旅游展演与民间艺术审美主体的复杂性——湘西德夯苗寨的个案分析

发布时间：2018-06-06 07:06

本文选题：旅游展演 + 民间艺术　；参考：《贵州师范大学学报(社会科学版)》2010年06期

【摘要】：在旅游展演场景中,民间艺术审美主体呈现为由文化持有者、舞台表演者、节目策划者以及导游等多种不同文化身份共同动态建构而成的复杂状态。这种审美主体不是指单个人,而是一个群体,是一群代表不同文化逻辑的话语力量。它既是民间艺术展演文本的文化持有者和生产者,也是民间艺术展演文本的演出承担者和意义生发者。同时,这种审美主体又是处于被凝视状态的,它必须依靠旅游者的观看和想像才得以存在和突显,才显示出有效的文化身份和文化意义。因此,旅游展演语境中的民间艺术审美主体是一种虚化、模糊而又多重含义的想像对象,也显示出民间艺术审美主体的呈现是一种社会关系的生产和建构。
[Abstract]:In the scene of tourism exhibition, the aesthetic subject of folk art is presented as the complex state of cultural holders, stage performers, program planners and tour guides, etc. This aesthetic subject does not refer to a single person, but to a group, a group of discourse forces representing different cultural logic. It is not only the cultural holder and producer of folk art exhibition text, but also the bearer of folk art exhibition text and the producer of meaning. At the same time, the aesthetic subject is in the state of being gazed at, and it must depend on the tourists' viewing and imagination to exist and highlight to show its effective cultural identity and cultural significance. Therefore, the aesthetic subject of folk art in the context of tourism exhibition is a kind of fictitious, fuzzy and multi-meaning imaginary object, which also shows that the presentation of folk art aesthetic subject is the production and construction of social relations.
【作者单位】：中山大学中文系;
【基金】：中国博士后基金“消费文化语境中少数民族歌舞艺术的转型研究”,编号2010047980 教育部人文社科项目“旅游语境中湘西民间艺术发展的人类学研究”,编号08JC850002 湖南省民族学研究基地重点项目“村落文艺活动的艺术人类学研究”,编号MZJD1003
【分类号】：J120.9

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