【作者】 徐春毅；

【导师】 虞定海；

【作者基本信息】 上海体育学院 ， 民族传统体育学， 2011， 博士

【摘要】 从“跨文化”的视角看：人类的发展历程也是一部人类跨文化交流的历史画卷，对于置身于文化其中的中国武术而言同样亦是如此。如何在当今多元文化发展以及中国文化大外宣的格局下，理解和促进中国文化和武术的跨文化交流，成为当前武术所面临的重大现实问题。因此，本研究以文献资料法、专家咨询法、专家访谈法、实地调查法、逻辑分析法和个案研究为基本方法，从“跨文化”的视角，运用武术基本理论，结合传播学、跨文化交流学以及相关的历史学、文化学、社会学等理论进行跨学科交叉研究。对武术、武术跨文化交流的现状与历史、京剧跨文化交流的过程进行了梳理反思、分析探讨，并提出了武术跨文化交流的方针、原则和策略等。本文以整体观和系统论为指导，主要在以下几个方面尝试性的进行了创新解读,并得出如下结论：第一，本研究首次提出了“武体”概念。“武术”和“习武者”本人合二为一，融和为一体构成“武体”。“武体”的“主体”是习武者本人，“武体”的“客体”是武术。“武体”是“习武者”和“武术”融合与辩证统一。“主体”人决定了“客体”武术对外跨文化交流的内容和形式、起着“把关人”主导和决定作用。“主体”人可以对“客体”进行变革和创新。并以“主体间性思维”提出跨文化交流的主体分为“传播者”与“受传者”两种表现形态，“传播者”和“受传者”皆为传播的“主体”，二者是互为“主体”的平等关系。第二，通过比较反映出对普通受众武术的理解存在着“定型观念”，这既造成了武术跨文化交流的客观障碍但同时又提供了发展机遇，这些不同“定型观念”的存在，是进行“议程设置”转换和“分众传播”的重要依据。第三，首次提出武术的跨文化交流包含两方面的含义。一是武术通过跨文化交流自身的创新与变革；二是武术对国外传播交流的具体现象和过程。第四，提出了武术的跨文化交流障碍。传播内容障碍；传播者障碍；“传播受众”障碍——“定型观念”；传播媒介障碍——“翻译”障碍。第五，武术跨文化交流促进自身创新、变革，丰富了武术的内容和形式。武术文化和竞技文化交流融合催生了新的武术类型——“竞技武术”；佛教文化和武术文化的结合促成了“拳禅合一”的“少林武术”（“少林功夫”）特色；李小龙以中国武术的咏春拳为基础，吸纳和融和了西方的哲学思想以及国外的武道文化创立了“截拳道”；武术文化和西方电影文化的融和诞生了新的电影类型——“武侠片”。武术对来自不同国家文化在技术层面、制度层面、价值观念层面三个层次都有吸纳和融合，是在继承中的变革与创新发展。极大提高了武术在国际上的影响。第六，武术跨文化交流推动了武术的国际化发展并具有鲜明时代、阶段特征在古代，武术的跨文化交流主要以日本和朝鲜等国家为主，以武术的对外输出传播为特色。以人际传播和技术传播为最主要方式。武术被所在国的文化吸纳和融合，被逐渐演变形成了全新的武道技术，如空手道，柔道等。是这一时期武术跨文化交流非常显著的特点之一。在近代，武术的跨文化交流由亚洲周边国家拓展到欧洲国家等，并开始注重对东南亚国家的跨文化交流和交流。武术社团组织、官方组织的跨文化交流成为一个显著的特点。有组织的文化传播、大众传播开始出现并得到进一步重视和彰显。武术社团开始出现国际化的发展。武术首次开始使用最新的传播媒介——电影进行传播交流。武术开始逐步从“民俗化”进入到“体育化”和“竞技化”的新阶段。在现代，武术承担起了“公共外交”的历史责任和使命，范围拓展到五大洲。国家传播成为新中国成立后武术跨文化交流的一个显著的特点。竞技武术逐步得到完全确立和形成，成为中国武术的一个新类型，并实现了国际化发展。这一时期中国武术演化为竞技武术和传统武术两种形式对外进行跨文化交流。但以竞技武术为主、传统武术为辅。对武术的理论研究也开始逐步进入国际化的跨文化交流时代。第七，京剧跨文化交流的成功经验是：京剧的成功“申遗”、京剧的“名人传播”效应、京剧同欧洲戏剧和交响乐的吸纳和融合。对武术跨文化交流的启示与借鉴是：为少林功夫和传统武术今后的“申遗”工作提供了很好的思路与借鉴。京剧的创新变革对同根生的武术的创新变革提供了很好的佐证。“竞技武术”、“交响京剧”都只是各自领域内的一种表现类型，是自身的创新变革。第八，提出了孔子学院实施武术“分众传播”的模式和措施。孔子学院“分众传播”模式：融合型传播模式；依托型传播模式；松散型传播模式三种。孔子学院“分众传播”的措施：重视技术与文化并进；量身定做武术教学内容和教材；转变观念、实施“分众传播”；积极利用“新媒体”传播中国武术。第九，提出了武术跨文化交流的宏观思考。文化外宣的国家意识；加大武术文化的外宣力度；“互惠双赢的”诉求；打破壁垒、整合资源。第十，提出了武术跨文化交流的原则。“他者原则”；宏观与微观交流并行原则；包容平等交流原则第十一，提出了武术跨文化交流的策略。强调“把关人”“主体”策略；注重“涵化分析”受众策略；实施“双重编码”策略；强化“议程设置”策略；施行“分众传播”策略。更多还原

【Abstract】 From perspective of intercultural: the human development process is also a picture ofthe human history of intercultural communication. Chinese martial arts have run the sameway. It has been a signicant real problem that faced by the martial arts is that how tounderstand the pattern of propaganda and to promote Chinese culture and martial artsintercultural exchange in today’s multi-cultural development and the great Chinese cultureoutgoing.Therefore, based on the methods including literature resources, expert advice, expertinterviews, field investigation, logical analysis and case studies, this research study in across-courses methodology, switching to the perspective of the intercultural, vision, andbilateral,utilizing the basic theory of martial arts, combining communications and relatedintercultural study of history, culture, sociology and other interdisciplinary theory.Throughthe totally seven chapters, the dissertation has combed, discussed and re-reflectedChinese martial arts, intercultural communication History and the status of Chinesemartial arts, the process of intercultural experience Chinese opera, and also proposedmartial arts intercultural