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对五四新文学运动中白话文取代文言文的研究,大多在语言工具论以及思想解放论等层面上,而对这个重大变动中“口语美学”所起到的特殊作用重视不足。语言具有自我调节功能,以口语为基础的白话文比文言文更具有“释放”作用,具有口语化的叙事功能和“白韵”效果。这方面,鲁迅作品颇具代表性。鲁迅小说语言由于长短句子相兼、多口语语气助词、平仄起伏错落、多开口音和叠音词,因而更具有语言的审美功能。五四白话文取代文言文不仅是整个思维观念的革新及国家的启蒙运动的结果,还是语言自我调节,人类自我意识觉醒,追求美的诠释形式,语言进行自我释放和张扬的自然选择。鲁迅小说创作中的语言是鲁迅本人“双言”背景的审美融合的结果。在新的社会语境中研究五四白话文取代文言文的口语美学因素,可以帮助我们获得一种语言的自觉,将鲁迅研究有效地介入今天的语言现实。
Most of the research on the replacement of classical Chinese with vernacular in the May Fourth New-Literary Movement is mostly at the level of linguistic instrumentalism and emancipation of the mind but lacks particular attention to the special role of “oral aesthetics” in this major change. Language has the function of self-regulation. The colloquialism based on colloquialism is more “release” than classical Chinese, with colloquial narrative function and “Bai Yun” effect. In this respect, Lu Xun’s work is quite representative. As a result of the combination of short and long sentences, multi-lingual modal particles, flat and smooth ups and downs, more open and overlapping allusions, Lu Xun’s novel language has more aesthetic functions of language. The replacement of classical Chinese with the May 4th vernacular is not only the result of the revolution in the whole concept of thinking and the result of the Enlightenment in our country, but also the self-regulation of language, the awakening of human self-awareness, the pursuit of aesthetic interpretation, and the natural choice of language for self-release and publicity. The language in the creation of Lu Xun’s novels is the result of the aesthetic fusion of Lu Xun ’s “double language ” background. Studying the oral aesthetics factors of the May 4th white novels in the new social context can help us acquire a kind of language consciousness and effectively involve the study of Lu Xun in today’s language reality.