查询词典 folklore

Chapter two describes the relation between the oral narrative of MBCDS and the folklore geography, in terms of the anthropogeography, the folklore semeiology, the culture circle, the culture layer and the culture space.

第三、四、五、六、七章分别进行具体的异类婚故事资料分析。

This thesis is composed of five chapters. Chapter 1 retrospects briefly Yeats ? s work and Irish folklore tradition, biographically and historically. Chapter II concentrates on the folklore elements in his early poetry .

本论文由五部分组成：第一部分回顾了爱尔兰民间传说和叶芝创作的背景，第二部分阐述了叶芝早期诗歌中运用爱尔兰民间传说的特点。

These thoughts showed striking differences from traditional folklore study in research subject and methodology, therefore arousing great interest in experts and scholars.In 1975 on the occasion of the hundredth publication of an academic journal Japanese Folklore, the Folklore Society of Japan decided to publish a trend special biyearly, aiming at keep track of study trend periodically, summarizing research results, guiding the development of folklore study and offer suggestions on study trend.

它们在研究对象和方法论构成上都与以往的民俗学研究表现出显著的差异，从而引发了学者们的极大关注。1975年以学会期刊《日本民俗学》发行第100期为契机，日本民俗学会推出了每两年一次的研究动向专刊，旨在定期地把握研究动向，总结研究成果，指导民俗学的发展，对研究方向提出前瞻性建议。

The paper demonstrates that folklore is the dyad consisting of characteristic elements of folklore and expression of folklore by analyzing the creative principals of folklore.

章通过分析民间文学艺术的创造规律，论证了民间文学艺术传统与民间文学艺术表现形式的二位一体性。

For English in "folklore" the transliteration, the original intention is "populace's knowledge" or "the folk wisdom".

为英语中的"folklore"意译，原意为"民众的知识"或"民间的智慧"。

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。

His "taro culture" greatly promoted the study in the middle and latter 20~ century in the aspects of providing viewpoint and research attitude and was a latent force in the development of Japanese hot fields in recent 30 years. Therefore Tuboi Hirofumi is not a failure in the study after the 1970s. His idea influenced the development of folklore study in the past three decades, and the study in the hot fields of urban folklore, environment folklore and triple element system justify the existence of the main thread.

因此从这个角度可以说，在70年代以后的研究中坪井洋文不再是一个败北者的存在，他发出的声音极大影响了近30年日本民俗学的学科发展轨迹，而城市民俗学、环境民俗学、三态理论之热点领域的研究也印证了这条主线的存在。

Compared with the objects protected by the traditional intellectual property law, the folklore displays the indefinitiveness of the object itself and value realization in time.

与传统知识产权所保护的客体相比，民间文学艺术却表现出自身对象的不确定性和资源价值实现预期在时间上的不确定性，正因为如此，对民间文学艺术的&人人得自由使用&便成为值得怀疑的并有理由加以改变的事实，用传统的知识产权制度对folklore加以保护显然不合时宜，必须创建一种全新的制度，作为知识产权保护制度体系中的一个分支，以满足民间文学艺术的特殊要求。

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。

At the same time, with the growth of a number of young and middle-aged folklorists who were not directly and personally trained by Yanagita Kunio, Japanese academic circles of folklore developed a trend of thoughts which are different from traditional study and research. For example, new research fields with urban folklore and environment folklore as representatives, and academic debates with folklore culture pluralism and "ke, kegare and hare" as representatives.

同时，伴随着战后一批没有接受过柳田个人直接指导的中青年民俗学者的成长，日本民俗学界形成了区别于传统意义研究以外的思潮，诸如以城市民俗学、环境民俗学为代表的新的研究领域，以民俗文化多元论、&日常态·能量枯竭态·非日常态&为代表的学术争论。

Next time I see you,I shall give you a black eye.

下次我看见你，我会打你一顿。

In this paper,design scheme of classification system of wood surface color is established.

提出了木质板材颜色分类的系统设计方案。