潮州歌册的女性文化特质研究
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摘要
潮州歌册作为一种自娱互乐的民间说唱艺术,与女性有着天然的联系,是女性化的潮汕民间文化形态,有着鲜明的女性文化特质。从传唱主体看,歌册的传唱者多数是女性,不仅主唱者是女性,听唱的群体也主要是妇女儿童。从传承方式上看,歌册主要是通过家庭成员中的女性谱系代代口耳相传。从传唱空间看,歌册主要是在庭院、绣房、厨房、姿娘仔间等女性空间流传,与女性的日常生活密切相连。从传唱题材来看,传统歌册的主题以教化女性遵守封建伦理道德为主,体现了传统男权思想。从文化功能看,歌册是女性的娱教方式,是女性的启蒙课本、教科书和精神乐园。从传承规律来看,歌册与女性的生命历程紧密相联,女性的个体生命史折射了歌册的兴衰发展史。
As an art of folk rap for individual or group entertaining,Chaozhou Gece bore intrinsic connection with women. It was part of the feminine Chaoshan folk culture with distinct female cultural traits. The majority of Gece singers were women. Not only the singers but the audiences were mainly women and children as well. In view of it inheritance,the Gece was passed down from generation to generation mainly through female members in family. In view of the singing space,the Gece was performed mainly in courtyards,embroidery rooms,kitchens,Young women's gathering rooms and other female spaces,where females gathered and did their daily chores. The theme of Gece wasmainly to educate women to abide by the feudal ethics and embody the traditional patriarchal ideology. In view of the Gece'scultural function,it offered a mode of entertaining and enlightenment to women and functioned as their textbook and spiritual paradise. From its rule of inheritance,we can see that the history of the Gece is closely related to that of the female,and that the history of individual women reflects the rise and fall of Gece as well.
As an art of folk rap for individual or group entertaining,Chaozhou Gece bore intrinsic connection with women. It was part of the feminine Chaoshan folk culture with distinct female cultural traits. The majority of Gece singers were women. Not only the singers but the audiences were mainly women and children as well. In view of it inheritance,the Gece was passed down from generation to generation mainly through female members in family. In view of the singing space,the Gece was performed mainly in courtyards,embroidery rooms,kitchens,Young women's gathering rooms and other female spaces,where females gathered and did their daily chores. The theme of Gece wasmainly to educate women to abide by the feudal ethics and embody the traditional patriarchal ideology. In view of the Gece'scultural function,it offered a mode of entertaining and enlightenment to women and functioned as their textbook and spiritual paradise. From its rule of inheritance,we can see that the history of the Gece is closely related to that of the female,and that the history of individual women reflects the rise and fall of Gece as well.
引文
[1]刘文菊.潮州歌册的女性口述访谈研究及传承思考[J].汕头大学学报(人文社会科学版),2014,(5):10-14.
[2]温廷敬.潮州诗萃[M].吴二持,蔡启贤,校点.汕头:汕头大学出版社,2001.1326.
[3]魏国英.女性学概论[M].北京:北京大学出版社,2000.157.
[4]袁尔纯.潮州歌册的社会教育学阐释[J].韩山师范学院学报,2005,(5):10-14.
[5]吴勤生,林伦伦.潮汕文化大观[M].广州:花城出版社,2001.342.
(1)薛汕《书曲散记》,书目文献出版社,1985年版。
(2)潮汕人的“拜拜”是指在祈祷(佛)或瞻仰(已故人士)时所行的一种礼节。
(3)来自口述史料:李素兰(1917—),女,汕头市潮阳区铜盂镇屿北村人,2011年7月。
(4)来自口述史料:林玉霞(1942—),女,潮州市饶平县海山镇美宅村人,2012年1月。
[2]温廷敬.潮州诗萃[M].吴二持,蔡启贤,校点.汕头:汕头大学出版社,2001.1326.
[3]魏国英.女性学概论[M].北京:北京大学出版社,2000.157.
[4]袁尔纯.潮州歌册的社会教育学阐释[J].韩山师范学院学报,2005,(5):10-14.
[5]吴勤生,林伦伦.潮汕文化大观[M].广州:花城出版社,2001.342.
(1)薛汕《书曲散记》,书目文献出版社,1985年版。
(2)潮汕人的“拜拜”是指在祈祷(佛)或瞻仰(已故人士)时所行的一种礼节。
(3)来自口述史料:李素兰(1917—),女,汕头市潮阳区铜盂镇屿北村人,2011年7月。
(4)来自口述史料:林玉霞(1942—),女,潮州市饶平县海山镇美宅村人,2012年1月。