本文關(guān)鍵詞： 朝鮮族 刀舞 源流 形態(tài)　出處：《哈爾濱師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：本文以朝鮮族刀舞為研究對(duì)象。運(yùn)用了舞蹈學(xué)、美學(xué)、歷史學(xué)等多種研究方法對(duì)此論文進(jìn)行綜合分析。試圖從縱向上探討朝鮮族刀舞的來(lái)龍去脈，從橫向上分析朝鮮族刀舞的形態(tài)特征，并在此基礎(chǔ)上，分析朝鮮族刀舞的美學(xué)思想。本文借鑒了前輩學(xué)者已有的研究成果，依據(jù)當(dāng)?shù)氐奈墨I(xiàn)資料，以及筆者的田野調(diào)查報(bào)告。 本文分為四個(gè)章節(jié)和結(jié)語(yǔ)兩個(gè)部分，第一章為緒論部分，概述了本論文的研究目的和意義，研究的理論依據(jù)，先行研究狀況和理論方法。 第二章：主要寫(xiě)朝鮮族刀舞的歷史演變過(guò)程，在演變到每一時(shí)期時(shí)都有其特殊之處，第一階段是遠(yuǎn)古時(shí)期，也就是文中所說(shuō)的巫舞時(shí)期，這一時(shí)期盛行的巫舞里就蘊(yùn)藏著刀舞的開(kāi)始。第二階段由于是中原文化向朝鮮傳播時(shí)期，使得中國(guó)的劍舞對(duì)朝鮮族刀舞有所影響。第三階段是新羅時(shí)期，刀舞在這一時(shí)期是最為盛行的時(shí)期，各種史料都有所記載。而且在這一時(shí)期瘋狂的流傳著一個(gè)故事，就是黃昌郎刀舞的故事。第四階段是朝鮮朝宮廷時(shí)期，為了滿足達(dá)官貴人的需求，刀舞被帶進(jìn)了宮中，，刀舞從此更正規(guī)化。第五階段為妓房時(shí)期，由于宮廷制度被廢除，一些伎生把刀舞帶入了妓房。第六階段是刀舞向中國(guó)過(guò)渡時(shí)期，由于朝鮮半島連年的戰(zhàn)爭(zhēng)使得一些人民必須離開(kāi)，由此刀舞被這些向中國(guó)遷移的人民帶入了我們的祖國(guó)。 第三章：主要寫(xiě)具有中國(guó)特色的朝鮮族舞蹈，首先介紹了中國(guó)朝鮮族所處的特殊的地理位置，以及它遷移的歷史介紹。其次描寫(xiě)了具有中國(guó)特色的朝鮮族的民族特征，最后介紹了中國(guó)朝鮮族刀舞的指導(dǎo)思想。 第四章：對(duì)中國(guó)朝鮮族刀舞的形態(tài)分析，分別以黑龍江省和吉林省的朝鮮族刀舞為例，介紹他們的具有地域特色的刀舞文化和他們的動(dòng)作特點(diǎn)。首先,從刀舞的動(dòng)作特征入手，指出朝鮮族刀舞具有出刀快而有力且富有韌性的甩動(dòng)，同時(shí)展現(xiàn)了它內(nèi)柔外剛的特性。其次,分析指出這些動(dòng)作的形成與朝鮮族的歷史演變和生存環(huán)境有著密切聯(lián)系。最后，對(duì)朝鮮族刀舞中所運(yùn)用的服飾、道具和音樂(lè)進(jìn)行概括介紹。 第五章：是朝鮮族刀舞的藝術(shù)特征，研究了一下朝鮮族刀舞的審美標(biāo)準(zhǔn)，從美學(xué)的角度分析了朝鮮族刀舞的審美特征。 最后為結(jié)語(yǔ)部分：筆者對(duì)本文的一些認(rèn)識(shí)性的成果作了總結(jié)和概括。 本文的創(chuàng)新點(diǎn)在于嘗試了運(yùn)用舞蹈學(xué)、美學(xué)、歷史學(xué)等多種研究方法并存的研究方式對(duì)某一特定的藝術(shù)形式進(jìn)行綜合論述。力圖使朝鮮族刀舞這一研究細(xì)致而又全面。
[Abstract]:In this paper, the Korean Dao Dance is taken as the object of study. This paper makes a comprehensive analysis of this paper by using various research methods, such as dance, aesthetics, history, etc., and attempts to discuss the origin of Korean Dao Dance from a longitudinal perspective. On the basis of analyzing the morphological characteristics of Korean Dao Dance horizontally, this paper analyzes the aesthetic thought of Korean Dao Dance. This paper draws lessons from the previous scholars' existing research results, according to the local literature, and the author's field investigation report. This paper is divided into four chapters and the conclusion, the first chapter is the introduction part, summarizes the purpose and significance of this paper, the theoretical basis of the study, the first research situation and theoretical methods. The second chapter mainly writes about the historical evolution of Korean Dao Dance, which has its own special features when it evolves into each period. The first stage is the ancient period, that is, the Witch Dance period. The Witchcraft Dance, which prevailed in this period, contained the beginning of the Dao Dance. The second stage was the period when the Central Plains culture spread to North Korea, which made the Chinese sword dance have an impact on the Korean Dao Dance. The third stage was the Silla period. Dao dance is the most popular period in this period, and all kinds of historical materials are recorded. And in this period, there is a crazy circulating story, that is, the story of Huang Chang-Lang 's sword dance. Stage 4th is the period of the court of Korea. In order to meet the needs of dignitaries, the Dao Dance was brought into the palace and became more formalized since then. Stage 5th was a period of prostitution, because the court system was abolished. The 6th stage is the transition period from the Dao Dance to China, where some people have to leave because of years of war on the Korean Peninsula, so the Dao Dance was brought into our motherland by these people who migrated to China. The third chapter: mainly writes the Chinese characteristic Korean nationality dance, first has introduced the Chinese Korean nationality special geographical position, as well as its migration history introduction, then has described the Chinese characteristic Korean nationality national characteristic, Finally, the guiding ideology of Chinese Korean Dao Dance is introduced. Chapter 4th: to analyze the form of Chinese Korean Dao Dance, take the Korean Dao Dance of Heilongjiang Province and Jilin Province as examples, introduce their culture of Dao Dance with regional characteristics and their movement characteristics. Starting with the action characteristics of the Dao dance, it is pointed out that the Korean Dao Dance has the characteristics of quick, powerful and resilient sword, and also shows the internal and external rigidity of the sword dance. Secondly, It is pointed out that the formation of these movements is closely related to the historical evolution and living environment of the Korean nationality. Finally, the clothing, props and music used in the Korean sword dance are introduced. Chapter 5th: it is the artistic characteristic of Korean Dao Dance. The aesthetic standard of Korean Dao Dance is studied, and the aesthetic characteristics of Korean Dao Dance is analyzed from the angle of aesthetics. The last part is the conclusion: the author summarizes and generalizes some cognitive achievements of this paper. The innovation of this paper is to try to use dance, aesthetics, history and other research methods to study a specific art form, and try to make the study of Korean Dao Dance meticulous and comprehensive.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J722.2

【共引文獻(xiàn)】

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8 張

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