【作者】 孙德喜；

【导师】 陈美兰；

【作者基本信息】 武汉大学 ， 中国现当代文学， 2002， 博士

【摘要】 小说语言研究是小说研究的一个十分重要的方面,因而在历来小说研究中占有一定的地位。传统的小说语言研究主要有两种:一是着眼于宏观的小说语言风格的论述;一是对小说语言作修辞学意义上的微观分析。这两种小说语言研究方法历史悠久,可以揭示出一部小说的某种美学特征与作家的某种审美理想,可以分析出小说语言中运用的种种技巧及其美学功能和审美效果,帮助读者在阅读中感受到小说家高超的语言技巧和智力。但是,这两种研究方法是建立在传统的语言观——工具论基础之上的,因而存在着明显的缺陷:语言风格的论述往往是“见林不见树”,总是停留在对语言的总体性的印象式描述,显得比较空疏而不够具体:语言的修辞学分析则易犯“见树不见林”的错误,很容易将作为整体的艺术生命的一部小说肢解成无数碎片。上个世纪之交,在西方,哲学上发生了具有重大历史意义的“语言论转向”。这个转向极大地推动了语言观念的伟大变革,从而使语言论诗学的建立成为可能。进入20世纪80年代以来,在改革开放的历史语境中,我们的理论家与批评家受到西方“语言论转向”的启发开始建立符合汉语文学创作实际的语言诗学。本论文就是在这样的学术背景下展开研究与写作的,其意是从文化的视角研究小说语言及其各种现象,进而探究小说语言的深层意蕴,以呼唤小说语言文化学的诞生。论文的绪论部分首先论述了语言与文化的密切关系。一方面,语言是文化最重要的存在方式:文化的最为深刻与精髓性的东西都必须靠语言来表达和传承;每个个体的人在语言习得过程中必然接受一定的文化。另一方面,从整个人类的语言演变来看,随着文化的变革,语言也一定会发生相应的嬗变。从小说语言研究的角度来看,小说的叙述语言不仅在叙事时涉及到文化的各个方面,而且其所涉及的许多称谓、器物的名称乃至价值评判性的词语也都包含着丰富而深刻的文化意蕴,小说的人物语言也因人是一定文化中的人而必然涂上其特定的文化色彩。此外,小说家总是在一定的文化环境中成长的,他的小说语言就会打上这个文化环境的印记,而且他也会站在一定的文化立场去选择相应的语言去创作。论文接着回顾了20世纪前80年的小说语言在文化演进中的变迁。在中国小说史上,初期的小说语言以优雅的情趣与怪异的形态为主,后来随着文化的变化,小说语言从文言走向代表市民社会的白话,开始新鲜活泼起来。明清之时,高雅的诗词曲赋与对联等被引进小说,《红楼梦》在小说语言上是集大成者,成为古代小说语言最优秀的代表。后来随着封建文化的衰微,小说语言也走向衰落。自19世纪末开始,由于新闻业的崛起、现代都市的出现和西方文化的涌进,小说语言既贴近民众,又吸收了市民社会生活的新鲜词语和表达方式,还引进了不少现代西方的人文科学语汇。五四新文化运动为小说语言向现代的转变带来了契机:作为民众文化代表的现代白话取代了封建文化象征的文言;个人话语融入到叙事与人物的言语之中;代表时代精神的启蒙话语成为一种小说语言的潮流;现代政治日渐向小说语言渗透;小说语言大众化开始起步。后来,小说语言的政治化与大众化逐渐成为一种趋向。“文革”时期,小说语言在官方政治的高压下变得非常单调而僵化。绪论中,还概述了进入新时期后,在新的历史文化语境中,理论家、作家和批评家的小说语言观念所发生的由工具论向本体论的根本转变,以及他们为建立中国的小说语言诗学所作的探索。论文的主体部分由四章构成。第一章主要探讨20世纪后20年文化语境中的小说语言变革。文化语境不仅可以成为理解说话或写作的思想内涵的重要条件,而且在很大程度上制约和主导着作家的创作,那么文化语境的变迁必然影响到作家对小说语言的选择和运用。“文革”结束以后的一段时间里,小说语言仍在“文革”的阴影中徘徊,政治在小说语言依然突出。自70年代末至80年代中期,思想启蒙成为主要的文化语境。在这个文化语境中,许多小说采用寓言式的语言结构和庄重的语体,给语言注入人文理性,并且将读者引进到对话的情境中来,让读者在“审美的沉思”中接受启蒙。贯穿于整个80年代并延续到90年代的是现代主义文化语境。在这个文化语境中,小说语言开始从对事物的外部描摹与故事叙述转变为对心理感知与记忆的追述,大量的感觉词语因而涌进文本,通感手法被大量运用,怪异的事物频繁在小说中出现造成了小说语言的荒诞感、紧张感和恐惧感,利用语言的“预设性”或“后设性”使小说的叙事时空自由转换,现代主义的象征赋予小说语言的朦胧性、多义性和抽象性。自80年代初至90年代,后现代主义形成了重要的文化语境。在这种文化语境中,小说语言最先以反叛的姿态出现,既向传统的语言规范提出挑战,又对伪神圣和假崇高作解构,从而获得了语言的自由。进入90年代,后现代主义文化语境中的小说语言出现了殖民化的倾向,物欲横流使小说语言中各种品牌商标随处可见,各种时髦词语从主人公嘴里脱口而出,语言的意义消解导致语言的能指压倒所指和语言平面化,缺乏应有的深度。第二章着重讨论小说语言的诗性建构的文化意蕴。小说语言的诗性主要体现在三个方面:一是意象化。意象的审美化赋予其诗的质素,而审美化的意象具有隐喻和象征的特性,这就使小说语言的功能得到了改变,能指与所指之间产生了强大的张力。二是灵动性。汪曾祺让小说语言在“和谐”的氛围中运行,飘逸、童趣和智慧的神态为语言注入灵动之气。贾平凹等人则善于锤炼语言,给语言涂上浓厚的主观色彩,让语言插上想象的翅膀,从具象走向抽象,从而使小说语言闪耀着灵动之光。三是走向哲学化。小说语言的哲学化既可以引进具有哲学意义的议论,将许多表示深刻思考的抽象词语以及哲理思辩纳入语言,又可以像史铁生的《务虚笔记》那样大量的十分抽象的表现感知与心理感受的词语介入文本,具体名词抽象化,体现沉思的自言自语式的叙述,设问句与假设句的大量运用以及穷尽可能性的叙事等等,使小说语言诗意盎然。第三章主要是对小说语言作文化心理诠释。随着语言中的文化积淀越来越深厚,生活于语言中的人们由此而产生相应的文化心理,甚至形成某种集体无意识,从而使人们的言语蕴涵着特定的文化心理。韩少功在《马桥词典》中以语言为契入点,深入透视以马桥人为代表的国民文化心理。一些作家在小说的叙事过程中也不由自主地流露出某些农民文化心理。池莉、陆文夫、刘恒等人小说中人物的语言表现出小市民的优越感、市侩、无赖、势利等文化心理。张洁的《方舟》等小说语言贯穿着理性精神而且带有几分感伤,反映了当时都市知识女性对婚姻问题的思考。王安忆的《长恨歌》中的“是”与“的”的功能在于延缓小说的叙述节奏,以表现某些都市女性的慵懒的情态。棉棉与卫慧的小说语言则反映了现代都市“另类”女性对物质享受与感官刺激的追求。残雪的小说语言以非理性的“梦呓”形态显示那个时代人们心理的病态与精神的残疾。第四章讨论的是作家文化立场与小说语言的选择。每个作家对小说语言的主动选择都是由其文化立场所决定的。立足于地域文化的小说语言不仅容纳了大量的方言土语,而且受地理风貌的影响而呈现出不同的美学风格,还常常包容进多种民间语言形式以表明小说的民间立场;立足于传统文化的小说语言或体现儒家文化的使命感和责任感,或散发出佛教文化的禅味,或渗透着道家文化的“返朴归真”,传统文化中的戏曲和书画艺术精神在贾平凹等小说语言中也有体现。论文的结语就是由以上的论述得出一个结论:在新的世纪里,小说存在的理由和应付电子媒体的挑战的根本性东西就是语言。更多还原

【Abstract】 It is a very important part of the research of fiction to study the language of fictions. So studying the language of fictions occupies an important place in the research of fictions. There are two ways in the traditional study on the language of fictions. One is to see the language of fictions from the angle of style and the other is to analyze the rhetorical figures in the language of fictions. The both of them have a long history, can reveal some aesthetics features of a fiction & the writer’s aesthetics ideal, the skills, their aesthetics effect, and help the readers to appreciate the fiction writers’ superb