北京师范大学2003年博士学位论文摘要

论文题目： 《史诗传统的田野研究：以诺苏彝族史诗“勒俄”为个案》
毕业学校： 北京师范大学文学院中文系
专 业： 民俗学, 研究方向：民间文艺学；2003年7月获法学博士学位(民俗学)
导 师： 钟敬文教授、刘魁立教授

中文摘要

　　本文由绪言、引论、正文五章和结束语构成；作为论文阐述的补充性说明，文中附有图表78幅；文后附有《本文常用彝语术语词汇对照表》、史诗演述样例3种、摘选的田野访谈和田野笔记，以及主要参考文献目录。

　　绪 言

　　交待论文问题的提出、田野研究的理论视角和个案研究的技术路线，报告田野过程与田野取证的操作方式和资料来源。鉴于论文的工作方向，依据笔者在田野过程中对地方知识的体认与理解，在对民间史诗话语与相关语汇进行语义分析与归纳概括的基础上，抽绎并简释关系到本文立论与表述的民间文化传统的部分术语。

　　引 论

　　在对涉及本课题的国内外学术史进行梳理和反思的过程中，结合田野研究中的史诗演述传统的实际存在，对史诗汉译本《勒俄特依》的文本转换及其工作流程提出质疑，从而概括出在这一过程中存在的“民间叙事传统格式化”问题及其对学术研究的影响，并在相关学术批评尺度的讨论中检讨“彝族史诗传统格式化”的种种弊端。由于“格式化”问题出现在中国民间文艺学发展中的特定历史阶段，并带有相当的普遍性，我们作出的探讨和解析，既针对史诗田野研究与口头叙事传统的文本转换问题，同时也希望引起整个民间文艺学界乃至民俗学界的关注。

　　第一章 田野的发现

　　以笔者多年的田野定点观察与追踪调查为线索，回溯笔者从文本走向传统的田野经历，以期说明史诗田野研究个案的基本思路及其形成过程，正是来自义诺彝区腹地的民俗文化传承，来自山地社会鲜活生动的史诗演述传统。而这些真切感受和学理性思考，则是逐步建立在笔者对山地仪式生活、史诗传统语域、社会话语空间等问题的索解过程之中的，进而也引领着论文作者在“自观”与“他观”的双重视野中，逐步走向田野研究的学术实践。

　　第二章 史诗演述人的发现

　　基于诺苏彝族史诗的传承轨范，我们将史诗传承人这一特定群体从概念上界定为“史诗演述人”。通过发现并跟访一位在口承传统与书写文化中成长起来的史诗传承人──曲莫伊诺，我们从家支文学传统、史诗传承机制、史诗演述人的“习毕”学艺经历与表演实践等层面，提出了若干学理性的思考，其中涉及到口头叙事的民间记忆与民间技艺，演述人的天赋、才艺和特殊的定向训练过程，史诗传承的“文化空间”与其内在规定性等问题。

　　第三章 史诗“勒俄”的文本形态与传统法则

　　从历时性的书写传承到现时性口头表演，逐步深入到史诗传统内部的运作机制中去解读民间的史诗话语与史诗观念，从以下几个层面进行文化义理的深掘，阐扬诺苏史诗传统的基本法则：第一，“勒俄”作为史诗传统并非是“一部作品”，其初始语义应还原为“口耳相传的族群叙事”，被诺苏彝人视为“历史的根谱”；第二，“勒俄十九枝”是史诗演述的叙事型构，堪称是诺苏史诗叙事“生命树”的主干与枝柯，前有“勒俄述源”作为叙事的开端，后有“布茨叙谱”作为叙事的连续性实现，由此构造了史诗演述的基本叙事框架；第三，从“万物雌雄观”与史诗叙事的文化象征体系，阐释了“勒俄”文本的公／母之别，并将之界定为史诗的文本性属与文本界限；第四，从文化传统与社会心理解析了史诗叙事的黑／白之分，由此框定了史诗的叙事界域——这是由仪式语境与传统语域所制导的；第五，从史诗抄本的版本系统和传播路线，探讨了史诗异文的界定原则。诺苏史诗传统的基本法则的发现、归纳和总结，当是我们田野研究的重要成果之一。

　　第四章 口头论辩中的史诗演述

　　首先，从口头论辩过程中互为关联的两个阶段（路下方和路上方）入手，揭示了即兴辞辩与史诗演述之间的密切联系，说明民间的史诗演述与口头论辩活动始终是融为一体的；其次，强调了史诗叙事的原典性原则；该原则虽然总结自特定传统，但具有相当的通约性，能够指涉民间表演的普遍问题。再者，原典性原则很好地说明了史诗异文的研究方法和目的。最后，认定“克智”论辩的兴起和传承，在客观上激活了史诗演述的口头传播和动态接受，使史诗传承人脱离了各种文本的制约而走向面对面的社群，并在特定的竞争机制中不断提高自己承继传统的口头创编能力与表演艺术，从而促进了史诗传统的长期流布和动态发展。

