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来自民俗的创作与阅读

【作者】何茂莉

【导师】武文

【作者基本信息】兰州大学，现当代文学，2008年，博士

【副题名】苗族口承文艺的文化人类学研究

【摘要】 口承文艺是我们民族文化的一个重要组成部分,它贴近广大人民的生活,亲切地表现着他们的经历、观察、感受和理想,表现着他们的艺术才华。以口头传承为媒介的民间文艺的发达,代表着前现代时期的文化状态——封闭落后、自给自足、淳朴自然,充满牧歌情调。本选题以对苗族口承文艺的实证研究为蓝本,将有关自然生态与经济状况的、民族历史与政治形态的、物质生活与精神生活的、稳定的民族历史沿革的、不稳定的民族迁徙和战争及文化移动和融合等等文化形态,在苗族口承文艺形式中的广泛反映呈现出来,表现苗族文化内涵和民族心理。并着眼于反映苗族口头传统源远流长的历史积淀,不仅是一道道古老神秘而又充满奇谲的文化景观,也是新时期文学创作在臻达艺术圣境的道路上的不竭源泉。追寻族群永恒的“心灵图式”,复述族群共有文化传承,在人类学的高度上,将自己的期待视野转接在个性化的生命体验之中,并抽引出了一系列重要的文化概念和传统象征及文学创造感悟,完成隐含着巨大文化信息与深刻体认的新创造。第一章分析苗族口承文艺与巫文化的联系。论文从苗族口承文艺中“尚巫鬼娱人间”的内容构造了其巫文化风貌和“重鬼神而轻人事”的巫文化倾向展示了苗族人深层心理意识两个方面展现口承文艺与巫文化的关系。巫教与文艺自古难解难分,虽然有了巫教,不一定就产生相关的文艺,但是对于苗族口承文艺来说,倘若没有了巫教的融入,是断然不会构筑得那般蕴含丰厚、神秘奇伟的。所以,苗族口承文艺的巫教精神既是先天的秉赋,受惠于原始巫教母体的遗传基因,也是后天的陶冶,得益于巫教活动的哺育和巫教思想意识对创作者的浸染。揭示苗族口承文艺在巫文化心理的潜在作用下,十分崇尚情感、灵智和激情,讲究绚烂,向往超越,富有非常奇特的想象力和创造性,“隆祭祀,事鬼神”的共同心理文化素质多有表现,不论是说到水势浩荡的名川大泽,云烟缭绕的山林皋址,都描绘成精灵出没之所在,一切神话和奇异的传说,都被罩上现实的真实性和迷人的神秘色彩,使得他们众多的文本都传唱得荡人肺腑,灵光四射。这种历久弥深的心理状态与这个民族的生命血脉相联。讨论了苗族口承文艺中的巫文化气质,其具有强大而有效的功利心理意识:反映了苗族人灵与肉分离的心理意识和因恐惧而祈求生存平安的自慰心理。通过口承文艺透视苗族巫教文化精神,可以看出,苗族巫教呈现出对现实和异己力量掌控的想象,呈现出族群生命之源的鲜明意识,呈现出与宗教、神话、艺术同构的人文精神,呈现出长期的道德规范力量。第二章分析苗族口承文艺与怀乡恋祖情结的联系。从生命家园意识是族群的共同记忆这一论题出发,说明面对故土、祖先,苗族群体的古歌、史歌、巫词、传说、服饰、建筑、舞台、祭祀等民间口承文艺中呈现着最绵长的历史和最生生不息的活力,保持和传递着族群的经验、意识、观念、情感、训诫等文化财富,渗透着这一山地民族的文化心理基础。揭示了口语传承中历久不息的怀乡恋祖情结。