【作者】 许加；

【导师】 胡卫军；

【作者基本信息】 吉林大学 ， 文物与博物馆硕士（专业学位）， 2024， 硕士

【摘要】 非物质文化遗产,生成于人类的行为方式及与世界交互形成的表现模式,属于无形文化。其存在依赖于文化传承者和文化生成环境,与人化的属性及生态关切紧密相连,被视为非遗系统性保护工程的核心要素。生态女性主义是一种交叠式研究,具备环境视角和女性主义方法论,与非物质文化遗产关注人与环境的特征相吻合。因此,从生态女性主义的理论视角切入,分析性别主体与生态环境对非遗研究与实践的理论意义,是一项重要的研究课题。本文以抽象与具体为划分,对生态女性主义与非物质文化遗产及满族剪纸这两对关系进行研究,尝试以综合研究的理论为基础展开具体的应用分析,赋予满族剪纸作为非遗事象的生态女性主义阐释。首先,将非物质文化遗产纳入生态女性主义理论视角的研究范畴,分两个章节进行论述。绪论作为第一章是对研究背景的介绍,不在讨论范围内,从第二章开始,论证生态女性主义与非遗在理论建构中具有相似性,主要体现在平等原则、合一原则、可持续原则和多样性原则四项基本原则上。其次,探讨生态女性主义理论视角对非遗理论体系的启发与再阐释,包括研究主体和价值关系的综合研究。在研究主体方面,从哲学角度将主体性解释为认知主体和价值主体两个维度,分析传承人作为认知主体对自然的感性认知和遭受的不平等生态危害,以及非遗保护主体作为价值主体的实践,以女性原则消解男性主导下的不良发展。在价值关系层面,生态女性主义和非物质文化遗产存在于主客体的相互作用中,前者对非遗具有认知、伦理、美学等多重价值。在这种价值体系中,认知价值作为价值规范,批判男权中心制的概念框架和理性主义认识论,强调将女性参与和生态保护的价值判断纳入非遗评估标准;伦理价值作为价值取向,为非遗提供了女性环境伦理、关怀环境伦理和情境伦理的道德方向;美学价值作为价值目标,强调生态美学、身体美学和女性主义美学应用于非遗的审美经验,指向非遗的美学救赎之路。生态女性主义理论为非遗提供了新的研究视角,第三章在此基础上探讨生态女性主义理论对非遗保护实践的指导作用。第一,践行主体性保护。这包括两个方面,非遗的研究对象和研究者。研究对象指非遗的传承主体和保护主体,在非遗实践中注重性别平等的传承人认定机制和正义原则,同时推动女性研究者融入对象群体,由他者转为自者,建立情境敏感的共情与响应机制。第二,提倡平衡性保护。注重父母参与非遗家庭教育的平衡,从根源扭转男性由恋母仿父情结形成的对女性的仇视和对自然的控制。第三,注重整体性保护。运用身心的合一,复杂性科学下非遗系统的整体性、非线性、创造性,以及人与地方的紧密联系等三种思维方式开展非遗的保护实践。其次,将抽象的理论经验应用于满族剪纸分析方法和保护路径的具体研究中,论证了生态女性主义和非物质文化遗产具有综合研究的禀赋。同样分为两个章节进行解读。第四章借鉴生态女性主义在文学批评领域的应用,引入生态女性主义叙事学理论,以图像叙事的方法体系分析满族剪纸作品及其中的思想情感。整合满族剪纸的主题来源,解析构图形式中体现出的叙事情节编排,梳理为图像的空间创设时间性语境的三种表现模式。第五章以生态女性主义语境下的生活性和生态性主张,在人与人、人与自然的关系中指导满族剪纸的活化利用。其一是以人为本的生活性保护,针对女性传承主体,分析其生活史中的多重身份,构建自我、集体和社会的身份认同,发挥其在传承理念、家庭教育和普遍关怀中的性别优势。其二是和谐共生的生态性保护,整合满族剪纸的材料、图像和传承人,表现为留存传统的满族非纸剪纸,对满族剪纸进行生态性阐释,以及重现满族剪纸传承人与自然的生命融合。总的来说,本文旨在探讨生态女性主义的理论视角和思维模式对非物质文化遗产革新理论体系和分析方法的创造性价值,并基于生态女性主义的理论路径和应用经验,指导非物质文化遗产保护的创新实践。更多还原

【Abstract】 Intangible cultural heritage,as a result of human behavior and an expression mode formed by interaction with the world,is an integral part of intangible culture.Its existence is dependent on cultural inheritors and the environment of culture generation,and it is closely connected with humanized attributes and ecological concerns.It is regarded as the core element of the systematic protection project of intangible cultural heritage.Ecofeminism,as a type of overlapping research with an environmental perspective and feminist methodology,is in harmony with the characteristics of intangible cultural heritage,which values people and environment.Therefore,from the perspective of ecofeminism,analyzing the theoretical significance of gender subject and ecological environment on intangible cultural heritage research and practice is an important research topic.This paper investigates this relationship in both abstract and concrete terms,using the traditional Manchu paper-cut as an ecofeminist interpretation of non-legacy.Firstly,the paper endeavors to include intangible cultural heritage in the research category from the perspective of ecofeminists theory,discussing it in two chapters.The first chapter serves as an introduction to the research background,and the second chapter demonstrates the similarities between ecofeminism and intangible cultural heritage in theoretical construction.This includes the four basic principles of equality principle,unity principle,sustainable principle,and diversity principle.Secondly,it explores the inspiration and re-interpretation of the theoretical system of intangible cultural heritage from the perspective of ecofeminism.This includes the comprehensive study of the relationship between the research subject and value.The paper explores the ethical and aesthetic values of ecofeminism and intangible cultural heritage,highlighting the value judgment of women’s participation and ecological protection into the evaluation criteria of intangible cultural heritage.Chapter 3explores the guiding effect of ecofeminists on the practice of intangible cultural heritage protection.This includes practice the protection of subjectivity,promote balanced protection,and focus on holistic protection.The paper concludes that the theory of ecofeminists offers a new perspective for the study of intangible cultural heritage.Secondly,the abstract theoretical experience is applied to the specific research of Manchu paper-cutting analysis methods and protection paths,and it proves that ecofeminists and intangible cultural heritage have the endowment of comprehensive research.The paper is also divided into two chapters for interpretation.Chapter four draws on the application of ecofeminists in the field of literary criticism,introduces the theory of ecofeminists narratology,and analyzes the Manchu paper-cut works and their thoughts and emotions with the method of image narration.This chapter integrates the theme source of Manchu paper-cut,analyzes the narrative plot arrangement reflected in the composition form,and sorts out three modes of expression to create temporal context for the image space.The fifth chapter guides the activation and utilization of Manchu paper-cut in the relationship between man and man,man and nature with the view of life and ecology in the context of ecofeminists.The first is the human-oriented life protection,which analyzes the multiple identities of female inheritors in their life history,constructs self-identity,collective identity and social identity,and gives play to their gender advantages in inheritance concept,family education and universal care.The second is the ecological protection of harmonious symbiosis,integrating the materials,images and inheritors of Manchu paper-cut,which is embodied in the preservation of traditional Manchu non-paper paper-cut,the ecological interpretation of Manchu paper-cut,and the reproduction of the life integration of Manchu paper-cut inheritors and nature.In general,this paper aims to explore the creative value of the theoretical perspective and thinking mode of ecofeminists to the theoretical system and analytical method of intangible cultural heritage innovation,and guide the innovative practice of intangible cultural heritage protection based on the theoretical path and application experience of ecofeminists.更多还原