Anthropological Study Of Female Emotional Expression And Subjective Consciousness In The Tujia Crying Marriage Custom

The weeping wedding song is a sad song composed by the Tujia women with tears.The singing subject in the "Wedding Song of Crying" is a married woman,representing a microcosm of Tujia women,and it has also shaped the typical image of diligent and brave Tujia women,who have been poisoned by the unequal marriage system to borrow the custom of crying and marrying.Resist the unreasonable marriage system.This study mainly cuts in from an emotional perspective,obtains oral historical data of interviewees through field investigations,collects the life history data of “crying married women” to trace the historical context of crying marriage survival,and thus demonstrates women 's “crying marriage” customs Emotional expression and its female subjective consciousness expression.This article consists of three major chapters.In the process of social and historical development,the Tujia people 's crying marriage custom can be divided into two basic time periods in terms of characteristics and content: one is the period of “song as a medium” before the reform and reintegration,and the second is after the reform and reintegration "Fate of parents,matchmaker's words" period.The difference in content of the two wedding songs at different times,on the one hand,reflects the increasing freedom of Tujia women 's marriage freedom as their social and cultural structure changes;on the other hand,the suppression of power also stimulates In order to resist the Tujia women's resistance,through cultural innovations to the "Crying Marriage Song",they expressed their complaint against the social system with a tolerance.The second chapter writes the female emotional expression strategy in the crying wedding song,which can be seen from the emotional expression analysis of the four crying wedding stages of "crying fatherand mother","crying ten sisters","swearing matchmaker",and "crying on sedan chair" The emotional change of crying married women is a process of rising and strengthening.Chapter Three The expression of female subjective consciousness under the custom of crying marriage.On the one hand,the culture of crying marriage has shaped the image of Tujia women as a social structure.On the other hand,the Tujia women have also transformed the crying culture through their own actions to highlight women.Subjective characteristics.This chapter is divided into three sections to discuss female subjectivity.The first section discusses the female social image of the crying wedding song in the compromised state from the three roles of daughter-in-law,daughter-in-law and mother throughout the female life.Secondly,the awakening of the female subjective consciousness calls for itself through empowerment and not crying;Section 3 The image of crying married women in the context of cultural tourism shows people as“back crying” as the epitome of backwardness.In the modernization wave and the background of local rural tourism fever,the female subjective consciousness is independent,mainly expressed in: 1 The changes in female social division of labor in the development of ethnic tourism.The second is the crying married woman who is the main body of cultural innovation.The "crying married" is moved to the folk stage as an intangible cultural heritage.Folk culture also brings economic benefits to the family;third,women as independent individuals make their own contributions in the cultural inheritance of crying marriages.For Tujia women,they are not only "exclusive memories" in the lives of older women.The continuation of an emotional culture is also a manifestation of the strengthening of the Tujia women 's subjective consciousness.