摘要
《大雅·既醉》以"致福"为核心的"祝嘏"文体特征,彰显其特出之仪式性。诗体结撰中之问答结构揭示了"祝"角色的复数性,"祝"在周代祭祀仪式中居沟通人神之职,其于本诗中以隐身姿态直面在场之"尔"。"尸"扮演神而未直接向祭祀者"致福",通过"祝"为"尸"代言,其"致福"内容以问答对唱之形式展开,揭示周代礼制下人神沟通之仪式搬演性。
The ode Jizui, with ＂getting blessing＂ as the core of its ＂blessing＂ stylistic feature, presents a unique rituality. The ode＇ s structure of asking and answering reveals that the character Zhu（prayer） is plural. In the Zhou Dynasty, Zhu plays a role connecting god and man in sacrifice rituals. In the ode, the invisible Zhu faces the ＂you＂ who is present. ＂Shi＂（idol） playing the role of god does not pass blessings to worshipers directly, instead, ＂Zhu＂（prayer） speaks for him. The ＂blessing＂ is conducted in the form of duet of asking and answering, which shows the god-man communication ritual has the feature of performance under the ritual system of the Zhou Dynasty.
出处
《兰州大学学报（社会科学版）》
CSSCI
北大核心
2017年第2期54-62,共9页
Journal of Lanzhou University（Social Sciences）
基金
国家社会科学基金青年项目(16CZW007)
