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湘西地处中国腹心，为何直到民国还被视为“边城”？与华夏互动了上千年，为何没有完全“攀附”华夏而依旧是华夏边缘？其历史过程与机制何在？中国在人类文明史上创造了一个奇迹：人数众多、民族复杂却实现了在广袤地域上的政治一统与文明延续。那么，生态与生计复杂，族类与文化丰富多元的西南地区，何以能够在整合到大一统中国秩序后仍得以包容大量“边疆”、华夏边缘的存在，同时又保持了对中国与中华民族的强烈认同，成为中央王朝对边疆民族地区整合为成功的典范？

对此，既须反思以近代民族国家为基础的解释框架，也要超越传统中国历史书写的惯性。湘西个案鲜活地展示出，审视“西南传统”以及在此传统下不同人群对“边缘性”的制造、经营对重新认识西南乃至中国社会整合的重要性。

丛书总序走向历史现场 陈春声 I

第一章 边缘性与西南中国的整合 1

第一节 问题与思路 1

第二节 湘西、研究材料与方法 15

第三节 篇章结构 25

第二章 含混的边缘：虽近犹远的盘瓠子孙 28

第一节 从“武陵蛮”到“盘瓠蛮”、如意大王 29

第二节 “中国未治而侵扰四夷”：宋熙宁年间开边南北江 44

小 结 59

第三章 谁的扩张：土司、苗乱与堡哨边墙 62

第一节 新格局的开拓：元朝土司制度的推行以及新路的开辟 63

第二节 民、军、土人或苗：元末明初西南格局下的王朝扩张 69

第三节 只愿贼在，岂肯灭贼：卫所弛败下的苗疆土司与苗乱 78

第四节 王朝的扩张？土司与苗疆之堡哨、边墙 87

小 结 97

第四章 不同正统性的追求：联姻结盟与谱系传承 101

第一节 较量：土司的汉名、联姻与结盟 104

第二节 改制：文人诗士、白银与土司宗祠庙宇的创建 117

第三节 土王、王鬼与祖先：土司/土王的权力结构与礼仪秩序 135

小 结 145

第五章 殊途同归？改土归流与开辟苗疆的实践 149

第一节 帝国：比较视野下的地方行政机制 150

第二节 官法与苗例——法与礼之在苗疆 161

第三节 边墙与屯政：苗疆土地制度的变革 170

小 结 182

第六章 礼仪与正统：从白帝天王看苗区的开发与

文化认同 185

第一节 文本与口传：隐现的女性传统 188

第二节 汉姓与土酋：明帝国体系下的苗疆杨氏 198

第三节 神与祖先：天王受封与“苗疆中额”前后的天王

形象 205

小 结 218

第七章 边缘性：“西南传统”与西南中国的整合 221

主要参考书目 229

一、基本史料 229

二、研究论著 235

后 记 253

谢晓辉，研究员。湖南湘乡人。2001年、2004年毕业于中山大学历史系，获学士与硕士学位。2007年毕业于香港中文大学历史系，获哲学博士学位。博士毕业后，在香港科技大学人文学部做博士后、研究助理教授、副研究员。于2016年8月进入中山大学历史系从事研究员工作。

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也就是说，官员们对这些族类细致划分、描述，可能是抱着使曾经“不通声教”的苗疆整合入华夏，以实现天下一统的政治理想，然而又在客观上用族源、服饰和习俗等将其排斥在华夏之外。不同于口耳相传，文字跨越时间与空间的传播力与文本传播的相对稳定性，又在一定程度上将其非汉身份与所谓的他者或者地方风俗刻板化。

书籍介绍

湘西地处中国腹心，为何直到民国还被视为“边城”？与华夏互动了上千年，为何没有完全“攀附”华夏而依旧是华夏边缘？其历史过程与机制何在？中国在人类文明史上创造了一个奇迹：人数众多、民族复杂却实现了在广袤地域上的政治一统与文明延续。那么，生态与生计复杂，族类与文化丰富多元的西南地区，何以能够在整合到大一统中国秩序后仍得以包容大量“边疆”、华夏边缘的存在，同时又保持了对中国与中华民族的强烈认同，成为中央王朝对边疆民族地区整合为成功的典范？

对此，既须反思以近代民族国家为基础的解释框架，也要超越传统中国历史书写的惯性。湘西个案鲜活地展示出，审视“西南传统”以及在此传统下不同人群对“边缘性”的制造、经营对重新认识西南乃至中国社会整合的重要性。

• 作者：卖锅买米 发布时间：2022-02-09 19:38:10

  若即若离才是攫取最大利益的最好方式。从自然边缘到历史边缘，湘西的边缘塑造是复杂多面的。作者能梳理出整条发展脉络，又能发现其中的转折变化，学术价值很高。唯一不足，语言打磨不够精细，降低了可读性。

• 作者：G.D.Retop 发布时间：2022-07-22 20:10:55

  这课初级有点难。书本的内容设计很多指标和模型。讲解了银行八大风险内容。

• 作者：小波福娃 发布时间：2023-09-19 16:49:44

  补m，略为失望

• 作者：clear mind 发布时间：2021-08-26 23:03:04

  好！有可能有长评！

• 作者：流惜子 发布时间：2021-09-18 21:07:43

  赞同其他友邻的评价，看得出作者的历史功底存在不足，叙事逻辑混乱不清，以及明朝哪里来的奏折？回到研究本身，基本是既有框架下的填鸭式工作，对范式难称突破，这样亦步亦趋的研究太多了，自然很难具备冲击力，恐怕更多的还是贡献了一些地方性知识。对于作者持续批评的中原与移民开发视角，在很大程度上也是成为了自己立起的靶子，依然延续着王朝开发/制度展开的叙述模式，并不是玩弄几个新名词、插入几段不痛不痒的土司家族叙述，就能颠覆旧有视角的，过于稀少的史料恐怕决定了作者的预想难以完全付诸实践。

