胡仁乌力格尔的传播学研究
发布时间：2018-08-15 12:59
【摘要】： 本文主要以传播学的理论和视角对蒙古族“胡仁·乌力格尔”在民间传播过程及其传播效果进行的系统研究。其中包括对传播者(胡尔奇)、传播内容(“胡仁·乌力格尔”)、传播媒介(口头传播、大众传播、网络传播)、受众(听众)、效果影响(深层次的影响和浅层次的影响)等环节的研究。 绪论,主要写了选题原因、“胡仁·乌力格尔”研究概况、研究“胡仁·乌力格尔”的意义、价值、研究方法、资料来源等问题。 第一节,选题原因。“胡仁·乌力格尔”的资料丰富,相对研究的不够充分。“胡仁·乌力格尔”的文化带相对小,做田野调查相对简单等原因。 第二节,国内国外的“胡仁·乌力格尔”相关资料的搜集整理以及研究概况。这节主要介绍了国内国外学者以及电视、广播电台对蒙古族“胡仁呜力格尔”的搜集整理概况和国内外学者对“胡仁·乌力格尔”的研究情况。国内对“胡仁·乌力格尔”的搜集材料可以分为两部分,即说书艺人生平相关资料和“胡仁·乌力格尔”相关的文本资料。还可以细分为文字资料、录音资料以及音像资料。国内“胡仁·乌力格尔”研究概况可以分为理论研究、专题研究、综合研究等三个部分,分别进行详细的总结和概括。国外学者的研究概况,以国家为单位,分别进行了总结和介绍。 第三节,研究“胡仁·乌力格尔”的意义、价值、研究方法、资料来源等问题。胡仁·乌力格尔及其说唱艺术形式是发生于东蒙古蒙汉民族的结合地带,其中蕴含着蒙汉文化交流诸多信息。所以,胡仁·乌力格尔的研究,对梳理和揭示蒙汉两个民族文化,即游牧文化与农耕文化的交流、冲突、融合及其规律、特点,具有重要的学术价值。蒙古族胡仁·乌力格尔是研究蒙汉文化结合的最典型的例子,是研究蒙汉文化交流的对象之 胡仁·乌力格尔及其说唱活动是东蒙古地区重要的非物质文化遗产之一,研究和探索胡仁·乌力格尔的说唱活动及其发展演变的规律,对于蒙古族重要的非物质文化遗产的保护和传承都具有较高的现实意义。胡仁·乌力格尔相关资料搜集是保存和传承胡仁·乌力格尔文化的很重要环节。对胡尔奇艺人的关注是保护和发展胡仁·乌力格尔文化的必经之路。 本论文主要以传播学的理念和方法研究蒙古族胡仁·乌力格尔。传播学的创始之人之一哈罗德·拉斯韦尔(Harold Dwight Lass-well)提出5W传播模式,形成了控制分析、内容分析、媒介分析、受众分析、效果分析五大研究领域。本文的研究方法借鉴了传播学的模式,主要采用传播学的调查法(对胡尔奇艺人和受众)、内容分析法(传播内容,包括文献资料形式和音像资料形式两种)、定性田野研究(对胡尔奇艺人和受众的定性田野调查)、文本分析法(对胡尔奇艺人演唱文本的分析)、现存资料分析(文献资料和第二手资料的分析)等研究方法。同时也综合运用了民间文艺学、文化人类学(文化传统和社会背景分析)的方法等。 本文的资料主要来自于以前搜集的文献资料,包括胡尔奇艺人的小传、说唱“胡仁·乌力格尔”的习语、相关研究论著、包括单篇论文和学位论文以及相关专著、演唱文本,包括各电台、电视台收藏的录音录像文本以及个人手里的音像文本。 还有个人田野访谈录,包括对胡尔奇艺人的访谈、传播媒介相关人员的访谈、听众的访谈；相关问卷调查资料。 第一章,探讨了“胡仁·乌力格尔”的传播者。 第一节,主要研究了“胡尔奇”这个名称的民间理解和分类问题。民间一般把说书一人分为“胡尔奇”和“半个胡尔奇”。真正的胡尔奇是又会拉胡又会讲整套故事。“半个胡尔奇”的话就会讲故事不会拉胡或只会拉胡不会讲故事的。即两种能力的缺少一种本能的“胡尔奇”,这里需要表明的是拉四胡和讲故事两种本事的以讲故事为主导,拉四胡是辅佐作用的能力。