中国当代汉族作家的“少数民族文学创作”研究

【作者】 张雪艳；

【导师】 李继凯； 陈学超；

【作者基本信息】 陕西师范大学 ， 文艺学， 2010， 博士

【摘要】 从实际情况来看,中国当代汉族作家创作了一批具有少数民族风情的文学作品,形成了一种值得关注和研究的文学现象。这种与少数民族生活、文化密切相关的文学创作,体现了当代中国汉族作家的某种文化自觉和跨族群、跨文化的文学特征。针对学术界较少涉及这一论域的研究现状,本文主要从“边缘写作”和“文化认同”的角度,选择三个边缘地区,即“华夏边缘”之西北边疆新疆、西南边疆西藏和东北边疆大兴安岭,同时择取进入某一少数族裔文化深处的汉族作家,深入考察这些“地缘”作家的边缘性写作的发生背景与创作动机,解析创作主体的文化认同过程与文化身份建构,解剖写作的自身的文化意义,探索民族文化嫁接后的作品表象形态,表现丰富多样的独特民族品格、风貌,揭示走进少数民族文化核心的可能和困境,彰显“美美与共”、“和而不同”的民族文化格局。当代汉族作家的少数民族文学观不仅体现在作家对于少数民族文化传统和文化优势的认同上,还体现于作家对民族生存、民族命运和民族文化的高度关注和深入思考。作家们力图通过对少数民族文化的重新发现、认识和理解,表现出了认同、整理和再创造的文化愿景,从而获得对中华民族传统文化的重新观照,并力图通过文学和文化跨地域、跨族群的交流碰撞,重建民族传统文化之自我认同和民族集体性认同,以回应于全球一体化文化格局中的霸权话语,从而获得中华民族在世界格局中的独立地位。当代汉族作家的“少数民族文学创作”研究突破了文学与地域文化研究中“循环互证”的研究现状,不仅在理论上探索了当代汉族作家对于少数民族文化的主体认同,还从个案角度分析了汉族作家的“少数民族文学创作”的民族性特质,凸现了当代汉族作家的双重族群体验和双重文化视野。显然,关于中国当代汉族作家的“少数民族文学创作”的深入研究,展现了中国当代文学包括少数民族文学研究的别一视域。具体章节如下：第一章：绪论：从当代文学现象出发,提出和论证“当代汉族作家的‘少数民族文学创作’”这一概念的来历及其合理性；阐明中国当代汉族作家的“少数民族文学创作”研究的性质定位；说明本论文的研究对象、研究现状、研究视角和研究内容,以“边缘写作”和“文化认同”为视角的研究方式开创了地域文学、文化研究的新境界。第二章：首先,阐明中国当代汉族作家的“少数民族文学创作”是跨地域、跨族群、跨文化、主体自觉的文学表意实践。其次,考察中国当代汉族作家“少数民族文学创作”这一文学现象发生的全球化、寻根文化以及边疆文化等多重背景,说明当代汉族作家的“少数民族文学创作”对民族文化和世界文化的积极建构和参与。再次,研究当代汉族作家的“少数民族文学创作”发生的动机和方式。最后,阐明描写边地生活体验的文学意义,强调边缘写作作为一种文化汇通行为、一种独特的异域文学体验,它也是历史的和审美的。第三章：研究当代汉族作家主体与文化认同的关系问题。首先,从文化认同的性质定义出发,探索当代汉族作家的“少数民族文学创作”与文化认同之间的密切关系,说明汉族作家对于少数民族文化的认同源自他们在少数民族地区的生活体验和文化体验,他们往往是在普遍人性、生命、生存这些最有哲学意味,也是最普遍和普通的角度审视和建构边疆少数民族独具特色的文化与生活。其次,探讨写作主体对于少数民族文化的认同过程,在此过程中经历了认同的惊奇与喜悦,也显示了认同难度与误区,并在认同过程中发现文化与主体之间的微妙关系的嬗变,领略了文化碰撞的艰难与升华。第四章：研究汉族作家的文化身份认同和少数民族文化立场。当代汉族作家在描写少数民族题材作品时,首先要打通内心的屏蔽,认识和理解少数民族历史文化和生活文化,并在与少数民族交往过程中转变角色进入书写的情境。汉族作家往往在不经意间将自身的异域文化体验和文化身份认同投影到作品中,《乌尔禾》和《冈底斯的诱惑》就是典型个案。其次,说明汉族作家的少数民族文化立场不仅仅表现在对少数民族文化优势的极力张扬上,还表现在对少数民族文化传统的认同和坚守。典型个案为迟子建的《额尔古纳河右岸》中作家对于渐逝的少数民族文化生态的惋惜之情及其背后的少数民族文化立场。第五章：主要研究汉族作家的差异自觉意识和少数民族文学观。边缘写作以文化地理性的边缘空间为出发点,是一种对差异的寻找。差异使“自我”区别于“他者”,汉族作家在文化对照中寻找主流文化中缺乏的原始、神秘、刚性、开放的心灵、理想的人性等,同时也体验并诗意建构少数民族地区独异的民族生活,民俗事象和宗教文化等。当代汉族作家的少数民族文学观不仅体现在作家对于少数民族文化传统和文化优势的认同上,还体现于作家对民族生存、民族命运和民族文化的高度关注和深入思考。第六章：主要从自然、生命、民俗、宗教等角度研究汉族作家笔下的少数民族文化生活,描述当代汉族作家笔下的民族文学世界。自然、生命、英雄是少数民族文化最突出的外在形态,而民俗宗教常常表现了民族文化的内在形态,汉族作家对这些领域的描写显示了一定的少数民族性。红柯对于自然、生命和英雄和原始之力的书写和颂扬展示了浓烈的新疆少数民族风情；马丽华、马原对民俗和宗教的理解和幻化为文展现了藏民族的风俗民情；红柯对于伊斯兰新疆伊斯兰文化和伊斯兰教的泛化理解表现为宗教观淡漠、生命意识强烈、人的神性等特点,这样的表述既体现了不愿为作家承认的被遮蔽的文化之间的隔膜,又体现了走进异族文化核心的艰难。第七章：研究当代汉族作家的少数民族文学美学风格。在中国美学史上,审美的功利性、世俗性、诗性问题的探索构成了中国美学的主流,而对于生命与个体的审美观却处在美学的边缘。当代汉族作家的“少数民族文学创作”,因其对于自由的张扬、生命意识的赞颂而体现出非功利、非理性的边缘之美。其主导审美类型是绝域大美和神性大美。结语：边缘写作行为是一种汇通边缘与中心的文学实践。边缘与中心的文学互动、互补、互识、互证使文学史出现了新特征,中国文学内部的有机整合建构了新的整体文学,从而更新了民族文化形态。汉族作家的少数民族文化认同为主体优化、国家与国家之间、民族与民族之间的异质文化认同和国情互识提供了可贵的文化交流经验。当代汉族作家带有边缘性质的“少数民族文学创作”与文化认同的范畴是话语性的,定位性的。在面对复杂的边疆文化和少数民族文化时,笔者尽量从文本角度加以比较、分析,并通过阅读大量的相关文献努力克服对于少数民族意识、民族生活的隔膜。更多还原

