融入多重边缘-—古永傈僳人族群认同展演.pdf

自我认同中的核心层面，对于传统上并无文字的古永傈僳人地方性知识的传承也 异常重要。 笔者认为，上述层面的古永傈僳人的形象呈现综合起来，与族群认同的口述 一起，构成了族群认同的展演场域。正是在这个场域内，族群认同和族群认同的 表征互相交织与影响，提供族群认同的建构 understandtheLisu ethnic featuresandthe people’s identity,cultural interpretation andconstructionofethnic imagination by ina discourseof‘‘fromboRomto whichthe Lisu spectacularsystem top’，in Guyong the‘National folktalesand discourse“from peopleperform presence’by rituals，and toboRom’to Lisu historical top nationality’Simagination’through perform‘the baSedontheinteractionbetween literature,text,image，ere．嬲well．Secondly,mainly Lisu andHart thereisa where and people people local‘stage’fieldsymbols，images in are identifiesand areshownina discourseslife performances daily presented．The andcircumstanced isa mixed，indeterminate situation．Lastly,therecentral‘stage’ in andnetworkof is whichexiststheinteriorofethnic group identity kinship．Ethnic formulatedandinherited andmovanentsmlatedto bylegend，ritual，andspeech bodies，etc．The inthis moldthecoreleveloftheLisu performancesstage people’s in is forthe local the self-identity,whichextremelyimportanttransferringknowledge traditional Lisu non-writingsociety． Theauthor that withthe oftheLisu suggestscombiningdescription people whichmentioned isconstructedethnic is is above，a stage by identity．It performance its inthismulti—level thatethnic and performancestage identity representation and to kindsof forthe interweave interact，whichhelpsprovide possibilities andevolutionofethnic construction，developmentidentity． theLishu in whoisa Finally,bytaking peopleGuyong non—writingpeople弱a baSed emotionand caSe author the on study,theregardsidentity original identity the and dimension，and performance嬲apivotal nation／nationalityideology and astheother tries construction instrumentalist dimension,and approach approach to a tothe ofChineseethnic givecomplementstudy identity． 、 Lisu identity,multi-margin，cultural Keywords：ethnic performances,the Vl 目 录 第一章序言…………………………………………