灵魂的修辞幻象构建——以广昌孟戏信仰为中心  

A Study of the Construction of the Rhetorical Phantasy of Spirit in the Perspective of the Meng Opera Faith

作　　者：陈忠猛 CHEN Zhongmeng(Center of Chinese Village Culture Studies, Central South University, Changsha 410083, China;School of Foreign Languages, Nanchang Normal University, Nanchang 330032, China)

机构地区：[1]中南大学中国村落文化研究中心,湖南长沙410083 [2]南昌师范学院外国语学院,江西南昌330032

出　　处：《云南民族大学学报（哲学社会科学版）》2021年第6期42-50,共9页Journal of Yunnan Minzu University(Philosophy and Social Sciences Edition)

摘　　要：宗教信仰一般被认定为戏曲发生、发展的源头、动力,其预设的逻辑是将宗教信仰降格为戏曲的一个因子,而并非研究对象的主体。事实上,从王国维推定戏曲发生的“巫觋说”,到田仲一成观察戏曲展演的“附体说”,都蕴含着一个共同的逻辑线索,即灵魂的修辞幻象。无论是从演员还是观众的角度,作为戏曲人物的灵魂都是不朽的,因为他们独立存在于(无形)剧本的能指之中,等待着仪式主持、戏曲演员源源不断注入话语与实践来唤醒、复活戏曲人物,制造灵魂的修辞幻象。从广昌孟戏的人物能指来看,人物灵魂的修辞幻象处于不同层级的话语时空中,但又能在戏曲的能指中实现穿越而彼此聚集、延续和循环,续写戏曲人物灵魂不朽的神话,构建孟戏信仰。Religious faith is generally considered as the source and power for the emergence and development of operas in China with the presupposed logic that religious faith is only a factor of the operas instead of the object of study itself.In fact,a clue of the common logic in the wizard theory by Wang Guowei as well as the haunted spirit theory by Tianzhong Yicheng is a rhetorical phantasy of spirit,that is,either from the perspective of performers or audience,the spirit of the characters in the opera is immortal because it independently exists in the signifiers of the play scripts,waiting for the officiates or actors to use their discourses to awake and revive the characters,making a rhetorical phantasy of spirit.From the signifiers of characters in Guangchang Meng Opera,the rhetorical phantasy of the spirit of the characters lies in different temporal-spatial discourses,realizing its transcendence through the signifiers in a continuously gathering and recycling way,and constructing the Meng Opera Faith in a myth of immortal spirits in such operas.

关 键 词：灵魂 修辞幻象 孟戏信仰 能指 

分 类 号：C95[社会学—民族学]