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端午节研究：传统、国家与文化表述
Study on the Dragon Boat Festival: Tradition, Nation and Cultural Representation

【作者】宋颖 【导师】邢莉
【作者基本信息】中央民族大学，民俗学，2007年，博士


【摘要 (中文/英文)】 中国的端午节是驱疫避恶的节日，相关研究有久远的学术流脉。本文采用文献法和实地调查、个案分析法，从民俗学视角对端午节进行专题研究。文中参考和借鉴了前人的研究成果，但与以往受图腾主义、功能主义、结构主义等理论影响的研究不同之处在于，本文立足于象征符号论、民俗主义等理论，从传统与现代、传承与变迁、民间与官方等颇具张力的关系中探讨端午节的源流和发展，分析端午节这一符号系统的文化建构过程及其特点。 传统的节日，因其历史悠久、分布广泛、形态万千而格外繁杂多端。本文前三章分别从时间、空间、族群的角度来研究端午事象，努力提供特定的文化时空中较完整的节日形态。在分析过程中使用了“核心元素”和“变动元素”的概念，指出核心元素的功能在于传承节日的历史记忆，使得端午节在流传过程中，保持着其基本的文化意义和节日内涵；而变动元素的功能在于维系群体的文化认同，加强特定地方的人群在小范围上的向心力和凝聚力，构建起群体内部共享的文化符号，维持着一方社区的稳定发展。 第一章依时间顺序进行历史陈述，勾勒比较清晰的节日历时演变形态，传说的变化和元素的增减过程，以及端午成为官方节...更多日的定型过程。第二章主要利用地方志的民俗资料，研究端午习俗共时变化的多样性和变异性，试图从地理条件的差异上，对节日活动内容进行基本分类。第三章从族群的角度，展现了中国少数民族的五月节日活动及文化认同心理。一些少数民族受到汉族文化和生活方式的影响也过端午节；还有一些吸收了端午部分元素，与本民族的文化相融合，表现出一定程度上的文化“涵化”；另有一些，虽然五月也有重大的节日，但却有自身的文化特色，内涵并不是端午节，存在着文化“误读”。 在对节日本体的分析基础上，后两章主要关照现代国家的意识形态、大众传媒和学术研究对端午节的文化表述。第四章讨论了中国从民族意识觉醒到逐渐步入现代社会，民族国家的意识形态不可避免地会对传统节日有所冲击和影响。近百年的发展给端午节增添了更为独特的政治色彩，与其它传统节日有着显著的区别。特别是在联合国教科文组织颁布《保护非物质文化遗产公约》以来，受国际趋势和国家权力的影响，中国国内的文化政策、对待民俗文化的态度、以及对民俗文化的表述和展示方式也有所转变和调整。 第五章主要通过我的三地田野调查，对有代表性的端午风俗进行个案分析，来探讨端午节的当前形态和可能的发展方向。2006年公布的国家级非物质文化遗产名录中，“屈原故里”秭归端午习俗、“屈原自沉处”汨罗江畔端午习俗、西塞神舟会以及纪念伍子胥的苏州端午习俗等并列成为中国人端午习俗的重要“代表作”。端午节在商业化社会中发生着剧烈地变化，在传统民间活动基础上，秭归、汨罗兴起了政府组织和参与的文人诗会或龙舟竞赛；西塞神舟会的仪式与表现也在政府关注中悄然地变化着。承载信仰的民俗不得不突破当地共享的圈子，走向了国家甚至国际的舞台，因此当地人和各级政府都在文化表述和展示上面临着新的机遇和新的问题。这前所未有的契机也给民俗研究者带来了新的课题和新的挑战。 结语归纳了本论文的主要内容和主要观点。端午节，经历了从传统到现代的发展过程，在民间话动所体现出的宗教性观念和信仰的基础上，还体现出了颇具特色的政治性，以及由此衍生出的公共性。无论是古代文献记载，还是近现代的田野调查报告，或是当代政府宣传性质的材料，都将端午节置于动态的文化建构的过程中，它并不仅仅是一种强大的民间传统和文化现实。学术的反思和自省，促使本论文对端午节的研究从早期的事象辑录、起源追溯、功能认定、结构分析等逐渐走向了纳入国家权力、大众传媒、文化表述等概念的文化研究。

