【作者】 徐磊；

【导师】 潘鲁生；

【作者基本信息】 山东大学 ， 文艺学， 2010， 博士

【摘要】 本文将“事象论”纳入“牛郎织女”的研究,从现代美学视野透视“牛郎织女”的历史文化隐喻,在哲学指向上将其导向一种面向民间和主流的文化内在整合。它在产生、发展与流变的过程中,与农耕文明紧密联结,呈现出一种中国独特的爱情叙事模式。它并未导向一种彻底的悲剧,在美学指向上是一种理想化的爱情。这也体现出中华民族在面对苦难时一种积极向上的乐观精神,这种历史文化隐喻精神内核使得“牛郎织女”在中国独特的农耕文化下不断扩散,影响了中国民间文化艺术甚至主流文化艺术,对中国民间或主流艺术思维起到重要作用,进而影响了民族文化心理和生命体验。本文分四章进行研究。第一章对“牵牛织女”的神话孽乳进行分析和研究,共分两部分。第一部分,对先秦时期“牛郎织女”的相关记载文献进行分析：中国农耕文明以男耕女织为范本,先民们将地上的生活图景投射于天上的星辰。星辰的形状这样一种物象,在先民心中内化为牵牛织女,继而外化为人文作品。此时已形成牵牛、织女、天汉等故事架构基因。第二部分,运用集体无意识理论对作为星辰崇拜的“牛郎织女”进行分析：牵牛织女星自命名后,作为一种原型在集体无意识中积淀下来。牛女故事作为集体无意识的反映,它凝聚了从远古以来的民族文化能量。这种艺术化的原型模式世代潜藏于中华民族心理的无意识中,折射在艺术家不自觉的作品创作中。千百年来牛女故事的不断的创造与再创造,得益于这种神话原型,即集体无意识显现的形式。第二章对“牛郎织女”故事叙事性的确立进行分析和研究,认为其叙事性的确立有三个主因：汉至南北朝文化语境、文学神话与传说的嫁接、七夕民俗的催化。本章共分四部分。第一部分,分析认为汉代“天人感应论”与自然宇宙观、汉至南北朝文化格局即儒道佛的三足鼎立以及汉至南北朝门第婚姻关系构成了“牛郎织女”叙事性确立的可能性之一；第二部分,分析认为文学、神话与传说的嫁接构成了“牛郎织女”故事叙事性确立的可能性之二；第三部分,分析认为七夕民俗的催化构成了“牛郎织女”故事叙事性确立的可能性之三；第四部分作综合分析：先秦时期虽无故事情节出现,但天汉、牵牛、织女三个故事要素为以后牛女故事成型奠定了基础。牵牛、织女自命名之初起就植下农业文明的文化基因,为后来牛女故事的“男耕女织”定下了基调,在“物——心——人”的结构中,彰显了物理事实向人文事实的过渡。在杂糅了神话、传说、文学等手段后,借助政治、民俗、思想等领域催化,最终丰满了故事情节,确立了其叙事性。第三章对“牛郎织女”对中国文化的主动性、深层影响进行分析和研究,共分五部分。第一部分,从七夕的传承与流变说明“牛郎织女”对七夕民俗的影响。随着社会文化语境的变化,牛郎织女故事形态也随之发生变化,后世牛女故事极力渲染牛郎织女两情相悦、被迫分离和复归团聚的情节,“小喜”的结局是对爱情愁苦的一种慰籍。男女两性的交往问题是社会常面对的问题,在礼法社会它所遇到的困难是巨大的,但无论有多大的阻力,人们也要找到一个聚会的时机,对男女关系进行调节。这就是七夕节俗在中古之后得到全社会重视,演变为民俗大节的内在精神动力。第二部分,对以“牛郎织女”为题材的民间艺术进行分析,从神话观念、造型及艺术创造等方面,阐明两者的相互影响。以牛郎织女为题材的民间美术最为人称赞的莫过于其造型,而这些造型的想象的丰富性又得益于神话。神话的结构单位即存在于无意识心理中的原始意象或原型,所谓原型并不能看成是某种遗传信息的载体,同语言符号一样,它也是文化信息的载体形式。在重构人类情感经验方面,它有着不可替代的作用。这即是一种社会性遗传。第三部分从“母题”角度对“牛郎织女”进行分析,并指出自唐代以后,它与《两兄弟》、《白衣女》故事融合后,再次生成新的母题。在这个母题中,男主人公勤劳、憨厚,女主人公纺织技能超绝,他们的结合是对小农经济的诗意美化。男耕女织同时又互相爱慕,虽遇到艰难险阻,却终究能鹊桥相会,获得一种小喜剧的结局,牛郎织女成为后世人们情感生活的典范与表率。通过列举一些流传于不同时代、不同地区的“牛郎织女”异文,为上述结论作出更为明确的注解。第四部分分析认为“两情相悦——棒打鸳鸯——无奈分离——团圆”模式对中国爱情文学模式产生了重要影响。牛女形象本身来自于天,最终的爱情归宿也在天上实现,虽然最终的结局未免使人心生遗憾,但毕竟这个故事在最后导向了团圆结局,而这种“团圆”不是在人间实现的,它是以另外一种生命情态出现的。这里受到朴素的圆形时间观念、《易》文化和佛家思想中“轮回”观念的影响。这种生命形态变异的方式,以及大团圆的爱情模式为后世爱情文学种下了一颗有待发芽的种子,在以后的爱情文学创作中,作为一种模式的存在,发挥着重要的影响。第五部分通过对唐诗宋词的“七夕”题材进行分析,揭示“牛郎织女”与此类主流文化的相互影响。七夕节自大行于汉魏后,在唐代逐渐沉淀为一种具有文人气息的民俗节日,男女间两情相悦却遭棒打鸳鸯,情感遭受无尽折磨与煎熬,这成为中华民族的集体无意识的核心内容之一,在唐宋时期引发了无数文人的诗情,他们怀着对美好爱情的期盼和眷恋,触景生情,对这一天上人间的良辰美景多有吟咏。第四章以前三章为基础,运用现代美学理论,分析认为“牛郎织女”的历史文化隐喻是一种面向民间和主流的文化内在整合。该章分三部分。第一部分分析认为“牛郎织女”在传承过程中,是具备广泛的民间性的。民间的力量将“牛郎织女”丰富多彩的内容与形式展现无余。这是一种民族集体的个性再创造,心象与作品的反复相互影响,催生出更多、更丰富的人文“牛郎织女”景观。同时,通过对“牛郎织女”不同艺术表现形式和异文的分析、解读,认为任何对“牛郎织女”的再创造都是对于牛女爱情“愁苦意识”心象的再次塑造,夹杂了创造者自身审美经验的影子。“牛郎织女”只是一个“漂浮的能指”,创造者的个体无意识这种“滑动的所指”,对“牛郎织女”的嬗变与衍生起到了巨大的推动作用。创造者把自己的个体无意识融解在对“牛郎织女”的欣赏中,重新构建了“牛郎织女”的意义。而个体无意识自然也不能大行其道,作为集体无意识的牛女爱情“愁苦意识”,又在一定程度上对其作了质的规定。第二部分分析认为“牛郎织女”所体现出来的爱情“愁苦意识”,尽管存在“苦情”成分,但它不会走向彻底的悲剧,悲、喜的转化使得它所影响的后世爱情模式不可避免地走向一定的“团圆”结局,它虽然是一种“苦闷的象征”,但在中国文化语境下,却留有一条“光明的尾巴”。“牛女爱情模式”无力抗争的愁苦,不甘于对现实的忍受,却又不能如西方爱情悲剧中男女主人公壮美的方式去抗争,进而在文化语境之内寻找妥协,实现幻想中愿望的达成。这就是“牛郎织女”以及它所影响下的中国爱情模式的隐形结构。这里,男女主人公一见钟情,两情相悦,乃大喜。棒打鸳鸯,被迫分离,乃大悲。以另外一种生命情态相聚,乃小喜。由是,“牛郎织女”及其影响下的爱情模式就历经了一个由喜到悲,由悲到喜的过程。在这个过程中,喜剧性与悲剧性的博弈一方面是牛女愁苦意识生成与消解的折射,另一方面也为我们寻找中国爱情的悲剧性或喜剧性因子提供了活生生的依据。第三部分从中国传统文化、中国艺术精神、田野调查方法层面,对“牛郎织女”历史文化隐喻的现代意义建构进行分析,认为只有以民艺传承领域为观瞻,关注受众的接受层面,才能充分挖掘“牛郎织女”在传承过程中不断发生流变的历史文化隐喻,将牛女文化研究上升到哲学、美学、文化学高度,对于其历史性文化内在整合作系统、深入研究,从而对这一文化形态的当下意义作出更好地建设。换言之,只有以民间艺术学、文学、美学、哲学、社会学、人类学、心理学等学科的融会贯通为基础,在新的历史起点上,去构建“牛郎织女”的当代文化整合,才能使这一古老的非物质文化遗产焕发光彩。更多还原

