文学汉语实践与中国现代文学的发生

从文学汉语实践的角度探讨中国现代文学发生，即回到文学的根本基础（语言）上探讨中国现代文学的发生，把文学的发生置于语言的实践过程中思考，是最能合理且最为有效地揭示出中国现代文学发生的内部方式。文学汉语实践沿着文学汉语的汉语造型、主体意识和文学形式这三个维度展开。汉语造型指向文学汉语的“理”，实践主体指向文学汉语的“情”，文学形式指向文学汉语的“文”。汉语造型在文言与白话、汉语与欧化、标准语与方言之间改变着“理”的结构；实践主体在中国传统价值与西方现代价值以及国家、国民与个体的关系中激荡着“情”的发展；文学形式在西方文类与中国传统文类、旧体诗与新白话诗、文言文与白话文、文言小说与白话小说、晚清白话小说与新白话小说等关系中推动着“文”的演变。当“理”为现代之“理”，“情”为现代之“情”，“文”为现代之“文”，并且三者统一于文学汉语时，则实现了某种文类的新生。经过黄遵宪、严复、梁启超、林纾、章太炎、王国维和吴稚晖等作家语言实践的开拓，中国现代文学最终在胡适、鲁迅和周作人等的文学汉语实践中发生并完成。

The Practice of Literary Chinese and the Emergence of Modern Chinese Literature

Exploring the emergence of Modern Chinese Literature from the perspective of literary Chinese practice, that is, returning to the fundamental basis of literature (which is language), discussing the emergence of Modern Chinese Literature, and deliberating the emergence of literature in the process of language practice, is the most reasonable and effective internal mode to reveal the emergence of Modern Chinese Literature. The practice of literary Chinese is carried out along the three dimensions of literary Chinese: Chinese pattern, subject consciousness and literary form. Chinese pattern refers to the “grammar”(“理”) of literary Chinese, the practical subject refers to the “sentiment”(“情”) of literary Chinese, and the literary form points to the “genre”(“文”) of literary Chinese. Chinese pattern changes the structure of “grammar” between classical Chinese and vernacular, Chinese and Europeanized vernacular, standard language and dialect; the subject of practice is stirring the development of “sentiment” in the relationship between Chinese traditional values and western modern values, as well as the relationship between nation, nationals and individuals; literary forms promote the evolution of “genre” in the relationship between western literature and Chinese traditional literature, classical-form poetry and vernacular poetry, classical Chinese and vernacular, classical Chinese novels and vernacular novels, vernacular novels in late Qing Dynasty and new vernacular novels. When “grammar”, “sentiment” and “genre” have the characteristic of modernity, and are unified in literary Chinese, the rebirth of a certain genre is realized. Through the development of the language practice of writers such as Huang Zunxian, Yan Fu, Liang Qichao, Lin Shu, Zhang Taiyan, Wang Guowei and Wu Zhihui, Modern Chinese Literature was finally completed in the literary Chinese practice of Hu Shi, Lu Xun and Zhou Zuoren.