由“半殖民与解殖民”维度阐释现代中国文学是一种独特而有效的研究范式。如果承认文学是语言的艺术,那么现代中国文学的半殖民和解殖民的张力性形态,在很大程度上是通过文学的母语化解构(半殖民)和重构(解殖民)来表征。20世纪以来汉语言母语文学外遭西方语言的冲击,现代汉语言被严重欧化;其内则是母语的自信心和自觉意识不断衰微,成为追逐现代化过程中不断遭到修葺的对象,文学的半殖民化于此可见一斑。与此同时,文学的母语写作在被解构下也一直处于持续性重构中,从“五四”时期胡适对文学母语化的尝试性再造,到20世纪末在整体性文化氛围的烘托和支持下,文学理论界对重构母语知识谱系的努力,并促使母语写作开始形成群体性的创作归化与审美追求。这一事实印证着一个阔大的话题:中国文学怎样在世界性中坚守母语化,成为其在半殖民化历史文化处境中解殖民化的基本任务。 It is a unique and effective research paradigm to explain modern Chinese literature from the perspective of “semi-colonial settlement and colonization.” If we admit that literature is the art of language, the tension forms of the semi-colonial reconciliation colonies in modern Chinese literature are largely characterized by the reductive (semi-colonial) and reconstruction (decolonization) of the mother tongue of literature. Since the twentieth century, the Chinese language and the mother tongue have been severely Europeanized by modern Western languages. However, their mother tongue’s self-confidence and consciousness are constantly declining, becoming the object of constant repair in the process of pursuing modernization. Half of the literature Colonization in this evident. At the same time, the writing of the mother tongue in literature has also been undergoing the process of continual reconstruction under the deconstruction. From the tentative reconstruction of the mother tongue of literature by Hu Shi during the May 4th Movement to the contrast of the holistic cultural atmosphere at the end of the 20th century With the support of literary theorists, the literary world has made efforts to reconstruct the knowledge pedigree of mother tongue, and has led to the formation of group writing naturalization and aesthetic pursuit in mother tongue writing. This fact confirms a broad topic: how Chinese literature insists on mother tongue localization in the world has become its basic task of decolonization in the semi-colonial historical and cultural situation.