Since 1990s, with the linguistic turn of western literature research, stylistics, which focuses on the language form of works, has entered a prosperous period and achieved far-reaching and influential achievements. Domestic related research is later than the 20th century in the West.
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Since the late 1990s, stylistics research has gradually become an academic hotspot, and a number of research results have emerged. Throughout the domestic stylistic research, most of them either apply western stylistic and linguistic theories, or focus on the past and ignore local literature.
Generation deduction. In an interview, Mr. Ye Jiaying pointed out that for many years, we have been keen on learning new western theories, but we are quite unfamiliar with our classical cultural traditions, which leads to the necessity of the integration of China and the West.
When the old culture is integrated, it is impossible to properly apply western theories and terms in practice.
[1] In view of the present situation of stylistic research in China, this paper attempts to analyze the connotation, characteristics and cultural implications of Chinese stylistic forms from the perspective of comparison between China and the West, so as to explore the national characteristics of Chinese stylistic forms and lay a conceptual tool for Chinese stylistic research.
First, the concept of "style" between China and the West.
"Style" refers to the discourse style and structure of literature, which usually belongs to the category of literary form. The concept of modern western "style" originates from "style", which can be translated into both "style" and "style".
For "style", abrams compiled a dictionary of European and American literary terms to explain "style": "style refers to the expression of language in prose or verse, that is, the way the speaker or author speaks in his works." H
Xiao's Dictionary of Literary Terms defines style as "the way to integrate ideas into words" and clearly points out that style is "the characteristic of literary choice involving expression rather than expressed ideas", which are similar.
As for the definition of "style", style is clearly classified into the category of literary forms, which involves the question of "how to say it" rather than "what to say".
In the history of western literary theory, the analysis of language form in traditional criticism developed into stylistics in the twentieth century. Stylistics is a school of literary criticism focusing on the linguistic expression of literary works, which can be roughly divided into forms.
The category of formal literature theory. "Some literary historians call any literary research method that pays attention to various factors contained in language (such as metaphor, language structure, syntax, etc.). Stylistics. " Wellek pointed out that stylistics is "centralized"
Linguistics is the theoretical basis of stylistics, while western stylistics studies literary works in a linguistic mode, and the analysis scope mainly includes phonetic (literal) features, lexical features, syntactic features and other languages.
Phenomenon, "If there is no comprehensive basic training in general linguistics, the discussion of stylistics can't be successful", so western stylistics is a branch of linguistics, and its main research object and foothold are all in linguistics.
Theorists who rarely claim to study stylistics often regard literary texts as the material of language analysis, paying attention to the accuracy and systematicness of language description and paying less attention to the ideological and aesthetic effects of works.
China used the terms "literary style" and "literary style", and their connotations may refer to the article system and genre. "Biography of Southern Qi Literature" said: "If Huan Zi is a talented person, Zhongzhi District will judge the style, distinguish between Lu Ji and Li Chong.
In Hanlin, Zhang Gaogao praised and criticized sentences, tried to write his feelings and held his own opinions. * * * is a balance. Liu's "History of China Medieval Literature" commented on Zhifu's "On Parting": "Poetry, Fu, Prose, Ming, Mourning, Ci, Fu,
7. Tracing back to its origin and examining its positive changes, it can be seen from the Similarities and Differences between Ancient and Modern Styles in Ming Dynasty that the so-called "judging the style in the middle" and "distinguishing the number and style" in Wen Xin Diao Long refer to the article system; Or refers to
The physical features and styles of the works, such as the eight styles listed in Wen Xin Diao Long, are elegant, profound, precise, obvious, complicated, magnificent, novel and frivolous. Chinese Americans
The scholar Yu Wensuo 'an once lamented the connotation of "style" and "style" in China's ancient literary theory. "It refers to styles, genres and various forms. Perhaps because it refers to such a wide range, it sounds very different to western readers.
Habit "
Regardless of genre or style, "style" and "style" emphasize the linguistic characteristics of literature. At the same time, the concept of "style" in China's local context is derived from the concept of "human body" composed of twelve bodies.
