Spoken Chinese Aesthetic Research

Chinese spoken languge is an informal style of speeking that Chinese people used. It has the characteristics of instant and primary. Spoken language is the source of language, and it is the most active and fast growing part of language. Spoken Chinese has got his own national characteristics of beauty. Spoken language inplies in the sensible voice which cause people's spiritual reaction. This is the generated source of oral aesthetics. There are misreading of oral Chinese both home and abroad. The interpretation of oral beaty based on original oral Chinese can change the nisreading of Chinese oral language that repreaentes by Humboldt. No one had done research about oral aesthetics all over the world. The topic has the urgency and necessity today because China's international conmunity and the importance of intangible cultureal heritage status. This paper is form the basic concept of oral aesthetics and then analyzes the physiological mechanism and physical mudra of oral beauty. On the basis of the eastern"telepathy between heaven and man"and the weatern"heterogeneous isomorphism", put forward a theoretical framework of oral aesthetics.The introduction of the paper summarizes the relevant theoretical background of oral aesthetics and expound the reseach object, task, method and realistic significance of this reseach. The theory about it abroard are mainly 4 kinds: the importance of hearing in aesthetic; the language implies the aesthetic factors; the origins of language is full of poetics and language has aesthetic function. The domestic research including the following: the formal beauty of language, namely, the musical beauty of language; the beauty that produced by the harmonious of voice and human resonance; oral beauty is the manifesting of human's harmonious; audio language is the voice of humanistic spirit and Chinese has poetic temperament. The beauty of spoken Chinese means the attribute inherent aesthetic of oral Chinese. It is the combination of the aesthetic value and aesthetic features that shown in oral Chinese. It is the foundation of the Chinese oral beauty. The reseach object includes all the beautiful language phenomenon of oral Chinese, the choice rule of oral Chinese linguistic aesthetic and spoken Chinese aesthetic activity itself. The task of Spoken Chinese aesthetics is to clarify how to buid the system of oral Chinese according to the rule of aesthetic and how to build one's own words according to the priciple of beauty.The research on spoken Chinese esthetics has important practical significance. It is more useful to grasp the dynamic and trend of development of Chinese language. It is useful to the development of the thought and intelligence of the subject. It is useful for the subject to reshape the verbal language in accordance with the scale of beauty. It is useful for people to make music system acccording to the principle of beauty, and it is helpful to redefine the Chinese nationality culture.The basic concept was unscramble in the fisrt cahpter of the paper. Spoken Chinese aesthetics is a science that basiced on the angle of oral language aesthetic, making the original oral languge as the main object and studying on the relationship between Chinese phonology, connotation, temperament and interest, etc .HanYun potential, and the aesthetic consciousness, so that to shape and appreciate beauty according to the principle of beauty. Spoken Chinese aesthetics is a branch of aesthetics. It is a new subject that built on the basis of linguistics and aesthetics to discusses the beauty of verbal language and aesthetic problem. The audio attributes of language is the base of oral beauty. The aesthetic feeling of oral speech resorts to spiritual reaction caused by hearing. The paper proposes the concept of"primary oral language"and"secondary oral language". The riginal verbal language phenomenon that is not influences by written language is called"primary oral language". The main basis and object of this paper is Chinese"primary oral language", which distinguish from the study on verbal language about broadcast in our country.Chapter II describes that the relationship between oral aesthetic is derived from the relationship between occurrence of oral language and man's inner sense. First, the beauty experience of oral language comes from people's sensuous and acoustic stimulus. It proposes the concept of"Hearing Value"in the paper. Since spoken language is an interpersonal communication system that realizes the encoding of pronunciation and semantic through the carrier of air wave in a certain frequency range, the beauty of oral language takes human senses as a main transmission channel mainly through the perceptual activity form. Sound wave created by series of voice forms a kind of"Hearing Point"after absorbing and filtering through auditory system. And the contact of Hearing Points in a certain range becomes interlinked and connection point of aesthetic relationship of mind-body. When oral expression subject is saying or receiving some words by vocal or auditory organs, it can get up to identity of object and self from object to self or to the contrary. And it can transfuse people's life and fun into the object that is using or receiving the oral language so that to make the oral subject has life and fun as people. People's aesthetic choice is the result of interaction between the brain cortex and subcutaneous tissue. Under a series of stimulation by sound stream, recipients of spoken language transmit three-dimensional and vivid sense on one-dimensional surface of language through formal elements such as rhythm, rhyme, momentum and so on and rich content of language under the context of Han. It thereby mistakes one-dimensional form as two-dimensional even three-dimensional form, as well as stimulates the recipient's imagination and this trait can be understood as"Hearing Value". When aesthetic object is sensed in the form of voice and delivered into the brain, it would first stimulate the network structure and wake cortex up through the structure to provide power for people's activities of consciousness. The speaker delivers"Hearing Value"of voice to the recipients of spoken language. It stimulates the superficial stereoscopic sense of language art through the auditory impression of recipients. The aesthetic will feel the pleasure