洪命熹文學(xué)的民俗化傾向與特征
發(fā)布時(shí)間：2018-08-31 15:27
【摘要】：洪命熹的長(zhǎng)篇小說《林巨正》在朝鮮-韓國(guó)文學(xué)史上的意義可以跟中國(guó)的《水滸傳》相媲美。小說雖然寫的是歷史題材,但蘊(yùn)藏著朝鮮政治、社會(huì)及民問文化方面的既龐大而又豐富的內(nèi)容。洪命熹1928年11月21日開始在《朝鮮日?qǐng)?bào)》上連載歷史長(zhǎng)篇小說《林巨正》,經(jīng)過了長(zhǎng)達(dá)13年的連載,雖然最終沒能收尾,但是這部小說在朝鮮-韓國(guó)近現(xiàn)代文學(xué)史上的意義不可磨滅。洪命熹在創(chuàng)作《林巨正》時(shí)就曾說過“要寫出一系列有關(guān)朝鮮情調(diào)的作品”。按照作家的說法作品不僅在文體方面體現(xiàn)了朝鮮古代故事情節(jié)的韻味,而且對(duì)傳統(tǒng)文化的審視帶給了讀者不少趣味。洪命熹在作品中以世俗化的風(fēng)格特征淋漓盡致地描寫了古代朝鮮社會(huì)的風(fēng)俗習(xí)慣及人民群眾的精神面貌,帶給了日本殖民地下的朝鮮民眾心靈上的慰藉,克服了以往歷史小說自帶的貴族氣息,指明了朝鮮近代歷史小說發(fā)展的新方向。 朝鮮傳統(tǒng)文化整體上分為兩個(gè)部分：官方文化(上層文化)和民間文化(下層文化)。民間文化處于傳統(tǒng)文化結(jié)構(gòu)體系的下層,普遍存在于廣大民眾中,是朝鮮傳統(tǒng)文化的根基。無論是文化經(jīng)典還是主流文化都屬于傳統(tǒng)文化中的上層文化,它們都隸屬于傳統(tǒng)文化并占據(jù)一定的比例,但不能夠概括傳統(tǒng)文化的全貌。從這一角度說,《林巨正》脫離了以往歷史小說的弊端,不僅講述了上層社會(huì)的文化更在民眾生活中提取素材描寫了豐富多彩的下層文化。 民俗和文學(xué)的究其產(chǎn)生,常常是二者合一,相生相伴的。民俗不僅是文學(xué)的中介和淵源,而且是作家創(chuàng)作文學(xué)的豐厚土壤。一方面,文學(xué)根植于現(xiàn)實(shí)生活土壤,而生活中處處可見民俗、風(fēng)尚,可以說民俗習(xí)慣是人們生活的真實(shí)寫照,是人類生活中普遍的一種社會(huì)存在。正因?yàn)槊袼椎挠|角伸向了生活的領(lǐng)域,所以任何人不但無法脫離開民俗的約束圈,而且在人們的生活經(jīng)歷和性格、氣質(zhì)的形成過程中都不可避免地受著民俗的左右及影響。于是,作家在反應(yīng)社會(huì)生活時(shí)也就必然地在其作品中程度不同地溶注進(jìn)廣泛的民俗事象。文學(xué)作品如果脫離開了與人們生活密切相關(guān)的社會(huì)風(fēng)俗,就會(huì)缺少生活氣息。豐富多彩的風(fēng)俗習(xí)慣是文藝創(chuàng)作需要截取的生活素材,是作家取用不盡的創(chuàng)作源泉,綿延傳承的傳統(tǒng)風(fēng)尚又是文學(xué)作品深廣的文化背景。文學(xué)作品中有關(guān)民俗事象的詳細(xì)記錄和生動(dòng)描摹不僅豐富了作品的思想內(nèi)容,而且有利于民俗文化的傳承和發(fā)展。 總之,由于民俗存在于一個(gè)民族的歷史長(zhǎng)河里,豐富的民俗事象反應(yīng)了社會(huì)的豐富性、復(fù)雜性。由于民俗在人們的生活中占有重要地位,它多方面影響著人們的物質(zhì)生活和精神生活。民俗又是民族心理的重要表現(xiàn),是民族生活、民族文化的反應(yīng),因此,作為反應(yīng)一個(gè)民族的社會(huì)歷史生活的語言文學(xué),自然與民俗息息相關(guān)。 民俗文化學(xué)是民俗學(xué)與文化學(xué)兩種主體學(xué)科交叉而產(chǎn)生的一種復(fù)合視角。