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泮村灯会有500多年历史,是国家级非物质文化遗产,现时面临着一些保护传承困难的问题.为此,要处理好8对关系,包括:扭转"现代化偏见",修复传统民俗与宗族的关系;明确政府责任,理顺传统民俗与政府的关系;消除认知误区,认清传统民俗各部分内容的关系;超越小农观念,协调传统民俗与外来人口的关系;改革教育体系,平衡主流文化与地方特色文化的关系;转变迷信观念,端正宗族信仰与教育事业的关系;调整运作机制,理清传统民俗与商业力量的关系;深挖民俗内涵,处理传承民俗样式与培育族人品格的关系. 相似文献
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新媒体生态形成新的文学空间场域,不仅建构中国古代文学传承与发展新的样态和格局,也带来新的困境和挑战。文章分析新媒体生态下中国古代文学传承与发展的重要性,从主体、内容、形式、渠道四个维度阐释新媒体生态下中国古代文学传承与发展的现实困境,并提出一些解决路径。 相似文献
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<正>民俗就是民间风俗习惯、仪礼、信仰、风尚的总和,是社会约定俗成的民间生活文化模式,它生动地体现着一个民族的民众生活习惯、行为方式、伦理观念以及心理结构等方面的传统特点,是构成民众生活文化史的主体与核心。"婚礼习俗伴随着 相似文献
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文化的多样性造就了多样的民族群体,然而由于文化传承与教育的选择性,一个民族的文化并不一定同样作用于该民族的每个成员。从上个世纪九十年代末至今,学术界对民族文化传承和教育做了大量卓有成效的研究,成绩斐然、成果丰厚。本文就这一时期的相关成果进行梳理和归纳,从民族文化传承与教育的互动关系、民族文化传承教育的形式和内容、在教育过程中传承民族文化的理念和策略等几个方面对之展开综述。 相似文献
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郑献甫是清代著名的壮族诗人、学者,在岭峤壮族古典诗人中,是卓然独立的大家。其纪游诗内容多样,包罗丰富,大致可分为四个维度,即地理之维、民俗之维、历史之维、时政之维,这四个维度分别指向四重文化内涵,即抒写行者无疆,揭橥风物民俗,寻求古今会通,传载末世心史。郑献甫的行走人生标举了封建时代文人独具特色的人生范式,给予我们较为丰富的文化启示。 相似文献
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文章考察了旅游中的民族文化整合与传承问题,结合具体个案民族文化主题项目"印象·刘三姐"对旅游环境导向中的民族文化和符号进行了以文化整合过程和结构的解析,以其中的民族文化元素山歌的原生、再生、衍生方式加以阐述了传承问题. 相似文献
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英雄、神话和隐喻:格萨尔王作为藏族民间认同和佛教原型 总被引:2,自引:0,他引:2
本文主要考察了<格萨尔>史诗中人物的文化和宗教意义.在文化现实的层面上,认为<格萨尔>民间传说是藏族民间文化认同的一个标志,蕴含着历史的和神话的内容;在宗教学和心理学的意义上,还认为格萨尔王也是一个原型人物(archetype).从荣格心理学的角度来理解,格萨尔人物的功能不仅局限在作为藏族民族英雄的框架中,更重要的是,他契合了藏传佛教历史上高僧大德的教义传播和大乘佛教中的菩萨的理念.虽然格萨尔王是一个藏族特有的民间人物,但他仍具有超越个人和跨文化的原型品质. 相似文献
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鼓本身是一种民俗事象,土家族的信仰、礼仪、生产和生活习俗、节庆、娱乐等等,无不涵蕴着鼓文化的内容。鼓与土家人的生产、生活和生命紧密地联系在一起,具有丰富的民族文化内涵,具有强大的社会功能。本文通过对鼓文化事象的研究,试图深化对土家族传统文化的认识和理解。 相似文献
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南、北侗族音乐形态及传承的比较研究 总被引:1,自引:1,他引:0
侗族聚居地分为南、北两大方言区,但其先民均来自古越地区,南、北侗族是同源同宗的一个少数民族。由于地域地貌、方言语调、生活习惯和受周边民族尤其是汉民族的影响程度不同,形成了不同的音乐发展路径,导致了两地民歌形态和风格出现差异,这是历史发展的必然结果。本文将对南、北侗族的音乐形态与传承两个方面进行展开论述。 相似文献
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论“於菟”的音乐与文化内涵——黄南州同仁县年都乎乡祭祀仪式音乐田野调查 总被引:1,自引:0,他引:1
青海是多民族聚居地区,一些地区至今仍然保存着先民的宗教仪式、仪轨,这种传承与沿袭下来的远古文化的"活化石"折射出一个民族的历史演变、文化传承、宗教信仰以及社会结构等等.从黄南藏族自治州同仁县年都乎乡年都乎村的"於菟"舞音乐中,我们可以更好地诠释原始祭祀乐舞中仪式音乐的本真和所蕴舍的文化内涵,以及阐释信仰、仪式、仪式音乐三者之间的互动关系. 相似文献
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Among Taiwan’s aboriginal tribes, the Paiwan has the most exquisite decorative adorn ̄ments on their costumes. In addition to the decora ̄tions of their clothing, they also give importance to the decorations on their headdress. Every group designs different headdresses according to social status— this also reflects the cultural identity of the group. The headdress is an external marker of ethnic culture, the carrier of ethnic customs and aesthetic consciousness, and it helps to transmit and promote traditional culture.
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib ̄al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head ̄dresses can be divided into those of leaders, no ̄bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious ̄ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli ̄gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re ̄flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech ̄niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter ̄nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi ̄ping ancestors, their myths, and the equality be ̄tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur ̄suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design. 相似文献
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib ̄al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head ̄dresses can be divided into those of leaders, no ̄bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious ̄ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli ̄gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re ̄flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech ̄niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter ̄nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi ̄ping ancestors, their myths, and the equality be ̄tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur ̄suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design. 相似文献
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文化传承视野下社区参与非物质文化遗产旅游开发的思路探讨 总被引:1,自引:0,他引:1
非物质文化遗产作为一种重要的旅游资源,已越来越引起人们的重视。基于其源在社区,而且承在社区的特点,选择社区参与旅游开发是有利于非物质文化遗产传承的践行方式。为实现开发与传承的良性互动,应以民族村寨为依托,构筑参与平台,提升参与能力,营造参与环境,充分实现社区主体角色的培育。 相似文献
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对禹步史料的分析已有多种成果,但对禹步目前尚缺乏民俗文献学方面的研究.实际上,对禹步史料进行历史文献学与民俗学综合研究,可以有一些新的见解,包括禹步与大禹历史人物史料的关系、与数术民俗文献的关系以及与先秦社会史的关系等. 相似文献