論文題目：《史詩傳統的田野研究：以諾蘇彝族史詩“勒俄”為個案》

　　畢業學校：北京師範大學文學院中文系

　　專 業：民俗學, 研究方向：民間文藝學；2003年6月獲法學博士學位(民俗學)

　　導 師：鐘敬文教授、劉魁立教授

　　中文摘要

　　本文由緒言、引論、正文五章和結束語構成；作為論文闡述的補充性説明，文中附有圖表78幅；文後附有《本文常用彝語術語詞彙對照表》、史詩演述樣例3種、摘選的田野訪談和田野筆記，以及主要參考文獻目錄。

　　緒 言

　　交待論文問題的提出、田野研究的理論視角和個案研究的技術路線，報告田野過程與田野取證的操作方式和資料來源。鋻於論文的工作方向，依據筆者在田野過程中對地方知識的體認與理解，在對民間史詩話語與相關語匯進行語義分析與歸納概括的基礎上，抽繹並簡釋關係到本文立論與表述的民間文化傳統的部分術語。

　　引 論

　　在對涉及本課題的國內外學術史進行梳理和反思的過程中，結合田野研究中的史詩演述傳統的實際存在，對史詩漢譯本《勒俄特依》的文本轉換及其工作流程提出質疑，從而概括出在這一過程中存在的“民間敘事傳統格式化”問題及其對學術研究的影響，並在相關學術批評尺度的討論中檢討“彝族史詩傳統格式化”的種種弊端。由於“格式化”問題出現在中國民間文藝學發展中的特定歷史階段，並帶有相當的普遍性，我們作出的探討和解析，既針對史詩田野研究與口頭敘事傳統的文本轉換問題，同時也希望引起整個民間文藝學界乃至民俗學界的關注。

　　第一章 田野的發現

　　以筆者多年的田野定點觀察與追蹤調查為線索，回溯筆者從文本走向傳統的田野經歷，以期説明史詩田野研究個案的基本思路及其形成過程，正是來自義諾彝區腹地的民俗文化傳承，來自山地社會鮮活生動的史詩演述傳統。而這些真切感受和學理性思考，則是逐步建立在筆者對山地儀式生活、史詩傳統語域、社會話語空間等問題的索解過程之中的，進而也引領著論文作者在“自觀”與“他觀”的雙重視野中，逐步走向田野研究的學術實踐。

　　第二章 史詩演述人的發現

　　基於諾蘇彝族史詩的傳承軌范，我們將史詩傳承人這一特定群體從概念上界定為“史詩演述人”。通過發現並跟訪一位在口承傳統與書寫文化中成長起來的史詩傳承人──曲莫伊諾，我們從家支文學傳統、史詩傳承機制、史詩演述人的“習畢”學藝經歷與表演實踐等層面，提出了若干學理性的思考，其中涉及到口頭敘事的民間記憶與民間技藝，演述人的天賦、才藝和特殊的定向訓練過程，史詩傳承的“文化空間”與其內在規定性等問題。

　　第三章 史詩“勒俄”的文本形態與傳統法則

　　從歷時性的書寫傳承到現時性口頭表演，逐步深入到史詩傳統內部的運作機制中去解讀民間的史詩話語與史詩觀念，從以下幾個層面進行文化義理的深掘，闡揚諾蘇史詩傳統的基本法則：第一，“勒俄”作為史詩傳統並非是“一部作品”，其初始語義應還原為“口耳相傳的族群敘事”，被諾蘇彝人視為“歷史的根譜”；第二，“勒俄十九枝”是史詩演述的敘事型構，堪稱是諾蘇史詩敘事“生命樹”的主幹與枝柯，前有“勒俄述源”作為敘事的開端，後有“布茨敘譜”作為敘事的連續性實現，由此構造了史詩演述的基本敘事框架；第三，從“萬物雌雄觀”與史詩敘事的文化象徵體系，闡釋了“勒俄”文本的公／母之別，並將之界定為史詩的文本性屬與文本界限；第四，從文化傳統與社會心理解析了史詩敘事的黑／白之分，由此框定了史詩的敘事界域——這是由儀式語境與傳統語域所制導的；第五，從史詩抄本的版本系統和傳播路線，探討了史詩異文的界定原則。諾蘇史詩傳統的基本法則的發現、歸納和總結，當是我們田野研究的重要成果之一。

　　第四章 口頭論辯中的史詩演述

　　首先，從口頭論辯過程中互為關聯的兩個階段（路下方和路上方）入手，揭示了即興辭辯與史詩演述之間的密切聯絡，説明民間的史詩演述與口頭論辯活動始終是融為一體的；其次，強調了史詩敘事的原典性原則；該原則雖然總結自特定傳統，但具有相當的通約性，能夠指涉民間表演的普遍問題。再者，原典性原則很好地説明了史詩異文的研究方法和目的。最後，認定“克智”論辯的興起和傳承，在客觀上激活了史詩演述的口頭傳播和動態接受，使史詩傳承人脫離了各種文本的制約而走向面對面的社群，並在特定的競爭機制中不斷提高自己承繼傳統的口頭創編能力與表演藝術，從而促進了史詩傳統的長期流佈和動態發展。

