作　　者： (孟令法）;

机构地区： 中国社会科学院研究生院,北京102488

出　　处： 《民俗研究》 2017年第5期107-119,共13页

摘　　要： 史诗《高皇歌》广泛流传于浙南畲乡,它的演述需要一定的场域作依托,而这种演述场域则是一种文化空间。在浙南畲族聚居区,《高皇歌》一般在两种较为重要的文化空间中进行演述,即娱乐歌场和仪式道场。不论哪种演述场域,基本都以畲民家户为中心。在非遗保护的大潮中,《高皇歌》的演述场域也在逐渐缩小中舞台化,并从神圣走向世俗。此外,作为非遗保护的主要对象之一,文化空间的"时空边界"并不决定于时间长度与空间跨度,而取决于非遗保护主体对传统文化活动或表现形式在特定族群中的时空建构。 The epic of Gao Huang Songis widely spread in the She countryside,south Zhejiang.The performance of the song needs certain fields as reliance,and these performance fields are also a kind of cultural space.In the She community in south Zhejiang,Gao Huang Songis performed generally in two important fields,namely the singing fields of entertainment and Taoist rites.No matter what kind of performance fields,they both take She's households as the center.In the wave of ICH protection,the performance fields of Gao Huang Songare gradually reduced to stages,and from the sacred to secular.In addition,as one of the main objects of ICH protection,the'space-time boundary'of cultural space is not determined by the length of time and space span,but depends on the space-time construction of traditional cultural activities or traditional cultural manifestations in specific ethnic groups by the subjects of ICH.

关 键 词： 歌场 道场 高皇歌 演述场域 文化空间