【作者】 傅钱余；

【导师】 刘俐俐；

【作者基本信息】 南开大学 ， 文艺学， 2013， 博士

【摘要】 人类学、民俗学等学科从不同角度、依据不同方法对仪式、民俗已有大量的研究,产生了丰富的成果。以此为基础,并借鉴相关学科的理论和方法,本文将仪式和民俗整合为民间仪俗,即人们在生活世界中形成的仪式性民俗。整合的目的是为了以民间仪俗为切入点从而研究少数民族小说,考察其独特性。民族文学中广泛存在的民间仪俗现象,在以往的研究中却受到了忽视。这正是本文之研究的出发点。概括而言,本文需要探讨和解决的问题是：民间仪俗在少数民族小说作品中到底起到了什么样的作用?为何少数民族作家们对此情有独钟?民族文学的独特性质无疑是一个复杂的课题,需要众多的研究者广泛而深入的研究,不可能一蹴而就。因此,本文的研究是作为此项课题的一个部分而进行的。以土家族当代文学作为个案,以细致的文本分析为基础,依据叙事学对文本的基本区分——故事层和话语层,本文展开了研究。具体而言,在文学作品的故事层中,本文从形象、意蕴和审美三个方面进行了讨论。民间仪俗与人物形象的关系在于：(1)民间仪俗能体现人物形象的性格特征,仪俗成为了作家刻画人物形象的重要手段之一；(2)民间仪俗中可能蕴藏着原型人物,因此,两者会同时进入到文学作品中,这为作家体现民族性以及读者理解文本提供了途径。除了人物形象,民间仪俗还与动物形象相关,在文学作品之中,动物形象往往承载着文本某一方面的意旨；意蕴往往是衡量一部文学作品价值高低的最重要标准之一,而民间仪俗能起到深化文本之意蕴的作用。仪俗可以以角色、情节背景和事件等母题形式进入文本,其功能除了提供信息和参与故事之外,其重要价值还在于以母题的形式沟通了口头文学和作家文学；民间仪俗能够体现出深刻的历史性,能体现族群的信仰,还能体现出价值冲突。价值冲突则包括集体与个体的冲突,社会变迁带来的价值错位以及不同民族、不同文化之间的价值差异；在审美方面,民间仪俗能体现出民族文学的乡土美学风格,即自然美、生态美、人性美、酒神精神等等。在文学作品的话语层中,民间仪俗与叙述聚焦、叙述结构和空间形式等方面有紧密关联。叙述聚焦主要指叙述过程中观察、感知故事的角度。仪俗和聚焦的关系在于：仪俗的内聚焦和外聚焦,实际上往往体现着民族文化的内部/外部视角,也可以说内部视角往往承担了对文化他者呈现本民族文化的任务；更复杂的情况是对仪俗的多重聚焦,多重聚焦可以将不同的感知距离共时组合在一起。不同的感知距离又往往意味着不同的思想感悟和情感体验,共时组合带来了多层次的复合阅读效果；叙述结构是作品中各个成分或单元之间关系的整体结构。叙述结构有许多种,在少数民族小说作品中,与仪俗相关的叙述结构类型主要有：直线式结构、场景式结构、交叉式结构、圆环式结构、焦点式结构、灰线式结构、对比式结构；空间理论以及空间叙事学已经揭示了“空间”在文学创作中是一种非常重要的技巧。在少数民族作品中,空间形式具有特殊性,如平行叙述、仪俗并置、心理空间共时呈现,神性空间、心理空间、故事空间混合交织,空间作为文化的隐喻以及文本结构的空间形式等等。经由空间视角,可以发现少数民族文学作品的一些特色；同时,民族文学中的空间特点又向空间叙事学提出了新的问题。在结语部分,本文考量了少数民族作家对待民间仪俗的三种主要态度：褒扬、反思和批判。“褒扬”即是在作品中,以赞赏的口吻描述民间仪俗,将民间仪俗展现得完美无缺,尽力表达作家的民族自豪感和优越感；反思的态度则是既有对民间仪俗的褒扬,同时又认识到了民间仪俗所代表的文化观念、思维习惯的某些不合理之处,因此,以褒扬为主,对这类不合理之处作温和的批评,作家本人则持有以本民族文化为主位的多元文化交融观；批判的态度则主要将目光放到了不合理的民间仪俗,在作品中展现这类仪俗对人性的戕害。基本上可以说,这便是少数民族作家对待民间仪俗的主要的几种态度。同时,对待民间仪俗的态度与作者对待民族文化的态度是有着非常紧密的关系的。不过,不能从三种态度进而去区分少数民族作家。因为每个作家在不同的时间、在不同的文本中、面对不同的民间仪俗可能会持有不同的看法。甚至可以这么说,在整个创作轨迹中,完全持一种看法的作家少之又少。绝大多数的民族作家,从整体上看,上述三种态度都不同程度地存在于他们的创作轨迹中。最后,本文还对民族文学理论的性质和方法作了拓展性讨论,强调了民族文学理论的多学科、多角度、多层次研究,这正是本文的研究思路。更多还原

