【摘要】： 本文主要以傳播學(xué)的理論和視角對(duì)蒙古族“胡仁·烏力格爾”在民間傳播過(guò)程及其傳播效果進(jìn)行的系統(tǒng)研究。其中包括對(duì)傳播者(胡爾奇)、傳播內(nèi)容(“胡仁·烏力格爾”)、傳播媒介(口頭傳播、大眾傳播、網(wǎng)絡(luò)傳播)、受眾(聽(tīng)眾)、效果影響(深層次的影響和淺層次的影響)等環(huán)節(jié)的研究。 緒論,主要寫(xiě)了選題原因、“胡仁·烏力格爾”研究概況、研究“胡仁·烏力格爾”的意義、價(jià)值、研究方法、資料來(lái)源等問(wèn)題。 第一節(jié),選題原因�！昂省趿Ω駹枴钡馁Y料豐富,相對(duì)研究的不夠充分�！昂省趿Ω駹枴钡奈幕瘞鄬�(duì)小,做田野調(diào)查相對(duì)簡(jiǎn)單等原因。 第二節(jié),國(guó)內(nèi)國(guó)外的“胡仁·烏力格爾”相關(guān)資料的搜集整理以及研究概況。這節(jié)主要介紹了國(guó)內(nèi)國(guó)外學(xué)者以及電視、廣播電臺(tái)對(duì)蒙古族“胡仁嗚力格爾”的搜集整理概況和國(guó)內(nèi)外學(xué)者對(duì)“胡仁·烏力格爾”的研究情況。國(guó)內(nèi)對(duì)“胡仁·烏力格爾”的搜集材料可以分為兩部分,即說(shuō)書(shū)藝人生平相關(guān)資料和“胡仁·烏力格爾”相關(guān)的文本資料。還可以細(xì)分為文字資料、錄音資料以及音像資料。國(guó)內(nèi)“胡仁·烏力格爾”研究概況可以分為理論研究、專題研究、綜合研究等三個(gè)部分,分別進(jìn)行詳細(xì)的總結(jié)和概括。國(guó)外學(xué)者的研究概況,以國(guó)家為單位,分別進(jìn)行了總結(jié)和介紹。 第三節(jié),研究“胡仁·烏力格爾”的意義、價(jià)值、研究方法、資料來(lái)源等問(wèn)題。胡仁·烏力格爾及其說(shuō)唱藝術(shù)形式是發(fā)生于東蒙古蒙漢民族的結(jié)合地帶,其中蘊(yùn)含著蒙漢文化交流諸多信息。所以,胡仁·烏力格爾的研究,對(duì)梳理和揭示蒙漢兩個(gè)民族文化,即游牧文化與農(nóng)耕文化的交流、沖突、融合及其規(guī)律、特點(diǎn),具有重要的學(xué)術(shù)價(jià)值。蒙古族胡仁·烏力格爾是研究蒙漢文化結(jié)合的最典型的例子,是研究蒙漢文化交流的對(duì)象之 胡仁·烏力格爾及其說(shuō)唱活動(dòng)是東蒙古地區(qū)重要的非物質(zhì)文化遺產(chǎn)之一,研究和探索胡仁·烏力格爾的說(shuō)唱活動(dòng)及其發(fā)展演變的規(guī)律,對(duì)于蒙古族重要的非物質(zhì)文化遺產(chǎn)的保護(hù)和傳承都具有較高的現(xiàn)實(shí)意義。胡仁·烏力格爾相關(guān)資料搜集是保存和傳承胡仁·烏力格爾文化的很重要環(huán)節(jié)。對(duì)胡爾奇藝人的關(guān)注是保護(hù)和發(fā)展胡仁·烏力格爾文化的必經(jīng)之路。 本論文主要以傳播學(xué)的理念和方法研究蒙古族胡仁·烏力格爾。傳播學(xué)的創(chuàng)始之人之一哈羅德·拉斯韋爾(Harold Dwight Lass-well)提出5W傳播模式,形成了控制分析、內(nèi)容分析、媒介分析、受眾分析、效果分析五大研究領(lǐng)域。本文的研究方法借鑒了傳播學(xué)的模式,主要采用傳播學(xué)的調(diào)查法(對(duì)胡爾奇藝人和受眾)、內(nèi)容分析法(傳播內(nèi)容,包括文獻(xiàn)資料形式和音像資料形式兩種)、定性田野研究(對(duì)胡爾奇藝人和受眾的定性田野調(diào)查)、文本分析法(對(duì)胡爾奇藝人演唱文本的分析)、現(xiàn)存資料分析(文獻(xiàn)資料和第二手資料的分析)等研究方法。同時(shí)也綜合運(yùn)用了民間文藝學(xué)、文化人類學(xué)(文化傳統(tǒng)和社會(huì)背景分析)的方法等。 