摘要
茅盾的《子夜》因其描写上海现代都市的金融生活、刻画了吴荪甫、赵伯韬等典型形象而闻名于世。学界对它的语言之美,虽早有吴宓等人称赞,但挖掘不够。《子夜》中都市物语、金融行业话语、青年知识分子的“俏皮话”、工人群体的“大众语”,立体呈现了现代都市上海的肌理,具有独特的汉语诗学特质。《子夜》的汉语处在“五四”白话到“大众语”的过渡之中,向着“文学的国语”遥望与迈进。
Mao Dun’s Midnight is famous for its depiction of the financial life of modern Shanghai and typical images such as Wu Sunfu and Zhao Botao. The beauty of its language has long been praised by Wu Mi and other scholars, but it has not been excavated enough. The urban stories, the discourse of the financial industry, the “witticism” of young intellectuals and the “popular dialect” of workers in Midnight present the fabric of modern Shanghai with unique Chinese poetic characteristics. The vernacular of Midnight is in the state of transition from the vernacular of the May 4th movement to the vernacular of the “popular dialect”, looking and moving forward to the “ideal country”.
出处
《社会科学》
CSSCI
北大核心
2022年第9期92-103,共12页
Journal of Social Sciences
基金
国家社会科学基金重大项目“文学视野中中国近现代汉语发展资料的整理与研究”(项目编号:16ZDA185)的阶段性成果。
关键词
《子夜》
汉语诗学
白话文学
Midnight
Chinese Poetics
Vernacular Literature