本文選題：越南母道 + 上童儀式��； 參考：《中國音樂》2017年04期

【摘要】：母道教信仰是越南最具特色的民間信仰之一,其信仰基礎(chǔ)是越南陰性文化和民間對女神的崇拜。"上童"是母道教信仰中的主要儀式,它是"三府、四府"的各位神靈附體于執(zhí)儀者"童公、童婆",對信眾進(jìn)行訓(xùn)導(dǎo)勸誡、驅(qū)邪治病、頒賜福祿的一種民間信仰活動。本文以"上童"儀式音樂結(jié)構(gòu)與執(zhí)儀者性別為研究要素,探討音樂與儀節(jié)二者之間同型同構(gòu)的回旋結(jié)構(gòu)特點;解讀男性執(zhí)儀者如何通過儀式表演來建構(gòu)自我對性別及同性戀身份之認(rèn)同。對執(zhí)儀者的社會性別與差異進(jìn)行解構(gòu),強調(diào)后現(xiàn)代主義提倡的文化多元性與審美寬容性,為廣西壯族巫儀信仰研究的執(zhí)儀者性別與認(rèn)同問題提供參照。
[Abstract]:Mother-Taoism is one of Vietnam's most distinctive folk beliefs, based on Vietnamese feminine culture and folk worship of Goddess. " Shangtong "is the main ceremony in the mother Taoism belief, it is a folk belief activity of" three prefectures, four prefectures ", each deity is attached to the expostor" Tong Gong, Tong Po "to the believers, to exhort the faithful, to exorcise evil spirits and cure diseases, and to award a kind of folk belief. Based on the study of the structure of "Shangtong" ritual music and the sex of the instrument holder, this paper discusses the characteristics of the isomorphism between music and festival. Understanding how male implementers construct self-identity of gender and homosexuality through ritual performance. This paper deconstructs the social gender and difference of the instrument holders, emphasizes the cultural diversity and aesthetic tolerance advocated by postmodernism, and provides a reference for the study of the holders' gender and identity in the study of the witchcraft belief of Zhuang nationality in Guangxi.
【作者單位】： 中國音樂學(xué)院;
【基金】：國家社會科學(xué)基金藝術(shù)學(xué)重點項目“瀾滄江—湄公河流域跨界民族音樂文化實錄”階段性成果(課題編碼:11AD002;課題負(fù)責(zé)人:趙塔里木)
【分類號】：J608
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本文編號：1798642