Over the years, Shuo Wen Jie Zi explained the "style" cloud: "Style, there are always twelve genera." Duan Yucai explained the "Twelve Genus" in Shuowen Jiezi Annotation: "Twelve Genus, Xu is not detailed. Today is based on human body and imaginary number. There are three genera in the first category: Ding Yue,
Hey hey; There are three kinds of identities: shoulders, ridges and coffins; There are three kinds of hands: arm, arm and hand; There are three genera of feet: thighs, shins and feet. "
It can be inferred from Shuo Wen Jie Zi and Duan Zhu that the original meaning of "Ti" refers to the complete body of a person composed of "twelve genera", and later it gradually extends the meanings of the shape of things and the appearance of people. Wu pointed out that China's ancient literary theory had a tradition of anthropomorphizing art forms, and art was often regarded as heterogeneous and isomorphic with human body, so it was often compared with human body structure.
When the "aspect" describing the human body structure and its overall appearance is borrowed from the literary theory in the Han and Wei Dynasties to refer to the existence of literature, it has the meaning of "aspect". Borrowing from "Human Body" to "Literary Style"
The extension process shows that the basic connotation of the so-called "style" refers to the existence of the article or literature itself. Talking about "literature" and calling it "body" means comparing the existence of literature with the human body, just as the human body is composed of twelve genera.
Style, like body structure, is a unified whole composed of many factors. Furthermore, the word "style" also refers to the noumenon of ancient literature or articles. Fan Ming Yingbin's Notes on Explaining Chinese Characters says:
After returning from the Han dynasty, the style of writing has not changed, but it has gradually become invincible. Poems have changed to 300, Sao Sao has changed to Fu, Fu has changed to Yuefu, while songs are written silently, and the new moon is thriving, which is useful to each other and does not attack each other. Why is this? Zean
When we talk about obeying the body, the body is also the law, so the law is not the body. Leaving the law is illegal, legal or not. If you leave it, it is beauty, it will not be passed on, but it will not be passed on. "Yi" said: "It is intended to be changed." If there is no body, why bring it up?
I don't know where the body comes from, why it is the body, and it is extremely constant.
The so-called "style" that "the style of writing has not changed" here refers to the ontology of the text, while the "style and method" mentioned below refers to the specific genre and system, which can be regarded as the division of the text. "I don't know what to do.
The reason why it is a body and remains unchanged is that the separation of text comes from the ontology of text. Mr. Tong Qingbing's definition of "style" is: "Style refers to the text style formed by a certain discourse order, which reflects the uniqueness of the writer.
Social, historical and cultural spirits such as spiritual structure, way of experience and way of thinking. ..... In fact, the definition of style can be understood in two layers. On the surface, style is the language order and language style of works. From the inside, style
Body bears the cultural spirit of society and the personality connotation of writers and critics. Therefore, the concept of "style" in China's local context has both the philosophical meaning of "noumenon" and the concrete and subtle meaning of "form".
Meaning includes the noumenon of the text, the qualitative provisions within the style, and the structure, rhetorical devices and specific language features of the composition. There are some differences between these meanings, but they are not either-or opposites.
But in the differences, they penetrate and complement each other, and * * * together constitute the category of "style" with multiple coexistence.
Second, the emotional nature of China's literary form
Chinese stylistic form is the formal expression of the emotional essence of literature. China's definition of literature can be traced back to "poetry expressing ambition". Mr. Gao Yougong pointed out that the short form of "poetry expressing ambition" implies the impulse of poetry creation.
It comes from the premise that the poet wants to express his inner state and desire in artistic language. Although "expressing ambition in poetry" contains the artistic impulse of emotional formalization, under the restriction of Confucianism, "expressing ambition in poetry" also talks about "chanting emotion"
"Sex", but at the same time requires "affection, courtesy and righteousness", preferring the expression of mass and group temperament such as thoughts, intentions and arms. During the Wei, Jin and Six Dynasties, the influence of Confucianism gradually weakened and promoted individual feelings.
Cultivate the concept of "people should feel the Tao" and "poetry is based on emotion". "Poetry is based on emotion" is only expressive and tends to express individual emotions and emotions. Mr. Li Zehou and Mr. Liu Gangji have a detailed analysis of this cloud:
To say that poetry is "predestined love" means that poetry is born of love. This is different from the traditional Confucian saying "expressing ambition with poetry". Although there is no "emotion" in the "ambition" of Confucian poetry, it occupies an important position.
