原始意象与巫鬼图腾——贾平凹《山本》的新“乡土”书写
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摘要
《山本》小说是贾平凹继《老生》《极花》之后对乡土中国传统文化的进一步探寻,小说中借助革命、战争、情感来表达他对根植于乡土的巫鬼文化的值守,对乡土中国现代性的反思,小说中以原始意象,巫鬼文化,互渗律和仪式来言说世代传承的原型和图腾,对文化遗留物的执恋,都是他对逐渐式微甚至消失的传统文化的隐忧,他在小说中不断用原始意象、巫鬼文化来书写乡土中国,最终让涡镇在一片繁荣中归于寂静,回归到乡土中,是他对现代文明代替传统文化的隐忧和不满,对中国文化的现代性产生的质疑。他对《山海经》的执恋也是对根植于乡土的传统文化的值守。现代在取代传统的过程中,最终是否仍归入尘土,现代是否终将归入传统,是贾平凹一直以来的思索,也是他新"乡土中国"书写中最核心的价值。
"Shanben" is another novel by Jia Pinwa, in addition to his previous novels "Laosheng " and "Jihua", that explored traditional Chinese culture. The revolution, war, and emotion narrated in the novel expressed his persistent.attitude to the ghost culture rooted in local culture and his reflections on the modernity of rural China, and the primitive image, ghost culture, mutual infiltration law and rituals were to convey the prototype and totem passed down on generation after generation. His clinging to the cultural relic told off his worries over the local culture that was disappearing gradually or even lost. image, With the application of these techniques, the writer finally set Wozhen Village in tranquility in a booming atmosphere. The return to the local culture expressed his worries over and dissatisfaction with the replacement of the traditional culture by the modern civilization, and his doubts about the modernity of Chinese culture. His clinging to the Shanhaijing(Classics of Mountains and Seas) also expressed his persistence in the local traditional culture. Whether or not being modern will be included in being traditional has always been in Jia Pinwa's thinking, and also the core value in his writings about "rural China".
"Shanben" is another novel by Jia Pinwa, in addition to his previous novels "Laosheng " and "Jihua", that explored traditional Chinese culture. The revolution, war, and emotion narrated in the novel expressed his persistent.attitude to the ghost culture rooted in local culture and his reflections on the modernity of rural China, and the primitive image, ghost culture, mutual infiltration law and rituals were to convey the prototype and totem passed down on generation after generation. His clinging to the cultural relic told off his worries over the local culture that was disappearing gradually or even lost. image, With the application of these techniques, the writer finally set Wozhen Village in tranquility in a booming atmosphere. The return to the local culture expressed his worries over and dissatisfaction with the replacement of the traditional culture by the modern civilization, and his doubts about the modernity of Chinese culture. His clinging to the Shanhaijing(Classics of Mountains and Seas) also expressed his persistence in the local traditional culture. Whether or not being modern will be included in being traditional has always been in Jia Pinwa's thinking, and also the core value in his writings about "rural China".
引文
[1]爱德华·泰勒.原始文化[M].上海:上海文艺出版社,1992:115.
[2]金吐双.《太白山记》阅读密码[J].上海文学,1989(8):10.
[3]荣格.荣格说潜意识与生存[M].武汉:华中科技大学出版社,2012:54.
[4]钱穆.灵魂与心[M].桂林:广西师范大学出版社,2004:57.
[5]朱玲.论《山海经》的叙事结构及其文化成因[J].清华大学学报·哲学社会科学版,2002(1):51-54.
[6]贾平凹.山本[M].北京:作家出版社,2018.
[7]张鲁原.中华古谚语大辞典[M].上海:上海大学出版社,2011:384.
[8]程金诚.原型批判与重释[M].北京:东方出版社,1998.
[9]袁珂.中国神话传说[M].北京:世界图书出版社,2012:58.
[10]贾平凹.极花[M].北京:人民文学出版社,2016:24.
[11]樊星.贾平凹走向神秘--兼论当代志怪小说[J].文学评论,1992(10):76-83.
[12]刘宁.当代陕西作家与秦地传统文化研究[M].北京:中国社会科学出版社,2014:258.
[13]张进.贾平凹:写那么多死亡是为了诅咒那个时代[J].新京报书评周刊,2018.
[14]曹霞.乡土中国的文化遗魅--论贾平凹的乡土书写[J].中国文学批评,2017(2):21-30.
