余玲

倒流的河
——析周航詩集 《背影》

余玲

寫作沒有秘密。不管是出于對(duì)現(xiàn)實(shí)的密切關(guān)注，進(jìn)行普世悲憫情懷與人道主義的文字表述與訴求，還是出于對(duì)生活的體悟和生命的沉思，將主體置于對(duì)立面加以審視與批判，周航 “直接坦露、抒陳情懷”，藉散文藉詩歌，流連窗外風(fēng)景（《窗臺(tái)》），丈量人生旅程 （《可怕的旅程》），歌唱生命的陽光 （《為何那般渴望雪》），反啟時(shí)間的閘門 （《倒流的河》），愿做長掛于生命枝頭的青果（《永遠(yuǎn)做個(gè)不成熟的人》）。古詞賦今詩文，皆乃沉吟于胸而發(fā)于紙筆，寫作于周航而言，唯是硬毫猶有禿舊時(shí)，詩意無盡停不休。

2010年6月，《倒流的河》仿若一道界碑夯入周航的人生。時(shí)間，成為周航詩歌中的核心意象之一。它孕育出生命中的重與輕 （《那眼神》），為人生的歷程故事標(biāo)點(diǎn)斷句 （《風(fēng)的故事》）。時(shí)而是守望之后滿屋飛舞的脈搏 （《雪，終于還是來了》），時(shí)而是夢(mèng)中的一條小船 （《虛構(gòu)》），時(shí)而又是十八年后下酒的菜肴 （《愛情的酒》）。時(shí)間在詩人深沉含蓄之時(shí)變得深邃而永恒，在咆哮奔騰之時(shí)又如同 “一匹脫韁的野馬昂首高原”（《倒流的河》）。細(xì)品詩人數(shù)年來以詩歌所載之人生點(diǎn)滴，尤能發(fā)現(xiàn)其人生觀趨變的幾個(gè)階段中所呈現(xiàn)出的不同之處。從守?fù)?jù)、博弈、抗衡到掌控，周航的身體與心靈一起痛并快樂著，沉醉在與時(shí)間較量的每一次戰(zhàn)役里。

一、守?fù)?jù)：把生命交給時(shí)間

周航曾經(jīng)以 “成為一面湖”躬省克己，將青春歸屬于 “歡歌或單薄”，要求自己 “成熟”、“內(nèi)斂”、“實(shí)在而寧靜/深沉而含蓄/像哲人那般思考與守?fù)?jù)”（《還是成為湖吧》）。思靜者，心必已靜矣。守?fù)?jù)，成為詩人律己的標(biāo)準(zhǔn)之一，其意恰如 “慎獨(dú)”。漂泊多年，周航渴望明澈純情的雙眼和月亮一般安靜的心靈。他守望雪的溫暖，渴盼雪的光芒，懷念雪的純潔，“那是我的童年我的天使我的夢(mèng)想我的故鄉(xiāng)/我的永遠(yuǎn)懷念著的/童話世界”（《為何那般渴望雪》）。這是一段韜光養(yǎng)晦、厚積薄發(fā)的沉寂之旅。盡管有志在胸，怎奈光陰易逝，前途未知，詩人時(shí)有欣喜時(shí)有憂思，“那是冬日里燦爛的陽光/如春陽般的明媚呵/為何我心里住不進(jìn)眼前的溫暖/那是我失落而送來的安慰嗎/在冬日的暖陽下我心漸漸冰涼/似乎走在追尋雪的蹤跡的路上/而憂愁的吟唱”（《為何那般渴望雪》），又常對(duì)年歲蹉跎光陰飛逝耿耿于懷，對(duì)人生與希望充滿疑惑，“有些事開始就意味著結(jié)束”“或許人的一生/都逃不出江南的梅雨”，“難道我應(yīng)該逃避這一切”（《偶感》）。

把生命交給時(shí)間，所要做的只是以努力的姿勢(shì)向著人生的終點(diǎn)行進(jìn)。詩人對(duì)此無何奈何，視之為《過程》而慰己。守?fù)?jù)者何為之？唯躬耕待收爾。而更多的惆悵與無奈則隱于欲說還休的躊躇里，《過程》一詩，似有千言萬語，然而提筆只寫音樂、陽光、云朵、山川，說 “等待飛機(jī)的滑行與引航/完成我思念的延伸”，該詩的標(biāo)題 《過程》才是延伸之后的結(jié)語。周航是在回想曾走過的一程，他以此撫平心底的焦慮與落寞，似乎在說 “人事已盡，只待天機(jī)”。鄉(xiāng)愁雖愁，卻能解百憂，帶著一份長久的壓抑與對(duì)答案的未知，詩人的鄉(xiāng)愁再次填滿胸腔：“你把手中的線收緊”，是對(duì)母親的，對(duì)妻小的，對(duì)故鄉(xiāng)的，更是對(duì)另一個(gè)自己。

