A Language Study Of Chinese Novel Of "New Sensation School"

After the Japanese "New Sensation School",the Chinese "New Sensation School" was a short-lived oddity in the modern Chinese literary scene.In the 1920 s and 1930 s,they were faced with the contradiction between the openness of the genre and the lag of the historical stage,and with the untimely deaths of Liu Naou and Mu Shiying,as well as the temporary silence of Shi Zhecun,this led to a lack of objective evaluation of them for a long time in Chinese scholarship.It was not until after the reform and opening up that the rapid development of the city and the new urban experience reignited the excitement of the literati and scholars.The scholars of the 1980 s and 1990 s,in particular,were more sophisticated in their application of Western contemporary literary theory,and all of them were ground-breaking and innovative,and these studies can be roughly divided into three categories,ranging from a critique of the artistic aesthetics of the Chinese "New Sensation School" to a study of their historical collection.These studies can be divided into three broad categories,ranging from a critique of the artistic aesthetics of the Chinese "New Sensation School" itself,to a study of their historical collection,to a more expansive study of comparative literature.However,looking at the studies of recent years,I have found a problem that needs to be considered,namely,the constant decline in research value caused by the similar studies.This is not only because of the small number of works by the Chinese "New Sensation School",but also because the strengths of their works have become their greatest weakness.Where they succeeded was in their modern innovation of language and form,but their obsession with linguistic innovation backfired on their work.So while researchers are still crowding in through the small door of the aesthetics of urban experience,can we open a small window and try to study the language of modernity that the Chinese "New Sensation School" are most proud of? Based on the theories of Bakhtin and others,the author will combine textual analysis with a microcosm of language to enter the deeper connotations of the novel.The paper is divided into three chapters.The first chapter looks at the main component of the Chinese ’New Sensation’-language-in terms of its magnificent modernity,exploring why this language is a linguistic innovation in Chinese literature.Underneath this innovation is the sense of unreality that language brings to the reader.The second chapter looks at the production of the novel’s aesthetic as a whole,how the text constituted by the neo-sensory language is characterised by modernity,and how this modern text is experimental.The second chapter takes a look at the production of the novel’s overall aesthetic,how the neo-sensory language constitutes a modern text,and how this modern text is experimental.The final,and most crucial,chapter looks at the diverse sources of this linguistic modernity,their bold linguistic innovations based on secondary imitation,and explains the underlying crux of this grafted modernity.