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民俗学视阈下的鲁迅与传统文化研究
The Study of Lu Xun and Traditional Culture from the Viewpoint of Folklore
【作者】闫宁
【导师】郑春
【作者基本信息】山东大学，中国现当代文学，2010年，博士
【摘要】 鲁迅与传统文化一直是鲁迅研究的重点。综观这一课题的研究史,以20世纪90年代为分界线,这一课题的研究呈现出两种学术走向：20世纪90年代以前的研究主要集中在鲁迅与传统文化经典的关系上,探究他在思想、审美、学术几个方面对经典的批判和继承；90年代以后,鲁迅与传统文化的研究主要集中在鲁迅与传统主流文化的关系上,探讨鲁迅在知识源流和精神品格上与主流文化的本质联系。中国传统文化整体上分为两个部分：官方文化(上层文化)和民间文化(下层文化)。民间文化处于传统文化结构体系的下层,普遍存在于广大民众中,是中国传统文化的根基。无论是文化经典还是主流文化都属于传统文化中的上层文化,它们都隶属于传统文化并占据一定的比例,但不能够概括传统文化的全貌。何况对下层民众国民性和文化心理的关注是鲁迅一生文学创作和文化生涯的重点,因此以鲁迅和上层文化的研究成果来回答鲁迅与传统文化的课题,显然不够完整,有以偏概全之疑。20世纪90年代末,一些学者察觉到这种学术失衡,开始在鲁迅与传统文化这一课题研究上自觉地向民间文化偏移,主要成果有：1999年出版,陈方竞的专著《鲁迅与浙东文化》；2004年出版,由绍兴文理人文学院、浙江省鲁迅研究会编写的《越文化视野中的鲁迅》；2006年出版,由广东阳江市鲁迅研究会主编的《鲁迅与民俗文化》。这些研究成果都自觉地从民俗文化的角度研究鲁迅,在思想的深度和透视的广度都较前人有所拓展,但相对于鲁迅与民俗文化深广的文化空间,这种少数人的开垦显然是很不充分的。由此可见,以民俗视角来探索鲁迅与传统文化在学术界中并未形成统一的体系,相较于鲁学其他方面的丰厚研究,这方面的成果过于薄弱,过于青涩。这种不足是一种遗憾,更是一种机会,它为后来研究者提供一个在学术层面再次言说鲁迅的可能性。论文试图将民俗文化作为研究重点,以所掌握的民俗知识作为理论依据,来整体梳理鲁迅与传统文化的关系,望能为这一课题作一份小小的贡献。民俗文化学是民俗学与文化学两种主体学科交叉而产生的一种复合视角,是由宗教民俗学、历史民俗学、语言民俗学、艺术民俗学、心理民俗学、文化社会学、文化地理学、文化符号学、文化哲学等多种理论共同建立起的多维视阈广场。民俗文化学理论的引入,能够发挥比较文化学和知识分子心理学两种视角的优点又能弥补其弊端：既有批判国民性的现代启蒙精神又去其独断性,既有心理探寻的细腻坚实而又去其狭小性。以民俗文化学视阈观照鲁迅与传统文化这一课题的学术价值和意义在于：以民俗文化为主体透视点来整体梳理鲁迅与传统文化的关系,透过农村日常生活中的人情风俗、四时节庆、民间信仰与宗教以及民间艺术等方面的民俗文化,显现鲁迅笔下复合着历史、社会、心理多种元素的民族文化缩影；以民俗学为中心、多学科混合交叉的研究方法使民俗文化成为一个丰富的文化场域,富含多种视界,能够为研究鲁迅复杂的文化行为提供多学科的混合交叉视角,研究者便于在视角的自由调换中对鲁迅与传统文化的精神交接和碰撞,既能够宏观的整体把握又可集中的寻微探幽；研究过程中以动态的模式将鲁迅与民俗文化作为问题主体加以显现,写作的过程也是一个验证求解的过程：重新组合、排列前人已发掘的成果,同时将自己的发现和见解补充进去,在鲁迅流动的生命形态追溯中显现和考证两者的真实可靠性。论文共分为五章：第一章围绕“现代民俗学和鲁迅现代民俗观的发生”这一问题,在现代民俗学发生背景的追述中阐明现代民俗学发生的理论背景和文化要求。“国民性”和“新文学”是20世纪初中国知识分子建构“现代性”理论绕不开的核心,在知识分子对两者概念范畴的理解中,阐释它们在“现代性”理论中负载的重大历史意义,揭示中国现代民俗学产生的重要文化语境。从鲁迅的社会文化活动、文学思维特点和语言改革倡导入手,深入探讨东方古民俗观和西方民俗理论怎样和谐的融合于鲁迅的民俗理念中,阐释在以这些民俗资源为依据参与中国现代新文化建设的社会实践中,鲁迅如何在继承中拓展出独具个人特色的开放性民俗思想体系。第二章针对“鲁迅为什么对民俗发生文学和文化层面的兴趣”这一问题,依据幼儿心理学和民俗心理学两种理论,力图在对鲁迅故乡生活和留学生活的客观追溯中,展现故乡民俗对他的熏陶和其留学期间对民俗理论的亲近和自主消化。鲁迅对民俗文化的吸收接受过程也是他整理传统文化,将其系统化、理论化的过程。他在文学创作中关注民俗文化,创造性地运用民俗、改造民俗不仅是早期故乡民俗文化熏陶的结果,更是留学日本期间他为发展新文化,改造国民性寻找的一条现代化道路。第三章以“鲁迅怎样借助民俗文化意象实现对个人情感和文化思想的表述”为中心,选取鬼文化意象、宗谱文化意象和水文化意象三个侧重点,在具体观点和感性写作中揭示鲁迅对民俗文化符号的继承性和创新性运用,所带给其创作和思想的个人性、民族性和哲理性。鲁迅对民俗文化的历史和心理两个层面意蕴的开拓颇有深度,在以这些意象为透视点审视中国历史和文化的同时,打造出具有个人文化标示的意象体系。他能够在对民俗文化的审视中,将抽象的精神本质和具体的外在形象凝和起来,运用深广的想象和艺术的语言将民俗文化符号转化为文学意象呈现出来,形成自己独特的文化意象体系。第四章关注的问题是“鲁迅怎样将民俗和女性的关系运用到文化和文学创作中”,通过对鲁迅文学中与女性相关之民俗事象描写的梳理,阐释文化批判、女性形象和民俗文化三者在鲁迅文学创作和文化表述中的秘密贯通和彼此照应。从对“抢醮”民俗的描写和反思中看到,鲁迅通过对“性别转移”话语的运用实现了在观照女性命运的同时,观照自己所代表的一代知识分子和中华民族的命运,并将三者命运改变的支点落脚在经济权的争夺上。从身体理论出发,论述鲁迅从妇女缠足和服饰风俗中看到女性精神的禁锢和文化对她们身体的束缚是息息相通的,以管中窥豹之形式揭示妇女缠足和服饰风俗不仅是时代一景,更是妇女精神和社会文化的小型展览馆。从时间和空间两个纬度完成对《阿金》创造背景和创造环境的透视,在鲁迅乡土记忆和都市体验的对照中,在其前期创作文风和后期创作文风的对比中,将他一生民俗文化观的变迁以动态的方式标示出来。第五章将“鲁迅文学世界中是否存在理想”这一问题作为讨论的主体,在完成对鲁迅神话观理想内涵揭示的基础上,以《补天》和《理水》两个文本为例,分析鲁迅隐藏在女娲和大禹两个文化英雄形象中的积极民俗文化因子。女娲形象中不仅凝聚着新文化巨大的创造力和强韧的生命力,更深藏着鲁迅对理想婚姻和美好情爱生活的向往和诗意想象,解读女娲形象的过程也是解读鲁迅对民俗情爱图腾文化接收、改造的过程。大禹是鲁迅晚年为自己和整个知识分子阶层塑造出的理想人格化身,在大禹、乞丐和鲁迅的外形参照中,点出鲁迅与大禹神貌的高度相似性,同时在大禹和帮闲者、帮忙者、扯淡者三类知识分子的品性对比中将大禹伟大的精神品格凸现出来,照见鲁迅文学创作中尚存的理想光芒。论文最后以鲁迅的民俗思想为参照,考察当下社会对民俗文化研究的过热现象和汉文化安全问题,希望通过对20世纪初鲁迅一代文化人的文化观和文化态度的梳理,为身处文化大众化、产业化和世界化环境中的当代知识分子,提供一条有效途径来正确对待文化与经济、创新与继承、学术与利益的复杂关系。同时思考当下与未来的民族文化建设,启发知识分子在传统与现代、民族和世界的价值博弈中,建设有中国特色的社会主义文化体系。
