侗歌艺术历史分期“背离”模式说

The "Deviation" Theory in Historical Phasing of the Dongs' Songs

侗族歌谣艺术源远流长。在分期断代问题上,《侗族文学史》的划分方法顾及了文明进程的时间性则疏离或简略了空间性,即仅倚重历时性(时间性)意义上的"蒙昧→文明"认识套路与思维定势,在编写体例、书写模式、价值理性的把握上,强调民族艺术与主流艺术的对接与保持一致,留下了民族性诉求及"原生性"地缘体认特征得不到凸显甚或缺失的遗憾。这篇文章则以具有民间"诗史"和"诗论"品格特征的"养心"论的形成轨迹为依据,即依据"工具性功能→伦理性功能→审美性功能"的形成过程,把侗族歌谣艺术的历史源流与演进轨迹分为"原始文化时期、古代文化时期和泛历史文化时期"三个阶段,并作了相应的描述与梳理。依据的立足点在于认为一个民族的原生性文化存在,有如人类学家怀特所说的乃是一种"空间—时间实在过程","受着三维空间和一维时间制约。"由于持论的逻辑基点不同,结论自然"背离"了《侗族文学史》的分期断代说。

The art of the Dongs＇ ballads has a long history.In dividing the historical stages,the Literary History of the Dongs takes into the account of the timing of the process of civilization,but it neglects or curtails the space.That is,it relies only on diachronic（temporal） understanding routine and fixed thinking of＂obscuration→civilization＂.In compiling style,writing mode,and the val- ue of reason,it emphasizes on the cohesion and consistency between national art and mainstream art,but it leaves a pity in that the appeal of nationality and the＂native＂geographic features are not highlighted or even are missed.Based on the forming track of the＂Raising Heart＂theory,which is featured by characters of poetic history and poetics,that is based on the forming process of＂instrumental function→ethical function→aesthetic function＂,this paper divided the historical origin and evolution track into three phases：Primitive culture phase,ancient culture phase,and pan-historical culture phase.And then it gives a corresponding description and carding for every period.The standing point lies in the existence of an originality culture.It is a＂spatial-temporal practical process＂, and is constrained by three-dimension and one-dimension.Because of different logical bases,the conclusion naturally deviates from the phasing theory of Literary History of the Dongs.