以民俗文化學(xué)視閾觀照洪命熹文學(xué)與傳統(tǒng)文化這一課題的學(xué)術(shù)價(jià)值和意義在于：以民俗文化為主體透視點(diǎn)來整理梳理《林巨正》與傳統(tǒng)文化的關(guān)系,透過民眾日常生活中的人情風(fēng)俗、四十節(jié)慶、民間信仰與宗教以及民問藝術(shù)等方面的民俗文化,顯現(xiàn)洪命熹筆下復(fù)合著的歷史、社會(huì)、心理多種元素的民族文化縮影；以民俗學(xué)為中心,多種學(xué)科混合交叉的研究方法使民俗文化成為一個(gè)豐富的文化場(chǎng)域,富含多種視界,能夠?yàn)檠芯亢槊鋸?fù)雜的文化行為提供多學(xué)科的混合交叉視角,研究者便于在視角的自由調(diào)換中對(duì)洪命熹與傳統(tǒng)文化的精神交接與碰撞,既能夠宏觀的整體把握又可集中的尋微探幽；研究過程中以動(dòng)態(tài)的模式將《林巨正》的民俗文化作為問題主題加以顯現(xiàn)。寫作的過程也是一個(gè)驗(yàn)證求實(shí)的過程,重新組合,排列前人已發(fā)掘的成果,同時(shí)將自己的發(fā)現(xiàn)和見解補(bǔ)充進(jìn)去,在洪命熹流動(dòng)的生命形態(tài)追溯中顯現(xiàn)和考證兩者的真實(shí)可靠性。 迄今為止,有關(guān)《林巨正》的研究很多,但是研究文學(xué)的民俗化傾向,多角度地全面審視民俗文化的研究不多見。該論文吸收前人的成果深入研究作品的民俗化傾向與特征,立足于文學(xué)和民俗文化的整合,詳細(xì)地分析并歸納出朝鮮社會(huì)各種文化類型,研究朝鮮民族的文化原型、淵源及不朽的民族精神,同時(shí)研究文學(xué)與民俗的遇合,挖掘作家洪命熹的文學(xué)思想及精神歸宿。論文除緒論與結(jié)論共分為三個(gè)章節(jié)。 一、《林巨正》：民俗化傾向與表現(xiàn)形態(tài)。其中包括文學(xué)與民俗的關(guān)系、作品中表現(xiàn)的民俗形態(tài)、民俗化傾向的敘述表現(xiàn)特征�！读志拚返拿袼滓曢摌O其寬廣,內(nèi)蘊(yùn)豐實(shí),斑斕多姿。民俗是社會(huì)生活中延續(xù)物質(zhì)生活習(xí)慣和傳承精神生活文化而形成的風(fēng)尚習(xí)俗。它與社會(huì)的發(fā)展相伴相隨,并且記錄人們物質(zhì)生活與精神生活的演變過程。民俗含括社會(huì)生活的各個(gè)方面,大致可以分為物質(zhì)民俗、社會(huì)民俗、精神民俗三大類。通過總結(jié)《林巨正》中的民俗形態(tài)可以看出朝鮮人民的生活樣式與民族心理。再進(jìn)一步了解,可以發(fā)現(xiàn)這些民俗描寫不是簡(jiǎn)單的堆砌,而是把民俗描寫作為小說故事情節(jié)的一個(gè)有機(jī)組成部分,小說的故事情節(jié)和人物性格、命運(yùn)都在民俗生活中真實(shí)而又不動(dòng)聲色地演繹發(fā)展。民俗事象的描寫推動(dòng)小說故事情節(jié)的發(fā)展,情節(jié)滑行在民俗敘事的軌道上�；蛘哒f,組成故事敘事序列的構(gòu)件大都由民俗行為與事件來充當(dāng)。這些情節(jié)中,民俗起著關(guān)鍵性的制約作用,如果沒有所描寫的民俗內(nèi)容,作品的情節(jié)很難存在。另外,作品運(yùn)用的語言加入了古代朝鮮民眾所特有的話語,在論文中對(duì)其也作出了總結(jié)與歸納。 二、民俗人物楊舟八的形象。通過分析《林巨正》中的重要人物楊舟八在作品中的作用與一些神秘而具有隱喻意義的符號(hào)系統(tǒng),追溯其與作者的關(guān)系,探究在楊舟八身上體現(xiàn)的民俗文化與作者的期望。屬于下層階級(jí)的楊舟八在整個(gè)作品中分為三個(gè)身份出現(xiàn),首先是作為醫(yī)者,把上層官吏李長(zhǎng)坤與屠戶的女兒連接起來,展現(xiàn)兩個(gè)階層不一樣的生活方式與身份地位。后來,跟隨李長(zhǎng)坤來到京城,做起了鞋匠,但是憑借自身出色的學(xué)識(shí)和優(yōu)秀的品格與朝廷官員往來,并介紹主人公林巨正與上層人物認(rèn)識(shí),把視角延伸到宮廷的生活形態(tài),以展示出各個(gè)社會(huì)階層的面貌。最后,得到神奇能力的楊舟八脫掉世人的衣服,來到妙香山的一座寺廟成為了德高望重的稟海大師。楊舟八在作品中不僅是主人公林巨正的精神導(dǎo)師,而且是作者傾注了個(gè)人期望的對(duì)象。