扎鲁特旗乌力格尔的传承与保护

发布时间：2018-05-14 04:03

本文选题：扎鲁特旗 + 乌力格尔　；参考：《中央民族大学》2009年硕士论文

【摘要】： 本文选取内蒙古通辽市(原哲里木盟)扎鲁特旗作为调查与研究的地点,以入选第一批国家级“口头与非物质文化遗产保护名录”里的东蒙古说唱艺术乌力格尔作为研究对象,以田野调查为主,结合文献方法、口述史方法、问卷调查方法整理了扎鲁特旗胡尔齐的传承机制、传承方式、传承谱系,并分析了当下语境下扎鲁特旗乌力格尔老中青三代传承人的情况,力图为日渐衰弱的乌力格尔说唱艺术的传承与保护提出有价值的建议。正文包括绪论、四个章节及结论三大部分。绪论部分交待了选题缘由、研究概况、调查点的选择、论文将要解决的问题、研究方法等内容。第一章,梳理了扎鲁特旗的自然地理、历史沿革、风俗习惯,并通过对扎鲁特旗乌力格尔七星(扎鲁特旗说唱乌力格尔的最著名的七位民间艺人)、乌力格尔三大流派的介绍,阐述了扎鲁特旗乌力格尔优久的说唱传统。第二章,阐述了扎鲁特旗乌力格尔的传承机制和传承方式。第三章,通过对拉希敖斯尔、劳斯尔、达胡日巴雅尔老中青三代胡尔齐的采访,阐述了目前扎鲁特旗乌力格尔传承人的情况, 第四章,笔者从乌力格尔赖以生存的文化空间的变迁、年轻传承人匮乏、政府扶持力度薄弱等角度入手阐述了乌力格尔的传承危机,并针对这种危机,提出了几点建议,试图为乌力格尔的传承与保护提供行之有效的现实途径。结论部分,总结了全文的内容,并阐述了笔者的观点。笔者认为,祖先创造和保存下来的乌力格尔说唱艺术,绝不会在我们这一代人手里失传。那种口头艺术自生自灭的时代已经结束了,现代人可以通过田野调查和各种学科知识,掌握口头说唱传统的传承规律、传承方式,并对其积极进行引导,从而使它真正以现代生活接轨,重获生命力。作为生长于科尔沁草原的蒙古人,笔者对乌力格尔的未来充满着信心与期待。
[Abstract]:This paper selects the Tongliao city of Inner Mongolia (original zurimu League) zurate as a survey and research site, in order to select the first batch of national "oral and non material cultural heritage protection list" in the East Mongolia rap art uragel as the research object, based on field investigation, combined with literature method, oral history method, questionnaire survey method We have arranged the inheritance mechanism, the way of inheritance and the lineage of the zaluet's Hu Er Qi, and analyzed the situation of the three generation inheritors of the old zaluet of zaluet in the context of zaluet, trying to put forward valuable suggestions for the passing and protection of the declining uragel's rap art.
The main body consists of three parts: introduction, four chapters and conclusion.
In the introduction part, the reasons for choosing the topic, the general situation of the research, the selection of the survey points, the problems to be solved, and the research methods are introduced.
The first chapter, combing the natural geography, historical evolution, customs and customs of zurate banner, and by introducing the three major schools of urugel, the seven most famous folk artists of zuruet's urumel (zurate's rap and urugel's seven most famous folk artists), expounded the long rap tradition of uragel in Zali.
The second chapter expounds the inheritance mechanism and inheritance mode of zuruqi banner.
The third chapter, through an interview with Lashio J M, Rosl, the three generation of old and middle-aged daguya in daguya, this paper expounds the current situation of the heritage of uragel in Zali.
The fourth chapter, from the perspective of Uli Geer Lai's vicissitude of cultural space, the lack of young inheritors and the weak government support, the author expounds the inheritance crisis of uragel, and puts forward some suggestions on this crisis, and tries to provide an effective and practical way for the inheritance and protection of urugel.
The conclusion part summarizes the contents of the full text and expounds the author's viewpoint.
The author believes that the art of ururl rap, which is created and preserved by ancestors, will never be lost in the hands of our generation. The era of oral art has ended, and modern people can master the inheritance law of oral rap tradition, the way of inheritance through field investigation and the knowledge of various disciplines, and make a positive introduction to it. To guide it, so that it can truly connect with modern life and regain vitality. As a Mongol growing in the Horqin prairie, the author is full of confidence and expectation to the future of urgel.

【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J826;G122

【引证文献】