I hope every Chinese will have a look!

Note: although we face code every day! Everyone graduated from science! However, I have deep feelings for Chinese font!

People often only realize the imbalance in the ecological world and lament that every day on the earth, species are disappearing, ignoring the imbalance in the language world. In fact, every day, there are languages in the world that have become history, what is terrible is that the language may disappear with its culture, territory, and even ethnic groups. Although Chinese is not a matter of survival, it is worth noting that the status of Chinese today is relative to English. Some people have come up with the so-called "English worship. In the network era, English has become a quasi-world language. The virtual world dominated by multinational companies such as Microsoft, IBM, And Compaq is in English format and standard, english is a pass into the online world. In today's popular mass culture media era, the United States almost controls 3/4 of the global pop-culture consumer market, batman, the Titanic, the Harry Potter, and the Lord of the Rings have become popular around the world, making the people of the world recognize and yearn for American culture, new Cultural Imperialism is conquering the world in the form of technology and entertainment. The "English worship" of Contemporary Chinese teenagers is related to their constant access to European and American movies and popular songs.

As early as the 1970s S, the writer Yu Guangzhong wrote "the decline of Chinese", lamenting the decline of Modern Chinese native language ability. If it is not adjusted in time, it will be more difficult for future generations to learn ancient Chinese than to learn foreign languages one day. From the historical point of view, in the past one hundred years, Chinese and Chinese writing have suffered hardships. The writer Bai Xianyong summed up the fate of Modern Chinese and said: "A hundred years of Chinese, both inside and outside ". There is an external impact from Western languages, and modern Chinese has been severely commercialized. In this case, the self-confidence and conscious consciousness of the mother tongue are declining, and Chinese has become the object of constant repair in the process of pursuing modernization. No language, like Chinese, has undergone such a major change over the past one hundred years. Since the late Qing Dynasty followed the Japanese Meiji Restoration's "" movement, the Chinese language experienced the Wusi Vernacular Movement and simplified the simplified scheme of the world language, Chinese characters, popular languages, and post-liberation traditional Chinese characters, in the face of the national crisis of survival and the call of modernization, Chinese intellectuals eager to integrate into the world even shouted the radical slogan "the Chinese characters will not go out, and China will die.

Yu Hua, a writer, said: "When our generation of writers started to write, the biggest impact should be translation of novels. Classical Literature has little influence, while modern literature has little influence. I have always believed that the contribution to the construction and development of Chinese New Chinese is first attributed to those translators who have found an intermediate path between Chinese and foreign languages, it not only conveys the charm of foreign works in Chinese, but also enriches the expression of Chinese ......" Almost all contemporary Chinese writers are on the "intermediate path" between the Chinese that has been "European" and the "Spanish" that have been translated in Chinese. In this case, it is difficult to extract criticism and theoretical circles. Over the past one hundred years, our academic discourse has been "Western", from concepts, categories to theoretical propositions, we seldom use traditional classical literary theories. Therefore, a few years ago, the literary theoretical circles initiated academic discussions such as "Cultural Aphasia" and "Modern Transformation of Ancient Chinese literary theories, start to rethink how to continue and innovate traditional literary theories. Another reason is that we cannot avoid the influence of the "cultural revolution" language. The "critical language" and "Model language" have formed the same story. Since the new era, many writers have chosen the "Xi" expression method to resist the constraint of this language, thus accelerating the break of the traditional Chinese language.

Language is not just an expression tool. It is closely related to the cultural psychology and way of thinking of a nation. It records the cultural traces of a nation and becomes the blood of history and the future. If the characteristics of any culture are displayed in your own language and you need to know a culture, you can only start from the language. Then, protecting the language is actually protecting the culture, giving up your mother tongue actually means giving up your traditions and history and giving up the Cultural Genes on which you live. The Writer Han shaogong said: "The first thing is the decline of a nation. It begins with culture and language. The invaders have always understood that the attacker can only attack the city, while a person has only language in his heart. The spirit is only a language that can be built and guarded ." In the context of history and reality, "Internal Sorrow" and "external troubles", how can Chinese continue its traditional blood and create new glory, this is an urgent issue facing the contemporary Chinese. Can we realize that "Chinese is the most beautiful language in the world ", everyone has the responsibility to protect the lifeblood of Chinese culture that has been proudly presented to the world by Zhuangzi, Qu Yuan, Li Bai, Du Fu, Su Shi, Cao Xueqin, and Lu Xun for thousands of years, what is the closest thing to our mother tongue?

In this sense, we call for the establishment of self-confidence and conscious Consciousness in Chinese writing.