• 作者：隐清 发布时间：2021-08-01 19:29:30

  历史较弱，禁不住这个题目，套用前人理论框架所做的田野调查，何况王氏的这个理论本就不高明。

• 不同于中国“仁”的物哀美学

  作者：不夜心 发布时间：2017-10-16 11:28:41

  核心观点：

  理解物哀，需知万物有灵，万物有心，知物心，然后知物哀。

  差异分析：

  日本的物哀和“仁”不同之处在于，它是超越了伦理道德的纯粹的主题感受。如果“仁”是菩萨般高高在上的悲悯，那么物哀就是释迦舍身喂虎的感同身受的疯魔。

  读书收获：

  这本书让我更好地理解了《嫌疑人X的献身》里石神最后的那声嘶喊——物哀的极致就是舍弃道德、舍弃生命去维护内心最珍惜的东西，或者是最爱的人。

  反观《红楼梦》，贾宝玉对于书中女性的爱护，无论多么竭尽全力，仍旧无法摆脱祖宗礼法、俗世规则的桎梏，所以和石神同样是悲剧结尾，但是却显得更加沉闷压抑。

  行文风格：

  可能是自己欣赏水平优先，有很多地方没看懂。但是前面的一些观点还是很有冲击性的。

  最好的书往往不是因为写出了你心里的话，而是写出了你心里没有的思想。

  就像一碗米饭，真正让你记忆尤深的往往不是好吃的部分，而是让你崩了牙，从此改变了你洗米粗心恶习的那一粒沙。

• At the fork of madness

  作者：tfarcevolsruoy 发布时间：2019-12-15 22:27:28

  Have you ever wondered, when reached a fork, one of which leads to madness and the other leads to illusory comfort, which one will you take?

  Well, both of them inevitably results in the same thing. As the book suggests, almost all of its protagonists end up in insanity or destruction. Comfort is merely the masked oblivion. There is no escape when confronted with the boundless and incomprehensible universe as well as the malignant and unscrupulous monsters lurking in it.

  Today’s critics tend to regard Edgar Allan Poe, Ambrose Bierce and H. P. Lovecraft as the three major American horror fiction writers. Poe is the most famous of the three for his consummate literary prowess and pioneering work on gothic stories; Bierce, however, unfortunately gained inadequate recognition in China; Lovecraft is more and more popular nowadays for he popularized the genre of cosmic horror and inspired abundant pastiches, games, films and other media based on his characters, setting and themes known as Lovecraftian horror.

  As a matter of fact, Lovecraft was known only in a very narrow range, especially in the circle of players of a role-playing game called CoC TRPG, ten years ago. This was how I came to know him as well. However, different from the game’s unconstrained choices and intriguing plots and possibilities, his fictions are rather obscure since the sentences are long and complicated, the adjectives used are archaic and rare, the baroque description and first-person narrations are sometimes seemingly interminable, particularly when I read him for the first time. But, when I open his book for the second and third time, it’s a brave new world waiting between the lines.

  There are several major themes throughout his works. First is forbidden and esoteric knowledge. Many of his characters, driven by curiosity and scientific endeavor, consciously or unconsciously seek for the knowledge they are not allowed to acquire and invariably get psychologically or completely destroyed by it. Second is the non-human influence on humanity. There exist some things much older than mankind and earth, gazing upon humans with indifference and cruelty. It’s a malign world, surrounded by horrible monstrous things always trying to get in and who frankly don’t care about human beings. Third is the inherited guilt. Descendants in a bloodline may be very far removed in time and place, but they can never escape the stain of crimes committed by their forebears and they are bound to be haunted by the revenant past.

  The Rats in the Walls

  and

  The Shadow over Innsmouth

  are two extraordinary examples of this theme and I appreciate them very much. Another important theme is fate. As is often the case, his characters are not controlled by their own will, but by some powerful malevolent beings. The destiny of humanity is nothing but doom and no escape is possible. This theme somehow reminds me of American naturalism. Besides, civilization under threat is also frequently appearing in his works. Many of his characters are cultured and highly educated men who are gradually corrupted by some taboo and vicious influence, such as the forbidden knowledge. Nevertheless, it must be pointed out that Lovecraft is a furious racist. He holds strong hostility towards various non-Anglo-Saxon races and cultures. Last but not least, having created such a grand world frame and so many supernatural existences, Lovecraft is a steadfast materialist. He believed in mechanistic materialism that the universe is a mechanism operating according to fixed laws and there can be no immaterial substance such as a soul or spirit. Time, space and natural laws are uniform and that the human mind can’t defeat or confound them. Those monsters are just the embodiment of the universe’s malignancy and indifference.

  What I love most of his work is the fact that how insignificant, helpless and hopeless mankind is in the face of something they can never make sense. Or maybe the sense of incapability offers me a good excuse to evade reality. There is no need to contemplate on which path to take when reached a fork and to regret the road not taken.

  I’d love to quote from Lovecraft to end this essay: “The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of the infinity, and it was not meant that we should voyage far.”

  中间主体部分参考了维基词条，人家总结得比我到位多了(; ´_ゝ`)