What is the status of China, but there have been different opinions. This requires a brief review of China.
And the western understanding of the position of language in literature.
(A) to understand the position of language in literature
The understanding of the position of language in literature in China and the West has gone through a long process of development.
Exhibition evolution.
1. the understanding of language in western literary circles
Generally speaking, the understanding of language in western literary circles has gone through two stages of development.
Paragraph: One is the classical view of language, and the other is the modern view of language.
(1) From the ancient Greek period to the end of1the end of the 9th century and the beginning of the 20th century, the western literary world.
According to the classical view of language, language is a tool to express meaning.
Literature is mainly a tool to express meaning. Meaning is considered as the dominant factor in literature, and
In contrast, the status of language is secondary. In other words, meaning determines language, not.
Language determines meaning; Meaning first, language second, what meaning is needed.
Adapt to its language. Language is an indispensable factor in literature, but
This importance lies only in expressing meaning. Once this expression is realized, the language itself has changed.
It doesn't matter.
(2) Since the beginning of the 20th century, western literary circles have viewed language from the perspective of modern language.
Based on the new understanding of people's life style, it is believed that language is mainly to create meaning in literature.
Location. It is no longer that meaning simply precedes and determines language, but that meaning lies in language.
Was created. British scholar Eagleton described this new understanding like this:
From Saussure and Wittgenstein to contemporary literary theory, the 20th century
The "language revolution" is characterized by the recognition that meaning is not just a language.
What "expression" or "reflection": Meaning is actually created by language.
We have no meaning or experience first, and then we start to put words on it; we
We can have meaning and experience only because we have a language that accommodates classics.
Testing. In addition, it means that our experience as individuals is ultimately social.
Yes; Because there is no so-called private language, just imagine a language.
Is to imagine a complete social life. ①
Language, with its problems, secrets and meanings, has become the knowledge of the 20th century.
Know the paradigm of life and the object of concentration. ② ,
This is equivalent to saying that it is not the writer who has literature (meaning) in his mind before using language.
Make it "materialized", but literature is made up of and in language. such as
Without language, there can be no literature. On "language" in contemporary western languages,
It is based on this difference that it is studied from many aspects as a "central" problem.
New language view and new vision of unified language view. By the way, Eagleton put Wittgenstein here.
Tan's famous assertion that "imagining a language is imagining a life form" has been changed.
Put forward a new proposition that "to imagine a language is to imagine a complete social life"
It shows the sociality of language. This gives literary language a kind of comparison.
The more fundamental position of righteousness. People are increasingly aware that language is not the expression of literature.
The simple or secondary "tool" of meaning is something that creates meaning; First of all, it makes no sense.
Then language expression, but meaning is created by language; Language in literature
It can not only reproduce the social reality, but also the social language situation.
The evolution of the above two stages shows that after a long historical period, western literature
The world has fully realized the basic position of language in literature. But,
Is this understanding absolute? This is worth thinking about.
2. China's understanding of language.
-
Eagleton: Theory of Western Literature in the Twentieth Century. Trans. Wu Xiaoming, Shaanxi Normal University Press.
Press 1986, page 76-77.
(2) Eagleton: Theory of Western Literature in the Twentieth Century, translated by Wu Xiaoming and published by Shaanxi Normal University.
Press 1986, page 12 1.
The understanding of language in China's literary world is very rich and complicated. If the Qing dynasty
The last year (that is, the end of 19 and the beginning of the 20th century) is the general dividing line. As you can see, China.
The view of language in China's literary world embodies the difference between the classical view of language and the modern view of language.
(1) China's view of classical language
From the pre-Qin Dynasty to the late Qing Dynasty, China's classical literary circles formed their own position in language.
A unique point of view, which is based on China's classical view of language.
People realize that language is the way of existence of Tao in the external objective world.
The Book of Changes pointed out: "Those who drum up the world must have words." In other words, it can inspire the sky.
The following lies lie in the wording of divination symbols. According to this view, language has the function of encouraging the movement and change of everything in the world.