　　第五章 仪式与史诗：叙事语境和演述场域

　　以史诗演述的仪式化叙事语境为出发点，提炼出“演述场域”这一重要的田野研究视界，论证了田野观察中不可或缺的“五个在场”要素。演述场域的拟构，具有确立田野研究新范式的意义，它涉及研究传统文化的基本学术取态和研究者的主体能动性，涉及从田野到文本的学术转换和学术表述等环节。“演述场域”的理论性总结，不仅是方法论问题，而且也是知识论问题，期望它能有助于廓清学界在田野─文本之间产生的一些模糊认识。

　　以上各章，通过一个地区──义诺彝区腹地美姑县──的史诗传承及其深隐的话语世界，通过一位传统中的史诗演述人──曲莫伊诺及其习毕学艺和表演实践，通过理解地方知识与民间话语中的史诗本体观念及其传统法则的深刻表达，通过“克智”口头论辩传统与史诗演述的内在机制、运作方式及特定的口头艺术过程，通过山地社会的仪式化叙事语境与史诗田野研究中的演述场域的确定，我们逐一讨论了史诗田野、史诗传承人、史诗传统法则、史诗演述的生命情态等互为关联的重要问题，并在此基础上，提出建立观察与捕捉口头叙事的本质性表现的研究视界。这些有关史诗传统本质性规律的学理性思考与相关术语的提炼，正是本文作为田野个案研究的意义所在。

　　关键词：

　　诺苏彝族 史诗“勒俄” 田野研究 史诗传统法则 口头论辩 史诗演述 演述场域

英文摘要

Theme: A Field Study of Epic Tradition: Nuosu Epic Hnewo as a Case
Author: Bamo Qubumo, female, born in April 24, 1964, became student of Professor Zhong Jingwen and Professor Liu Kuili in 1998, graduated from Beijing Normal University July 2003, obtaining a doctoral in Law.

Abstract

　　The present dissertation is based on a long-term field study concerning the indigenous oral traditions of the Nuosu, a subgroup of the Yi ethnic group who live in the Great Cold Mountains of southwest China. The study provides an in-depth look at the epic tradition known in Nuosu as “hnewo.”

　　In Introduction, the author begins with a survey of academic achievements in Yi epic studies in China and abroad. In particular, the author interrogates the processes of the epic textualization over the past half century in China, and generalizes on the limitations of the “formatted” approach that places texts of oral narratives in improperly subjectified formats. This problematic approach namely “formatted texts beyond traditional rules of oral narratives”, widely adopted by Chinese folklorists in collecting, collating, translating, and printing folk texts, has led to seriously misreadings and misunderstandings of Nuosu epic texts and gone far away from its living performance traditions. This is the very start point of undertaking a field study of living epic tradition with a reflection on the history of epic scholarship in China. That"s why the author claims for another approach: going into the Cold Mountains to discover epic fields, to discover epic tradition in native land.

　　Chapter one “Discover the Field of Epic Tradition in Meigu” deals with the notion of the ‘epic," and with the abundance and diversity of epic narratives from data procured came from long-term observation in Yynuo lands, a sub-dialect region of Nuosu Yi. By taking the well-known epic Hnewo as a specific case, the author raises the following questions--questions that she encountered when attempting to mediate interpretive tensions that exist between the Nuosu"s own ethnopoetic conception of their verbal art and scholars" conception of "epic": How do the local people, who are deeply rooted in native traditions, articulate and name the central genres, poetic tenets, and modes of transmission within their local epic traditions of oral performance? How does this terminology inform a phenomenon that we might call epic law in ‘local knowledge"? How do scholars from different academic perspectives think about their own institutional canon in light of the indigenous traditions? What is the place of a native scholar"s ground within his/her own tradition and beyond? The case of epic Hnewo is considered in terms of a) the basic story-patterns of epic narrative and emergent flexibility; b) the difference and connection between the rhapsody and the whole epic performance that inform this particular realization of narrative continuity primarily determined by ritualized situation; and c) the situated performance not only demands of a closing responsive and perceptive attention to bearers of epic tradition, but also a prudent field study of folklore in context with new tracking on epic register and traditional referentiality.

　　Chapter two entitled “Discover the epic performer Qumo Yynuo”, with the process of field study, the author takes steps by interviews with an outstanding epic performer Qumo Yynuo who is also a ritualist bimo with a background of 14 generations" priest genealogy and follows up his footprints in ritualized performance on the spot. Having probed into the mechanisms of epic transmission and acquisition by examining the performer"s learning experiences and skill analysis training as a developed epic performer, we conclude that both the traditions of orality and literacy contribute to the cultivation of a Nuosu epic performer. Moreover, the author delves into questions concerning folk memory and the individual repertoire of oral narrative performance, the role of natural talent and cognitive competence in the development of an epic performer, the cultural space of epic transmission, and so forth. What was the most stimulated this field study is the performers" performing personalities and the traditional ways scrupulously abide by these bearers of epic tradition.