Confucius said that "taking Tao as the purpose" is not "emotion" but "Tao" (The Analects of Confucius). Therefore, "poetry expressing ambition" is actually poetry expressing "Tao" and carrying Tao. Among them, "emotion" is only secondary and subordinate to "Tao"
Meaning. ..... Mao's Preface to Poetry in the Eastern Han Dynasty also attached great importance to "emotion", which can be said to be the first time to explicitly talk about the relationship between "ambition" and "emotion" within the scope of poetic theory, instead of just talking about "words" in general as in the past.
Chi ". However, it also puts "emotion" in a subordinate position to "Tao" and advocates that "emotion depends on propriety and righteousness", that is, the Confucian Tao is the highest thing, and compared with it, "emotion" has only secondary significance. Luji
On the other hand, he clearly put forward "poetry" ... Although Lu Ji talked about "sentimental sentiment" and "caring for graves", what he said "sentimental sentiment", as we pointed out, is related to personal life interest and rationality.
The pursuit of thinking is related to exclamation, which is different from the feelings directly subordinate to politics, ethics and morality mentioned in Yue Ji and Shi Mao Preface.
This kind of emotion, which belongs to "inner life", cannot be expressed in ordinary language:
Such an understanding of love life cannot be expressed in ordinary language. It is not because the thought to be expressed is extremely noble, sacred or mysterious, but because of emotion.
The existence form of ""and the form of reasoning language do not correspond logically, which makes any accurate emotion and emotional concept unable to be expressed in the logical form of written language.
Hegel said: "It is not music that cries out pain and joy", and emotional expression needs artistic language as a carrier to form the aesthetic power of "creating color with sound and emotion". Therefore, in the theory of "Poetry Edge", "Edge"
Only one end, the other end is considered as a supplement. Zhou's The Meaning of "Charm" in Lu Ji Fu has a detailed textual research on "Charm": "Charm, the original meaning is plain white weave. Notes to Hanshu: namely
Today's so-called filaments are also. Moreover, the dialect says: In the Eastern Qi Dynasty, those who can speak beautiful words and weave silk are called silk, while in Qin Jin, they are said to be decadent. Guo Note: Fine, fine. It can be seen that kind words are synonymous compounds, and the original meaning is no problem. ..... beautiful words, but
It's just a metaphor for fineness and fineness with fabrics. "
Extending to literature, "extraordinary splendour" refers to the profusion of literary talent, mainly referring to the exquisiteness of language form. There seems to be a causal relationship between "love" and "beauty" in the sentence "Poetry is beautiful because of love". Lu Ji's "Wen Fu" was written in
This language is vague, but it is not difficult to infer the connection with others during the Six Dynasties. Liu Xie has a simple explanation for this: "love is based on things, so righteousness must be elegant;" Look at things with emotion, so words must be clever and beautiful "("Wen Xin Diao Long Quan Fu "), Li.
Mr. Zehou and Mr. Liu Gangji explained the relationship between "fate" and "beauty";
It is no accident that Lu Ji combined fate and beauty. ..... The most fundamental reason is that the "feeling" of fate refers to the feeling, sadness, love and pursuit of life, and also includes the appreciation of natural beauty.
Love. In a word, it is a sense of aesthetic art, not a sense of political ethics of Confucian pure morality. Because of this, when this feeling is expressed in art (poetry), it needs a corresponding form of beauty to make it.
Fully touched, it can arouse people's aesthetic feelings and make people memorable. Since "emotion" belongs to aesthetics and art, its form should also be an artistic form with beauty.
This statement is very incisive. "Form naturally needs emotion, and emotion naturally needs form. In this tension balance, on the one hand, emotion is formalized, on the other hand, form shows expressiveness. This is the characteristic of all excellent works. " Poetry is based on emotion, but it is not beautiful enough to convey feelings.
It can be seen that Chinese stylistic form involves the language expression of "how to say", but it does not belong to the category of pure linguistics, but points to the aesthetic essence of literature, which is an aesthetic construction closely related to emotional expression. archaic
People's essays emphasize "Ci", and Liu Xie even called it "Li Shen". In this sense, "Wen Xin Diao Long Cai Qing" uses the word "divine power": "Therefore, there are three kinds of essays: first, it is a form of writing with five colors; Second, sound, five.
Sound is also; Three is love, and so is five. The five colors are mixed, and the five tones are compared to form a young Xia. The five emotions are spoken and the gods are counted. "The number of divine reason" means "the way to establish a text", and the "divine reason" mentioned here is also a hammer.
