本文在整合、延伸仪式传播理论框架的基础上，考察非物质文化遗产这一具有“乡绅性”“审美性”“活态性”的地方性知识，在“全球化”“现代性”“行动化”的媒介传统中的发展。在非物质文化遗产与媒介技术的研究中，民俗艺术与文化产业、乡村与城市、在地生态与赛博空间的矛盾与耦合形成旧与新、审美与商业、边缘与中心、在地与脱域等极具张力的动态关系，这一关系在媒介、产业、政治及文化的动力之中，以“仪式”进行链接并形成消解与重构、龃龉与耦合、调适与转化的共融与共生的结构。本文从仪式传播参与、共享、认同等视角，对作为仪式行动主体的非遗传承人在“参与”网络直播中的“分化与重塑”、非物质文化遗产作品在“共享”媒介事件中的“转型与转化”、非遗直播作为媒介仪式以其“能动性”所形成的“共生”与“认同”进行分析和探讨，审视在“离心力”与“向心力”并存的数字礼俗社会中，中国非物质文化遗产创造性转化与创新性发展的现实可能性。
本文通过网络民族志、深度访谈等方法，对非遗传承人、非遗产业相关从业者进行系列访谈，对典型非遗直播案例梳理总结，对粉丝社群、虚拟礼物、非遗公会等进行在线田野考察。在梳理直播电视剧、新闻直播、电视直播购物、慢直播、非遗综艺、直播电商产业链和模式等基础上，探析非遗直播仪式传播的动力机制。以传播的仪式观、媒介事件、媒介仪式、马克思的精神交往理论及中国传统仪式文化为抓手，融合中国非物质文化遗产在网络直播中矛盾共生的传播实践，延伸并丰富仪式传播研究中的中国理论维度和元素。
第一章展开对仪式传播理论的溯源、整合与延伸，分析非遗与直播功能龃龉共生的关系。辨析大众传播从框架、图式到行动化的转向，梳理媒介环境学派关于媒介技术与文化互动、共生的观点，借鉴传播仪式观中参与、共享、认同的要素，汲取“在场”对话、媒介事件中“竞赛”“征服”和“加冕”的脚本，拓展媒介仪式对媒介周边形式化活动的批判，结合马克思和恩格斯的精神交往理论及中国传统的仪式观点，形成分析非遗直播仪式传播的三个理论元素：突出主体性参与的仪式行动、建构内容模式化共享的媒介事件、强化媒介场景行动化认同的媒介仪式。本文以此为逻辑起点开展研究。
第二章考察中国非物质文化遗产网络直播的仪式传播动力。主要包括媒介、产业、政治和文化等维度。媒介动力方面，总结电视直播在内容结构和传播方式上的真实性、实时性、参与性和互动性等特征，提炼国内外互联网直播发展历程中的关键要素，分析非遗在行动化媒介中进行仪式传播的基本动力；产业动力方面，分析网络直播媒介仪式背后的产业模式。总结电视购物的发展经验、MCN 机构孵化模式、非遗类MCN发展、学术类非遗研究中心、媒体平台开展的非遗直播计划，剖析网络直播电商产业链、供应链、盈利模式、平台类型和数据营销服务；政治动力方面，回顾中国电视直播的发展及政治传统，剖析驱动中国非遗直播在生产性保护中的政策、活动及舆论等支持力量；文化动力方面，提炼非遗自身的美学特质和精神属性，在梳理中国直播电视剧、非遗综艺等内容基础上，分析非遗直播与国潮现象共情交融的文化现实。
第三章探讨网络直播对非物质文化遗产的分化、转型和消解性影响。首先，非遗传承人在“数字劳动”中，传统权威和话语在媒介仪式中被分化和边缘化。非遗直播时空分离和脱域交往的间离性、“后台”前置的感官化和美化、仪式行动的表演化和戏剧化所产生的仪式暴力及数字冲动，促使传统信任转型。其次，直播背后的市场化再生产和付费化观看使非遗作品向产品和商品转型。非遗直播中的媒介叙事机制呈现出故事化、模式化、世俗化特征，消解非遗文化语境，影响非遗的严肃性和艺术性；最后，媒介仪式通过资本化的礼物机制、场景化的数字特效和互动化的弹幕评论，以娱乐化的流量排行方式促使粉丝进行情感体验、仪式互动和集体行动，以仪式“变现”的方式，打破传统的互惠关系，进一步消解非遗的审美特性。
第四章探析网络直播与非遗重构、转化及共生的现实可能性。首先，非遗主播作为精神生产、精神交往的主体，在仪式过渡中形成“媒介朝觐”的现场感，以媒介价值组合的方式削弱传播的“间离性”。非遗传承人作为非遗购物节、线上非遗集市、非遗直播付费课程的主体，推动非遗品牌向数字化、垂直化和圈层化发展；非遗直播形成具有中国特色的发展模式，传承人借助直播方式开展文化扶贫、扶智、扶志，以产业化的方式助力乡村振兴，弥合城乡鸿沟；城市非遗老字号通过直播建立数据分级分类、智能调控，提升线上线下评价体系。其次，非遗本体的审美性、传统性和规范性使其具有创意化张力和媒介技术的可承载性。非遗直播链接文旅研学游并“进校园”，提升非遗产业化，构建非遗IP促进价值转化，实现共建、共享。最后，媒介仪式的祛魅化、感性化和个体化等特征，让非遗直播调适社群关系、“桥接”文化资源、凝聚乡愁情感、涵育文化记忆、激发家国情怀的功能，成为数字礼俗社会生成文化共同体的现实可能性。
总之，本文在传播方式“行动化”“仪式化”的转向中，整合新媒体语境下的仪式传播参与、共享、认同的要素，结合非遗“见人、见物、见生活”的实践和网络直播中“人、货、场”的基本逻辑，探析中国非物质文化遗产与网络直播在矛盾中共情、共融和共生的动力、实践及新方式。