就文學(xué)創(chuàng)作的心理構(gòu)成因素而言，如果說鄉(xiāng)愁可列入文學(xué) “精神性”的淵藪之一，那么詩人關(guān)于從 “文學(xué)高度上”對(duì) “純文學(xué)意義上的審美追求”[3]的主張?jiān)诖丝梢砸隇槭菍?duì)古典主義新詩的悍衛(wèi)和實(shí)踐。相比形式而言，周航顯然是更重視內(nèi)容的。他不刻意構(gòu)造意境，不以形害意，雖然早期的習(xí)作略嫌工整，但其情感真實(shí)，遣詞刻苦，沒有矯情做作之味。相反地，如果習(xí)詩者從一開始就以中國古典詩詞之韻律、意境、美感等要素嚴(yán)格要求自己，手熟之時(shí)，習(xí)慣成詩，極少會(huì)有粗制濫造之作出現(xiàn)。如同練琴習(xí)武，這也是文學(xué)創(chuàng)作者的基本功之一。

周航對(duì)藝術(shù)的追求，對(duì)自身的要求，決定了其詩歌必然是有生命力的。這源自一種不斷向外探尋向內(nèi)剖析，力圖扎根于文化土壤的勇氣與魄力。所以我們說，周航的文字與思想是有根的，思考與守?fù)?jù)是有根的，想念與渴望也是有根的。從 《母親節(jié)這天》起，“是母親把我?guī)У竭@個(gè)世界上的”，“帶著初始哭聲的序曲”，“人生如列車之箭”（《旅途》），“最終，我成為了一棵行走的樹”（《行走的樹》），“春天里，和風(fēng)細(xì)細(xì)的清吟/我相信，那是母親溫暖的雙手/在催我脫下冬天厚厚的衣服/我還聽到風(fēng)中傳來的聲聲叮嚀”（《春天里，我相信》），“那時(shí)候，我還小……還記得，我漸漸長大……那一年，我漂到城市……好多年，我漂來漂去……而兒時(shí)山村的背影在心中卻越來越明顯” （《兒時(shí)的背影》），“可是，小時(shí)候冬天的冷/卻溫暖了我成人后的冬天”（《一份火的感動(dòng)》），“我的生活總在漂，母親永遠(yuǎn)是我的搖籃”，“那道永世難忘的目光/那是一個(gè)銀河，流淌的全是母愛的光芒”（《母親的眼神》）。他表述質(zhì)樸，妥貼自然，感事抒懷，情真意切。以抒情統(tǒng)馭敘事，詩歌的內(nèi)容越具體，其情感就越真實(shí)。

二、博奕：化對(duì)抗為共存

“如水在指間滑落……日子如水般流走”（《如水在指間滑落……》），時(shí)間的有形化，是詩人的哲思日益清晰的表現(xiàn)。當(dāng)時(shí)間無所不在時(shí)，詩人對(duì)人生的理性認(rèn)知也進(jìn)入了具象化的階段，“我更愿把人生的歷程，想成/一個(gè)風(fēng)的故事/它有季節(jié)的變幻/也有途徑山川河流的走向”，“風(fēng)的故事終究會(huì)隨風(fēng)而去”，“它是你的虛構(gòu)，也是/你的現(xiàn)實(shí)”（《風(fēng)的故事》）。從退而守?fù)?jù)到進(jìn)而剖析，欲攻強(qiáng)敵，悉心研究方為良策。四季尚不可更替，何況人生呢？對(duì)于時(shí)光的流逝，詩人漫步局外作壁上觀，睹其變而思其質(zhì)，持以豁達(dá)的態(tài)度，想要一探“風(fēng)的動(dòng)力源自何方/正如，人的生命，難知/衍生何處，歸向何處”（《風(fēng)的故事》）。