【Abstract】 There have been ample studies and research on folk rituals and folk-customs by various means and from different perspectives in the fields of anthropology and folk-custom science, which have yielded fruitful results. Basing itself on the above studies and drawing upon theories and methodology of the related fields, my dissertation attempts to conduct integrated studies between folk rituals and folk-customs, which are termed "ritualistic folk customs". There have existed numerous cases of ritualistic folk customs in the Chinese ethnic literature, which have been neglected by previous studies, and in view of the above situation, my dissertation intends to approach Chinese ethnic literature from the perspective of ritualistic folk customs and explore its literary uniqueness. The problems the dissertation attempts to address and solve are as follows:What role are ritualistic folk customs playing in Chinese ethnic literature? Why do the ethnic writers show so much preference to them? The literary uniqueness of Chinese ethic literature is undoubtedly a very complicated subject, which entails extensive and profound studies from a lot of researchers. The dissertation serves as one part of that grand project.The studies are conducted through detailed text analysis of literary works of Tujia ethnic minority, based on a fundamental division between the story level and discourse level in narratology. To be more specific, the characterization, meaning, aesthetic value are dealt with in the story level. The ritualistic customs are significant to characterization in that, on one hand, the character traits can be embodied through ritualistic customs, thereby it becomes one important way of characterization; on the other hand, the archetypal characters in the ritualistic folk customs will find their way into the text together with those customs, which give clues for writers to express their ethnic spirit and for readers to understand the text. Besides human characters, ritualistic folk customs are also closely related to animal characters in Chinese ethnic literature, which often carry certain meanings or a particular theme in the literary works, and therefore the ritualistic folk customs with animal characters tend to deepen the meaning and theme in the literary works.The ritualistic folk customs may also enter the text through roles, settings and incidents and they not only provide information and partake in story development, but, more importantly, bridge the oral literature and written literature. Ritualistic folk customs have historical significance as well as serve as embodiment of the ethnic beliefs and conflicts in values. In terms of the aesthetic value, ritualistic folk customs can reflect the rural aesthetic taste and style, which highlights natural beauty, ecological beauty, the beauty of human nature and the Dionysian spirit and so on.On the discourse level of literary works, ritualistic folk customs are closely related to narrative focalization, narrative structure and space forms. Focalization mainly refers to the perspective of understanding stories. The relationship between rituals and focalization is that internal focalization and external focalization often embody the internal or external point of view of national culture. The internal focalization is employed to present the ethnic culture to the other cultures.The multiple focalization can juxtapose various feelings in various places, and therefore it achieves the effect of composite reading. The narrative structure is the overall structure of the relationship between different elements and components. There are many kinds of narrative structures in the minority novels, the narrative structures related to ritualistic folk customs are:linear structure, scene structure, cross structure, ring structure, focus structure, gray line structure, comparative and structure. As illustrated in spatial narrative theory, space is a very important narrative skill in literary works. In Chinese ethnic literature, space is presented in some unique forms such as parallel narration, ritual juxtaposition, mental space juxtaposition, mixing of sacred space, mental space and story space. Through the perspective of spatial narrative, some unique features can be found in ethnic literature works; and meanwhile they pose new challenges to the existing spacial narrative theory.In the last part of the dissertation, a straightforward conclusion is made, that is, rituals are very important for ethnic writers to express their ethnic identity. Roughly speaking, there are three attitudes of ethnic writers, namely, complimentary attitude, reflective attitude and critical attitude. The works that adopt a complimentary attitude will describe folk rituals in a positive way and show the writer’s pride in his ethnic culture; Those that adopt reflective attitude will describe the positive folk rituals, but meanwhile have the awareness of weaknesses and absurdness of ethnic rituals. Those that adopt a critical attitude will focus their attention on the damage and hurt incurred upon human beings and humanity by backward customs in their works. The writers’ attitude towards folk rituals are corelated with their attitude to the corresponding culture, but even so, we cannot distinguish the writers by their attitude, as it varies with time, text and rituals. As a matter of fact, most writers do not stick to one attitude in their works and instead, three attitudes coexist in their works. Finally, At the same time, there has been a very close relationship between folk rituals and Chinese ethnic literature. Finally, the dissertation also explores the literary theory and methodology concerning Chinese ethnic literature, and highlights the research methods of multidisciplinary, multi-perspective, and multi-level.更多还原