本文的資料主要來(lái)自于以前搜集的文獻(xiàn)資料,包括胡爾奇藝人的小傳、說(shuō)唱“胡仁·烏力格爾”的習(xí)語(yǔ)、相關(guān)研究論著、包括單篇論文和學(xué)位論文以及相關(guān)專著、演唱文本,包括各電臺(tái)、電視臺(tái)收藏的錄音錄像文本以及個(gè)人手里的音像文本。 還有個(gè)人田野訪談錄,包括對(duì)胡爾奇藝人的訪談、傳播媒介相關(guān)人員的訪談、聽(tīng)眾的訪談；相關(guān)問(wèn)卷調(diào)查資料。 第一章,探討了“胡仁·烏力格爾”的傳播者。 第一節(jié),主要研究了“胡爾奇”這個(gè)名稱的民間理解和分類問(wèn)題。民間一般把說(shuō)書(shū)一人分為“胡爾奇”和“半個(gè)胡爾奇”。真正的胡爾奇是又會(huì)拉胡又會(huì)講整套故事�！鞍雮�(gè)胡爾奇”的話就會(huì)講故事不會(huì)拉胡或只會(huì)拉胡不會(huì)講故事的。即兩種能力的缺少一種本能的“胡爾奇”,這里需要表明的是拉四胡和講故事兩種本事的以講故事為主導(dǎo),拉四胡是輔佐作用的能力。所以一般情況下會(huì)講故事,不會(huì)拉四胡的算“半個(gè)胡爾奇”,而只會(huì)拉四胡,不會(huì)講故事的連“半個(gè)胡爾奇”里都不算。 第二節(jié)里研究了學(xué)“胡仁·烏力格爾”的動(dòng)機(jī)。動(dòng)機(jī)可以分為生活原因,愛(ài)好原因。一些人因?yàn)橄矚g學(xué)“胡仁·烏力格爾”,因此愛(ài)好學(xué)“胡仁·烏力格爾”。 一部分殘疾人為了生活所迫學(xué)學(xué)“胡仁·烏力格爾”。 第三節(jié),主要研究了一個(gè)人當(dāng)“胡爾奇”時(shí)的所影響因素。這里包括從小的家庭條件因素,一個(gè)村、鄉(xiāng),大點(diǎn)的政治環(huán)境因素等直接或間接地影響一個(gè)人能否成為說(shuō)書(shū)藝人。 第四節(jié),系統(tǒng)介紹和研究了學(xué)“胡仁·烏力格爾”的方法。“胡仁·烏力格爾”的學(xué)習(xí)方法主要通過(guò)兩種形式,即拜師學(xué)藝和自學(xué)成才兩種形式。 第五節(jié),研究了說(shuō)“胡仁·烏力格爾”的技巧,說(shuō)“胡仁·烏力格爾”的語(yǔ)言技巧主要是通過(guò)向老藝人的學(xué)習(xí)、從書(shū)本學(xué)習(xí)、從民間語(yǔ)言學(xué)習(xí)、從生活學(xué)習(xí)。經(jīng)常聽(tīng)老藝人的所說(shuō)的“胡仁·烏力格爾”做筆記或靠記憶背誦,有些有文化的說(shuō)書(shū)藝人自己讀漢文、蒙文或滿文的“警世通言”、“名賢集”、“三字經(jīng)”等書(shū)籍,把里面精彩的部分紀(jì)錄下來(lái),在說(shuō)唱“胡仁·烏力格爾”之時(shí)予以恰當(dāng)引用,可以提高說(shuō)唱藝術(shù)效果,引人入勝。民間學(xué)習(xí)主要是從日常生活當(dāng)中提煉出各種經(jīng)典的語(yǔ)言,經(jīng)過(guò)升華變成表演的藝術(shù)化語(yǔ)言,“胡仁·烏力格爾”的語(yǔ)言主要來(lái)源于生活。 第二章,“胡仁·烏力格爾”傳播內(nèi)容的研究。 第一節(jié),主要研究了影響“胡仁·烏力格爾”內(nèi)容的人物。“胡仁·烏力格爾”的內(nèi)容不僅僅受到胡爾奇的影響,而胡爾奇之外的編輯、受眾也一定程度上影響“胡仁·烏力格爾”的內(nèi)容。 第二節(jié),分析了說(shuō)書(shū)藝人演唱的文本主要來(lái)源。作者總結(jié)說(shuō)書(shū)藝人演唱的文本主要來(lái)源于漢族的章回小說(shuō),樣板戲,電影、連畫(huà)本、蒙古族小說(shuō),還有藏經(jīng)故事等。 第三節(jié),探析說(shuō)書(shū)藝人選用的本子故事以及后來(lái)所寫(xiě)的“本子故事”的特點(diǎn)。