The way of refining sentences with words and the way of expressing them with beautiful words seem to be different in form, sound and emotion, but in fact they are the same: "Five emotions are words", then "emotion" naturally includes "form" and "sound", which highlights the construction of the text.
The way of shaping and shaping, but the article "Love" emphasizes: "Love, the classics of literature, the reason of words, and the latitude of reason. The source of this essay is "Canon and then fill the weft, then make a decision and then flow freely", and the real formal beauty comes from the integration with emotion and "literary talent"
Therefore, decorative writing is based on emotion while demonstrating beauty, and "literary talent" based on emotion has artistic value. The article "Wen Xin Diao Long" tells the whole process from perception to stylistic structure: "Eight-body movements are repeated and learned. Only when
Force is in the middle, which is caused by blood gas. Qi is determined by actual ambition, and ambition is determined by words. Is it sentimental to breathe in Huaying? "The process from' ambition' to' spirit' (including talent) and' speech' is the process of style creation, which is based on inner affection.
It is displayed layer by layer, so it says, "Breathe in English, without affectation." Mr. Xu said: "The greatest significance of style is to represent the unity of a work." Therefore, style is not simply patchwork or
Chaos is a harmonious and relatively stable special relationship formed by the interaction of the basic elements of the text. It is a perfect combination of text elements and constitutes a unique aesthetic standard of a certain genre.
Fan. "Austrian Hans lick discusses the form of music, said:
What is content? Is it music itself? Of course it is; However, these musical sounds have taken shape. What is form? That is, music itself-but this music is already a rich form.
The stylistic form of China literature is this "substantive form". It is not just a flashy symbol, but an aesthetic expression that condenses the content, and the external and internal are mutually external, and the internal spirit becomes an image. Because it is affirmed by the content, it becomes the noumenon of the content power in a sense, and achieves a high degree of conciseness and unity of form and spirit.
Third, the cultural interpretation of Chinese stylistic forms.
The construction of Chinese stylistic form has the cultural background of literary view and language view. When the ancients talked about poetry and prose, they all said that "meaning is the main thing" and "relying on God", which are essentially the same. Meaning is the Lord God, and Qi governs the body. Meaning and qi are in harmony, and God is one. The ancients repeatedly stressed that writing should be "based on meaning" and "meaning means writing first":
No matter how long a poem is, its meaning is dominant, its meaning is still handsome, and there is no handsome soldier, so it is called martial harmony.
Poetry is mainly about meaning, followed by words.
"Meaning-oriented" and "heavy spirit" emphasize the significance of emotional connection. Under the connection of care and qi, the style has aesthetic construction significance. Yao Nai answer Weng bachelor book yue:
Writers are the language of the Jews. If you have the spirit to fill it, you will see its words. Although it will last forever, stand up and say that without spirit, words will accumulate. Only when the mind and the spirit are in harmony can there be a sound rhythm of resistance to falling, repeated advance and retreat and color picking. Therefore, the beauty of sensuality changes at any time because of meaning and anger.
Literature is based on words, and the rhythm of sound, such as "falling" and "advancing and retreating repeatedly", and the "gorgeous beauty" of words are the "beauty of melody" constructed by the combination of "meaning" and "qi". There are two paragraphs in the volume of Shi Lin Shi Hua:
In his later years, the rhythm of Wang's poems was particularly rigorous, and the words failed to convey the meaning. But his thoughts and words are casual and natural, and there is almost no comparability between them. For example, "the windy duck is green and shiny, and the goose yellow is mourning" is not at the beginning of reading.
I think there is a duality, until "it is too late to count the flowers because I have been sitting for a long time", but when I see Shu's attitude and listen carefully, if I weigh it carefully, my intentions are also profound.
Ouyang Wenzhong's public poems began to pay attention to Qi's style, so his words were relaxed and French poems were everywhere. Although the words are neither fish nor fowl, I didn't ask again ... but what are the benefits of public poetry? For example, The Handprint Poem of Princess Hui Chong and Yan Yuzi.
In ancient times, because of physical fatigue, who ate meat and made plans with the country. "This is naturally two big discussions, but the ups and downs are all found in seven words, with beautiful words and victory in sight. Although Kunti's workers are not easy to compare. Whatever you say, that's it, yes.
Arrive.
