哈萨克英雄史诗与《玛纳斯》叙事结构比较研究

哈萨克英雄史诗与《玛纳斯》同是西北突厥语族民族英雄史诗,尽管它们各具特点,但在叙事结构上存在许多相同之处。本文以哈萨克英雄史诗《英雄哈姆巴尔》、《英雄霍布兰德》、《英雄塔尔根》与柯尔克孜族英雄史诗第一部《玛纳斯》为主要研究对象,试找出两部民族英雄史诗在叙事结构上的相似性,借以说明民族史诗作为一种特殊的文学样式,在不同民族中往往有着极为相似的表现,在历史上渊源甚深的民族更是如此。     

寻找祖灵之路——亚鲁王，苗族英雄史诗

2009年,贵州省紫云县麻山地区发现了苗族英雄史诗《亚鲁王》,这部万余行的“活态人民口头创作”,没有任何文字记载作为依据,全部由歌师凭记忆用苗语唱诵。《亚鲁王》的整个叙述结构就是如何引导逝者的亡灵返回到这一族群的祖灵所在地——祖奶奶的居所。     

文史书柜

<正>《亚鲁王书系》(曹维琼卢现艺麻勇斌主编)贵州人民出版社出版出版时间:2012.12定价:1880.00元责任编辑:宋健谢丹华张忠兰闵英本书一套三册,《史诗颂译》《歌师秘档》《苗疆解码》。《史诗颂译》以苗汉对照的形式,完整地、系统地整理翻译苗族口头传颂千年的英雄史诗《亚鲁王》。《歌师秘档》用田野考察方法,采访苗族歌师70余人,记录了歌师们拜师学艺的传奇故事。《苗疆解码》以文化生态学的理论指导,从苗族英雄史诗《亚鲁王》传颂的区域、族群、生态环境、生存方式、颂唱场景、史诗变异等方面,整理记录《亚鲁     

黑龙江冰雪文化礼赞(十九)——谱写英雄史诗的柯尔克孜族(五)

<正>七、英雄史诗《玛纳斯》《玛纳斯》,柯尔克孜族一部大气磅礴、气势恢宏、规模巨大、荡气回肠的长篇史诗。千百年来,它在柯尔克孜人民中间广为流传,《玛纳斯》与藏族的《格萨尔王传》、蒙古族的《江格尔》一起被称为我国三大英雄史诗。     

亚鲁王城——“格桑”初探

在苗族西部方言各次方言和土语区广泛传说着关于亚鲁的故事,在婚丧嫁娶、祭祀典礼、建房造屋、节日欢庆、人生礼仪等不同场合,唱诵《亚鲁王》是重要的仪式性内容。《亚鲁王》与苗人息息相通,以英雄神明的声威切入生活的方方面面,成为苗族人在生产、生活、生长过程中的护佑神。在苗族人口传心授的记忆中,这位英雄的王城和战死的地方并不遥远,苗语称为"格桑"。"格桑"在何处,本文试作探讨。     

浅议《诗经》的“史诗”属性

《诗经》是中国现存文献中一部最早的诗歌总集,它以优美的文字,反映了从西周民族建立之初到春秋中叶这一历史时期的基本社会现实状况。但对于《诗经》是否属于真正意义上"史诗",历来学者们的看法不一。本文试图澄清这一问题,并对自己所持的观点进行进一步的探讨,以求对读者有所启发。     

德格印经院与英雄史诗《格萨尔王》

正德格印经院,名列藏区四大印经院之首,被称为"最伟大的图书馆";汇聚康巴藏区文化精粹,被藏民奉为圣地朝拜;印出的唐卡被称作"藏文雕刻印术的绝唱"。格萨尔王,诞生在德格,一生金戈铁马斩妖伏魔,是康巴藏民心中的雄狮。2000多万字的英雄史诗《格萨尔王》,有字有诗,有彩有画,有说有唱,被称作"当今世界上唯一活着的最长史诗。"     

柯尔克孜族英雄史诗《玛纳斯》简述

柯尔克孜族的英雄史诗《玛纳斯》,是一部规模宏伟、色彩瑰丽的巨著。它是柯尔克孜族民间文学的一颗光辉灿烂的巨星,与我国藏族的《格萨尔王传》、蒙古族的《江格尔传》被称为我国三大史诗。它以迷人的奇彩、独特的艺术成就昂然步入世界文学之林。 玛纳斯是史诗中的主人公,既是这部英雄史诗的总名,又是史诗第一部的名称。全诗共分八部,约20多万行,每部都     

