文明的追忆——论杨志军的长篇系列小说《藏獒》

杨志军的长篇系列小说<藏獒>让我们在人格化的藏獒世界中看到了伟大的藏獒精神和人类大爱.藏獒时代的藏文明产生于严酷的环境,它在给早期的高原人们提供了一个精神家园的同时,也给今天的我们以深刻的自省与自律.     

生态主义视野下的朝鲜族诗人南永前的民族图腾诗歌

中国当代朝鲜族诗人南永前的诗歌大都取材于朝鲜民族的神话传说,在诗歌中,他将自然、天体、动植物作为抒情对象,从创造生命和生命永恒的角度,抒发了自己的情感。不论是以天体或自然为主题的诗歌,还是以动植物为主题的诗歌,都表现出一种珍惜生命、爱护自然、天人一体的自然生态思想。不仅如此,南永前经常把自己的某种意图融入诗歌,使诗歌呈现出强烈的民族文化意识和理念色彩,而且还常用排比手法表达对生命的赞美和生命的永恒。     

卢梭的自然教育理论述评

卢梭是法国18世纪最杰出的启蒙思想家。在其著作《爱弥尔》中他详尽阐述了他的自然教育思想。他主张教育必须适应儿童自然,反对压抑与摧残儿童的天性,主张培养“自然人”,同时在教育的过程中应当适应儿童发展的年龄特征和个性特点。卢梭的自然教育理论虽然有一定的历史局限性,但它对后世产生了深远的影响,对我国教育特别是素质教育具有一定的借鉴作用。     

乌热尔图的生态文学与生态关怀

在20世纪末中国作家群里,鄂温克族作家乌热尔图是比较早地以文学形式关怀人类生态的作家之一,面对日益严重的生态危机,他一直在思考我们人类到底应当怎样对待自然;作为作家和学者,他对所有地球生命感到深深的忧虑。     

西北荒原的呼唤 野马兮归来

“蓝蓝的天上白云飘,白云下面马儿跑……”这支歌我们已经唱了几十年。 如今,在中国大西北的蓝天白云下奔跑着一种不寻常的马儿,它们是荒原的精灵——野马。     

论《密洛陀》的“创世”史诗中的自然文化观

布努瑶民族创世史诗《密洛陀》在描述人类和民族的起源、发展过程中以创世精神表达出自然文化观。创世一方面指创造人类自身及其文化,一方面指创造自然,改造自然,从而在人与自然的关系中确认自然的文化意义和人化特征。自然文化观展现了人与自然关系的多维视野,人与自然关系既有互动、互生、互为因果的关系,从而构成和谐互利的一面,又有对立矛盾、冲突的一面,人类既要顺应自然又要改造自然,人类在改造自然的同时也改造了人类自身,从而获得人与自然关系的生态平衡的发展。     

试析王维笔下的夕阳之美

唐代著名田园诗人王维,是描绘"夕阳"美景的大师.诗人笔下的"夕阳",既是自然美的代名词,又是他思想与情怀的载体,还对应着他生命的西沉与归宿.他将诗、画、乐融为一体,创造了诗歌史上最具灵性的诗歌,具有很高的审美价值.     

试析王维笔下的夕阳之美

唐代著名田园诗人王维,是描绘"夕阳"美景的大师。诗人笔下的"夕阳",既是自然美的代名词,又是他思想与情怀的载体,还对应着他生命的西沉与归宿。他将诗、画、乐融为一体,创造了诗歌史上最具灵性的诗歌,具有很高的审美价值。     

论《荒原》中的复活意识

在对文明衰落、道德沦丧、精神死亡的揭露和批判中,<荒原>孕育着强烈的新生和复活的意识,它们隐藏在死亡意象之中,通过原始的前意识生命欲望冲动达到现象还原,重新获取新的生命;诗人的宇宙本体论思想又使从生到死、死而复生的意识在<荒原>文本中互相交织、相互感应;同时宗教、神话和现代荒原话语把复活的意识统一在文本中的潜意识里.     

