象征的网络:仪式传播视角下的贵州屯堡地戏  

Symbolic Networks: Guizhou Tunpu Ground Opera from the Perspective of Ritual Communication

作　　者：李婧[1] 熊迅[2] LI Jing;XIONG Xun(School of Southern Studies,Sun Yat-sen University,Guangzhou 510275,China;School of Communication and Design,Sun Yat-sen University,Guangzhou 510275,China)

机构地区：[1]中山大学南方学院,广东广州510275 [2]中山大学传播与设计学院,广东广州510275

出　　处：《北方民族大学学报（哲学社会科学版）》2019年第5期74-81,共8页Journal of North Minzu University(Philosophy and Social Science)

基　　金：中国博士后基金项目“边缘场域中的认同层级与传播网络”(2012M511852);广东省普通高校青年创新人才类项目“网络视频社区的社群关系和文化传播的跨学科研究”(2018WQNCX279)

摘　　要：贵州屯堡地戏是在黔中地区认同为明代军事行动和移民后代的屯堡人群体所特有的一种民间戏剧表演形态,也是有固定形态和程序的大型仪式。传统上的地戏不但表征和塑造了屯堡人的群体认同,在地戏队组织、血缘或姻缘家族和家庭内部、以村寨为单位的地缘群体,以及屯堡村寨之间的传播网络中也具有较为丰富的象征意义。在仪式传播的视角下,屯堡地戏展演强化了社会互动和认同边界,而在背后支持仪式的正是家国同构的国家观念。地戏仪式不但促成转化,也在社会象征的层面上传播和强化了国家认同。Tunpu ground opera in Guizhou is recognized by Central Areas of Guizhou province and identified as a special folk opera performance by people of Militants and Migrants during Ming dynasty with certain rituals of forms and processes.This opera both represented and shaped the group identity of Tunpu people,and had symbolic meaning of local organizations with the factors of blood relations,marriage and locality.From the perspective of ritual communication,the opera reinforced the social interaction and identity boundaries and the power supports the ritual is the family and nation integrated concept of national identity.The ground opera not only enables the transformation,but also communicates and reinforces the national identity through social symbolic aspect.

关 键 词：仪式象征 社会传播网络 屯堡地戏 

分 类 号：C95[社会学—民族学]