and the undercurrent of consciousness linger in the mind. At this time, the cerebral cortex continuously driven by the network structure stays in what psychologists call positive arousal. So that aesthetic feeling is produced.The representative theory of art in Chinese aesthetics is "heart content induction". If the performance of aesthetia form roots from the intermediary function of form, the power of oral aesthetic roots from the perceptual characterisitcs of oral expression, and it can gain the relevant connotation from the corresponding of"people-human". Meanwhile, the human rhythm as a specific performance of the structural changes of movement contains a certain amount of potential energy in its structure of tension, so it has the function of activate and leading. Gestalt thinks that there are some emotional paradigm in our brain. Once they are stimulate by similar consciousness. External object and inner emotins combines so the external object will have the emotional expressivity. The inner psychological structure is of harmony and unity with structure of outward objects. This movement rhythm has established a benigh reflex with human. In the unique rhythm of spoken Chinese, the subject can feel the comprehend life. The essence of aesthetic is embodied in daily native spoken language. The consciousness of life existence and spirit of the desire for freedom conveyes in aesthetic rhythem in the transfer of speech.Chapter III discusses characteristics of spoken Chinese and aesthetic relationship between the aesthetic feature and aesthetic activity. The beauty of spoken language is a kind of manifestation in sensuous form that objectifies man's essential power to spoken language. Human always observe itself in the tool created by itself and feels harmony and rapport between subject and object and thereby they feel pleasure. With aesthetic potentiality, spoken language can make the use of language producing aesthetic feeling possible. The realization of potentiality is creation and appreciation of beauty reflected in spoken language. The aesthetic activity of spoken language is an interactive aesthetic behavior relative to written language, and it is more open. The beauty of spoken Chinese is a kind of dependency-beauty. The beauty of oral pronunciation has inherent nature, symbol-intuitiveness and vocabulary-imagery.In Chapter IV,it describes the four aesthetic categories called rhyme, momentum, taste, interest and they are related to form and content of the beauty of spoken language. As a sensuous spoken language, it's formal beauty is the foremost, so we taking"Rhyme"as the representation from the static state and micro presentation of the oral aesthetic. Each language has it's own rule system of rhythm. Rhyme is the beauty of rhythm. The main advantage of spoken Chinese rhyme is that it has less initial consonant than simple or compound vowel which constitutes musical tone syllable full of aesthetic feeling. It's distinct syllable boundaries form musical tone rhythms full of aesthetic feeling. The ups and downs of it's pitch constitutes the musical tone melody full of aesthetic feeling. Numerous binding words constitute structural forms that are full of aesthetic feeling. Numerous summation tones form the beauty of loop. Being easy to rhyme constitutes musical beauty of ups and downs. Chinese echoic words have distinctive aesthetic effect. All those up composes the peerless beauty of rhyme. We take"Momentum"as the representation from the dynamic state and macro presentation of oral aesthetic. The beauty of momentum comes from enjoyment bringing from momentum configuration conforming to life rhythms in spoken Chinese, includes the beauty of sandhi, intonation and foot in spoken Chinese. The distinctive pitch, sound intensity, dimation and timbre can constitute the elemental form of various rhythms. These elemental forms form distinctive beauty of Chinese rhythm through coordinating and interleaving with each other under certain rules. The category of"Taste"is reflected in connotation of spoken language aesthetic. As the distinctive knowing characteristic, spoken Chinese has the beauty of ambiguity, connotation and illegibility. The category of"interest"is reflected in rich cultural connotation, joyful life attitude and the insideout of expression of Han. It mainly contains the beauty of variation and deviation in spoken Chinese. The four categories are interrelated with and depended on each other. They compose kinks of spoken Chinese aesthetics on the network.With the characteristic of Han national thought, chapter V describes the beauty of spoken Chinese in the thinking mode of Han nationality. Spoken Chinese is an oral language that in high context culture communication. The holistic and intuitive thinking way of Han nationality makes the flexible beauty of valuing Parataxis. The objective existence of ambiguity and association in spoken Chinese gives Chinese a very strong ethnic feature under the influence of Parataxis. Spoken Chinese forms the beauty of word order changes, expatiation and integral analysis. This section also discusses the beauty of analogy and visualization in expression, the consistency of thinking style, the diversity of oral expression between subject and object in Han, the thought of tolerance and kindness, the oral expression of circumlocution and meekness and also the relation between the aesthetic consciousness of advocating balance and harmony and the beauty of symmetry in oral speaking.As the rich ability of reproduction of Chinese, it can absorb nutrients from foreign languages to complement the phenomenon of missing links. The dialects of Han, peddle language and other art forms of quyi have accumulated distinctive human characteristics and aesthetic significance.Chapter VI discusses the influence of spoken Chinese aesthetics on other art forms of Han. Features of Chinese tones are oral origin of highlighting speaking and belittling singing. The repeated expression of one singing and three sighs is the characteristic of oral literature. Oral transmission creates the aesthetic origin of Triassic-style narrative structure, The papers hereby explains the oral origin of Chinese ancient, the influence and inspiration of oral aesthetics on creation of written language, the beauty of language styles of oral writing writers and the mistakes of oral writing.