【作者】 任旭彬；

【导师】 王杰；

【作者基本信息】 南京大学 ， 文艺学（专业学位）， 2011， 博士

【摘要】 刘三姐传说是我国岭南著名的传说,歌仙刘三姐已成为海内外家喻户晓的艺术形象。用符号学结合审美人类学的研究方法,揭示刘三姐形象的历史演化及其表征的文化意义和审美内涵,是为了梳理刘三姐形象蕴含的复杂意义及其符号类型。论文共分为绪论、正文和余语三个部分。绪论部分综述刘三姐文化研究的状况,指出随着人类活动与文化语境的变化,符号的意义随之变化。刘三姐形象所表征的文化意义是一个文化积淀的历史过程。象征人类学的研究方法可以成为符号学和审美人类学之间的桥梁,对作为文化符号的刘三姐形象进行跨学科研究,探讨刘三姐形象的意义与功能,具有很大的现实意义和理论研究意义。正文共包括四章,第一章以艺术形象符号化构形作为研究的逻辑起点和理论基础。作为艺术形象的刘三姐符号演变过程正是表征了不同历史时期文化意义的过程,反映了不同时代建构刘三姐形象的意识形态观念。随着人类文化传播媒介与传播方式的发展,形成了不同的刘三姐能指符号,这也是审美交流方式不同而产生不同的审美变形。刘三姐形象的能指符号发生了由神祗偶像到明星符号再到象征符号的变化。刘三姐形象在不同历史时期被符号化改写而演变,其符号所指发生了由神魅符号到政治符号再到消费符号的变化,刘三姐形象相应地发生了从歌仙到平民英雄到世俗歌者的演变,刘三姐形象由一种神话象征逐渐转向刘三姐文化。现代刘三姐形象一是表征山歌文化,二是展示和表征壮族文化,从而实现刘三姐文化的再生产。第二章《刘三姐形象的原型及其流变》主要阐明刘三姐的神话原型向民间信仰的歌仙刘三姐的嬗变,这是一个神圣化和世俗化双向互动的过程。综合性的歌圩民俗活动生成了多样性的刘三姐形象,体现了多功能的民间信仰并生发出刘三姐文化。壮族歌谣在跨文化传播中也接受了汉文化的改写,作为巫魅文化形象的刘三姐在与中原主流文化的互动中经历了由神到仙到人的祛魅过程并且伴随着复杂的文化冲突与融合。不同的文化主体根据自己的意识形态和审美观念选择性的增减刘三姐的符号要素。宋朝至民国,刘三姐是民间传说中的歌仙、封建开明文人笔下善歌的才女、正统封建主流意识形态视野中伤风败俗、风流放荡的女人。历史文化的积淀使刘三姐形象具有丰富的人文意义,这是各种文化主体、文化力量冲突与融合的产物,作为刘三姐形象核心要素的山歌融合了中国南方各民族的浪漫狂欢文化,多民族共同拥戴的歌仙就成为一个多元文化共生体的符号。第三章《刘三姐形象的层累性建构》论述新中国成立之初,民间话语与政治话语同构而上升为国家话语。歌舞剧和电影《刘三姐》把复杂多义的民间传说简化为阶级冲突,借助现代传播技术和审美的情感想象力把刘三姐形象被塑造为阶级斗争的平民英雄,但以山歌表达为主要表现的民间艺术很大程度上得到保留。同时,国家话语也把刘三姐形象表征为壮族的文化形象,《刘三姐》因此成为政治话语和民间民族话语的双重文本,一定程度上保留了刘三姐这一文化符号的多义性与歧义性,获得了超越政治话语的审美意义。刘三姐形象的建构具有明显的层累性特征,是历代不同文化主体在不同语境中先后相承地赋予新的意义造就的文化增值。第四章探讨市场经济语境中被重新塑造的刘三姐形象,各种文化类型的融合共生较之以前更为加强,在共时性上呈现出明显的横向交叉的整体化运行特征,刘三姐形象呈现为共享化、地方化、多样化的象征符号。新的刘三姐形象的重构主要是在文化旅游和保护非物质文化遗产话语的引导下努力实现市场经济语境中现代转型。刘三姐形象并存于在民间文化、精英文化和大众文化之中,既相互关联又各具差异性,造成了不同的阐释结果。刘三姐形象仍然与民间歌唱习俗密切相关,仍然具有政治宣传功能,又成为商业开发的消费符号,具有了新的经济功能。刘三姐形象既是新的语境中充满了少数民族情调的审美乌托邦想象,又具有壮族民族身份的认同功能。余论部分主要论述刘三姐形象在不同地方文化类型、不同文化主体重构中,已经延伸到政治、历史、经济、艺术、审美等各个领域,艺术表现形式更为多样,具有了无限的内涵和外延,多义性更加突出,功能更为多样,再次回归了民间文化的原生状态。再经典化的刘三姐形象既要克服20世纪五六十年代《刘三姐》的缺陷,又要避免大众文化意义的匮乏。重构刘三姐新形象的核心在于刘三姐形象与民族精神的血肉联系,两者既互相依赖又互相塑造,艺术形象的重构要深化、拓展与提升民族精神。更多还原

