论摇篮曲人文话语中所体现的精神内涵——以广州摇篮曲为例

Talk about the Spiritual Connotation of the Humanistic Discourse in Lullaby——Take Guangzhou Lullaby for Example

摇篮曲是民间歌谣的表现形式之一,是民间口头文化的重要组成部分。虽无作者也乏书籍可考查,但民间摇篮曲凭靠群众口头创作和流传,并伴随着中华几千年文化的发展而繁衍不息。其中,以具有开放和兼容文化特质的广州地区为代表的广府摇篮曲是民间摇篮曲的重要标志之一,一定程度上代表着民间摇篮曲的发展方向。基于实地田野调查和参考文献的研究方式,文章根据摇篮曲发展现状,从民间口头文化的特性出发,遵从民间歌谣发展的一般规律,结合广州本土文化的特点,斟酌广州摇篮曲中人文话语的艺术特色,并横向与东北及国外的摇篮曲进行对比,深度发掘广州摇篮曲文化能代表的民间文化的精神内涵。

Lullaby is not only one of the pattern of manifestation in ballad,but also the important ingredient of folk oral culture.Although it is hard to find out the originator and get some books to do research,lullaby has developed for thousands of years with the development of Chinese culture by the oral creation and spread of people.Actually,the culture traits of Guangzhou lullaby is open and compatible,and which is one of the most important sign in folk lullabies,representing the developing direction of the lullaby to some extent.In order to dig out the representative humanities spirit which embodied in the humanistic discourse of Guangzhou lullaby deeply,the thesis uses the research methods of Field Research and reference,basing on the current situation of lullaby development,characteristics of folk oral culture,following the rules of folk ballad development and comparing to lullabies from northeast of China or overseas.