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乡土社会视阈下的花儿研究

The Study on Huaer Song from the Agrestic Visual Angle  


【作者】闫国芳 【导师】郝苏民

【作者基本信息】西北民族大学，中国少数民族语言，2007年，博士


【摘要 (中文/英文)】 花儿是跨越西北甘、宁、青、新四省区,由回、汉、撒拉、保安、东乡、土、裕固和藏族作为传唱主体而享有的一种特有的山歌和民俗文化,作为西北民族文化的缩影,花儿形成了一个跨越时空的文化网络或民族文化系统。 上世纪三、四十年代初,随着花儿专著的公开发表以及大量花儿唱词的搜集整理,西北特有的山歌花儿在学术界引起了关注,学者们相继从花儿的历史、音乐、文学、民俗等角度进行了研究。仁者见仁,智者见智。进入九十年代中期以后,因为中国民间文学界热点转向民俗学研究,对花儿的研究也转入高潮,但事实上仍有许多问题没有得到真正的解决。综观前人的研究成果,从文学的、音乐的、语言的、美学的诸方面的研究,都是花儿这个整体文化的一个肢体,但如果研究只停留在这一层面上,那我们对花儿的认识,还只是窥冰山之一角。 本文从文化人类学的角度出发,以田野调查的第一手资料为基础,结合历史文化背景的分析,力求深入到花儿的“活态世界”之中,探求它的传承、发展,于人、群体、族群之中特殊的互动关系和变化,给它以准确、较全面和“立体”的透视和理解。 本文共分六章。内容上大致可分为三个部分:绪论主要是花儿搜集整理史、学术史的回顾,是一种学术上的梳理;第一、二章属第二部分,是从民间文化生态环境的角度探讨花儿生成的各种内外因素;第三、四、五、章属第三部分,也是本文的重点。主要探讨花儿是在怎样的社会环境中传承和发展的,花儿演唱的场域及演唱主体,演唱传统中逐渐形成的各种仪式和规范,长期的花儿演唱传统是如何模塑一代又一代花儿歌手的,他们具有哪些共同的特点,歌手是如何传承的,第六章针对花儿和花儿会变异及非物质文化保护的工作进行了探讨。 通过上述初步研究,我认为花儿是河湟地区历史和自然文化生态环境下产生的必然产物,是在多元文化系统中发展起来的,长期以来形成的丰富的民间文化,是河湟地区民众生活的有机组成部分,它时刻伴随着人们的生产、生活活动,是人们最主要的精神娱乐方式,同时也是他们思想情感的集中体现。

The Huaer song goes around in Gansu, Ningxia, Qinghai and Xinjiang. Many people sang it, such as Hui, Han, Sala, Baoan, Dongxiang, Tu, Yugu and Tibetans. Huaer is not only a particular song, but a folk culture. As the epitome of Northwest nationalities’culture, Huaer now has become a cross-time-space culture meshwork and a national culture system. From 1930s to the beginning of 1940s, as some monographs on Huaer had been published and Huaer’s lyrics had been collected, Huaer had drawn the pursuers’attention. The pursuers had studied from the aspect of huaer’s history, music, literature and folk-custom. Experts had their own views. In 1990s, as the folklore study pay its emphasis on the folk-custom study, the study of Huaer has come into the climax. But until now, many problems still has not been solved. The studie on Huaer from the aspect of literature, music, linguistic, aesthetics, is only one part of the Huaer studies. If we studied it only in this way, we would not find Huaer’s strong suit. This paper was written from the aspect of anthropology and analysis of historical cultural background, on basis of the first-hand materials. The writer tried her best to go into Huaer’s live world to find Huaer’s transmitting, development and changes, then evaluated it again. The paper consists of 6 chapters. The whole contents were divided into there parts. The introduction is the learning review, consisting of Huaer’s collection and study history. The first and second chapter make of the second part which probes into various factors about Huaer’s shaping from the aspect of folk culture ecology. The three part consisting of the third chapter, the fourth chapter and fifth chapter, which is this paper’s emphasis, mainly discusses how Huaer goes round and develops in the social circumstance, how the singers molds the young singers generation and generation, and what common characters they had. The study emphasis still deals with the spot and the singer in Huaer’s performance, the performances’ceremonial and criterion. The sixth chapter deals with Huaer song, Huaer concert and the nonmaterial culture protection. On the basis of the upper studies, I have given my own view on Huaer song. Huaer is the inevitable production in the historical and natural circumstance of Hehuang areas. In the multi-culture, Huaer had come into being and formed the abundant folk culture which is the main parts of Hehuang’s folk culture. Huaer which is the embodiment of the mass idealistic sensibility, is the main amusement manners in the life.

【关键词 (中文/英文)】 花儿; 民众; 乡土社会 Huaer; mass; agrestic society

【发表年期】2008年07期 【网络出版投稿人】西北民族大学 【DOI】CNKI:CDMD:1.2008.013003