【Abstract】 "LIU Sanjie" is the famous legend of China’s Lingnan, and it has become a well-known artistic image at home and abroad. It is to arrange the complicated meaning and symbol’s type, and reveal it’s cultural significance and aesthetic connotations of LIU Sanjie’s image in the historical evolution that study it with the methods of symbol combined aesthetic anthropology.This article is divided into three parts:the introduction, the body and conclusions. The introduction surveys the geography of LIU Sanjie cultural study. It shows that the meaning of symbol changes with the change of human activity and human context. The meaning of LIU Sanjie involves a cultural history process. The research methods of symbolic anthropology can build the bridge between semeiology and aesthetic anthropology, deal with LIU Sanjie as a cultural symbol, inquire its meaning and function, and thus deserve practical and theoretical significance.The body involves four chapters. Chapter one deals with the symbolization of LIU Sanjie, thus builds the logical starting point and theoretical foundations of the whole research project. The change process of LIU Sanjie symbol represents the meaning of different cultural history period, and reveals different ideology notions. With the development of media and methods of communication, different LIU Sanjie signifier comes, which also reveals different aesthetic communication. LIU Sanjie signifier experiences the change from God to star, and then to symbol. LIU Sanjie signified evolves from immortal symbol to political symbol, and then to God to star, and then to consumptive symbol. Accordingly, the image of LIU Sanjie comes up with the change process of from song-fairy, to civilian hero, and to mundane singer. LIU Sanjie image turns into "LIU Sanjie-culture." The modern image of LIU Sanjie owns two meanings:one refers to folk song culture, one represents the Zhuang minority culture, both promote the reproduction of "LIU Sanjie-culture".The second chapter" the prototype and rheological of the LIU Sanjie’s image" clarifies the evolution of the myth of LIU Sanjie that to the song-fairy prototype in the folk beliefs, and that is a two-way interactive process with sacred and secular. The integrated song activities and fairs in folk generates a diversity of LIU Sanjie’s image, and reflected not only the versatility folk beliefs but generates the culture of LIU Sanjie. The Zhuang nationality song is also accepted rewritten from the Han nationality culture in cross-cultural communication. As a cultural image of witchcraft and monster, LIU Sanjie experiences the process of disenchantment from God to Fairy,and then to People in the interaction with central plains mainstream culture along with the complex cultural conflict and integration. Different cultural subjects selectively increases or decreases the concepts and elements of LIU Sanjie according to their ideological changes and aesthetic ideas. From Song Dynasty to Republic China, LIU Sanjie was song-fairy in the folk legend, the talented woman of good songs under feudal liberal scholars described and immoral, dissolute romantic woman in the mainstream ideology of feudal vision. Historical and cultural heritage has made the image of LIU Sanjie the rich culture and humanities significance, and that is the product of integration consists of various subject of culture and the conflict of cultural strength, the folk songs as a core element of LIU Sanjie’s image combines the romance and carnival culture of the south China various ethnic groups, so that the song-fairy that Supported of multi-ethnic become a multi-cultural symbiosis symbol.The third chapter" The image of LIU Sanjie is a cumulative construction" discusses folk and political discourse are isomorphism and rose to national discourse from the founding of New China. In the Opera and film LIU Sanjie, the complex folk discourse was simplified as a class conflict. With the help of modern communication technology and aesthetic emotion imagination, the image of LIU Sanjie is shaped as the class struggle in the civilian heroes, but is largely preserved the folk expression. At the same time, the national discourse characterized LIU Sanjie as the culture image of Zhuang minority, and so LIU Sanjie became the political and folk nation text, retained the cultural symbol and ambiguity in a certain extent, and obtained aesthetic significance beyond the political discourse. The construction of LIU Sanjie’s image has a clear characteristics of multilevel nature, and it is a cultural-valued that different cultural subjects had created in different cultures contexts and given new meaning in each other.The fourth chapter discusses the image of LIU Sanjie which was been constructed in the circumstance of the market-oriented economy. Compared with before, coalesce and symbiosis of the various cultural types became more strengthen and appeared holistic operation characteristics in the synchronic stage. As the symbol, the image of LIU Sanjie has three features:sharing, localise and diversification. The reconstruction and modern transition of the new image of LIU Sanjie has been realized mainly rely on some discourse guide such as cultural tourism and intangible cultural heritage protection, etc. the image of LIU Sanjie has relations and diversities among the popular culture,folk culture and elite culture contexts and make some different interpretation results. The image of LIU Sanjie has closely related to the custom of folk singing, which has political propaganda fuction and has new economic fuction when it became the consumption symbols on commercial development. In the new circumstances, the image of LIU Sanjie is not only an aesthetic utopia imagination which has performed minority emotional appeal but also an identity with Zhuang minority.The part of conclusion reviews that the image of LIU Sanjie has been extended to the political, historical, economic, artistic, aesthetic and other fields in different local culture types and different cultural reconstruction, and enjoys more forms of artistic expression, has the infinite connotation and extension, and it’s ambiguity is more prominent, and it’s function is more diverse, as a result it once again returns to the native state of folk culture. Re-classical of the image of LIU Sanjie is necessary to overcome the defects of LIU Sanjie" in the fifties and sixties of the20th century, but also to avoid the lack of significance of popular culture. The core of reconstructing new image of LIU Sanjie is the relation between the image and the national spirit, then these two aspects depend on each other and shape each other also, and the reconstruction of Artistic image needs to deepen, expand and enhance the national spirit.更多还原