民俗

In 1998, Shandong University became one of the first universities which obtained the master's degree conferral right for folklore. In 2002, Shandong University obtained the doctor's degree conferral right for Chinese folk literature. The doctoral program has three research directions: folk literature, the history of Chinese folk literature, folklore and folk narrative.

1998年山东大学成为我国首批民俗学硕士学位授予权单位，该硕士点下设理论民俗学、中国民俗史、比较民俗学和区域民俗研究 4 个研究方向。2002年山东大学获得中国民间文学博士学位授予权，该博士点下设民间文学、中国民间文学史、民俗与民间叙事研究 3 个研究方向。

The article is to discuss the cultural background of the color folkloric lexicology, and study the mutual relation of the culture of folklore and color.

本文选取此题的目的就是要通过色彩文化、民俗文化探讨这种民俗语汇生成的文化背景，并通过色彩民俗语汇所蕴含的民俗语义反观色彩与民俗文化的互动关系。

The second chapter, Lu Xun's Views on Folklore, analyzes Lu Xun's understanding and thinking of folk culture around "How does Lu Xun look at folk culture?", reveals the valuable instantaneousness, separability and their academic implications in the expressions that appeared unsystematic and unprofessional ,within mutual references of specific ideas and perceptual writings.

第二章名为"鲁迅的民俗观"，围绕"鲁迅是如何看待民俗文化的"这一中心问题，梳理并分析了鲁迅对于民俗文化的理解、认知和思考，在具体观点和感性写作的相互参照之中，揭示了在貌似零散、破碎和非专业的表述中，鲁迅的思考所体现出的难能可贵的当下性和可分性态度。

The first part states in a comprehensive way the research on Zhou Zuoren so as to define the purpose, methodology and significance of the dissertation. The second part analyzes the experience of Zhou's self-culture creation from a personal angle-Yue culture in Zhejiang gave Zhou a perceptual knowledge of folklore, while the idea of world folklore gave him a rational cognition of folk' culture. The combination forms a dual folklore. The third part observes Zhou Zuoren's examination of literarure from folklore's perspective as well as its pioneering significance. The fourth part explores in a further way Zhou's perspective of folk culture, and analyzes the method he has established to conduct literary criticism from the angle of folklore as well as his research on Chinese Culture. The fifth part analyzes the impacts folklore theory and folk culture have on the formation of Zhou' literary ideas, focusing more his folklore interpretation and humanism perspective about the origin and hist ory of literature, also his literary aesthetic standards about "ordinary humanism" and "loving amusement" from the position of folklore. The sixth part expounds Zhou's achievement in combining literature and folklore and explores the consistency of their focus on human, thereby presenting a complete picture of Zhou's literature. The last part generalizes the revelation drawing from the research done in this dissertation.

本文分为六章：第一章综述周作人研究的历史与现状，从而确定本文的研究目的、方法及意义；第二章从社会、时代背景、区域文化传统和个人文化选择的角度，阐释周作人选取民俗学视角观照文学的原因，侧重分析周作人自我文化建构的心路历程——浙江越文化传统的浸润给周作人以民俗学的感性认识，而世界民俗学的理念赋予他注重民间文化的理性精神；第三章考察周作人的民俗学研究及先锋意义；第四章进一步探讨周作人的民俗文化观，分析他确立的从民俗文化角度进行文学批评的方法，兼及他从民俗学视角进行的中国文化研究；第五章分析民俗学理论及民俗文化观在周作人文学思想生成中的影响，着重论述周作人关于文学起源和文学发展史的民俗学阐释、文学的民俗人性观，以及从民间立场出发所具有的"平凡的人道"、"有情的滑稽"等文学审美原则；第六章从创作实践方面，探讨周作人文学作品的民俗文化意蕴，进一步论述周作人将文学与民俗结合在一起的实绩，并揭示二者以"人"为核心的内在精神的一致性，从而呈现出周作人较为完整的文学风貌；最后是余论，指出这一研究的启示。

The different time's folk custom treasure in here may see that the folk custom treasure is the family property which a generation of person accumulates, although breaks old, has not used, but was still recording past trail, kept down these things, lets present's young people have a look, knew how the people are did live,"pu the nest" was the woman who bound the tootsy puts on the winter, embroidered the baby shoe not to know that is which age did, the kerosene lamp, the putty system bean oil lamp, the old style phonograph record, the liberation time's sewing machine, the villagers have used in the past plow, rake, shovel ......, the Yantai Laichau Shop Elementary school has the family folk custom museum, Yantai only this.

不同时期的民俗宝贝在这里都可以看到，民俗宝贝是一辈辈人积累的家底儿，虽然破了、旧了、不用了，但依然记录着过去的足迹，把这些东西留下来，让现在的年轻人看看，就知道过去人们是怎么生活的，"蒲窝子"是裹小脚的女人冬天穿的，绣花童鞋不知道是哪个年代做的，煤油灯、泥制豆油灯、老式唱片、解放时期的缝纫机、村民过去用过的犁啊、耙啊、锨……，烟台莱州店子小学有家民俗博物馆，烟台仅此一家。

By strengthening the Folk Village administration and implementation of the "five unification"(unified propaganda, uniform price, unified reception, unified menu, unified billing) management approach to the folk households to regulate. In 2009, the city's tourist village folk "Five Card" more than 95% completion rate.

通过加强民俗村管理，大力推行"五统一"(统一宣传、统一价格、统一接待、统一菜谱、统一结算)管理办法，对民俗户进行规范。2009年，全市民俗旅游村"五证"办结率达 95%以上。

The exertion of it spositive function relied on the exertion of the peopleps subjective positivity,namely,to change"unconscious successi on"into"conscious succession";meanwhile,administrator's behavioral reason ableness should be adjusted,which was to realize the dynamic balance between"instrumen treason ableness"and"value reason ableness"and folk sport was supposed to find its own way to develop in the process of serving the society.

研究发现，城镇化与我国民俗体育发展的关系是辩证的，要发挥其积极的作用，需要发挥人的主观能动性，即变民俗体育&无意识传承&为&有意识传承&；同时，也要调整管理者的行为理性，即实现&工具理性&与&价值理性&的动态平衡，让民俗体育始终在服务于社会中去寻求自身发展的现实道路。

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

Just like the history,the folk culture of every nation in Xinjiang also changes and develops in the river of time;folk customs of Xinjiang in Qin Han,Wei Jin Sui Tang ,Yuan Ming and Qing dynasties had different developments and characteristics ,In those ,the folk custom itself reflects distinctive sex and gender,men and women are quite different in material folk field and spiritual fiele.

如同历史一样，新疆各民族的民俗文化也经历着时间的洗礼而在历史的长河中变化、发展着，秦汉，魏晋隋唐，元明清时期的新疆民俗呈现出不同的发展轨迹和特点，在这些变化中，民俗事项本身体现出了鲜明的性别意识，在物质民俗与精神民俗中，男性与女性的表现是不同的。

By the Hebei provincial government approval, Hebei Folk Museum was classified as a provincial patriotism education base, and established the United Hebei University, Hebei Folk Institute, at the same time into the school's folk experimental base for teaching, the common research, joint research and development of folk culture resources in Hebei.

1999年经河北省委、省政府批准，河北省民俗博物馆被列为省级爱国主义教育基地，并与河北大学联合成立了河北民俗研究所，同时被辟为该校的民俗教学实验基地，共同研究、共同研究、开发河北的民俗文化资源。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。