approaches, principles and strategies. The implementation ofmartial arts intercultural communication in Confucius Institute is analysed as a case, andalso a new pattern, called distributing communicating on individuals, is proposed. Takingthe overall concept and systematical theory as the guide, the dissertation mainly conductsthe following aspects of an innovative attempt to interpret and draws the followingconclusions:Firstly, this study of the "martial arts style" concept creatively.Martial Arts and martial arts practicers are merged into one harmony constitute calledmartial arts body. The subject of the martial art body is the martial arts itself, the object ofis the martial arts practicer. The martial arts and the Martial Arts dialectical integration andunity.Subject determines the object of martial arts intercultural communication of foreigncontent and form, plays a gatekeeper dominant and decisive role. At the same time,subject human beings can change and innovate the object and to intersubjectivity thinkinto the main body of intercultural communication. The main subject of cross-culture isdivided into two forms and described as the communicators and the communicates. Bothcommunicators and communicates are the subject body, and they share an equalinteraction.Secondly, the concept of multiple martial arts perspective and interpretation werecompared and unscrambled.it reflects a general audience by comparing the understanding of martial artsstereotypes viewing, which resulted in a barriers of martial arts intercultural, but alsoprovides opportunities for development, these different existences of stereotypes providean important basis and reference.agenda setting conversion and distributingcommunicating on individuals.Thirdly,a two intercultural meaning that martial arts includes were proposed for thefirst time.The one is the intercultural exchange through its own martial arts innovation and change. The other is spread on foreign exchange of martial arts specific phenomena andprocesses.Fourthly, the martial arts intercultural exchange to promote their own innovation,change and enrich the content and form of martial artsThe integration of Chinese martial arts culture and the culture of the Olympic sportsspawned a new type—Competitive martial arts;the combination of Buddhist culture andChinese martial arts culture contributed to the fist Zen and Shaolin Martial Arts (ShaolinKung Fu) features; the integration of Chinese martial arts culture and Western film culturegives birth to a new type of film—Martial arts films.Martial arts culture absorption and integration from different countries at the technicallevel, system level, and values level has been done, which will inevitably produce a varietyof martial arts and even the variation of the change. Changes in the inheritance andinnovation development. It also greatly increases the impact of the international martialarts and promotes the content and form of martial arts.Fifth, the martial arts promotes intercultural communication in internationaldevelopment and has distinct era and period features.In ancient times, Chinese martial arts intercultural communication is mainly spread edtowards Japan, North Korea and other countries, and there is also a bidirectiontechnology exchange and dissemination. The