语言论争与作家的现代汉语体验

【作者】 张昭兵；

【导师】 张新颖；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2010， 博士

【摘要】 本文选取了现代文学的第二个十年,即20世纪20年代下半期到抗战前为研究对象。这一时期是白话文运动已经完全站稳脚跟,而白话文内部本来就存在的语言观念的分歧,因为一种新的语言观念的破土而“内爆”分流的时期；是小说、诗歌、散文、戏剧四种主要文体在语言上渐趋成熟,现代文学史上的著名作家纷纷创作出了他们最具代表性的作品的时期。上编重点考察这一时期公共空间的知识分子围绕“大众语”问题的语言论争以及各种语言观念的交锋；下编根据作家是否有语言的自觉,以及考虑到文体的平衡,选取四位具有代表性的作家——鲁迅、周作人、闻一多、沈从文,考察他们个体写作的语言体验、语言观念和语言想象。需要说明的是,对鲁迅的选择是忽略了文体因素的,因为鲁迅与现代汉语的关系是逸出了文体界线的,本文是在考察作家写作的多种语言可能性的出发点上选择了鲁迅。其他三位作家周作人、闻一多和沈从文分别算是散文、诗歌和小说写作的代表。具体来讲,对鲁迅的研究着重于他的语言体验,对周作人和闻一多的研究着重于他们的语言观念,对沈从文的研究则着重于他的语言想象。当然,在具体的论述中,不可能这么泾渭分明,语言体验、语言观念和语言想象交叉论述的情况时有发生。全文的重心在下编,上编是它的语言运动背景和语言理论基础。目的就在于,试图通过对这一时段大的语言运动潮流的总体把握的基础上,重点透视作家个体“在通向语言的途中”各自独特的心路历程。在某种程度上可以说,《野草》是鲁迅写给自己的,是自己与自己的交谈,是鲁迅在沉静中由外部社会现实走向内部心灵现实的语言历险。一路上与他为伴的只有语言,也只能是语言。他与自己交谈,同时与语言交谈；他通过与语言的交谈确认自己的存在,通过与自己交谈走向语言。对于周作人的讨论,以《看云集》作为中心,是因为这个集子在周作人整个语言观念的流变中处在一个枢纽的位置,从它入手可以带出周作人前前后后的语言思考和语言观念的脉络。《死水》是闻一多的代表作,也是他“格律诗”创作理念的实践之作,围绕《死水》的语言讨论也比较多,通过它可以进一步延伸到对现代汉语从草创期到逐渐成熟的考察。沈从文是一个多产作家,而《边城》是他在文体上最成熟、语言想象也最空灵的作品,主要表现为“及物”与“离物”的融合；得意不忘言；直而幽、白而雅、诗而真。通过对这一时段公共空间的语言论争和作家个体现代汉语体验的考察,呈现一个时期大体的语言面貌,并勾勒出它与上下时期之间的内在联系,从一个剖面展示现代汉语发展的年轮,以及作家与现代汉语之间的互动关系,为现当代文学史叙述提供一个语言切入的视角和维度,将文学与语言的关系上升到一体两面的高度来理解和认识,打破传统语言工具论的拘囿而“在汉语中理解汉语”。更多还原

【Abstract】 The present dissertation chooses the second ten years of the contemporary literature as the research object, that is, from the later period of 1920s to the eve of the war of Resistance against Japanese Aggression. During this period the Vernacular Movement (1917-1919) has gained a firm foothold and there existed divergence of views on language within the Vernacular Movement as a new idea about language appeared suddenly and produced the split-flow implosively, the language in four major literary forms of novels, poems, prose and dramas gradually developed and the preeminent contemporary writers in the history of contemporary literature created in succession their most representative works.VolumeⅠmainly examines the points at issue of the intellectuals in the public sphere which centered on the "public language" and confrontation of ideas of diversified views on language; Choosing four representative authors—Lu Xun, Zhou Zuoren, Wen Yiduo and Sen Congwen, VolumeⅡexamines linguistic experience, linguistic ideas and linguistic imagination in their individual writing according to whether they have linguistic awareness and on the basis of considering the genre balance. What needs to be stated is that the genre factor is neglected when choosing Lu Xun because the genre delimitation are broken through in the relationship between Lu Xun and modern language, so the present dissertation chooses Lu Xun from the starting point of varied linguistic possibilities of the authors’writing. The other three authors—Zhou Zuoren, Wen Yiduo and Shen Congwen are the writing representatives of proses, poems and novels. Specifically speaking, linguistic imagination is focused on the research into Lu Xun. Of course, it is impossible to draw a clear demarcation between linguistic experience, linguistic ideas and linguistic imagination and sometimes overlapping description occurs. The dissertation focuses on VolumeⅡand VolumeⅠis the linguistic movement background and the theoretical base of linguistic theories. The objective is to examine the individual writer’s unique mental history on "the way to language" based on the thorough understanding of the linguistic movement current during this period.It can be said to some extent that Lu Xun wrote Wild Grass for himself which it is a conversation made by himself and which is the linguistic adventure experienced from by Lu Xun in silence from the external social reality to the internal mental reality. On the way there is nothing but language to be company. He talked with himself and at the same time with language; he identified his being by means of talking with language and he directed to language by means of talking to himself. About Zhou Zuoren, we focus on Collections of Watching Clouds because it situated in a key position in the change of his linguistic ideas, from which we can obtain the context of his reflections on language and ideas about language. Dead Water, the representative work by Wen Yiduo, was the practical writing created with the "metrical poetry" idea. There are discussions about language, through which an investigation can be extended to modern Chinese from the starting period to the gradual muture period. Shen Congwen is a prolific writer and Border Town was the work in which the genre is most mature and linguistic imagination is most natural, mainly indicating in the integration of "reaching the objects" with "leaving the objects"; obtaining the meaning without abandoning language; straight and humorous, blank and elegant, poetic and authentic.Through an exploration of diversified views on language in the public sphere during this period and of experience of writers’individual contemporary Chinese language, a rough linguistic picture is presented in that times and it draws the outline of its internal connections with the former and the later periods, demonstrating the growth ring of the development of modern Chinese language from one profile, the interactive relationship between writers and modern Chinese, which provides a linguistic perspective and dimension for the narration of modern literature history, promoting the relationship between literature language to a deep understanding and realizing level with double sides, breaking through the limitation of language as a tool and arriving at the goal of "understanding Chinese in Chinese".更多还原