所以一般情况下会讲故事,不会拉四胡的算“半个胡尔奇”,而只会拉四胡,不会讲故事的连“半个胡尔奇”里都不算。 第二节里研究了学“胡仁·乌力格尔”的动机。动机可以分为生活原因,爱好原因。一些人因为喜欢学“胡仁·乌力格尔”,因此爱好学“胡仁·乌力格尔”。 一部分残疾人为了生活所迫学学“胡仁·乌力格尔”。 第三节,主要研究了一个人当“胡尔奇”时的所影响因素。这里包括从小的家庭条件因素,一个村、乡,大点的政治环境因素等直接或间接地影响一个人能否成为说书艺人。 第四节,系统介绍和研究了学“胡仁·乌力格尔”的方法。“胡仁·乌力格尔”的学习方法主要通过两种形式,即拜师学艺和自学成才两种形式。 第五节,研究了说“胡仁·乌力格尔”的技巧,说“胡仁·乌力格尔”的语言技巧主要是通过向老艺人的学习、从书本学习、从民间语言学习、从生活学习。经常听老艺人的所说的“胡仁·乌力格尔”做笔记或靠记忆背诵,有些有文化的说书艺人自己读汉文、蒙文或满文的“警世通言”、“名贤集”、“三字经”等书籍,把里面精彩的部分纪录下来,在说唱“胡仁·乌力格尔”之时予以恰当引用,可以提高说唱艺术效果,引人入胜。民间学习主要是从日常生活当中提炼出各种经典的语言,经过升华变成表演的艺术化语言,“胡仁·乌力格尔”的语言主要来源于生活。 第二章,“胡仁·乌力格尔”传播内容的研究。 第一节,主要研究了影响“胡仁·乌力格尔”内容的人物。“胡仁·乌力格尔”的内容不仅仅受到胡尔奇的影响,而胡尔奇之外的编辑、受众也一定程度上影响“胡仁·乌力格尔”的内容。 第二节,分析了说书艺人演唱的文本主要来源。作者总结说书艺人演唱的文本主要来源于汉族的章回小说,样板戏,电影、连画本、蒙古族小说,还有藏经故事等。 第三节,探析说书艺人选用的本子故事以及后来所写的“本子故事”的特点。说书艺人选择的本子故事主要有两个特点,一个特点是具有英雄史诗的色彩,第二个特点是具有艺术真实性。作者通过以蒙古族英雄史诗,胡尔奇所选说的汉族章回小说以及后来蒙古族人自己创作的本子故事“五传”的英雄的怀孕、出生、长大、英雄的座骑等主要的母体做比较,总结蒙古族胡尔奇所选的故事首先具有英雄史诗的色彩。还有一个特点是具有艺术真实感。所选的故事一般是历史题材的章回小说,这有一定的历史真实性,具有历史真实性就提高艺术真实性。蒙古族人创造的本子故事“五传”为了提高艺术真实性,与汉民族流传的历史题材章回小说联系起来,丰富了蒙古族说书的内容和增强了艺术真实感。 第三章,论述了传播“胡仁·乌力格尔”的传播媒介。 第一节,总结和分析了“胡仁·乌力格尔”的传播媒介。这里分析了传播“胡仁·乌力格尔”的口头媒介、电台、电视台、网络等传播媒介的特点以及“胡仁·乌力格尔”传播带来的积极影响和消极影响。 第二节,研究了传播媒介与胡尔奇的依赖关系和矛盾关系。说书艺人扩大自己的影响力和提高自己的声誉必须借助于媒体的传播,媒体为了更好地办好节目也必须找说书艺人录制更多的节目。不过说书艺人录制自己说唱的“胡仁·乌力格尔”提高自己的影响力和知名度的同时也失去自己的说唱“市场”。因为更多的听众不用花更多的钱去请说书艺人说唱“胡仁·乌力格尔”,只需买几百元甚至几十元的收音机就可以听“胡仁·乌力格尔”。有时编辑和说书艺人之间也发生矛盾,譬如说唱录制时间的长短问题、说唱艺术问题上常常产生矛盾。媒体的多样化对说书艺人带来了很多好处,同时,也容易使各种风格的杂糅,丧失艺术个性,造成说书艺人说唱艺术特征、风格不明显。这样搀杂好几种说唱风格的“胡仁·乌力格尔”,很少得到听众的欣赏。 第四章,“胡仁·乌力格尔”的受众研究。 第一节,分析了受众的听“胡仁·乌力格尔”的原因。