The magical power of transformation. "Ci" here: Although it directly refers to the wording of Zhouyi, it can also be
It is regarded as the basic provision of general language (including language in literature). Liu Xie —— A famous literary critic in ancient China.
After quoting this sentence, Wen Xin Diao Long Yuan Dao pointed out: "Ci can drum up the world,
It is the text of Tao. In his view, the reason why language has the power to inspire the world is because
This is the way of existence of Tao. Liu Xie obviously equates the power of words or languages with the most fundamental.
The "Tao" of the universe, thus revealing the root of language power, by
This provides a strong basis for establishing the position of language in culture and literature. at this time
This view can be extended to: the language in literature is the existence of Tao.
Type, so it has the power to encourage the movement and change of everything in the world. Language is not only
The way of existence of "Tao" is closely related to people's inner subjective "heart". first
The proposition of "expressing ambition by poetry" in Qin dynasty has long indicated a proposition: "ambition" is a kind of human being.
Inner activities can be expressed by "words" (language), and the mission of poetry is precisely.
Express this "ambition" in words. At the end of the Western Han Dynasty, Yang Xiong further pointed out in Fa Yan Wen Shen
Say, "I mean it." He directly believes that language is the "voice" of people, that is, the heart.
The spiritual track. This clearly puts forward a view that language is a tool of human heart.
The way the body exists. From this, we can also draw the following views: because language is the existence of "heart"
In this way, the language in literature has the power to express people's inner spiritual activities. can
Look, according to China's classical view of language; Language plays an important role in literature.
A little. This is reflected in the fact that language is both an external Tao and an internal heart.
The way the body exists, it has the power to inspire the world.
(2) China's view of modern language.
Since the late Qing Dynasty, modern literary circles in China have absorbed according to the needs of new literary changes.
The concept of language was introduced from the west, and a new modern concept of language was formed. This is highlighted by the fact that,
The ancient and modern language, elegance and vulgarity are considered as a key issue in the modernization of China literature.
Title. People feel more and more that the old saying (classical or written) is rigid and outdated.
It has seriously hindered the expression of modern life experience, so it is urgent to change this language.
Words. Huang Zunxian (1848 ~ 1905), a poet and diplomat in the late Qing Dynasty, issued "I wrote my mouth by hand".
The voice of "the combination of language and writing" (the combination of spoken and written language) and his own poems
Practice this idea of "oral writing" in writing. Liang Qi who advocated the "novel revolution"
Chao immediately put forward the literary reform proposition of "learning from ancient Chinese to folk literature".
His reason is that the change of language is a "key" to the evolution of literature.
This shows that he has a full understanding of the position of language in literature. To Hu Shi's
In My Humble Opinion on Literary Improvement (19 17), the "language revolution" is finally directly and clearly regarded as the present.
The fundamental problem or primary task of contemporary literary revolution. Hu Shi put forward the famous eight-point proposition:
"A yue, words will have content. Second, don't imitate the ancients. On the third day, we must pay attention to grammar. four
God, don't moan without illness. On the fifth day, we must get rid of cliches. Six days, no coding. seven
God, don't talk about confrontation Eight days, don't avoid common sayings. "In addition to the first and fourth above, we focus on
In addition to emotional and ideological expression, other articles all involve language issues; The second claim
Modern literature language is needed, and ancient language can't be imitated. Article 3 emphasizes grammar.
Important; The fifth requirement is to abandon cliches and create new words to express modern people.
"What the eyes and ears see, hear and experience"; Related to article 5, article 6 is clear.
It advocates getting rid of the bad habit of "using allusions" in language and requires writers to "make their own words and sentences and write their own eyes."
The scene is in front, meaning in the chest "; Seventh, continue to talk about breaking the norms of ancient Chinese.
"Don't talk about duality" puts forward that "vernacular novels" are "authentic literature" and "parallel prose and poetry" are
The bold proposition of "literary trace"; The last one is about replacing classical Chinese and reality with vernacular Chinese.
The goal of the integration of spoken and written language;
From the perspective of historical evolution, vernacular literature is China literature.
