Чутне поза видимим: пам’ять, творчість і суб’єктивність жіночих наративів у піснях нюйшу
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Анотація
Китайська жіноча писемність та гендерно маркована усна література нюйшу привернули увагу дослідників уже на межі свого зникнення. Попередні антології та дослідження здебільшого зосереджувалися на текстах, створених останніми природними спадкоємицями традиції нюйшу, які були вписані в культурний та індивідуальний контекст. У цьому дослідженні показано, як первісно гібридна писемно-усна культура нюйшу включала якнайширше коло жінок, що її практикували, значна частина яких мала обмежену грамотність у письмі нюйшу або взагалі не володіла ним. Польові дослідження, проведені нами в повітах Цзян’юн і Дао на півдні провінції Хунань, задокументували збереження й побутування нюйшу серед сільських жінок переважно шляхом усної передачі. Соціальні жіночі практики регіону Цзян’юн сформували окрему нішу жіночої культури, яка породила оригінальні жанри усної народної творчості, а також переосмислила наявні жанри китайської офіційної та народної літератури з жіночого погляду. У дослідженні також розглядається взаємозв’язок між “видимими” та “чутними” літературними нормами в культурі нюйшу на тлі панівного дискурсу поза її середовищем – від часів пізньоімперського Китаю до другої половини ХХ століття, коли використання жіночої писемності занепало. Хоча пісні нюйшу досі збережені серед старшого покоління, традиційні комунікативні, соціальні та культурні практики, пов’язані з писемними аспектами нюйшу, фактично зникли. Сучасні офіційні заходи з ревіталізації та поширення спадщини нюйшу віддають пріоритет насамперед каліграфії та обмеженій добірці найпоширеніших пісень нюйшу та нюйге, вилучених з контексту та спрямованих на охоплення якнайширшої аудиторії. Автобіографічний жанр виплакування жалю у вигляді формульних віршованих пісень був поширеною творчою практикою жінок у межах розповсюдження культури нюйшу, зокрема й серед тих, хто володів письмом лише частково. У статті також представлені китайські та англійські переклади раніше неопублікованих авторських пісень нюйшу, записані в сільських громадах регіону Цзян’юн. Ці автобіографічні наративи підсилюють голоси авторок з обмеженим рівнем грамотності, які були недостатньо представлені в попередніх зібраннях творів нюйшу, та розкривають роль традиційних культурних контекстів у їхній творчості.
Як цитувати
Савченко, М. В. (2026). Чутне поза видимим: пам’ять, творчість і суб’єктивність жіночих наративів у піснях нюйшу. Східний світ, (1 (130), 148-176. вилучено із http://www.oriental-world.org.ua/index.php/journal/article/view/817
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Ключові слова
жанр; китайська народна література; наратив; пісні нюйшу; текст; творчість; усна література
Посилання
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Handel Z. J. (2019), Sinography: The Borrowing and Adaptation of the Chinese Script, Brill (Series: Language, Writing and Literary Culture in the Sinographic Cosmopolis, 2589–8787; Volume 1). DOI: https://doi.org/10.1163/9789004352223
Hung C. (1985), Going to the People: Chinese Intellectuals and Folk Literature 1918–1937, Council on East Asian Studies, Harvard University, Cambridge, Mass.
Idema W. L. (trans.) (2009), Heroines of Jiangyong: Chinese Narrative Ballads in Women’s Script, University of Washington Press, Seattle.
Idema W. L. and Grant B. (2004), The Red Brush: Writing Women of Imperial China, Harvard University Asia Center, Cambridge, Mass.
Liu F.-W. (2001), “The Confrontation between Fidelity and Fertility: Nüshu, Nüge, and Peasant Women’s Conceptions of Widowhood in Jiangyong County, Hunan Province, China”, The Journal of Asian Studies, Vol. 60, No. 4, pp. 1051–1084. DOI: https://doi.org/10.2307/2700020
Liu F.-W. (2004), “From Being to Becoming: Nüshu and Sentiments in a Chinese Rural Community”, American Ethnologist, Vol. 31, No. 3, pp. 422–439. DOI: https://doi.org/10.1525/ae.2004.31.3.422
Liu F.-W. (2010), “Narrative, Genre, and Contextuality: The ‘Nüshu’-Transcribed Liang-Zhu Ballad in Rural South China”, Asian ethnology, Vol. 69, No. 2, pp. 241–264.
Liu F.-W. (2011), “Text, Practice, and Life Narrative: Bridal Lamentation and a Daughter’s Filial Piety in Changing Rural China”, Modern China, [Online], Vol. 37, Issue 5, pp. 498–527. DOI: https://doi.org/10.1177/0097700411407607
Liu F.-W. (2012), “Expressive Depths: Dialogic Performance of Bridal Lamentation in Rural South China”, The Journal of American Folklore, Vol. 125, No. 496, pp. 204–225. DOI: https://doi.org/10.5406/jamerfolk.125.496.0204
Liu F.-W. (2015), Gendered Words: Sentiments and Expression in Changing Rural China, Oxford University Press, New York.
McLaren A. E. (1996), “Women’s Voices and Textuality: Chastity and Abduction in Chinese Nüshu Writing”, Modern China, Vol. 22, No. 4, pp. 382–416. DOI: https://doi.org/10.1177/009770049602200402
McLaren A. E. (1998), Chinese Popular Culture and Ming Chantefables, Brill, Leiden, The Netherlands.
McLaren A. E. (2022), Memory Making in Folk Epics of China: The Intimate and the Local in Chinese Regional Culture, Cambria Press, Amherst, New York.
Rees H. (2016), “Environmental Crisis, Culture Loss, and a New Musical Aesthetic: China’s ‘Original Ecology Folksongs’ in Theory and Practice”, Ethnomusicology, [Online], Vol. 60, Issue 1, pp. 53–88. DOI: https://doi.org/10.5406/ethnomusicology.60.1.0053
Silber C. L. (1995), Nushu (Chinese Women’s Script) Literacy and Literature, ProQuest Dissertations & Theses.
陳其光編 (2006), 女漢字典, 中央民族大學出版社, 北京.
黃雪貞 (1993), 江永方言研究, 社會科學文獻出版社, 北京.
姜葳 (2002), 女性密碼：女書田野調查日記, 三民, 台北.
劉斐玟 (2014), “女書和女歌的文化心理情結：從「訴可憐」到「歌功頌德」”, 收錄於劉斐玟, 朱瑞玲 (主編), 同理心、情感與互為主體：人類學與心理學的對話, 中央研究院民族學研究所, 台北, 頁299–348.
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