The key to the first paragraph is that "meaning and words can be said at will". Take "meaning" as the main theme, and the meaning and emotion to be expressed as the main line, in one go. In this way, we are even.
Style forms such as antithesis, clever words and kind words can be integrated with "meaning" to form a "natural" aesthetic form. The focus of the second paragraph is "mainly modal", and the style is mainly modal, so there are too many languages.
The sculptor is fluent, while the Kunxi poets are good at rhyming, coining new words, embedding allusions and putting forward good words, so they have to carve and make them. Both of these paragraphs emphasize the literature of "attaching importance to meaning" and "attaching importance to spirit"
View, advocating the aesthetic construction of the style of "words and meanings must be done, words must be sent at will"
At the same time, China's style is based on China's traditional view of language. China's traditional view of language is "to pursue the essence of language from the aspects of ethical feelings, content and meaning", so he has the theory of "speaking for the heart" and "speaking for the heart"
What it means to be dear to you, and so on, so I am used to focusing on the meaning structure of language and forming a language view of "taking God". Shen Xiaolong pointed out that if western grammar is based on form, then Chinese grammar is.
Unify form and spirit, thus forming the ancient ideas of "writing is based on meaning", "meaning comes first", "obeying the law with meaning", "speaking with meaning as the law", "sentence is undefined", "meaning is tied to meaning, not taking text as the law" and "meaning can be solved, words can't be solved".
It means "taking shape is better than taking spirit, and using things unintentionally" [29] (p76). This rhetoric view is influenced by the philosophical distinction between words and meanings. Views of Traditional Philosophy on "Say Everything" and "Don't Say Everything"
They all express a theoretical direction of combining "witty remarks" and "metaphysical words" to convey meaning. On this basis, Wang Bi constructed a complete theory of speech, image and meaning:
Husband, such as, also surprised. The speaker is also a bright image. Do what you want, do what you say. Words are born from images, so you can find words to observe images; Elephants are born with meaning, and we can find them to observe meaning. ..... So, the speaker made it so clear that he forgot.
Words; The elephant is so persistent that he forgets the elephant proudly. Those who still have hooves are so among rabbits that they get rabbits and forget hooves; So, if you are in the fish, you get the fish and forget it. Forgetting the image with pride is like forgetting the words. Therefore, the image is set to the best state of its meaning, but the image can be forgotten.
In Zhuangzi's view, Tao is mysterious, impossible and unattainable. Through the hierarchical relationship between speech, image and meaning, Wang Bi pointed out a path from "meaning is like exhaustion" and "image is speech" to "meaning". word
The distinction between meaning and meaning not only highlights the limitations of language, but also publicizes a special language consciousness, revealing the potential possibility of tracing the unspeakable field with literary language. In this context of linguistic philosophy, the stylistic form of Chinese refers to
As for the aesthetic construction of "taking meaning from text", it is devoted to conveying what language can't convey and creating a realm of non-verbal words with words. It abandons the philosophical view of "getting carried away" and emphasizes the unity of words and meaning.
Department. In this regard, modern scholar Huang Ziping said:
Literary language is not a net to catch fish, nor a trap to catch rabbits, but fish and rabbits. Literary language is not the clothes of "meaning", but the skin of "meaning" connected with flesh and blood. Literary language is not "meaning"
"Righteousness" is an inn for rest and tempering, while "Italy" is to live and work in peace and contentment and have children. Literary language is not a bridge or a boat that ferries you to the other side of meaning, it is both a river and a shore.
Therefore, Chinese stylistic form is not a simple carrier and tool, but closely related to meaning.
Form is the starting point of all cognitive and aesthetic activities, and certain content always appears in a specific form. In this sense, the literary style is the ontological expression of literary works. At the same time, literary works
Form is an externalized form that embodies the writer's inner spirit. Plotinus, an ancient Roman aesthete, believes that the difference between stone and stone carving lies not in the "stone" itself, but in the fact that the artist has endowed the stone with a rational form, which has been
Injecting artists' creativity and vitality is itself a manifestation of beauty. The ancients saw the uniqueness of literary language media with "gorgeous" paper. There was a common saying in Wei and Jin Dynasties, which was called "erudite and good at writing".
The word "genus" in "Genus" highlights the artistry of literature, but "what is valuable in language is also meaningful", so "Good Genus" not only highlights the "self-reference function" of stylistic form, but also emphasizes the meaning construction of stylistic form.
Structure.