儒家文化論文：試析“禮樂”思想在中國舞蹈作品中的體現(xiàn)

1、儒家文化論文：試析“禮樂”思想在中國舞蹈作品中的體現(xiàn)【中文摘要】本論文是以儒家文化“禮樂”思想的傳承視角來作為關注對象,以中國傳統(tǒng)舞蹈發(fā)生和傳承這一富有規(guī)律意義的著眼點為理論指歸,通過從中國古代舞蹈的探尋梳理到當代中國古典舞發(fā)展趨勢分析研究,力圖揭示中國古典舞蹈作品中“禮樂”思想精髓存在的實質(zhì)意義。論文是根據(jù)中國古代舞蹈的發(fā)生興盛失傳復興發(fā)展這樣一個曲折的發(fā)展歷程,同時也孕育了獨樹一幟的中國古典舞。但在今天這種新的歷史條件下,中國古典舞將如何在發(fā)展之路中更好地體現(xiàn)并樹立富有中華優(yōu)良傳統(tǒng)文化的舞蹈形態(tài)?對此,以學術的姿態(tài)及方法作者進行研究論說。首先論文的第一章主要陳述了儒家文化中“禮樂”思想的源

2、流。在這一章中介紹了“禮樂”思想的文化底蘊及中國古代舞蹈的禮法意識,并舉例說明作為代表性的經(jīng)典作品及形態(tài)特征。第二章以中國古典舞為例試論“禮樂”思想在其朝代變更中沿襲至失傳。建國后的古典舞學科的建立路程是艱難的,正因為艱難,也正因為有歐陽予倩、李正一、唐滿城等古典舞學科的建設者們堅持不懈的執(zhí)著精神,才有今天古典舞學科的蓬勃發(fā)展。但是我想說,中國古典舞作為我國當代舞蹈領域中一個非常重要的,客觀存在的實體,它形成了自己的獨有的舞蹈語匯、技巧規(guī)范和美學特征,和別的舞種相比,它固然顯得不夠成熟,但中國古典舞孕育著極大的生命力和深厚的民族文化。這就需要研究者和創(chuàng)作者們在今后的作品中迫切需要了解和體現(xiàn)的一

3、點。第三章中,我結合音樂界“新雅樂”創(chuàng)始人哈輝教授創(chuàng)作新雅樂的藝術宗旨和藝術使命,來論證在舞蹈界我們的編導家們也在努力恢復和繼承中華傳統(tǒng)文化的核心要素“禮樂”精神。這在大型孔廟雅樂舞蹈祭孔樂舞中表現(xiàn)突出。舞蹈,這種不能用說的,僅用靈活的動作來表現(xiàn)傳達的特殊方式,確實跟音樂本質(zhì)上有很大的區(qū)別,但是我相信,只要我們國人要想傳承這千年的.中華民族精神,就能與音樂、詩歌一同將其發(fā)揚光大。第四章,本論文主要以理論來說明“禮樂”思想傳承的重要性和發(fā)展的必要性,想要真正的進行實踐和傳播的當然還是我們廣大的舞蹈教育工作者和編導老師們。所以結合作者一些不算成熟的建議對“禮樂”思想在未來舞蹈作品創(chuàng)作中的發(fā)展做一定

4、的理論前瞻。【英文摘要】his thesis is Confucian culture “Rites” thinking of the inheritance perspective, as concern with Chinese traditional dance occurrence and inheritance this rich rule for a focal point of theoretical significance to from China by means of ancient Chinese dancing comb to contemporary Chines

5、e classical seek development trend analysis and research of Chinese classical dance, tries to reveal works “Rites” thought essence exists real significance.Paper is according to the occurrence of ancient Chinese dance-prosperity-lost-Renaissance-developing such a tortuous development course, also br

6、ed the unique Chinese classical dance. But in this new historical conditions, how will the Chinese classical in the road of development in better reflect and establish the fine tradition and Chinese cultural dance form? To this, the attitude and approach to academic research propositions authors.Fir

7、stly the papers first chapter basically stated the Confucian culture “music” the thought origin. In this chapter introduces the “music” thinking of the culture and ancient Chinese dance decorums consciousness, and illustrate the classic work as representative and morphological characteristics. The s

8、econd chapter for example try to talk about the “Chinese classical music” in its dynastic change ideological continues of extinction. After the founding of the classical establishment of discipline journey is tough, because of difficult, because have OuYangYu qian, lee a, tang Mancheng etc classical

9、 the constructors of the unremitting subject dedication, just have the vigorous development of today classical subjects. But I want to say, as our country contemporary Chinese classical dance areas, a very important objective existence of the entity, it has formed its own unique dance vocabulary, sk

10、ills, regulate and esthetics characteristic, compared with other kinds of dancing, it is appear insufficient mature, but in Chinese classical dance gestates great vitality and the deep national culture. This needs the researchers and creator of the works in the next urgent need to understand and ref

11、lect a little. The third chapter, I combined with new music “advocate” founder, ha fai to create new art of professor advocate purposes and art mission, to demonstrate the dance choreographers in our efforts to restore and inherit in the core of Chinese traditional culture elements “music” spirit. T