skills when reading. But the both are on the base of the traditional view of languages, i.e. the tool view. So they have obvious defects. The discussion on the style of the language of fictions is prone to "seeing the forest but tree " because it confines on describing a whole impression. And it is empty and not concrete. And the analysis of the rhetorical figures in the language of fictions is prone to "seeing the tree but forest" because it dismembers a whole art life of a novel. During the join of the 19^th century and the 20^th century, the " linguistic turn" that has a great historical meaning takes place in the West. It brought a great change of the view of languages and made the building linguistic poetic possible. Since 80s of the 20^th century, under the enlightenment of the "linguistic turn", our theoreticians and criticizers have been building the linguistic poetic to accord with the reality of the writing of Chinese literature. This doctoral dissertation is written in the academic background. And its intention is to research the language of fiction and the phenomena of languages from the cultural angle, to reveal the depth of the cultural significance of the language of fiction and to lead to the birth of the subject of fiction-linguistic-culture.The part of introduction discusses the relation between language and culture at first. On one hand, the language is the most important manner of existence of culture. It must depend on a language to express and hand down the most profound part and the marrow of a culture. Every one has to accept a kind of culture while he learns a language. On the other hand, with the change of a culture, the language, from the angle of the evolution of the human language , must change correspondingly. Not only the narrative language of a fiction, from the angle of the study of the language of fiction to see, but also many names of the implements and appellations and the words of value relates to all respects of cultures and contain rich profound cultural significance. So the characters’ parole in fictions must be painted the colors of a culture, because the characters are in their life. Besides, every writer grows up in certain culture surroundings, so his fiction language will be marked of the culture surroundings. And he stands a specially appointed position to choose appropriate language to write. Then I review the change of the fiction language in the development of the culture in the first 80 years of the 20^th century. In a history of Chinese fiction, the main patterns of the fiction language at first were "graceful", "delight" and "monstrous". Then, with the change of the culture, the language of fictions was from classical Chinese to the vernacular that stands for the class of townspeople and becomes fresh and vivid. In Ming & Qing dynasty, the graceful poetic forms were used to write a fiction. The Dreams in the Red Mansion is a great synthesis in the language of fiction and is the most excellent represent of the language of the ancient fictions. With the feudal culture declining, the language of fictions went downhill. After the end of the 19^th century, the language of fictions absorbed a lot of fresh words and patterns of expression from the society of townspeople, modern humanity and science vocabulary from the West, while the news trade rose, modern metropolis appeared and the culture of the West came in. The New Culture Movement of May 4^th brings a chance that the language of fictions went toward modern. The modern vernacular as the represent of the mass culture replaced the classical Chinese as the symbol of feudal culture. The individual discourse was blended in the narration and the