【作者】 覃琮；

【导师】 张佩国；

【作者基本信息】 上海大学 ， 社会学， 2011， 博士

【摘要】 信仰是人类的一种精神活动和意识形式,同时也是一种重要的社会现象和文化现象。民间信仰作为中国最重要的宗教传统,植根并融入于乡土社会之中,主导着大多数民众的思维方式、生产实践、社会关系和政治行为,并与上层建筑和象征体系的构造形成微妙的冲突和互补关系。针对这一现象,大量学者从文化与权力、国家与社会、精英与民间、乡土社会的整合和秩序、象征资本、社会记忆等角度对民间信仰加以解读,探讨了民间信仰与现代化的关系、信仰领域的国家与社会、民间信仰与乡土社会的互构等方面内容。其中,民间信仰与国家权力之间的动态关系成为学者们关注的焦点。但既往的研究都是在“国家/社会”二元对立的分析框架下进行,忽略了中国所独具的权威主义国家与“分裂”的行政体系的制度背景,将地方政府(基层政府)排除在权力关系的探讨之中,从而也就忽视了微观层面上信仰空间生成的经验性社会过程及其机制。也因此,在我看来,当代民间信仰之复兴和空间再造问题并没有获得一个清昕的认识。为了说明这一问题,本文以广西中南部的滨阳为个案,以当地的一项民俗活动舞炮龙作为研究对象,以“舞炮龙如何生成为地方标志性文化”作为研究的问题起点,从四个方面考察“民间信仰之复兴与空间再造”的详尽历程:舞炮龙在滨阳传统民间民俗文化中的地位;舞炮龙和炮龙节的“国家化”历程;炮龙文化的生产及其背后体现出来的文化—政治实践逻辑;“炮龙老庙”的重建与地方社会进行的的互构。通过这个过程的考察和分析,本文得出以下基本结论:滨阳人力推舞炮龙作为其对外展示的文化标识,是在“保护非物质文化遗产”和旅游空间语境下的一种地方意识的表达,是基于滨阳特殊的历史和现实从而达成的群体共识。炮龙文化的生产,是文化权力格局的象征符号,是不同目的的不同群体在同一个时空环境中对同一个文化想象的协商和建构的结果。重建老庙不仅使“地方性知识”获得复活与再造,也实现了与炮龙文化的连接,为炮龙文化生产划上了一个圆满的句号。由此,舞炮龙生成标志性文化过程,表现为一种“文化实践”的过程,既是“传统的再造”,也有“传统的发明”,是基于滨阳特定的“地景”下勾连其历史和现实的加工过的一套最后为官方和地方权势共同使用的具有独特地域性的文化,实际上是中华龙文化在滨阳的地方化叙事过程。这一信仰过程的再造,不仅与权力和社会秩序等问题相缠绕,是一种“权力关系的建构”,同时也是一次重建地方崇拜和重塑地方形象的努力。可以说,舞炮龙被形塑为地方标志性文化这一个案显示了当代中国社会文化语境下“民俗复兴”与“信仰空间再造”的完整过程。以小见大,我希望自己的研究能够为更好地理解“民间信仰之复兴和空间再造”这一普遍现象具有启发意义。从理论意义上讲,本研究所表明的国家、地方政府、地方精英、大众传媒和群众“共谋”合力塑造舞炮龙文化内涵,特别是重建炮龙老庙的故事提醒我们:民间信仰空间是一个充满谋略和手段、斗争与合作、可以被建构起来的空间,这一空间是民族国家、基层政府与民众相互之间较量、协商和妥协的动态“局势”的结果,它不是稳定和刚性的,而是变化和不断转型的。从实践意义上讲,滨阳的个案表明,尽管“保护民族传统文化”已成为当代的主流话语,但地方政府或者是至少部分官员在对待民间信仰恢复和重建的问题上仍然有意与民众保持距离,并不会一味迁就民众。更多还原

