民俗学又添一位博士——郑土有

黄景春

新科博士郑土有，毕业学校：华东师范大学；导师：陈勤建。
[ 本帖由 黄景春 于 2004-6-23 21:02 最后编辑 ]

品三

何不向叶涛兄学习一把，将土博士的论文提要（至少是论文选题）一并贴出来给大家参考参考？
我们能从关溪莹的博士答辩照中见到令师尊容，为何在土博士的主题下却省去了？
楼主是不是准备接受令师棒喝呀？

苏更生

这是二师兄了吧？

yckl1

我们的大师兄好靓哦！穿得笑得都像一朵鲜花！他现在可是国内长篇叙事吴歌研究的权威哟！魔术袋里随便掏一掏就是一个罕见的皱巴巴的、黄兮兮的手抄吴歌唱本。阿土的论文赢得了复旦大学郑元者先生、上海大学程蔷等教授一致的高评！是货真价实的填补空白的作业！

可是在一大帮叽叽喳喳的师姐师妹当中，师兄总是带着几分害羞。等七月初小的返沪，将努力把师兄论文摘要贴出来。

除土兄外，正在西欧研修的常峻师姐也风尘仆仆地赶回来参加了博士论文答辩，她的《论周作人文学思想及创作的民俗文化视野》也是一篇倍受好评、发人所未发的佳作。借此机会向他们表示热烈的祝贺！

黄景春

何不向叶涛兄学习一把，将土博士的论文提要（至少是论文选题）一并贴出来给大家参考参考？
我们能从关溪莹的博士答辩照中见到令师尊容，为何在土博士的主题下却省去了？
楼主是不是准备接受令师棒喝呀？

谢谢品三兄提醒。然“令师”向来温雅，不执大棒，不事呵责，吾无忧也。
郑土有论文答辩会我恰有俗务缠身，没有参加，照片暂缺。论文题目曰《吴语叙事山歌演唱传统研究》
第一章 吴语山歌及吴语叙事山歌研究历史批评
第二章 吴语叙事山歌的主题类型及地域分布特征
第三章 吴语叙事山歌生成的民间生态文化环境
第四章 天籁之音：吴语叙事山歌的演唱环境
第五章 吴语叙事山歌的套式类型
第六章 “调山歌”：表演忠的创作
第七章 歌手的角色
后面还有100多页的8个附录。

论文摘要，还是让yckl1来吧。


[ 本帖由 黄景春 于 2004-6-27 11:38 最后编辑 ]

yckl1

《吴语叙事山歌演唱传统研究》中文摘要

吴语叙事山歌是指流行于吴语地区民间、用吴方言演唱的，有比较完整的故事情节、有两个以上人物出场的韵文作品。根据篇幅长短，可分为短篇、中篇和长篇。上世纪八十年代初，随着《五姑娘》的公开发表以及大量叙事山歌的相继搜集整理，长篇吴语叙事山歌在学界引起了轰动，也曾发生过一场争论，有人认为这是“伟大的发现”，打破了汉族无长篇叙事诗的定论，也有人对它的真实性表示质疑，仁者见仁，智者见智。进入九十年代中期以后，因为中国民间文学界热点转向民俗学研究，对长篇吴语叙事山歌的研究也转入低谷，但事实上仍有许多问题没有得到真正的解决。本文从吴语叙事山歌的演唱传统出发，以田野调查的第一手资料为基础，结合文本分析，力求深入到它的“本体世界”之中，探求它的传承、编创规律，给它以合理的定位。
本文共分七章。内容上大致可分为三个部分：第一章主要是吴语山歌、吴语叙事山歌发展史、搜集整理史、学术史的回顾，是一种学术上的梳理；第二、三章属第二部分，是对吴语叙事山歌基本情况的分析和判断，根据现已发掘的三十多首中长篇叙事山歌，分析它的主题类型、地域分布特征；从民间文化生态环境的角度探讨其生成的各种内外因素；第四、五、六、七章属第三部分，也是本文的重点。主要探讨叙事山歌是在怎样的语境中演唱的，演唱的三种典型形态及其特点和功能，演唱传统中逐渐形成的各种叙事类型套式，长期的山歌演唱传统是如何模塑一代又一代叙事山歌歌手的，他们具有哪些共同的特点，歌手是如何传承的，歌手在学唱的过程中有哪些技巧，他们是如何在演唱过程中采用“调山歌”手法将各种现成的套式巧妙地运用于叙事山歌的编创活动的等等。
通过上述初步研究，我认为吴语叙事山歌是吴语地区山歌演唱传统发展的必然产物，是在短山歌基础上逐渐丰满、发展起来的，长期以来形成的丰富的、各个层次的套式，为歌手编创长篇叙事山歌积累了丰富的“材料”；山歌（包括叙事山歌）演唱是旧时吴语地区民众生活的有机组成部分，它时刻伴随着人们的生产、生活活动，是人们最主要的精神娱乐方式，同时也是他们思想情感的集中体现；吴语叙事山歌是优秀歌手运用“调山歌”的手法编创而成的，它从来没有固定的文本，一次演唱过程结束就标志着一次编创的完成，由于一次连贯演唱的机会较少，大多数情况下只能一套一套分时段演唱，每“套”可以单独唱，也可以“连牢唱”，这种演唱习惯形成了其结构松散、弹性大、生长点多的特点。总之，吴语叙事山歌是一种具有吴语文化特色的自成体系的活态的口头叙事诗。