试论《格萨尔王传》中古代藏族先民的自然保护意识

自古以来,藏族与大自然和谐相处,以独特的方式保护着大自然,进而产生了独特的自然保护意识和生态意识,深心地影响着世世代代的藏族人民。通过藏族英雄史诗《格萨尔王传》可窥探古代藏族先民对自己生活的环境——大自然的朦胧认识、崇拜到竭力保护这一过程,本文阐述了人类不是大自然的主宰者,人类与自然和谐相处,均衡互利,人与自然和谐发展才是永恒的主题与朴素观念。     

顾彼得《彝族首领》中的彝区及其旅游资源

俄国旅行家顾彼得到过四川大凉山彝区,并在其旅行记《彝族首领》中作了真实的记述。顾彼得在书中多处记述的彝区美景,都是真实的,是今天完全能找到的。文章陈述了顾彼得深入彝区的路线,以及那一时期的旅游自然资源、人文资源和民风民俗,之后用对比的手法分析了彝区自然资源、人文资源的历史变迁和发展。     

浅谈藏族古代关于世界本源“元素说”的物理思想

古代时期的藏族人对他们生活在其中的世界的起源本质、事物的运动,以及层出不穷的自然现象进行过种种观察和思考,从而形成了他们对自然界的根本看法和认识,其中关于世界本原的"元素说"较有代表性。     

“和而不同”与文明对话

从本质而言,人类社会是一个“和而不同”的社会。当今世界存有许多种文明,每一种文明都有其独特的一面、不同的一面。然而,在不同的文明之间,其实还有许多共同、共通之处。文明之间的“不同”,其实无非是“大同小异”,至多是“大同大异”罢了,前提却依然有很多的“相同”。除此之外,不同文明之间还必定有许多关联之处、互相借鉴之处,所以文明的“求同存异”与人类的“和平共处”便有了基础。 严格地讲,真正的文明本来不会发生冲突。因此,从根本上说文明之间是可以对话、并存和融合的,而文明之间的冲突必定是细枝末节之事。 20世纪90年代,美国哈佛大学著名政治学家塞缪尔·亨廷顿教授提出的“文明冲突论”非常引人瞩目,并引起广泛的论争。亨廷顿教授指出:“文明间的冲突是根本性的;文明冲突的最根本因素是宗教因素和与宗教联系的种族因素;冷战后的今天,文明的冲突就将发生在不同文明之间的断层上。”他过分看重现象,过分强调不同文明之间冲突的一面,     