從他的身上我們可以感受到,在當(dāng)時(shí)日本殖民統(tǒng)治下,知識(shí)分子的內(nèi)心掙扎及對(duì)早日實(shí)現(xiàn)民族解放的強(qiáng)烈期盼。 三、《林巨正》民俗化傾向的意義。這部分包括民俗化傾向所帶來的審美價(jià)值、作品民俗化的現(xiàn)實(shí)意義及洪命熹在作品民俗化中追求的民族精神。民俗是與社會(huì)發(fā)展、民族性格和精神密切相連的,從民俗事象中可以發(fā)現(xiàn)民族心理變化的軌跡。因此文學(xué)民俗化不僅是許多作家自覺的追求,而且也是文學(xué)作品是否具有永恒魅力的價(jià)值判斷標(biāo)準(zhǔn)。從世界文學(xué)的格局來看,民俗書寫也是一個(gè)普遍的追求。民族性也是民俗的重要屬性之一,民族特色常常是由風(fēng)俗習(xí)慣作為標(biāo)識(shí)體系,民俗成了文藝民族化的必要途徑。優(yōu)秀的作家常常對(duì)這一點(diǎn)給予充分的注意。另外,民俗描寫能吸引讀者的眼光,增強(qiáng)作品的可讀性,進(jìn)而發(fā)揮作品的潛在價(jià)值。洪命熹筆下的民俗描寫大大增強(qiáng)了作品的地域特色和民族特征,增強(qiáng)了作品的思想深度、歷史眾深感和真實(shí)感,從而賦予其作品不朽的藝術(shù)魅力。為什么洪命熹可以大膽的在作品中描寫民俗,支撐這些的背后力量是什么呢?可以說成長(zhǎng)的環(huán)境與個(gè)人經(jīng)歷的積淀造就了作者的才能。正是有了民俗文化的積淀,作者才可以游刃有余地將這些經(jīng)典的民俗事象運(yùn)用于創(chuàng)作中,以文化大家的非凡氣勢(shì)展示朝鮮民眾民俗文化獨(dú)一無二的魅力。在日本殖民統(tǒng)治的壓迫下,作為一個(gè)特立獨(dú)行的知識(shí)分子,洪命熹始終希望用全新的姿態(tài)來展現(xiàn)民族文化的魅力,民俗文化的光輝給了洪命熹勇氣,讓他堅(jiān)信民族文化的魅力足以抵擋殘酷的社會(huì)現(xiàn)實(shí)。
[Abstract]:Hong Ming-xi's novel Lin Ju-zheng is comparable to China's novel Water Margin in the history of Korean-Korean literature. Although the novel is written with historical themes, it contains both huge and rich contents in Korean politics, society and culture. Hong Ming-xi began to serialize the historical length in Korean Daily on November 21, 1928. The novel Lin Juzheng, after 13 years of serialization, failed to finish, but the significance of the novel in the history of modern Korean-Korean literature is indelible. Hong Mingxi once said "to write a series of works about Korean sentiment" when he wrote "Lin Juzheng". According to the writer, the works are not only stylistic. It embodies the charm of the plot of the ancient Korean stories and brings much interest to the readers by examining the traditional culture. It overcomes the aristocratic atmosphere of the past historical novels and points out the new direction of the development of Korean modern historical novels.
