【作者】 黎亮；

【导师】 陈勤建；

【作者基本信息】 华东师范大学 ， 文艺民俗学， 2013， 博士

【摘要】 民间童话作为人类经验的幻想性表达,具有稳定的结构模式和意义关怀,即通过获得宝物、难题考验、死亡复活等情节隐喻人的独立成长与自由幸福。童话的核心问题始终是“幸福地生活、合理地做人”。正因为童话中潜藏着人类的自由意志和创造精神,无论中西,民间童话最早的收集者和记录者都纷纷将民族的自觉寄托于民族的童话中,并将童话所包含的人类经验转化为对现代民族和现代个体的探索中来,童话遂成为追求人的自由解放的现代性经验的一部分。20世纪20、30年代北新书局林兰编八本民间童话集由赵景深担任主编,以周作人等人的激进童话观念为指导,不仅抓住了童话万物有灵的幻想特质以及原始思维的未驯化特性,而且从民间发展出面向儿童的前瞻视野,将个性解放的现代性话语落到了实处——即通过供给儿童地道的民间童话,以文学启蒙促成现代个体的诞生。遗憾的是,童话与民族的个性以及个体的自由与完备之关系已不再被提及,造成了国内童话乃至幻想文学的衰颓。本研究通过梳理林兰和她所属时代的童话理论、出版状况以及对中国民间童话文本重新进行文化阐释,以期发掘并重申中国童话所具有的文化意义和文化价值。对林兰编民间童话的文化阐释首先建立在普罗普结构形态分析方法的基础上,并运用跨文化的文本比较和跨种类的民俗事象比较等方法对其所属文化心理进行阐释,意在探讨中国农耕文化面向现代性的经验与问题(即探讨民间童话如何讲述并回应“人的自由与完备”这一现代性的核心话语)。不存在脱离文化传统的现代进程。现代性经验也需要面对不同的历史和文化处境。林兰童话恰恰提供了解读中国文化与现代性问题的资源：一方面,它整体上呈现出稳定的结构形态,与普罗普总结的童话结构大体合式,并与原始成人仪式的结构模式和心理体验具有结构性对应。童话和仪式互相阐释,共同述说着“成为人”所需要经历的内心戏剧和神奇体验,以此提供了与现代性对话的结构框架。另一方面,林兰童话结构也存在着一些有意味的偏离,足以构成具有本土特色的童话类型。因此,在对林兰154篇童话进行情节结构分析、跨文化的文本比较的基础上,参以本土文化心理研究,本文将其分为“得宝型”、“失宝型”、“考验型”、“离去型”和“滑稽型”五个类型,它们或单独或复合地组成了林兰童话的具体篇章。结构类型的构拟,使研究获得了一个与从游牧走向现代的西方童话所不同的文化标本,它表明中国农耕文化的经验与幻想如何被写入讲述“成为一个人”的童话中。“得宝型”对应着成人仪式中赠与宝物的环节。围绕着宝物,童话塑造了文化所嘉许的人类形象：格林童话与俄罗斯童话推崇勇武和狡黠；林兰童话则宣扬善良和同情。但差异并非是泾渭分明的,善良和同情也充满力量,甚至是赠与发生的最初推动力。值得注意的是,无论中西,童话都偏爱神奇之物。通过传递宝物,童话呈现了人类传承德行与力量并使之神圣化的方式。“失宝型”童话都以宝物的失去为结局,打破了由阅读西方童话而形成的经典印象,其意义不仅是体现了林兰童话的独特性,更重要的是独特性背后所隐藏的现代性问题。既然童话和仪式中的宝物标志并定义了人,宝物的失去便隐喻着对自我身份标识的遗忘和对神圣空间的错失,故事里不识宝而失去宝的农民和商人被困于世俗空间,无法获得神圣之物,最终丧失了安排世俗事务的能力。林兰“考验型”童话与原始成人仪式最为契合,也与格林童话、俄罗斯童话在结构上最为相似。中西童话都讲述了主人公通过完成具有死亡威胁的难题而获得幸福婚姻的故事,跨文化的文本与跨文化的民俗资料互相关联,以互补的经验再现了童话和仪式对神圣空间的营造。尤为重要的是,林兰“考验型”童话体现了成人问题中的性别话语。大体而言,林兰童话更关注男性的成人：即通过将成人与成婚融合起来,不仅表达了成人过程中从母亲的世界到父亲的世界的转变,也通过以妻子为代表的神奇助手隐喻了从父亲的世界向新的女性世界的融合。但是,林兰童话表明,向新的女性世界的融合,仍然存在一些问题。比如,龙女童话与百鸟衣童话复合的故事,虽然拥有极其活跃的女性形象,实际上却讲述了男性对女性的狂想,以及建立在对女性权力掠夺基础上的封建皇权机制。因此,讲述姐妹纠葛和三姐变形复活的蛇郎童话便显得宝贵,从民俗材料和心理分析来看,故事的深层呈现了从少女到妻子的女性身份转换与角色认同的过程。“离去型”童话中离去的妻子形象表现出女性从仙到兽的身份沉落,积淀着由从妻居到从夫居的婚俗转型过程中女性的反抗心态；“仙妻娶回来,兽妻逼出去”的婚姻悲剧,叙写了儒家“人兽分开”思想对无意识的拒斥,及其所造成的创造力的毁灭和主体的不完备。对于现代性个体而言,不可或缺的是批判性。没有什么比在笑声中爆发的批判力更强大。对林兰“滑稽型”童话的解析,不仅探讨故事中的社会批判内容,也分析滑稽引起笑的文艺机制,即令愚蠢的行为和贪婪悖理的愿望遭受身体上的失败。此外,通过以独特的方式描写怪诞身体形象和怪诞身体事件,即将嘲笑系于怪诞身体和由此引发的欢笑之上,林兰滑稽童话有效地将滑稽(嘲笑)与狂欢(欢笑)、批判与创造结合起来,为现代儿童教育提供了优质的民族文学资源。总之,林兰童话研究致力于对方法论和价值观的追求,即通过整合结构形态分析、跨文化比较和心理分析等方法研究童话,不仅探讨中国由农耕走向现代的文化资源,也力图读出文化中的人与人的处境,然后满怀希望地期待自由独立、具有批判力和创造力的人更多地生成,其文化更为繁荣。更多还原

【Abstract】 As the fantasy expression of human experience, folk fairytales have stable structure and meaning care which is about independent growth and freedom of happiness. Namely, those plots such as getting treasures, passing ordeals and rising from the dead show the core issue of fairytale, that is "living a happy life and to be a rational person". Because of the free will and creation spirit in folk stories, those original collectors and recorders tended to find a way to national consciousness and to discuss the spirits of modern nation and individuals in human experience from the national fairytales. And this make folk tale has become a part of modern experience which pursue freedom and liberation of human. From1920s to1930s eight collections of Chinese folk fairytales signed by Linlan have been published by Beixin publishing house. By taking Zhou zuoren’s radical theory of fairytales as guidance, the chief editor Zhao Jinshen not only grasped the fantasy charater which believing in all things have spirit and primitive thinking which is difficult to be tamed, but also brought a forward-looking vision which is contribute to the birth of modern individuals by literature enlightment like supplying authentic folk fariy tales to