與時(shí)間的博弈可以列入雙羸對(duì)局的公式。人們無法改變自然，只能嘗試著適應(yīng)其中，尋求最有利的合作方法。在這一點(diǎn)，個(gè)體人對(duì)自然的了解和認(rèn)識(shí)，與全人類對(duì)自然的探索和開發(fā)，發(fā)展過程是一樣的。詩人開始與之互動(dòng)，把握并利用 “時(shí)間”這個(gè)如同河水永遠(yuǎn)向前流動(dòng)攸忽即逝的自然資源，主客體時(shí)有交換?！傲熊嚰齽?dòng)/也濺動(dòng)窗外世界”（《旅途》），“飛動(dòng)的是時(shí)空的改變/不變的是沉寂的眼神……生命如列車/無法左右的/是速度/是前行”（《生命的列車》），“結(jié)果毫無懸念/即使射中靶心/能否激起心湖漣漪”，“久了多了/動(dòng)態(tài)成為常態(tài)”（《旅途》）。將無數(shù)個(gè)流動(dòng)的瞬間視作一個(gè)整體，以小我之行進(jìn)投入系統(tǒng)之運(yùn)動(dòng)， “于是，我聽到了濤聲/聽到了多少萬年前的時(shí)間/和日月”，“在你們身上我看到了生命/看到了時(shí)間的留痕”，“流連于你們之間/我就如當(dāng)年江底的一尾魚/循著你們身上的流年/彎彎曲曲的行進(jìn)”（《江石》）。詩人嘗以藉文字跨越時(shí)空，消滅時(shí)間的正軸線為人類鋪展開的常規(guī)軌跡，“她穿越時(shí)空而來/在心頭節(jié)節(jié)開花/我吟唱那擊中心尖的眼神/我要把她種下/種在火之下/種在水之下/種在時(shí)間之下/種在風(fēng)雨中/種在旺盛的雄性大地上”（《那眼神》）。

這一時(shí)期，“風(fēng)”成為時(shí)間的具象時(shí)常出現(xiàn)在周航的詩歌中，盡管同是不可見之物，但風(fēng)是可觸摸的。“人生有形有狀而風(fēng)卻難以捕捉/這正是風(fēng)的故事的篇章結(jié)構(gòu)”（《風(fēng)的故事》），詩美之捉摸不定緣自意象之虛邈。當(dāng)詩人伸出十指想要去抓牢“滑過指間”的風(fēng) （《指間的風(fēng)》）時(shí)，既像是對(duì)戀人的嗔怨，又像是對(duì)回憶的索取、對(duì)詩意的探尋，更多的，卻是對(duì)時(shí)光流逝的無奈與慨嘆。與朱自清的散文 《匆匆》似有暗合之處，周航 “一次又一次，緊緊的/從不想放松”，而時(shí)間，連同記憶，從指間 “飄過”、“滑過”，“梳著”“肉體與心靈的痛”。詩人情思細(xì)膩，用詞精確，對(duì) “風(fēng)”的感觸正如同一面湖，“緩緩蕩開如品味著年輪”（《還是成為湖吧》）。周航業(yè)已成為從前想要成為的湖，在對(duì)待時(shí)間的不可逆轉(zhuǎn)這一問題上，他迅速調(diào)整內(nèi)外視點(diǎn)，轉(zhuǎn)而從置身于時(shí)間之外嵌入時(shí)間之中，以一份執(zhí)拗將不屈不撓的對(duì)抗化為與爾同生的共存，“我還是要伸開十根不松勁的手指/盼著雙手捧得滿滿，住在風(fēng)中”（《指間的風(fēng)》）。于此，詩人成為一棵在風(fēng)中沐浴光陰的樹，枝干向空中抻展，根須牢牢盤住堅(jiān)實(shí)的大地。風(fēng)輕柔如絲又澎湃洶涌，捉摸不定又真實(shí)存在，追求與希望如是，詩人的虔誠與執(zhí)著如是。這也是一次辯證思維的靈活運(yùn)用。對(duì)于看似不可化解的矛盾，在長期膠著之后，只有轉(zhuǎn)變思維方式才能達(dá)到突破或有所進(jìn)展。

三、抗衡：讓生命之河倒流

盡管詩人長于向內(nèi)審視自我，斂其情思，緘其鋒芒，行文卻難掩其蓬勃旺盛的生命力?！暗沽鞯暮邮且严胂蠡癁楝F(xiàn)實(shí)”，演繹 “神話般的布局”，把抵達(dá)地 “刷新為一個(gè)新的起點(diǎn)”，沖刷掉河道里刀刻一般的皺紋，讓生命之河為壯志而倒流，“循著來路/回到高山之巔”，開辟又一條嶄新的旅程，“無論是河道還是精神”，都更為瑰麗撼人。人屆中年，月到十五，有多少人敢有這番豪言壯語呢？守?fù)?jù)時(shí)期，詩人說 “河只是青春的一段歌”，然而當(dāng)詩人猛地打開閘門，讓青春再次奔涌而出，一位凜然向時(shí)間宣戰(zhàn)的湖北男兒躍然紙上，終點(diǎn)即起點(diǎn)，“倒流的河”更壯觀！

