湘西北桑植“打花灯”的传统形态与现代演变

发布时间：2018-08-21 19:41

【摘要】：湘西北桑植“打花灯”是一项历史悠久的地域性民俗活动,盛行于当地的民族当中。本文主要通过2009年暑期和2010年春节期间的田野调查,对桑植“打花灯”的传统形态和现代演变做出较为全面而客观的民俗志式的描述,展现当地特有的信仰心理和民间艺术面貌。通过对传统和现代形态的对比,分析致使“打花灯”在民间社会变迁的内外动力,进而对“打花灯”所面临的困境和前景给出自己的见解。全文分为绪论、正文(共四章)和结语三大部分。绪论主要探讨了选题的缘起和相关学术研究动态,以及本文所使用的研究方法和相关术语阐释。正文第一章是调查地的描述,即桑植的自然地理环境、民族文化溯源以及当地的民众信仰空间和“打花灯”的节日情境,对桑植“打花灯”产生和存在的文化背景做出一个概览。正文第二章和第三章是本文的核心部分。第二章主要通过田野调查(主要为沙塔坪乡老艺人杨声民的讲述)得来的资料,从仪式过程和表演体系两方面来描述“打花灯”的传统形态,并分析这种传统形态所蕴含的文化意义。第三章是通过对瑞塔铺乡间文艺轻骑队(花灯班子)的调查,将这种现代化民间文艺表演班子与上章“打花灯”传统形态相对比,呈现出桑植“打花灯”的现代演变状况。正文第四章是基于前两章的内容,对促使桑植“打花灯”现代演变的内在动力——即社会和个人两方面因素,做出分析。余论则简要分析了桑植“打花灯”所面临的生存困境,以及在新时期下的前景展望。“打花灯”的生存困境主要包括当下生存时空变窄,以及传承的断裂,前景展望则是基于非物质文化遗产保护热和民众对于民间娱乐方式的回归,并在这两方面因素之上民众文化自醒的背景,对作为民俗活动和民间艺术的“打花灯’在民间社会复苏的可能性和必然性的探讨。
[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.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

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