Authenticity is also a necessary weapon for future literature, which can be asserted as ... today's composition.
Poetry should use common sayings and words. You didn't use the word "death" three thousand years ago ... it's better to use twenty.
-
(1) Liang Qichao: "Planning and Speech Conghua", in "Literature Conghua Research" Volume 4, "Novels and Dramas in the Late Qing Dynasty", in
Hua bookstore
Century movable type; It is better to write about those characters who can't go far and can't be popularized in Qin, Han and Six Dynasties.
The Journey to the West, the well-known Water Margin, is also admired.
Hu Shi took the use of "vernacular" or "vernacular" as the primary task of the literary revolution, which was sudden.
Going abroad represents a mainstream position of the May 4th New Culture Movement: language in literature.
It has an important or basic position and is the key link to reflect the modernity of literature. such as
Therefore, Hu Shi's language view mainly reflects the influence of European and American language views, so, in
For more than half a century since 1930s, the literary language view from the former Soviet Union has always existed.
China had a slow but decisive influence. The famous proposition of China's modern literary theory circle
"Literature is the art of language" is the product of this influence. At that time, the Soviet literary giant.
Gorky pointed out: "Language fixes all our impressions, feelings and thoughts. it
It is the basic material of literature. Literature is a plastic art expressed in language. "(1) since
"Literature is the art of language", so language has a prominent position in literature:
"The first element of literature is language. Language is the main tool of literature. " ② This view
China modern literature is deeply influenced by language because it highlights its position as the "first element" in literature.
Academia has played an important role in enlightenment. However, on the other hand, this effect is limited.
Yes, it is necessary to reflect. There are three points worth noting here: first, language is only regarded as
As a tool of literature, it seems that it has nothing to do with the fundamental way of human existence, which is far from enough.
Yes; Second, the function of language is only to "fix" the seemingly ready-made meaning, which shows that,
However, it pays more attention to meaning than language, ignoring the meaning of language itself; Third, in this way,
Although language is clearly defined as the "first element" of literature, it is only
As a tool, it only plays a fixed role, so this "first" position is actually lost.
Yes Therefore, the so-called "literature is the art of language" and "the first element of literature is language"
Words "and other reasonable propositions, but also evolved into two high-sounding and lack of actual content.
Hole numbering has not been implemented for a long time.
However, some outstanding writers still insist on their own language in that special context.
-
Gorky: On Prose and Literature (continued), People's Literature Publishing House, 1979,
Page 337.
② Gorky: Dialogue with Young Writers, Selected Literary Papers, People's Literature Publishing House 1958.
Edition, page 294.
Pursue words. Cao Yu pointed out in 1962:
If I don't love language, I can't feel the charm of literary language and I can't indulge in it.
In the wonderful world of rich and profound people's language, that is, "seeking fish from the edge of a tree", there is nothing.
You can't learn how to use the mystery of language with one resolution. Love language, be fascinated,
The beauty of language is understandable; After that, we can talk about learning to master the language and learning.
Let the flowers grow in the pen and create the same real, vivid and charming language realm ... no right.
With a strong interest in language creation, it is difficult for an author to become an author. Xin Xin
Work hard, think about language, but also have endless interest and feel the fun of language creation. This is
The author's life's works ... one day we are "possessed" by language, which is considered progress.
Only by opening the door can we enter the room and engage in language creation. Learn from interest
Learning a language until you can use it satisfactorily and turn it into a work of art is another step forward.
A big step requires more effort. The author should treat language like fish and water, man and water.
The air has a feeling of being inseparable. Without language, the author seems to be lost.
Soul, lost soul, this is true love. ①
Cao Yu was so fascinated by the charm and fairyland of language that he felt "fast"
Music "highlights the understanding of the important position of language in literature."
Only since 1980s has China's literary world been in an open state.
We can generally awaken and reflect on the gains and losses of the literary language view of the former Soviet Union.
We should truly establish the "first" position of language in literature. late
What the writer Wang Zengqi said in 1987 is very representative:
China writers attach great importance to language now. Many writers are fully aware of the importance of language.