从民间文学看哈尼族的传统生态观

The Hani’s rich folk literature has preserved their traditional culture. Interpreting it from the perspective of ecological culture may lead us to the conclusion that the Hani’s traditional eco-logical understanding is that of a harmonious rela-tionship between man and nature. This ecological understanding is similar to that of other ethnic groups in Yunnan, such as the Bai, Dai, Wa, Yao, Naxi, Jingpo, Bulang, and other ethnic groups, which shows that this ecological under-standing is common across the Chinese nation. Meanwhile, this ecological understanding has an enlightening role for human beings to keep the eco-logical balance in the present day. This article tries to investigate the deep connection between the Hani’s folk literature and the natural ecology, and reveals the Hani’s traditional ecological under-standing. 1 . The Hani’s traditional ecological under-standing is revealed in their folk literature The Hani have no fairy tales in the strict sense, their literature is a kind of“universal litera-ture” enjoyed by both adults and children. Howev-er, the Hani’s folk literature also created a roman-tic world similar to that of fairy tales. This “fairy tale world” is just the world of nature reflected in the Hani’s literature. The typical characteristics of this world are harmony and happiness. In this har-monious and happy world, mountains are a para-dise for man and all other things on earth. In this paradise, man is only a part of nature, they are not the spirit or the core of the world. Man, animals and plants have their own places, and their own happiness. Meanwhile, they support each other, and have a common development. In a word, man and nature have a highly harmonious relationship. When environmental protection and ecological bal-ance become a common topic in today’s discourse, one can gain some insight by reading Hani fairy tales and legends. Therefore, digging out the eco-logical beauty from Hani folk literature still has a practical purpose. How then does Hani folk literature describe the relationship between man and nature? We find that the Hani folk literature is full of stories con-cerning how the animals and plants save mankind. Many works reflect this idea: if mankind had not been assisted by the animals and plants, it must have died out long ago, therefore, man should show his thanks to the animals by protecting them. Be-cause the animals and plants saved man’s life, and man knew to show his gratitude to them, the rela-tionship between man and nature is always good in the fairy tales, although they live in their own ways, they never disturb each other — they have a totally harmonious relationship. Moreover, man can even marry animals and have descendants with them. The harmonious relationship between man, animals and plants is a basic theme of the Hani folk literature, as well as a basic part of the Hani eco-logical understanding. The relationship between man, animals and plants reflects not only a friend-
ship, but a kind of family relation, because they can even become couples, although the couples can sometimes suddenly turn hostile — they may have disagreements or even come to blows. When this happens, the deities could help to solve the problem— this is another aspect which reflects a harmoni-ous relationship between man, animals and plants. In the Hani folk literature, the harmony be-tween man and nature is also reflected in the mutu-al assistance between man, animals and plants. In this kind of literature, man, animals and plants are always equal; they not only have a common goal and the same standards for good and evil, but also have a common language, with which man, animals and plants are able to negotiate with each other, help each other and reap their own rewards. 2 . The cultural sources of the Hani’s tradition-al ecological understanding Although literature is a creation of the writer, it reflects social life. The writers’ imaginings can-not be separated from the practicalities of place, and folk literature has its own particularity. Folk literature is created by several folk artists from gen-eration to generation. It might be a result from sev-eral people’s discussions during the creative process or when the work is passed down, hence, it is typically collective work and has typically mass characteristics. Although the individual plays a significant role in the creation of a work, the content of folk literature does not always reflect a single artist’s idea, but the idea of a group. There-fore, we say that the harmonious ecological under-standing reflected in the Hani literature actually re-flects an overall awareness of the Hani people. Why did the Hani form this kind of common awareness, then? We believe that it is decided by the Hani’s living environment and common cultural resources. Most Hani people live in the mountain-ous or semi-mountainous areas between Mt. Ailao and Mt. Mengle. The living environment partly in-fluences ideology. Because of the level of inacces-sability, and self -sufficient life style, communi-cation among the different Hani villages is rare,
however, what they see every day in their living ar-eas are mountains; therefore, their similar living environment leads them to have a similar under-standing of the mountains. The Hani are a “migrated ethnic group”. Their ancestors originally lived in the remote north. Due to natural and social causes, they moved south. Following the cultural development and improvement of natural conditions, their popu-lation gradually increased. After they stepped into the mountainous areas of Mt. Ailao, they had im-proved material conditions and peaceful life, and the population dramatically increased. Later, they settled down in the broad area of the Honghe and Lishejiang drainage basins. The Hani’s history of migration and development indicates that no matter how large a population they have, and how they are scattered, their culture has the same origin. Therefore, tracing the origin of the Hani culture is very important to understand why the Hani share a common awareness of the harmonious relationship between man and nature. Another point worth noting is that the Hani are called as an “Ethnic Group of Stories”. The Hani like telling stories, and making up stories, therefore, there are many popular stories among the Hani. This is because Hani have no writing, which makes the essence of the Hani culture lie in their oral stories. The ancestors’ stories, and their wisdom are all spread and handed down through these stories. The Hani stories actually play act as cultural carriers, burdened with the task of preser-ving culture, and playing an educational role. It is due to the influence of the ancestors’ traditional culture that the Hani have kept an awareness of maintaining a harmonious relationship between man, animals and plants. Then, which factors in the Hani’s cultural origin have promoted this awareness and made it exist for a long time? This article separately discusses the impact of the origin of the heavens, earth, man, animals, and plants, as well as the understanding of animism to this awareness.
In the Hani’s traditional religion, animism is a basic tenet. The Hani believe that the universe is created by the gods, and all things on earth are brought about by the gods. These deities infuse the things in the universe with a spirit; man cannot hurt other things, including those things without life;and the proper relationship between man and nature is harmony. A harmonious relationship means to obey the deities’ will, and is a special representation of their worship. Some people be-lieve that the formation of this kind of understand-ing is directly related to the ecological environment in which the Hani live. They live in the mountain-ous areas and conduct farming work from genera-tion to generation. The forest and water sources are their basic production materials. While using and transforming nature, they must protect and respect nature. Only in this way can an ethnic group un-dergo constant development in a difficult environ-ment—this already has become common knowledge during the process of inheriting the Chinese culture in the past thousand years. And to the Hani peo-ple, this is their principle, as well as their life philosophy. The Hani’s understanding of animism is a kind of pantheistic ideology, which belongs to religious aspect and does not fit with materialism. However the understanding of animism plays a very big role in the Hani’s formation of a self-consciousness in protecting the animals and plants, and keeping the ecological balance. Its role is not limited to an in-dividual or a local area, instead, its meaning to the whole Hani area cannot be underestimated. Hence, we take it as one of the sources for the for-mation of the harmonious natural understanding of all Hani people.     

