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Mao Dun zuo pin yu yan yan jiu = A study of the language of Mao Dun (1896-1981)
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Thesis
Other titles
茅盾作品语言研究
Abstract
茅盾(沈雁冰 1896－1981)是“五四”时期一位集理论及创作于一身的著名作家。茅盾生长的年代，恰是新、旧文学的过渡时期。对此一时期的作家而 言，“语体文”不仅有别于文言文，更是一种采集口语而加工提炼的新语言。 茅盾的一生，致力于“语体文”创作和新文学的推动，功不可没。迄今为止， 有关茅盾的研究，大都侧重于他的生平事功，或是文学思想；相对而言，对于茅盾的语言文字，讨论得较少，也较略。本论文正是从这较少人研究的角 度，就茅盾习用的文字、句式，以至修辞手法，一步步探究其用语的特点和风格。
全文共分九章。第一章及第二章主要是评述并讨论近几十年 来茅盾研究的动向和成果，接着阐明本文的研究动机与研究方法，兼及茅盾整体的语言风格。
从第三章到第五章，主要探讨茅盾作品中常见的 词语特点。这包括：古语词、词义变用、旧词新用、铸造新词、方言词的夹 用、混用英语词语和字母词、单音节代复音节词、同素异序同义词、颜色词 的使用、拟声词的运用、异形词的使用、数词的活用、量词的变用、成语及 非成语四字格的用语变化、惯用语和谚语以至歇后语的交替使用、词语的拆合加插等方面的剖析。
第六章主要是归纳茅盾常用的一些句式，论 述其如何有别以往，又有何拓展。这些句式包括长短句及欧化句式的使用。 此外，标点符号和语气词如何微妙地影响句式，也予以探讨。
第七 章及第八章着重讨论的，是茅盾作品中几种常见的比较特殊的修辞手法。这些手法可让人一窥茅盾在表达上，如何力求描写生动、简洁易懂。这一章论 及的修辞技巧包括：字词的锤炼、词语的超常搭配、转类、反复、叠音词、比喻、比拟、排比、对偶、拈连等。这两章所探讨的，有些是辞格的运用，有些是词语搭配方面的问题，都具体反映茅盾手法上的独到之处。
第九章是本论文的总结。概言之，茅盾使用的语体，可说是欧化、口语及一 些文言成分的结合体；在使用时，他力求语言的通俗化与本土化，不求无端 “变异”，而经常冀望树立典范。茅盾的语言，的确自成一格，影响深远。
全文共分九章。第一章及第二章主要是评述并讨论近几十年 来茅盾研究的动向和成果，接着阐明本文的研究动机与研究方法，兼及茅盾整体的语言风格。
从第三章到第五章，主要探讨茅盾作品中常见的 词语特点。这包括：古语词、词义变用、旧词新用、铸造新词、方言词的夹 用、混用英语词语和字母词、单音节代复音节词、同素异序同义词、颜色词 的使用、拟声词的运用、异形词的使用、数词的活用、量词的变用、成语及 非成语四字格的用语变化、惯用语和谚语以至歇后语的交替使用、词语的拆合加插等方面的剖析。
第六章主要是归纳茅盾常用的一些句式，论 述其如何有别以往，又有何拓展。这些句式包括长短句及欧化句式的使用。 此外，标点符号和语气词如何微妙地影响句式，也予以探讨。
第七 章及第八章着重讨论的，是茅盾作品中几种常见的比较特殊的修辞手法。这些手法可让人一窥茅盾在表达上，如何力求描写生动、简洁易懂。这一章论 及的修辞技巧包括：字词的锤炼、词语的超常搭配、转类、反复、叠音词、比喻、比拟、排比、对偶、拈连等。这两章所探讨的，有些是辞格的运用，有些是词语搭配方面的问题，都具体反映茅盾手法上的独到之处。
第九章是本论文的总结。概言之，茅盾使用的语体，可说是欧化、口语及一 些文言成分的结合体；在使用时，他力求语言的通俗化与本土化，不求无端 “变异”，而经常冀望树立典范。茅盾的语言，的确自成一格，影响深远。
Being one of the pioneers in promoting the writings in the vernacular language, and also one of the famous writers who has written many great works of fiction in the twentieth century, Mao Dun（1896-1981）is, indeed, a well recognized writer besides Lu Xun（1881-1936）, and is also a renowned literary critic who has well structured and concrete theory of literature and art. Apart from all these, what interest us is, how a writer who lived his life through the transition of classical Chinese to the modern Chinese, had chosen his vocabulary as well as his ways to express thoughts and feelings in the vernacular, a language which was never used in the past, and how his writing style was deftly formed.
The focus of this thesis mainly revolves around the analysis of the lexicon and phrases used by Mao Dun, and what are the distinctive features found in his works.
This thesis comprises nine chapters. Chapter One and Two discuss why his language receiving great attention besides others, and the methodology used in analysing his language. Besides, his contributions towards the writing of the vernacular language and the modern Chinese literature are further discussed as well.
