语言主观性与传统艺术主观性的同构  

Isomorphism of the Subjectivity of Language and Traditional Art

作　　者：张伯江 

机构地区：[1]中国社会科学院文学研究所,研究员北京100732

出　　处：《中国社会科学评价》2017年第3期89-99,共11页China Social Science Review

摘　　要：语言学界对汉语主观性的研究兴趣方兴未艾,越来越多的证据指向了其背后的民族文化特性。汉语的主观性不是个孤立的现象,它实际上是汉民族总体文化特征的一个具象化的表现。仅从过去很少有学者注意到的京剧语言中的同位短语这一微观处入手,就可以观察到出戏与入戏相融这一戏剧特点在语言结构中的凝结,揭示开放式的戏剧理念与自由化的名词组合之间的深度吻合。这一观察既为汉语语法研究中的语体解释提供了新的例证,又为语言的主观化研究开拓了文化视角,更为民族文化标识性概念的理论建设提供了扎实的依据。在加强对中华优秀传统文化的挖掘和阐发工作中,这样的研究有提炼标识性概念的独特价值。Nowadays the subjectivity of the Chinese language has become an increasingly heated topic among linguists,and more and more evidence reveals that it is closely linked with the characteristics of and can be found everywhere in Chinese culture.In fact,it is an expression of the cultural features of our people.Take a rarely noticed topic,the appositive phrases in the scripts of Beijing Opera,for example.In the structure of the drama language,the character’s entering into and getting out of the scenes of the play is allowable.This fully displays that the open views about drama in Beijing Opera are highly correspondent with the relatively liberal collocation of nouns in the Chinese language.This finding provides not only new evidence for stylistic explanation in grammar study but also a cultural perspective for the study of the subjectivity of the Chinese language.And it also offers a convincing example in exploring and interpreting fine traditional Chinese culture,therefore,is of special value in our effort to build a concept system unique to Chinese culture.

关 键 词：语言主观性 戏剧化的语言 同位短语 标识性概念 

分 类 号：H0-05[语言文字—语言学] I207.32[文学—中国文学]