Hu Ren Ulger:from Writing To Oral Instruction

Hu Ren Ulger is a unique spoken art of Mongolia nationality existed in the east of Inner Mongolia. It is a long narrative story told by Mongolian artist called Kulck with the Mongolian Kur instrument. It is the folk rap literary genre combined by Mongolia nationality oral tradition and the writing tradition of Chinese chapter fictions, which has an unique artistic value and hundreds of years of tradition in folk.This dissertation is a case study, which takes the story of Xue Rengui fight toward the east dictated by Ganzkuer as an example. Kanjur is the inheritor of InnerMongolia Korqin Right-wing middle flag Hu Ren Ulger. In this research, oral formulaic theory, performance theory, methodology of taking performers as the center and comparative approach were involved in the analysis about the relationship between writing and oralculture. Through multidimensional comparison among the different three texts-written texts received in the field work, oral performance texts and written texts with some performance texts, it will discuss the change of Hu Ren Ulger, the performaer Kulck’s creative techniques and the various performances in different contexts. Based on those research, it focus to reveal the interaction relationship between written culture and oral tradition. This dissertation includes three chapters.The first chapter mainly discusses the change process of Hu Ren Ulger, as a Mongolian traditional oral rap art, it changes from writing to oral from. The chapter discusses three periods of this change process including from Chinese novel version to Mongolian version, from Mongolian translation manuscript to record book and from the record book to text presented by Kulck. The stories were translated by Mongolian people during the process of the original story experienced recreation, in which folk literature became consistent with Mongolian aesthetic. Mongolian version was spread mainly through the manuscript form among Mongolian and then the perfonnance of Kulck. Because the stories come from Chinese written texts, the Kulck’s excellent reading and writing abilities provide some convenience to obtain more stories. Many story books retain by Kulck become his main forms to conserve stories. Those story books just offer basic principle and Kulck extracts those main episodes as "the story outline", and then uses the oral performance rules to convert them into oral performance texts.The second chapter mainly talks about the process and creative techniques of Kulck’s performance text story. By using oral tradition theme formula to compare the written book story and the oral performance texts. The book story got by Kulck can be performed as an oral rap Hu Ren Ulger. The reason is the existence of oral tradition theme "formula". The concept of "formula" is very similar to Parillaud’s "theme", and it is stylized poetry paragraphs or recurrent events used by Kulck for oral performance. Kulck accumulates different formulas for the saga in different theme for the purpose of performance. Kulck will use "formula" according to different plots, characters and other factors, but it must be limited by the traditional mles. In the process for a Kulck to reconstruct a performance text, the formula is dominated by theme, and both of them are have their unique sequence.The third chapter mainly discuss about the "impromptu art" of Kulck, which means choosing different Performance strategies according to different contextual factors through the comparison between manifold text. Kulck will be influenced by the factors of time, audience, the role of performance and environment etc. Because of the oral performance is an improvisational art, nearly all the performances of Kulck are different from each other. Every performance is his won creation, which differs from the "fixed" and "authority" of written book story.