20世纪30至60年代曲艺宣传的艺术机制与话语嬗变——以山西省为例  

The Artistic Mechanism and Discourse Evolution of Quyi Publicity from 1930s to 1960s:A Case Study of Shanxi Province

作　　者：卫才华[1] 冯晶 WEI Caihua;FENG Jing(School of Chinese Language and Literature,Shanxi University,Taiyuan 030006,China)

机构地区：[1]山西大学文学院,山西太原030006

出　　处：《山西大学学报（哲学社会科学版）》2023年第5期46-56,共11页Journal of Shanxi University(Philosophy and Social Science Edition)

基　　金：国家社科基金重大项目“山陕豫民间文化资源谱系与创新性发展的实证研究”(19ZDA185);国家社科基金项目“太行山曲艺宣传七十年的国家话语与文艺实践研究”(22BSH082)。

摘　　要：20世纪30至60年代,山西曲艺在历史文化语境中生成了独特的艺术话语,其艺术体制、艺术主体与艺术实践等多方面因素表现出新的变化:一是曲艺组织由民俗行会转变成为国家文化体制内的文艺团体;二是加强曲艺艺人的培训与改造,使其成为“人民文艺工作者”;三是通过审定、整理传统曲目,编写新曲目,将曲艺实践与文化宣传紧密结合。在国家话语与艺术机制的互动发展中,曲艺既继承民俗传统,又凸显出鲜明的组织性和宣传性特点。In the nearly thirty years before and after the founding of the People’s Republic of China,Shanxi Quyi,a kind of Chinese folk arts,has generated unique artistic discourse in the cultural context of the times.Its artistic system,artistic subject,and artistic practice have taken on new changes:Firstly,Quyi organizations have shifted from folk guilds to literary and artistic groups within the national cultural systems;Secondly,the artists have received strict training and transformation,becoming“people’s literary and artistic workers”;Thirdly,Quyi practice has been combined with cultural promotion by reviewing and sorting out traditional repertoire as well as compiling new one.In the interactive development of national discourse and artistic mechanisms,Quyi not only inherits folk traditions but also highlights distinct organizational and promotional characteristics.

关 键 词：山西 曲艺 宣传 艺术话语 

分 类 号：G122[文化科学]