The main feature of voice media is simplicity. Generally, other media are not needed, but body language such as expressions, postures and gestures can often be used to achieve better expression and expression. Because the media including voice is a kind of body language, the second characteristic of voice media is intimacy and presence. This is also lacking in voice-based broadcasting and even film and television. However, the limitations of voice media are also obvious. Judging from the elements of voice media, it mainly includes five factors: speaker, content, listener, context and effect. The first three factors are the sender, connotation and receiver of speech, while the last two factors are related to the reception effect. First of all, what the speaker says is produced in a specific context, so it will inevitably be influenced by the context. As the purpose of communication, effect becomes the final factor to test sound media. It is at this point that the voice media shows its limitations. In fact, voice media is basically a way of face-to-face communication, which is why it has a sense of existence. However, once there is a distance barrier, the voice as a communication medium loses its listener, thus losing the effect and significance of existence. And the advantages of radio and television are shown here. At the same time, as a sound that exists in time, it is fleeting, cannot be reproduced, and cannot be preserved. Even with the later recording technology, as a result of mechanical reproduction, the sound in the recording has lost its sense of existence and been replaced by an elusive empty inspiration. In fact, this sense of emptiness is rooted in the lack of body. However, compared with words, its friendliness is extremely clear. So, many years later, it was still so exciting to hear Chairman Mao's announcement of the establishment of People's Republic of China (PRC) from the rostrum of Tiananmen Square.
Due to the limitations of the above-mentioned voice media, most of the early oral documents of human beings have been lost, and the only remaining parts have been transformed into written forms. However, this does not mean that oral literature has disappeared in later generations and even today; On the contrary, after the invention of writing, pronunciation, as an important medium for people to communicate, still plays an irreplaceable role in any media including writing. Therefore, oral literature after the invention of writing is still a folk landscape handed down from generation to generation. Folk songs provided the most important source for the development of China's poetry in past dynasties, and other forms of rap literature also stimulated the development of novels and dramas to varying degrees. A typical example is telling stories. Spoken language was originally the source of written literature, but after the formation of written literature, written literature was colloquial.
There are some folk songs on Changde's poetry wall. Folk songs can often express their deep feelings directly in simple language, so they are both vivid and warm. One of the Indonesian folk songs goes like this: "If Lang takes a bath upstream, pick a jasmine flower for his sister. Lang Re died before her sister. Wait in front of heaven. " One of the most impressive ballads is "My husband is buried underground": "Husband and wife walk in a row, and my husband is buried underground. Everyone knows Wang Yan's way, and land can be redeemed. " This is no longer an ordinary mourning poem. The last two sentences, based on the pain of lovelorn, are particularly touching. These two poems can be compared with the last "become a butterfly" in "butterfly lovers", expressing an extremely profound emotional truth. It can be said that the essence of all folk songs is concentrated on this magical power that embodies people's emotional demands. This magical power can make all impossible things possible, and its essence is a folk spirit that combines folk wisdom.
The first sentence of Chairman Mao's "Sixteen-character Order" is: "Go out of the mountain, gallop, and whip the saddle. Looking back, I am three feet away from the sky. " The last sentence of the word comes from Changde folk song: "There is Skeleton Mountain on the top and Bamian Mountain on the bottom, which is three feet away from the sky. People should bow their heads and horses should get on the horse. " This word is basically based on folk songs, but it is used in the opposite direction. The luck of Xiangxi lies in the birth of its spokesman Shen Congwen, whose works have become the best model to reflect Xiangxi culture to a certain extent. When describing characters, Shen Congwen not only puts them in a specific region in a specific era, but also puts them in a specific folk culture. A noteworthy phenomenon is that Shen Congwen directly wrote Xiangxi folk songs into his works more than once. This is by no means an excavation in the general sense. Some of the poems in Shen Congwen's complete works are folk songs collected from the people. However, when Shen Congwen integrated these folk songs into his own works, he found a desirable home for them, thus giving them multiple meanings. For example, the short story "After Rain" (1928) quoted a folk song: "Big sister laughs when she walks, and her breasts tilt up, thinking of touching them with her hands, but her heart suddenly jumps to the bottom." The work is about the primitive but not wild physical love between the four dogs and their sister, and the simple but profound dependence. This song was sung by four illiterate dogs before "Wild": "Four dogs don't sing very often unless people are separated by a heavy mountain at this time-but what is separated by a layer now? His hand, the one that ate the March berries specially picked for him, has boldly reached out from under her body and grabbed a milk. But I still want to sing. I sang:' Big sister laughs when she walks, and a pair of tits become warped. I wanted to rub it with my hands, but my heart suddenly jumped to the bottom. "The heartbeat of four dogs is just bragging. I'm used to things that don't beat. Unless I use paulownia leaves as her mattress and four dogs as her quilt, then I have to make four dogs just want to roll like dogs. This practice of integrating oral literature into written literature undoubtedly brings a new possibility to the mobile oral literature: as an oral folk song, it seems to have been brought to its original breeding ground, restored its original intimacy and sense of scene, and fixed in a clear form, so that it has a permanent home while gaining new life.
