【作者】 白燕；

【导师】 王平；

【作者基本信息】 山东大学 ， 中国古代文学， 2008， 博士

【摘要】 长期以来学界对于《红楼梦》之研究,大多是从汉族文化这个侧面进行的。本文将满族文化视角引入红学研究,将《红楼梦》置于满汉文化交融的宏观视野下加以观照,多方位地审视与探讨《红楼梦》的文化背景、作者心态、文本内涵、读者接受等方面的特质;并在此基础上进一步反观学界在红学研究中,由于囿于单一的汉族文化视角,而造成某些问题在认识上的偏颇与不足,以期寻求更为合理的解释。本文采取史论结合的方式,从文化背景、作者、文本、读者四个维度对《红楼梦》进行综合性研究。论文主体部分共分六章:第一章从文化背景方面入手,探讨《红楼梦》产生的京旗文化背景,以及《红楼梦》的京旗文化特征。清代的中国文化具有多元文化的性质,它既是以汉族文化为主体的文化,同时又是以满族文化为重要导向的文化。在满汉两个民族文化由冲突到调融的缓冲渐进过程中,产生了意义深远的京旗文化。清代的京旗文化是满汉文化交融的杰出典范,从本质上说是一种高雅精致的贵族文化,“有闲性”是它区别于历史悠久的士文化的显著特征。这种以“有闲”为特征的旗人文化,是《红楼梦》产生的最直接的文化背景。《红楼梦》中的贾府是康乾盛世时期八旗贵族家庭的典型代表。从文化的外部特征来看,不仅贾府的权势与富贵远非当时汉族官僚家庭所能比拟,而且贾府的庄园经济、家奴制度、骑射文化以及满洲风俗,也都进一步明确标识了它的旗人家庭特征;从文化的内部传统来看,贾府也并非中原传统士文化的承载者。“富贵闲人”贾宝玉则是京旗文化中的特殊产儿,杂糅出满汉兼济的多元文化气质,集中体现了那些兼有满人优势地位与汉族深厚文化底蕴的八旗贵族子弟的精神和气韵。京旗文化还为《红楼梦》创作提供了富有特色的京味语言。曹雪芹不仅第一次将旗人的京腔汉语发挥得炉火纯青,并且为现代京味文化的产生、发展做出了贡献。第二章从作者方面论述,分析满汉两个民族文化对曹雪芹的双重影响。首先,通过梳理乾隆时期的“出旗为民”政策,对曹雪芹的“出旗为民”问题重新进行考证,得出曹雪芹不可能“出旗为民”的结论。其次,着眼于曹雪芹的内务府包衣身份,探讨其文化归属与文化心理。曹雪芹生于一个满化程度很深的内务府包衣世家,无论将其划归于满族还是汉族,其文化影响都是双重的。曹家这种既是满族又是汉族,既是奴仆又是显贵的双重身份,对曹雪芹的心理和人格都产生极大的影响。作为旗人,曹雪芹大部分时间都生活在以满洲为主体的八旗文化圈内,因此不可避免地要具有旗人意识,容易形成与满洲一体的观念。但是另一方面,包衣旗人在八旗中的地位又是十分卑贱的。曹家败落以后,曹雪芹更感到在做“奴才”之艰难,这些很可能激发出他的汉民族意识。但是这种汉民族意识,并不必然使他产生反满思想。最后,围绕着曹雪芹的交游,将其纳入到八旗文人集群中加以研究。乾隆时期,以敦诚、永忠等人为代表的宗室文人,以及周围的八旗名士,共同构成了包括曹雪芹在内的八旗文人群。他们以诗酒书画、山林泉石、禅宗佛道为性命,形成了八旗文人独特的生活风貌。曹雪芹在文化上已归属于这一群体,他的生命状态具有八旗文人的群体特征。第三章从制度文化层面研究。第一节结合八旗制度,对贾府的经济生活进行剖析。《红楼梦》通过大量逼真、生动的细节描写,真实地再现了十八世纪旗人贵族家庭的经济生活全貌。小说围绕着贾府记述了满族落后的庄园农奴制生产关系,并将其放在当时清代整个社会经济中来描述,从经济层面揭示了这些封建大家庭的衰落原因。不仅客观上为我们勾勒了十八世纪满族庄园经济的基本轮廓,同时又以贾府具体的实例揭示了乾隆时期日益严峻的旗人生计问题。第二节结合相关史料,对贾府的家奴制度进行分析。贾府的家奴制度,既与西方的奴隶制度迥然不同,也与中国传统的奴婢制度有着显著的区别。它真实地反映了由于满族入主中原所形成的清代奴婢制度的独有特点,生动地再现了清代社会,尤其是旗人贵族家庭中各类奴婢的生存状况、精神面貌以及错综复杂的主仆关系。第三节探讨《红楼梦》所反映的骑射文化。骑射不仅是满族最鲜明的民族特征,也是清代八旗的一项重要制度。《红楼梦》中几处关于骑射的情节,客观地揭示了骑射之风在乾隆时期的衰落和蜕变。第四章从风俗文化层面研究。《红楼梦》蕴含了相当丰富的满族风俗。这里的满族风俗,狭义是指直接从女真文化中继承而来的满洲旧俗;广义还包括在满洲旧俗基础上,又杂糅了部分汉族风俗,并在八旗社会中普遍盛行的旗人风俗。由于风俗本身具有传承性、变异性、创新性等多元社会文化特征,因此入关以后的许多满族风俗,已经并非原汁原味的满洲旧俗。《红楼梦》所涉及的满族生活习俗,包括辫发、袍服、箭袖等服饰习俗;满洲饽饽、喜食野味等饮食习俗;以及女子天足、女子吸烟等其他生活习俗。所涉及的满族社会习俗,包括老祖宗、哥儿、姐儿、妞妞、嬷嬷、家的、主子、奴才等称谓习俗;打千儿请安、昏晨定省、拉拉礼等礼仪习俗;以及夜婚习俗、落草习俗、乳母习俗等其他社会习俗。另外还有打围、放鹰、抓子儿等游艺习俗,以及满洲跳神等信仰习俗。第五章从文化批评层面研究。曹雪芹一生承载着满汉两大文化交融的激烈震荡,特殊的身世和经历使他容易超越两种文化各自的局限,吸收双方之所长。曹雪芹的反礼思想,既是对魏晋时期以阮籍、嵇康为代表的反礼法思想的继承,同时又受现实生活的直接激发。满族社会森严的等级制度与汉族传统礼教相结合,造成了八旗上层社会高度的礼教化。作为八旗世家子弟,曹雪芹亲身感受了八旗礼法的严苛和虚伪,这是他产生反礼思想的直接动因。曹雪芹的反礼法思想,虽然与戴震的反理学思想不同,但是两者却在更高的层次上达到契合。曹雪芹进步女性观的形成是满汉两种文化合力作用的结果,既受明清以来进步人文思潮的影响,更有满族传统文化之根源。曹雪芹生活在满化程度很深的内务府包衣世家,其女性观与中原和江南的汉人明显有别。曹雪芹之极重女性,正是直接继承了满族重女这一特殊传统。满族社会中女子持家、姑娘为尊、重内亲等习俗,对曹雪芹女性观的形成产生了重要影响。《红楼梦》是一部具有悲剧精神和文化反思意义的作品。曹雪芹以对自己家庭盛极而衰的悲剧命运的反思为基础,进而对整个大清王朝进行了纵深的历史性透视。这种民族悲剧的反思精神,在老舍的《正红旗下》中得到了回应。第六章从传播学角度分析,探讨了满族文化对《红楼梦》传播的重要影响。满族人素有喜爱小说的传统,尤其对言情小说更为偏爱,这为《红楼梦》传播提供了良好的文化氛围。《红楼梦》问世之初,首先在满人中引起强烈反响,其后流行的清代一百多年间,也始终与满族文化圈息息相关。《红楼梦》的早期传播是在一个很小的范围内进行的,它是以曹雪芹的至亲好友为中心,进而渐次扩大到他们周围的一些人。从现存材料来看,这些读者的身份多为宗室子弟及其姻亲,实际上就是一个小型的满族读者群。《红楼梦》后来能够迅速得到广泛传播,也与最初满族文人对它的推重激赏分不开。乾隆年间子弟书说唱艺术兴起,红楼梦子弟书又成为这种曲艺中流行最广泛的辞书。子弟书的作者与曹雪芹秉承了共同的文化渊源,在对《红楼梦》的故事加以改编的同时,也与作者进行着心灵的交流与对话。十九世纪中后期,经子弟书作家改编的《红楼梦》故事在北方地区弹唱不衰。经过这种通俗曲艺的改编,使《红楼梦》在更广的范围得以传播。更多还原