Chapters Three to Five highlight Mao Dun’s frequently used vocabulary, and why and how they are used. Discussion includes their rhetorical effects and their grammatical usage, which are different from the past, and how they could help in enriching the vocabulary in modern Chinese, not to mention the literary writing. For example, peculiar use of the classifier, which unlike English, carries a heavy weightage in the Chinese Literary works, is largely based on the writer’s preference. Mao Dun preferred to use the classifier “簇 (group) ”to modify the grouping of villages or towns which is commonly used for modifying a bunch of flowers, bushes or even a group of people. Discussion also includes the words used in the classical texts, the deviant usage of these words, dialects, code-mixed use of English words and alphabets, the use of monosyllabic words instead of the usual disyllabic words, colour words and onomatopoetic words, numeral words, idioms and idiom-like 4-character phrases, common sayings, proverbs, aposiopesis and others. Some of the above-mentioned are widely found in the spoken language and in the classical Chinese texts and some, in terms of usage and characteristics, are found to be greatly influenced by the Western culture.
Chapter Six discusses some of the prominent sentence patterns. For example, the usage of the punctuation, which was later standardized in the year 1955 by the China Government, were used widely by Mao Dun, and are found to be mostly conformed to the standard Chinese. Even so, the punctuations are often skillfully used by Mao Dun in deviant usage. Other stylistics features like the auxiliary words that indicate moods, the various types of conjunctions are discussed as well. All these contributed greatly in forming his own style of expressions.
Chapters Seven and Eight feature words and figures of speech that carry significant rhetorical effects in Mao Dun’s writings. They include the tempering of words, the unusual matching of adjectives and verbs, repetition of words and phrases, reiterative locution, similes, analogy, parallelism, antithesis and others. Those mentioned not only are skillfully selected and used, but also form the most essential elements in Mao Dun’s minute descriptions and exquisite depictions.
Chapter Nine, which is the concluding chapter, states that the refined and precise language used by Mao Dun, is a mixture of the Western language, the spoken Chinese language as well as the classical Chinese. The language used by Mao Dun, though is greatly different from other writers of his time, is even closer to our modern Chinese. As his perception of the vernacular expression is that it should be a language which is the norm for people who wish to learn to write in the colloquial way. Mao Dun’s upbringing and his profound knowledge in both the classical Chinese and English helped enormously in creating the language used in the prose writing. One thing which we have to highlight is that, though we seldom find absolute deviant usage in Mao Dun’s works as he had tried his very best to create a rather standardized language, his fiction and prose are often significantly written with detailed description and well chosen diction.
The focus of this thesis mainly revolves around the analysis of the lexicon and phrases used by Mao Dun, and what are the distinctive features found in his works.
This thesis comprises nine chapters. Chapter One and Two discuss why his language receiving great attention besides others, and the methodology used in analysing his language. Besides, his contributions towards the writing of the vernacular language and the modern Chinese literature are further discussed as well.
Chapters Three to Five highlight Mao Dun’s frequently used vocabulary, and why and how they are used. Discussion includes their rhetorical effects and their grammatical usage, which are different from the past, and how they could help in enriching the vocabulary in modern Chinese, not to mention the literary writing. For example, peculiar use of the classifier, which unlike English, carries a heavy weightage in the Chinese Literary works, is largely based on the writer’s preference. Mao Dun preferred to use the classifier “簇 (group) ”to modify the grouping of villages or towns which is commonly used for modifying a bunch of flowers, bushes or even a group of people. Discussion also includes the words used in the classical texts, the deviant usage of these words, dialects, code-mixed use of English words and alphabets, the use of monosyllabic words instead of the usual disyllabic words, colour words and onomatopoetic words, numeral words, idioms and idiom-like 4-character phrases, common sayings, proverbs, aposiopesis and others. Some of the above-mentioned are widely found in the spoken language and in the classical Chinese texts and some, in terms of usage and characteristics, are found to be greatly influenced by the Western culture.
Chapter Six discusses some of the prominent sentence patterns. For example, the usage of the punctuation, which was later standardized in the year 1955 by the China Government, were used widely by Mao Dun, and are found to be mostly conformed to the standard Chinese. Even so, the punctuations are often skillfully used by Mao Dun in deviant usage. Other stylistics features like the auxiliary words that indicate moods, the various types of conjunctions are discussed as well. All these contributed greatly in forming his own style of expressions.
Chapters Seven and Eight feature words and figures of speech that carry significant rhetorical effects in Mao Dun’s writings. They include the tempering of words, the unusual matching of adjectives and verbs, repetition of words and phrases, reiterative locution, similes, analogy, parallelism, antithesis and others. Those mentioned not only are skillfully selected and used, but also form the most essential elements in Mao Dun’s minute descriptions and exquisite depictions.
Chapter Nine, which is the concluding chapter, states that the refined and precise language used by Mao Dun, is a mixture of the Western language, the spoken Chinese language as well as the classical Chinese. The language used by Mao Dun, though is greatly different from other writers of his time, is even closer to our modern Chinese. As his perception of the vernacular expression is that it should be a language which is the norm for people who wish to learn to write in the colloquial way. Mao Dun’s upbringing and his profound knowledge in both the classical Chinese and English helped enormously in creating the language used in the prose writing. One thing which we have to highlight is that, though we seldom find absolute deviant usage in Mao Dun’s works as he had tried his very best to create a rather standardized language, his fiction and prose are often significantly written with detailed description and well chosen diction.
Date Issued
2006
Call Number
PL2801.N2 T36
Date Submitted
2006