Paper media and written literature
The reason why written literature is late is that too many factors need to be integrated. The first factor is writing, followed by paper, and then printing. Before the invention of paper, literary works were the object of engraving; Before the invention of printing, literary works were copied, so the maturity of written literature was after the invention of printing. After phonetic symbols are replaced by visual symbols, paper has become the corresponding literary medium, and printing is just a way to quickly print words on paper. Therefore, the medium that embodies written literature is paper, not words and printing.
The primary feature of paper media is to overcome the channel of sound media, and to preserve literary works through the combination of words, paper and even technology, so as to obtain corresponding stability. Strictly speaking, oral literature with sound as the medium is essentially just a kind of communication, not a real communication. Because the premise of communication is to stabilize the object of communication first, which is convenient for preservation; At the same time, it requires faster speed to provide guarantee and possibility for the over-time spread of literary works. So the spread was actually after the invention of printing. After the appearance of paper media, distance is no longer an obstacle, and with the passage of time, it is no longer the obliteration of established works. The power expansion of paper media comes from its stability, and its universality and universality are produced on the basis of stability. However, the defects of paper media are also obvious. It turns the original speaker into the author, what he says into line after line of words, and the listener into the reader. After a writer writes down his own words, I don't know how long it will take for someone to read them. In other words, the original oral communication is divided into two parts here, and the simultaneity of speaking and listening is divided into two completely different links: writing and reading. Feedback is no longer so timely, intimacy and the atmosphere at the scene are even more out of the question, and even readers simply don't know what the author looks like.
After the emergence of Chinese characters, their names are constantly changing. The names of Chinese characters in different periods mainly depend on the media they rely on. For example, Oracle Bone Inscriptions is carved on tortoise shell bones, bronzes are carved on bronzes, Shi Guwen is carved on stones, and so on. Since then, text-dependent media has been fixed on paper after bamboo slips, wooden slips and silks. After the Qin dynasty unified the whole country, the characters were also unified into Xiao Zhuan. The invention of writing is a sign that human beings have entered the civilized era, and it is also a tool accompanying power. It was not until the invention of paper (Han Dynasty) and printing (Tang and Song Dynasties) that the written word really went to the common people. After the invention of printing, in order to meet the needs of printing, characters gradually developed in the direction suitable for printing plate engraving, and a horizontal, vertical and square printing font-Song Style appeared. Song Dynasty originated in the Song Dynasty and was shaped in the Ming Dynasty. In terms of binding, the earliest binding form in China is paperback, which was popular in Shang and Zhou Dynasties. Its method is to weave hemp rope, silk rope or leather rope at the upper and lower ends of the wordless bamboo slips into one piece, which is called strategy, also known as simple strategy. After weaving the Jane into a raiders, roll it forward from the tail Jane, put it into a cloth cover, and roll it forward when reading. In the Jin Dynasty, with the application of paper and the appearance of paper books, simplified books were gradually replaced by paper books. There are six binding forms: scroll binding, whirlwind binding, folding binding, butterfly binding, Bao Beizhuang binding and thread binding. Among them, Baobeizhuang, which appeared at the end of the Southern Song Dynasty, made the folded version outward and the back opposite. When reading, each page is positive, and yuan, Ming and Qing are more commonly used. This binding form was used in Yongle Dadian in Ming Dynasty and Sikuquanshu in Qing Dynasty. Thread binding is a popular binding form after the mid-Ming Dynasty. Different from the northern package, the whole wrapping paper is changed to two single covers on the front and back, the back of the package is changed to a bare back, and the paper scuffing hole is changed to a thread package. Thread-bound books are easy to read and not easy to break. Thread binding is the most advanced in the history of traditional binding technology in China. Words, paper, printing and binding combine to form a particularly beautiful name: book. It can be seen that China's written literature was formed in Han and Tang Dynasties and matured in Song and Ming Dynasties.
