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什克洛夫斯基以为,诗便是曲折的语言,于“陌生化”的过程中,“文学性”方得凸显。而于此基础上,由布拉格学派杰出人物之一慕卡洛夫斯基所引入的“前景化”(foregrounding)概念更是为解释“文学性”问题再添良方。“这个概念来源于有关艺术交流的一个基本原理,即具有独创性的艺术作品中是会在一定程度上偏离其所处社会中人们对此类艺术作品的一般性期望”(许力生,2006,pp.41)。简言之,“前景化”便是于常规处的刻意偏离,以达到“语不惊人死不休”的效果。本文以《东风破》为例,阐述了“前景化”下的突出语言的特征。
Shklovsky thought that poetry is a twists and turns language, in the “unfamiliar ” in the process, “literary ” party was highlighted. On this basis, the concept of “foregrounding ” introduced by Muchalovsky, one of the prominent pragmatists of the Prague School, is a good way to explain the issue of “literary ”. The concept of “originates from a basic principle of artistic exchange that ingenious works of art are to some extent deviated from the general expectations of such works of art in the society in which they live” (Xu Lisheng, 2006 , pp. 41). In short, “foregrounding ” is a deliberate deviation from the routine, so as to achieve the effect that “language is not shocking”. This article takes “Dongfeng breaking” as an example, expounds the salient features of language under “foregrounding”.