原因可以分认识外面世界的需要、增加自己的知识、为了娱乐等几个方面。 第二节研究了听众的形成以及听众的培养。“胡仁·乌力格尔”的听众为原来蒙古族英雄史诗、神话、传说的听众当中逐步形成。还有就是“胡仁·乌力格尔”的听众通过讲述等形式培养下一代的听众。 第三节,研究了听众对说书艺人的成长和锻炼以及说唱“胡仁呜力格尔”时所起的作用。 第五章,“胡仁·乌力格尔”传播的影响研究。此章主要研究了“胡仁·乌力格尔”对蒙古族经济生活、文化生活、精神生活带来的影响。 第一节,“胡仁·乌力格尔”对蒙古族经济生活带来的积极影响和消极影响。“胡仁·乌力格尔”是一部分残疾人的谋生手段,通过说唱他们获得一定的经济收入,并能改变他们在社会、生活当中的境遇。在新形势下,“胡仁·乌力格尔”被列入国家非物质文化遗产项目,有些文化部门由此成为国家级非物质文化保护单位,一些说书艺人被评为非物质文化遗产传承人,有些研究项目因此得到国家的大力支持,正在进行深入的调查和研究,因此,客观上对推动了该地区的经济发展起到了积极的作用。“胡仁·乌力格尔”有积极的影响之外也带来一些消极影响,具体表现为说书艺人和听众为了学或听“胡仁·乌力格尔”需要花费很多时间,从而影响了正常工作,甚至耗费大量财力和物力。 第二节,“胡仁·乌力格尔”的传播带来了民间文学的新题材的形成起到了一定作用。有些学者提出蒙古族好来宝和叙事民歌是蒙古族“胡仁·乌力格尔”基础上形成为一门独具特色的艺术题材,作者赞同此观点的同时进一步论证了此观点。 第三节,“胡仁·乌力格尔”的传播对蒙古族的人名的影响。主要对东部蒙古族社会生活中以带“龙”“虎”“花”字的人名进行了考证,指出偏僻农村没有接受过教育的家长给孩子起带“龙”“虎”“花”字的名字的主要原因是来自“胡仁·乌力格尔”的影响。因为“胡仁·乌力格尔”当中的带“龙”“虎”字的名字都是些武功盖世、能力超群的英雄,带“花”字的一般指性情娴熟、温柔美貌的女子。 第四节,“胡仁·乌力格尔”的传播对蒙古族种宗教信仰的影响。作者分别从具体的例子论证“胡仁·乌力格尔”对蒙古族民间信仰、萨满教、佛教带来的印象。 第五节,“胡仁·乌力格尔”的传播对蒙古族伦理道德的影响。“胡仁·乌力格尔”主要说唱的是汉文题材演变而来的章回小说。因此自然而然使听众接受了传统的“三纲五常”、“三从四德”等儒家伦理道德思想的影响,流行“胡仁·乌力格尔”地区的蒙古族人的儒家伦理道德观点比别的不收听“胡仁·乌力格尔”相比严重。 第六节,“胡仁·乌力格尔”的传播对蒙古族其他精神文化的影响。主要研究了“胡仁·乌力格尔”对东部地区的油画、版画、雕塑、抒情歌曲等精神文化的影响。
[Abstract]:This paper mainly studies the Mongolian "Huren Wuligel" in the process of folk communication and its effect from the perspective of communication theory, including the disseminator (Huerqi), the content of communication ("Huren Wuligel"), the media (oral communication, mass communication, network communication), the audience (audience), the effect of communication (Huerqi). Deep and shallow influence.