Wen Xin Diao Long is an unprecedented literary aesthetic work in the history of China literature. This book, written 1500 years ago, is still intact except for a slightly incomplete "hidden show". In fact, Wen Xin Diao Long is not only a theoretical work, but also an excellent collection of parallel prose works. Let's take a preface as an example to analyze it. There are two main problems in the preface. One is why Wen Xin Diao Long was written, and the other is how to write Wen Xin Diao Long. The first question stems from Liu Xie's life consciousness, which deserves attention. As a man who advocates wisdom, Liu Xie is clearly aware of the passage of time and the fragility of the body. In order to make precious life shine brilliantly under limited conditions, Liu Xie took writing a book as his goal. He said: "Time flies, the soul is not alive, it is just a production. ..... Fu Xiao looks like heaven and earth, and his temperament is five elements. He deliberately left his eyes and ears in the sun and the moon, and his voice in the wind and thunder, surpassing everything and already having spirituality. The shape is very fragile, and the reputation is stronger than gold and stone. It is the life of a gentleman and the virtue of a tree. The argument is not good, but it is necessary. " It was his life consciousness that made Liu Xie write the masterpiece Wen Xin Diao Long. This sense of life is so strong that it appears repeatedly in his dreams: "Seven-year-old students dream of colorful clouds, so they climb up and pick them." After the tooth is finished, you will taste the Dan lacquer ritual vessels in the night dream and go south with Zhong Ni ... "Liu Xie's two dreams undoubtedly revealed his life consciousness of wanting to make a difference in different periods, especially the second dream, with special emphasis on the enlightenment of saints. Like composition, Liu Xie's personality is also seeking, keeping and worshiping holiness.
Electronic media and film and television literature
The main feature of electronic media is to realize the long-distance transmission of sound and image with the help of science and technology. From the symbol point of view, the advantage of electronic media lies in partially restoring the sound as a medium, and at the same time visualizing abstract text symbols. Therefore, through the terminal receiver of electronic media, the audience can see and hear people and voices almost as real and vivid as themselves. This restored the sense of realism in literary works to a certain extent, and even made people feel the breath of life. But there are limits to this recovery. Specifically, this limit is the screen and the screen. There are two worlds inside and outside the screen, one is the real world and the other is the real world. The real world brings happiness and comfort to people, but it may also cause loneliness and embarrassment to the recipients. Because the people on the screen are a world of their own, the audience can feel their joys and sorrows, but they don't pay attention to the audience, let alone realize direct two-way communication in the era of voice media. In this way, the screen is like a transparent barrier, separating the audience from the outside world. Therefore, the real world created by this kind of virtual reality brings an illusion to people after all. But the problem is not limited to this, because this obstacle is transparent, it attracts the audience's attention with a moving image, and it loses no time to demonstrate and flatter the audience, representing a kind of implicit or explicit guiding consciousness and temptation tendency. In this way, the screen achieves the dual purpose of both rejecting the audience and attracting the audience to watch.
Based on the above characteristics of electronic media, the acceptance of film and television literature is not suitable for one person, nor for the too quiet atmosphere when reading. Maybe books are static, so they should be static, while movies are dynamic, even noisy, so it is better to be dynamic. Watch the performances of the people in the play, and you can comment on their performances with those who watch at the same time. In short, in the case of a large number of people, the audience often disappears the boundary between the people in the play and the people in reality, and even becomes one with the people in the play. Therefore, film and television turned the spiritual comfort brought by written literature into sensory entertainment, and changed the national psychological structure of China people to some extent. China people are good at feeling and are characterized by lyricism in artistic form, so all kinds of literary forms of the Chinese nation can be collectively called lyricism. Needless to say, poetry is lyrical, and excellent prose is often lyrical. China's novels often have poems, and from time to time he says "there are poems as evidence"; A novel like A Dream of Red Mansions is a poetic novel, which combines many poems and creates a poetic atmosphere. As for China's traditional operas, to a certain extent, they can be regarded as the fusion of songs (variations of poems), but in stage performances, the virtual is always the truth, and the few are the most. Like painting, it focuses on freehand brushwork and penetrating the heart. As for Master Rainbow's The West Chamber, the lyrics are gorgeous, the plot twists and turns, and the characters are vivid, which ultimately express the thoughts and feelings of "May all lovers be well, jack shall have Jill". Once the poetry in China literature enters the film and television, it will inevitably be visualized. China literature, including poetry, also pursues a sense of picture, but in literary works, this sense of picture is only a form of expression, that is, the meaning of literature is generated by the feeling in the picture. The pictures in film and television are basically the first and last links. With the continuous progress of photography technology, although film and television can also reflect some meanings in stories, it is still difficult or even impossible to create the profound charm of literature.
