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民歌传唱与文化书写

Folksong and Culture Writing

【作者】梁昭 【导师】徐新建

【作者基本信息】四川大学，文学人类学，2007年，博士


【摘要 (中文/英文)】 近二十年来，文学人类学的研究受到国内文学与人类学界的共同关注。在文学研究领域，人类学对“文化”的定义和对“人类文化”的整体研究方法，使对文学作品的研究，得以在“人类整体经验”的视野中进行。同时，中国人类学研究受到欧美人类学学界“实验民族志”潮流的影响，也开始关注人类学在某种程度上的“文学转向”：即在后结构主义思潮的影响下，把民族志书写视为经由文学修辞而塑造的“虚构”文本，进而反思文化表述中的诗学和政治问题。 由文学和人类学学科的交叉，激活了一些跨学科的研究议题，开拓了新的论述空间。主要体现在三方面：其一是对古代文学典籍的“文化破译”；其二是对“口头传统”的研究；其三是对文学表述与族群和民族国家关系的论述。这三方面的具体研究不同，但也有共通的视角和论域，即借助人类学的田野调查方法获得对地方文化的认知，试图：1、达到对多元的、具有差异性的地方性知识的“还原”，2、通过对地方性知识的“还原”，重新勾勒“中国文学/文化”乃至“人类文学/文化”的知识谱系。 在这样的学科背景下，本文选择“刘三姐文化”作为论说对象，尝试以这个勾连起(主要是)两广(广西、广东)的民间歌唱文化、牵连着400多年来的文化书写、文化运动的传说形象为例，讨论一种“地方性文化”如何被民间、文人、学界、官方的不同话语呈现，以及这些不同的呈现体现了人们如何想像“异地/当地文化”和“中国文化”。 “刘三姐”(最初称为“刘三妹”)传说是流传在中国南部的著名民间传说。最初见于明清之际的地方志和文人笔记；在“五四”时期歌谣学大潮中被再次从民间收集。20世纪50—60年代，彩调剧《刘三姐》造成了席卷整个广西的“刘三姐会演”运动，电影《刘三姐》进一步使“壮族歌仙”风靡全中国甚至东南亚。改革开放以来，“刘三姐”作为最具地方象征的文化符号，出现在广西诸多领域的生活中：直到今天仍在广西长盛不衰。这表明，“刘三姐文化”如果不是唯一的、也是少见的一个延续400余年、贯穿一个世纪中国民间文化运动的重要现象。就国家空间、族群地理方面而言，“刘三姐”是分布于中国南部、联系着古代“百越”、近代“两粤”/岭南的当代的“广西”、“壮族”的民间事象。就族群文化、民间文化的境遇而言，“刘三姐”经历了明清时期中原士人对蛮地民风的书写，经历了民国时期的现代民俗学运动，还经历了1949年以后以民众文化的名义来改造的社会主义文化运动、以及20世纪后期以来伴随着中国的现代化进程而涌现的旅游文化、大众文化等等；以至到了21世纪，“刘三姐”又加入了新兴的国际性的文化运动——进入中国非物质文化遗产的名录。——可以说，在数百年来民族文化和民间文化沉浮的浪潮中，“刘三姐”始终是纠缠于中原与边地、汉族和南方民族关系，纠缠于国家、文人、民众行为的文化符号。 “刘三姐文化”涉及的范围虽然既广且杂，但本文不作面面俱到的描述，而是将其视为一种“文化表征”，在总体梳理的基础上选取各个历史阶段中的关键事件来加以分析。在“文化表征”的层面，“刘三姐”不当视为一种民族民间文化的直接呈现。因为在试图从“刘三姐”进入某种民族民间文化之前，要审视的是这种被提取的“民族”和“民间”经过了怎样的规范体系和权力阶序的制约?在“刘三姐”被表述的背后，是什么样的现实情境在主导其话语的展开?文化表征背后的“本相”为何? 围绕着上述问题，本文从中原对岭南的认识历史和近现代南方政治地理以及民族的变迁过程，去查看作为南方民族文化代表的“刘三姐”是如何在历史的动态结构中呈现的。本文第一章交待岭南和百越族群的历史，以及在中原汉语书写中，“刘三姐”关联着中原文化的文人对“岭南”“两粤”和“百越”怎样的想象传统。第二章结合民国时期歌谣学和民俗学运动的背景，讨论在新的西学范式下，学人从“民间歌谣”和“民间传说”的角度对“刘三妹”加以把握，并在新涌现的地理区分和种族区分的背景下重新审视这个传说人物的属性。第三章至第六章主要研究了20世纪中期以来，“刘三姐”如何配合着广西壮族形象塑造和地方文化建设，成为壮族和广西的文化表征；并以发生在21世纪的民间文化建设个案为例，说明白20世纪50年代以来的“刘三姐文化运动”如何反馈和影响了民间的“刘三姐叙述”。 通过笔者的梳理发现，“刘三姐”作为中原与岭南族群交往历史中被发现和持续塑造的一个少数族群文化符号，在几百年来的呈现中，经历了从岭南的表征，收缩到广西表征的过程。“刘三姐”作为一种文化表征，是岭南民间文化被翻译、被纳入汉语世界的产物。自一开始被发现，“她”就是中原帝国辖内“蛮荒之地”的代表。自20世纪中期，广东逐渐成功地将自身的文化“去蛮夷化”，成为国内的汉族地区和经济发达之地以后，代表着岭南异族歌俗文化的“刘三姐”，则不再适宜作为广东文化的表征。相反，广西作为壮族自治区亟需树立具有壮族特性的文化表征，昔日中原人心目中“蛮荒”的岭南风俗表征就顺理成章嫁接到今日广西少数民族文化之上。这就是“刘三姐”从岭南文化表征“收缩”为广西文化表征背后的现实情境。 在“刘三姐”被表述的历史过程中，这个形象既象征着岭南异族的文化，又是被汉语所叙述和表征的传统。这使其区别于其他基本流传在少数民族内部的文化，因此更快、更早地被汉语文化吸收、被汉人欣赏。种种“刘三姐文化”，均是由这种跨越族际、加入汉语文化的逻辑而衍生出来的变体：显示了不同的表述者利用“刘三姐”来区分中原和岭南、汉族和壮族，乃至在广西内部以争夺文化表征来进行社会发展资源争夺。这个符号的历史演变，就是岭南地理和族群变动的历史折射。 为此，本研究的意义在于通过一个个案的研究，反思当下民族文化研究的范式。“刘三姐研究”表面上看是一个少数民族文化研究的个案，但并没有跟随既有的以本质主义思维来研究民族文化的方式——借用少数民族的历史证据和文化证据，去考证“刘三姐”的“真身”为何，或搜集其蛛丝马迹汇集成“刘三姐”大观；而是通过梳理“刘三姐表征”的关键性文本的形成，希望揭示这种表面上的“少数民族文化”，实际上是岭南/少数民族在四百余年来被中原/汉族文化不断识别和接纳的产物，也是前者内部的地理和文化不断变迁的反映。进一步地，笔者还希望藉由该案例的研究，提供从文学人类学的角度——由中国历史上族群互动和文化交往的动态视野，来考察和论述民族文化和民族文学“生成”的一种新视角。


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

【发表年期】2008年05期 【网络出版投稿人】四川大学 【DOI】CNKI:CDMD:1.2008.017277