【Abstract】 This thesis brings something like a theory into the Legend of Love study, from the perspective of modern aesthetic perspective, Legend of Love in historical and cultural metaphor has been pointed to its orientation in the philosophy of a sense of anxiety, In its generation, development and rheological processes, it was closely associated with the farming civilization, showing a model of China’s unique narrative of love and was not ended in a complete tragedy. It is an idealized love in the aesthetic point. It also reflects the Chinese national positive and uplifting spirit when facing a suffering. This historical and cultural metaphor spiritual core dispersed the Legend of Love in the Chinese unique farming culture, and affected both folk and mainstream culture and art. Therefore, it has played an important role in affecting the cultural psychology and life experience. This thesis consists of four chapters.The first chapter of the Pre-Qin period Legend of Love, the myth of sin milk analysis and research a total of two parts. First part of the pre-Qin period Legend of Love recorded in the relevant literature analysis:China’s agricultural civilization and farming men and women to weave as a template, our ancestors were living picture of the earth projection of the stars in the sky. The shape of stars, such a physical image, in the hearts of our ancestors into cows in the Weaving Maiden, and then outside into a cultural works. Cows, the Weaving Maiden, Heaven Man and so on of the story structure has been formed the basis of the story. at this time. In the second chapter, we use the theory of the collective unconscious as the worship of the stars of Legend of Love in analysis:Since the cows Vega named later, as a prototype in the collective unconscious of accumulated. As a reflection of the collective unconscious the story of legend of love, which gather from the energy of human culture since ancient times. The accumulation of such art hidden for generations, a prototype model of the unconscious in the psychology of the Chinese nation, reflected in the works of the artists do not consciously creating. Thousands of cattle female stories to create and to create, thanks to the collective unconscious archetypal, namely the form appeared.In the second chapter from Han to southern-northern dynasty, Legend of Love story of narrative establishment are analyzed and studied, founding the establishment of its three narrative main reasons from Han dynasty to Southern and Northern Dynasties,cultural context, literature, myths and legends of grafting, Chinese folk catalytic. This chapter is divided into four parts. The first part, analysts believe that the Han to the Northern and Southern Cultural Context of the Han Dynasty, Heaven induction theory and the natural universe, the Han to the Southern and Northern Dynasties that the Confucian, Taoist and Buddhist cultural patterns of the three pillars of the Han to the Southern and Northern Dynasties door first marriage constitutes a Legend of Love story narrative to establish one of the possibilities; The second part, analysts believe that literature, myths and legends of the graft constitutes a Legend of Love story narrative to establish the possibility of the two; Third part of the analysis of catalytic Tanabata customs constitutes a Legend of Love story narrative to establish the possibility of the three; The fourth part to make a comprehensive analysis of:pre-Qin period even if no story appears, but the days of the Han, cows, Weaver three story elements