The introduction mainly writes the reasons for choosing the topic, the general situation of Huren Wuligel's research, the significance, value, research methods and data sources of Huren Wuligel's research.
In the first section, the reasons for choosing the topic are as follows: the data of Huren Wuligel is abundant and the relative research is insufficient. The cultural belt of Huren Wuligel is relatively small and the field investigation is relatively simple.
The second section is about the collection and collation of the relevant information about Huren Wuligel at home and abroad. This section mainly introduces the collection and collation of the Mongolian "Huren Wuligel" by domestic and foreign scholars as well as television and radio stations, and the research of "Huren Wuligel" by domestic and foreign scholars. The collection materials of Wuligel can be divided into two parts, that is, the related materials of storytellers'life and Huren Wuligel's related texts. It can also be divided into written materials, audio-visual materials and audio-visual materials. The three parts are summarized and summarized in detail respectively. The research situation of foreign scholars is summarized and introduced in terms of the country.
The third section studies the significance, value, research methods and sources of data of Huren Wuligel. Huren Wuligel and his art form of rap occur in the combination zone of Mongolian and Han nationalities in East Mongolia, which contains a lot of information of cultural exchange between Mongolia and Han. Mongolian Huren Wuligel is the most typical example of studying the combination of Mongolian and Han cultures and the object of studying the cultural exchange between Mongolian and Han.
Huren Wuligel and his rap and singing activities are one of the important intangible cultural heritages in East Mongolia. To study and explore Huren Wuligel's rap and singing activities and their development and evolution are of great practical significance for the protection and inheritance of Mongolian important intangible cultural heritage. Collection is an important link to preserve and inherit Huren Wuliger's culture. Attention to Huerqi artists is the only way to protect and develop Huren Wuliger's culture.
Harold Dwight Lass-well, one of the founders of Mongolian Huren Wuligel's communication studies, put forward the 5W mode of communication with the ideas and methods of communication studies. It has formed five research fields: control analysis, content analysis, media analysis, audience analysis and effect analysis. The mode of communication mainly adopts the investigation method of communication (to the artist and the audience), the content analysis method (the content of communication, including the form of documentary and audio-visual materials), the qualitative field research (the qualitative field investigation of the artist and the audience), the text analysis method (the analysis of the text of the artist's singing), and the existing method. Data analysis (literature and second-hand data analysis) and other research methods, but also a comprehensive use of folk literature and art, cultural anthropology (cultural traditions and social background analysis) methods.
The data in this paper mainly come from the literature collected before, including the biography of Hurgi artist, the idiom of rap "Huren Wuliger", the related research works, including single paper, degree paper and related monographs, the singing text, including the audio and video texts collected by radio and television stations, as well as the audio and video texts in the hands of individuals. Ben.
There are also personal fieldwork interviews, including interviews with artists, media stakeholders, listeners, and questionnaires.
The first chapter discusses the disseminator of "Huru Ulger".
In the first section, the author mainly studies the folk understanding and classification of the name "Hulkie". People generally divide a storyteller into "Hulkie" and "Half Hulkie". That is to say, the two abilities lack an instinctive "Hu Erqi". What needs to be shown here is that the two abilities of La Sihu and story-telling are story-telling-oriented, and La Sihu is a supplementary ability. It doesn't count in the "Hu Qi".
The second section studies the motivation of learning "Huren Wuligel". Motivation can be divided into life reasons and hobbies. Some people like to learn "Huren Wuligel", so they like to learn "Huren Wuligel".
Some disabled people are forced to learn "Huru Ulger" in order to live.
In the third section, the author mainly studies the influencing factors of a person when he is a "Hulkie". These factors include the factors of family conditions, a village, a village, and a larger political environment, which directly or indirectly affect whether a person can become a storyteller.
The fourth section systematically introduces and studies the method of learning "Huren Wuligel".
