【摘要】：撒尼民間文學(xué)經(jīng)典《阿詩(shī)瑪》自整理、出版以來(lái),經(jīng)歷了多種形式的改編,顯示了獨(dú)特的藝術(shù)魅力與文學(xué)價(jià)值。以往對(duì)《阿詩(shī)瑪》改編的研究主要集中在內(nèi)容、題材、人物形象等方面,對(duì)作品中如何呈現(xiàn)和闡釋撒尼文化這一方面的研究比較匱乏。本文以音樂(lè)劇《阿詩(shī)瑪》為研究對(duì)象,運(yùn)用文本細(xì)讀、敘事學(xué)及文化研究等方法,探究音樂(lè)劇作為一種新的傳播方式在當(dāng)代語(yǔ)境下對(duì)撒尼民間文學(xué)作品《阿詩(shī)瑪》的解讀,及其如何在傳統(tǒng)與現(xiàn)代、東方與西方、"自我"與"他者"的多元文化語(yǔ)境中闡釋撒尼文化。一部撒尼民間文學(xué)作品被搬上音樂(lè)劇舞臺(tái),如何呈現(xiàn)和闡釋撒尼文化是十分重要的。本文的創(chuàng)新點(diǎn)在于:發(fā)現(xiàn)音樂(lè)劇《阿詩(shī)瑪》作為一種新的表現(xiàn)形式重構(gòu)了撒尼民間文學(xué)作品《阿詩(shī)瑪》。本文運(yùn)用跨學(xué)科的方法對(duì)該劇進(jìn)行多方位的考察,聯(lián)系撒尼人面臨的現(xiàn)代化進(jìn)程、全球化語(yǔ)境以及民族文化身份等方面對(duì)該劇進(jìn)行解讀。本文通過(guò)探討音樂(lè)劇對(duì)《阿詩(shī)瑪》的解讀與闡釋,為當(dāng)代語(yǔ)境下少數(shù)民族民間文學(xué)經(jīng)典的傳承與重構(gòu)提供新的思索。本文由緒論、正文和結(jié)語(yǔ)三個(gè)部分組成。緒論部分主要梳理《阿詩(shī)瑪》從文本搜集到影視舞臺(tái)改編的過(guò)程,簡(jiǎn)述本論文的研究動(dòng)態(tài)、研究意義及研究方法等。正文部分包括三章:第一章主要從傳統(tǒng)敘事和現(xiàn)代改編兩個(gè)角度來(lái)分析音樂(lè)劇《阿詩(shī)瑪》,該劇在傳統(tǒng)敘事的外殼下填充了新的時(shí)代內(nèi)容,劇中通過(guò)消解階級(jí)敘事、突出愛(ài)情主題來(lái)迎合大眾審美趣味;第二章主要分析音樂(lè)劇《阿詩(shī)瑪》中東西方元素混雜并存的現(xiàn)象,該劇以犧牲民族文化的立場(chǎng)為代價(jià),試圖通過(guò)添加西方人物形象、融入西方元素來(lái)迎合西方市場(chǎng);第三章主要討論音樂(lè)劇《阿詩(shī)瑪》中撒尼人作為文化主體的缺席,劇中消解了民族敘事,撒尼文化主體處于失語(yǔ)狀態(tài)。結(jié)語(yǔ)部分反思音樂(lè)劇《阿詩(shī)瑪》改編的失敗之處,并對(duì)少數(shù)民族民間文學(xué)經(jīng)典的改編提出思索。本文指出,該劇的創(chuàng)作主體站在自身文化邏輯的立場(chǎng)對(duì)撒尼民間文學(xué)作品《阿詩(shī)瑪》進(jìn)行改編。雖然該劇運(yùn)用了大量撒尼文化符號(hào),但劇情與敘事比較單薄,難以支撐對(duì)撒尼文化的深入表述。該劇迎合主流文化、靠攏西方文化審美的做法也容易誤導(dǎo)受眾對(duì)撒尼文化的理解與認(rèn)知,不利于撒尼文化的有效傳播。
[Abstract]:Since Sani's folk literature classic, Ashima, has been arranged and published, it has experienced various forms of adaptation, showing its unique artistic charm and literary value. In the past, the studies on the adaptation of Ashima mainly focused on the content, subject matter, character image, and so on, but the study on how to present and interpret the Sauni culture in the works is relatively scarce. This article takes the musical "Ashima" as the research object, uses the text careful reading, the narratology and the cultural research and so on method, explores the musical as a kind of new dissemination way in the contemporary context to the Sarnian folk literature work "Ashima" interpretation, And how to explain Sarnian culture in the multicultural context of tradition and modernity, east and west, self and other. How to present and explain Sauni culture is very important when a sani folklore is put on the stage of musical. The innovation of this paper lies in the discovery that the musical "Ashima" as a new form of expression reconstructs Sauni folklore "Ashima". This article uses the interdisciplinary method to carry on the multi-directional investigation to this play, connecting with the modernization process faced by the Sani people, the globalization context and the national cultural identity and so on aspect carries on the interpretation to this play. This paper probes into the interpretation and interpretation of Ashima by musicals, which provides a new reflection for the inheritance and reconstruction of the classics of minority folk literature in the contemporary context. This paper consists of three parts: introduction, text and conclusion. The introduction mainly combs the process from text collection to film and television stage adaptation, and briefly describes the research trends, research significance and research methods of this paper. The text includes three chapters: the first chapter mainly analyzes the musical "Ashima" from the perspective of traditional narration and modern adaptation, which fills the new era content under the shell of the traditional narrative. Highlight the theme of love to cater to the aesthetic taste of the masses; The second chapter mainly analyzes the mixed coexistence of eastern and western elements in the musical "Ashima". At the cost of sacrificing national culture, the play tries to cater to the western market by adding western characters and integrating western elements. The third chapter mainly discusses the absence of the Saanis as the cultural subject in the musical "Ashima", which dissolves the national narration, and the Sauni cultural subject is in the aphasia state. The conclusion part reflects on the failure of the adaptation of the musical "Ashima", and puts forward some thoughts on the adaptation of the classics of minority folk literature. This paper points out that the main body of the play is based on its own cultural logic to adapt Sauni's folklore, Ashima. Although the play uses a large number of Sauni cultural symbols, but the plot and narration are relatively thin, it is difficult to support the in-depth expression of Sauni culture. The play caters to the mainstream culture and draws close to the western cultural aesthetics, which can easily mislead the audience into understanding and cognition of the Sauni culture, which is not conducive to the effective dissemination of the Sauni culture.
【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】：2017
【分類號(hào)】：J822