似有春風(fēng)化雨的順序，出現(xiàn)在這一時(shí)期的詩歌意象以雨滴、水珠、淚花、露珠、細(xì)雨為多，偶有樹、陽光、樹影、花朵，顯而易見，其詩歌創(chuàng)作無論在形式上還是內(nèi)容上都變得灑脫而隨性。語言平白，措詞無華，“水珠在玻璃窗上吃力地下滑著/原來下滑/也是一件不容易的事啊/她是一次前行？/還是一次墜落？”（《水珠在玻璃窗上吃力地下滑著》），“或者，懂不懂都無所謂/只要心里栽了幾束陽光/那么歷經(jīng)雨滴雨絲的交織與澆灌/定會(huì)生長出萬片茂盛的詩林”（《雨滴》），也有巧用疊詞的，“標(biāo)標(biāo)點(diǎn)點(diǎn)”、“明明白白”、“跳跳躍躍”、“斑斑駁駁”、“絲絲縷縷”、“清清脆脆”、“真真切切”（《雨滴》），筆觸所及不再局限于嚴(yán)肅命題，如寫百姓休閑娛樂的夜廣場(chǎng) （《南湖夜廣場(chǎng)》）、山城特有的勞動(dòng)人民 “棒棒軍”（《山城棒棒軍》）、從包餃子所展開的聯(lián)想 （《包餃子》）、參觀與旅游的所見所思 （《小南海地震遺址》、《桃花源記》），以及以主體代入創(chuàng)作的寫景狀物 （《珠峰》、《腳步》、《露珠與小草的舞蹈》、《流星》、《傘》、《江石》）等，情感內(nèi)容也變得豐富生動(dòng)，喜怒哀樂皆書于紙，如 《又憶周莊》、《北風(fēng)呼呼地吹，聽得我好冷》、《桃花源記》，詩人不僅以此更加詳細(xì)地記錄下了生活的瑣思絮念 （《我竟然是如此的墮落》），情感也因此而更加真實(shí)，主體變得形象而具體，從詩學(xué)的角度來說則是更多地向外。這也和近年詩體改革大有關(guān)系。我手寫我口，雖則能夠使作者的情思得以自由地表達(dá)，也有著極大的空間進(jìn)行個(gè)性化的文學(xué)創(chuàng)作，然而美感似有受到頓挫之嫌。不過，周航這一次反啟閘門原本就是為的重尋自由而不拘的青春，作為詩歌研究專家，進(jìn)行各種文體的創(chuàng)作嘗試也是在所難免。詩集所錄之文仍然保持著最大的優(yōu)點(diǎn)即真切，真誠的情感，妥切的關(guān)注，尤有佳作數(shù)篇。

