声音的政治与女性历史的书写——解读谭盾的微电影交响诗《女书》

The Political Nature of Voice and the Historical Writing of Women—Analysis of Tan Dun's Microcinema Symphonic Poem Nvshu

女书在1980年代被惊呼为"一个惊人的发现",并从语言学、人类学等方面得到大量研究。谭盾则从音乐人类学角度创作出微电影交响诗《女书》,从而打开了研究女书的新面向。从内容和形式上看,《女书》用交响乐来表现中国古老文字,在演奏中播放现代影像,从而达到过去和未来、声与像"双重的3D"对位;其次,对位形成的原因在于通行世界的语言——音乐,所以女书的"唱"承载了极强的政治性。女书充溢在江永女性生活中,"唱"既使女性焦虑得到想象性解决,也作为"元语言"而达到底层发声的作用;《女书》"重复""永恒"的历史叙事性打开了女性历史书写的可能。

In the 1980s, Nvshu script was called uan amazing discovery^. It has been studied in many areas like linguistics, anthropology. Tan Dun created N v s h u from the point of musical-anthro-pology and it opened a wide space of Nvshu. First, in the content and form, Nvshu adopts symphony to express the ancient texts of China and plays videos with images. Then it gets u double 3D？ , coun-terpoint： the past and future, the sound and image. Secondly, what makes the counterpoint happen is the worldwide language ： music, so the ‘‘singing” of Nvshu undertakes a strong political nature. Nvshu fills every aspect of women, s life in Jiangyong and it overcomes many anxieties in their imagi-nation. It can also let the subaltern speak as the meta language. What＇s more, the repetition and etemity in the narrativity of Nvshu make the historical writing of women possible.