Here, Yan Lipin's Qin Xuemei is taken as an example to analyze the characteristics of film and television literature. Qin Xuemei's general idea is that Shanglin was originally engaged to Qin Xuemei, but because of her poor family, she stayed at her father-in-law's house to study. One day, Qin Xuemei visited him in his study, but Fu Qin found him. As a result, Shang Lin was driven out of the Qin family and died. Qin Xuemei went to pay his respects to the deceased. After various calculations, the result was empty, and he thought about it in every way. This feeling is hard to send. Finally, the whole play ended in Qin Xuemei's madness. This drama has a shocking power, the key lies in its profound and incisive lyricism, especially the mourning of Qin Xuemei's long cry and sacrifice. Just looking at its lyrics is enough to make people cry:
My heart ached holding the coffin and tears welled up in my eyes.
Cry, Shang Langfu, you are really lucky.
Growing up, we didn't have any guesses, and we had a relationship very early.
Becoming a relative is a coincidence between heaven and earth.
The family suffered the next day. How unfortunate.
Often worried about going to my home to study.
I'm afraid you can't eat well, but I'm afraid you can't dress well.
I'm afraid you're bored and unhappy.
My husband, my good brother,
Your shadow will always be connected with my heart.
My father kicked you out and made a mistake.
You go home to see Yamaraja.
Shang Langfu, you died, but you suffered me.
Leave me alone, alone,
No, no, no, no,
But death is alive.
Why didn't you call me when the slave's husband was dying,
Why didn't you tell me to die with you and not be tortured? ...
However, compared with stage performance, drama shows the characteristics of film and television literature when it is broadcast on TV. Just as viewers can change channels at any time, TV programs can be interspersed with advertisements at any time. When you are feeling the warm encounter between Qin Xuemei and Shanglin Library, suddenly there comes the voice of selling instant noodles. When you were moved to tears by Qin Xuemei's weeping spirit, the program ended, followed by the so-called leading fashion cosmetics. While advertising dismembers the integrity of the work, it also seriously destroys your appetite for enjoying the story. Advertising keeps you from being immersed in it, and you don't want to be immersed in it anymore. Because the real advertisement makes you feel that the play is fake, the emotion you want to achieve will be denied and ridiculed by the advertisement in person. In fact, even without the interference of advertisements, film and television literature still has shortcomings and is related to actors. When watching a stage performance, the real Yan Lipin is in front of you, and the authenticity of the actors makes you tend to think that the story is true. Yan Lipin in film and television is just a series of photos of her, just like the shadow cast by floating clouds in the sky. Although it is just around the corner, it lacks the breath of the flesh and is extremely far from the source. From the receiver's point of view, the viewer has also become a loner, with no rows of seats around him. Moreover, when Yan Lipin sang in "Father's Trial", "At this time, I was about to escape, and Shang Lang invited me to talk in the library. He thinks it is cruel to leave, and he is afraid of losing the affection of my husband and wife. "You will never hear the laughter of the audience again. At most, I just smile and don't make any noise.
Computer Media and Network Literature
Compared with film and television literature, computer-based network literature has new characteristics such as interactivity, comprehensiveness and linkage. The first point is that the computer has realized the interactive function that film and television literature does not have with the help of the network, which can be regarded as the re-arrival of the era of voice media to a certain extent, but it is a silent communication because it uses words instead of words. It is no longer that kind of face-to-face communication, but a dialogue through time and space. A person publishes his work on the Internet, followed by the reader's comments, and the author (former speaker) and the reader (former audience) once again reach an instant close combination. This silent dialogue is a fresh landscape created by modern science and technology, which reflects the restoration of ancient lifestyle with a forward-looking attitude.
In fact, Bell invented the telephone from 1876, and QQ successfully started video chat, but these tools are not closely related to literature. The main form of online literary works is web pages. However, the web page itself is multimedia. It has not only words and pictures, but also moving images, beautiful sounds and even audio-visual functions like movies. Multimedia embodies the comprehensiveness of network literature.
Another notable feature of online literature is linking. When a person is impatient with reading, he can read from the back to the front, or he can just open a page to read, which is somewhat similar to the link in online literature. Links in web pages are usually related topics. In fact, if you keep linking, it is entirely possible to step into a completely unfamiliar field. This is nothing compared with flipping through books (texts) at will. Because every page of a book is not only within the same theme and scope, but also an established text. In network literature, multiple links provide cross-domain possibilities. Therefore, a series of loosely related online literary works read by clicking on links are called "hypertext". In addition, the convenience of online literature is incomparable to books, which is mainly reflected in its search function. No matter what resources you need, as long as you enter keywords in Baidu and other search websites, there will be a lot of relevant information for people to choose from immediately. Because online literature is not a pure literary world, it is a place where treasures and rubble coexist. The complexity of online literature greatly enhances the jumping of links, and those non-literary pornographic advertisements often jump out unexpectedly with the help of an attractive dynamic image (mainly in the form of flash).