A Study On The Relevance Between The Mandarin Movement And The New Literature(1917-1927)

In this paper,the Mandarin(Language commonly used throughout the country)Movement and the New Literature(1917-1927)are juxtaposed to the common concerns of the revolution in language,characters and literary form.A study of the origin and development of new literature from the point of view of Mandarin can produce different ideas of interpretation.At the same time,the Mandarin Movement’s rich materials of newspapers and periodicals and language schemes record the construction and formation of the Chinese language.Observed from the perspective of The New Literature,these materials make the living language be discovered,achieving the goal of modern writing where the written language is accordant with the oral language with new literature works.Observed from each other,the Mandarin Movement and the New Literature have new generational context,meaning and historical value.In addition to the introduction and conclusion,the thesis consists of five chapters,in accordance with the logic of "concept-practice-communication carrier".The abstracts are as follows:The first chapter studies the development of the Qieyinzi(The words that are spelled as sounds)Movement in the late Qing Dynasty and the process of the combination of the Mandarin Movement and the Literary Revolution.The language movement in the late Qing Dynasty and the beginning of the Republic of China became the key object of discussion by Hu Shi and other new writers of the May Fourth Movement and later modern literary historians,which contains the thought and language resources for the occurrence and development of the New Literature.This chapter is divided into two sections.The first section sorts out the changes of the language view in the late Qing Dynasty.In the ideological trend of sound-centrism,the complexity and inconvenience of pictographs have become more and more prominent,so scholars have created pinyin that spells out all the sounds of different regions.The main content of this section is to discuss the legitimacy and the fate of Qieyinzi and the beginning of the unification of Mandarin triggered by it.The second section discusses the content changes of the Mandarin Movement after 1916 and the process of its confluence with the Literary Revolution.The Mandarin Movement before 1917 only involved phonological issues in a narrow sense.After 1916,a complete unified plan covering vocabulary,grammar and Mandarin education was gradually developed,which became the basis for the study confluence of the Mandarin Movement and the Literary Revolution.After that,the Vernacular Literature also began to be called the Mandarin Literature.The Mandarin Movement emphasized popular literature and art,including folk songs,proverbs,allegorical sayings,etc.And on the basis of the collection of the Mandarin Literature,a rich vocabulary has been established in the Mandarin Movement.However,the construction of it in Literary Revolution laid more emphasis on the creation and dissemination of written language rhetoric and grammar.On the basis of the coexistence of similarities and differences,they promoted the generation of the common language of the modern nation-state through division of labor and collaboration.The second chapter studies the change of language and characters in the Mandarin Movement and the New Literature.The Mandarin Movement promoted the discovery of living language and the formation of research traditions.The language reform of the New Literature lays emphasis on the deconstruction of the classical written language,completing the discourse construction of vernacular literature on this basis.The symbiosis and mutual growth of the language reform in the Mandarin Movement and the New Literature was the goal of the modern language revolution where the written language is accordant with the oral language.The second chapter is proposed to set three sections and the first one discusses the language reform in the Mandarin Movement.With the vigorous development of the Mandarin Movement,the status of living language has become more and more important.How to establish the academic research path of living languages? How did academic transformation happen? This section is planned to make a systematic discussion from the three aspects of phonetic method,dialect and grammar.The second section discusses the character reform in the Mandarin Movement and the New Literature.Character reform was the common concern of the Literary Revolution and Mandarin Movement.The trend of thought of Chinese phonetic system lasted from the late Qing Dynasty to the New Literature period.And scholars still regarded pinyin as more advanced than hieroglyphics,which became the theoretical basis for the simplification of Chinese characters,the replacement of them by Mandarin-Roman characters and the replacement of Chinese by Esperanto.The third section discusses the language revolution of the New Literature.With the living characters as the center,Hu Shi constructed the revolutionary discourse where the vernacular language replaced classical Chinese.Then,Fu Sinian further described what’s the ideal vernacular on the basis of Hu Shi’s design of plain vernacular Chinese,namely spoken vernacular and Europeanized vernacular.The third chapter studies the relationship between the form of Mandarin and the translation path of new writers.Hu Shi and Zhou Zuoren,who participated the Mandarin Movement and the New Literature,respectively developed two different