Korean traditional culture as a whole is divided into two parts: official culture (upper culture) and folk culture (lower culture). Folk culture is at the lower level of the traditional cultural structure system, which is ubiquitous among the masses and is the foundation of Korean traditional culture. They all belong to the traditional culture and occupy a certain proportion, but they can not generalize the panorama of the traditional culture. From this point of view, Lin Juzheng breaks away from the drawbacks of the past historical novels, not only tells about the culture of the upper class, but also extracts material from the people's life to describe the rich and colorful culture of the lower class.
Folklore is not only the medium and origin of literature, but also the rich soil for writers to create literature. On the one hand, literature is rooted in the soil of real life, and folk customs and customs can be seen everywhere in life. It can be said that folk customs are the true portrayal of people's life and human life. It is because the antennae of folk custom extend to the realm of life that no one can break away from the constraints of folk custom, and in the process of forming people's life experience and personality, temperament is inevitably influenced by folk custom. If literary works are separated from the social customs closely related to people's lives, they will lack the flavor of life. Rich and colorful customs and habits are the material of life that literary and artistic creation needs to be intercepted, and are the source of writers'endless creation and the traditional customs that have been passed down. The detailed records and vivid descriptions of folklore in literary works not only enrich the ideological content of the works, but also contribute to the inheritance and development of folklore culture.
In a word, because folklore exists in the long history of a nation, rich folklore phenomena reflect the richness and complexity of society. Because folklore occupies an important position in people's life, it affects people's material life and spiritual life in many ways. Folklore is an important manifestation of national psychology, national life and national culture. Therefore, as a reflection of a nation's social and historical life, language and literature are naturally closely related to folk customs.
Folklore culture is a composite perspective produced by the intersection of folklore and culture. The academic value and significance of the subject of Hong Mingxi's literature and traditional culture from the perspective of folklore culture lies in sorting out the relationship between Lin Juzheng and traditional culture from the perspective of folklore culture and through the popular day. Folk customs and customs in daily life, forty festivals, folk beliefs and religions, folk art and other aspects of folk culture, showing Hong Mingxi's writing of a complex history, society, psychological elements of the national culture in miniature; Folklore as the center, a variety of interdisciplinary research methods to make folk culture into a rich culture Field, rich in a variety of horizons, can provide a multi-disciplinary and cross-cutting perspective for the study of Hong Mingxi's complex cultural behavior. Researchers are convenient for the Spiritual Transition and collision between Hong Mingxi and traditional culture in the free exchange of the perspective, which can not only grasp the whole macro but also focus on the exploration of micro-seclusion. Lin Juzheng's folk culture is the subject of the question. The process of writing is also a process of verifying and realizing, rearranging and arranging the achievements that have been discovered by predecessors, and at the same time, adding his own discoveries and opinions, revealing and verifying the authenticity of the two in the traceability of Hong Mingxi's Flowing Life form.
Up to now, there have been many studies on Lin Juzheng, but there are few studies on the tendency of folklore in literature, and the study of folklore culture from many angles. The paper is divided into three chapters except the introduction and conclusion.
First,: the tendency and manifestation of folklore, including the relationship between literature and folklore, the folklore manifested in the works, and the narrative characteristics of folklore tendency. has a very broad view of folklore, rich and colorful connotation. Folklore includes all aspects of social life, which can be roughly divided into three categories: material folklore, social folklore and spiritual folklore. A further understanding of these folklore descriptions reveals that they are not simply piled up, but an integral part of the plot of the novel. The plot and character of the novel, and the destiny of the characters, are all deduced and developed in a real and unmoving way in the folk life. The development of the plot of a novel slides along the track of folklore narration. In other words, the elements that make up the narrative sequence are mostly acted by folklore and events. Joined the words peculiar to the Korean people in ancient times, and summarized and summarized them in the paper.
