娱乐景观建构与身份表意实践——湘西苗歌广场展演的人类学分析  

Practice of Identity Signification:An Anthropological Analysis of Miao Song Square Performance in Xiangxi

作　　者：吴晓[1] 

机构地区：[1]吉首大学文学院,湖南吉首416000

出　　处：《湖北民族学院学报（哲学社会科学版）》2009年第3期47-50,共4页Journal of Hubei Minzu University：Philosophy and Social Sciences

基　　金：教育部人文社科基金项目"旅游语境中湘西民间艺术发展的人类学研究"(08JC850002);湖南省教育厅社科项目"旅游语境中湘西民间艺术发展的人类学研究"(08C672)

摘　　要：原本存显于苗族传统生活空间中的湘西苗歌,受制于社会、文化、资本和传媒等多重文化逻辑力量的影响,一改其传统的文化功能意义,去除其本身浓厚的文化习俗色彩,从而置身于象征现代文化力量的都市广场中,于广场空间中进行展演的湘西苗歌,在抒情格式、演述程式、演述内容等方面都发生了异于传统样式的改变,呈现出舞台化表演特征和大众审美文化特征,湘西苗歌因此获得了广场娱乐的文化意义,同时,湘西苗歌也因此重塑一种新的主体意识,实现了一种文化和审美的统一,也在传统和现代的时空压缩式的置换中实现一种现代性幻想。Influenced by such multi -layered cultural logics as society, culture, capital and media, Miao songs originally existing in the traditional Miao living space have changed their traditonal cultural functions and got rid of their thick colour of cultural customs and placed themselves in the metrolipolitan sqaures which are symbolic of modem cultural forces. Having changed in the formula of lyricism, form of performance, content of performance which are quite different from the tradtional genres, Miao songs in Xiangxi have taken on the features of stage performacne and mass aesthetic culture and acquired the cultural significance of square entertainment. Simultaneously, Miao songs in Xiangxi have remoulded a kind of new subject awareness, realized the unification of culture and aestheticism and ultimately a modem fancy in displacement of traditional and modem time - space condensation as well.

关 键 词：湘西苗歌 广场展演 大众文化 人类学 

分 类 号：J607[艺术—音乐]