    Study on the Dragon Boat Festival: Tradition, Nation and Cultural Representation The Dragon Boat Festival, which is a popular and traditional festival celebrated on the 5th of the 5th lunar month by the Hans and other 26 of 56 ethnic groups in China. Differ from former studies, the emphasis of this dissertation is to explore the history and development of folklore in the festival, to analyze it as a symbolized system with the concept of folklorism, instead of the theories and methods of totemism, evolutionism and British structural-funcationism. This dissertation includes an introduction, five chapters and a conclusion.The introduction retrospects history of the festival studies and expounds paradigms of this research, which is on the view of social constructionism, symbolic anthropology and public folklore. The first chapter describes elements forming the Dragon Boat Festival by time orders. Many historical literatures show that folktales, rituals and lots of activities, which be held in daily life, were not appeared together or keep no change. On the contrary, they were continually invented by people in every dynasty. In order to demonstrate functions of cultural items, the dissertation introduces two concepts:Core Factor and Dynamic Factor.Long history and different spaces make folklore elements in the festival appear to be a thing of shreds and patches. However, core factors preserve memory of its cultural meaning, which drive away pestilence and disease and keep people safe and health. On the other side, dynamic factors creat symbols to share among local groups, to construct cultural identity to shape centripetal force and organize them to be a whole. Besides diachronic study, the second chapter focus on synchonic diversity and variability of the festival by chorographic archives since the Qing dynasty and intends to classfy folk activities into two main types by geographic situation, that is having water area or not. The third chapter illustrates different ethnic groups in China which have festivals hold in the 5th lunar month. Some are same to the Dragon Boat Festival, whose festivals are influenced by the Han, and others absorb many elements and are similar to it, which are kinds of aculturation.Still others keep their own cultural meanings and characters, which are regarded as the Dragon Boat Festival by cultural misunderstanding. On the base of these three chapters, the later part turns to significant impact of ideology of nations, mass media and academic practice that represent traditional elements in modern styles.In fact, the modernization in recent one hundred years put political feature into the Dragon Boat Festival and makes it some special that can be distinguished from Chinese traditional festivals.Thus, the fourth chapter points out that governmental attitude,cultural policy and representation of folklore has been adjusted in China to adapt new terms of international organizations especially after the Convention for the Safeguarding of the Intangible Cultural Heritage of UNESCO on October 17,2003. The fifth chapter gives three case studies of my fieldwork in Zigui,Miluo River and Xisai to present modern status of the festival. In 2006, UNESCO ratified a "Convention for the Preservation of Intangible Cultural Heritage" aimed precisely at maintaining cultural diversity against the homogenizing forces of globalization. Four types of the Dragon Boat Festival in Zigui,Miluo River, Xisai and Suzhou are included in the First Masterpieces of Chinese National Intangible Cultural Heritage on May 20,2006. However, intangible cultural heritage policies are also a source of new problems and new politics. Although they are a powerful means of developing a sense of belonging and of revitalizing communities, they can also contribute to destabilizing them if not managed properly with the active participation of the local populations involved. Actually, new rituals are invented for commercial advantage in these places,such as poet gathering in Zigui and dragon boat race in Miluo River,even the traditional ritual in Xisai is changing quietly and inconspicuously.In this situation, folklore break local shared groups to national and international arena.Not only local groups and institutions but also folklorists meet new problems and challenges of cultural representation in contemporary society. In the conclusion, the dissertation claims that the Dragon Boat Festival is an invention of tradition, so folklore and folklorism in it can not be separated from each other. Its folk character has been preserved and passed from generation to generation, meanwhile, its public character has been noticed and prominent particularly in the modernizing nation, China. Therefore, it is not only a cultural given, but also a cultural construct. The Dragon Boat Festival become a life style in publica.Academic reflectivity in folklorist promotes my study towards to new perspectives such as power, media and cultural representation to analyze cultural construct and practice in the festival.

【关键词 (中文/英文)】 端午; 传统; 民族; 表述; 非物质文化遗产 Dragon Boat Festival; Tradition; Nation; Cultural Representation; Intangible Cultural Heritage

【发表年期】2007年02期 【网络出版投稿人】中央民族大学 【DOI】CNKI:CDMD:1.2007.071488