清末来华西人歌谣收集活动的文化史考察——以韦大列和何德兰为中心  

A Cultural History of Rhymes Collection Launched by Westerners in China in the Late Qing Dynasty:Focusing on Vitale and Headland

作　　者：湛晓白[1] 赵昕昕 ZHAN Xiaobai;ZHAO Xinxin

机构地区：[1]北京师范大学历史学院,北京100871

出　　处：《民俗研究》2021年第4期122-134,160,共14页Folklore Studies

基　　金：国家社科基金一般项目“新文化史视野下的民国国语运动研究”(项目编号:17BZS078)的阶段性成果。

摘　　要：早在1918年北京大学学者开启全国范围内的歌谣征集活动之前,意大利外交官韦大列和美国传教士何德兰就已经开始在北京收集儿童歌谣,并先后辑成《北京歌谣》和《孺子歌图》两部集子。韦、何二人接触中国歌谣的动机不尽相同,吸引前者的是蕴含在平民歌谣中的真挚情感、诗意和语言素材,触动后者的则主要是歌谣中的人情之美及其折射的中国国民性。二人在亲自收集整理的基础上对歌谣文化价值所形成的新观念,尤其是对童谣表达真挚情感这一特质的共同推崇,在深化西方汉学界对中国歌谣理解的同时,也为现代中国的歌谣运动提供了来自西方的合法性支撑。Long before scholars of Peking University launched a nationwide collection of rhymes in 1918,Italian diplomat Guido Amedeo Vitale and American missionary Isaac Taylor Headland had already collected childrenrhymes in Beijing and compiled two collections,Chinese Folklore:Pekinese Rhymes and Chinese Mother Goose Rhymes.Vitale and Headland have different motivations for involving themselves with Chinese rhymes.What attracts the former is the sincere emotion,poetry and language material contained in the folk rhymes,while what touches the latter is mainly the beauty of human feelings and the Chinese nationality in the rhymes.Their new ideas on the cultural value of rhymes formed on the basis of their personal collection and arrangement,especially their advocation of the special feature that children-rhymes express sincere emotions,not only deepened the understanding of Chinese rhymes in the Western Sinology,but also provided important"foreign aid"for the promotion of modern Chinese Folklore Movement.

关 键 词：韦大列 《北京歌谣》 何德兰 《孺子歌图》 歌谣运动 

分 类 号：I207.7[文学—中国文学] K252[历史地理—历史学]