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锡伯西迁背景下的锡伯族戏曲“汗都春”

发布时间: 2011-11-18


预读:锡伯西迁背景下的锡伯族戏曲“汗都春”
论文中文摘要:本论文是对新疆伊犁察布查尔县的锡伯族群民间戏曲艺术汗都春所进行的专题探讨。论文的写作是在充分了解和掌握已有探讨成果和资料的基础上,通过本人较为深入的田野工作,对汗都春艺术及相关文化背景进行了全面的考察和采录基础上完成的。论文以历史学、音乐学、戏剧戏曲学、文化人类学、语言学、民俗学等角度,力求对汗都春作出历史的梳理、艺术的浅析和文化的解释。论文的基本框架和内容是:锡伯民族的历史、文化及民俗概说;汗都春的历史与近况梳理;平调与越调艺术特点探讨;汗都春与新疆小曲子的比较浅析;对汗都春现象的文化解释;有关锡伯族群传统文化的传承性保护倡议。论文所呈现的创造性成果和新的学术见解主要包括:对汗都春的来源及各种称谓作了较为清晰的描述,首次找出汗都春(handucun)一词的源头并对其涵义作出注解:通过实证,明确了汗都春之平调声腔源于我国西北地区移居新疆的汉、回艺人传入的曲艺和戏曲艺术,纠正了同时有着的平调“源于东北”之观点;较为详尽地描述了锡伯族群各个社区汗都春(平调和越调)传承的历史与近况,采录到了现有的曲牌和部分剧目,收集到了不少珍贵的历史音响和60余部剧本;首次将汗都春与同源剧种新疆小曲子作了全面比较,强调了汗都春作为新疆曲子剧的一个具有独立作用的分支的基本标志和特殊的历史与文化作用;笔者根据所获历史音响及本人所采访的录音,为汗都春90个曲牌中的84个作了重新记谱,自认为是比较客观和准确的;在论文的重点探讨部分即第五章“汗都春现象的文化解释”中,通过对锡伯族历史上在与蒙古族、满族、俄罗斯民族、汉族等强势民族以及维吾尔族、哈萨克族等周边民族的文化碰撞中所持有的多重文化认同,以及西迁新疆后所体现出的强烈的族群意识和文化自觉的观察和剖析,指出了汗都春现象背后的文化机理所在,即锡伯族群所具有的“兼容并蓄、不失本我”的文化品格。用锡伯族群这一族性特点来解释汗都春现象的产生,应该是本论文所努力作出的学术探讨并可望以中提出新的见解。

【English Abstract】 This thesis is a special study on Handucun, traditional opera of Sibe ethnic community of Chabuchaer, Yip Zhou, Vygur Autonomous Region of Xinjiang. The thesis is based on research of abundant reading of materials and papers and of lots of self research and recording. It tries to comb the history, analyze and explain the artistic cultural quapty of Handucun from the aspects of history, musicology, drama, cultural anthropology, pnguistics and folklore.The basic structure and contents of the thesis is as follows:history,culture and folk-custom of Sibe ethnic community; history and status in quo of Handucun; research of artistic feature of Pingdiao and Yuediao; comparing and analysis of Handucun and Xinjiang Xiaoquzi; explaining of Handucun phenomenon from cultural aspect; and suggestion about the carrying over of Sibe ethnic community traditional culture.The new and creative academic opinions put forward here include:clearly description of the origin and appellation of Handucun and finding of the origin of the name of Handucun and a clear description of it; approving, through demonstration, that Pingdiao of Handucun originated from Quyi and traditional opera of Han and Hui artists, who immigrated to Xinjiang, which corrects the view of Pingdiao is originated from northeast China; description in detail of the history and status quo of Handucun in different district of Sibe ethnic groups; recordings of reserved Qupai and opera and collecting many valuable recordings and more than 60 plays.The thesis makes complete comparing Handucun with its same source opera Xinjiang Xiaoquzi and emphasizing the special historic and cultural meaning of Handucun as a separate branch in Xinjiang. According to the historical recording and self recording, the writer rewrite the score of 84 of the 90 Qupai of Handucun. In chapter V, the main part of the thesis, through the analysis of the history of fuse of Sibe with Mongopa, Man, Rusia, Han, ect., and its recognition of ethnic groups, the writer points out the cultural structure of Handucun, that is the quapty of all-embracing but not losing its self. Using the ethnic feature of Sibe ethnic community to explain the rising of Handucun phenomenon should be the academic exploring and new direction of research of the writer.

【关键词】 锡伯族; 西迁; 多重认同; 族群意识;
【Key words】 Sibe ethnic community; move westward; multi-identification; ethnic recognition;
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