《民族藝術(shù)》2013年第6期目錄
藝術(shù)名家
神話·圖像
葉舒憲 乞橋·乞巧·鵲橋：從文化編碼論看七夕神話的天橋儀式原型
戲曲文獻研究
傅 謹 大眾傳媒與新興的戲曲批評——中國戲曲文獻的體與用研究之四
民間文學前沿講壇
朝戈金 口頭傳統(tǒng)概說
李星霈 朝戈金等 《口頭傳統(tǒng)概說》問答、評議與討論
文化遺產(chǎn)關(guān)鍵詞
黃 悅 神話
李春霞 公約
謠言探究
施愛東 釣魚謠言：為辟謠而造謠
藝術(shù)探索
李軼南 開放與重構(gòu)：中國藝術(shù)史研究芻議
張玉勤 許乙琦 圖像孔乙己的視覺意味分析
陶思炎 論民俗藝術(shù)功能的演進
董龍昌 列維-斯特勞斯研究在中國——兼論列維-斯特勞斯藝術(shù)人類學思想研究的意義
孫湘明 潘萌 經(jīng)濟變遷語境下的藝術(shù)轉(zhuǎn)型
藝術(shù)設(shè)計
詹和平 馮陽 明代中后期江南文人室內(nèi)設(shè)計思想研究
海外視域
雷蒙德·弗思 王永健 藝術(shù)與人類學
文學·文化
白志紅 中緬邊境佤族神話傳說、資源與認同
呂俊彪 從“與民同慶”到“還俗于民”——以京族哈節(jié)為例
戲劇·音樂·舞蹈
陳志勇 儀式與演?。禾锕獛浶叛龅膽騽∪祟悓W考察
王冰 宋飛 近三十年國內(nèi)《韶》樂研究評述
吳 剛 達斡爾族舞蹈“魯日格勒”與“哈庫麥勒”探究
美術(shù)與考古
胡建升 良渚神徽的物質(zhì)文化和神話圖像
呂德廷 論涅槃圖中的外道形象
郭學智 漢畫像石中的排簫研究
趙 玲 從漢畫像石看巴蜀胡樂盛行
藝術(shù)·文化
管彥波 地圖的魅力：長城圖像的藝術(shù)審美
劉德龍 張大千潑墨潑彩藝術(shù)研究
許江 顧平 靖西壯族儀式剪紙藝術(shù)的敘事性特征——以剪紙“橋”為例
王福銀 閣子里芯子的文化傳承與藝術(shù)特色
張金梅 胡小平 黃琴霞 粵繡伶裝文化審美意蘊分析
張麗軍 泉州梨園戲傳統(tǒng)服飾形制的地域性特征
岳曉英 20世紀中國上半葉少數(shù)民族電影考略
沈其旺 論中國山水畫構(gòu)圖中的“以大觀小”說
Begging the Bridge · Begging Festival · Magpie Bridge: A Research of the Bridge Rite Archetype of Qixi Myth from Cultural Code Theory ………Ye Shuxian
Mass Media and the Blossoming of Opera Criticism——A Study of the Body and the Function of Literature on Chinese Opera（Part Four）……………………………………Fu Jin
Summary of the Theory of Oral Tradition………………………… Chao Gejin
Q&A, Discussion of “Summary of the Theory of Oral Tradition”……… Li Xingpei, Chao Gejin, etc.
Myth ………………………………………………………Huang Yue
Convention………………………………………………… Li Chunxia
Rumours about Bait: Starting a Rumour in Order to Refute It ………………Shi Aidong
Openness and Reconstitution: A Humble Opinion of Chinese Art Historical Research ……………………………………Li Yinan
A Visual Analysis of the Significance of Kong Yiji’s Image ………Zhang Yuqin, Xu Yiqi
Opinions on the Evolution of the Function of Folk Art……………Tao Siyan
Chiese Research on Claude Lévi-Strauss—— A Discussion of the Significance of Claude Lévi-Strauss’s Anthropology of Art ……Dong Longchang
Artistic Transformation in An Environment of Economic Transition…………Sun Xiangming, Pan Meng
An Analysis of the Features of Art Criticism in Late Ming Dynasty ………Gong Tianfeng
A Research of the Jiangnan Literati’s Thought of Interior Design in Mid to Late Ming Dynasty……………………………………………Zhan Heping, Feng Yang
Art and Anthropology……………………written by Raymond Firth, translated by Wang Yongjian, proofread by Li Xiujian
The Legend, Sources and Identity of the Wa Nationality at the Border of China and Burma …………………Bai Zhihong
From ‘Celebrating with People’ to ‘Returning the Folk Custom to People’ -- Taking the Ha Festival of the Jing Nationality as an Example ……………Lv Junbiao
Rite and Drama: An Investigation of the Belief of Marshal Tian Gong from the View of Opera Anthropology …………………Chen Zhiyong
Commentary on the Last 30 Years of Research on Domestic ‘Shao’ Music
………………Wang Bing, Song Fei
An Investigation of the Daur Nationality’s Dances ‘Lurigele’ and ‘Hakumaile’……………………………………………… Wu Gang
Material Culture and Illustrations of Myth of the Divine Badge in Liangzhu Culture ………………………………………………………Hu Jiansheng
Opinions of the Non-Buddhist Image in the Nirvana Diagram……… Lv Deting
Research of the Panpipe in the Painting on Stone Reliefs of the Han Dynasty ………………………………………………………………Guo Xuezhi
A Research of the Barbarian Music Popular in Bashu from the Painting on Stone Reliefs of the Han Dynasty …………………………………………………Zhao Ling
Charm of the Map: Aesthetics of the Images of the Great Wall ……Guan Yanbo
Artistic Research on Zhang Daqian’s Ink and Color Painting ………………………………………………………Liu Delong
The Narrative Features of Jingxi Zhuang Nationality Rite Paper-cut Art_Taking the Paper-cut “Bridge” as an Example ……………………Xu Jiang, Gu Ping
The Cultural Inheritage and Artistic Features of Gezili’s Xinzi ……………Wang Fugen
Analysis of the Cultural Aesthetics of Yue Embroidery Costume…………………………… Zhang Jinmei, Hu Xiaoping, Huang Qinxia
Local Features of Quanzhou Liyuan Opera Traditional Dresses’ Shape and Design………………………………………………………………… Zhang Lijun
Investigation of the Films about Chinese Minority Nationalites During the First Half of the 20th Century ………………………………………Yue Xiaoying
Opinions on the Theory of “Using the Macroscopic View to Find the Microscopic View” in the Chinese Landscape Paintings’ Composition ………………………………………………………Shen Qiwang
（翻譯：包延鵬，審訂：范丹姆、李修建）