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在一个以汉语文为主要阅读空间的社会,少数民族作家使用汉语写作,一方面会使作家的创作疏离或淡化母语文学传统,另一方面也会使两种语言混合后形成新的语言艺术和新的审美话语实践。苏联吉尔吉斯双语作家钦吉斯·艾托玛托夫认为:“两种语言把不同的语言联系在一起,因而也是把不同的思维方式、不同的观察世界的方法联系在一起,而这,就像科学中各学科相互结合时产生各种现象那样,将创造出新的认识水平,创造出一种附加运动和附加作用,在这以外是不会有艺术存在的。”~①印度英语作家萨尔曼·拉什迪则将这种跨语言写作称为对目的语的重构。
In a society where Chinese is the main reading space, minority writers use Chinese to write, which on the one hand alienates or dilutes the writer’s literary tradition. On the other hand, it also mixes the two languages to form a new language art and New aesthetic discourse practice. As Kyzis Atomatov, a bilingual writer in the Soviet Kyrgyz Republic, argues: “The two languages link different languages together and thus link different ways of thinking and different ways of looking at the world, Like the phenomena that occur when the disciplines of science are combined with one another, a new level of awareness will be created, creating an additional movement and an additional function beyond which no art exists. ” Salman Rushdie calls this cross-language writing the reconstruction of the target language.