对远古时代辉煌一世的始祖蚩尤的颂扬、怀恋;父子连名制的文化特质担当着认祖归宗的社会功能;节日文化中折射出的祖先认同感;盛装美服上的图案展现着苗族人壮丽辉煌的历史文化世界和精神回乡的向往;俗语中落叶归根的文化心理表露着苗族人浓重的乡土观念;民间文艺作品中乡土情结的弥散展现着温情脉脉的文化世界。怀乡恋祖情结在口承文艺中的世代传承,承载了无比庄严的使命,既是祖先丰富的生存经验的历史见证,又是增强民族内部凝聚力、保证族群延续的重要方式。讨论了怀乡、恋祖情结之于苗族人,是对于过去的祭奠,是对于历史的巡礼。历史虽然已经远去,然而它是可以通过艺术的方式复制的。历史是无法忘却的,而作为亦农耕亦游牧的苗族人,更具有一种对于失去乡土记忆的恐惧,对于背叛、遗弃先祖的恐惧,对于忘却中原、忘却祖先、迷失自我的恐惧。原因在于壮丽辉煌的远古文化教人不能忘却祖先故土;崇拜经验的农业自然经济状态使人不应该忘却祖先故土;悲壮的五次大迁徙历史让人不会忘却祖先故土;艰难的现实生存环境提醒人不敢忘却祖先故土。第三章分析苗族口承文艺与族群心理特征变化的联系。展示了历经千年文化的口语传承记录着这个刚劲坚强的民族,如何在现代文化中展演为有意识的隐讳和封闭自保。从开天辟地的神话中、从对英雄始祖蚩尤的尽情赞颂中;从仪式、歌舞中依稀可见的粗犷、强悍中,看出他们从没有放弃抗争,与天地斗,与异族侵略者斗。苗族是一个“永远在走动的民族”,在走动中传承着民族的性格。但在特定的历史背景下,不断迁徙的苗民散杂居于当地的世居民族之中。旧的危机尚未完全过去,新的挑战又迎面袭来。这就要求他们在社会交往中表现出柔韧的一面。这样,就形成了他们在人际交往、族际交往中刚柔相济,睦邻为本的出发点。讨论了由口承文艺中反映出的非主体民族心理认同保持的理论问题。出现非主体民族长期存在的现象,并不是主要依靠他们保持了自己具体的文化特征,更关键的在于他们强大的心理认同保持能力。文化的向心模式、群体模式、生态模式是非主体民族心理认同保持的基础;独特的认知方式是非主体民族心理认同保持的实质;族群文化的同一性是非主体民族心理认同保持的形式;传统思维方式是非主体民族心理认同保持的深层结构;风俗文化是非主体民族心理认同保持的途径。第四章分析苗族口承文艺与伦理文化的联系。强调这是对生存准则的理解和表述。展示了儒家文化影响前后苗族伦理意识的变化;苗族伦理观念的外显形式。讨论了民间文学蕴涵的伦理文化;家庭模式及其成员构成中的伦理情感;日常行为、管理中的伦理教化;节日习俗中的伦理风情等在口承文艺中的表述。第五章分析苗族口承文艺与宗教文化的联系。从万物有灵观念是苗族自然崇拜的核心;图腾崇拜的多样性是苗族看世界的独特方式;祖先崇拜体现了苗族人复杂的宗教心理等方面研究了苗族人顶礼膜拜式的注视世界的方式。认为自然物与人具有等同的生命、人可以用生命去影响自然物、自然物和人一样生活在各种关系中、自然物与人类社会之间的联系时刻发生。讨论了苗族口承文艺中表现出来的开放性、非固定化的现代多神崇拜。从内容与形式上看,来源不同的若干宗教文化往往不是以非此即彼的方式进行新陈代谢,而是形成一种兼容并蓄的组合型共生关系。