In last 20 years, the literary anthropological research has gotten common concern of Chinese literature and anthropology circles. Now, according to the definition of culture and the methodology of studying the overall culture in anthropology, the study of literary texts could be undertook in the view of the whole experience of all human being. Meanwhile, with the influence of the experimental ethnography trend in European and American anthropology, to some extent, Chinese anthropological study is beginning to concern the trend, which "change the direction to literature": that is, under the influence of post-structuralism, the ethnography is viewed as fictitious texts, thus some poetic and political issues in cultural expressions get reflected. The cross of the literature and the anthropology creates some issues of interdisciplinary research, which includes three perspectives: First, the interpretation to the ancient literary works with view of anthropology; secondly, the study of the oral traditions; last, the study of the relation between literary representation and nation-state. There are some differences in these perspectives, but they all have the same view and frame that is to recognize the local culture by anthropological fieldwork, and try to restore the diversity of local knowledge and reconstruct the knowledge of Chinese literature/culture and human literature/culture. In such context, this dissertation chooses the culture of Liu Sanjie as the object, which is a legendary image connecting Guangxi province and Guangdong province, and influencing 400-year cultural writings and movements. The legend of "Liu Sanjie"(named "Liu Sanmei " originally) is a famous folklore in the south of China. It was written in the local chronicles and literary sketches in Ming Dynasty and Qing Dynasty. And it was recollected during the May 4th Movement. In the fifties to sixties in 20 century, Cai Diao opera Liu Sanjie made the performing movement sweeping Guangxi, and the movie Liu Sanjie made this gifted singer of Zhuang people popular in the whole China and even the South-East Asia. Since Reform and opening, "Liu Sanjie", as the most typical symbol, has been popular in many fields of Guangxi, which shows that Liu Sanjie culture is an important and infrequent phenomenon lasting for more than 400 years and influencing Chinese cultural movement since one century ago. In the view of cultural geography, "Liu Sanjie" is a folklore image scattered in the south of China, having important relation with the culture of the "Bai Yue" (百越) ethnic groups in the ancient time, the "Two Yue" (两粤) and "Lingnan" (岭南) in the modern times, and the Guangxi Province and the Zhuang people in contemporary time. In the development of the culture of ethnic groups and folklore, "Liu Sanjie" had been a part of the texts about the savage custom written by the scholars in the "Central Plain" region, had experienced the modern folklore movement in the Republic of China, had undergone the socialist cultural transformation by the name of the popular culture after 1949, and had undergone the tourist industry and the popular culture in the late period of 20 century. In the beginning of 21 century, "Liu Sanjie" has joined the developing international cultural movement, and was written in the list of intangible cultural heritage. Maybe it can be said that during the fluctuation of national culture and folk culture, "Liu Sanjie" has always been the sign of the relation between the "Central Plain" region and the borderland, between the Han people and the minority. The culture of Liu Sanjie relates to too great region, but this dissertation is not to describe every prospect, however, only view it as a cultural representation and analyze the chosen key events in every historical period. As a represented sign, "Liu Sanjie" ought not to be regarded as the direct representation of folk culture, because we still need see how the folk culture is restricted by the standard system and the power, see what context is the representation in and what reality is on the back of textual representation? Through scanning the history of the people in "Central Plain" region knowing those in "Lingnan" region, and the process of politics, geography and nation, I research, as a representative of the culture of ethnic groups in the south of China, how "Liu Sanjie" presents concretely. The first chapter of the dissertation describes the history of Lingnan area and the Bai Yue ethnic groups, and the tradition that scholars in Central Plain region imagining "Lingnan", "Two Yue" and "Bai Yue". The second chapter discusses how scholars survey "Liu Sanjie" from the respect of folksong and folklore in the background of Western new paradigm. From the third to the sixth chapter, I mainly research how "Liu Sanjie" has been the representation of the Zhuang people and Guangxi province since the middle of 20 century. And taking the construction of folk culture in 21 century as example, this part also explains how the cultural movement of Liu Sanjie has effected the narration of Liu Sanjie in folklore since 1950s,. Through these researches, I find that "Liu Sanjie" has become the representation of Guangxi province deflating from that of Lingnan region. As a cultural sign, "Liu Sanjie" is the consequence of interpreting Lingnan folk culture into Chinese culture. From the very beginning, "she" presented the culture of savage region governed by Central Empire. From the middle of 20 century, Guangdong province has got rid of the savage color gradually and become the developed area in China. Thus, "Liu Sanjie" presenting the other ethnic singing custom, does not fit to be the very presentation of Guangdong. On the contrary, Guangxi needs a symbolic sign containing the feature of the Zhuang people. So the representation of savage folk custom of Lingnan in past became that of the minority culture of Guangxi province. That is how "Liu Sanjie" "drew back to" be represented Guangxi culture from Lingnan culture. In the process of the representation, "Liu Sanjie" symbolizes the other's culture in Lingnan region, and it is also the tradition narrated and represented by Chinese, which distinguishes it from the other culture that only spread within the minorities, so it is earlier and sooner absorbed and appreciated by the Chinese culture. All kinds of culture of Liu Sanjie, are the varieties of cross ethnic communication, showing how different writers use "Liu Sanjie" to differentiate Central Plain region and Lingnan region, the Han people and the Zhuang people, even showing how the people in different area in Guangxi shoot for resources by striving for cultural representation. And the history of this sign reflects the changing history of geography and ethnic groups. Therefore, the significance of this research is to reflect the paradigm of national culture studies. On the surface, the study of Liu Sanjie is a case of minority cultural study, in fact, it does not follow the traditional way to research national culture, but announces the ostensible minority culture is actually the result of Lingnan and minority being recognized and accepted by Central Plain and Han people in 400 years, and also reflects the changing history of former's territory and culture. By studying the case, I hope to provide a new view that scan the "shaping" process of national culture and literature from the point of literary anthropology.
【关键词 (中文/英文)】 刘三姐; 广西; 壮族; 岭南; 表征 Liu Sanjie; Guangxi; the Zhuang people; Lingnan; representation
