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本文对一个中国人熟悉的动作“跪拜”进行语境假设,将其放置于六种语境之中,以产生完全不同的解读。男人手捧玫瑰在女人面前求婚,中国人给日本人下跪遭受屈辱,中国人给祖先、神仙、前辈、老师面前跪拜表达尊敬,封建臣子给皇帝下跪表达愚忠,外国使臣不给中国皇帝下跪表示平等,德国总理勃兰特在犹太人纪念碑前下跪表达忏悔。这些跪拜对个人、对民族、对国家、对历史产生的影响,连接起来就构成一组宏大图像,令人震惊。如果把不同语境呈现的“跪拜”与不同语境呈现的“曲调”置换一下,就可以获得相同的阐释途径,从而把结构主义的方法贯穿于民族音乐学的叙述之中。
This article makes a contextual assumption about a familiar Chinese action “kneeling down”, placing it in six contexts to produce a completely different interpretation. Men hand in roses in front of a woman to marry, the Chinese people to kneel to suffer humiliation, the Chinese people to ancestors, gods, predecessors, kneeling in front of the teacher to show respect, feudal courtiers kneel down to express the foolish loyalty to the emperor, foreign envoys to China When the Emperor kneeled down to show equality, German Brandt went down on his knees before the Jewish monument to express repentance. These knees on the individual, the nation, the country, the impact on history, connected to form a large group of images, it is shocking. If we replace the “melody” in different contexts with the “melody” in different contexts, we can get the same way of interpretation, so that the method of structuralism runs through the narration of ethnomusicology.