唐蕙韻。〈政府支持與國家認證的民俗節慶新傳統：「金門迎城隍」的重要民俗之路〉。《民俗曲藝》196 (2017.6): 85-145。
Tang Hui-yun. “Government Support and
Authentication: The New Tradition of City God Folk Festival in Jinmen .” Journal of
Chinese Ritual, Theatre and Folklore 196 (2017.6): 85-145.
Abstract
本文考察金門浯島城隍廟會傳統組織和巡境路線承載的歷史底蘊，論證其中以「境」的原則和信仰，嵌合地方社群和歷史發展軌跡的民俗意義及史料價值。再回顧西元2000年前後浯島城隍廟會的活動模式與政府資源的關係，分析以觀光思維和擁抱「金門」為行政建樹指標的「金門迎城隍」，如何改變傳統迎城隍民俗反映的歷史結構，以及對在地信仰與民俗符號意義的潛在挑戰。結論透過「金門迎城隍」的重要民俗認證過程，反思國家文化資產政策目標對民俗之為無形文化、國家文化財所強調的保護宗旨，落實於施政面的認證機制及其官方文告的內容，對地方政府形成追求績效的刺激或指導效應，表現於「金門迎城隍」民俗的具體結果。
This paper examines the historical background of the traditional
organization and procession route of Hòupǔ City God in Jinmen .
I demonstrate the folkloric significance and historical value of the notion of jing ("community"),
integrating in my discourse circumstances of local community and trajectory of
its historical development. With review of patterns of activities in Jinmen and their relations with governmental resources
since 2000, I analyze how the City God Folk Festival of Jinmen, highlighting
tourism as its purpose, changed the historical structure of traditional City
God Folk Festival and implicitly challenged the local belief and meanings of
folk symbols. The process of the Jinmen City God Folk Festival’s
obtaining a government-certified status of Important Folklore allows us to
reflect on the national cultural policy’s goal of protection of folklore as an
intangible cultural heritage, or national culture property. The authentication
mechanism that is carried out in governmental offices and official
announcements either stimulates the local government to pursue better
performance or brings about a steering effect resulting in the practices of
Jinmen City God Folk Festival.
Also in Journal of
Chinese Ritual, Theatre and Folklore:
唐蕙韻。〈乩示中的神、靈與儀式、習俗的系統關係：金門中堡威靈殿張公壇乩示紀實〉。《民俗曲藝》183
(2014.3): 71-138。
Tang Hui-yun. “Systematic Relation between the
Supernatural and Religious Practices: A Report on Duke Zhang’s Spirit-writing
Session in Kinmen.” Journal of Chinese Ritual, Theatre and Folklore 183 (2014.3):
71-138.