摘要
壮族情歌被"妖魔化"主要有三个时期:明清时期、民国时期、文革时期。在这三个时期,对唱情歌都属于被禁之列,歌圩遭打压甚至取缔。壮族情歌在各个历史时期的被"妖魔化",体现了当时主流社会的文化需要和政治需要,情歌的被"妖魔化"折射出当时主流社会意识形态的需要和社会控制模式。壮族情歌在被"妖魔化"的同时,也一直被"浪漫化"。古代世界的人们对壮族情歌的"浪漫化",是出于对恋爱自由、婚姻自主的向往和追求;而当代世界对壮族情歌的"浪漫化",则更多地折射出文化旅游中各方力量合谋把壮族建构为诗意的、浪漫的民族的努力,以及现代都市社会的人们对田园牧歌时代的怀念。
Love songs of Zhuang nationality was ＂demonized＂ in three major periods： the Ming and Qing Dynasties, the Republie of China, and during the Cultural Revolution. In the three periods, duel love songs were banned, and folk song fairs were suppressed and even banned. The ＂demonization＂of Zhuang love songs in various historical periods reflected the cultural needs and political needs of the mainstream of society as well as the social ideology and social control model at that time. At the same time of ＂demonization＂, Zhuang love songs also witnessed their ＂romanticization＂. The ＂romanticized＂ love songs by ancient Zhuang people was to satisfy the yearning for freedom of love and independence of marriage; while the modem ＂romanticization＂ is more a reflection of the efforts of the forces involved in cultural tourism that conspire to build Zhuang into a poetic and romantic nationality, and also a reflection of the memory for pastoral times by people in modern urban society.
出处
《柳州师专学报》
2009年第3期1-6,122,共7页
Journal of Liuzhou Teachers College
基金
广西民族大学人才引进项目"壮族情歌的艺术人类学研究"(200701YJ11)
关键词
“妖魔化”
“浪漫化”
壮族情歌
倚歌择配
＂demonization＂
＂romanticization＂
Zhuang love songs
courtship with Yi song