Although these one hundred years of Chinese have encountered unprecedented challenges, we can see that during these One Hundred Years of short-term Chinese modernization, chinese writers still put the charm of Chinese to a new height. Lu Xun, Shen Congwen, Lao She, Qian Zhongshu, Zhao Shuli, Wang Zengqi ...... In their hands, modern Chinese has shown powerful adaptability, regeneration, and creativity. Modern Chinese writers have provided countless examples and examples for us to re-understand the vitality and charm of Chinese. Modern Writers have learned a lot of nutrition from traditional languages, and have gained new vitality from traditional languages and vernacular, allowing us to discover the important value of traditional languages again. For example, Bingxin creates a unique "Bingxin" on the basis of "vernacular-text-based" and "Chinese-Western culture, another example is that Wen Yiduo proposed the "three beauty" of Chinese poetry (architectural beauty, painting beauty, music beauty), and Zhang Ailing imitated the language of "Dream of Red Mansions, lao She, Zhao Shuli, and other artistic treatments of dialects and slang can be said to be traditional, national, and popular have always been the constant pursuit of modern writers. Since the new era, many Chinese writers have consciously learned from traditional Chinese and vernacular languages. For example, the misty poet has absorbed the characteristics of classical poetry that emphasizes "image", language "opacity", and implication; wang Zeng-qi, Jia Pingwa, Acheng, Han shaogong, And he Liwei inherit the spirit of traditional classical aesthetics and make bold innovations. They bits in the spirit, syllables, and words ", the pursuit of elegant "Artistic Conception" and poetic "charm ". Wang Zengqi consciously pursues classical rhythm and Rhythm Beauty. Jia Pingwa draws on the lexical, syntactic, and linear narration methods of Ancient Chinese, fully demonstrating the elegant Chinese style, it reflects the Infinite Charm of Traditional Chinese and ancient vernacular. He Liwei advocates "the extension of the Chinese expression layer, and promotes the beautiful language of the literary works.

Therefore, to establish self-confidence and self-consciousness in Chinese writing, we need to deeply recognize the Chinese spirit and re-discover the "poetic quality" of Chinese ". We should correctly understand the differences between Chinese and Western languages, and deny the simple copying of Western grammar to measure Chinese behaviors. Li Jinxi, Wang Li, Lu Shuxiang, and others all disagree with the use of Western grammar to set up Chinese. They believe that to establish a Chinese Grammar System, "it should be summarized from the languages of the people of their own country, foreign syntax should not be followed ". The freedom and creativity of Chinese expressions can be comparable to that of any language. We should not blindly consider English as a quasi-World Language and blindly worship it, in fact, Chinese is hard to match in many aspects, such as confrontation. In this rhetoric, Chinese is strong, while English is weak. Similarly, Chinese characters are concise, elegant, subtle, and difficult to compare with letters and texts. In particular, Chinese characters have the characteristics of hieroglyphics, comments, and sound, which makes Chinese characters have a natural image, in the words of the writer Wang Zeng qi, Chinese people use Chinese characters for their thinking. Chinese characters can be "meaningful", and "vast" must be a little bit of water. "Juan" must be a small stream. Bai Juyi's "Xing": "It's just a breeze, and it's the last six ." The four Chinese characters with "strong" directly show the beautiful posture and superb playing skills of the girl. Du Fu's guide to the military: "taking the clothes to block the road and crying straight up the clouds", the first half of the sentence write action, the last half of the sentence write feeling, there are four verbs in the first seven words, jia Pingwa said that these seven words can be used to make a long film. Its image is concise and natural, which is hard to achieve by letter and text.

The difference between Chinese and English lies in the experience of the world, instead of the way they are expressed. Chinese has accumulated the poetic characteristics of the Chinese nation for thousands of years to perceive the world, observe the world, and present the world. In today's globalization, the poetic characteristics of Chinese have become our liberation of imagination, an important way to experience freedom. Can literature separate us from this automated and numb inertia of daily life and show the personality and spirit of the nation, region, and individual? Does a writer give up the important task of improving human nature, cultivating virtue, and guarding value, and become an anesthetic for vulgarization and commercialization of life patterns? Can the literary language reenergize us with the unique feeling and passion of life in the world? Can it penetrate through the surface to restore the diversity and diversity of life? This will be an important criterion for evaluating the success of contemporary writing. The writer's contribution is not only to provide unique artistic skills, but also to contribute a unique way to perceive and experience the world and to restore the meaning of life and existence, as Mo Yan said, "Writing is to differentiate yourself from others ". Chinese is a very emotional language. It is more direct and natural than letters and texts in the inner feelings and experience of the table talents. The Chinese language does not have a title, no location, tense, voice, and so on, and does not need or use less connected words. It is different from other languages with strong logic rules, the logic of language rules actually means that we reorganize and sequence the perceived world and organize specific objects into abstract concepts. Therefore, reading such a language requires that we first restore abstract concepts to specific perceptual objects, so that we can perceive and experience objects in our hearts. "Every word in Chinese characters is like a face filled with feelings to tell people about life" (the poet Zheng minyu). In the words of fannoosa, the American linguistics, Chinese characters are dynamic, unlike Western text, where the syntax and word class rules are applied, the structure of Chinese characters maintains the implicit relationship between Chinese characters and the real life. Chinese characters eliminate the boring and non-life logic of Chinese characters, it is full of emotional information and is closer to life and nature. The syntax of Chinese and especially Chinese languages is much more flexible and free than that of the Japanese and European languages, A sentence can be made out of words, positions, movements, and analytical meanings of English, and more directly presents the real world you feel. Mr. Wang said: "the western people make things to turn language into a whole, and the Chinese people make things almost to turn them into zero." The Chinese can "attach things with things", emphasize "meaning" and "shape ", therefore, the Chinese language retains more emotional things, closer to the instant experience of people rather than irrational thinking.

When establishing self-confidence and self-consciousness in Chinese writing, we should deal with the relationship between the world and nationality of the language. Emphasizing that native language writing does not mean denying external languages, not simply rejecting English, rejecting external cultures, and engaging in cultural closures, it emphasizes equality and complementarity between language and culture. Great works do not belong to a place, country, or language. They all belong to "World Literature". Their existence proves the greatness of every language. Integration into the world and self-protection are not the confrontation and battle between you and me. Haina baichuan has become a world because of its richness, and each nation and individual contribute their "characteristics" to the world, and the meaning persists.