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学院派中国民族民间舞的学科性注定了学院派“这一个”的必备天赋即权威性、规范性和类型化。有意思的是,当我们以文化使者的身份和精英主义式的姿态冠冕堂皇地高喊学院派民族民间舞蹈“源于民间,高于民间,既不失风格又科学规范”时,我们还应调用一种文化批判的眼光和实践的力度来审视在工具理性和价值理性,以及在文化自觉和权力场域中“学院派”与“民族民间舞蹈”在权力关系、文化格局、价值动机及意义指向上的内在悖论及其所可能具有的裂隙与张力,并在反观自照中引发思考学院派民族民间舞蹈如何在多元文化格局和多级话语拉力中完成新一轮自我更新的重要议题。
The disciplinary nature of the Chinese national folk dance in the academic school is destined to be the prerequisite, normative and typological genius of the academic school “this one.” It is interesting to note that when we use the identity of cultural envoys and elitist gestures to shout “academic ethnically folk dances” from the perspectives of the people, being higher than the people, neither loss of style nor norms of science, we should also Calling a cultural critique of the vision and practice of the intensity to look at the instrumental rationality and value rationality, as well as in the field of cultural consciousness and power “academic” and “folk dance” in power relations, cultural patterns, The internal paradox of value motivation and meaning and the cracks and tensions it may have. In the meantime, the author argues how academic folk-custom dance can complete a new round of self-renewal in the multi-cultural framework and multi-level discourse pull. Important topic