of the story for future female cattle forming the foundation. Cows, Weaver’s name from the date marked the beginning of the planted in agriculture and culture through the genes, for the later story of cows female male farming women weave set the tone, in the things heart and the structure of It underlines the fact that the physical fact that the transition to the humanities. In the blend of myths, legends, literature and other means, the use of politics, folklore, ideas and other areas of catalysis, the ultimate fullness of the story, and established its narrative.In the third Chapter, analyzing and researching Legend of Love on the initiative of Chinese culture, deep impact and it is divided into five parts. In the first part, through the Inheritance and Evolution of Tanabata, we are to describe Legend of Love on Tanabata customs implications. With the change of social and cultural context, the form of the story changed, and it was to render the plot of love, separation and reunions. Reunions is a kind of solace sorrow. Both men and women interaction problems facing society, social problems encountered in Confucianism which is a big problem, but people would find an opportunity for men and women to adjust relationships. This is the reason that the Tanabata festival custom becomes the main festival and the inner force of the spirit.The second part analyzes of the theme of the folk art from the mythical concept, modeling and artistic creation to clarify the interaction between the two. We pay more attention to modeling of folk arts of the story, and the richness of the modelling of imagination benefited from mythology. Myth exists in the structural units of primitive unconscious mental images or prototype, and it is not as a prototype of genetic information carrier with language symbol as the cultural information carrier forms. In human emotional experience, reconstruct plays an irreplaceable role. This is a kind of social heredity.The third part analyses Legend of Love from the perspective of from the "Motif" point of view, and pointed out that since the Tang dynasty onwards, with the "two brothers, white woman story fusion, re-generate a new motif. In this motif, the hero being honest, industrious, and heroine having textile skills, they married in small-scale peasant economy. The men also loved each other, although encounter difficulties, but ultimately it can meet a little comedy of the ending. Through the list in different times, spread in different parts of the different texts, draw a clear conclusion.The fourth part of the analysis that sexual gratification-helpless separation-reunion mode on the mode of Chinese literature, love, had a major impact. The two images came from heaven, and we have realized that although the final ending brings people pity, the story leads to reuniting the reunion.in the world it is another kind of modal from buddhist rebirth concept. Such life form gives the variation of love for the later mode of love literature from germination of seeds in love of literary creation as a kind of mode of existence which plays important influence.The fifth part reveals the influential motif of Legend of Love through the poetry of Tanabata theme analysis. The Tanabata festival became an important one which made poets write many poems. In these poems they depicted love between separate lovers.The fourth Chapter