說(shuō)書(shū)藝人選擇的本子故事主要有兩個(gè)特點(diǎn),一個(gè)特點(diǎn)是具有英雄史詩(shī)的色彩,第二個(gè)特點(diǎn)是具有藝術(shù)真實(shí)性。作者通過(guò)以蒙古族英雄史詩(shī),胡爾奇所選說(shuō)的漢族章回小說(shuō)以及后來(lái)蒙古族人自己創(chuàng)作的本子故事“五傳”的英雄的懷孕、出生、長(zhǎng)大、英雄的座騎等主要的母體做比較,總結(jié)蒙古族胡爾奇所選的故事首先具有英雄史詩(shī)的色彩。還有一個(gè)特點(diǎn)是具有藝術(shù)真實(shí)感。所選的故事一般是歷史題材的章回小說(shuō),這有一定的歷史真實(shí)性,具有歷史真實(shí)性就提高藝術(shù)真實(shí)性。蒙古族人創(chuàng)造的本子故事“五傳”為了提高藝術(shù)真實(shí)性,與漢民族流傳的歷史題材章回小說(shuō)聯(lián)系起來(lái),豐富了蒙古族說(shuō)書(shū)的內(nèi)容和增強(qiáng)了藝術(shù)真實(shí)感。 第三章,論述了傳播“胡仁·烏力格爾”的傳播媒介。 第一節(jié),總結(jié)和分析了“胡仁·烏力格爾”的傳播媒介。這里分析了傳播“胡仁·烏力格爾”的口頭媒介、電臺(tái)、電視臺(tái)、網(wǎng)絡(luò)等傳播媒介的特點(diǎn)以及“胡仁·烏力格爾”傳播帶來(lái)的積極影響和消極影響。 第二節(jié),研究了傳播媒介與胡爾奇的依賴關(guān)系和矛盾關(guān)系。說(shuō)書(shū)藝人擴(kuò)大自己的影響力和提高自己的聲譽(yù)必須借助于媒體的傳播,媒體為了更好地辦好節(jié)目也必須找說(shuō)書(shū)藝人錄制更多的節(jié)目。不過(guò)說(shuō)書(shū)藝人錄制自己說(shuō)唱的“胡仁·烏力格爾”提高自己的影響力和知名度的同時(shí)也失去自己的說(shuō)唱“市場(chǎng)”。因?yàn)楦嗟穆?tīng)眾不用花更多的錢去請(qǐng)說(shuō)書(shū)藝人說(shuō)唱“胡仁·烏力格爾”,只需買幾百元甚至幾十元的收音機(jī)就可以聽(tīng)“胡仁·烏力格爾”。有時(shí)編輯和說(shuō)書(shū)藝人之間也發(fā)生矛盾,譬如說(shuō)唱錄制時(shí)間的長(zhǎng)短問(wèn)題、說(shuō)唱藝術(shù)問(wèn)題上常常產(chǎn)生矛盾。媒體的多樣化對(duì)說(shuō)書(shū)藝人帶來(lái)了很多好處,同時(shí),也容易使各種風(fēng)格的雜糅,喪失藝術(shù)個(gè)性,造成說(shuō)書(shū)藝人說(shuō)唱藝術(shù)特征、風(fēng)格不明顯。這樣攙雜好幾種說(shuō)唱風(fēng)格的“胡仁·烏力格爾”,很少得到聽(tīng)眾的欣賞。 第四章,“胡仁·烏力格爾”的受眾研究。 第一節(jié),分析了受眾的聽(tīng)“胡仁·烏力格爾”的原因。原因可以分認(rèn)識(shí)外面世界的需要、增加自己的知識(shí)、為了娛樂(lè)等幾個(gè)方面。 第二節(jié)研究了聽(tīng)眾的形成以及聽(tīng)眾的培養(yǎng)�！昂省趿Ω駹枴钡穆�(tīng)眾為原來(lái)蒙古族英雄史詩(shī)、神話、傳說(shuō)的聽(tīng)眾當(dāng)中逐步形成。還有就是“胡仁·烏力格爾”的聽(tīng)眾通過(guò)講述等形式培養(yǎng)下一代的聽(tīng)眾。 第三節(jié),研究了聽(tīng)眾對(duì)說(shuō)書(shū)藝人的成長(zhǎng)和鍛煉以及說(shuō)唱“胡仁嗚力格爾”時(shí)所起的作用。 第五章,“胡仁·烏力格爾”傳播的影響研究。此章主要研究了“胡仁·烏力格爾”對(duì)蒙古族經(jīng)濟(jì)生活、文化生活、精神生活帶來(lái)的影響。 