【Abstract】 For so many years most studies on A Dream of Red Mansion was conducted in the view of Han culture. This thesis introduces the view of Man culture, puts this literary work in the macroscopic prospective of the cultural integration of Manchu and Han and explores its trait on cultural background, author’s state of mind, text connotation; on this basis, this thesis will also review some biased ideas and defects caused by the single view of Han culture in the studies of A Dream of Red Mansion, and tries to come up with more reasonable explanations.The thesis adopts the methods of combining historical materials with explication and carries on the comprehensive discussion from four dimensions, including cultural background, the author, the text, and readers. The main body of the thesis includes six chapters:ChapterⅠdiscusses the background of Beijing Eight Banners culture in which A Dream of Red Mansions produced and Beijing Eight Banners cultural identity of A Dream of Red Mansions. Chinese culture in the Qing Dynasty has multi-cultural nature. It takes Han culture as the main body, as well as takes Manchu culture as the important guidance. Beijing Eight Banners culture with profound significance produced in the course of buffer evolution from conflict to tune between Manchu culture and Han culture. Beijing Eight Banners culture in the Qing Dynasty is the outstanding model of blending of Manchu culture and Han culture. It’s essentially a kind of aristocratic culture with lofty and fine nature. Its leisure nature is a dominant character distinguished from scholars’ culture with long history. This kind of Manchu culture with leisure nature is the most direct cultural background in which A Dream of Red Mansions produced. The Jias in A Dream of Red Mansions is a miniature of Manchu aristocratic family in Kangxi and Qianlong’s Spirit of the Qing Dynasty. On the external characteristics of culture, the Jias are so powerful and wealthy that ordinary Han bureaucrat family can not match. Moreover, the manor economy, the house slave system, the culture of horsemanship and archery and Manchu custom, further mark the characteristics of Manchu family. On the internal tradition of culture, the Jias are not the successors of scholar’s culture in central plains area. Jia Baoyu, called "rich and honor idler", is a special product of Beijing Eight Banners culture. He combines a multi-cultural temperament and embodies spirit and temperament of Manchu noble descendants who have both Manchu superior status and deep Chinese cultural details. In addition, Beijing Eight Banners culture provide A Dream of Red Mansions with the distinctive language. Cao Xueqin not only displays skilled Beijing accent in A Dream of Red Mansions firstly, but also contributes modern Beijing style literature.ChapterⅡanalyzes the dual influences of Manchu culture and Han culture on Cao Xueqin. Firstly, the thesis concludes that Cao Xueqin could not be allowed to leave Eight Banners and become a citizen by combing related policy of the Qianlong period. Secondly, it discusses Cao’s cultural psychology and cultural ownership centering on his servant status in Office of the Imperial Household of the Qing Dynasty. Because he was born in the family of booi, Cao Xueqin was affected dual cultural impact regardless of his national ownership. The Caos belonged to both Manchu nationality and Han nationality. They had high-ranking status though they were servants in the Qing dynasty. All these had the enormous