Based on the integration and extension of the theoretical framework of ritual communication, this paper examines the intangible cultural heritage, which is a local knowledge with "gentility","aesthetics" and "liveliness," characteristics developed in the media tradition of "globalization" "modernity" and "action". In the study of intangible cultural heritage and media technology, there is a dynamic relationship of great tension in the contradictions between folk art and cultural industry, rural and urban, local ecology and cyberspace, and the coupling forms old and new, aesthetics and Commerce, edge and center, place and dislocation. These relationships are linked by "rituals" in the dynamics of media, industry, politics and culture, and form a structure of harmony and symbiosis of dissolution and reconstruction, discord and coupling, adjustment and transformation. From the perspectives of participation, sharing and identification in ritual communication, this paper analyzes the "differentiation and remodeling" of intangible inheritors as the main body of ritual action in "participation" webcasts and the intangible cultural heritage works in "sharing" media events. "Transformation and transformation" and live broadcasts of intangible cultural heritage as media rituals are analyzed and discussed with the "symbiosis" and "identity" formed by their "activeness". Examine the realistic possibility of creative transformation and innovative development of Chinese intangible cultural heritage in a digital ritual society where "centrifugal " and "centripetal " force coexist.

Through online ethnography, in-depth interviews and other methods, this paper conducts a series of interviews with intangible heritage inheritors and relevant practitioners in the intangible heritage industry, sorts out and summarizes typical intangible cultural heritage live broadcast cases, and conducts online research on fan communities, virtual gifts, and intangible cultural heritage associations. Fieldwork. On the basis of sorting out live TV series, live news broadcast, live TV shopping, slow live broadcasts, intangible cultural heritage variety shows, and live e-commerce industry chains and models, this paper explores the driving force behind the dissemination of intangible cultural heritage live broadcast ceremonies. Taking the concept of ritual communication, media events, media rituals, Marx's theory of spiritual communication and traditional Chinese ritual culture as the starting point, it integrates the communication practice of contradictory coexistence of Chinese intangible cultural heritage in live webcasting to extend and enriches the Chinese theoretical dimensions and elements in ritual communication research.

The first chapter starts with the traceability, integration and extension of the theory of ritual communication, and analyzes the disparate and symbiotic relationship between the intangible cultural heritage and the live broadcast functions. By identifying and analyzing the turn of mass communication from framework and schema to action, the viewpoints of Media ecology school on the interaction and symbiosis of media technology and culture are sorted out. The script of "contest", "conquest" and "coronation" in the event expands the media ritual's criticism of the formalized activities around the media, and combines the spiritual communication theory of Marx and Engels with the traditional Chinese ritual view to form an analysis of the broadcast of intangible cultural heritage live broadcast rituals three theoretical elements. Ritual actions that highlight subjectivity participation, media events that construct content model sharing, and media ceremonies that strengthen the action-oriented identity of media scenes. This paper takes this as a logical starting point to carry out research.

