本文選題：馬坪壯歡 + 情感文化��； 參考：《廣西師范大學(xué)》2015年碩士論文

【摘要】：壯族民眾用歌代言、以歌傳情,歌唱成為他們?nèi)粘Ｉ畹暮诵慕M成部分。鑒于此,歌謠研究成為壯族社會(huì)研究的重要切入點(diǎn),然而以往學(xué)者大多關(guān)注的是歌謠源流、傳承機(jī)制和社會(huì)功能以及文化價(jià)值等方面,忽視了歌謠映射出的情感文化。實(shí)際上,歌唱作為情感展演活動(dòng)之一,不僅直接指向心理層面的情感表達(dá),而且還通過情感資源的交換實(shí)現(xiàn)了自我的內(nèi)在與外在、自我與他者、人與神、個(gè)人與社會(huì)之間的互動(dòng)目的。歌詠文化的發(fā)展使得人類學(xué)有關(guān)情感的研究理論和方法呼之欲出,情感研究不再屈居于社會(huì)科學(xué)研究的工具地位而躍然擁有了獨(dú)立自主性。情感人類學(xué)將情感放置在宏大的社會(huì)背景中,情感不再只是個(gè)人事件,這使得情感成為了解社會(huì)體系的路徑,確立了情感實(shí)踐的社會(huì)合法性。通過對(duì)情感反應(yīng)異同的描述和分析,研究者辨識(shí)出情感和文化習(xí)俗、社會(huì)關(guān)系之間的交互作用,這不僅促進(jìn)了人類學(xué)的整體發(fā)展,而且也對(duì)全面認(rèn)識(shí)人類社會(huì)具有重要意義。壯歡的情感人類學(xué)分析突破了以往民歌研究的理論和方法向度,它跨越了以往分別對(duì)個(gè)體情感的生理——心理過程和社會(huì)中的文化進(jìn)行分析的界限,在民族志的基礎(chǔ)上提供了研究情感經(jīng)驗(yàn)、文化體系和社會(huì)結(jié)構(gòu)以及三者關(guān)系的別樣視角。馬坪這個(gè)名不見經(jīng)傳的村落將開啟壯族民歌的情感人類學(xué)研究新視域。雖然具體情感的生發(fā)是個(gè)體感官機(jī)制運(yùn)行的結(jié)果,但是情感的表現(xiàn)和再現(xiàn)卻根基于地方性知識(shí),情感反應(yīng)與特定的人群和社會(huì)情境產(chǎn)生關(guān)聯(lián)。因此人類學(xué)的情感研究要求研究者進(jìn)行民族志書寫,在當(dāng)?shù)匚幕陌鼑信c“局內(nèi)人”共同積蓄情感能量,領(lǐng)悟一系列相關(guān)的社會(huì)事實(shí)中的情感內(nèi)涵。研究者需要帶著“同情”走入壯歌的海洋,了解馬坪當(dāng)?shù)厝说那楦性V求,分享他們的感受方式,了解他們自我對(duì)情感刺激和人際關(guān)系的敘述,避免研究者對(duì)當(dāng)?shù)卣J(rèn)知圖式的客位想象和曲解,從而彰顯被研究者的主體性,成就研究者和研究對(duì)象的主體間性。人們?cè)谇楦械尿?qū)動(dòng)下進(jìn)行著微觀或者更高層次的互動(dòng)交往。情感首先是內(nèi)在于個(gè)人心靈的,因此馬坪壯歡的情感人類學(xué)分析以個(gè)人主體性的情感表達(dá)為緣起,通過展現(xiàn)歌唱行為中的生命意識(shí)和心路歷程來(lái)探討個(gè)體與他者、社會(huì)如何實(shí)現(xiàn)互動(dòng)以及這種互動(dòng)如何建構(gòu)和再建社會(huì)關(guān)系。壯族民歌促使民眾,尤其是女性,不斷尋求和確認(rèn)性別身份認(rèn)同,它最終是“向外”的。這種外向性表現(xiàn)在：其一,兩性關(guān)系上,歌唱成為兩性實(shí)施情感策略的媒介。情歌搭建起壯族社會(huì)婚戀的橋梁,然而情感與道德間的不完全契合性提供了真情與戲謔的暖昧空間。其二,社區(qū)內(nèi)部生活中,儀式情境和日常情境中的歌唱事件都作用于馬坪社群情感和社區(qū)關(guān)系的維護(hù)和調(diào)整。其三,民俗社區(qū)以外,主要體現(xiàn)為“社區(qū)整體自我”與文化同質(zhì)區(qū)內(nèi)的“邊緣人”、真正來(lái)自于社區(qū)以外的“他者”以及國(guó)家力量的互動(dòng)。馬坪壯歡作為復(fù)興后的傳統(tǒng)被搬上了表演舞臺(tái),它不僅展現(xiàn)了現(xiàn)代化影響下的文化變遷過程,更極力發(fā)揮情感外交的優(yōu)勢(shì),企圖平衡情感、文化資本和政治、經(jīng)濟(jì)資本以及民間社會(huì)和國(guó)家權(quán)力之間的關(guān)系。民俗不再只是“歷史遺留物”,馬坪壯歡的情感人類學(xué)體現(xiàn)了社會(huì)科學(xué)的人文關(guān)懷,提供了理解文化和社會(huì)關(guān)系的場(chǎng)域,同時(shí)也有助于調(diào)整現(xiàn)代生活方式中的失衡狀態(tài)。
[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.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：I207.7

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