文学人类学视域下雪漠小说中的歌谣  

Ballads in Xue Mo's Novels from the Perspective of Literary Anthropology

作　　者：景莹[1] JING Ying(School of Liberal Arts, Nantong University, Nantong 226019, China)

机构地区：[1]南通大学文学院,江苏南通226019

出　　处：《长春大学学报》2021年第5期55-61,共7页Journal of Changchun University

基　　金：国家社会科学基金项目(15BZW142)。

摘　　要：甘肃“花儿”与凉州贤孝,均是以口头形式存在的民间艺术,作家雪漠将其大量运用于小说创作中,是其文学人类学视角下的有意为之。在传统乡村和族群记忆边缘化的今天,雪漠将民族文化和地域文化作为其小说的标识,也就标记了小说文本的民族志特点。歌谣作为故乡文化符号的体现者,“花儿”和贤孝分别扮演着私人生活场域和公共文化符号,它们成为作家文化认同和价值认同的言说者。同时,歌谣作为民间文化的代言者,因其大胆泼辣的言说,作家赋予它以现代性特征,由此,歌谣不再是民间直率、谐趣的审美因素,而是审视现实的评判尺度,这使歌谣具备了双重价值意义。“Hua'er” in Gansu and Xianxiao in Liangzhou are folk arts that exist in oral form. Xue Mo's extensive use of them in his novel creation is a deliberate act of the writer from the perspective of literary anthropology. Nowadays, when the memory of traditional villages and ethnic groups is marginalized, Xue Mo regards ethnic culture and regional culture as the mark of his novels, which also identifies the ethnographic characteristics of the novel text. As the embodiment of cultural symbols in their hometown, ballads of “Hua'er” and Xianxiao act as private life field and public cultural symbol respectively, and they become the writers’ cultural identity and value identity speakers. At the same time, ballads as the spokesperson of folk culture are characterized with modernity by the writers due to their bold and violent speech. As a result, ballads are no longer aesthetic factors that are straightforward and humorous among folks, but a judgment yardstick for examining reality, so that ballads have double value meanings.

关 键 词：文学人类学 雪漠小说 歌谣 

分 类 号：I207.425[文学—中国文学]