The fifth section studies the technique of saying "Huren Wuligel". It says that the language skill of "Huren Wuligel" is mainly through learning from the old artists, from books, from folk languages, and from life. Calligraphers and artists themselves read Chinese, Mongolian or Manchu "warning words", "collection of eminent and virtuous people", "three-character scripture" and other books, which record the wonderful part of it, and properly quote it when rapping "Huren Wuliger", which can improve the artistic effect of rapping and singing, attracting people. Folk learning is mainly extracted from daily life. It is a classical language, which has been sublimated into the artistic language of performance. The language of Huren Wuligel mainly comes from life.
The second chapter is about the research of Huru Ulger's communication content.
In the first section, the author mainly studies the characters who influence the content of Huren Wuligel. The content of Huren Wuligel is not only influenced by Huerqi, but also influenced by the editors and the audience outside Huerqi to a certain extent.
In the second section, the author analyzes the main sources of the storytellers'singing texts. The author concludes that the storytellers' singing texts mainly come from the Han nationality's Zhanghui novels, model plays, movies, even picture books, Mongolian novels and Tibetan classics stories.
The third section explores the characteristics of the stories selected by the storytellers and the later stories written by the storytellers. The stories selected by the storytellers have two main characteristics: one is the color of heroic epics, the other is the artistic authenticity. Comparing the pregnant, born, grew up, hero's mount and other main maternal bodies of the hero of the five biographies, the stories selected by the Mongolian Huerqi first have the color of heroic epics. Another feature is the artistic authenticity. The stories selected are generally calendar stories. In order to improve the artistic authenticity, the five stories created by the Mongolians are linked with the historical stories circulated by the Han nationality, enriching the content of Mongolian storytelling and enhancing the artistic authenticity.
The third chapter discusses the dissemination of "Huru Ulger" media.
In the first section, the author summarizes and analyzes the media of Huren Wuligel. This paper analyzes the characteristics of the oral media, radio, television, network and other media of Huren Wuligel, as well as the positive and negative effects of Huren Wuligel.
The second section studies the dependence and contradiction between the media and Hu Erqi. The storyteller must rely on the media to expand his influence and improve his reputation. The media must also ask the storyteller to record more programs in order to run the program better. But the storyteller must record his own "Huren Wu" Rigel has lost his rap "market" as well as his influence and popularity, because more listeners don't have to pay more to ask storytellers to say "Huren Wuligel" and can listen to "Huren Wuligel" by buying a radio for hundreds or even tens of dollars. Sometimes editors and storytellers There are also contradictions between them, such as the length of rap recording time, rap art problems often produce contradictions. The diversification of the media has brought many benefits to the rapper, but also easy to make a variety of styles of hybridity, loss of artistic individuality, resulting in the rapper artistic characteristics, style is not obvious. The style of "Huru Ulger" is seldom appreciated by the audience.
The fourth chapter is the audience study of Huru Ulger.
In the first section, the author analyzes the reasons why the audience listens to Huren Wuligel. The reasons can be divided into several aspects: understanding the needs of the outside world, increasing their knowledge, for entertainment and so on.
The second section studies the formation of the audience and the cultivation of the audience.
The third section studies the role of the audience in the growth and exercise of the storyteller and the rap "Huren Wuligel".
The fifth chapter studies the influence of Huren Wuligel on Mongolian economic life, cultural life and spiritual life.
The first section, "Huren Wuligel" brings positive and negative influence on Mongolian economic life. "Huren Wuligel" is a means of livelihood for some disabled people, through raping they get certain economic income, and can change their social and life situation. Some cultural departments have become state-level non-material cultural protection units, some storytellers have been evaluated as Inheritors of intangible cultural heritage, and some research projects have been strongly supported by the state and are being investigated and studied in depth. Therefore, it has promoted the development of the region objectively. Economic development has played a positive role. "Huren Wuligel" has a positive impact, but also brought some negative effects, specifically for storytellers and listeners in order to learn or listen to "Huren Wuligel" needs to spend a lot of time, thus affecting the normal work, and even consuming a lot of financial and material resources.
The second section, the transmission belt of "Huru Ulger".
【学位授予单位】：中央民族大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J826
本文编号：2184274
[Abstract]:This paper mainly studies the Mongolian "Huren Wuligel" in the process of folk communication and its effect from the perspective of communication theory, including the disseminator (Huerqi), the content of communication ("Huren Wuligel"), the media (oral communication, mass communication, network communication), the audience (audience), the effect of communication (Huerqi). Deep and shallow influence.