苗族尽管不同程度地皈依了外来宗教,但其民族传统信仰仍然根深蒂固。民族的宗教文化尽管经历历史的变迁,但这种变迁决不是简单的易相,而是兼容并蓄的过程,民族宗教文化不是因为经历变迁而变得纯粹、单一,而是显得更为丰富和杂芜。依然是对世界崇拜、畏惧、超现实的注视。第六章分析苗族口承文艺与生态意识的联系。文中揭示了口承文艺中蕴含的生态意识是一种行歌慢板式的生存自觉,森林树木的选种、育苗、移栽、使用、管理中处处体现着苗族人的生态自觉。与古老文化相匹配的专用林木护寨林、鼓社林、龙潭林、风景林等是苗区的常青风景。自然的赐予与自觉的生态意识形成了良性循环,傲视天空的莽山怪石,一望无际的原始森林,清澈见底的山涧小溪,巍峨的雷公山,奔流不息气势恢弘的黄果树瀑布,神秘幽深的龙宫,汹涌澎湃的乌江,光怪陆离的乌蒙山,是人们心目中的苗族聚居地环境。讨论了面对求生环境行歌慢板式的吟唱。人类及创造的文化都是自然生态的一部分,自然对它有着重要影响。按照自身的生产、生活模式发展,趋利避害,充分利用山地河谷,利用所处地形、地貌的不同发展了干栏式建筑、吊脚楼等地域建筑类型及布局方式,既显示出了当地居民利用自然、顺应自然的智慧与勇气,也利于节约、保护用地,体现的是自然和谐的山地文化,表达着人文和自然景观的有意识认同。合理有机的苗族民居布局生态意识,内涵丰富的苗族村寨生态,生态观念与实用审美高度一致的苗族民居特质,正是苗族口承文艺中引以为自豪的生态自觉表现。第七章分析苗族口承文艺与现当代苗族作家作品风貌的联系。首先论述了文化的变迁整合与文学创作的关系。其次描述论证了苗族口承文艺的优秀成分在现当代苗族作家创作中的表现。分别对应前六章,从巫教文化造就了苗族文学的神秘奇伟;表述上重表象轻逻辑的非理性化的苗族集体无意识思维特征造就了独特的苗族文学叙述方式:迁徙的民族,游走的文化,漂泊的心灵造就了苗族文学延续幻想的追求;民情民俗的真情流露造就了苗族文学可知可感的伦理追求;永恒的民族生命力的自我救赎;生态意识的自觉营造了苗族文学天然去雕饰的叙事背景等六个方面进行了研究。最后讨论了缘于民俗文化是现当代作家的不竭之源。受制于自然环境、生产方式、社会历史进程以及民族、宗教、文化的多样性、混杂性、独特性的影响,来自民俗的少数民族创作一直呼应着中国现当代文学主潮的脉动。事实上,因为一个民族独特的思想理念、情感原则、行事方式总会蕴于民俗文化中,所以作家们在表达本民族特定情况下的精神走向时,那种沉淀已久的文化因子,必然会以民间礼仪、风俗人情、宗教信仰甚至寓言传说的方式显示出来。在都市文学的喧嚣中,更多的少数民族作家意识到,只有民俗以及与民俗有关的精神,才会使作家们扎根在深广的土地上,以他们特有的悲悯情怀与忧患意识,着力表现发生在中国大地上的传统与现代的冲突、普通人们的生存状况,创作就具有了明确的指向意义。立足于民间立场和底层体验,在表现恶劣的自然环境、落后的文化教育、贫困的个人生活的同时,也体现出鲜明的内省精神和开拓意识。他们不断地思考着自己与这片土地的关系,并在艰难的迈进中表现出一种可贵的乐观精神。苗族口承文艺的研究对于揭示现当代少数民族作家创作的“源与流”问题有一定的借鉴意义。  

