中国当代文学在过去相当长的一段时间里是缺乏语言自觉意识的,往往将“语言”与“言语”相混淆。从 20世纪 80年代伊始,在新的审美观、语言观的影响推动下,经过反复不断的艺术实践,才逐步确立起符合文学本体特征的语言表现体系。从横向共时态角度观照,大致可归纳为雅、俗、奇、杂四种类型。而就内在叙述语言特别是就深层叙述语境来看,则明显呈现由审美向审丑置换的发展趋向。这从一个则面反映了转型期美丑语境的深刻嬗变。 Chinese contemporary literature has been lacking in language awareness for quite a long time, often confusing “language” with “language.” From the beginning of the 1980s, driven by the new aesthetic and linguistic views, after repeated artistic practices, it was gradually established a language performance system that met the characteristics of literary noumenon. From a horizontal perspective of common-mode perspective, can be roughly summarized as Ya, vulgar, odd, mixed four types. However, in terms of internal narrative language, especially in the context of deep narration, the development trend of replacing audition with ugly appearance clearly appears. This reflects from one aspect the profound evolution of the aesthetic environment in the transitional period.