Importance. Language is not only a form, but also a means, and the height of content should be mentioned.
Realize this ... language is not an external thing. It exists at the same time as the content (idea)
Not peelable. Language can't be peeled off and thrown away like an orange peel.
Put it down. There is no thought without language in the world, and there is no language without thought. arrive
There has always been a saying that this novel is well written, but the language is almost poor. I think
-
① Cao Yu: Misunderstanding of Language Learning, Hongqi 1962+04.
Because this statement can't be established. We can't say that this piece of music is good, just spinning.
Rhythm and rhythm are similar; This picture is very good, except that the color and lines are almost the same.
We can't say: this novel is good, but the language is a little poor. Language is fiction.
Ontology, not attached, is dispensable. In this sense, writing a novel
Is to write languages. The novel infects readers, and the charm of the novel lies in: first,
This is the language of novels. The language of this novel is saturated with the content and the author's thoughts.
I think. We sometimes read a novel, and after reading three lines, we can't stand it, because
The language is too rough. The roughness of language is the roughness of content. (0
This passage contains rich thoughts, among which several points are worth noting: First, he believes that
As a writer in China, he has attached great importance to language now, which shows that the literary language view of the former Soviet Union is in the middle.
The negative influence of China's literary world is being eliminated; Secondly, he pointed out that language in literature not only
It is both form and content, which breaks through the traditional view that language is a tool and gives language.
In a substantive position; Thirdly, he emphasized that language and content or ideas coexist.
Stripped and abandoned the view that language is only the shell or modification of content in the past, and put forward
Language and content have the same important position and are inseparable from each other.
Thinking; Fourthly, he further demonstrated that language is the noumenon of literature (novel), which makes language
Put it in the fundamental position of literature; Fifthly, he proposed that "writing a novel is writing a language"
Advertising language truly embodies the firmness of taking language as the "first element" of literature.
Field. These views on language summarized from the author's writing practice are very important for us to master the language.
Its position in literature is enlightening.
The above evolution shows that China's classical literary theory contains rich literary language views.
The source needs to be further sorted out and explored; In modern times, due to the reference to European and American language views and
The understanding of literary language in the former Soviet Union has made great progress, but at the same time,
Because the literary language view of the former Soviet Union has long unilaterally adhered to the bias of emphasizing content over language, it is also
It once showed a regrettable retrogression. By summing up the above experiences and lessons, China literature
The world has re-recognized the importance of language and started a new exploration.
-
① Wang Zengqi: Language Problems in China Literature, Collected Works of Wang Zengqi, Literary Theory Volume, zr_~XcZ.
Press, 1993, p. 1-2.
(B) Language is the direct reality of literature
A brief review of western literary language view and China's literary language view can make us
Look, language does have an important position in literature. Therefore, the language in literature
What is this important position in China? Marx and Engels pointed out: "Language is thinking.
The direct reality of thinking ... whether thought or language can form a special kingdom alone, it
Children are just manifestations of real life. "(1) this shows that language is not used to express ideas (meaning).
Simple "tool", but the "direct reality" (meaning) of thought. There is a kind of language
The indisputable "direct reality" status. What is "direct reality"? "Direct"
, as opposed to "indirect", is not through the intermediate things; Reality and Subjectivity
The relativity of "spirit" or "psychology" refers to a non-subjective objective reality or basic existence.
Conditions. The "direct reality" here refers to the objective and basic without going through intermediate things.
Mode of existence. Such "direct reality" means: on the one hand, it does not need to rely on it.
He expresses himself in things; On the other hand, it is through it that other things can be revealed.
Now As a "direct reality", language shows itself and other things.
Symbolic ideographic system of things. What is the "direct reality" of language? This is thought.
(Italy) the "direct reality" of income existence. It can be seen that language is thought (meaning)
The basic way of objective existence. It can be said that language constitutes thought (meaning).
The direct reality of meaning), language becomes the essence and basic existence of thought (meaning)
Language is a "direct reality".