paths of the Mandarin of colloquialism and Europeanization,relating to their translation practice from the late Qing Dynasty to the early Republic of China.The third chapter consists of two sections.The first part focuses on the translation of Hu Shi’s novels,and explores the New Literature form extended from the translation practice of Mandarin Chinese that is a direct description of Mandarin and retains the tradition of vernacular Zhanghui(The external narrative style of Chinese ancient novels)novels.Hu Shi’s vernacular experience began with the Mandarin Chinese of newspapers,who imitated the vernacular novels of Ming and Qing dynasties as Mandarin.The second part is centered on Zhou Zuoren’s translations of novels named A Collection of Foreign Novels and Dian Di,etc to explore the New Literature form derived from the translation practice of classical Chinese.Zhou Zuoren held an open and inclusive attitude towards both Mandarin and Mandarin literature,incorporating the resources of folk literature,foreign literature,and classical Chinese,in order to create a sophisticated and beautiful Mandarin and Mandarin literature with a modern style.This view of literature and language was related to his translation practice,who has always adhered to the strategy of literal translation.Zhou Zuoren translated the novel from the liberated ancient Chinese,and the Europeanized sentence patterns and new nouns were transplanted into the ancient Chinese,which directly affected his ideal of Mandarin and led him to the road of Europeanized Mandarin literature creation.It was started from breaking the style,sentence and vocabulary of ancient Chinese,which was completely different from Hu Shi’s dualistic view of using dead characters/living characters as classical Chinese/Vernacular.The fourth chapter takes the relationship between ballads and new poetry as an example to explore the occurrence and form of spoken poetry,showing the interaction between the Mandarin Movement and the new literary form.The fourth chapter consists of three sections,which discusses the correlation and interaction between ballads and new poems from three aspects: the music of ballads and the sound of new poems,the dialect expression of ballads and the language generation of dialect poems,the spoken form of ballads and the vernacular syntax of new poems.The first one discusses the musical structure of the ballad and compares it with the sound theory and sound form of the new poem.On the initial stage of new poetry,the sound theory of new poetry was based on the initiative to break the internal musical structure of classical Chinese poetry,and the sound rhythm of vernacular replaces the sound rhythm of characters.Consistent with the sound form of ballads,it can be said that the new poetry was the resurgence and reconstruction of oral literature.The second section discusses the relationship between ballads and dialect poetry from three aspects,including “folk songs of Jiangyin vs.dulcet and delicate poetry in Wu dialect” “Beijing nursery rhymes vs.frank and cursory Beijing poetry ”“Fenghuang folk songs vs.wild lively poems in Zhengan Dialect”.The third section studies the syntactic relationship between ballads and new poems,consisting of "the use of polysyllabic words and function words","the ‘humor’ and ‘hidden’ of ballads and the‘irony’ and ‘metaphors’ of new poems",“the colloquial structure of ballads and the short sentences of new poems”.The fifth chapter studies the selected texts of the Mandarin subject and the development of the New Literature,exploring the influence of the New Literature on the establishment of the Mandarin subject and the process of the various types of the New Literature entering the Mandarin textbooks.The first section discusses how the New Literature has changed the content of Mandarin education since the late Qing Dynasty and the influence of the new stylistic view on the establishment of the Mandarin curriculum outline of the new educational system(1923)since the Literary Revolution.Then,the Model Examples of Vernacular published in 1920 and the new Mandarin Textbook(junior middle school)published in 1923 are taken as examples to explore the changes of the selection of textbooks and the different connotations of Mandarin texts on the early stage of the development of the New Literature.The second section discusses the change of Mandarin texts,which was gradually equal to the New Literature.After 1923,with the development of the New Literature,the concept of Mandarin literature from connotation to extension basically equated with it.The selection of Mandarin textbooks in middle schools has gradually achieved a balance in the number of new poems,proses,and novels,forming a fixed classic style.Taking Selected Works of Modern Vernacular and Elementary Mandarin Reader published in 1924 as examples,it showed the process of the emergence,development and maturity of various styles of the New Literature.Significantly,textbook editors have selected a large number of novel translations instead of the New Literature novels,which means that the maturity of New Literature novels was particularly difficult compared with new poems and proses.Therefore,with short stories as the center,this paper explores the process of transplantation and construction of this genre.Two novels in the textbook called Iron Circle(written by Sologub,translated by Zhou Zuoren)and Evening Visitors(written by Kuprin,translated by Zhou Zuoren)are taken as examples and analyzed from the stylistic structure.