高原绝唱 《玛纳斯》史诗的保护与传承

柯尔克孜族英雄史诗《玛纳斯》,颂扬了英雄玛纳斯及其七代子孙率领柯尔克孜人民与外来侵略者及各种邪恶势力进行斗争的事迹,同时还记录了柯尔克孜族传统生产知识、生活知识、仪式、节日等。2009年《玛纳斯》史诗入选联合国教科文组织"人类非物质文化遗产代表作名录"。     

迥异有别的“诗史”——哈尼族迁徙史诗《哈尼阿培聪坡坡》与荷马史诗

自从亚里斯多德的《诗学》提出史诗概念以来,历代学者所言“史诗”一词,专指以荷马史诗为代表的、通过英雄的业迹反映重大历史事件的远古史诗,及至近年,随着各国创世史诗的大批发掘问世,史诗学界的看法有了新的变化,史诗被分为创世、英雄两类,这无疑是一项新的开拓。然而作者犹嫌不足的是,许多论者将迁徙史诗归为英雄史诗一类,故依据自己对哈尼迁徙史诗《哈尼阿培聪坡坡》(下简称《聪坡坡》)的调查,撰文提出以迁徙史诗为代表的叙诗性史诗与英雄史诗、创世史诗三体分列的看法,但因篇幅所限,论述甚简。     

亚鲁王城——“格桑”初探简

在苗族西部方言各次方言和土语区广泛传说着关于亚鲁的故事,在婚丧嫁娶、祭祀典礼、建房造屋、节日欢庆、人生礼仪等不同场合,唱诵《亚鲁王》是重要的仪式性内容。《亚鲁王》与苗人息息相通,以英雄神明的声威切入生活的方方面面,成为苗族人在生产、生活、生长过程中的护佑神。在苗族人口传心授的记忆中,这位英雄的王城和战死的地方并不遥远,苗语称为“格桑”。“格桑”在何处,本文试作探讨。     

Emplotment as Epic in Archaeological Writing: The Site Monograph as Narrative

To emplot a narrative as epic is to present a story of vast scope and multiple plots as a legitimate member of a tradition of other such stories. This article argues that emplotment as epic is the broadest of three levels of plot in archaeological writings. At that level, the site monograph emerges as a characteristically archaeological form of narrative, fundamental to archaeology as a discipline and a source of chronic anxiety for archaeologists. The ‘stories’ told in site monographs are epic in length, diversity of materials covered and multiplicity of themes, plots and authors. Indeed, the more complexities of that sort the better, since those are features that help to emplot the work as good archaeology.     

“This Remarkable Piece of Antiquity”: Epic Conventions in Shelley’s Oedipus Tyrannus; or,Swellfoot the Tyrant

ABSTRACT

Shelley’s Swellfoot the Tyrant has recently begun to gain the concerted attention of critics, who have noted the play’s signature blend of low and high, of ephemeral, late Regency politics with the classic genres of Sophoclean tragedy, Aristophanic comedy, and mock epic. But Austin Warren’s famous and widely accepted definition of mock epic as “not mockery of the epic but elegantly affectionate homage, offered by a writer who finds [the serious epic] irrelevant to his age” does not describe Shelley’s earnest goal of immediate political reform in authoring Swellfoot. Instead, the play evinces Shelley’s unique, conscious reconfiguration of four conventions characteristic of the high, classical epic: the “prosperous breeze”; the epic simile; katabasis or descent into the underworld; and divine intervention. I argue that Shelley’s comic adaptation of these epic conventions reflects his serious aim of helping effect reform through Swellfoot and embodies his absorption of the concept of Shakespeare’s history plays as an experimental hybrid of dramatic forms with epic subjects, gained during his earlier reading of A. W. Schlegel’s Lectures on Dramatic Art and Literature. Though the immediate suppression of Swellfoot prevented its relevance in its own historical moment, it comprises a singular hybrid of Aristophanic satire and Sophoclean tragedy with high epic conventions, while ironically also identifying Shelley as a proponent of the French neoclassical theory of the epic’s consciously didactic purpose propounded by Le Bossu.     

