云南少数民族史诗歌谣中女性形象的认同研究

【作者】 曾静；

【导师】 王卫东；

【作者基本信息】 云南大学 ， 文艺学， 2012， 博士

【摘要】 云南少数民族史诗歌谣蕴含着大量珍贵的与妇女有关的信息,为我们开启了眺望其多样性存在的宝贵窗户。如果将女性的认同界定为女性同一性建构的话,那么女性形象的认同其实包含了两个方面：一是社会群体及其文化体系对于女性形象的指认,二是在社会文化意识形态影响下女性对自身形象的领悟和确认。事实上,这两个方面之间是相互影响和交互建构的。而云南少数民族史诗歌谣恰好为分析女性形象的集体认同与自我认同,提供了一个结构性的对比框架。由于史诗、古歌、叙事诗是云南各少数民族历史文化积淀下来的权威性口传经典,本文将其主要归为一种与女性个体自我相对的,他者的、集体的“前见”性表述,而将少数民族女性自我吟唱的歌谣归为女性自我认同的表述。尽管这二者之间相互影响、难分界限,但仍然各有主导、各有侧重。云南少数民族的创世史诗、创世古歌、叙事长诗等口传典范,汇集了关于女性身体形象、行为形态和角色气质等方面的社会群体的审美想象。女性身体形象可以被看作是在社会意识形态规范下形成的一套描述性和规范性的身体表意符号。而女性行为和角色气质的塑造,在很大程度上也表现出合乎男权文化规范的特征。从女性形象的身体、行为到角色气质的认同建构,其实是一个从生理性别认同到社会性别认同逐步统一的过程。在这个过程中可以看到,以男性为中心的社会意识形态对于建构女性形象认同的重要作用。同时,云南少数民族歌谣中还汇集了大量以女性为主体言说者、以女性经验为主要内容的女性自我认同表述。在情歌中,女性表现出对于尊严、爱情与荣誉的自我要求和尚情重义的价值认同;在婚嫁歌唱中,表现出对自身不可替代的社会生产价值的认识、在身份过渡中自我认同的危机感及其最终对于男权主流价值观的皈依。最后,在其他劳动歌、生活歌、儿歌等歌谣中,则突显对于生产技艺的信仰和婚后苦闷生活的抱怨,展示了自我生存价值的高低向度。妇女的自我吟唱呈现出女性自我认同在“理想类型”与“本真经验”之间相互作用,在一定程度上体现出女性的自我意识和主体性。创世史诗、叙事长诗中的女性形象与妇女自我吟唱中女性形象相比,二者之间既有叠合也有差异。其中,性别角色较容易在他者认同和女性自我认同之间取得一致性,而行为形态、身体形象的他者认同与女性自我认同之间则存在着较多的差异。史诗、叙事歌谣中那些典型的、理想化的女性形象往往采取“完型镜像”式的认同建构,具有某种性别类属的稳定性、秩序性和审美性。而在妇女吟唱的歌谣中,自我形象的塑造则更多地依赖于日常的片段式的抒情,具有个体化的随意性和非秩序性,在一定程度上丰富了类型化的女性镜像。女性主体性的形成,因而呈现为一个女性自我感知不断向完型镜像凝结同时又不断冲突的过程。“完型镜像”式的认同与“片段感发”式认同之间相互影响、交互构建,不断重塑着女性形象当下的自我认同。最后则探讨了云南少数民族史诗歌谣中女性形象认同的基础层面、自我认同的困境及解决途径,以及性别认同中所蕴含的民族文化审美特质。女性形象的他者认同与自我认同之间比较叠合一致的是女性作为“人”和“类”的生命经验,而“个体”的生命经验则更多地表现出多声部的色彩。女性性别认同中其实包含着人性、类性和个体自我性等三个层面,但三个层面实则交杂糅合、难分难解。基于此,也说明女性形象的自我认同不可能脱离民族审美文化的影响,自我性的建构中离不开他性的塑造。因而,以反抗为手段的自我认同,恰恰会落入以男权为中心的意识形态的认同关系结构之中；而突破的路径正在于辩证地接纳“自我的他性”,从民族审美文化中汲取性别认同的养分,寓性别认同于民族审美认同之中。云南少数民族史诗歌谣中关于性别的民族审美文化认同的元叙述,在很大程度上恰恰维护了云南少数民族女性形象自身的存在价值,是云南少数民族女性形象的自我认同能够被社会广泛认可的重要美学基质。更多还原