【Abstract】 The relationship between Lu Xun and traditional culture is one the major areas of the study of Lu Xun. In a general view, the study demonstrates two academic tendencies demarcated by the 1990s:the previous study centered around Lu Xun and traditional cultural classics, exploring his critique and inheritance of the classics in terms of thoughts, aesthetics and academy; the subsequent study focuses on Lu Xun and traditional mainstream culture, probing into their fundamental connection in the sources of knowledge and spiritual character.The Chinese traditional culture in general consists of two parts:the authoritative culture and the folk culture. The latter serves as the foundation of Chinese traditional culture, lying in the lower level of traditional cultural system, popular among the masses. On the other hand, both cultural classics and mainstream culture belong to the traditional upper-class culture, which account for a considerable proportion of traditional culture, but fail to give a full view of it. Furthermore, Lu Xun's lifelong literary creation and cultural career placed an emphasis on the national character and cultural psychology of lower-class people. Therefore, it is apparently inadequate and partial to research the subject of Lu Xun and traditional culture only in regard of his relationship with upper-class culture. In the late 1990s, some scholars grew aware of the academic imbalance and started shifting the focus of "Lu Xun and traditional culture" study to folk culture. However, the exploration of Lu Xun and folk culture by a small minority still has a long way to go. Standing on their shoulders and learning their lessons, the author endeavors to do some pioneering research on the relationship between Lu Xun and traditional culture from the viewpoint of folklore study.The introduction of folklore study combines the double views of comparative cultural studies and intellectual psychology. Based on the investigation of previous researches, the thesis reveals that researchers may find it hard to learn about the complex subject of Lu Xun and traditional culture, due to their lack of knowledge of folklore studies. On this basis the academic value of the subject is expounded. The thesis contains five parts, which go as follows:The first chapter "the Emergence of Modern Chinese Folklore Study and Lu Xun's Folk Cultural View" explains the theoretical background and cultural conditions of the emergence of modern folklore study. Starting with Lu Xun's social cultural activities, literary thinking features and his advocacy of language reform, the chapter investigates how the Oriental ancient folk culture and Western folk theories found their harmonious combination in Lu Xun's literary work, how Lu Xun through inheritance developed an individualized open system of folk views, and how to apply these folk resources to the social practice of constructing modern Chinese new culture.The second chapter "the Connection between Lu Xun and folk culture" is directed at how folk culture drew Lu Xun's attention in terms of both literature and culture. According to the theories of infant psychology and folk psychology, it reveals how Lu Xun was influenced by folk culture in his hometown and accepted folk theory in his overseas study. Lu Xun's absorption and acceptance of folk culture was also a process of systematizing and theorizing traditional culture. His attention on folk culture and creative application of it in his literary writing reflected not only the influence of folk culture in his childhood hometown, but his search for a modern way to develop new culture and reform national character when he studied in Japan.The third chapter "Folk Cultural Signs
