【作者】 王海荣；

【导师】 呼日勒沙；

【作者基本信息】 内蒙古大学 ， 中国少数民族语言文学， 2010， 博士

【摘要】 蒙古族好汉歌是内蒙古东部区叙事民歌当中,歌颂那些为捍卫民族的自由,人民的生命、利益而与统治者不屈而战的、不怕牺牲的英雄好汉及其事迹的民歌集成。蒙古族好汉歌不仅在蒙古族叙事民歌当中占有重要地位,而且《嘎达梅林》、《陶格套胡》、《兵吐王》、《那木斯来》等等好汉歌极大地丰富和发展了蒙古族现代民间文学。本文主要采用历史学、文化人类学、民俗学的方法和理论并辅助于田野调查的丰富而翔实的资料,从文化、艺术的多重视角入手,将好汉歌置于其形成与发展的历史、文化、地域等宏观背景中,对其概念、起源、艺术特征、文化内涵等进行了深入探讨。在导论部分阐明了好汉歌研究所涉及的名词术语、时间和空间范围并介绍了好汉歌研究概况。将好汉歌产生和发展的空间范围界定在内蒙古东部区,时间范围界定在蒙古族进入清朝统治至内蒙古自治区成立为止。好汉歌的搜集整理及研究和好汉传记的搜集整理、研究肯定和反映了目前好汉歌的发展水平。纵观好汉歌的已有研究,多以基础资料的搜集整理为主,忽视了其文化、风俗的探究,缺乏必要的深度。第一章阐述了好汉的内涵及好汉歌的概念。好汉的形成与社会历史的客观需求密切相关。《赛依德》是最早形成的好汉集体形式,此种形式延续了几百年之久。直至蒙古族进入满清统治时期,才产生了好汉个体形式,好汉个体形式的出现是内蒙古东部区好汉歌形成的前提条件。第二章探究了好汉歌形成的渊源。首先,阐述了好汉形成的三个基本条件,认为蒙古族传统家教的影响、振兴民族的历史责任及反压迫的正义斗争的需求是好汉形成的三个基本条件。其次,探究了好汉歌形成发展的渊源,认为在反压迫斗争的需求及蒙古族传统的崇尚英雄主义思想的影响下,在内蒙古东部区叙事民歌中形成了好汉歌。此外,好汉歌在其形成、发展过程中也受到了本子故事的极大影响。第三章探析了好汉歌的艺术特点。在人物形象研究方面,基于内蒙古东部区特定的历史、文化、经济等因素,将好汉形象分为民族好汉、乡土好汉、锡林好汉等三种类型。并认为,好汉具有史诗英雄的英勇性、侠客之公正性、骑士之娴熟性等三个基本特征。但,好汉是特定历史时期的社会角色,好汉常以“土匪”、“强盗”等原型出现,表现出其历史局限性,大多具有悲剧命运。好汉歌故事情节三个基本母题为急中生智、以谋取胜、以技取胜。第四章揭示了好汉歌的文化内涵。好汉歌中蕴含了蒙古族群众的情感和一种英勇、不屈、反抗的精神。热爱故乡和爱马之情是好汉歌中所体现的两种重要的文化情感。好汉歌中也蕴含了丰富的民俗文化因子,如蒙古族人民的兄弟结拜习俗、信仰习俗和逝者习俗等等,也集中体现了英勇、不屈、反抗等积极的精神因素。本文对好汉歌进行了系统、深入研究,全方位论证了其社会、历史、文化价值,探究了其艺术、民俗、文化内涵。更多还原

【Abstract】 Mongolian hero’s song is a folksong set of eastern Inner Mongolia folksongs. It praises the hero and his deeds. It has not only an important position in the Mongolian narrative folksongs but also its classic songs such as《Gadameiren》,《Togtahu》,《Bingtuwang》, ((Namsarai)) greatly enrich the modern folk literature. The article based on the method and theory of historical science, cultural anthropology, folklore and technical means of field-base investigation, intends to track back the concept, origins, artistic characteristics and cultural connotations of Mongolian hero’s song.In the preface, it defines the scope of space and time of hero’s song and introduces general situation of its research. The scope of the space of hero’s song is eastern Inner Mongolia and its scope of time is from the time of Manchu rule to Inner Mongolia Autonomous Region being set up.The collection, finishing and research of hero’s biography and hero’s song affirm and reflect the level of its previous development. Throughout the previous studies of Mongolian hero’s song, it focus on the collection and finishing, and ignores the researching its cultural connotations and folklore.The first chapter sets out the hero’s connotations and concept of hero’s song."Said "is collective forms of heroes formed earliest. This form lasted several hundred years. Into the time of Manchu rule, individual forms of heroes produced. This individual form is the premise of the forming of hero’s song in eastern Inner Mongolia.The second chapter mainly expounds the sources of the formation of hero’s song. Firstly, it describes three basic conditions of the formation of hero. These are the impact of Mongolian traditional family education, historical responsibility of revitalizing the nation and the needs of struggling against oppression. Secondly, it expounds the sources of the formation of hero’s song. It holds on that hero’s song takes shape under the influence of the struggling against oppression and Mongolian traditional thought of advocating hero. In addition, book story greatly effects on the formation of hero’s song.The third chapter analyzes the artistic characteristics of hero’s song. Hero image is classified as three kinds that National hero, Local hero and Xilin hero. And it suggests that the hero has heroic, justicial and skilled nature. It also proposes that basic motif of story plot of hero’s song is dealing with emergencies, winning by wisdom and skills.The fourth chapter reveales the cultural connotations of hero’s song. The hero’s song contains the Mongolian people’s feelings and brave, unyielding, resistance spirit. Loving home and horse are very important feelings appeared in hero’s song. It contains rich folk culture factor such as sworn brothers, religious beliefs and customs and dead customs. Hero’s song also contains brave, unyielding and resistance spirit.This article expounds the social, historical and cultural value of Mongolian hero’s song and analyzes its art, folklore and cultural connotations.更多还原