　　第五章 儀式與史詩：敘事語境和演述場域

　　以史詩演述的儀式化敘事語境為出發點，提煉出“演述場域”這一重要的田野研究視界，論證了田野觀察中不可或缺的“五個在場”要素。演述場域的擬構，具有確立田野研究新範式的意義，它涉及研究傳統文化的基本學術取態和研究者的主體能動性，涉及從田野到文本的學術轉換和學術表述等環節。“演述場域”的理論性總結，不僅是方法論問題，而且也是知識論問題，期望它能有助於廓清學界在田野─文本之間産生的一些模糊認識。

　　以上各章，通過一個地區──義諾彝區腹地美姑縣──的史詩傳承及其深隱的話語世界，通過一位傳統中的史詩演述人──曲莫伊諾及其習畢學藝和表演實踐，通過理解地方知識與民間話語中的史詩本體觀念及其傳統法則的深刻表達，通過“克智”口頭論辯傳統與史詩演述的內在機制、運作方式及特定的口頭藝術過程，通過山地社會的儀式化敘事語境與史詩田野研究中的演述場域的確定，我們逐一討論了史詩田野、史詩傳承人、史詩傳統法則、史詩演述的生命情態等互為關聯的重要問題，並在此基礎上，提出建立觀察與捕捉口頭敘事的本質性表現的研究視界。這些有關史詩傳統本質性規律的學理性思考與相關術語的提煉，正是本文作為田野個案研究的意義所在。

　　關鍵詞：

　　諾蘇彝族 史詩“勒俄” 田野研究 史詩傳統法則 口頭論辯 史詩演述 演述場域

　　英文摘要

　　Theme: A Field Study of Epic Tradition: Nuosu Epic Hnewo as a Case

　　Author: Bamo Qubumo, female, born in April 24, 1964, became student of Professor Zhong Jingwen and Professor Liu Kuili in 1998, graduated from Beijing Normal University July 2003, obtaining a doctoral in Law.

　　Abstract

　　The present dissertation is based on a long-term field study concerning the indigenous oral traditions of the Nuosu, a subgroup of the Yi ethnic group who live in the Great Cold Mountains of southwest China. The study provides an in-depth look at the epic tradition known in Nuosu as “hnewo.”

　　In Introduction, the author begins with a survey of academic achievements in Yi epic studies in China and abroad. In particular, the author interrogates the processes of the epic textualization over the past half century in China, and generalizes on the limitations of the “formatted” approach that places texts of oral narratives in improperly subjectified formats. This problematic approach namely “formatted texts beyond traditional rules of oral narratives”, widely adopted by Chinese folklorists in collecting, collating, translating, and printing folk texts, has led to seriously misreadings and misunderstandings of Nuosu epic texts and gone far away from its living performance traditions. This is the very start point of undertaking a field study of living epic tradition with a reflection on the history of epic scholarship in China. That's why the author claims for another approach: going into the Cold Mountains to discover epic fields, to discover epic tradition in native land.

　　Chapter one “Discover the Field of Epic Tradition in Meigu” deals with the notion of the ‘epic,’ and with the abundance and diversity of epic narratives from data procured came from long-term observation in Yynuo lands, a sub-dialect region of Nuosu Yi. By taking the well-known epic Hnewo as a specific case, the author raises the following questions--questions that she encountered when attempting to mediate interpretive tensions that exist between the Nuosu's own ethnopoetic conception of their verbal art and scholars' conception of 'epic': How do the local people, who are deeply rooted in native traditions, articulate and name the central genres, poetic tenets, and modes of transmission within their local epic traditions of oral performance? How does this terminology inform a phenomenon that we might call epic law in ‘local knowledge’? How do scholars from different academic perspectives think about their own institutional canon in light of the indigenous traditions? What is the place of a native scholar's ground within his/her own tradition and beyond? The case of epic Hnewo is considered in terms of a) the basic story-patterns of epic narrative and emergent flexibility; b) the difference and connection between the rhapsody and the whole epic performance that inform this particular realization of narrative continuity primarily determined by ritualized situation; and c) the situated performance not only demands of a closing responsive and perceptive attention to bearers of epic tradition, but also a prudent field study of folklore in context with new tracking on epic register and traditional referentiality.

　　Chapter two entitled “Discover the epic performer Qumo Yynuo”, with the process of field study, the author takes steps by interviews with an outstanding epic performer Qumo Yynuo who is also a ritualist bimo with a background of 14 generations’ priest genealogy and follows up his footprints in ritualized performance on the spot. Having probed into the mechanisms of epic transmission and acquisition by examining the performer’s learning experiences and skill analysis training as a developed epic performer, we conclude that both the traditions of orality and literacy contribute to the cultivation of a Nuosu epic performer. Moreover, the author delves into questions concerning folk memory and the individual repertoire of oral narrative performance, the role of natural talent and cognitive competence in the development of an epic performer, the cultural space of epic transmission, and so forth. What was the most stimulated this field study is the performers' performing personalities and the traditional ways scrupulously abide by these bearers of epic tradition.