12、his temple in large advocate in the grand dance-offering hole prominence. Dance, this cant use said, only with flexible action to show the special way, really communicate with music essentially has the very big difference, but I believe that as long as we americans want to inheritance of this millen

13、nium, the spirit of the Chinese nation with music, poetry can carry it together. The fourth chapter in theory, this paper just to illustrate “music” thought the importance and development of inheriting the necessity, want to carry on the practice and transmission of the real, of course, is that our

14、education workers and the dance choreographers teachers. So with the authors some not mature proposal for “music” thinking of the future development of the dance works do certain theoretical preview.【關鍵詞】儒家文化 禮樂思想 古典舞 新雅樂【英文關鍵詞】The Confucian culture &harmony ideology Classical New advocate【目錄】試析

15、“禮樂”思想在中國舞蹈作品中的體現(xiàn)摘要6-7ABSTRACT7第一章 緒論9-121.1 前期研究的梳理和本課題的突破點9-101.2 本課題的研究內(nèi)容及目的意義10-111.3 本課題的研究方法及局限性11-12第二章 中國儒家文化中”禮樂”思想的源流12-182.1 “禮樂”思想的文化底蘊13-152.2 中國古代舞蹈的禮法意識15-162.3 中國古代舞蹈經(jīng)典及形態(tài)特征16-18第三章 從”禮樂”思想到中國古典舞之間的淵源與流變18-263.1 “禮樂”思想上的中國古典舞形態(tài)18-203.2 戲曲舞蹈形態(tài)及其沉積的社會功能20-223.3 中國古典舞的當代尋覓與建構22-26第四章 當代

16、舞蹈作品中”禮樂”思想的傳承體現(xiàn)26-364.1 “禮樂”思想在中國舞蹈創(chuàng)作中的傳承與發(fā)展27-334.1.1 廣場文化祭孔樂舞的禮樂思想回歸28-314.1.2 專業(yè)舞蹈創(chuàng)作中”禮樂”思想的傳承與發(fā)展31-334.2 中國朝鮮民族舞蹈作品中”禮樂”思想的突出表現(xiàn)33-364.2.1 朝鮮民族”禮樂”思想的生成與發(fā)展33-344.2.2 “禮樂”思想在中國朝鮮族舞蹈創(chuàng)作中的傳承與發(fā)展34-36第五章 “禮樂”思想的精髓如何在舞蹈創(chuàng)作中延續(xù)與創(chuàng)新36-405.1 何謂”禮樂”思想的精髓36-375.2 “禮樂”思想在未來舞蹈作品創(chuàng)作中的發(fā)展與創(chuàng)新37-40第六章 結論40-41參考文獻41-43

17、致謝43謠言：吃太咸了會得??？導語：“人體每日攝入食鹽不應過多，否則易患多種疾病?！边@是真的嗎？吃太咸了會得??？一、網(wǎng)友評論：1、網(wǎng)友：冰冰 23 歲行政助理我就是一個”重口味“的人，但身體很健康?。∥揖褪且粋€特別愛吃咸的人，什么咸菜、咸燒餅都是我的最愛。大家都說吃太咸對身體不好，可我一點沒這么覺得。前幾天我還到醫(yī)院去體檢，各項指標都很正常。吃咸不會得病的！2、網(wǎng)友：小帥 34歲 銷售鄰居家大爺常年吃太咸，結果得了心血管病。鄰居家有個大爺經(jīng)常吃咸的東西，大家都勸他不要吃這么咸，可他就是不聽。后來他被檢查出了心血管疾病，我想這和常年吃咸有很到關系。世界衛(wèi)生組織建議每人每天鈉鹽攝入量不超過5克二、

18、專家解答：1、世界衛(wèi)生組織建議每人每天鈉鹽攝入量不超過5克。世界衛(wèi)生組織（WHO）建議每人每天鈉鹽攝入量不超過5克，而我國現(xiàn)在每人每日食鹽約12克、美國提倡的人均2.3克/天寬松了許多。2、高鹽飲食會導致高血壓。營養(yǎng)專家原表示，高鹽飲食是高血壓的三大原因之一，高鹽飲食是我國高血壓的最重要的危險因素。古人就知道“味過于咸，大骨氣勞，短肌，心氣抑”，即多食咸會影響血液和血液循環(huán)，傷及骨骼，并使心功能受到抑制。鹽攝入平均每增加2克，收縮壓和舒張壓就分別增加2.0mmHg和1.2mmHg?！坝械娜艘詾椴怀喳}沒力氣，這是沒有道理的?！睂＜冶硎?，人對鈉鹽的依賴，只是長期以來味覺適應了高鹽。除此之外，吃鹽還包括醬料、醬油、零食里的鹽，因此不放鹽放醬油的做法，也同樣會攝取鹽分。我們正常人鈉的攝入量和排出量時刻處在一個比較平衡的狀態(tài)，而且鈉的排出主要通過我們的腎臟。如果在日常生活中攝入過多的鹽分，鈉的攝入量就會增加，