與命運(yùn)抗衡，讓生命之河倒流。在這一里程節(jié)點(diǎn)上，周航的抗?fàn)帍牟磺嘏c時(shí)間博奕升華到了堅(jiān)韌地與命運(yùn)抗衡的層面?！叭绻梢缘脑捨蚁胗媚_步細(xì)細(xì)丈量生命的長度/或者摘下所有樹枝每片樹葉當(dāng)作不斷起航的帆/每步丈量都是推動(dòng)人生長河中的船/每片離枝的枝葉都成為風(fēng)帆和力量”（《葉片如帆》）?；瘎倿槿?，高明柔克，詩人對(duì)人生有了策略性的把握，一個(gè)明顯的變化是不再逃避，如對(duì)陽光、鮮花等的正面頌揚(yáng)。在早期的詩歌中，陽光一直不受歡迎，“在冬日的暖陽下我心漸漸冰涼”（《為何那般渴望雪》），“陽光在我背后偷偷地笑/沒有惡意卻像個(gè)老人”（《雪，終于還是來了》）、“黑暗中處處點(diǎn)染如畫/陽光下卻讓人無法承受”（《如水在指間滑落》）。近作卻歡快了許多，“一束陽光飛來”（《心顫》）、“細(xì)數(shù)飄落而蕩漾的陽光/是如何金縷般又如何的/編織兒時(shí)無數(shù)白云蒼狗的童話”（《我竟然是如此的墮落》）、“有一種聲音/如陽光/絲絲縷縷交織/網(wǎng)住了我的心”（《有一種聲音》）、“只有雙腳是孤獨(dú)的/卻沉著地奔向太陽”（《百年孤獨(dú)》）、“誰言冷與高/峰頂上有輪太陽”（《珠峰》）。再看對(duì)花的描寫，早期收錄的唯一一首 《向日葵》是將向日葵置于反思對(duì)象放在對(duì)立面進(jìn)行剖析的，“我更愿意把你的忠誠/認(rèn)作是一生愚昧的登場(chǎng)/因?yàn)楫?dāng)太陽隱退之時(shí)/你就失去明確的方向//我更愿意把你的圓滿/認(rèn)作是永難逃逸的悲傷/因?yàn)槟忝值暮x/只剩下太陽的內(nèi)涵//你只是借助太陽的力量/才讓生命認(rèn)準(zhǔn)一個(gè)方向”，后來對(duì)桃花、櫻花、荷花、睡蓮等的描摹則明快敞亮，兼有哲思，“幽深的谷底/開滿鮮花與喜悅”（《腳步》）、“我相信，桃樹上張開了/無數(shù)啄破春天的小嘴”（《春天里，我相信》）、“眼前的櫻花只有純潔的念想/笑容里流淌的只有美麗芳香”（《玉淵潭的櫻花》）。

四、掌控：瞬間即永恒

在與時(shí)間的博弈中掌控主動(dòng)，乃是將命運(yùn)牢牢把握在自己的手中?！坝信c無的輪回/日與夜的交匯/生與死的干杯/愛與悲的沉醉”（《如果泰坦尼克號(hào)沒有沉沒》），哲思更多地出現(xiàn)在周航的詩歌中?！侗秤啊返谌嬁梢砸暈橹芎皆姼鑴?chuàng)作的成熟期，其意象跳躍，客體多元，富含哲理，“我”出入自由，忽明忽暗，視點(diǎn)常處于向下俯看的高度，創(chuàng)作主體與現(xiàn)實(shí)主體有了清晰的剝離?！拔遗c另一個(gè)我注定分離/只能靜靜地看著自己的背影”（《背影》）。他嘗試用放任來實(shí)現(xiàn)對(duì)自我的全面審視以及對(duì)真理的探尋，從而實(shí)現(xiàn)對(duì)時(shí)間的掌控，“所以我寧可放任那個(gè)自己前行/哪怕全然不知目的地/我寧可跳出肉體的軀殼/遠(yuǎn)遠(yuǎn)地凝視那個(gè)背影”（《背影》）。又試圖以光與影的互存與共亡闡釋圖像，真理乃在有無之中，“當(dāng)背影如落日般消沉/我只有舉起頭顱砸向黑夜”（《背影》），“世界上任何鏡子都照不出真實(shí)的自己”（《鏡子》）。

周航陷入追尋與沉思之中。他似乎看見了生命的真相，對(duì)于歷史，從歸附到質(zhì)疑?！奥犝f歷史也是一面鏡子/我只是懷疑手執(zhí)鏡子的那些人/都說歷史是故事，說是也不是”（《鏡子》）。疑問產(chǎn)生之時(shí)便是神話崩毀之始。歷史長河奔流不息，文字卻能讓時(shí)間成為奴隸?！澳敲炊虝旱膸酌?能否丈量出從出世到墳?zāi)沟木嚯x”（《可怕的旅程》），“百年只是時(shí)間的眨眼/可是將它投入生命中/就成為永恒”（《百年孤獨(dú)》），“雖然沒有到達(dá)/卻擁有了整個(gè)季節(jié)/其實(shí)/我已經(jīng)到達(dá)了千百回”（《腳步》）。詩歌即哲理。治學(xué)多年，周航更是學(xué)詣精進(jìn)，內(nèi)化于品，外化于性，他以詩歌對(duì)話先哲，“突然有一天一只母雞不見了/讓我這個(gè)農(nóng)民憂傷了整個(gè)冬季”，“當(dāng)春天到來的時(shí)候/那只母雞從林中回來了”（《當(dāng)詩歌成為一種習(xí)慣》）。