Searching for a Younger Generation of Tibetan Minstrels to Sing the King Gesar

As time goes by,the development of epic performance cul-ture naturally fol-lows that the old blind minstrels who once specialized in singing the oral epic King Gesar(which they had memorized by their memories)are gradually dying out.Therefore, sooner or later,live performance of the oral epic King Gesar seems doomed to disappear.But does the successive loss of elite minstrels, such as the departure of Zhaba, Tsewang Jigme,Atak,Khetsa Zhaba,     

Time as told: Telling the past in Kyrgyzstan

This paper addresses Kyrgyz ‘time-telling’, exploring how Kyrgyz herders and villagers ‘tell’ of their experience of time through genealogies, family stories and epic poetry. The author takes a phenomenological approach, drawing on different forms of narrative; interweaving history, myth and story; revealing the life within the past, as genres mesh (and not always seamlessly). She argues that the lived experience of ‘time-telling’ works through narrative, memory, sound, performance, and poetics, providing a matrix through which the past is continuously brought to life for performers and audience alike. The paper is in three parts. The first sets the scene, exploring three interwoven, kin-related Kyrgyz genres – family trees, genealogies, and epic poetry. The second looks at diverse manifestations of the Kyrgyz epic Manas, and its interpenetration with social life. The third reveals how different forms of performing and remembering the epic bring the past to life through the act of performance.     

作册般铜鼋铭文新释补论

王射,与获、贯射四、无废矢一样,在当时都是记录射礼的专门术语或固定句式,也是射礼文辞有别于田猎文辞的显著标识;铜鼋既是铭功的庸器、展示商王射艺的实物模型,也是颂扬商王射技武功的纪念物,三者并不矛盾;铭文记载了同一日王所举行的弋射和射鼋两种射礼;当时可能是把鼋悬挂在两个立柱之间作箭靶的,这说明商周时代的射礼曾经历了一个从田猎竞射到射牲、再到射侯的发展历程,而铜鼋所反映的正是由实射动物到射侯的过渡形态。     

《诗经》籍礼乐歌新探——从礼仪视角考察《诗经》农事诗

《诗经》中的农事诗实即一系列农事礼仪的仪式乐歌,其中,最重要的农事礼仪莫过于籍田典礼。考察《诗经》中的农事诗,作为籍田典礼的仪式乐歌的只有两首,即《噫嘻》和《臣工》,前者为籍田中发布开耕命令的乐歌,后者为耨礼结束时告诫农官的乐歌。     

A Commemorative Happy Day China holds grand commemorative activities to celebrate the millennium of the Gesar Epic

On Oct.17,2001,delegates from more than 140countries and regions unanimously agreed,at the 31thUNESCO session,that the commemorative activitiesto celebrate the millennium of the Gesar Epic wouldbe enlisted into one of the UN programs from July of2002 to july of 2003.It shows an internationally affir-mative recognition of the wisdom of the Tibetan eth-nic group of China,and it is also an internationallyaffirmative recognition of those great achievementsmade in the collection,collation and academic researchof documents of the Gesar Epic in China since thefounding of New China,especially since its reform andopening up.     

试析《仡佬族古歌》中的几个美学特征

人是创造关和欣赏美的唯一主体,审美能力是人之为人的重要心理品质,其由来历久。固然,仡佬民族也在创造和欣赏着“美”,仡佬人没有形成自己的文字,但有着丰富而口耳相传的民间古歌谣,部分经专家整理、收录（用国际音标采音、汉字意译）编辑成《仡佬族古歌》,这些歌谣具有诸多“美”的特质。从《古歌》中,我们可以发现仡佬民族所独有的“历史感”、“悲剧性”、“和谐观”等美学特征,这些为仡佬民族的“不朽”奠定了坚实的基础。     

A Frightened Hunting Ground: Epic Emotions and Landholding in the Western Reaches of Australia's Top End

A general theory of epic emotions is proposed. After providing terms to frame discussion, the author considers Aboriginal discourses of landed association to yield an account of the significance accorded to emotions by Aborigines during events that are attendant on situations of ultimate reference. The necessary association of specified emotions with culturally defined situations of ultimate reference is held to be a defining quality of emotions of the epic kind. In the Aboriginal case, the cultural register of emotions is brief to the point that recognised emotions are all epic emotions. Such emphasis on elemental forms has implications for the study of the development of social institutions. It is suggested that, world-wide, the words for inner states proliferate only when two conditions are fulfilled. The two loosely related variables are: (i) increments in social scale and (ii) the invention of ontologies of the divided self.