【Abstract】 Religion is a kind of mental activity and a form of consciousness of human being and also an important social and cultural phenomenon. As the most important religious tradition of China, popular religion has been integrated into and rooted in the local society and is leading the ways of thinking, productive practice, social relationship and political activities of most of the public, and it has also formed a conflict and complementary relationship with the structure of the superstructure and the symbolic system.In view of the above phenomenon, a large number of scholars have analyzed the popular religion in terms of culture and power, state and society, integration and order of elites and civil society, symbolic capital and social memory to research the relationship between the popular religion and the modernization, the state and the society in the field of religion, and the mutual construction of the popular religion and the local society. The focus of the scholars is the dynamic relationship between the popular religion and the state power. However, all researches in the past was carried out under the duality-opposition framework of State-society Relationship, which has neglected the institutional background that China is a state of authoritarianism and its“split”administrative system and has excluded the local government (grass-roots government) from the research on power relationship and thus ignoring the empirical social process and the mechanism, in which the religion space is generated in the microcosmic level. Therefore, in my mind, we have not had a clear understanding about the revival and the space reconstruction of contemporary popular religion.To explain the above issue, I will take BingYang County located in south central Guangxi as the case and the Firecracker Dragon Dance(Wu baolong,local language), a local traditional activity, as the research subject and how does the Firecracker Dragon Dance become a Local Representative Culture as the starting question of the research, and will study the detailed process of the revival and the space reconstruction of the popular religion from four aspects in this article: the status of the Firecracker Dragon Dance in the traditional culture of BingYang County; the process of nationalization of the Firecracker Dragon Dance; production of the Firecracker Dragon Culture and the Culture--politics pratical logic behind the production; the new relationship between the reconstruction of the Old Temples and BingYang sociaty. Through the above research and the analysis, the following basic conclusion has been made in this article: the fact that the people of BingYang County have tried their best to make the Firecracker Dragon Dance a cultural identity that they can display to the external is an expression of the local consciousness under the context of“protection of intangible cultural heritage”and tourism space and a community consensus achieved based on the special history and actuality of BingYang County. The Firecracker Dragon Culture production is a symbol of the culture and power structure and a result of the negotiation and construction of different groups of people to the same cultural phenomenon under the same space-time environment. The reconstruction of the Old Temples not only revives and rebuilds the local knowledge, but also realizes the linkage of the Firecracker Dragon Culture and puts an end to the Firecracker Dragon Culture production. Thereby, the process of the Firecracker Dragon Dance becoming a local representative culture represents a process of cultural practice, which includes reconstruction and invention of the tradition and is a processed unique local culture which is used by the government and the local power together and has combined the history and the actuality based on the specific landscape of BingYang County, and it is actually a process of localization and narration of the Chinese Dragon Culture in BingYang County. The reconstruction of the religion is not only a construction of power relationship which involves the power, social order and other problems, but also an effort to rebuild the local worship and local image.We can say that the case that the Firecracker Dragon Dance is shaped into a local representative culture has represented the complete process of“revival of popular religion”and“reconstruction of religion space”under the context of the contemporary Chinese social culture. From one small clue, one can see what is coming; and I hope my research can give some enlightenment for people to understand the common phenomenon of“revival and space reconstruction of popular religion”better. Theoretically, the fact that the state, local government, local elites, mass media and the general public have shaped the connotation of the Firecracker Dragon Culture together, especially the reconstruction of the Firecracker Dragon Old Temple, shown by the research in this article tell us that the popular religion space is a space which is full of strategies and struggles and can be constructed, and this space is a result of the dynamic situation of the competitions, negotiations and compromises among the state, local government and the public, which is not stable or rigid but constantly changeable. In practice, the case of BingYang Country shows that although“protection of traditional culture”has become a contemporary mainstream discourse, instead of making endless concessions, the local government or at least some officials still keep a distance from the public on purpose in the revival and reconstruction of the popular religion.更多还原