论《三国演义》里南蛮巫风的隐没与凸显

The narrative discourse of hidden and prominence about Witchcraft Ethos of Southern Wild in Romance of the Three Kingdoms

中原王朝的巫风逐渐衰微,正统文学的强力话语使巫风逐渐淡出传统文人的视野。成书于民间集体创作向文人个体创作过渡时期的《三国演义》,民间巫风信仰与文人创作视野发生了强烈的碰撞与融合。文人作家一方面喜欢和接受民间信仰中的"怪、力、乱、神",另一方面又带着融合了儒释道精神的眼光来描述这些巫术。于是,南蛮地区兴盛的巫风便处于一种儒学文人认知视野下的中原巫术规范,隐没与突显便并行在了《三国演义》的叙述中。

The Decadency of Central North China＇s witchcraft ethos, and the orthodox culture in feudal ages made a Strong Tendency on the rejection of the witchcraft. Romance of the Three Kingdoms was formed in folk collective creation to individual creation transition period, it is suggested that the folk belief had collided with the individual vision and eventually result in combination. On the one hand, the individual writer like and accept ＇strange, force, disorderly, god＇, on the other hand, they mixed together the spirit of Confucianism, Taoism and Buddhism to scrutinize the witchcraft ethos. As a result, the witchcraft ethos of southern wild was thriving in a cognitive perspective of Confucianism scholars with the Central North China＇s witchcraft standard, and expressed in the book of Romance of the Three Kingdoms was the narrative discourse of hidden and prominence.