Courtship Century - Lee Wooden Skull And Evolution Study

Approached from the perspective of "Puppet Drama in North Sichuan Province", this dissertation depends on the relationships between myth and history, the process of historical politics, the puppet in the Chinese religion system. We discover that the four relationships present or absent are a more important hint in anthropological methodology. So I finaliy find the theory of contradiction and the theory of relationship to elucidate what is puppet? What is puppet drama? And what is the meaning of variation in players'lives and hearts?The meaning of some myths are partly the sense that I intend it to convey, and the sense intended by each of its recounters. I will use the theory of contradiction and the theory of relationship to convey that what is different between these myths which the players told me in my fieldwork and the historical documents about puppet in China. We find that the characteristics of sanctity, religion, and intimacy in puppet drama are come from both sides, on the other hand, it also exist the relation on both sides. Some antiquarians detected that people put puppets on their graves when people were dead in traditional Chinese society. As a kind of offering them were sacrificed to ancestors and gods. But there is not incidentally, players told me that puppet was derive from someone were substitute who were a tactician in Han dynasty, or who were a leader of Daoism in Sichuan province in later Han dynasty, and so forth. Why there is a replacement? Why the players played the drama with puppets? Why the puppets played a key role in all kinds of ritual? None has succeeded in revealing them.In the second place, livelihood, the players had so many skills in the tradition, they could support their necessitous livelihood. Besides that, the people who Family Li or not were constitute of puppet troupe. But my emphasis on if the players is not Family Li, were also tried their best to play puppet drama no matter past or present, there is more important that youth players is changing attitude about puppets now. Why their comportment is transforming? From the end of 19 century to now, Family Li hold onto the puppets in spite of plight on four generations. Lile's great-grand father brought the puppets from landlord, the relationship between father and sons is biological, of course, and for the sons their father also their overman, in other words, the relation is apprenticeship in Family Li. Inside and outside of the family and troupe, different people had different skills, authority, power, social positions. Form the perspective of this dissertation describe that people'friendly and unfriendly, contradiction and solidarity and consider that:in the first part of study what the traditional organization is "quasi-family"; Secondly, there is contradiction and conflict inside of the family; Thirdly, although Family Li need the good player whom came from outsiders, the traditional organization is not changed so much, the person who is outsiders consider Family Li's skill to be so high, nobody could transcend them at present. So we think the organization is "quasi-family".In the third place, in the process of historical and political lives in making puppets and contents, what is shows shifting, it is called "mode of shifting" by us. It has a relation with nation-society, but also has relation with the organization of puppet troupe, which absorbs the outsiders. The players continue to play traditional contents, although Chinese government imposed on modern plays in the middle of 20 century. They have transformed plays about content and factures before the "transformation plays" was actualized by communist government. When the puppets were fried by Red Arms Guard ("hong wei bing"), and then players were be sent to countryside, they used "god of trees" to make puppets by local-knowledge, and the contents became past one in 1980s. So we discover that there is a shifting, the study of scale gets bigger from the perspective of "quasi-family".The puppet drama that exists in northern Sichuan province, also included southern Shanxi province and Gansu province, people needed them in all kinds of festivals and rituals. In this region, puppets were considered gods, people adored them. Why this happened? Some foreign scholars thought there are three modes in the mode of Chinese gods, for instance:official-gods; individual-gods and alien-gods, there is more important that we find the puppet combine with three modes of Chinese gods, this is why the player and puppet drama were popular in the region, and the reason is that they were shared with a whole culture. As a mode of moving gods, I want to emphasis on the other side of the mode of Chinese gods is action and moving, it is a complement about the mode of Chinese gods. As a result, the mode of Chinese gods become living and floridness.The conclusion of my dissertation is which depends on the theory of relationship and the theory of contradiction that the puppets is a "Circulating Medium", it is not the final conclusion but also is anthropological methodology. "Circulating Medium" shows the puppet were transfix in all of the dimensions, I claim the real meaning of such complex and rich thing. The puppet could well be interpreted as playing on the paradox of culture, the meaning about puppet were endowed by people. So the personality, diversity and the theory of relationship exist inside of us, the location is a world (special in mind), person is a society. Secondly my dissertation depends on the theory of relationships about four dimensions, as Levi-Strauss said that we must study the relations of relation, anthropological methodology looks like the relation of Chinese cosmology and person, though my fieldwork I convey that local people believe feng-shui and yin-yang wu-xing that inspired me, the theory of relationship can ascend to Chinese cosmology between cosmology, physiognomy, buildings, arts, law, individual and so forth.