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在今天,创意产业在各国迅猛发展,已成为国际竞争的一个重要领域。作为民族文化基层的民俗文化,在创意设计中往往承担着胚体的作用,民俗元素经过剪辑、重构,融入现代科技,从而形成类型多样、新颖独特的创意产品。对于这样一种民俗主义现象,民俗学界并未予以足够的关注。无疑,它不是日常生活本身,而是一种艺术加工,是民俗文化的一种“变脸”。但这种“变脸”并不是虚构,而是一种艺术真实,并且仍源自民俗文化本身,因而对于创意产业中的民俗主义现象,我们不能一味加以排斥,而要正视并进行相应研究。对于仍处于边缘地位的民俗学来说,这或许是其融入主流学术、发挥更大价值的一个重要发展契机。
Today, the rapid development of creative industries in various countries has become an important area of international competition. As the folk culture at the grassroots level of national culture, the embryo body often takes on the role in creative design. The folk elements are edited, reconstructed, and integrated into modern science and technology to form creative products of diverse types and novelties. For such a phenomenon of folklore, Folklore scholars did not pay enough attention. Undoubtedly, it is not the daily life itself, but an art processing, a kind of “face-changing” of folk culture. However, this kind of “change face” is not a fiction but an art reality and still originates from the folk culture itself. Therefore, we can not just blindly reject the phenomenon of folklore in the creative industries. We must face up to and make corresponding studies . For the still marginalized folklore, this may be an important development opportunity for its integration into the mainstream academic and for its greater value.