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自20世纪初的白话文运动以来,现代汉语作为一种新的书写工具、新的思维方式和新的思想观念,深刻地塑造了中国现代文学的“现代”品质。可以说,现代汉语从一开始就对中国新文学构成了外在规约和深层影响。此后,这一规约和影响不仅从未间断,而且日益加重了。如果对新时期(尤其是1985年以来)的文学创作稍作检点,我们将不难发现,几乎每一个作家都不同程度地面临着语言的问题,也即怎样认识和运用现代汉语的问题。不同的语言体验决定了作家们各自不同的语言风格、创作面貌和品格追求。在李锐的心目中,“我们是一群从远古走来的象形的生命”。“从远古走来”
Since the beginning of the vernacular movement in the early 20th century, modern Chinese as a new writing tool, new way of thinking and new ideas have profoundly shaped the “modern” quality of Chinese modern literature. It can be said that from the very beginning, modern Chinese constituted an external statute and a profound influence on Chinese new literature. Since then, the statute and its impact have not only continued uninterrupted but have also increased. If we examine the literary creation of the new era (especially since 1985), we will find it easy to find that almost every writer faces the problem of language in varying degrees, that is, how to understand and use modern Chinese. Different language experiences determine the different language styles, creative faces and character pursuits of writers. In Li Rui’s mind, “We are a group of pictographic life from ancient times ”. “Come from the ancient times ”