Secondly, the image of Yang Zhouba, a folk figure, traces back the relationship between Yang Zhouba and the author by analyzing the role of Yang Zhouba, an important figure in Lin Juzheng's works, and some mysterious and metaphorical symbolic systems, and explores the folk culture and the author's expectations embodied in Yang Zhouba. First of all, as a doctor, Li Changkun, a senior official, was linked with the butcher's daughter to show the different life styles and status of the two classes. In the end, Yang Zhouba, who got the magic power, took off his clothes and came to a temple in Mt. Miaoxiangshan and became a respected Master of the sea. In his works, Yang Zhouba was not only the protagonist Lin Juzheng's spirit. Mentor, and is the author poured into the object of personal expectations. From his body, we can feel that under the Japanese colonial rule at that time, intellectuals'inner struggle and strong expectations for the early realization of national liberation.
This part includes the aesthetic value brought about by the tendency of folklorization, the practical significance of the work's folklorization and the national spirit pursued by Hong Mingxi in the work's folklorization. Therefore, the folklorization of literature is not only a conscious pursuit of many writers, but also a criterion for judging whether a literary work has eternal charm. From the perspective of the pattern of world literature, folklore writing is also a universal pursuit. Folklore has become a necessary way for the nationalization of literature and art. Excellent writers often pay full attention to this point. In addition, folklore description can attract readers'attention, enhance the readability of the work, and then play the potential value of the work. The depth of thought, the depth of history and the sense of reality endow his works with immortal artistic charm. Why can Hong Mingxi boldly describe folk customs in his works, and what are the forces behind these? It can be said that the environment of growth and the accumulation of personal experience have created the author's talent. It is precisely with the accumulation of folk culture, the author. Only in this way can these classical folk images be applied to the creation, and the unique charm of Korean folk culture can be displayed by the extraordinary momentum of the cultural master. The glory of folk culture gave Hong Mingxi courage and convinced him that the charm of national culture was enough to withstand the cruel social reality.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：I312.074
[Abstract]:Hong Ming-xi's novel Lin Ju-zheng is comparable to China's novel Water Margin in the history of Korean-Korean literature. Although the novel is written with historical themes, it contains both huge and rich contents in Korean politics, society and culture. Hong Ming-xi began to serialize the historical length in Korean Daily on November 21, 1928. The novel Lin Juzheng, after 13 years of serialization, failed to finish, but the significance of the novel in the history of modern Korean-Korean literature is indelible. Hong Mingxi once said "to write a series of works about Korean sentiment" when he wrote "Lin Juzheng". According to the writer, the works are not only stylistic. It embodies the charm of the plot of the ancient Korean stories and brings much interest to the readers by examining the traditional culture. It overcomes the aristocratic atmosphere of the past historical novels and points out the new direction of the development of Korean modern historical novels.
Korean traditional culture as a whole is divided into two parts: official culture (upper culture) and folk culture (lower culture). Folk culture is at the lower level of the traditional cultural structure system, which is ubiquitous among the masses and is the foundation of Korean traditional culture. They all belong to the traditional culture and occupy a certain proportion, but they can not generalize the panorama of the traditional culture. From this point of view, Lin Juzheng breaks away from the drawbacks of the past historical novels, not only tells about the culture of the upper class, but also extracts material from the people's life to describe the rich and colorful culture of the lower class.
Folklore is not only the medium and origin of literature, but also the rich soil for writers to create literature. On the one hand, literature is rooted in the soil of real life, and folk customs and customs can be seen everywhere in life. It can be said that folk customs are the true portrayal of people's life and human life. It is because the antennae of folk custom extend to the realm of life that no one can break away from the constraints of folk custom, and in the process of forming people's life experience and personality, temperament is inevitably influenced by folk custom. If literary works are separated from the social customs closely related to people's lives, they will lack the flavor of life. Rich and colorful customs and habits are the material of life that literary and artistic creation needs to be intercepted, and are the source of writers'endless creation and the traditional customs that have been passed down. The detailed records and vivid descriptions of folklore in literary works not only enrich the ideological content of the works, but also contribute to the inheritance and development of folklore culture.