瞬間即為永恒，是對(duì)物理世界的超越，是對(duì)精神境界之巔的攀援。周航早年作詩杜絕 “海那樣的驚濤駭浪或輕狂”、“河那樣的一路歡歌或單薄”（《還是成為湖吧》），形成了他對(duì)詩文的 “真正的‘現(xiàn)實(shí)性’”的純文學(xué)審美追求。在一次針對(duì)大眾文化興起后俗文化泛濫、人文精神普遍缺失而發(fā)生的討論中，他提出 “真正的 ‘現(xiàn)實(shí)性’是既要密切關(guān)注日?，F(xiàn)實(shí)，具有普世悲憫情懷與人道主義訴求，還要包含深刻的理性批判精神”。周航多年來以實(shí)踐創(chuàng)作為 “打工文學(xué)”立言 （不僅僅是代言），在他的人生履歷中，理論被反復(fù)實(shí)踐著而不是被演算著，他所經(jīng)歷的山川河流是真實(shí)的，酸甜苦辣也是真實(shí)的。筆者相信，詩人與死亡的接觸也是真實(shí)的，如同我們每一個(gè)人都有著對(duì)生與死的思考，都一樣地對(duì)未來充滿疑問：“有些事開始就意味著結(jié)束”（《偶感》），“終點(diǎn)是否盛開梅花般的艷麗”（《可怕的旅程》）。

“成熟/就意味著/要落下生命的枝頭”，“將失去渴盼/失去率真和夢(mèng)想”，“將意味著與詩意告別”，“我要永遠(yuǎn)/做個(gè)不成熟的人/做一棵永遠(yuǎn)掛在枝頭上的/青果，（《永遠(yuǎn)做個(gè)不成熟的人》）。既為詩者，當(dāng)為童真與夢(mèng)想而吟唱。在詩集 《背影》的后記里，周航說：“我要重新思考詩歌了，從今往后?！彼麑?duì)詩歌的思考又何曾停歇過呢？我們期待 “有?！钡闹芎皆谙乱粋€(gè) “春天到來的時(shí)候”收獲 “一群”更大的驚喜 （《當(dāng)詩歌成為一種習(xí)慣》）。愿周航教授的詩意如青果長新！

[1]周 航.背影[M].北京：中國文聯(lián)出版社，2013.

[2]周 航.“現(xiàn)實(shí)性”迷霧之下的“精神性”缺失[J].藝術(shù)廣角，2010（2）.

[責(zé)任編輯：慶 來]

Abstract：During the three hundred years in Song Dynasty,there were often cases where the imperial descendents were not prosperous and adopted sons were needed to take throne.As a result,the imperial adopting system was established.The scope of the imperial adoption was within close relatives in the imperial clan in North Song Dynasty,and distant relatives in the imperial clan in South Song Dynasty.The system played a certain role in reassuring public and stabilizing the social order when the imperial descendents were not prosperous.

Key words：Song dynasty;imperial descendents;adopted son

[英文編輯：曾文武]

Symbols of Consciousness of Multinational State under Chieftain System in Southwestern China in Ming Dynasty

XIE Guo-xian

(School for Nationalities,Three Gorges University,Yichang,Hubei 443002,China)

Under the leadership of each of their chieftains,ethnic groups in the southwest in Ming Dynasty participated,to various degrees,in the national affairs.While keeping the consciousness of their own ethnic groups,they also displayed the consciousness of multinational state.Paying tribute,going on military expedition, and showing respect to imperial seal could be considered as the concrete actions symbolizing the consciousness of multinational state,the first two indicating the state’s administration of the ethnic groups as well as their loyalty to the state while the third embodying their identity with the national authority.

Ming Dynasty;ethnic groups in the southwest;consciousness of multinational state;symbols

Chieftain Domination and the Harmony and Trust among Ethnic Groups in the Wujiang River Valley --An Investigation of Chieftains of Shizhu

ZHU Guo-chao

(Yangtze Normal University,Chongqing 408100,China)

Abstract：As an important local power in the lower reach of the Wujiang River valley during the period of chieftain system,chieftains of Shizhu ruled the area for over 800 years,during which they properly handled their complex relationships with the central government,with other chieftains and with the people under their jurisdiction,contributing to the social stability,promoting economic development and helping the formation of harmonious situation of trust among ethnic groups.The formation of the ethnic relationships and the rules provides us with historical experience for handling today’s ethnic relationships,and promoting harmonious ethnic trust and the stable development of ethnic areas,which,as proved by history,are preconditioned by properly handling and balancing interests,rights,and development of each ethnic group.