第一節(jié),“胡仁·烏力格爾”對(duì)蒙古族經(jīng)濟(jì)生活帶來(lái)的積極影響和消極影響。“胡仁·烏力格爾”是一部分殘疾人的謀生手段,通過(guò)說(shuō)唱他們獲得一定的經(jīng)濟(jì)收入,并能改變他們?cè)谏鐣?huì)、生活當(dāng)中的境遇。在新形勢(shì)下,“胡仁·烏力格爾”被列入國(guó)家非物質(zhì)文化遺產(chǎn)項(xiàng)目,有些文化部門由此成為國(guó)家級(jí)非物質(zhì)文化保護(hù)單位,一些說(shuō)書(shū)藝人被評(píng)為非物質(zhì)文化遺產(chǎn)傳承人,有些研究項(xiàng)目因此得到國(guó)家的大力支持,正在進(jìn)行深入的調(diào)查和研究,因此,客觀上對(duì)推動(dòng)了該地區(qū)的經(jīng)濟(jì)發(fā)展起到了積極的作用�！昂省趿Ω駹枴庇蟹e極的影響之外也帶來(lái)一些消極影響,具體表現(xiàn)為說(shuō)書(shū)藝人和聽(tīng)眾為了學(xué)或聽(tīng)“胡仁·烏力格爾”需要花費(fèi)很多時(shí)間,從而影響了正常工作,甚至耗費(fèi)大量財(cái)力和物力。 第二節(jié),“胡仁·烏力格爾”的傳播帶來(lái)了民間文學(xué)的新題材的形成起到了一定作用。有些學(xué)者提出蒙古族好來(lái)寶和敘事民歌是蒙古族“胡仁·烏力格爾”基礎(chǔ)上形成為一門獨(dú)具特色的藝術(shù)題材,作者贊同此觀點(diǎn)的同時(shí)進(jìn)一步論證了此觀點(diǎn)。 第三節(jié),“胡仁·烏力格爾”的傳播對(duì)蒙古族的人名的影響。主要對(duì)東部蒙古族社會(huì)生活中以帶“龍”“虎”“花”字的人名進(jìn)行了考證,指出偏僻農(nóng)村沒(méi)有接受過(guò)教育的家長(zhǎng)給孩子起帶“龍”“虎”“花”字的名字的主要原因是來(lái)自“胡仁·烏力格爾”的影響。因?yàn)椤昂省趿Ω駹枴碑?dāng)中的帶“龍”“虎”字的名字都是些武功蓋世、能力超群的英雄,帶“花”字的一般指性情嫻熟、溫柔美貌的女子。 第四節(jié),“胡仁·烏力格爾”的傳播對(duì)蒙古族種宗教信仰的影響。作者分別從具體的例子論證“胡仁·烏力格爾”對(duì)蒙古族民間信仰、薩滿教、佛教帶來(lái)的印象。 第五節(jié),“胡仁·烏力格爾”的傳播對(duì)蒙古族倫理道德的影響。“胡仁·烏力格爾”主要說(shuō)唱的是漢文題材演變而來(lái)的章回小說(shuō)。因此自然而然使聽(tīng)眾接受了傳統(tǒng)的“三綱五�！�、“三從四德”等儒家倫理道德思想的影響,流行“胡仁·烏力格爾”地區(qū)的蒙古族人的儒家倫理道德觀點(diǎn)比別的不收聽(tīng)“胡仁·烏力格爾”相比嚴(yán)重。 第六節(jié),“胡仁·烏力格爾”的傳播對(duì)蒙古族其他精神文化的影響。主要研究了“胡仁·烏力格爾”對(duì)東部地區(qū)的油畫(huà)、版畫(huà)、雕塑、抒情歌曲等精神文化的影響。
[Abstract]:This paper mainly studies the Mongolian "Huren Wuligel" in the process of folk communication and its effect from the perspective of communication theory, including the disseminator (Huerqi), the content of communication ("Huren Wuligel"), the media (oral communication, mass communication, network communication), the audience (audience), the effect of communication (Huerqi). Deep and shallow influence.