Looking at literature from this angle, it is not difficult to find that literature is the art of language, and language lies in the text.
Learning exists as a kind of "direct reality", which constitutes the objectivity of literature.
And the basic way of existence. Therefore, we can draw the conclusion that language is in literature.
The position of China literature is that language is the direct reality of literary texts. In short, language
It is the direct reality of literature, so language plays a primary role in literature.
This can be understood from the following four aspects:
First, judging from the existence of literary texts, language is the basic existence of literary texts.
Way. This can be seen from three aspects: first, a literary text always comes directly from the guest.
The concept of language symbol system. For example, it is not it that directly constitutes A Dream of Red Mansions.
-
(1) Marx and Engels: German Ideology, Complete Works of Marx and Engels, Volume 3,
People's Publishing House, 1965, p. 525.
The meaning of, but its China symbol system. Any literary text, whether poetry or prose.
Or novels, always exist in a specific language symbol system. If you leave this kind of
With the symbol of "reality", everything in the literary text does not exist. Secondly, writers are engaged in literature.
The purpose of creation is to finally form a language art work-that is, a literary text. Whether he has it or not
How to conceive a wonderful meaning must and can only be expressed in words. and
Secondly, readers must and can only face this linguistic text first, and then finally.
Understand and appreciate it. Therefore, from the objective existence of literary texts, the writer's creative purpose and reading
In the process of reading, language is the basic way of existence of literary texts. '
Secondly, judging from the relationship between language and meaning in literary texts, language is indispensable to meaning.
A growing place separated from it in an instant. "Meaning" here generally refers to literary texts with the help of language.
Everything the symbol wants to express. In literary texts, on the one hand, language is meaningful.
When you grow up, language can produce meaning. There is no meaning without language. What about the other side?
On the surface, the growth of meaning is always through language, inseparable from language, and inseparable from language for an instant.
Without language, meaning loses the possibility of existence. There is no meaning without language.
Meaning is like no meaningless language.
Language and meaning are two sides of the same coin. Lao She once said:
Whenever we mention a work, we always think of its beautiful language. How many of us are there?
Hands can't praise Du Fu and Shakespeare without quoting their original texts as evidence. place
Therefore, language is an important part of our works.
We have the responsibility to write the language well 1.
Our best thoughts and deepest feelings can only be expressed in the most beautiful language.
Express it. If you can't express it, who knows how good your thoughts and feelings are?
And then what? This is an inseparable and unified thing. ①
"The best thoughts, the deepest feelings" (meaning) can only be expressed by "the most wonderful language"
Reaching out, the two are unified and inseparable. So the language and meaning are different.
A unified relationship that can be stripped. Past literary theories also emphasized the "unity" of language and meaning.
-
(1) Lao She: Language of Literature, Export into Articles, Writers Publishing House 1964.
Edition, page 60.
But that is only the unity based on meaning and with language as the shell, which shows that meaning comes first and meaning comes last.
There is a prejudice that values meaning over language. The emphasis on indivisible unity here is precisely for the purpose of
Restore the "direct reality" status of language as meaning.
Third, from the perspective of the function of language in literary texts, language not only expresses meaning, but also
Itself is an inseparable part of meaning. According to the traditional view, language seems to be.
Ming "object, it can make people see the meaning, but there is nothing in itself. Just for meaning.
Just to see the external form of meaning. Once it has meaning, it is also.
Lost the meaning of existence. As Zhuangzi said, "Get carried away",
Only "forgetting words" can "be proud". Compared with the supremacy of meaning, "discourse" seems to
Has become a worthless thing and must be forgotten. But in fact, language in literature
Dual function. This dual function lies in that language not only expresses meaning, but also constitutes meaning.
Part of. On the one hand, language expresses and creates meaning by reappearing reality, thus producing meaning.
Grow in your arms; On the other hand, it is also reproduced in the process of reproducing reality.
While expressing meaning, it also makes itself show meaning and become the meaning of literary text.
One of the components of semantic system.
Of course, this does not mean that a language has meaning that can exist independently without meaning expression.