In a word, because folklore exists in the long history of a nation, rich folklore phenomena reflect the richness and complexity of society. Because folklore occupies an important position in people's life, it affects people's material life and spiritual life in many ways. Folklore is an important manifestation of national psychology, national life and national culture. Therefore, as a reflection of a nation's social and historical life, language and literature are naturally closely related to folk customs.
Folklore culture is a composite perspective produced by the intersection of folklore and culture. The academic value and significance of the subject of Hong Mingxi's literature and traditional culture from the perspective of folklore culture lies in sorting out the relationship between Lin Juzheng and traditional culture from the perspective of folklore culture and through the popular day. Folk customs and customs in daily life, forty festivals, folk beliefs and religions, folk art and other aspects of folk culture, showing Hong Mingxi's writing of a complex history, society, psychological elements of the national culture in miniature; Folklore as the center, a variety of interdisciplinary research methods to make folk culture into a rich culture Field, rich in a variety of horizons, can provide a multi-disciplinary and cross-cutting perspective for the study of Hong Mingxi's complex cultural behavior. Researchers are convenient for the Spiritual Transition and collision between Hong Mingxi and traditional culture in the free exchange of the perspective, which can not only grasp the whole macro but also focus on the exploration of micro-seclusion. Lin Juzheng's folk culture is the subject of the question. The process of writing is also a process of verifying and realizing, rearranging and arranging the achievements that have been discovered by predecessors, and at the same time, adding his own discoveries and opinions, revealing and verifying the authenticity of the two in the traceability of Hong Mingxi's Flowing Life form.
Up to now, there have been many studies on Lin Juzheng, but there are few studies on the tendency of folklore in literature, and the study of folklore culture from many angles. The paper is divided into three chapters except the introduction and conclusion.
First,
Secondly, the image of Yang Zhouba, a folk figure, traces back the relationship between Yang Zhouba and the author by analyzing the role of Yang Zhouba, an important figure in Lin Juzheng's works, and some mysterious and metaphorical symbolic systems, and explores the folk culture and the author's expectations embodied in Yang Zhouba. First of all, as a doctor, Li Changkun, a senior official, was linked with the butcher's daughter to show the different life styles and status of the two classes. In the end, Yang Zhouba, who got the magic power, took off his clothes and came to a temple in Mt. Miaoxiangshan and became a respected Master of the sea. In his works, Yang Zhouba was not only the protagonist Lin Juzheng's spirit. Mentor, and is the author poured into the object of personal expectations. From his body, we can feel that under the Japanese colonial rule at that time, intellectuals'inner struggle and strong expectations for the early realization of national liberation.
This part includes the aesthetic value brought about by the tendency of folklorization, the practical significance of the work's folklorization and the national spirit pursued by Hong Mingxi in the work's folklorization. Therefore, the folklorization of literature is not only a conscious pursuit of many writers, but also a criterion for judging whether a literary work has eternal charm. From the perspective of the pattern of world literature, folklore writing is also a universal pursuit. Folklore has become a necessary way for the nationalization of literature and art. Excellent writers often pay full attention to this point. In addition, folklore description can attract readers'attention, enhance the readability of the work, and then play the potential value of the work. The depth of thought, the depth of history and the sense of reality endow his works with immortal artistic charm. Why can Hong Mingxi boldly describe folk customs in his works, and what are the forces behind these? It can be said that the environment of growth and the accumulation of personal experience have created the author's talent. It is precisely with the accumulation of folk culture, the author. Only in this way can these classical folk images be applied to the creation, and the unique charm of Korean folk culture can be displayed by the extraordinary momentum of the cultural master. The glory of folk culture gave Hong Mingxi courage and convinced him that the charm of national culture was enough to withstand the cruel social reality.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：I312.074
【共引文獻(xiàn)】
相關(guān)期刊論文 前10條
1 張叢v，
本文編號(hào)：2215404
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