摘 要
    比较文学从19世纪末兴起，至今已有一百多年的历史。进入20世纪以来，特别是第二次世界大战以后，它盛行于世界各国，发展得极其迅猛，现在已经成为国际文坛上最有活力、最有成就、最受人亲睐的学科之一，因而被认为是当今世界上的一门“显学”。在中国，尽管20世纪20年代吴宓、朱光潜等前辈学者对比较文学已有不少涉猎，但比较文学作为一门学科引起学界广泛关注，却是改革开放以后的事。而比较文学研究高潮的掀起比较晚，一直到了20世纪70年代，才算有了一个新的起点。
    “比较文学的本质在于它是一种跨界限（民族、国家的界限和学科界限）的文学研究。”[1]它并非简单的文学比较。在这里，“比较是以跨越为前提，以开放为特征的。”[2]
    经济、科技全球一体化和保持文化多元化的矛盾将是全人类在21世纪不得不面临的新现实。跨文化研究（或比较文化研究）是促进异质文化间对话和沟通的最重要的一种手段。而中国的跨文化文学研究在这种世界格局下，显示了其顽强的生命力，并作为跨文化研究的前锋，以独特的生命张力在学界发出不一样的声音。现在庹修宏和陈守成等比较文学学者把比较文学的研究范围扩大到对中国少数民族的文学和作家的研究上来，为中国比较文学研究开辟了一个新天地。
    以汉族文学为主的中国文学，因汉族文学和中国境内各少数民族文学的交互影响，以一种蓬勃的态势发展着。汉族文学以主体文学的身份制导着少数民族文学的同时，也因各少数民族文学各种样态的参与，不断被注入自然、原质的新活因子，并不断被激活其体内潜藏的灵光。然而，一直以来，中国少数民族文学被视为边缘或非主流文学的形势并未得到真正意义上的扭转。少数民族文学在主体话语（汉语）和政治话语之下，发出的仅是一阵阵或松或紧的喉音，而其在主体文化与文学和其自身传统文化与文学之间处于一种颠沛流离的状态。
    在当今世界文化多元共存的格局下，文学的发展亦应以多元共存为目标。少数民族文学研究仅限于中国国内各民族之间的文学比较研究已经显得不够，也很不平衡。因此，我决定把跨文化文学比较研究作为硕士论文的方向，并试图站在一个新的视域下，把作为中国少数民族文学不可或缺的组成部分之一的彝族文学的文学研究放置于世界语境中。本论文希冀通过对彝族作家巴久乌嘎的小说《狐臭》与美国印第安作家希尔科的小说《仪式》的跨文化文学比较研究，从探索“他者”即印第安小说的意义，从“他者”立场出发，反观自身（当代彝族小说），以求得对自身更全面、更深入的体认。
    本文将借鉴比较文学、文学人类学、文化人类学、民族学、民俗学等相关学科的理论知识和成果，以印第安小说为镜子，反观当代彝族小说的现实际遇及发展过程中所存在的盲点，尝试着就此给出自己的观点。

关键词：多元文化语境 跨文化研究比较文学 北美印第安小说 当代彝族小说 
Abstract :
    Since the start of comparative literature in the 19th century, it has had a history of a century. When it comes to/ the 20th century, especially after the World War Two, comparative literature was flourishing all over the world in an astonishing speed. And today it is one of the most active、extraordinary、and famous subjects(displines) in global literary altar. In China, although experts like Wu mi and Zhu Guang qian had already engrossed in the field of comparative literature, comparative literature as a subject was not widely noticed by professionals until the Reform and Opening revolution. The research of comparative literature came to its climax until 20th 70s, and by that time, comparative literature had a real Starting point.
    “The essence of comparative literature lies in that it is a cross-line(nationality lines, nation lines and subjects lines) literary study.” It is never a simple sense of literature comparison. Here, “Comparing is based on crossing, with a specialty of opening.”
In 21th century, human being will have to confront the contrary of the globalization of economy, technology and the maintain of multiform. Then cross culture study (or comparative culture study) becomes one of the most important tool for the communication of different cultures. While under the formation of global structure, Cross-culture study in China represents its tough life. Meanwile being a pioneer of cross-culture study, it makes a different sound by its special living strenghth. Now, Chinese experts such as Chi Xiu hong and Chen Shou cheng have broaden the spade of comparative literature, spread it to the literature of Chinese minorities and the research of authors. All they have done give Chinese comparative literature a new life.
    As the core of Chinese literature, because of the inter-influence between Han literature and minority literatures in China, Han literature is developing in an energetic way. Being the mainstream of Chinese literature, as Han literature confines minority literature, minority literature also inject into the body of Han literature in different natural and cruel forms. Nevertheless, minority literature in China has always been in the place of brim or sub-stream culture, and this place has never changed meaningfully.
    Under the multiform of global culture, global literature also needs to develop along the way of multiform. It is not enough for the research on minority literatures to focus merely on comparative literature studies among different minorities in China. Thus, I decide to focus on comparative literature under the view of cross culture study, planning to place Yi literature, wich is an important component of Chinese Minority literature, into global language atmosphere. The dissertation (thesis) is based on the comparative study of two totally different novels, one is “Fox Smell” written by Yi writer Ba Jiu wu ga, another is “Ceremony” written by Native American female writer Leslie Marmon Silko. By exploring the “others” literature meaning, here namely Native American Literature, I hope to observe and dig the meaning of Yi Literature, and for a better understanding of it: It is only wen human beings begin to view themselves as part of the wole that the problems they have nowadays could gradually be solves.
key words: multi-culture lingual atmosphere; cross-culture study; comparative literature; North America Indian novel; contemporary Yi novel; Ceremony; Fox Smell

目 录
摘 要——1
Abstract.——.3
绪 论.——1
第一章文化杂糅时代的族群叙事.—— 6
1．1 印第安文化的杂糅性—— 6
1．2 彝族文化的杂糅性——7
1．3 从文化杂糅到文学杂糅—— 8
1．3．1 希尔科的文化追寻—— 8
1．3．2 巴久乌嘎的文化梦魇.—— 9
第二章文本深处的文化记忆——11
2．1 从“疏离观”与“整体观”到“灵魂与肉体的同步分离”—— 11
2．2 主题开掘的异同——12
2．3 创作手法和创作风格..——13
2．4 文本中文化元素的延伸——万物有灵观与小说中的动物形象—— 16
2．4．1 《仪式》中的动物形象及其作用——16
2．4．2 《狐臭》中的动物形象及其作用——21
2．5 神话原型的追寻—— 24
2．6 小说中的语言——26
2．6．1 希尔科《仪式》的语言特点——27
2．6．2 巴久乌嘎《狐臭》的语言特点——28
第三章在多元文化影响下的当代彝族小说创作——32
3．1 当代彝族小说发展概述.——32
3．2 多重话语对当代彝族小说创作的影响—— 34
3．2．1 母语的影响.——34
3．2．2 汉文化与文学话语的影响.——35
3．2．3 西方文学话语的影响——36
3．3 文化整合与多元创造——当代彝族小说发展的必由之路——37
结 论——39
参考文献——41
致 谢——43
声 明 ——44