【Abstract】 Epics and ballads of the ethnic minorities in Yunnan contain a lot of precious information related to females, which open a valuable window for us to survey their varieties of existences. If we define the identification of female as the construction of females’identities, then the identification of female images actually includes two aspects:one is the female images’identifications recognized by the social groups and the cultural systems, and another one is the females’understanding and confirmation about themselves under the influence of social cultural ideology. In fact, the two aspects influence each other and interactively construct. Moreover, epics and ballads of the ethnic minorities in Yunnan provide a constructional framework to compare the collective-identification with self-identification of female images.As authoritative oral classics, the epics, ancient ballads and narrative poems are accumulated with a long history in Yunnan minorities, in this paper they are mainly classified as a kind of others’and collective "forward looking" expression which is opposite to the female individual, and the ballads song by minorities females themselves are classified as the expressions of the females’self-identification. Though the two aspects influence each other with ambiguous boundaries, they have their own dominant factors and emphases. The oral models including genesis epics, the ancient genesis ballads and narrative poems bring together the social groups’aesthetic imagination about the female body images, behavior forms and characters’ temperament and so on. The female body images are regarded as a set of descriptive and normative ideographic symbols restricted by the society ideology. The molding of the female behaviors and characters’temperament show their conforming to the cultural norms of male chauvinism. The process of the identity construction of female images from bodies and behaviors to characters’temperament is a gradually unified process of the identification from physiological gender to social gender. In this process, we can see the great influence on the construction of identification of female images by the male-centered social ideology. At the same time, the Yunnan minorities’ballads contain a great quantity of female self-identification expressions of which the major narrators are females and the main content is about female experience. In the love songs, females show strong identification of dignity, self-request for love and honor and ties of friendship; in the wedding songs, females show the cognition of their own irreplaceable value of social productivity, self-identification crisis in the identity transition and their final obedience to the male-dominated value. At last, in other labor songs, life songs and children’s songs, etc., the contents about the females mainly make their belief to production skills and complaints about anguish life after marriage prominent, and show the levels of self-value of survival. The females’singing shows the mutual influence between "ideal types" and "true experience" of their self-identification, and reflects a sense of self-awareness and subjectivity to a certain extent.The comparison of female images in the genesis epics and narrative poems with the ballads sung by the female themselves shows their similarities and diversities. Among them, gender roles are more prone to gain the consistency between the otherness identification and the female self-identification, and there are a lot of difference between the two kinds of self-identification of the behavior forms and the body images. The "complete mirroring" identity construction method, which has some kind of stability, orderliness and aesthetic quality, is applied into the typical and idealized female images in epics and narrative ballads, and the construction of self-images relies more on daily fragmented expressions of feelings, which possesses individualized arbitrariness and disorderliness, and which has enriched the typical female images to a certain extent. The female’s subjectivity forming is a process that self-perception gradually turns into complete mirror images and conflicts with the mirror images at the same time. The "complete mirroring" identification and the "fragmented feeling expressing" identification influence each other and continuously reconstruct the current self-identification of female images.The last part discusses the basic levels of the identification of female images, difficulties in self-identification and the solutions, and ethnic aesthetic qualities contained in gender identification in Yunnan ethnic minorities’epics and ballads. The otherness-identification and self-identification of female images have the similarity in the life experience of females as "human being" and "species", while the life experience of an "individual" shows more multi-part colors. The gender identification of females actually contains three levels including humanity, species quality and individual self, but the three levels are mixed together and inextricably involved. These also indicate that the self-identification of female images can not be divorced from the influence of ethnic aesthetic culture, and self-identity construction can not be divorced from the construction of otherness-identity. Thus, self-identification by the means of resistance will become the part of the identification positionality of the male-dominated cultural ideology, and the way to break the problem is to dialectically accept the "self-otherness", draw the nutrients of gender identification from the ethnic aesthetic culture, and to make the gender identification involved in the ethnic aesthetic identification. The original narrations of the ethnic aesthetic identification related to genders in Yunnan minorities’ epics and ballads to a large extent stick up for the self-existence value of Yunnan minority female images, and are the aesthetic base of the self-identification of the Yunnan ethnic minority female images which are capable to be widely accepted by our society.更多还原