儒家文化论文：试析“礼乐”思想在中国舞蹈作品中的体现

1、儒家文化论文：试析“礼乐”思想在中国舞蹈作品中的体现【中文摘要】本论文是以儒家文化“礼乐”思想的传承视角来作为关注对象,以中国传统舞蹈发生和传承这一富有规律意义的着眼点为理论指归,通过从中国古代舞蹈的探寻梳理到当代中国古典舞发展趋势分析研究,力图揭示中国古典舞蹈作品中“礼乐”思想精髓存在的实质意义。论文是根据中国古代舞蹈的发生兴盛失传复兴发展这样一个曲折的发展历程,同时也孕育了独树一帜的中国古典舞。但在今天这种新的历史条件下,中国古典舞将如何在发展之路中更好地体现并树立富有中华优良传统文化的舞蹈形态?对此,以学术的姿态及方法作者进行研究论说。首先论文的第一章主要陈述了儒家文化中“礼乐”思想的源

2、流。在这一章中介绍了“礼乐”思想的文化底蕴及中国古代舞蹈的礼法意识,并举例说明作为代表性的经典作品及形态特征。第二章以中国古典舞为例试论“礼乐”思想在其朝代变更中沿袭至失传。建国后的古典舞学科的建立路程是艰难的,正因为艰难,也正因为有欧阳予倩、李正一、唐满城等古典舞学科的建设者们坚持不懈的执着精神,才有今天古典舞学科的蓬勃发展。但是我想说,中国古典舞作为我国当代舞蹈领域中一个非常重要的,客观存在的实体,它形成了自己的独有的舞蹈语汇、技巧规范和美学特征,和别的舞种相比,它固然显得不够成熟,但中国古典舞孕育着极大的生命力和深厚的民族文化。这就需要研究者和创作者们在今后的作品中迫切需要了解和体现的一

3、点。第三章中,我结合音乐界“新雅乐”创始人哈辉教授创作新雅乐的艺术宗旨和艺术使命,来论证在舞蹈界我们的编导家们也在努力恢复和继承中华传统文化的核心要素“礼乐”精神。这在大型孔庙雅乐舞蹈祭孔乐舞中表现突出。舞蹈,这种不能用说的,仅用灵活的动作来表现传达的特殊方式,确实跟音乐本质上有很大的区别,但是我相信,只要我们国人要想传承这千年的.中华民族精神,就能与音乐、诗歌一同将其发扬光大。第四章,本论文主要以理论来说明“礼乐”思想传承的重要性和发展的必要性,想要真正的进行实践和传播的当然还是我们广大的舞蹈教育工作者和编导老师们。所以结合作者一些不算成熟的建议对“礼乐”思想在未来舞蹈作品创作中的发展做一定

4、的理论前瞻。【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.【关键词】儒家文化 礼乐思想 古典舞 新雅乐【英文关键词】The Confucian culture &harmony ideology Classical New advocate【目录】试析

15、“礼乐”思想在中国舞蹈作品中的体现摘要6-7ABSTRACT7第一章 绪论9-121.1 前期研究的梳理和本课题的突破点9-101.2 本课题的研究内容及目的意义10-111.3 本课题的研究方法及局限性11-12第二章 中国儒家文化中”礼乐”思想的源流12-182.1 “礼乐”思想的文化底蕴13-152.2 中国古代舞蹈的礼法意识15-162.3 中国古代舞蹈经典及形态特征16-18第三章 从”礼乐”思想到中国古典舞之间的渊源与流变18-263.1 “礼乐”思想上的中国古典舞形态18-203.2 戏曲舞蹈形态及其沉积的社会功能20-223.3 中国古典舞的当代寻觅与建构22-26第四章 当代

16、舞蹈作品中”礼乐”思想的传承体现26-364.1 “礼乐”思想在中国舞蹈创作中的传承与发展27-334.1.1 广场文化祭孔乐舞的礼乐思想回归28-314.1.2 专业舞蹈创作中”礼乐”思想的传承与发展31-334.2 中国朝鲜民族舞蹈作品中”礼乐”思想的突出表现33-364.2.1 朝鲜民族”礼乐”思想的生成与发展33-344.2.2 “礼乐”思想在中国朝鲜族舞蹈创作中的传承与发展34-36第五章 “礼乐”思想的精髓如何在舞蹈创作中延续与创新36-405.1 何谓”礼乐”思想的精髓36-375.2 “礼乐”思想在未来舞蹈作品创作中的发展与创新37-40第六章 结论40-41参考文献41-43

17、致谢43谣言：吃太咸了会得病？导语：“人体每日摄入食盐不应过多，否则易患多种疾病。”这是真的吗？吃太咸了会得病？一、网友评论：1、网友：冰冰 23 岁行政助理我就是一个”重口味“的人，但身体很健康啊！我就是一个特别爱吃咸的人，什么咸菜、咸烧饼都是我的最爱。大家都说吃太咸对身体不好，可我一点没这么觉得。前几天我还到医院去体检，各项指标都很正常。吃咸不会得病的！2、网友：小帅 34岁 销售邻居家大爷常年吃太咸，结果得了心血管病。邻居家有个大爷经常吃咸的东西，大家都劝他不要吃这么咸，可他就是不听。后来他被检查出了心血管疾病，我想这和常年吃咸有很到关系。世界卫生组织建议每人每天钠盐摄入量不超过5克二、

18、专家解答：1、世界卫生组织建议每人每天钠盐摄入量不超过5克。世界卫生组织（WHO）建议每人每天钠盐摄入量不超过5克，而我国现在每人每日食盐约12克、美国提倡的人均2.3克/天宽松了许多。2、高盐饮食会导致高血压。营养专家原表示，高盐饮食是高血压的三大原因之一，高盐饮食是我国高血压的最重要的危险因素。古人就知道“味过于咸，大骨气劳，短肌，心气抑”，即多食咸会影响血液和血液循环，伤及骨骼，并使心功能受到抑制。盐摄入平均每增加2克，收缩压和舒张压就分别增加2.0mmHg和1.2mmHg。“有的人以为不吃盐没力气，这是没有道理的。”专家表示，人对钠盐的依赖，只是长期以来味觉适应了高盐。除此之外，吃盐还包括酱料、酱油、零食里的盐，因此不放盐放酱油的做法，也同样会摄取盐分。我们正常人钠的摄入量和排出量时刻处在一个比较平衡的状态，而且钠的排出主要通过我们的肾脏。如果在日常生活中摄入过多的盐分，钠的摄入量就会增加，