influence to Cao Xueqin’s psychology and personality. As a Manchu, Cao Xueqin lived in Eight Banners cultural circle in his most of time. He had Manchu consciousness inevitably and merged into an organic whole with Manchu. But on the other hand, the status of booi was very humble in Eight Banners. Cao Xueqin fell into the difficult position when his family declined, which stimulated his consciousness of Han nationality. But he was not certain to have anti-Manchu thinking. At last, it studies Cao Xueqin by classifying him as Manchu literati. In the Qianlong period, the clan literati, such as Dun cheng, Yong zhong, and some other famous Manchu litterateurs around them constituted group of Eight Banners literati. They formed a unique life style of Eight Banners literati by indulging in poem, wine, painting, calligraphy, touring and religion. Cao Xueqin belonged to this group and his style of life was similar to them. ChapterⅢstudies from the aspect of culture on institution. The first section analyses the economic life of the Jias referring to Banner system. The whole picture of economic life of Manchu aristocratic family in 18th century is reappeared really in A Dream of Red Mansions by a great deal of vivid description. The novel records Manchu nationality’s backward serfdom productive relations and descript it in the whole economic environment of the Qing Dynasty, thus reveals the reason for the deterioration of big feudalism family from economic aspects. It not only outlines the elementary contour of Manchu manor economy in 18th century, but also reveals increasingly grim livelihood question of Eight Banners in the Qianlong period by concrete example of the Jias. The second section analyses the house slave system of the Jias referring to some historical data. The house slave system of the Jias is same as neither western slave system nor Chinese tradition servants system. It really reflects unique characteristics of servants system in the Qing Dynasty formed by Manchu’s entering the Central Plains and vividly depicts each kind of servants’ survival condition, mental outlook and intricate relations between master and servant in Manchu aristocratic family. The third section discusses Manchu’s horsemanship and archery culture written in A Dream of Red Mansions. The horsemanship and archery is not only the distinctive national character, but also an important system of Manchu nationality in the Qing Dynasty. Several plots about horsemanship and archery in A Dream of Red Mansions reveal the decline and transformation objectively in the Qianlong period.ChapterⅣstudies from the aspect of culture on custom. A Dream of Red Mansions contains abundant of Manchu custom. In this thesis, Manchu customs viewed in a narrow sense are refer to Manchu old customs, while viewed in a broad sense also include Eight Banners’ popular customs which based on the old Manchu customs, at same time mixed with the Han customs. Customs has the nature of inheritance, variability and innovation, so Manchu customs formed after Manchu’s entering the Central Plains are not pure. Life customs of Manchu in A Dream of Red Mansions include dress customs, such as pigtail, Chinese-style gown, arrow sleeve; diet customs, such as Manchu dessert, wild