歌谣的形式美学:生发于“歌谣运动”的文学语言观  

Formal Aesthetics of Ballads: Ideas of Literary Language in the Chinese Ballad Campaign

作　　者：曹成竹[1] Cao Chengzhu(The Center for Literary Theory and Aesthetics of Shandong University,Jinan 250100)

机构地区：[1]山东大学文艺美学研究中心

出　　处：《文艺理论研究》2018年第6期69-75,共7页Theoretical Studies in Literature and Art

基　　金：山东大学青年学者未来计划资助项目[项目编号:2016WLJH08];国家社科基金重大项目"当代美学的基本问题及批评形态研究"[项目编号:15ZDB023]成果~~

摘　　要：歌谣语言看似简单质朴、形式自由,但其具体的形式技巧和整体的形式观念又是无处不在的。它不仅有内在的形式法则,更保持着与口语方言、精英文学乃至社会生活变迁之间的密切关联,是一种既稳定又开放的形式。更值得新文学借鉴的,并不是歌谣中的妙语金句,也不是其简单自然的语言风格或表露民众心声的勇气,而是歌谣语言的形式经验。这一经验不仅为文学语言的革新提供了有益的借鉴和滋养,更从情感结构和现实内容上充实了新文学,推动了中国文学表达方式和审美内涵的现代转向。Although the language of ballad seems simple and unadorned,its specific formal skills and overall idea of form run through the whole text,where its important literary value lies. It not only has a set of internal formal rules,but also shows a close association with daily spoken language,dialect,and ancient Chinese poetry. Therefore,what is worthy to learn for the New Literature is not wonderful words or sentences in a ballad,or its simple and natural language style or strong feelings expressed for ordinary people,but its formal rules. These rules not only provide useful reference and nourishment for formal innovation of literary language,but also enrich the New Literature in terms of emotional structures and realistic contents,and promote the modernization of Chinese literature in the 20 th century in expressions and aesthetic meanings.

关 键 词：歌谣 歌谣运动 文学语言 

分 类 号：I207.7[文学—中国文学]