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从歌谣这样的口头文学中分析不同族裔的文学空间观,是文学文化研究的一个重要组成元素。本文对比《广西客家山歌研究》的客家山歌和《瑶族民歌》收录的湘桂粤交界五岭山脉地区的瑶族民歌,总结了两者的空间感知特点。研究发现,瑶族民歌中被歌颂景物往往远离创作者,对景物的描写注重全局和整体而较少关注细节,人与景的空间关系模糊。空间对他们来说是更像是一个整体而非零碎的概念。因而笔者将其总结为“面型”空间感知倾向。与瑶族民歌不同,客家山歌既擅长于对个体和细节的观察,也呈现出很强的空间层次感和顺序感。空间对他们来说更像是三维立体的,歌者常处于景物空间内部的某一位置。笔者将客家山歌的空间观感总结为“立体型”模式。
Analyzing the literary space view of different ethnic groups from oral literature such as ballads is an important component of literary and cultural studies. This article compares the Hakka folk songs of “Hakka Folk Song Studies in Guangxi” with the Yao folk songs of Wuling Mountains at the border of Hunan, Guiyue and Guangdong collected by “Yao Folk Songs”, and summarizes the spatial characteristics of the two. The study found that the songs sung in the Yao folk songs are often far away from the creators, the description of the scene focuses on the overall situation and the overall less attention to detail, the spatial relationship between people and the scenery blurred. For them, space is more of an integral, rather than fragmented, concept. So I summarize it as “face ” space-aware tendency. Unlike Yao folk songs, Hakka folk songs are good at observing individuals and details, and also show a strong sense of spatial hierarchy and order. Space is more like a three-dimensional space for them, and the singer is often located somewhere within the landscape space. The author summarizes the perception of Hakka folk songs as “three-dimensional” mode.