parole of characters in fictions. The enlighten discourse that stood for the spirit of the time became a main trend of the language of fictions. Modern polity penetrated into the language of fictions. And the language of fictions started going toward the mass. Then, the politicization and popular of the language of fictions became a trend gradually. During the period of Great Cultural Revolution, the language of fictions was very monotonous and rigid because of the high-handed polity from the authorities. Since Great Cultural Revolution, the theoreticians’ and criticizers’ concept of the language of fictions have taken place an essential change from the view of tool to of ontology in the new history and cultural context. Much probe work has been done for building the poetic of Chinese fiction language.The main part of this dissertation is made of four chapters. And the revolution of the language of fictions in the cultural context of the last 20 years of the 20^th century is discussed in the first chapter. The cultural context not only becomes an important factor for understanding the thinking connotation of sayings and writings, but also restricts writers’ writing to a great extent. So the change of the cultural context must influence the writer to choose and use his language. After Great Cultural Revolution, the language of fictions still paced up and down the shadow of Great Cultural Revolution. The polity occupied an important place in the language of fictions. During the end of 70s and the middle of 80s, the enlightenment of thinking and culture is a main cultural context. And the language structure of fable and the solemn style were used in many fictions in this cultural context. The humanistic reason was poured into the language of fictions. The readers were lead into the condition of dialogue and let accept the enlightenment during "thinking of aesthetic". The cultural context of modernism runs through the 80s and the 90s of the 20^th century. In this cultural context, the language of fictions turned from depicting the outside of things and narrating story plots to narrating the sense and memory. So a lot of sense words welled up in the text of fictions. The analogies were often used. The monstrous things often appeared in the fictions and the absurd, intense and fear senses form in the language of fictions. The writers used the beforehand-set-up and afterhand -set-up of the language to make the space-time of the narrating of the fiction be liberty to change. The modernism symbol gave the language of fictions hazy multi-meaning and abstract feature. From the beginning of the 80s to the 90s, the post-modernism became an important cultural context. And in this cultural context, the language of fictions appeared a rebel posture and challenges the tradition language norm and destructed the false "lofty" and "holy". And the writers got the freedom of the language. In the 90s, the language of fictions in the post-modernism cultural context appeared the trend of colonialism. Many famous trade marks could be read in the language of fictions because the desire of mater overflowed. A lot of fashionable words were often said by the main young characters of the fictions. The sigifie of the language overwhelmed its signifiant because of dispelled meaning of the language. And the language tended to plane and lack proper depth.We discuss the cultural significance of the language of fictions while the poetic is made in the second chapter. The poetic of the language of fictions mainly shows three kinds of forms as following: The first is to go to image. The image can give the language of fictions the poetic factor and has the specific property of