Key words：chieftains of Sizhu;harmony and trust among ethnic groups;ethnic relationships

The Relationship between Miao People’s Fish Culture in Paddy Field and the Traditional Rice Culture in Southern Guizhou

MENG Xue-hua1,WU Zheng-biao2

(1.Department of Education Science,Qiannan Normal College for Nationalities,Duyun,Guizhou 558000;2.School for Nationalities,China Three Gorges University,Yichang,Qiannan Normal College for Nationalities,Duyun, Guizhou 558000;2.School for Nationalities,China Three Gorges University,Yichang,Hubei 443002,China)

Abstract：Fish culture in paddy field is a unique means of making living in the farming history and an important part of Miao people’s agricultural civilization.Historical texture researches reveal that this farming culture came into being over 3,000 years ago.From the perspectives of material basis of cultural inheritance,the tradition of developing biological varieties,and the relationships between livelihood paradigm of fish culture in paddy field and festival culture as well as the cultural components of language,the writer of this article makes a preliminary analysis and exploration of the relationships between Miao People’s fish culture in paddy field and the traditional rice culture in southern Guizhou Province,in the hope of providing corresponding historical clues and literature support.

Key words：Miao people;fish in paddy field;farming culture

Exploitation of Biological Resources in the Ba-Shu Area in Shui and Tang Dynasties and Its Communications with the Peripheral Areas

ZHANG Ming1,LI Juan-juan2
(Southwest China Normal University Press,Chongqing 400715;2.Chongqing Bachuan Middle School,Chongqing 402560,china)

Abstract：During the period of Shui and Tang dynasties,because of the economic situation of“Yangzhou first and Yizhou second”and the relatively stable social environment,the area of Ba-shu,especially as the strategic rear area for emperors,scholars and hoi polloi of central Shaanxi plain and Henan to escape from wars, witnessed significant development in various fields.Inheriting the development pattern from the Pre-Qin period to Wei,Jin,Northern and Southern dynasties,ancient people in Ba-Shu area carried out in-depth exploitation of the biological resources,but unprecedentedly extensively and professionally.The writer of this article attempts to classify and analyze the biological exploitations in Ba-Shu area during this period,in the hope of revealing the developing process and characteristics of the exploitations in this area as well its communications with the neighboring areas.

Key words：Shui and Tang dynasties;Ba-Shu area;biological resources;exploitation;communication

Change of Love and Marriage of Miao People in Western Hunan and the Causes

XIANG Shi
(Intangible Cultural Heritage Research Center,Chongqing University of Arts and Sciences,Chongqing 402160,China)

Abstract：Currently,the intra-group marriage of Miao people in western Hunan Province has gradually developed into inter-group marriage.At the same time,the accompanying“Love Festival”，“go-between”and wedding ceremonies have also changed.All these changes can be attributed to such external factors as social transformation,national policy,but other intra-group factors such as the thought,social structure,life style and cultural interaction.

Key words：Miao people;love and marriage customs;change;causes

A Research of Ecological Civilization in Fanjing Mountain in the Perspective of“Beautiful China”

YANG Yuan1，WANG Xue-rong2

(1.Department of Biological and Chemical Engineering,Tongren University,Tongren,Guizhou 554300; 2.Department of Social Sciences,Fudan University,Shanghai 200433,China)

Abstract：Building a beautiful China is a brand-new proposition set forth in the 18th CPC National Congress,which has caused an extensive and consistent discussion.The ecological civilization with socialist Chinese characteristics is a brand-new civilization since the proposal of“yellow civilization”and“black civilization”.The Party and the government have taken the construction of ecological civilization as one part of the socialist cause with Chinese characteristics so that the strategic significance of ecological construction has been highlighted.Fanjing Mountain is well-known as“the first famous mountain of Guizhou”.Notwithstanding the unique ecological advantages,it has been facing some new situations and challenges in recent years.From the aspects of ecological cultural education,ecological political construction,ecological economic development and ecological construction of social life,the writer of this article,combining documentary study with field investigation,focuses on the route to the ecological civilization construction in Fanjing Mountain,in the hope of providing some direction for it.

Key words：beautiful China;Fanjing Mountain;ecological civilization;ecological science and technology; consciousness of ecology

Vicissitude of Township and the Speech of Wanderers --A Thematic Analysis of One Word is Worth Ten Thousand Words

CHEN Lei
(Section of Culture,Beijing Academy of Social Sciences,Beijing 100101,China)

Abstract：The novel One Word is Worth Ten Thousand Words reflects subtle the subtle changes of townships in the past century in China.Especially in the changing survival environment,people’s ways of perceiving the world and understanding themselves are changing.When people cannot go back to their hometowns, when their families have become uncertain,and when the god of Christians and the doctrines of Confucius cannot console their souls,how should people identify themselves and how should the talked“I”encounter others?