food; and other customs such as female natural feet, female smoking, etc. Social customs of Manchu in A Dream of Red Mansions include appellation customs, such as meme, booi, nionio, eje, aha; etiquette customs, such as saluting by going down on the left knee while the right arm droops forward, paying respects to elders every morning and evening; and other customs, such as getting married at night, giving birth to the child on the grass, etc. Apart from all of these, there are some entertainment customs and belief customs of Manchu in A Dream of Red Mansions.ChapterⅤstudies from the aspect of cultural criticism. The whole life of Cao Xueqin beard intense vibration caused by blending of Manchu culture and Han culture. He was liable to surmount limitations and absorb the merits of two kinds of national cultures because of his special background and experience. Cao Xueqin developed his counter-Confucianism thoughts by the stimulation of his real life. At same time he inherited ideological trend in Wei and Jin period. The stern hierarchical system of Manchu society combined with traditional feudal code of Han Nationality, which made feudal code severe in the upper classes of Eight Banners. As a member of Manchu aristocratic family, Cao Xueqin experienced severe and hypocritical Eight Banners’ rules of etiquette by himself, that’s the basic reason for his counter-Confucianism thought coming into being. Cao’s counter-Confucianism thought is different from Dai Zen’s counter-Neo-Confucianism thought, but they coincide on a higher level. Cao Xueqin’s progressive views on women were the result of blending of Manchu culture and Han culture. They were influenced not only by the progressive ideological humanities trend of the Ming and Qing Dynasties, but also by Manchu traditional culture. Cao Xueqin’s respect to women was a succession to Manchu special tradition. There are many vivid descriptions of customs in A Dream of Red Mansions about women in Manchu society, such as managing the household by the females, valuing the daughter and respecting intermolecular. From these we can see the important influence of Manchu culture on Cao Xueqin’s views on women. Cao Xueqin carried on a deep historical perspective to the Qing dynasty on the basis of his introspection to the tragedy of his family. His introspective spirit get a response in zheng hong qi xia written by Laoshe.ChapterⅥanalyses from the angle of media studies and discusses the important impact on the spread of A Dream of Red Mansions. Manchu used to love novels, especially romantic fictions, which provided a good cultural atmosphere for the spread of A Dream of Red Mansions. It aroused strong repercussions among the Manchu firstly in the initial days after it’s published. And it was closely related with Manchu culture from beginning to end in its popular days in the Qing dynasty. The early dissemination of A Dream of Red Mansions proceeded in very small scope. In fact it is a small Manchu reader group. It’s wide and rapid dissemination afterward was partly attributed to Manchu literati’s highly praise to it. Zidishu sprang up in the Qianlong period. The story of A Dream of Red Mansions spread more widely after being reorganized by this kind of popular acrobatics.更多还原