exchange toke the interpersonalcommunication and technology dissemination as the most important way. Martial Arts isabsorbed and fused by the host country, and was gradually evolved to form a newmartial arts techniques, such as karate, judo, which is a significant feature of interculturalcommunication during this period.In modern times, martial arts, intercultural communication extended to neighboringcountries ranging from Asia to European countries, and began to focus on SoutheastAsian countries intercultural communication and exchange, Including a variety of ways ofinterpersonal communication, group communication, organizational communication(official), national dissemination.Martial arts community organizations, government organizations, interculturalcommunication becomes a notable feature.Organized cultural communication, mass media began to appear and got furtherattention and highlight. Martial arts community and international development began toappear. Martial Arts first started using the latest media—film to realise thecommunication. Martial arts gradually evolutes from the folkilization to the sportilization.In modern times, WuShu take on the historical responsibility and mission of publicdiplomacy, focusing on WuShu and cultural communication and mass communicationextended to five continents. NCC after the establishment of new China, a WuShuintercultural communication notable features.The competitive WuShu becomes a new type of Chinese WuShu,with it graduallybeen founded and formed. During this period the competitive WuShu and traditionalWuShu are the two different forms of foreign intercultural communication. The main formis competitive WuShu, while the traditional forms is the supplement. Theoretical study ofChinese WuShu also gradually began to enter the international intercultural era. WuShu intercultural communication greatly facilitated the development of WuShu andits international dissemination of innovations.The sixth, the success experience of intercultural experience of opera is that thesuccess of becoming one of cultural heritages of the world, the celebrity spread effect, andabsorption and integration with the European theater and symphony opera. WuShuintercultural inspiration and reference is that the attempt of becoming cultural heritages ofthe world of both ShaoLin Kung Fu and traditional WuShu should be made. To the samerooted of the WuShu, Opera’s innovative change provides a good evidence and example.Competitive WuShu as well as Symphonic Peking Opera is just a manifestation of theirown type of field, is their innovative change.The seventh, the policy of intercultural WuShuThe national consciousness of Cultural propaganda，To Increase the intensity ofWuShu Outreach，Win-win situation demands，To break the barriers, integrate theresources.The eighth, the proposed intercultural principles of WuShuOtherness principle,The principles of macro and micro parallel exchange,Theprinciple of inclusion equal exchange.The ninth, made WuShu intercultural communication strategiesGatekeeper, main body strategy,Acculturation of audience Strategy,Implementation ofthe double coding strategy,Transformation agenda setting strategy,Purpose Focuscommunication strategy.The tenth, the proposed of intercultural subjects advices更多还原