發(fā)布時(shí)間：2018-08-21 19:41

【摘要】：湘西北桑植“打花燈”是一項(xiàng)歷史悠久的地域性民俗活動(dòng),盛行于當(dāng)?shù)氐拿褡瀹?dāng)中。本文主要通過(guò)2009年暑期和2010年春節(jié)期間的田野調(diào)查,對(duì)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(dāng)?shù)靥赜械男叛鲂睦砗兔耖g藝術(shù)面貌。通過(guò)對(duì)傳統(tǒng)和現(xiàn)代形態(tài)的對(duì)比,分析致使“打花燈”在民間社會(huì)變遷的內(nèi)外動(dòng)力,進(jìn)而對(duì)“打花燈”所面臨的困境和前景給出自己的見(jiàn)解。 全文分為緒論、正文(共四章)和結(jié)語(yǔ)三大部分。 緒論主要探討了選題的緣起和相關(guān)學(xué)術(shù)研究動(dòng)態(tài),以及本文所使用的研究方法和相關(guān)術(shù)語(yǔ)闡釋。 正文第一章是調(diào)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(dāng)?shù)氐拿癖娦叛隹臻g和“打花燈”的節(jié)日情境,對(duì)桑植“打花燈”產(chǎn)生和存在的文化背景做出一個(gè)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(guò)田野調(diào)查(主要為沙塔坪鄉(xiāng)老藝人楊聲民的講述)得來(lái)的資料,從儀式過(guò)程和表演體系兩方面來(lái)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(yùn)含的文化意義。第三章是通過(guò)對(duì)瑞塔鋪鄉(xiāng)間文藝輕騎隊(duì)(花燈班子)的調(diào)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(duì)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(nèi)容,對(duì)促使桑植“打花燈”現(xiàn)代演變的內(nèi)在動(dòng)力——即社會(huì)和個(gè)人兩方面因素,做出分析。 余論則簡(jiǎn)要分析了桑植“打花燈”所面臨的生存困境,以及在新時(shí)期下的前景展望。“打花燈”的生存困境主要包括當(dāng)下生存時(shí)空變窄,以及傳承的斷裂,前景展望則是基于非物質(zhì)文化遺產(chǎn)保護(hù)熱和民眾對(duì)于民間娛樂(lè)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(duì)作為民俗活動(dòng)和民間藝術(shù)的“打花燈’在民間社會(huì)復(fù)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(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J825

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 金陵;張家界花燈藝術(shù)探賾[J];船山學(xué)刊;2005年02期

2 崔思蕖;李虹;;感悟湘西的花燈藝術(shù)[J];船山學(xué)刊;2007年04期

3 向智星;;地花鼓與花燈的特征探析[J];貴州工業(yè)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2006年02期

4 符姍姍;唐圣菊;;湘西歌舞花燈的表現(xiàn)特征[J];交響-西安音樂(lè)學(xué)院學(xué)報(bào);2008年04期

5 彭恒禮;;云南的燈神與戲神——兼談元宵文化中“燈”與“戲”的關(guān)系[J];民俗研究;2008年03期

6 劉洋;;試探儺公儺母神話等折射出的儺文化內(nèi)涵——以湘西北桑植土家族還儺愿為例[J];百色學(xué)院學(xué)報(bào);2010年02期

7 游俊;土家族祖先崇拜略論[J];世界宗教研究;2000年04期

8 趙心憲;;白粉墻村花燈傳人兩種生態(tài)現(xiàn)狀的啟示——秀山花燈傳承(保護(hù))與利用的田野調(diào)查報(bào)告之四[J];重慶教育學(xué)院學(xué)報(bào);2007年02期

9 陳夢(mèng)飛;彭志勇;;現(xiàn)代傳媒與秀山花燈民俗傳統(tǒng)及民間性傳承——秀山部分地區(qū)民間花燈現(xiàn)狀的實(shí)地調(diào)查與思考[J];重慶教育學(xué)院學(xué)報(bào);2007年05期

10 姚嵐;;桑植花燈的表演特征[J];藝海;2009年03期

，

本文編號(hào)：2196163