎魯特旗 + 烏力格爾��； 參考：《中央民族大學》2009年碩士論文

【摘要】： 本文選取內蒙古通遼市(原哲里木盟)扎魯特旗作為調查與研究的地點,以入選第一批國家級“口頭與非物質文化遺產保護名錄”里的東蒙古說唱藝術烏力格爾作為研究對象,以田野調查為主,結合文獻方法、口述史方法、問卷調查方法整理了扎魯特旗胡爾齊的傳承機制、傳承方式、傳承譜系,并分析了當下語境下扎魯特旗烏力格爾老中青三代傳承人的情況,力圖為日漸衰弱的烏力格爾說唱藝術的傳承與保護提出有價值的建議。 正文包括緒論、四個章節(jié)及結論三大部分。 緒論部分交待了選題緣由、研究概況、調查點的選擇、論文將要解決的問題、研究方法等內容。 第一章,梳理了扎魯特旗的自然地理、歷史沿革、風俗習慣,并通過對扎魯特旗烏力格爾七星(扎魯特旗說唱烏力格爾的最著名的七位民間藝人)、烏力格爾三大流派的介紹,闡述了扎魯特旗烏力格爾優(yōu)久的說唱傳統(tǒng)。 第二章,闡述了扎魯特旗烏力格爾的傳承機制和傳承方式。 第三章,通過對拉希敖斯爾、勞斯爾、達胡日巴雅爾老中青三代胡爾齊的采訪,闡述了目前扎魯特旗烏力格爾傳承人的情況, 第四章,筆者從烏力格爾賴以生存的文化空間的變遷、年輕傳承人匱乏、政府扶持力度薄弱等角度入手闡述了烏力格爾的傳承危機,并針對這種危機,提出了幾點建議,試圖為烏力格爾的傳承與保護提供行之有效的現實途徑。 結論部分,總結了全文的內容,并闡述了筆者的觀點。 筆者認為,祖先創(chuàng)造和保存下來的烏力格爾說唱藝術,絕不會在我們這一代人手里失傳。那種口頭藝術自生自滅的時代已經結束了,現代人可以通過田野調查和各種學科知識,掌握口頭說唱傳統(tǒng)的傳承規(guī)律、傳承方式,并對其積極進行引導,從而使它真正以現代生活接軌,重獲生命力。作為生長于科爾沁草原的蒙古人,筆者對烏力格爾的未來充滿著信心與期待。
[Abstract]:This paper selects the Tongliao city of Inner Mongolia (original zurimu League) zurate as a survey and research site, in order to select the first batch of national "oral and non material cultural heritage protection list" in the East Mongolia rap art uragel as the research object, based on field investigation, combined with literature method, oral history method, questionnaire survey method We have arranged the inheritance mechanism, the way of inheritance and the lineage of the zaluet's Hu Er Qi, and analyzed the situation of the three generation inheritors of the old zaluet of zaluet in the context of zaluet, trying to put forward valuable suggestions for the passing and protection of the declining uragel's rap art.
The main body consists of three parts: introduction, four chapters and conclusion.
In the introduction part, the reasons for choosing the topic, the general situation of the research, the selection of the survey points, the problems to be solved, and the research methods are introduced.
The first chapter, combing the natural geography, historical evolution, customs and customs of zurate banner, and by introducing the three major schools of urugel, the seven most famous folk artists of zuruet's urumel (zurate's rap and urugel's seven most famous folk artists), expounded the long rap tradition of uragel in Zali.
The second chapter expounds the inheritance mechanism and inheritance mode of zuruqi banner.
The third chapter, through an interview with Lashio J M, Rosl, the three generation of old and middle-aged daguya in daguya, this paper expounds the current situation of the heritage of uragel in Zali.
The fourth chapter, from the perspective of Uli Geer Lai's vicissitude of cultural space, the lack of young inheritors and the weak government support, the author expounds the inheritance crisis of uragel, and puts forward some suggestions on this crisis, and tries to provide an effective and practical way for the inheritance and protection of urugel.
The conclusion part summarizes the contents of the full text and expounds the author's viewpoint.
The author believes that the art of ururl rap, which is created and preserved by ancestors, will never be lost in the hands of our generation. The era of oral art has ended, and modern people can master the inheritance law of oral rap tradition, the way of inheritance through field investigation and the knowledge of various disciplines, and make a positive introduction to it. To guide it, so that it can truly connect with modern life and regain vitality. As a Mongol growing in the Horqin prairie, the author is full of confidence and expectation to the future of urgel.

【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J826;G122

【引證文獻】

相關博士學位論文 前1條

1 額爾很白乙拉;胡仁烏力格爾的傳播學研究[D];中央民族大學;2010年

相關碩士學位論文 前1條

1 娜琴;胡仁·烏力格爾《阿力瑪斯之歌》與小說《阿力瑪斯之歌》比較研究[D];中央民族大學;2012年

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本文編號：1886230