(1)《山海经》是一部记载中国古代神话、地理、植物、动物、矿物、物产、巫术、宗教、医药、民俗、民族的著作,反映的文化现象地负海涵、包罗万汇。除了保存着丰富的神话资料之外,还涉及到多种学术领域,例如:哲学、美学、宗教、历史、地理、天文、气象、医药、动物、植物、矿物、民俗学、民族学、地质学、海洋学、心理学、人类学……等等,可谓汪洋宏肆,有如海日。在古代文化、科技和交通不发达的情况下,《山海经》是中国记载神话最多的一部奇书,也是一部地理知识方面的百科全书。大约是从战国初年到汉代初年,楚国和巴蜀地方的人所作。全书18篇,《山经》五篇是为一组,以四方山川为纲,记述内容包括古史、草木、鸟兽、神话、宗教等。依南、西、北、东、中的方位次序分篇,每篇又分若干节,前一节和后一节又用有关联的语句相承接,使篇节间的关系表现的非常清楚。《海经》中的《海外经》五篇是为一组,主要记载海外各国的奇异风貌;《海内经》5篇为一组,主要记载海内的神奇事物,《大荒经》五篇为一组,主要记载了与黄帝、女娲和大禹等有关的许多重要神话资料,反映了中华民族的英雄气概。
(2)“文化遗留物”的观点是由英国学者爱德华·泰勒提出来的,他认为当一种风俗习惯、技艺或观点充分地传播开来的时候,一些不利的因素也在增长,它可能长期地影响到这些习俗或者技艺,如涓涓细流,绵延不绝,从这一代继续传到下一代。它们像巨流一样,一旦为自己冲开一道河床,就成世纪地连续不断流下去,这就是文化的稳定性。随着世界社会的向前发展,最重要的管段和行为可能渐渐地变成为纯粹的遗留。
[2]金吐双.《太白山记》阅读密码[J].上海文学,1989(8):10.
[3]荣格.荣格说潜意识与生存[M].武汉:华中科技大学出版社,2012:54.
[4]钱穆.灵魂与心[M].桂林:广西师范大学出版社,2004:57.
[5]朱玲.论《山海经》的叙事结构及其文化成因[J].清华大学学报·哲学社会科学版,2002(1):51-54.
[6]贾平凹.山本[M].北京:作家出版社,2018.
[7]张鲁原.中华古谚语大辞典[M].上海:上海大学出版社,2011:384.
[8]程金诚.原型批判与重释[M].北京:东方出版社,1998.
[9]袁珂.中国神话传说[M].北京:世界图书出版社,2012:58.
[10]贾平凹.极花[M].北京:人民文学出版社,2016:24.
[11]樊星.贾平凹走向神秘--兼论当代志怪小说[J].文学评论,1992(10):76-83.
[12]刘宁.当代陕西作家与秦地传统文化研究[M].北京:中国社会科学出版社,2014:258.
[13]张进.贾平凹:写那么多死亡是为了诅咒那个时代[J].新京报书评周刊,2018.
[14]曹霞.乡土中国的文化遗魅--论贾平凹的乡土书写[J].中国文学批评,2017(2):21-30.
(1)《山海经》是一部记载中国古代神话、地理、植物、动物、矿物、物产、巫术、宗教、医药、民俗、民族的著作,反映的文化现象地负海涵、包罗万汇。除了保存着丰富的神话资料之外,还涉及到多种学术领域,例如:哲学、美学、宗教、历史、地理、天文、气象、医药、动物、植物、矿物、民俗学、民族学、地质学、海洋学、心理学、人类学……等等,可谓汪洋宏肆,有如海日。在古代文化、科技和交通不发达的情况下,《山海经》是中国记载神话最多的一部奇书,也是一部地理知识方面的百科全书。大约是从战国初年到汉代初年,楚国和巴蜀地方的人所作。全书18篇,《山经》五篇是为一组,以四方山川为纲,记述内容包括古史、草木、鸟兽、神话、宗教等。依南、西、北、东、中的方位次序分篇,每篇又分若干节,前一节和后一节又用有关联的语句相承接,使篇节间的关系表现的非常清楚。《海经》中的《海外经》五篇是为一组,主要记载海外各国的奇异风貌;《海内经》5篇为一组,主要记载海内的神奇事物,《大荒经》五篇为一组,主要记载了与黄帝、女娲和大禹等有关的许多重要神话资料,反映了中华民族的英雄气概。
(2)“文化遗留物”的观点是由英国学者爱德华·泰勒提出来的,他认为当一种风俗习惯、技艺或观点充分地传播开来的时候,一些不利的因素也在增长,它可能长期地影响到这些习俗或者技艺,如涓涓细流,绵延不绝,从这一代继续传到下一代。它们像巨流一样,一旦为自己冲开一道河床,就成世纪地连续不断流下去,这就是文化的稳定性。随着世界社会的向前发展,最重要的管段和行为可能渐渐地变成为纯粹的遗留。