許光麃Hsu, Kuang-Piao2017-02-222025-07-302017-02-222017-02-22https://ir.ntus.edu.tw/handle/987654321/70480學位類別：碩士校院名稱：國立臺灣體育學院系所名稱：體育研究所畢業學年度：91年論文頁數：108頁中文摘要 臺灣在中國移民遷徙的歷史情境中承繼了中國傳統文化，卻又以自身島嶼型多元文化的特質，逐漸發展出別具臺灣特性文化，祭典即屬其中之一，本研究的目的是要追溯祭典的起源與變遷，探究鹿耳門天后宮祭典樂舞之起源與變遷，觀察鹿耳門天后宮的祭典樂舞並以「迎喜神」祭典為分析的主軸。本論文將蒐集之史料，加以整理、分析、考證、詮釋與批判，所獲結論如下： 一、古代先民的祭典是源於先民的無知，因畏懼而產生對自然界的崇拜與感恩，而以祈禱和祭祀的方式來達到心靈的慰藉，逐漸形成定制的祭祀。 二、鹿耳門天后宮的祭典是因緣於鄭成功登陸鹿耳門驅荷入臺，隨船帶來了媽祖文化，因感念媽祖的顯靈相助，於鹿耳門興建了天后宮，而有鹿耳門祭典文化。 三、鹿耳門天后宮的祭典樂舞於1993年起以樂舞的方式貫穿祭典，其中「迎喜神」儀式邀請專家學者考究古禮融合地方民情，編製出僅屬於鹿耳門天后宮的祭典樂舞，以創新、精緻化、藝術化形成新廟會文化。ABSTRACT 　　The culture of Taiwan inherited the traditional Chinese culture because of the immigrants from Mainland China. However, the diverse island culture developed the distinguishing characteristic of Taiwan culture gradually. The sacrificial ceremony is one among them.The purpose of this study was to trace the source and transition of the sacrificial ceremony and the musical dance in sacrificial ceremony of Tienhou Temple at Luermen as well as to analyze the sacrificial ceremony of greeting god.The conclusion was obtained as follow: 1.The origin of the sacrificial ceremony was the ignorance and fear of nature.To comfort their spirits, the ancestors worshipped and gave thanks to nature through praying and offering sacrifices. The sacrificial ceremony was established gradually. The Cheng Chengkung brought the Ma-Zo in the boats to expel the Dutch and launch the Luermen. It caused the sacrificial ceremony of Tienhou Temple at Luermen. The Tienhou Temple was built and the sacrificial ceremony was established at Luermen to thank Ma-Zo for her help. The musical dance in the sacrificial ceremony of Tienhou Temple at Luermen started in 1993 is a dance accompanied by music through the ceremony. The ceremony of greeting god made by scholars integrated the local feeling to edit the unique musical dance in the sacrificial ceremony of Tienhou Temple at Luermen. It becomes a creative, delicate, artistic culture of new temple fair.目　次 第一章　緒論……………………………………………………………1 　第一節　研究動機與目的……………………………………………1 　第二節　相關文獻探討………………………………………………3 　第三節　研究範圍與限制……………………………………………34 　第四節　研究方法與步驟……………………………………………36 　第五節　名詞解釋與用語規定………………………………………38 第二章　追溯祭典的起源與變遷………………………………………41 　第一節　原始祭典的起源……………………………………………41 　第二節　禮教與禮樂系統的傳承……………………………………46 　第三節　明清時期祭典樂舞內容……………………………………56 　第四節　臺灣的祭典樂舞……………………………………………61 　第五節　小結…………………………………………………………64 第三章　鹿耳門天后宮祭典樂舞之起源與變遷………………………66 　第一節　臺灣的媽祖信仰……………………………………………66 　第二節　鹿耳門天后宮歷史淵源……………………………………68 　第三節　鹿耳門天后宮祭典樂舞的文化背景………………………69 　第四節　鹿耳門天后宮祭典樂舞的文化變遷………………………72 　第五節　小結…………………………………………………………77 第四章　鹿耳門天后宮的祭典樂舞─以「迎喜神」祭典為例………79 　第一節　鹿耳門天后宮「迎喜神」祭典輪廓………………………79 　第二節　「迎喜神」儀式內容………………………………………82 　第三節　「迎喜神」祭典中樂舞舞容………………………………85 　第四節　小結…………………………………………………………99 第五章　結論與建議……………………………………………………100 參考文獻…………………………………………………………………105999328 bytesapplication/pdf鹿耳門;天后宮;祭典;樂舞;迎喜神Luermen;Tienhou Temple;sacrificial rite;musical dance;greeting godthesis