The second chapter examines the ceremonial communication dynamics of Chinese intangible cultural heritage webcasts. It mainly includes dimensions such as media, industry, politics and culture. In terms of media power, it summarizes the authenticity, real-time, participatory and interactive features of live TV in content structure and dissemination methods, extracts the key elements in the development of Internet live broadcast at home and abroad, and analyzes the development of intangible cultural heritage in mobile media. The basic dynamics of ritual transmission. In terms of industrial power, analyze the industrial model behind the online live media ceremony. Summarizing the development experience of TV shopping, MCN Institutional incubation model, intangible cultural heritage MCN development, academic intangible cultural heritage research center, and the intangible cultural heritage live broadcast plan carried out by media platforms, analyze the live webcast e-commerce industry chain, supply chain, profit model, platform type and data marketing services. In terms of political motivation, review the development and political traditions of China's live TV broadcast, and analyze the supporting forces such as policies, activities and public opinion that drive Chinese intangible cultural heritage live webcast in productive protection. The aesthetic characteristics and spiritual attributes of intangible cultural heritage are extracted in terms of cultural dynamics. On the basis of sorting out Chinese live TV dramas and intangible cultural heritage variety shows, the cultural reality of the empathy and integration of intangible cultural heritage live broadcasting and the phenomenon of national trends are analyzed.

The third chapter discusses the differentiation, transformation and disintegration effects of live webcasting on intangible cultural heritage. First, in "digital labor" of Intangible cultural heritage inheritors, traditional authority and discourse are differentiated and marginalized in media rituals. The temporal and spatial separation of intangible cultural heritage live webcasts and the alienation of disjointed communication, the sensualization and beautification of the "backstage" front, the ritual violence and digital impulses generated by the performance and drama of ritual actions, promote the transformation of traditional trust. Secondly, the market-based reproduction and paid viewing behind live webcasts have transformed intangible cultural heritage works into products and commodities. The media narrative mechanism in the live broadcast of intangible cultural heritage presents the characteristics of storytelling, patterning and secularization, which dissolves the cultural context of intangible cultural heritage and affects the seriousness and artistry of intangible cultural heritage. Finally, through the capitalized gift mechanism, scene-based digital special effects and interactive barrage comments, the media rituals urges fans to engage in emotional experience, ritual interaction and collective action in an entertaining traffic ranking method, and "realizing" the ritual in a way, to break the traditional reciprocal relationship and further dissolve the aesthetic characteristics of intangible cultural heritage.

The fourth chapter explores the realistic possibility of the reconstruction, transformation and symbiosis of webcast and intangible cultural heritage. First of all, as the subject of spiritual production and spiritual communication, intangible cultural heritage anchors form a sense of presence of "media pilgrimage" in the transition of rituals, and weaken the "separateness" of communication by means of media value combination. As the main subjects of the intangible cultural heritage shopping festival, online intangible cultural heritage market, and intangible cultural heritage live webcast paid courses, the intangible cultural heritage brand promotes the digital, vertical and circular development of the intangible cultural heritage brand. The live webcast of intangible cultural heritage has formed a development model with Chinese characteristics. The inheritors use the live broadcast method to carry out cultural poverty alleviation, wisdom and aspirations, and industrialization to help rural revitalization and bridge the urban-rural divide. The time-honored urban intangible cultural heritage brand establishes data classification and intelligent control through live broadcast, and improves the online and offline evaluation system. Secondly, the aesthetic, traditional and normative nature of the intangible cultural heritage body makes it creative tension and bearable of media technology. Intangible cultural heritage live broadcast links cultural, tourism, research and study tours and "enters the campus", enhances the commercialization of intangible cultural heritage, builds intangible cultural heritage IP to promote value transformation, and realizes co-construction and sharing. Finally, the characteristics of disenchantment, emotionalization and individualization of media rituals make intangible cultural heritage live webcasts the functions of adjusting community relations, "bridging" cultural resources, condensing nostalgic feelings, cultivating cultural memories, and inspiring family and country feelings. And became the realistic possibility of the formation of cultural community in ritual society.

In conclusion, this paper integrates the elements of participation, sharing, and identification in ritual communication in the context of new media, and combines the intangible cultural heritage's "seeing people, things and life" in the turn of "action-oriented" and "ritualized" communication methods. The basic logic of "people, goods, and fields" in practice and webcasting explores the dynamics, practices and new ways of sympathy, communion and symbiosis between Chinese intangible cultural heritage and webcasting in contradiction.