子弟书说唱文学中牡丹意象的表演功能——兼谈子弟书对于还珠楼主创作的启发

发布时间：2018-12-13 05:21

【摘要】："花中之王"牡丹历来有"国色天香""富贵之花"美誉,子弟书唱本将中原牡丹文化既有的"女神(女仙)"追慕情结,赋予了满族民俗特征,形成大致八类互有联系的形象结构及功能。在中原文化满族化的过程中,子弟书承继了汉文化中牡丹意象的女性性别象征意味,突出了牡丹意象之于男女情爱表现尤其跨越人仙(鬼、妖)之恋的特长,通过神仙道化思想的展演,在说唱者与听众的结构性力场中,表现出清代中晚期"盛时不再"的感伤、困于"八旗生计"的满族下层民众萧索悲凉的情怀。但作为清代满族说唱曲艺活化石的子弟书,因其创作者、演唱者以及观众主要是"八旗子弟",在族群观念接受与传播过程中有意无意间"取形忘神",在说唱者与观众构成的互动链条中强化了"牡丹意象"的文化道具功能和满族人本诸等级观念。
[Abstract]:The "king of flowers" peony always has the reputation of "national color and heavenly fragrance" and "rich and noble flower". The children's books sing the "goddess (female fairy)" complex of the Central Plains peony culture, which endows the Manchu folk custom characteristic. Form about eight kinds of interrelated image structure and function. In the process of Manchu culture in the Central Plains, the children's books inherited the female gender symbol of the peony image in the Han culture, and highlighted the special strength of the peony image in the expression of love between men and women, especially beyond the love of the immortals (ghosts and demons). Through the exhibition of the immortal Taoism thought, in the structural force field of the rapper and the audience, it shows the feelings of "no longer in the prime time" in the middle and late Qing Dynasty, and the melancholy feelings of the lower Manchu people trapped in the "eight banners' livelihood". However, as the children of Manchu living fossils of rap and singing in the Qing Dynasty, because its creators, singers and audience are mainly "eight banners' children", in the course of the acceptance and dissemination of ethnic ideas, they intentionally or unintentionally "take shape and forget the gods." In the interactive chain between the rapper and the audience, the cultural props function of "peony image" and the hierarchy of Manchu people are strengthened.
【作者单位】：大连大学语言文学研究所;
【基金】：国家社会科学基金项目“还珠楼主小说母题古今演变研究”(项目编号:16BZW114)
【分类号】：I207.39

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