中国民间文艺学史上的流派问题(上)

The Schools of Thought in the History of Chinese Folk Literature and Art (Ⅰ)

在回顾和梳理20世纪中国民间文艺学史时,遇到的第一个问题是:是否存在着流派,存在着或存在过什么样的流派。笔者认为,1949年前的20世纪前期民间文艺学史上,不仅存在着流派,而且存在着不同的流派,在理论、观念、方法上,形成多元格局。这些流派是:北大歌谣研究会派、“古史辨”派神话学、文学人类学派、俗文学派、社会-民族学派、延安学派和民俗学派。它们以一定的社会文化环境为依存和发展的条件,分别有自己的代表人物、理论纲领和代表作。流派的存在和多元格局既促进了中国民间文艺学的本土化发展,又显示了中国民间文艺学的边缘性、跨学科性和不成熟性。

The first issue encountered in the review and classification of the Chinese folk literature and art history is whether there has ever been any school of thought or what type of schools of thought has ever e- merged. The author of this paper opines that in the history of Chinese folk literature and art in the early 20th century prior to 1949 there had been diverse schools of thought colored by the pluralistic pattern in terms of theories, concepts and methodologies. The schools of thought include the school of ballad insti- tute of Peking University, the school of literature and anthropology, the school of popular literature, the socionational school, the Yanan school, the folkways school, which had their respective representatives, theoretic programs and masterpieces. The existence and the pluralistic pattern of the schools have not only facilitated the native development of the Chinese folk literature and art but also revealed its marginality, interdisciplinariness and immaturity.