children. Unfortunately, the connection between fairytales and individual’s freedom and perfection is no longer mentioned in our theory of fairytales, resulting in decline of fairytales and fantasy literary. This study tries to explore and reiterate the cultural significants of Chinese folk fairytales by making clear who is Linlan, the publishing status and the fairytale’s theory of her times and especially by providing cultural analysis of Chinese folk fairytales named by Linlan.This study uses method of Morphology to analysis Linlan’s folk fairytales, on the base of which comparative approaches including comparing different texts from different culture(west culture and east culture) and different folk customs in the world are taken to read those stories and it’s cultural psychological. All these work finally helps to explore the experience and problems of modernity from China’s farming culture(to discuss how fairytales tell and respond to the core idea of modernity about "freedom and perfection of individual ").The process of modernization could not have happpened out of the cultural tradition. Experience of mordernity has universal value, but it still have to face different history and culture situation. Linlan’s fairytales provide a kind of resource to understand Chinese culture and the modernity problem. On the one hand those stories present stable structure form which is almost the sanme as what Propp described and is corresponding with the structure of the primitive rituals and their psychological experience. Fairytales and rituals, each illuminates the other and both tell the inner darma and magic experience of becoming a real man and women. Under its’ structual framework, fairytales can talk with modernity thought. On the other hand the meaningful deviation from western folk stories make Linlan’s fairytale so special that it can constitute it’s own types. On the basis of plot analysis, cross-cultural text comparison and cultural psychological study, Linlan’s154fairytales can be identified five types, that is "treasure-getting type","treasure-losing type","ordeal type","leaving type" and "comic type". All these types form Linlan’s fairytales independly or compositely. Therefore, a specimen different from western folk fairytales has been obtained to show how China’s farming culture is writen in the fariy tales about "become a individual".The "treasure-getting type" corresponds to the giving action in the adult ceremony. By giving treasure fairytales have shaped the image honored by culture. Those brave and cunning individuals are praised in Grimm’s and Russian fairytales, in Linlan’s fariy tales kind-hearted and sympathetic ones are more than those in western fairy stories. But the difference is not be quite distinct from each other. Kindness and sympathy also means power and even is the initial impulse of giving action. It’s worth noting that all of the fairytales no matter from Chiese or western culture like magic things. By passing the treasures fairytales show how to make virtue and strengh remain alive and become sacred. The "treasure-losing type" ending with losing treasure not only breaks the impression of reading western fairytales but also reflects modernity problem hiden in this type. Since the treasures in fairytales and ritual marked and defined real human, treasure-losing metaphorizes forgetting of self-identity and losing of sacred space. Because of failing to see and get treasure, the farmer and the trader in those stories are