　　In Chapter three, the author provides a comprehensive examination of hnewo epics in regards to textual morphology and indigenous conception of epic traditional rules. Five major points are explored: 1) Hnewo is not a single epic work; rather it is a multi-faceted tradition; 2) nineteen branches of the hnewo tradition form the trunk of the epic narrative “tree”; 3) textual hnewo exist in two aspects, namely female and male, that define the different categories and characteristics of various branches of the textual tradition, epic traditional texts mostly in hand-copied formats circulated both in religious ritualists bimo and in common folk; 4) hnewo in oral narratives also have “black” and “white” aspects, indicating the narrative boundaries, determined by the ritualized context and traditional registers; 5) epic transmission, distribution, and copies for the record or for reproduction with systematic manuscripts derived from historically local rules are core elements in defining epic variants. Above all, this is first time in the field of Yi epic studies that make clear from local epic law: there have been two sets of epic terminologies in Nuosu tradition, the female/male refers to epic written texts (hand-copied books, transcriptions, or bimo's scriptures; the black/white refers to oral epic narratives.

　　In chapter four, a kind of the ritualistic flyting or verbal-dueling known in Nuosu as kenre is recognized for the first time as a key device for carrying out hnewo epic performance. The author shows that Nuosu epic performance always takes place in conversational, dialogic discourse between host-guest relationship with perfervid competition. The “flyting scenes” and “contest paradigm” displayed in different ways of singing or dueling (in poetic framework, never prosaic). Kenre dueling stimulates the oral transmission of the epics and involves the active acceptance on the part of the audience. The dueling enables performers to step out the shadow of the written, memorized texts and perform face-to-face in the community. The dueling it also provides performers with “battlefields” to compete with and learn from each other. Through the emergent nature of kenre dueling, aspects of the epic tradition grow and develop.

　　In chapter five, the author combines analysis of the ritualized narrative context of epic performance with various global academic theoretical traditions of orality and performance folkloristics to derive an approach involving the recognition of “Situated Fields of Epic Performance” for gaining a more complete understanding of the hnewo tradition. The approach demands “five basic factors in co-presence” related to fieldwork, textualization, and interpretation: 1) performing tradition, 2) performing event, 3) audience (in face-to-face textual community of oral epic), 4) performer (in Nuosu epic tradition there must be at least two opponent performers in verbal dueling), and 5)researcher. These “five factors in co-presence” and their synchronous dimension in interrelation play a crucial role on how a researcher would grasp traditional epic performance determined by different events-- in Nuosu society there have been three ritualized contexts: 1) wedding ceremony, 2) creamation rites, and 3) the ritual of sending the dead to ancestral holy land whereas differing from related six sub-contexts --keep changing in emergent shift. And then, the author provides two conditions for a “correlative principle”: firstly, all of the five factors must be present, or operative, or functional, and secondly, none of the five factors may be ‘in opposition’ to the local epic tradition. “Situated Fields of Epic Performance” aims at constructing not only a positively practical model for observing and textualizing epic traditions, but also an epistemological approach that will be useful in understanding other traditions of oral performance in China. On the folkloristic ground of “thick” descriptions of text, context, and situated processes of performance, this renew approach, which builds on performance-observing model with folkloristic interest, it is subjective, determined by researcher, which will be especially useful for analyzing longer narrative of living verbal art, for producing a performance-centered text in rich details, including oral epic traditions among other ethnic groups, which differ significantly from the Nuosu hnewo tradition.

　　Hnewo is proved a vital, dynamic treasure of Nuosu verbal arts. Accordingly, what the author found in the field study is presented in the dissertation writing. It is a study based on records and reports in style of ethnographic writing of cultural thematic discovery. Having examined certain concepts derived from theoretical orientations in the field of western folkloristic theories, cultural studies and sociological thoughts, especially oral tradition, ethnopoetics, orality and literacy, performance approach etc., the author, as a result, inspired by some important ideas, further refines a set of theoretical terms based on redefine the definitions of key terms that came from local knowledge and native discourse in Nuosu epic tradition, and then applies those renewed terms with folkloristic interpretation to account for narrative rules and epic law that pre-existing in Nuosu's conceptions involved.

　　The present dissertation consists of a preface, an introduction, and five main chapters with 80 illustrations, in addition to an epilogue and appendices. The appendices include transcriptions of certain parts of the epic hnewo, selected field interviews, relevant field notes and a Yi glossary of terms used in the present dissertation.

　　Key Words:

　　Nuosu epic hnewo-epic traditional law-living oral performance-verbal arts- epistemological approach