【Abstract】 The literatures written by contemporary Han nationality about ethnic minority groups are the main intercultural consciousness, literary expression practice. This paper takes "edge", and "cultural identity" perspective, choose three rim of Chinese "edge":northwest frontier border of Sinkiang, southwest frontier border of Tibet, the greater hinggan mountains northeast frontier, and pick up the writers who have walked deeply into the culture of ethnic minority, the writing background and creative motivation, analytical writing of cultural identity and cultural identity construction process, anatomy of cultural meanings of their writing, mixed culture after the grafting of representation forms, works under the difference of the unique national character, reveals the culture into the predicament and core, reveal the republicans and beautiful and different cultural pattern. Marginal writing tries to get understanding of traditional culture, and tries to witness to the regional literature, culture, history and traditional to reconstruct ethnic traditional culture and ethnic group identity, in response to the cultural pattern of "world", thus seek isolated position of ethnic traditional culture from national cultural. Specific section is as follows:Introduction:the status of minority ethnic literature of contemporary writer. The demarcation and clarification of cultural identity and marginal writing. The thesis writing methods and ideas.The first chapter:firstly introduced the Chinese culture under the background of globalization, and the Chinese contemporary literature under the background of the frontier. In the frontier minority literature works of cultural life, there is a special kind of writers, han ethnic minority literature writing-edge. There are many characteristics:marginal writing across cultures, ethnicity, main body consciousness. Secondly, expounds the mode and the roots of consciousness of marginal writing. Finally, expounds the significance of the literature describing area experience and significance of literary writing area are the cultural experience and a part of the process of dying, as a kind of cultural behavior, it is diachronic.Chapter 2:research the relationships between contemporary writer han from culture identification problem. Discuss the process of culture identification problem, in this process experienced surprised and pleased with difficulty, also appreciate the identity, and in the process of cultural identity and found the delicate relationship between the transmutation, reflection to the difficult and sublimate cultural collisions.Chapter 3:research what has the han writers identified on earth, what to do with literature construction. Marginal writing is a kind of searching of diffrences. Differences picked "self" from "others," but when they were seeking for the original, mysterious, rigidity, open minds,the ideal human nature, and so on, They also experienced the unique ethnic minority regions, folk custom and religious culture, etc. Looking and seeking maked "self" understanding "he", "self" to "we", the marginal writers also realized that walk into different cultures is not built in a day. Civilization is alive just because of the differences of culture.Chapter 4:locate Han Chinese writer’s identity. Secondly, to explore the minority cultural identity of Han writers. Again, according to <the right erguna river> by Chi Zijian, to study the contemporary writers’ regrets of the disappearing of the minority cultureChapter 5:description of the contemporary writers Han national literary world. The first is the contemporary writer han ethnic minority literature creation. Secondly, study the Han Chinese writers’ minority cultural life from nature, life and customs, the author mainly involves Gong Ke, Ma Yuan, Ma Lihua, Wang Meng. Finally, the author thinks that minority writers, frontier and edge is an inner life, and in foreign culture vision, frontier is one kind of rich experience. Poetic style aplenty is a writing strategy of han ethnic minority literature writers.Chapter 6:mainly discusses the writer han ethnic minority literature aesthetic style. Conclusion mainly talked about the han culture as a intruder, in xinjiang and the Tibetan local minority literature critics for their writing’s sentiments.Epilogue:literature writing and cultural identity of the categories is a discourse, positioning. But this does not affect the edge writing cultural identity, because all of cultural identity is the word, but they must turn to some essential interpretation, marginal writing is the cultural identity of the following words mechanism. As a han literature,to face the ethnic minorities culture, there has many puzzled and confusion. In the study, the author concretely as far as possible from the Angle of text to compare, analysis, through extensive reading of the minority literature overcome national life consciousness, the diaphragm.and... Han ethnic minority writers in the world, will inevitably involve the author for ethnic minorities culture consciousness, folk custom, the differences between two people of han, cannot do quite accurately, but the basic is based on literature text comparison and study and further explanation.更多还原