The introduction mainly writes the reasons for choosing the topic, the general situation of Huren Wuligel's research, the significance, value, research methods and data sources of Huren Wuligel's research.
In the first section, the reasons for choosing the topic are as follows: the data of Huren Wuligel is abundant and the relative research is insufficient. The cultural belt of Huren Wuligel is relatively small and the field investigation is relatively simple.
The second section is about the collection and collation of the relevant information about Huren Wuligel at home and abroad. This section mainly introduces the collection and collation of the Mongolian "Huren Wuligel" by domestic and foreign scholars as well as television and radio stations, and the research of "Huren Wuligel" by domestic and foreign scholars. The collection materials of Wuligel can be divided into two parts, that is, the related materials of storytellers'life and Huren Wuligel's related texts. It can also be divided into written materials, audio-visual materials and audio-visual materials. The three parts are summarized and summarized in detail respectively. The research situation of foreign scholars is summarized and introduced in terms of the country.
The third section studies the significance, value, research methods and sources of data of Huren Wuligel. Huren Wuligel and his art form of rap occur in the combination zone of Mongolian and Han nationalities in East Mongolia, which contains a lot of information of cultural exchange between Mongolia and Han. Mongolian Huren Wuligel is the most typical example of studying the combination of Mongolian and Han cultures and the object of studying the cultural exchange between Mongolian and Han.
Huren Wuligel and his rap and singing activities are one of the important intangible cultural heritages in East Mongolia. To study and explore Huren Wuligel's rap and singing activities and their development and evolution are of great practical significance for the protection and inheritance of Mongolian important intangible cultural heritage. Collection is an important link to preserve and inherit Huren Wuliger's culture. Attention to Huerqi artists is the only way to protect and develop Huren Wuliger's culture.
Harold Dwight Lass-well, one of the founders of Mongolian Huren Wuligel's communication studies, put forward the 5W mode of communication with the ideas and methods of communication studies. It has formed five research fields: control analysis, content analysis, media analysis, audience analysis and effect analysis. The mode of communication mainly adopts the investigation method of communication (to the artist and the audience), the content analysis method (the content of communication, including the form of documentary and audio-visual materials), the qualitative field research (the qualitative field investigation of the artist and the audience), the text analysis method (the analysis of the text of the artist's singing), and the existing method. Data analysis (literature and second-hand data analysis) and other research methods, but also a comprehensive use of folk literature and art, cultural anthropology (cultural traditions and social background analysis) methods.
The data in this paper mainly come from the literature collected before, including the biography of Hurgi artist, the idiom of rap "Huren Wuliger", the related research works, including single paper, degree paper and related monographs, the singing text, including the audio and video texts collected by radio and television stations, as well as the audio and video texts in the hands of individuals. Ben.
There are also personal fieldwork interviews, including interviews with artists, media stakeholders, listeners, and questionnaires.
The first chapter discusses the disseminator of "Huru Ulger".
In the first section, the author mainly studies the folk understanding and classification of the name "Hulkie". People generally divide a storyteller into "Hulkie" and "Half Hulkie". That is to say, the two abilities lack an instinctive "Hu Erqi". What needs to be shown here is that the two abilities of La Sihu and story-telling are story-telling-oriented, and La Sihu is a supplementary ability. It doesn't count in the "Hu Qi".
The second section studies the motivation of learning "Huren Wuligel". Motivation can be divided into life reasons and hobbies. Some people like to learn "Huren Wuligel", so they like to learn "Huren Wuligel".
Some disabled people are forced to learn "Huru Ulger" in order to live.
In the third section, the author mainly studies the influencing factors of a person when he is a "Hulkie". These factors include the factors of family conditions, a village, a village, and a larger political environment, which directly or indirectly affect whether a person can become a storyteller.
The fourth section systematically introduces and studies the method of learning "Huren Wuligel".