Meaning, or language, is independent beyond the meaning system of literary texts.
Meaning. On the contrary, the meaning of language is always closely related to the meaning it expresses.
Together, when it successfully and creatively completes the expression of meaning, it itself
It may also show unique significance. Lao She analyzed Wang Wei's poems like this:
There are two lines in Tang poetry: "The desert is lonely and straight, and the long river sets the yen." not have
A new word. But when you think about it, it's still amazing. It makes the scenery on the big desert real.
It was written in a field summary. In the desert, the air is dry and the air pressure is high, so smoke is a kind of.
Go straight. There are few people living in it, so it is a solitary cigarette. On the river, the sunset looks very special.
Big, especially round. The author expressed the panorama of the desert in very simple and ready-made language.
It's out. People who have never seen the desert and have never observed it cannot write it.
Yes ①
-
(1) Lao She: Language Problems in TJO Learning, Export into Articles, Writers Publishing House 1964.
Edition, page 70.
Wang Wei "showed the panorama of the desert in a very simple and ready-made language", which is true.
It shows the success of language in meaning expression. At the same time, on the other hand, this language expresses
Success itself is also meaningful: from "the lonely smoke in the desert is straight, and the long river sets the yen" to ten.
Sentences composed of Chinese characters have become the meaning of the whole poem because of their success in meaning expression.
Part of the semantic system, where we can't put the meanings expressed in the same language.
The meaning of the word itself is separate. We may be tempted to admire: these ten are too ordinary.
Ordinary Chinese characters accurately and vividly describe the unique scenery in the desert.
Just like this, when we taste the meaning of this poem, of course, we should pay special attention to language.
The meaning of the word itself.
Fourthly, from the aesthetic characteristics of literature, language is an integral part of the beauty of literary texts.
Points. Corresponding to the fact that language itself constitutes a part of the meaning of literary text, language has also become a text.
Part of learning the beauty of words. This can be seen from two aspects: on the one hand, language is literature.
Ben's beautiful resources. Sapir pointed out: "Language is the biggest and most extensive thing we know.
Art is a nameless work unconsciously created by generations, like a mountain.
Just as good. "The general language is an art, so, as the language of works of art,
What about language in literature? He added: "Every language is itself a kind of.
Collective expression art. There are some aesthetic factors hidden in it-pronunciation, rhythm,
Symbols and forms-you can't have them in other languages at the same time ... artists must.
Use the beautiful resources of your mother tongue. "(1) in literature, through the writer to language this.
With the careful development and casting of "beautiful resources", language itself will be displayed in the expression of meaning.
Show its unique "beauty". In other words, language has become the beauty of literary texts.
Convert into raw materials or resources. For example, the four tones of Chinese and the resulting level and rhythm.
And so on, is an important resource of China's literary beauty. On the other hand, looking further, language
Speech is not only a beautiful resource of literary text, but also an integral part of its beauty. this is
Speaking of it, when a language expresses its meaning successfully and individually, it will also show it.
Give people a unique aesthetic feeling. Wang Zengqi pointed out: "The beauty of sound is a very important factor in the beauty of language.
A literate person, a well-trained person in writing, will learn directly from writing.
Look at its sound. China's language is special because of its "tone", that is, "four tones"
-
① Sapir: On Language, translated by Lu Zhuoyuan, Commercial Press, 1985, 197,
20 1 ~ 202 pages.
Don't be musical. (1) Wang Zengqi has always paid attention to the phonetic beauty of Chinese in The Beauty of Chinese.
Importance, but, in his view, the sound beauty of literary texts mainly lies in its
Unique "four tones" or "musicality", but when this sound feature is successfully used.
To express meaning, thus embodying the "way of sound." People often say that literature is beautiful, in fact.
This beauty includes the beauty of language. Therefore, the beauty of language and literature are inseparable.
Part of.
It can be seen that from the existing situation of literary texts, the relationship between language and meaning, and the function of language
As far as the beauty of literary texts is concerned, language constitutes the direct reality of literature. pass by
Therefore, language plays an important role in literature.