Language Changes Of Contemporary Chinese Writing Since The 90s Of The 20th Century

"Language" is a core topic when we have a study on the development of contemporary Chinese writing since the 90s of 20th century. And the language of contemporary Chinese writing has a new change since the 90s of 20th century:The new generation writers, such as Su Tong, Li Xiuwen, Bi Feiyu, Ge Fei, have shown Language consciousness in their fiction-writings (Especially the love in color, poetry and so on) and the aesthetic tendencies revealed by their fiction-writings; The "beauty writers", such as Wei Hui, Mian Mian, who were born in the 70s of 20th century, have lots of the color words written in bold in their fiction-writings; "The Post-1980 Generation" writers have a large number of stylish new words, sentences with anti-traditional grammar or ultra-traditional grammar and the writing style like the "schizophrenic" in their fiction-writings. The features of contemporary Chinese writing has a clear development trend from elegance, poetry to vulgar, poor but fresh and rich. This trend is not also the result of development of internal structure of the Chinese writing; it also shows three types of contemporary Chinese writing which are coexistent.At the macro level, time is seen as one dimension to show the language changes of contemporary Chinese writing. At the micro level, the essay places the language changes on the space of contemporary culture in order to research the close relation between the practice of writers and their cultural backgrounds. Based on the study on the language changes of contemporary Chinese writing and its characteristics since the 90s of 20th century, the key focus of the essay is on the different cultural character of the representative writers'practice and the close relation between the cultural character and writers'cultural backgrounds. That is:the relation between the aesthetic characteristics of return to the tradition shown in the fiction-writings of the new generation writers, such as Su Tong, Li Xiuwen, Bi Feiyu, Liu Que and the conscious spontaneously behavior of the new generation writers to inherit and absorb the traditional culture and classical literature;the relation between lots of the color words written in bold shown in the fiction-writings of the "beauty writers", such as Wei Hui, Mian Mian, who were born in the 70s of 20th century and the self-identity of the young people who have dual identities—"the new rich" and "problem youth" in the secular context; the close relation between the large number of stylish new words, sentences with anti-traditional grammar or ultra-traditional grammar, the writing style like the "schizophrenic" in the Post-1980 Generation's fiction-writings and their multicultural backgrounds.For the end to argue against the worry that the development trend of the language of contemporary Chinese writing from elegance, poetry to vulgar, poor but fresh and rich has clear impact on modern Chinese and contemporary literature, which causes chaos and disorder of the expression of the modern Chinese in a certain level and the break of the literature's poetry, the essay argues that we should not worry about the trend of the language development very much. Because it is an inevitable process of the evolution of language, and any new phenomena in language could be carry the new factor into the contemporary literature. At last, the essay emphasizes that when we have the study on the language of contemporary Chinese writing since the 90s of 20th century, we should analyze the limitations of the problems as well as the deep reasons. And the essay emphasizes the necessity to be temperance on these new phenomena in language.