【Abstract】 Oral culture is an important composition of Chinese national culture,it keeps close to people's life,representing theirexperience,observation,perception,dream and artistic talents. By means of oral culture,the folk art and literature begin to bloom,and has been existing in previous modern times,during which the society is self-sufficient,closed and backward,natural and ansophisticated,and full of postoral strains .Based on the empirical research of the Miao's oral culture art,this subject aims at representing the connection and mentality of the Miao which appears in oral culture. including natural ecology. economic situation,ethnical history,forms of policy,substantial and mental life,historical evolution in peace,migration and war,cultural movement and integration in the unsteady times. Futher more, it focuses on reflecting the cultural accumulation of long history mirrored in oral culture of the Miao,which doesn't constitude the ancient landscapes of mystery,oddity and fantansticality,but also provide the unexhaustible source for modern literature creaters to climb to the artistic peak. In an attempt to draw "the perpetual mental graphy"and retell the shared cultural traditional of ethnic groups,relying on the study means of anthropology,connected my own view with the individual experience,and abstracted a series of siginificant cultural concepts,traditional emblems and literature creating inspirations,to accomplish a new creation implying a sea of cultural information and deep individal awareness.The first chapter analyses the relation between oral culture and witch culture. in virtue of the content "respect the sorcerers entertaining norals",the essay restructured the scenes of spiritualist culture.In addition,the essay tries to demonstrate the deep consciousness of the Miao related to oral culture and sorcery. Art and literature is inextricably involved in sorcery from the beginning of huamn history,though spiritualist culture is not sufficient conditions but necessity for the appearance of oral culture. If there are not sorcery,there must be not art and liturature of magnificance and spendor.Therefore,the gift of spiritualist,hereditory factors,the post-nationl edification,and the insticlation of suce culture into the creations ,are the four elements of the oral culture.It reveals in the use of witch culture on the Miao's oral culture,it advocates feelings,wisdom and passion,it pays special attention to floweriness,yearning for transcendence,and full of strange imagination and creativity,the common psychological cultural quality of Pay attention to sacrifice activities and ghosts"has many performances,no matter it comes to the immense famous mountain and splendid rivers or the clouds shrouded forests,which are all places where fairies appear,all the myths and fantastic legends have been cast authenticity and fanscinating mystery,making most of their text spreaded into people's heart and inspired. This deep-lasting psychological state has close connection with the nation's life.It discusses the mettle of the witch culture in the Miao's oral culture,it has a strong and effective psychological awareness of utilitarianism;and reflects the psychological awareness of the maio's separation of soul and body,the comfort psychology praying for peace and survival because of fear.Through the Miao's witch culture spirit showed in the oral culture,we can see the Miao's witch emerges on the imagination beyond control towards the reality and the alien force,emerges on the vivid awareness of the ethnic groups' orign of life,emerges on the humanities spirit constituted by religion ,myth,and art. it also emerges on the long-term moral strength.Chapter 2 analyses the relation between the Miao's oral culture and the homesickness complex. from the subject home life consciousness is the collective memory of the ethnic groups,it explains facing the ancestors and homeland ,it shows the most long history and endless vitality such as ancient songs,historical songs ,the witch word, legend, apparel, construction, stage, workship and so on,it keep and convey the cultural welth such as the experience, consciousness, ideas, feelings, reprimands of the ethnic groups,and it infiltrate the mountainous nation's cultural psychological basis.It reveals the continuously homesickness complex in the long tradetion of the oral culture. The glorification and memory of chiyou,the ancient ancestor in the glorious era,the special characteristics the son name after his father from generation to generation play the function of finding out which proups they come from in social,festival culture reflects the identity of ancestors,the patterns yearing of the soul backing home,the proverb "leave return to their roots"reveals the Miao's smacks of localism;the local art and literary works which suffers wirh localism presents culture world which is full of tender feeling. The homesickness and recall of ancestors inherits for generations in the oral culture ,it carries very solemn mission .It's not only the rich survival experiences of our ancestors,but also an important way enhancing the nation's internal solidarity,and ensuring the continuation of ethnic groups.It discusses homesickness complex to the Miao is the homage to the past,cult to the history. Although history has gone,it can be reproduced in the way of art. The history can not be forgotten,but as the Miao,both farm and heard,has a special fear of the lost hometown memory,the fear of betraying and abandonning ancestors,the fear of forgeting the Central Plains,and lost themselves. That's because the splendid ancient culture make people can't forget their ancestors and homeland,the state of natural agricultural economy which adoring experience demands people should not forget their ancestors and homeland,the tragic history of five times' migrating makes people can not forget their ancestors and homeland,the difficult reality of living environment remind people not daring to forget ancestors.Chapter3 analyses the relation between the oral culture and the changes of the ethnic group's psychological characteristics. It shows the the spoken language which has a history of thousands of years spreads and records how the firm, strong nation turns into a state of conscious concealment and closed in modern culture. From the epoch-making myth, from the extolled of the hero ancestor ChiYou, from the vaguely visible roughand tough in the cenemory,song and dance,we can see that they had never