trapped in profane space and eventually lost the ability to arrange the worldly affairs.The "ordeal type" highly fits with original adult ceremony and is highly similiar in structure with Green’s and Russian fairytales. Chinese and western fairytales both tell a story that the protagonist finally gets happy marriage by solving difficult problems of death threat. This can be also readed in folk materials around the world. Stories and folklore from different culture are related and complement each other according to which we can see how fariy tales and rituals create a sacred space. Even more important, Linlan’s "ordeal" fairytales embody gender discoure in adult problems. Generally speaking becoming a man gets more attention than being a women. The tales always speak of the protagonist’s marriage after he become adult, which ont only means he has taken father’s principle in stead of mother’s but also means he has walk into a new world of women from father’s world by getting a wife as his magic assistant. But there are still some problems when he gets in touch with the new world. For instance, although tales about the daughter of dragon and hundred-birds dress have extremely active female image, they really tell the fantasy of men to women and the mechanism of feudal imperial power based on robbing the power of women. So the stories of "snake husband" are more valuable because by the folk materails and psychological analysis the entanglements between the sisters and the deformation and resurrection of the third sister reflect the deeper meaning of the stories, that is about the transformation and identity in female’s life experience when a girl changes to beome a wife. The "leaving type" has images of wife leaving from her husband’s house that shows the process of women’s sinking from fairy to beast and the rebellious mentality of women as they are facing the transformation of marrige customs from uxorilocal residence to virilocal residence. Women get married as fariy and then are forced out as beast in this marriage tragedies, the deeper meaning of which is that because of the influence of confucian’s idea of separation from human to beast, Chinese people tend to repress unconsciousness and therefor it is difficult for them to keep creative and self-sufficient.For the modern individual what is indispensable is the ability to criticize. Nothing can make such strong criticism as laughter. By analyzing Linlan’s comic fairytales this research try to find and explain the expression of critisism of society and the farcical mechanism of comic literary. Linlan’s comic stories effectively combine comic(ridicule) and Carnival(mirth), criticism and creation together by writing stupidity and absurd desire finally leading to physical failure and describing grotesque body and grotesque body events. And just in this way Linlan’s fairytales provide high-quality national literature for modern children’s education.In short, the study on Linlan’s fairytales is committed to pursuit of methodology and value. Namely through integrating the methods of Morphology with cultural comparison study and psychological analysis, this paper not only research China’s cultural resources which show a path from farming civilization to modern civilization but also try to read individuals and their situation in culture. Finally let’s look forward hopefully that people and people’s culture which is marked by advocating freedom, independent, critical and creative become more prosperous.更多还原