关键词：吴语叙事山歌，演唱传统，表演语境，套式，歌手

The Abstract
Popular among the folks of Wu-dialect area, the Wu narrative ballads are songs  in verse style with comparatively complete plots about at least two characters. The ballads can be divided into three categories according to their length: the short, the medium and the long ones. The publications of WU GUNIANG and the other collections of narrative ballads in the 80s’ of the 20th century had caused a sensation and incurred a dispute among the scholars. Some argued the publications “great discovery”, which have shaken the belief that there have never been long narrative ballads and poems among the Han Chinese; some others questioned the authenticity of these ballads. Later in the middle of the 1990s with folklorists’ focuses turning to folklore instead of folk songs, the research on Wu ballads had almost stopped. There exist still many questions unsolved.
Starting from the scrutiny on the performing traditions of the Wu ballads with the combined research methods of the first-hand field trips and available text materials, the author of the dissertation has made great efforts exploring the “real world ” of those Wu ballads, i.e. their transmission and improvisation rules in order to define the genuine meanings of the Wu ballads.
   
The dissertation has seven chapters with three main divisions in contents. In the first chapter, the writer has explored the historical development of the Wu ballads and examined the achievements done in collection and research by previous scholars. The second and third chapters can be classified as the second part, in which the author, taking into consideration of the encompassing factors, such as the living conditions and the social and cultural environment of the singers, has analyzed and evaluated, from more than thirty narrative songs collected so far, the archetypes, the diseminated areas, the improvisation rules as well as transmission skills among the singers. Chapters Four, Five and Six, the third section of the dissertation, are the most important parts, in which the writer has examined the performing contexts, the three typical forms, their features and their functions. The writer has put much importance to the evolution of the different narrative formats by examining the performing traditions and their influences on the singers from generation to generation. By comparing the common and varied features of the singers, the writer has tried to find how the performing traditions are transmitted and how the singers have acquired their singing skills and employed them. The author has scrutinized particularly how the singers improvise their songs by free use of different narrative formats.
     
Based on the analysis, we conclude that as the natural products of the performing traditions of the short ballads, the Wu narrative ballads have developed into different formats from abundant sources of the short ballads and poems, which serve as the reservoir, for the performers to borrow freely. The Wu folk songs ( including the narrative songs) , the representations of the emotions of the Wu folks, are of importance, serving as the integral part to the local people and giving them spiritual amusement which accompany them with their daily labor. The long narrative songs, with no fixed texts, vary according to different situations and are improvised by those good singers who “borrow freely” from other sources to fit their needs under particular contexts. Since there exist rare occasions for long narrative songs to be sung, singers will separate the narration into series of sets, which can be sung either by one set or several sets in accordance with the situation. This habit of performance determines the features of Wu ballads with loose and flexible structure and multiple plots. In short, the Wu narrative ballads, pertaining to the Wu dialect area, represent systematically the dynamic oral narrative traditions with strong local cultural characteristics.

Key words: Wu narrative ballads; performing traditions; performing context; format; singer