give up the resistance to the heaven and the earth,to the alien invaders. The Miao is an "always moveing nation",and inherits ethnic character in the moving. But in the special historical background, the Miao who constantly move live casually and disorderly in the local people Inhabited for generations .Old crisis is not completely over yet,but the new chanllenge is coming towards. This requires them show a flexibility side in the social contacts. In this way,they create the starting point of "couple hardness with softness" and good-neighborliness in the interpersonal contacts and inter-ethnic relations.It discusses the throretical issues of main body national psychology acception preservation reflected in the oral culture. The phenomenon that insubject national psycological acceptance preservation emerges not mainly rely on they keep their own specific cultural characteristics,the key is their powerful ability in psycological acceptance preservation rather than. The centripetal pattern,collective pattern,econological pattern of culture are the basis of insubject national psycological acceptance preservation;the unique cognitive way is the essence of the insubject national psycological acceptance preservation; Identity of the culture of the ethnic group is the form of the insubject national psycological acceptance preservation;the traditional way of thinking is the deep structure of the insubject national psycological acceptance preservation;the custom culture is the channel of insubject national psycological acceptance preservation.In chapter 4,it analyse the relation between the Miao's oral culture and ethical culture. It emphasizes that it is the comprehension and expression os survival rules. It also display the changes of the Miao ethical minority's culture before and after the impact of the Confucian culture;the explicit form of the Miao ethical minority'sconcept.It discusses how the ethical culture implicated in the Folk Literature; ethics emotion in the family model and its memberships; ethical education in daily behavior and mangement;ethical strains in festival customs and so on expressed in the oral culture.Chapter 5 analyse the relation between the oral culture and regilious culture. It studies the Miao use the way of worshiping watching the world from the aspects animism concept is the core of nature worship; the diversity of of the totemism is the unique way the Miao acknowledge;the ancestor worship reflects the complex religious psycology of the Miao an so on. It believed that it is equivalent to the natural world and human life,human beings can use their lives to affect the natural world , the natural world, the same as people, living in the various relationships ,the contact between the culture and the human society is happening at any time.It discusses the openess and non-fixed of modern worship showed in the oral culture. From the content and the form,a number of different religious culture of different origins format a symbiotic relationship rather than the in the form of polarization in metabolism. Despite varying extent the Miao converted to foreign religions ,the national traditional belief is still deeply rooted. The ethnical regilious culture experiences the history changes ,but these changes are not the easily varying,they are process of inclusion,ethnical religious culture not becoming simple,pure because of the historical changes,but bu it is more rich and miscellaneous slimmer . it's still the worship, fear,and surrealistic attention.Chapter 6 analyse the relation between the oral culture and the ecological awarness. It reveals in the text the ecological awarness contained in the oral cuture is a kind of songs Adagio-consciously survival awarness,the selection, seeding, transplanting, use, and management of the forest trees embodies the ecology conscious everywhere. The special huzhai forest,gushe forest,longtan fprest matches with the ancient culture are the evergreen scenery of the region of miao. The gift of the nature and the ecological consciousness forms a virtuous circle,the hign mountain and strange rock seeing proud into the sky ,the endless Primitive forest,the most clear valley streams,the towering leigong mountain,the Torrents unceasing waterfall huangguoshu with great momentum,the mysterious Palace of Dragon,the surging wujiang,the bizarre mountain wumeng,are the Miao's habitat in the eyes of people.We 've discussed the environment to survive face-singing songs Adagio. The creation of human culture are part of the natural ecology, it has an important impact on the natural. According to its own production, the development of life to make a full use of mountain valley, which used the topography, geomorphology different development stem column architecture, Pavilian and other construction types and geographical distribution, not only demonstrates the use of local residents naturally, follow the natural wisdom and courage, but also conducive to conservation, the protection of sites of the mountain is a natural and harmonious culture, the expression of the human and natural landscape conscious recognition.Miao reasonable organic residential layout ecological awareness of the rich connotation of the Miao village ecology, ecological concepts and practical aesthetic highly consistent Miao residential character is for literature and art of the Miao I proud of the performance of Eco-conscious.Chapter seven of the Miao oral culture and contemporary works Miao writer outlook contacts. First on the cultural integration and change the relationship between literature.This was followed by a demonstration Miao I described for the excellent artistic elements in the Contemporary Writers Miao's performance. Before six, respectively, from the Wu Miao literary culture created the mysterious Jiwei; interpretations on the heavy representation of the non-rational logic light of the collective unconscious thinking Miao characteristics create a unique way Miao literature describes the relocation of ethnic groups, the migration culture, the wandering souls created Miao fantasy literature continuation of the pursuit; folk sentiments reveal the true feelings created Miao literature may know the ethical sense of pursuit of the eternal vitality of   

【关键词】 口承文艺; 文化人类学; 现当代文学; 苗族; 源与流

【Key words】 oral culture; cultural-humanics; modern and contemperory literature; the Miao; source and development

【网络出版投稿人】兰州大学 【网络出版投稿时间】2008-10-31 【网络出版年期】2008/12
【DOI】CNKI:CDMD:1.2008.162366 【分类号】C95 【下载频次】231