The fifth section studies the technique of saying "Huren Wuligel". It says that the language skill of "Huren Wuligel" is mainly through learning from the old artists, from books, from folk languages, and from life. Calligraphers and artists themselves read Chinese, Mongolian or Manchu "warning words", "collection of eminent and virtuous people", "three-character scripture" and other books, which record the wonderful part of it, and properly quote it when rapping "Huren Wuliger", which can improve the artistic effect of rapping and singing, attracting people. Folk learning is mainly extracted from daily life. It is a classical language, which has been sublimated into the artistic language of performance. The language of Huren Wuligel mainly comes from life.
The second chapter is about the research of Huru Ulger's communication content.
In the first section, the author mainly studies the characters who influence the content of Huren Wuligel. The content of Huren Wuligel is not only influenced by Huerqi, but also influenced by the editors and the audience outside Huerqi to a certain extent.
In the second section, the author analyzes the main sources of the storytellers'singing texts. The author concludes that the storytellers' singing texts mainly come from the Han nationality's Zhanghui novels, model plays, movies, even picture books, Mongolian novels and Tibetan classics stories.
The third section explores the characteristics of the stories selected by the storytellers and the later stories written by the storytellers. The stories selected by the storytellers have two main characteristics: one is the color of heroic epics, the other is the artistic authenticity. Comparing the pregnant, born, grew up, hero's mount and other main maternal bodies of the hero of the five biographies, the stories selected by the Mongolian Huerqi first have the color of heroic epics. Another feature is the artistic authenticity. The stories selected are generally calendar stories. In order to improve the artistic authenticity, the five stories created by the Mongolians are linked with the historical stories circulated by the Han nationality, enriching the content of Mongolian storytelling and enhancing the artistic authenticity.
The third chapter discusses the dissemination of "Huru Ulger" media.
In the first section, the author summarizes and analyzes the media of Huren Wuligel. This paper analyzes the characteristics of the oral media, radio, television, network and other media of Huren Wuligel, as well as the positive and negative effects of Huren Wuligel.
The second section studies the dependence and contradiction between the media and Hu Erqi. The storyteller must rely on the media to expand his influence and improve his reputation. The media must also ask the storyteller to record more programs in order to run the program better. But the storyteller must record his own "Huren Wu" Rigel has lost his rap "market" as well as his influence and popularity, because more listeners don't have to pay more to ask storytellers to say "Huren Wuligel" and can listen to "Huren Wuligel" by buying a radio for hundreds or even tens of dollars. Sometimes editors and storytellers There are also contradictions between them, such as the length of rap recording time, rap art problems often produce contradictions. The diversification of the media has brought many benefits to the rapper, but also easy to make a variety of styles of hybridity, loss of artistic individuality, resulting in the rapper artistic characteristics, style is not obvious. The style of "Huru Ulger" is seldom appreciated by the audience.
The fourth chapter is the audience study of Huru Ulger.
In the first section, the author analyzes the reasons why the audience listens to Huren Wuligel. The reasons can be divided into several aspects: understanding the needs of the outside world, increasing their knowledge, for entertainment and so on.
The second section studies the formation of the audience and the cultivation of the audience.
The third section studies the role of the audience in the growth and exercise of the storyteller and the rap "Huren Wuligel".
The fifth chapter studies the influence of Huren Wuligel on Mongolian economic life, cultural life and spiritual life.
The first section, "Huren Wuligel" brings positive and negative influence on Mongolian economic life. "Huren Wuligel" is a means of livelihood for some disabled people, through raping they get certain economic income, and can change their social and life situation. Some cultural departments have become state-level non-material cultural protection units, some storytellers have been evaluated as Inheritors of intangible cultural heritage, and some research projects have been strongly supported by the state and are being investigated and studied in depth. Therefore, it has promoted the development of the region objectively. Economic development has played a positive role. "Huren Wuligel" has a positive impact, but also brought some negative effects, specifically for storytellers and listeners in order to learn or listen to "Huren Wuligel" needs to spend a lot of time, thus affecting the normal work, and even consuming a lot of financial and material resources.
The second section, the transmission belt of "Huru Ulger".
【学位授予单位】：中央民族大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J826
【引证文献】
相关博士学位论文 前1条
1 李彩花;胡仁·乌力格尔《封神演义》文本与汉文原著《封神演义》比较研究[D];中央民族大学;2012年
，本文编号：2184274
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