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本文提出了一种新的解释模式,即“两线三言”的发展脉络,以解释晚清方言小说何以兴衰。“两线”指分别用白话解释《圣谕》和《圣经》的两线;“三言”指三种主要方言,即京、吴、粤。以吴语小说的兴起作证,可解释方言小说在19世纪中下期的兴起;举诸多粤语小说为例,又确证了粤语小说的一度繁盛。受新兴文化势力的冲击,文言中心地位的渐次失衡,给了方言书写成熟的机会。国语中心主义的形成,则又将方言文学斥为边缘。从文言到方言到国语,晚清民初语言中心地位的置换,带动了方言小说的兴衰。
This paper presents a new mode of explanation, that is, the development of “two lines and three sentences” to explain the rise and fall of novels in the late Qing dialects. “Two lines ” refers to the two lines of interpretation of the “holy” and “bible” in the vernacular; “three words” refers to the three main dialects, namely, Beijing, Wu, Guangdong. The rise of Wu novels can testify the rise of dialect novels in the middle and lower reaches of the 19th century. Taking many Cantonese novels as an example, it confirms the once flourishing of Cantonese novels. Under the impact of emerging cultural forces, the gradual imbalance of the central position of classical Chinese has given dialect written maturity. The formation of centrism, in turn, dialects literature as the edge. From classical to dialect to Mandarin, the replacement of the language center in late Qing Dynasty and early Republic of China drove the rise and fall of dialect novels.