摘要
在文字被发明之前,口传是人类唯一的文化传承方式,口头传承保证了一个族群的起源、历史、文化、宗教以及一切生活智慧的延续.苗族《五帝歌》是苗族在苗疆地区用苗语对唱吟诵的古歌,属于"活态口头诗学".苗族古歌虽以"五帝"为题,但其歌谣内容却包括三皇:伏羲、女娲、神农;六帝:黄帝、少昊、颛顼、尧帝、舜帝.通过苗族《五帝歌》拟解决以下几个议题:一是伏羲生母身居之地,伏羲出生之地,以及伏羲"蛇身人面"之由;二是女娲神话情节的重组与新神话谱系的建构;三是神农史事敷演到文学创作的跃迁;四是《五帝歌》所述的黄帝、少昊、颛项、高辛、尧帝、舜帝,其本事与《五帝本纪》和《帝王世纪》略有出入,属于民间流传的口述文本,通过异同辩证,发现苗族古歌在采史入歌中对不同史料的裁剪方式和异于传统的文化心理.
Abstract
Before the invention of writing,oral transmission was the only way to transmit cultural inheritance from one generation to the next.Oral transmission ensured the continuity of the origin,history,culture and religious beliefs of a given ethnic group.The song of the five emperors of the Miao is an ancient song sung in the region by the Miao people in their own language,and is thus a continuation of the ancient oral poetics of knowledge transmission.Although the title of the ancient Miao song is"Five Emperors",its balladic content mentions variously the Three Emperors:Fuxi,Nuwa,Shennong;Six Emperors:the Yellow Emperor,Shaohao,Zhuanxu,Gaoxin,the Yao Emperor and the Shun Emperor.This project seeks to address the following issues:first,to clarify the place where Fuxi's biological mother lived,the place where Fuxi was born,and the reason why Fuxi is known as"snake body human face".Second,to examine the reorganization of the plot of the Nuwa myth and thus the construction of a new myth.Third,to trace the transition from Shennong's historical events to their transformation into a literary creation.Fourth,to shed light on why the abilities of the Yellow,Shaohao,Zhuanxu,Gaoxin,Yao and Shun emperors are described in the Miao version of the song as being slightly different from those in listed the Book of the Five Emperors and the Emperor's Century.These works belong to the oral texts circulated among the people.We find that the ancient songs of the Miao are cut from different historical materials and were thus different from the prevailing contemporary methods of collecting history into songs.
NETL
NSTL
万方数据