陳怡蓁。〈傳播偏向視角下民俗文化的傳承力量：以「臨水夫人信仰」為例〉。《民俗曲藝》225 (2024.9): 233-81。
Chen I-chen. “The Inheritance Power of Folklore Culture as Seen from the Perspective of ‘The Bias of Communication’: A Case Study of the Cult of Lady Linshui.” Journal of Chinese Ritual, Theatre and Folklore 225 (2024.9): 233-81.
Abstract
「臨水夫人（陳靖姑）信仰」是盛行於閩臺地域的民俗文化，傳承歷史已有千年之久。究其延續千年之原因，本文以哈羅德•伊尼斯（Harold Innis）提出的「傳播偏向論」為基礎，分析呈現臨水夫人信仰的不同傳播媒介如何為此民俗文化帶來傳承的力量。據筆者赴福建古田、福州田野調查的結果，祭祀科儀、戲曲表演、口傳心授、節慶風俗是傳播臨水夫人信仰的重要媒介，分別為此文化構建具集體意義、民間性和引導性、生活場景式、融入在地的傳播特徵。前述媒介表現較強時間偏向的同時，背後與空間偏向性的平面媒介展開融合並達成時空平衡是最終為臨水夫人信仰傳播內容帶來統一性和多樣性兼具的原因，且在多方文化參與者的協同作用下為此文化傳承帶來堅守傳統與創新發展的深層力量。
The cult of Lady Linshui
(Chen Jinggu) is a prevalent form of folklore culture in Fujian and Taiwan,
with a history extending over one thousand years. This paper draws on Harold Innis’ bias of communication theory to analyze how different forms of media
contribute to the preservation of this type of culture. The author’s field research in Gutian and Fuzhou (Fujian) has found that the
key mediums for spreading Linshui Lady beliefs include ritual ceremonies, opera
performances, oral traditions, and festival customs. All of these elements
contribute to this culture by representing collective importance, folkloric and
instructive nature, a focus on everyday life scenes, and seamless integration
into local customs. By integrating space-biased print-based media with strong
time-biased traditional media, a balance between time and space can be
achieved, resulting in the presence of both unity and diversity in Lady Linshui
cult. The collaborative efforts of multiple cultural participants are crucial
in upholding these traditions and promoting innovative development in the
inheritance of this form of popular culture.