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《格萨尔》口头诗学

【作者】周爱明 【导师】降边嘉措

【作者基本信息】中国社会科学院研究生院，中国少数民族语言文学，2003年，博士


【摘要 (中文/英文)】 本文借用《格萨尔》学前辈和自己的田野作业资料，通过借鉴民俗学中的口承故事学和口头诗学理论，以《格萨尔》史诗说唱艺人——仲肯为基础，对其中的特别优秀者，能说唱十几部甚至几十部的“包仲”的一系列职业讲述进行了研究，重点阐释了这些已成为其身份标志的“认同表达”的民俗文化内涵。 本文包括绪论、正文四章和结论，将仲肯的学习过程和职业讲述作为活态的民俗生活形式进行考察，以描述藏族口传史诗《格萨尔》的口头诗学特质。 第一章，梳理了口承史诗《格萨尔》进入书面传统的历史和中外学者的田野工作史及相关研究状况、成果，提出藏族学者松巴·益西班觉(1704-1788)率先对这个口头传统进行有针对性的田野作业，并记录下与这个传统密切相关的一些民俗生活，他是使《格萨尔》口头传统第一次以一种较完整的型式和一定的规模进入书面传统之中的学术先锋。 第二章，讨论了《格萨尔》仲肯的成长过程以及社会历史与史诗说唱的关系。一个牧民成为仲肯，必然经历聆听与吸收、学讲和正式演唱三个阶段。第一阶段是一种自然行为，之后的两个阶段则是一种自觉行为，是热爱《格萨尔》的牧民的自我训练和提高；而这种学习、创编、说唱活动的循环持续，保证了新一代仲肯的悄然成长，也使得《格萨尔》在藏区特别是牧区，至今仍然为活生生的口头形态，而在其它地区则呈灭绝之势。 第三章，讨论了《格萨尔》仲肯中的包仲关于自身职业的一系列讲述，认为这些讲述既是他们的一种自我认同，表现为其心理上的期待，也是整个口头史诗传统中的普遍认同。 第四章，对《格萨尔》口头传统说唱、传承环境——即藏族民众民俗文化的生存环境的研究，解析了藏区的广袤、高寒、贫瘠和闭塞的这种存在所决定的意识，是种种模式化的古老思维，即神灵崇拜、灵肉分离、巫术与禁忌等。这种思维观念融入到藏民的民俗生活中，造就了他们那种古朴的诗性智慧。《格萨尔》仲肯将这种诗性智慧与其生活、职业完美契合，创编出关于他们自身的一系列认同表达，从而以这种方式显示出自己属于一个非同凡响的群体——黑发藏民的内部成员。这也是对共享《格萨尔》这个传统的藏族民众的群体认同意识，即民俗文化的一种充满诗性的表述。 结论，是对全文的简要概括和总结，并提出本文尚未解决和无法解决的问题，以利今后进一步开展《格萨尔》口承史诗诗学研究。

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

【发表年期】2004年03期 【网络出版投稿人】中国社会科学院研究生院 【DOI】CNKI:CDMD:1.2004.044238