朝鲜族刀舞的文化沉积与外在表现

发布时间：2018-02-26 21:19

本文关键词： 朝鲜族刀舞源流形态　出处：《哈尔滨师范大学》2012年硕士论文　论文类型：学位论文

【摘要】：本文以朝鲜族刀舞为研究对象。运用了舞蹈学、美学、历史学等多种研究方法对此论文进行综合分析。试图从纵向上探讨朝鲜族刀舞的来龙去脉，从横向上分析朝鲜族刀舞的形态特征，并在此基础上，分析朝鲜族刀舞的美学思想。本文借鉴了前辈学者已有的研究成果，依据当地的文献资料，以及笔者的田野调查报告。本文分为四个章节和结语两个部分，第一章为绪论部分，概述了本论文的研究目的和意义，研究的理论依据，先行研究状况和理论方法。第二章：主要写朝鲜族刀舞的历史演变过程，在演变到每一时期时都有其特殊之处，第一阶段是远古时期，也就是文中所说的巫舞时期，这一时期盛行的巫舞里就蕴藏着刀舞的开始。第二阶段由于是中原文化向朝鲜传播时期，使得中国的剑舞对朝鲜族刀舞有所影响。第三阶段是新罗时期，刀舞在这一时期是最为盛行的时期，各种史料都有所记载。而且在这一时期疯狂的流传着一个故事，就是黄昌郎刀舞的故事。第四阶段是朝鲜朝宫廷时期，为了满足达官贵人的需求，刀舞被带进了宫中，，刀舞从此更正规化。第五阶段为妓房时期，由于宫廷制度被废除，一些伎生把刀舞带入了妓房。第六阶段是刀舞向中国过渡时期，由于朝鲜半岛连年的战争使得一些人民必须离开，由此刀舞被这些向中国迁移的人民带入了我们的祖国。第三章：主要写具有中国特色的朝鲜族舞蹈，首先介绍了中国朝鲜族所处的特殊的地理位置，以及它迁移的历史介绍。其次描写了具有中国特色的朝鲜族的民族特征，最后介绍了中国朝鲜族刀舞的指导思想。第四章：对中国朝鲜族刀舞的形态分析，分别以黑龙江省和吉林省的朝鲜族刀舞为例，介绍他们的具有地域特色的刀舞文化和他们的动作特点。首先,从刀舞的动作特征入手，指出朝鲜族刀舞具有出刀快而有力且富有韧性的甩动，同时展现了它内柔外刚的特性。其次,分析指出这些动作的形成与朝鲜族的历史演变和生存环境有着密切联系。最后，对朝鲜族刀舞中所运用的服饰、道具和音乐进行概括介绍。第五章：是朝鲜族刀舞的艺术特征，研究了一下朝鲜族刀舞的审美标准，从美学的角度分析了朝鲜族刀舞的审美特征。最后为结语部分：笔者对本文的一些认识性的成果作了总结和概括。本文的创新点在于尝试了运用舞蹈学、美学、历史学等多种研究方法并存的研究方式对某一特定的艺术形式进行综合论述。力图使朝鲜族刀舞这一研究细致而又全面。
[Abstract]:In this paper, the Korean Dao Dance is taken as the object of study. This paper makes a comprehensive analysis of this paper by using various research methods, such as dance, aesthetics, history, etc., and attempts to discuss the origin of Korean Dao Dance from a longitudinal perspective. On the basis of analyzing the morphological characteristics of Korean Dao Dance horizontally, this paper analyzes the aesthetic thought of Korean Dao Dance. This paper draws lessons from the previous scholars' existing research results, according to the local literature, and the author's field investigation report. This paper is divided into four chapters and the conclusion, the first chapter is the introduction part, summarizes the purpose and significance of this paper, the theoretical basis of the study, the first research situation and theoretical methods. The second chapter mainly writes about the historical evolution of Korean Dao Dance, which has its own special features when it evolves into each period. The first stage is the ancient period, that is, the Witch Dance period. The Witchcraft Dance, which prevailed in this period, contained the beginning of the Dao Dance. The second stage was the period when the Central Plains culture spread to North Korea, which made the Chinese sword dance have an impact on the Korean Dao Dance. The third stage was the Silla period. Dao dance is the most popular period in this period, and all kinds of historical materials are recorded. And in this period, there is a crazy circulating story, that is, the story of Huang Chang-Lang 's sword dance. Stage 4th is the period of the court of Korea. In order to meet the needs of dignitaries, the Dao Dance was brought into the palace and became more formalized since then. Stage 5th was a period of prostitution, because the court system was abolished. The 6th stage is the transition period from the Dao Dance to China, where some people have to leave because of years of war on the Korean Peninsula, so the Dao Dance was brought into our motherland by these people who migrated to China. The third chapter: mainly writes the Chinese characteristic Korean nationality dance, first has introduced the Chinese Korean nationality special geographical position, as well as its migration history introduction, then has described the Chinese characteristic Korean nationality national characteristic, Finally, the guiding ideology of Chinese Korean Dao Dance is introduced. Chapter 4th: to analyze the form of Chinese Korean Dao Dance, take the Korean Dao Dance of Heilongjiang Province and Jilin Province as examples, introduce their culture of Dao Dance with regional characteristics and their movement characteristics. Starting with the action characteristics of the Dao dance, it is pointed out that the Korean Dao Dance has the characteristics of quick, powerful and resilient sword, and also shows the internal and external rigidity of the sword dance. Secondly, It is pointed out that the formation of these movements is closely related to the historical evolution and living environment of the Korean nationality. Finally, the clothing, props and music used in the Korean sword dance are introduced. Chapter 5th: it is the artistic characteristic of Korean Dao Dance. The aesthetic standard of Korean Dao Dance is studied, and the aesthetic characteristics of Korean Dao Dance is analyzed from the angle of aesthetics. The last part is the conclusion: the author summarizes and generalizes some cognitive achievements of this paper. The innovation of this paper is to try to use dance, aesthetics, history and other research methods to study a specific art form, and try to make the study of Korean Dao Dance meticulous and comprehensive.
【学位授予单位】：哈尔滨师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J722.2

【共引文献】