ecoding Lu Xun" centers around how Lu Xun expressed his individual feelings and cultural thoughts with the help of folk cultural images. The cultural images of ghost, genealogy and water are the key points of discussion, so as to explore his inheritance and creative application of folk cultural signs, which were marked by individuality, nationality and philosophy. Lu Xun's exploitation of folk culture on the levels of both history and psychology was profound, meantime constructing an individualized cultural image system. By his survey of folk culture, he combined the abstract spiritual nature with concrete images, transformed folk cultural signs into literary images with profound imagination and artistic language, and built his unique cultural image system. The fourth chapter "Lu Xun's Writing of Females from the Viewpoint of Folk Culture" focuses on how Lu Xun applied the connection between folk culture and females to cultural and literary creation. By sorting the folk phenomena related to females in Lu Xun's literary works, the chapter expounds on the combination and correspondence of cultural criticism, female images and folk culture. From the description and reflection of the folk culture of bride-kidnapping, Lu Xun thought about the destiny of females, his generation of intellectuals and the Chinese nation, the key of their change based on the fight for economic power. According to the theory of body, it discusses how Lu Xun saw the correlation between females' spiritual and physical bondage, reflected in the custom of foot-binding and fashions. By studying the background and environment of the writing of Ah-chin, the chapter displays the dynamic change of folk culture throughout Lu Xun's life from his rural memories to his urban experiences.The fifth chapter "Mythology:the Great Reconstruction of Folk Culture" discusses whether there is ideal in Lu Xun's literary world. Taking Mending the Heaven and Flood Control as examples, it analyzes the positive folk cultural factors hidden in two cultural heroic images. In the image of Nu Wa, the great creative power and tough life of new culture are combined, and Lu Xun's longing for ideal marriage and happy love and his poetic imagination of them are discovered. Decoding the image of Nu Wa is also the process of decoding folk cultural totem of love. The image of Da Yu was created by Lu Xun in later life for himself and for the whole intellectual class. By comparing the appearance of Da Yu, beggars, and Lu Xu, the high similarity of them is discovered. And by comparing the characters of Da Yu, snobs, flunkeys, and babblers, the noble spiritual character of Da Yu is highlighted, the remaining ideal shining in Lu Xun's literary works reflected.The conclusion part "Modern Revelation of Lu Xun and Folk Cultural Study" is directed at the overheating of present folk cultural research and the issue of Chinese cultural security, sorting intellectuals'cultural views and attitudes in the early 20th century and trying to provide effective approaches to the relationship between culture and economy, creation and inheritance, academy and interests.
【关键词】 鲁迅; 民俗文化; 传统文化; 民俗学; 意象
【Key words】 Lu Xun; folk culture; traditional culture; folklore study; images
【网络出版投稿人】山东大学 【网络出版投稿时间】2010-07-15 【网络出版年期】2010/09
【DOI】CNKI:CDMD:1.2010.101157 【分类号】I210 【下载频次】8 攻读期成果