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 錢(qián)康寧;;再看繼承、發(fā)展、創(chuàng)新——云南省第十三屆新劇目展演音樂(lè)類劇目簡(jiǎn)評(píng)[J];民族藝術(shù)研究;2016年02期

2 孫士聰;;文化研究“失語(yǔ)癥”問(wèn)題——當(dāng)阿多諾文化工業(yè)理論遭遇中國(guó)經(jīng)驗(yàn)[J];上海大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2016年02期

3 于平;;石頭的傳說(shuō)摯愛(ài)的歌——大型音樂(lè)劇《阿詩(shī)瑪》觀后[J];藝術(shù)評(píng)論;2015年12期

4 王珍;;《阿詩(shī)瑪》唱響杭城的臺(tái)前幕后[J];文化交流;2015年11期

5 殷房;;有意的缺席——論《榆樹(shù)下的欲望》中埃本母親的形象[J];牡丹江大學(xué)學(xué)報(bào);2015年08期

6 張雪雁;;主體性視域下少數(shù)民族的國(guó)家認(rèn)同建構(gòu)邏輯[J];民族研究;2014年06期

7 付長(zhǎng)珍;;文化主體性與民族獨(dú)特性——兼談中國(guó)文化形態(tài)的當(dāng)代建構(gòu)[J];探索與爭(zhēng)鳴;2014年10期

8 林繼富;;現(xiàn)代媒介記憶語(yǔ)境下的民間文學(xué)保護(hù)[J];民間文化論壇;2014年01期

9 李艷豐;;反思及其僭越——中國(guó)當(dāng)代審美意識(shí)形態(tài)理論的闡釋焦慮與話語(yǔ)突圍[J];貴州大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2014年01期

10 曹順慶;黃文虎;;失語(yǔ)癥:從文學(xué)到藝術(shù)[J];文藝研究;2013年06期

相關(guān)碩士學(xué)位論文 前1條

1 張平;云南石林彝族特殊的文化符號(hào)—撒尼人摔跤[D];云南民族大學(xué);2014年

，

本文編號(hào)：2420792