男性神属与“女性书写”：侗族“河歌艺术节”祭祀仪式的性别角色错位

以贵州省黎平县龙额“河歌艺术节”①为例，旨在说明：（1）“河歌节”祭祀的社神木阿点龙虽属男性神属，但祭祀仪式环节的成规性、习俗性却“或明显或含蓄”②的以女性角色施事话语和“阴性书写”④的方式，说明渊源于远古时期的萨玛神“无意识”记忆基础才是节日“所为之事”（drome—non，古希腊语，意为仪式）④的根基和缘由；（2）“河歌艺术节”举行的以萨玛神民间信仰为根基的、位属岁时仪式的社神祭祀活动，源自侗族初民对关涉“食物和后代”这一“生命现象”和“大自然的生命存在”的思考与探询，即渊源于族群自我“以类万物之情”和“以通神明之德”的方式表达人类对宇宙自然规律的理解与探究。

Sacrificing to God in Way to Goddess in the Sacrificing Ceremony of the Folk Song Festival of Dong Nationality

This paper,taking the Long＇er Folk Song Festival in Liping county of Guizhou province as an example,illustrates that sacrificing to god in way of sacrificing to goddess in thesacrificing ceremony of folk song festival of Dong people can be traced back to the unconscious memory of Shama God in the remote antiquity which has developed to be the origin and basis of the sacrificing ritual the sacrificing ceremony in the Folk Song Festival of the Dong nation- ality represents the ancient Dong people＇s thinking and exploring about the food and offspring, which is a way to probe into the laws of universe and understand them.