论文部分内容阅读
东北地区作为晚清时期才开始形成的遗民地区,其居民不仅包括原本在此居住的满、蒙、鄂温克、鄂伦春等少数民族居民,也包括从山东、河北等地迁来的关内农民等。在漫长的多民族杂居的历史中,东北地区形成了兼具关外萨满文化特征和关内汉族文化特征的丧葬文化。在东北丧葬文化中,丧葬音乐曲词是格外值得注意的文化现象之一,其内容独特,内蕴深厚,影响到东北通俗文艺的生成和发展(如二人转等),而辽阳这座历史文化名城,其民间丧葬民俗文化发展历来都走在同一历史时期的前列。因此对其曲词中的意象问题进行研究无疑是迫切且有意义的。
The northeastern region, as a refugee region that began to form during the late Qing Dynasty, includes not only those residents of ethnic minorities such as Manchuria, Mongolia, Ewenki and Oroqen that originally resided there, but also those peasants who have relocated from Shandong and Hebei. In the long history of multi-ethnic mingling, the funeral culture in northeastern China has formed both the customs of the Shaman culture and the customs of Han ethnicity in the country. In funeral culture in the northeast, funeral music is one of the most noteworthy cultural phenomena. Its content is unique and profound, affecting the formation and development of popular literature and art in northeast China (such as the two-person transfer). The historical and cultural city , Its folk funeral folk culture has always been walking in the forefront of the same historical period. Therefore, it is undoubtedly urgent and meaningful to study the question of image in his lyrics.