Key words：Liu Zhenyun;One Word is Worth Ten Thousand Words;modernity

Cultural Conflicts between the East and the West and the National State Construction in the Perspective of Ethnic Minority --Centering on Shen Congwen and Lao She

WEI Wei1，2,MA Yue-yue3

(1.Chinese New Poem Research Center&Chinese Literature Research Center,Southwest University,Chongqing 400715;2.College of Literature and Journalism,Sichuan University,Chengdu 610041;3.High School Affiliated to Southwest University,Chongqing 400715,China)

Abstract：Social turbulence intensifies cultural communications and integrity between cultures.During this process,by selective cultural identity,each culture has constructed its own knowledge genealogy.It was exactly through their selective identity with eastern and western cultures that Shen Congwen and Lao She as writers of minority constructed the national state concept of individuality in the late Qing Dynasty and early Republic of China.This is not only the literary choice of writers of ethnic minority,but also the result of thinking after combining the ethnic group where they belonged with the whole nation and state.The separation of their identity from culture put them into embarrassment in dealing with the relations,but generally the embarrassment was an embodiment of their efforts to reconstruct the subjectivity of the national culture.

Key words：perspective of ethnic minority;conflict between eastern and western cultures;culture identity; national construction

Remarkable Contributions of Sichuan Native Poets Qin Zihao and Shang Qin to Taiwan Poems

TAO De-zong1，TAO Lan2

(1.School of Literature and Journalism,Chongqing Three Gorges University,Chongqing 404000;2.School of Humanity,Chongqing University of Science and Technology,Chongqing 404000,China)

Abstract：In the history of Chinese new poem development,Sichuan poets have made great contribution. They not only laid the cornerstone of Chinese new poems,playing a very important role in promoting the mainstream new poems of the times and pioneering the new poem trend,but also made remarkable contributions to the development of contemporary poems in Taiwan.In this respect,the most outstanding poets are Sichuan natives Qin Zihao and Shang Qin in Taiwan.Studying their poems and their contributions to the development of poems in Taiwan is of great significance to promoting the cultural communications between Sichuan and Taiwan and the prosperity of the cultures in these two provinces as well as the rejuvenation of Chinese poems.

Key words：Sichuan poets;Taiwan poems;remarkable contributions;realistic significance

On the Female Consciousness in the Early Works of Chen Xuezhao

WANG Jun-hu;ZHENG Ying-ying
(College of Literature,Yan-an University,Yan-an,Shaanxi 716000,China)

Abstract：As a pioneer in Chinese women’s liberation,Chen Xuezhao expressed her great concern about women’s fate on her debut in literary field.Her early literary creation can be regarded as the lament for wakening women during May 4th Movement period.Making use of her own unique life experience as the source material,she portrayed many vivid images of women who,inspired by the spirit of the May 4th movement,pursued independence and freedom,but finally fell into depression and hesitation and even dead end.By doing so,the writer aimed to criticize and ridicule the decadent patriarchal society,deconstruct the male-dominated myth of love and marriage,disclose the imprisonment and persecution of women by the dark society.She integrated women’s consciousness of independence into her early creation,crying out women’s heartfelt wishes for liberation, independence,and freedom from powers of male,clan,husband,father and religion.

Key words：Chen Xuezhao;literary creation;female consciousness;male domination;women of the times

Life on“Roads”--A Discussion of Narrative Significance of“Road”in The Scream and The Hesitation

YU Xin-ming
(Department of Chinese Language and Literature,Guangdong University of Education,Guangzhou，Guangdong 510303,China)

Abstract：“Road”，as a chronotop,plays a very important role in constructing plot in novels.In The Scream and The Hesitation,Lu Xun wrote about many“roads”，on which either acquaintances meet each other or strangers encounter each other.Some“roads”deepen the connotations of plot with their metaphoric meaning, propelling the development of plot.The life on these“roads”reflects the painful,ignorant,numb and indifferent survival state of the characters in the novels,and has profound enlightening significance.

Key words：The Scream and The Hesitation;roads;meet;encounter;metaphor

Imperial Adopting System of Song Dynasty

FAN Shuai
(School of History and Culture,Henan University,Kaifeng,Henan 475001,China)

余玲，女，四川簡陽人，四川師范大學(xué)文學(xué)院碩士研究生。）

2013-11-09