This dissertation is about the singers of Tibetan oral epic King Gesar. The author argues that the singers have grown from shepherds by self-studying and training. As for their own saying about their profession is just their identity. Because of the special resident area where Tibetan groups have inhabited in Qinghai-Tibetan Plateau, the oral tradition of King Gesar is their life-style; the sayings of singers are the parts of this life just hoping to identify their something. The dissertation is divided into six chapters. In the preface, the author introduce the aim of the study, the origin of the information, the theories and principals approaches, and explain of technical terms. Chapter One, the author recalls the fieldwork and academic history of oral Epic King Gesar home and abroad, points out its theory significance and its academic value. And the author insists on that it is just Sumba mkhan-po Yexibaju that did the first fieldwork of collecting the oral Epic King Gesar, and made this oral traditional epic being noted text. Chapter Two, the process of singer's growing and the skill of composing the oral epic in the performance. The author divide the process into three stages: listening and absorbing in the childhood which is a natural action, then studying and training themselves, which are conscious during the youth and singing in front of the critical audiences. Even when a shepherd becomes a singer, he doesn't stop the studying and training himself, that is to say, he compose the oral epic according to the situation of each performance. And this helps his skill improved and trained the new generation of singers grown. The process of singing and composing make the tradition alive. Chapter Three, it focuses on the singers' narratives. Among the seven kinds of singers of King Gesar, Brab-sgung, which is the greatest one, creates a set of sayings such as that Gods sent their abilities of Singing the Epic from dream, or they should put on their hats, take some holy pray before singing, and can never sing the last canto-The Hell and so on. The author classifies these narratives about the singer's profession and ones, which is belonging to Mr. Sangzhu who is now the most famous singer in Tibetan area. Chapter Four, the study of the folk culture of these narratives. In this chapter, the author analyses the background that the singer and the whole oral traditional epic exist, believe that it is the living space that makes Tibetan mass have kept the original thoughts and the animated folk culture. And the singing and performance of the oral traditional epic King Gesar is just the part of the Tibetan people's life. As a result, the singer's narrative about the profession is the most outstanding creature that is emanated from this folk culture, and shows that the singer is the best member of the Tibetan mass and that is their identity. Conclusion: in this part, the author sums up the main idea talked about in the dissertation, rising up the problems to be solved in the future.
【关键词 (中文/英文)】 《格萨尔》; 口承史诗; 包仲; 认同表达; 藏族民众; 民俗文化 Traditional oral Epic; King Gesar; oral poetics; Brab-sgung; identity; Tibetan mass; folk cultural study