　　In Chapter three, the author provides a comprehensive examination of hnewo epics in regards to textual morphology and indigenous conception of epic traditional rules. Five major points are explored: 1) Hnewo is not a single epic work; rather it is a multi-faceted tradition; 2) nineteen branches of the hnewo tradition form the trunk of the epic narrative “tree”; 3) textual hnewo exist in two aspects, namely female and male, that define the different categories and characteristics of various branches of the textual tradition, epic traditional texts mostly in hand-copied formats circulated both in religious ritualists bimo and in common folk; 4) hnewo in oral narratives also have “black” and “white” aspects, indicating the narrative boundaries, determined by the ritualized context and traditional registers; 5) epic transmission, distribution, and copies for the record or for reproduction with systematic manuscripts derived from historically local rules are core elements in defining epic variants. Above all, this is first time in the field of Yi epic studies that make clear from local epic law: there have been two sets of epic terminologies in Nuosu tradition, the female/male refers to epic written texts (hand-copied books, transcriptions, or bimo"s scriptures; the black/white refers to oral epic narratives.

　　In chapter four, a kind of the ritualistic flyting or verbal-dueling known in Nuosu as kenre is recognized for the first time as a key device for carrying out hnewo epic performance. The author shows that Nuosu epic performance always takes place in conversational, dialogic discourse between host-guest relationship with perfervid competition. The “flyting scenes” and “contest paradigm” displayed in different ways of singing or dueling (in poetic framework, never prosaic). Kenre dueling stimulates the oral transmission of the epics and involves the active acceptance on the part of the audience. The dueling enables performers to step out the shadow of the written, memorized texts and perform face-to-face in the community. The dueling it also provides performers with “battlefields” to compete with and learn from each other. Through the emergent nature of kenre dueling, aspects of the epic tradition grow and develop.

　　In chapter five, the author combines analysis of the ritualized narrative context of epic performance with various global academic theoretical traditions of orality and performance folkloristics to derive an approach involving the recognition of “Situated Fields of Epic Performance” for gaining a more complete understanding of the hnewo tradition. The approach demands “five basic factors in co-presence” related to fieldwork, textualization, and interpretation: 1) performing tradition, 2) performing event, 3) audience (in face-to-face textual community of oral epic), 4) performer (in Nuosu epic tradition there must be at least two opponent performers in verbal dueling), and 5)researcher. These “five factors in co-presence” and their synchronous dimension in interrelation play a crucial role on how a researcher would grasp traditional epic performance determined by different events-- in Nuosu society there have been three ritualized contexts: 1) wedding ceremony, 2) creamation rites, and 3) the ritual of sending the dead to ancestral holy land whereas differing from related six sub-contexts --keep changing in emergent shift. And then, the author provides two conditions for a “correlative principle”: firstly, all of the five factors must be present, or operative, or functional, and secondly, none of the five factors may be ‘in opposition" to the local epic tradition. “Situated Fields of Epic Performance” aims at constructing not only a positively practical model for observing and textualizing epic traditions, but also an epistemological approach that will be useful in understanding other traditions of oral performance in China. On the folkloristic ground of “thick” descriptions of text, context, and situated processes of performance, this renew approach, which builds on performance-observing model with folkloristic interest, it is subjective, determined by researcher, which will be especially useful for analyzing longer narrative of living verbal art, for producing a performance-centered text in rich details, including oral epic traditions among other ethnic groups, which differ significantly from the Nuosu hnewo tradition.

　　Hnewo is proved a vital, dynamic treasure of Nuosu verbal arts. Accordingly, what the author found in the field study is presented in the dissertation writing. It is a study based on records and reports in style of ethnographic writing of cultural thematic discovery. Having examined certain concepts derived from theoretical orientations in the field of western folkloristic theories, cultural studies and sociological thoughts, especially oral tradition, ethnopoetics, orality and literacy, performance approach etc., the author, as a result, inspired by some important ideas, further refines a set of theoretical terms based on redefine the definitions of key terms that came from local knowledge and native discourse in Nuosu epic tradition, and then applies those renewed terms with folkloristic interpretation to account for narrative rules and epic law that pre-existing in Nuosu"s conceptions involved.

　　The present dissertation consists of a preface, an introduction, and five main chapters with 80 illustrations, in addition to an epilogue and appendices. The appendices include transcriptions of certain parts of the epic hnewo, selected field interviews, relevant field notes and a Yi glossary of terms used in the present dissertation.

　　Key Words:

　　Nuosu epic hnewo-epic traditional law-living oral performance-verbal arts- epistemological approach