the metaphor and the symbol from the angle of aesthetic. And it makes the function of the language of fictions changed. Thus the tension emerges between the sigifie and the signifisnt. The second is the intelligence. Wang Zengqi makes his language of fictions form in the " harmonious" atmosphere. The elegant, child’s delight and wisdom give the language the intelligence. Jia Pingwa and so on are good at refining upon the wording and phrasing, painting the color of subject on their languages, let their languages grow the fancy wing and go from the concrete to the abstract. So their languages give out the light of intelligence. The third is to go to philosophy. To absorb the comment that has philosophy meaning, many abstract words which are often used to think can make the languages go to philosophy. In Shi Tiesheng’s Notes of Principles, a lot of abstract, words that express sensation and psychology are used. Let the concrete words go to the abstract. The writer uses the language of talking to oneself, the question sentences and the suppose sentences to narrate. Besides all possibilities are thought in his narration. So the language of this novel is full of poetic.The third chapter is the annotations of cultural psychology according to the languages. When the sediment of the culture is deeper and deeper in the language, the people who live in their languages have relevant cultural psychology and the group-unconscious form. So the parole contains certain cultural psychology. Han Shaogong gives Maqiao’s people a perspective according to their language and let the readers see our people’s cultural psychology. Some writers can’t help revealing their peasant cultural psychology in their fiction languages. Chi Li, Lu Wenfu and Liu Heng and so on reveal the urban petty bourgeois’ cultural psychology of the sense of superiority, the sordid merchant, the rascally and the snobbish etc. The function of "shi" and " de" in Wang Anyi’s Chang Hen Ge delays the narration rhythm of her novel and show some women in the metropolis sluggish mood. The reason spirit and the sad sentiment run through the language of Zhang Jie’s A Square Boat. And it expresses that the intellectual female’s thinking on the marriage in that time. The languages of Mian Mian and Wei Hui reflect that "the other" girls in the modern metropolis are seeking for the enjoyment of mater and the stimulus of sense organ. Can Xue’s language of her fictions shows the people’s morbid psychology and deformed spirit with the form of the non-reason rigmarole.The relation of the cultural standpoint and the choice of the language is studied in the forth chapter. Every writer’s choice of the language is depend on his the cultural standpoint. The writers who stand the position of the regional culture like to use many the regional dialect in there works. And his language style is influenced by the certain geographical condition. Some forms of folk language is used to show the position of the non-government in the novel. The writers who stand the position of the traditional culture pour their sense of mission and responsibility that represent Confucianism culture into the language of their fictions. Some fictions’ language sends out the smell of Buddhism’s meditation. The spirit of Tao’s "returning to simple and truth" permeates another writers’ language. The art spirit of traditional opera and painting and calligraphy is carried on in Jia Pingwa’s language of fictions.The concluding remark of this dissertation draws a conclusion according to the above exposition. That is the language is the reason of the being of fictions and to cope with the challenge from the modern electron medium in new century.更多还原