越南母道教“上童”仪式的音乐、性别与认同

发布时间：2018-04-24 23:04

  本文选题：越南母道 + 上童仪式　； 参考：《中国音乐》2017年04期

【摘要】：母道教信仰是越南最具特色的民间信仰之一,其信仰基础是越南阴性文化和民间对女神的崇拜。"上童"是母道教信仰中的主要仪式,它是"三府、四府"的各位神灵附体于执仪者"童公、童婆",对信众进行训导劝诫、驱邪治病、颁赐福禄的一种民间信仰活动。本文以"上童"仪式音乐结构与执仪者性别为研究要素,探讨音乐与仪节二者之间同型同构的回旋结构特点;解读男性执仪者如何通过仪式表演来建构自我对性别及同性恋身份之认同。对执仪者的社会性别与差异进行解构,强调后现代主义提倡的文化多元性与审美宽容性,为广西壮族巫仪信仰研究的执仪者性别与认同问题提供参照。
[Abstract]:Mother-Taoism is one of Vietnam's most distinctive folk beliefs, based on Vietnamese feminine culture and folk worship of Goddess. " Shangtong "is the main ceremony in the mother Taoism belief, it is a folk belief activity of" three prefectures, four prefectures ", each deity is attached to the expostor" Tong Gong, Tong Po "to the believers, to exhort the faithful, to exorcise evil spirits and cure diseases, and to award a kind of folk belief. Based on the study of the structure of "Shangtong" ritual music and the sex of the instrument holder, this paper discusses the characteristics of the isomorphism between music and festival. Understanding how male implementers construct self-identity of gender and homosexuality through ritual performance. This paper deconstructs the social gender and difference of the instrument holders, emphasizes the cultural diversity and aesthetic tolerance advocated by postmodernism, and provides a reference for the study of the holders' gender and identity in the study of the witchcraft belief of Zhuang nationality in Guangxi.
【作者单位】： 中国音乐学院;
【基金】：国家社会科学基金艺术学重点项目“澜沧江—湄公河流域跨界民族音乐文化实录”阶段性成果(课题编码:11AD002;课题负责人:赵塔里木)
【分类号】：J608
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本文编号：1798642