彝族“付拖”与《羌族释比图经》中五行生肖的对比与解读

在彝族的付拖图里,蕴含了五行及生肖.在《羌族释比图经》中蕴含了五行生肖内容,表现出独特的羌族文化特色,有极为重要的学术价值.因为彝族和羌族的先民都与古羌人有密切的关系,而古羌人与中原先民文化有密切的关系,所以彝族和羌族的五行生肖文化与中原五行生肖文化当有文化渊源关系,只是在后来的传承中,因为传承主体的原因而表现出不同民族特色.因为羌族没有文字对自己的五行生肖文化加以定格记录,所以现在对之抢救和研究显得特别重要.     

生态环境与云南藏族的文化适应

本文在对云南藏族进行深入调查的基础上 ,从生产方式、生活方式、自然资源管理机制和婚姻家庭模式等方面 ,阐述了云南藏族对其所处生态环境的文化适应。文章认为 ,文化是一个民族对周围的自然环境和社会环境的适应性体系。文化与自然的互动或文化对自然的适应可被称为生态文化 ,生态文化是一个民族对生活于其中的自然环境的适应性体系 ,它包括民族文化体系中所有与自然环境发生互动关系的内容 ,主要是这个民族的宇宙观、生产方式、生活方式、社会组织、宗教信仰、风俗习惯等。为适应迪庆高原特殊的生态环境 ,云南藏族早在历史上就通过文化调适 ,形成了一整套与自然环境良性互动的生态文化体系。面向未来 ,云南藏族生态文化中符合时代要求的内容必将得到复兴 ,其中的古老智慧必将与现代化的科学技术和全球化市场体系相结合 ,成为推动云南藏族走上可持续发展道路的关键     

魔兽与母亲——灾难的象征论

1991年10月发生在奥克兰地区的大火灾造成25人丧生,6000多人无家可归。幸存者用各种方式表达自己对这场灾难的认识,其中凸显了有关自然与文化、有序与无序、时间与空间以及传统的男女性别区分与生死等二元结构,尤其是对作为自然象征的母亲与作为灾难象征的魔兽二者之间的对立显示了自然与非自然力量的对比。人们为了解释灾难的去而复来,甚至认定灾难的发生是早已注定的、循环的,从而肯定了上帝对于自然灾害发生的控制权,由此,毁灭者也是创造者。奥克兰大火中隐含着如建筑材料的不当使用和居民区的不合理规划等技术性因素,因此其可部分归结为技术性灾难。而由于技术性灾难产生于一个文化的竞技场,而不是自然自身的,在这种情况下,能满足人们心理需求的合乎情理的灾难意象或隐喻非常少,因此,技术性灾难不会流变为神话,而是作为永远的历史而存在。综观上述过程,灾难被重新界定为＂创造性的毁灭＂,从而被赋予了一种令人敬畏的美。尽管并非所有的文化都会以上述方式去象征地表达灾难,但所有的文化在描述与解释灾难时,象征都将会是他们行动的一部分。这些象征的建立缓解或消解了灾民对于灾难的恐惧,这也可以部分解释为什么灾难多发区的居民大多不愿意搬迁。     

李绍明先生的彝族研究

李绍明先生自幼生活在彝区,很早就对彝族文化感兴趣。1953年,他毕业于四川大学历史系民族学专业,在学习和以后的工作中先后得到陈宗祥、吴泽霖、冯汉骥、马长寿、林耀华等先生的帮助和指导,他在民族识别、社会性质研究等关于彝族的历史和现状方面的研究中,硕果累累,弄清了凉山彝族在民主改革前奴隶社会的状况以及历史发展脉络,对彝族族源、族属及文化对比等方面的研究也有重要价值,所主持的横断山区"六江流域"民族综合考察,开创了藏彝走廊民族综合研究的先河,在国内外有重大影响。李绍明先生还积极参与了关于中国民族学地位的交流和对话,对学术进行了反思,在此方面也发表了不少学术成果。