The introduction mainly writes the reasons for choosing the topic, the general situation of Huren Wuligel's research, the significance, value, research methods and data sources of Huren Wuligel's research.
In the first section, the reasons for choosing the topic are as follows: the data of Huren Wuligel is abundant and the relative research is insufficient. The cultural belt of Huren Wuligel is relatively small and the field investigation is relatively simple.
The second section is about the collection and collation of the relevant information about Huren Wuligel at home and abroad. This section mainly introduces the collection and collation of the Mongolian "Huren Wuligel" by domestic and foreign scholars as well as television and radio stations, and the research of "Huren Wuligel" by domestic and foreign scholars. The collection materials of Wuligel can be divided into two parts, that is, the related materials of storytellers'life and Huren Wuligel's related texts. It can also be divided into written materials, audio-visual materials and audio-visual materials. The three parts are summarized and summarized in detail respectively. The research situation of foreign scholars is summarized and introduced in terms of the country.
The third section studies the significance, value, research methods and sources of data of Huren Wuligel. Huren Wuligel and his art form of rap occur in the combination zone of Mongolian and Han nationalities in East Mongolia, which contains a lot of information of cultural exchange between Mongolia and Han. Mongolian Huren Wuligel is the most typical example of studying the combination of Mongolian and Han cultures and the object of studying the cultural exchange between Mongolian and Han.
Huren Wuligel and his rap and singing activities are one of the important intangible cultural heritages in East Mongolia. To study and explore Huren Wuligel's rap and singing activities and their development and evolution are of great practical significance for the protection and inheritance of Mongolian important intangible cultural heritage. Collection is an important link to preserve and inherit Huren Wuliger's culture. Attention to Huerqi artists is the only way to protect and develop Huren Wuliger's culture.
Harold Dwight Lass-well, one of the founders of Mongolian Huren Wuligel's communication studies, put forward the 5W mode of communication with the ideas and methods of communication studies. It has formed five research fields: control analysis, content analysis, media analysis, audience analysis and effect analysis. The mode of communication mainly adopts the investigation method of communication (to the artist and the audience), the content analysis method (the content of communication, including the form of documentary and audio-visual materials), the qualitative field research (the qualitative field investigation of the artist and the audience), the text analysis method (the analysis of the text of the artist's singing), and the existing method. Data analysis (literature and second-hand data analysis) and other research methods, but also a comprehensive use of folk literature and art, cultural anthropology (cultural traditions and social background analysis) methods.
The data in this paper mainly come from the literature collected before, including the biography of Hurgi artist, the idiom of rap "Huren Wuliger", the related research works, including single paper, degree paper and related monographs, the singing text, including the audio and video texts collected by radio and television stations, as well as the audio and video texts in the hands of individuals. Ben.
There are also personal fieldwork interviews, including interviews with artists, media stakeholders, listeners, and questionnaires.
The first chapter discusses the disseminator of "Huru Ulger".
In the first section, the author mainly studies the folk understanding and classification of the name "Hulkie". People generally divide a storyteller into "Hulkie" and "Half Hulkie". That is to say, the two abilities lack an instinctive "Hu Erqi". What needs to be shown here is that the two abilities of La Sihu and story-telling are story-telling-oriented, and La Sihu is a supplementary ability. It doesn't count in the "Hu Qi".
The second section studies the motivation of learning "Huren Wuligel". Motivation can be divided into life reasons and hobbies. Some people like to learn "Huren Wuligel", so they like to learn "Huren Wuligel".
Some disabled people are forced to learn "Huru Ulger" in order to live.
In the third section, the author mainly studies the influencing factors of a person when he is a "Hulkie". These factors include the factors of family conditions, a village, a village, and a larger political environment, which directly or indirectly affect whether a person can become a storyteller.
