湘西北桑植“打花燈”的傳統(tǒng)形態(tài)與現(xiàn)代演變
發(fā)布時間：2018-08-21 19:41
【摘要】：湘西北桑植“打花燈”是一項歷史悠久的地域性民俗活動,盛行于當?shù)氐拿褡瀹斨�。本文主要通過2009年暑期和2010年春節(jié)期間的田野調查,對桑植“打花燈”的傳統(tǒng)形態(tài)和現(xiàn)代演變做出較為全面而客觀的民俗志式的描述,展現(xiàn)當?shù)靥赜械男叛鲂睦砗兔耖g藝術面貌。通過對傳統(tǒng)和現(xiàn)代形態(tài)的對比,分析致使“打花燈”在民間社會變遷的內外動力,進而對“打花燈”所面臨的困境和前景給出自己的見解。 全文分為緒論、正文(共四章)和結語三大部分。 緒論主要探討了選題的緣起和相關學術研究動態(tài),以及本文所使用的研究方法和相關術語闡釋。 正文第一章是調查地的描述,即桑植的自然地理環(huán)境、民族文化溯源以及當?shù)氐拿癖娦叛隹臻g和“打花燈”的節(jié)日情境,對桑植“打花燈”產生和存在的文化背景做出一個概覽。正文第二章和第三章是本文的核心部分。第二章主要通過田野調查(主要為沙塔坪鄉(xiāng)老藝人楊聲民的講述)得來的資料,從儀式過程和表演體系兩方面來描述“打花燈”的傳統(tǒng)形態(tài),并分析這種傳統(tǒng)形態(tài)所蘊含的文化意義。第三章是通過對瑞塔鋪鄉(xiāng)間文藝輕騎隊(花燈班子)的調查,將這種現(xiàn)代化民間文藝表演班子與上章“打花燈”傳統(tǒng)形態(tài)相對比,呈現(xiàn)出桑植“打花燈”的現(xiàn)代演變狀況。正文第四章是基于前兩章的內容,對促使桑植“打花燈”現(xiàn)代演變的內在動力——即社會和個人兩方面因素,做出分析。 余論則簡要分析了桑植“打花燈”所面臨的生存困境,以及在新時期下的前景展望�！按蚧簟钡纳胬Ь持饕ó斚律鏁r空變窄,以及傳承的斷裂,前景展望則是基于非物質文化遺產保護熱和民眾對于民間娛樂方式的回歸,并在這兩方面因素之上民眾文化自醒的背景,對作為民俗活動和民間藝術的“打花燈’在民間社會復蘇的可能性和必然性的探討。
[Abstract]:Sangzhi Lantern in Northwest Hunan Province is a regional folklore with a long history, which is popular among the local people. Through the field survey during the summer of 2009 and the Spring Festival of 2010, this paper makes a more comprehensive and objective description of the traditional form and modern evolution of "playing lanterns" in mulberry plants. Show the local unique belief psychology and folk art appearance. Through the comparison of traditional and modern forms, this paper analyzes the internal and external motive force of the change of "flower lantern" in civil society, and then puts forward his own opinion on the predicament and prospect of "playing flower lantern". The full text is divided into three parts: introduction, text (four chapters) and conclusion. The introduction mainly discusses the origin of the topic and related academic research trends, as well as the research methods used in this paper and the explanation of related terms. The first chapter of the text is the description of the investigation place, that is, the natural geographical environment of Sangzhi, the origin of national culture, the local people's belief space and the festival situation of "playing lantern". This paper gives an overview of the cultural background of Sangzhi's "playing Lantern". The second and third chapters are the core of this paper. The second chapter mainly through the field investigation (mainly for the Sha Taping Township old artist Yang Shengmin's narration) obtains the data, from the ceremony process and the performance system two aspects to describe "play the lantern" the traditional form. And analyze the cultural significance of this kind of traditional form. The third chapter is through the investigation to the Ruitapu country art light riding team (flower lantern team), compares this kind of modern folk literature and art performance team with the previous chapter "plays the flower lamp" the traditional form, presents the Sangzhi "plays the flower lantern" the modern evolution condition. The fourth chapter is based on the content of the first two chapters, to make an analysis of the internal power of the modern evolution of Sangzhi's "playing lantern"-namely, social and personal factors. On the other hand, the paper briefly analyzes the difficult position of Sangzhi's "playing flower lantern" and its prospect in the new period. The plight of "playing the lantern" mainly includes the narrowing of the present time and space of existence, and the rupture of inheritance. The prospect is based on the intangible cultural heritage conservation fever and the return of the public to folk entertainment. On the basis of these two factors, this paper discusses the possibility and inevitability of "playing lanterns" as folklore activities and folk art in civil society.
【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J825
本文編號：2196163
[Abstract]:Sangzhi Lantern in Northwest Hunan Province is a regional folklore with a long history, which is popular among the local people. Through the field survey during the summer of 2009 and the Spring Festival of 2010, this paper makes a more comprehensive and objective description of the traditional form and modern evolution of "playing lanterns" in mulberry plants. Show the local unique belief psychology and folk art appearance. Through the comparison of traditional and modern forms, this paper analyzes the internal and external motive force of the change of "flower lantern" in civil society, and then puts forward his own opinion on the predicament and prospect of "playing flower lantern". The full text is divided into three parts: introduction, text (four chapters) and conclusion. The introduction mainly discusses the origin of the topic and related academic research trends, as well as the research methods used in this paper and the explanation of related terms. The first chapter of the text is the description of the investigation place, that is, the natural geographical environment of Sangzhi, the origin of national culture, the local people's belief space and the festival situation of "playing lantern". This paper gives an overview of the cultural background of Sangzhi's "playing Lantern". The second and third chapters are the core of this paper. The second chapter mainly through the field investigation (mainly for the Sha Taping Township old artist Yang Shengmin's narration) obtains the data, from the ceremony process and the performance system two aspects to describe "play the lantern" the traditional form. And analyze the cultural significance of this kind of traditional form. The third chapter is through the investigation to the Ruitapu country art light riding team (flower lantern team), compares this kind of modern folk literature and art performance team with the previous chapter "plays the flower lamp" the traditional form, presents the Sangzhi "plays the flower lantern" the modern evolution condition. The fourth chapter is based on the content of the first two chapters, to make an analysis of the internal power of the modern evolution of Sangzhi's "playing lantern"-namely, social and personal factors. On the other hand, the paper briefly analyzes the difficult position of Sangzhi's "playing flower lantern" and its prospect in the new period. The plight of "playing the lantern" mainly includes the narrowing of the present time and space of existence, and the rupture of inheritance. The prospect is based on the intangible cultural heritage conservation fever and the return of the public to folk entertainment. On the basis of these two factors, this paper discusses the possibility and inevitability of "playing lanterns" as folklore activities and folk art in civil society.
【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J825
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