情重网密：马坪壮欢的情感人类学分析

发布时间：2018-06-22 00:01

本文选题：马坪壮欢 + 情感文化　；参考：《广西师范大学》2015年硕士论文

【摘要】：壮族民众用歌代言、以歌传情,歌唱成为他们日常生活的核心组成部分。鉴于此,歌谣研究成为壮族社会研究的重要切入点,然而以往学者大多关注的是歌谣源流、传承机制和社会功能以及文化价值等方面,忽视了歌谣映射出的情感文化。实际上,歌唱作为情感展演活动之一,不仅直接指向心理层面的情感表达,而且还通过情感资源的交换实现了自我的内在与外在、自我与他者、人与神、个人与社会之间的互动目的。歌咏文化的发展使得人类学有关情感的研究理论和方法呼之欲出,情感研究不再屈居于社会科学研究的工具地位而跃然拥有了独立自主性。情感人类学将情感放置在宏大的社会背景中,情感不再只是个人事件,这使得情感成为了解社会体系的路径,确立了情感实践的社会合法性。通过对情感反应异同的描述和分析,研究者辨识出情感和文化习俗、社会关系之间的交互作用,这不仅促进了人类学的整体发展,而且也对全面认识人类社会具有重要意义。壮欢的情感人类学分析突破了以往民歌研究的理论和方法向度,它跨越了以往分别对个体情感的生理——心理过程和社会中的文化进行分析的界限,在民族志的基础上提供了研究情感经验、文化体系和社会结构以及三者关系的别样视角。马坪这个名不见经传的村落将开启壮族民歌的情感人类学研究新视域。虽然具体情感的生发是个体感官机制运行的结果,但是情感的表现和再现却根基于地方性知识,情感反应与特定的人群和社会情境产生关联。因此人类学的情感研究要求研究者进行民族志书写,在当地文化的包围中与“局内人”共同积蓄情感能量,领悟一系列相关的社会事实中的情感内涵。研究者需要带着“同情”走入壮歌的海洋,了解马坪当地人的情感诉求,分享他们的感受方式,了解他们自我对情感刺激和人际关系的叙述,避免研究者对当地认知图式的客位想象和曲解,从而彰显被研究者的主体性,成就研究者和研究对象的主体间性。人们在情感的驱动下进行着微观或者更高层次的互动交往。情感首先是内在于个人心灵的,因此马坪壮欢的情感人类学分析以个人主体性的情感表达为缘起,通过展现歌唱行为中的生命意识和心路历程来探讨个体与他者、社会如何实现互动以及这种互动如何建构和再建社会关系。壮族民歌促使民众,尤其是女性,不断寻求和确认性别身份认同,它最终是“向外”的。这种外向性表现在：其一,两性关系上,歌唱成为两性实施情感策略的媒介。情歌搭建起壮族社会婚恋的桥梁,然而情感与道德间的不完全契合性提供了真情与戏谑的暖昧空间。其二,社区内部生活中,仪式情境和日常情境中的歌唱事件都作用于马坪社群情感和社区关系的维护和调整。其三,民俗社区以外,主要体现为“社区整体自我”与文化同质区内的“边缘人”、真正来自于社区以外的“他者”以及国家力量的互动。马坪壮欢作为复兴后的传统被搬上了表演舞台,它不仅展现了现代化影响下的文化变迁过程,更极力发挥情感外交的优势,企图平衡情感、文化资本和政治、经济资本以及民间社会和国家权力之间的关系。民俗不再只是“历史遗留物”,马坪壮欢的情感人类学体现了社会科学的人文关怀,提供了理解文化和社会关系的场域,同时也有助于调整现代生活方式中的失衡状态。
[Abstract]:In view of this, the study of ballad has become an important entry point for the study of the Zhuang society. However, most of the previous scholars paid attention to the origin of ballad, the inheritance mechanism and social function as well as the cultural value and so on, ignoring the emotional culture that the ballad mapped. In fact, singing, as one of the emotional events, not only directly points to the emotional expression of the psychological level, but also realizes the interaction between self and external, self and other, man and God, individual and society through the exchange of emotional resources. The development of singing culture makes anthropological theories and methods about emotion related to emotion. Emotional anthropology no longer lives in the status of the tool of social science research and has independence. Emotional anthropology puts emotion in a grand social background, emotion is no longer a personal event, which makes the emotion become the path to understand the social system and establish the social legitimacy of emotional practice. The description and analysis of the similarities and differences of sense reaction, the researchers identify the emotional and cultural customs, the interaction between social relations, which not only promotes the overall development of anthropology, but also is of great significance to the overall understanding of human society. On the basis of ethnography, it provides a different perspective on the study of emotional experience, cultural system and social structure and the relationship between the three parties on the basis of ethnography. The unseen village in Ma Ping will open the new emotional anthropological study of the Zhuang folk songs. Although the birth of the specific emotion is the result of the operation of the individual sensory mechanism, the expression and reproduction of the emotion are based on local knowledge, and the emotional response is related to the specific population and social situation. Therefore, the emotional study of anthropology requires the researchers to write national records, and the "insider" in the encirclement of local culture. Together to accumulate emotional energy and comprehend the emotional connotations of a series of related social facts, researchers need to take "sympathy" into the sea of Zhuang songs, understand the emotional appeals of the local people of Ma Ping, share their feelings, understand their own emotional stimuli and interpersonal relationships, and avoid the local cognitive schema. It shows the subjectivity of the researchers and the intersubjectivity of the researcher and the object of the study. People carry on the interaction of the micro or higher levels under the drive of emotion. The emotion is first within the individual's mind, so the emotional anthropological analysis of Ma Ping Zhuang Huan is expressed as the emotional expression of personal subjectivity. The origin is to explore the interaction between the individual and the other by showing the life consciousness and the heart course in the behavior of singing, and how the society constructs and reconstructs the social relations. The Zhuang folk songs urge the people, especially the women, to seek and confirm the gender identity, which is finally "outward". First, in the relationship between the sexes, singing becomes the medium of the sexual emotion strategy of the sexes. Love songs build the bridge of marriage and love of the Zhuang society. However, the incomplete agreement between emotion and morality provides the real and banter space. Secondly, in the life of the community, the ceremonial situation and the singing events in the daily situation are all responsible for the Ma Ping Community. Third, the folkloric community is mainly embodied in the "community self" and the "marginal person" in the cultural homogeneity area, which really comes from the "other" outside the community and the interaction of the state power. The cultural vicissitude under the influence of generation is more exerting the advantage of emotional diplomacy, trying to balance emotion, cultural capital and politics, economic capital and the relationship between civil society and state power. Folklore is no longer only "legacy of history", and the emotional humanscience of Ma Ping Zhuang embodies the humanistic care of social science and provides understanding. The field of culture and social relations also helps to adjust the imbalance in modern life style.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.7

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