The fourth section systematically introduces and studies the method of learning "Huren Wuligel".
The fifth section studies the technique of saying "Huren Wuligel". It says that the language skill of "Huren Wuligel" is mainly through learning from the old artists, from books, from folk languages, and from life. Calligraphers and artists themselves read Chinese, Mongolian or Manchu "warning words", "collection of eminent and virtuous people", "three-character scripture" and other books, which record the wonderful part of it, and properly quote it when rapping "Huren Wuliger", which can improve the artistic effect of rapping and singing, attracting people. Folk learning is mainly extracted from daily life. It is a classical language, which has been sublimated into the artistic language of performance. The language of Huren Wuligel mainly comes from life.
The second chapter is about the research of Huru Ulger's communication content.
In the first section, the author mainly studies the characters who influence the content of Huren Wuligel. The content of Huren Wuligel is not only influenced by Huerqi, but also influenced by the editors and the audience outside Huerqi to a certain extent.
In the second section, the author analyzes the main sources of the storytellers'singing texts. The author concludes that the storytellers' singing texts mainly come from the Han nationality's Zhanghui novels, model plays, movies, even picture books, Mongolian novels and Tibetan classics stories.
The third section explores the characteristics of the stories selected by the storytellers and the later stories written by the storytellers. The stories selected by the storytellers have two main characteristics: one is the color of heroic epics, the other is the artistic authenticity. Comparing the pregnant, born, grew up, hero's mount and other main maternal bodies of the hero of the five biographies, the stories selected by the Mongolian Huerqi first have the color of heroic epics. Another feature is the artistic authenticity. The stories selected are generally calendar stories. In order to improve the artistic authenticity, the five stories created by the Mongolians are linked with the historical stories circulated by the Han nationality, enriching the content of Mongolian storytelling and enhancing the artistic authenticity.
The third chapter discusses the dissemination of "Huru Ulger" media.
In the first section, the author summarizes and analyzes the media of Huren Wuligel. This paper analyzes the characteristics of the oral media, radio, television, network and other media of Huren Wuligel, as well as the positive and negative effects of Huren Wuligel.
The second section studies the dependence and contradiction between the media and Hu Erqi. The storyteller must rely on the media to expand his influence and improve his reputation. The media must also ask the storyteller to record more programs in order to run the program better. But the storyteller must record his own "Huren Wu" Rigel has lost his rap "market" as well as his influence and popularity, because more listeners don't have to pay more to ask storytellers to say "Huren Wuligel" and can listen to "Huren Wuligel" by buying a radio for hundreds or even tens of dollars. Sometimes editors and storytellers There are also contradictions between them, such as the length of rap recording time, rap art problems often produce contradictions. The diversification of the media has brought many benefits to the rapper, but also easy to make a variety of styles of hybridity, loss of artistic individuality, resulting in the rapper artistic characteristics, style is not obvious. The style of "Huru Ulger" is seldom appreciated by the audience.
The fourth chapter is the audience study of Huru Ulger.
In the first section, the author analyzes the reasons why the audience listens to Huren Wuligel. The reasons can be divided into several aspects: understanding the needs of the outside world, increasing their knowledge, for entertainment and so on.
The second section studies the formation of the audience and the cultivation of the audience.
The third section studies the role of the audience in the growth and exercise of the storyteller and the rap "Huren Wuligel".
The fifth chapter studies the influence of Huren Wuligel on Mongolian economic life, cultural life and spiritual life.
The first section, "Huren Wuligel" brings positive and negative influence on Mongolian economic life. "Huren Wuligel" is a means of livelihood for some disabled people, through raping they get certain economic income, and can change their social and life situation. Some cultural departments have become state-level non-material cultural protection units, some storytellers have been evaluated as Inheritors of intangible cultural heritage, and some research projects have been strongly supported by the state and are being investigated and studied in depth. Therefore, it has promoted the development of the region objectively. Economic development has played a positive role. "Huren Wuligel" has a positive impact, but also brought some negative effects, specifically for storytellers and listeners in order to learn or listen to "Huren Wuligel" needs to spend a lot of time, thus affecting the normal work, and even consuming a lot of financial and material resources.
The second section, the transmission belt of "Huru Ulger".
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J826

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 李彩花;胡仁·烏力格爾《封神演義》文本與漢文原著《封神演義》比較研究[D];中央民族大學(xué);2012年

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本文編號(hào)：2184274