is based on the previous three chapters, using of modern aesthetic theory, and analyses that Legend of Love is a metaphor for the history and culture of love anxiety consciousness accumulation, rheological and externalization. The chapter has three parts.The first part analyses that Legend of Love in the transmission process to establish a wide range of non-governmental in nature, local forces will show Legend of Love a variety of content and form it demonstrated. This is a re-creation of the national collective personality, the heart and works as the repeated interaction that gave birth to a richer and more human, Legend of Love landscape Legend of Love as reflected in Love, anxiety consciousness, in spite of Bitter Love elements, but it will not lead to complete tragedy, compassion, joy of transformation makes it inevitable that the impact of later models of love towards a certain reunion the final result, while it was a symbol of depression, but in the context of Chinese culture, but he left a bright tail The second part of the analysis that Legend of Love Mode unable to fight the anxiety, they was unwilling to endure the reality on the right, but can not, as the western hero love tragedy of magnificent men and women approach to protest, then within the cultural context to find a compromise to achieve fantasy in the desire. This is the Legend of Love as well as under the influence of the Chinese love it stealth mode structure, where the hero of men and women love at first sight, and sexual gratification, is overjoyed. Clubbing mandarin duck, forced separation, is sorrowful. While modality in another life together, is a small hi. From this, Legend of Love and its influence on the pattern of love has experienced a hi to the grief, from sadness to joy the process, in this process, the comedy game with the tragic sense of anxiety on the one hand, Legend of Love generation and digestion of refraction, on the other hand we are looking for Chinese love for the tragic or comic factor provides a basis for living.At the same time, through the Legend of Love different forms of artistic expression, and different text analysis, interpretation, that any of Legend of Love re-creation of all women for the cattle love sense of anxiety heart again like a mold, mixed with the creator’s own aesthetic experience shadow. Legend of Love is just a floating signifier, sliding within the meaning of is the creator of the individual unconscious. Referring to the unconscious is sliding Creators of their own individual unconscious melt in the Legend of Love in appreciation, re-build the Legend of Love significance. And the individual unconscious can not be naturally popular, as the collective unconscious of cattle female love anxiety awareness, but also to a certain extent, had made the qualitative requirementsThe third part analysis the Legend of Love historical and cultural significance of building a modern metaphor, from the aspect of Chinese culture and the artistic spirit, and fields investigation methods level, it’s considered that only according to the folk heritage and acceptance level of audience, the historical and cultural metaphor and the hidden cultural philosophy, aesthetics, cultural studies factors in the Legend of Love are capable to be fully excavated. Consequently, the cultural patterns of the immediate significance can be established.更多还原