The Stylistic Study Of Chinese Reportage

Reportage,as a latecomer style of writing in China,has undergone a hundred years of development.In the development of modern and contemporary Chinese literature,reportage has played an increasingly important role alongside novels,poetry,and other styles.This article takes the Chinese reportage style as the research object,starting with the investigation of the development process of the style,and systematically combs the stylistic issues of reportage,with a view to obtaining a clearer understanding of the stylistic characteristics and attributes of reportage.This article is mainly divided into six chapters.The first chapter is an introduction,mainly explaining the research methods and perspectives of this article,as well as the existing research situation.The important foothold of this article is to focus on investigating the stylistic attributes of reportage from the perspective of stylistics.Previous studies have focused on literary phenomena and text levels,focusing on the collations and discussions of literary history.This article returns its perspective to the style of reportage itself,and examines the stylistic dimensions of reportage through diachronic analysis,combining research perspectives and methods such as stylistics,stylistic functionalism,and narratology.The second chapter explores the different viewpoints and arguments on the origin of Chinese reportage in its early stages,which is the basis for tracing the emergence of reportage stylistic awareness.The essence of exploring the origin of reportage is to explore the embryonic form of the stylistic concept of reportage,and to integrate the issue of stylistic awareness into the issue of the origin of reportage for intertextuality.This is also one of the differences between this paper and other studies.There are generally three different views on the origin of reportage.One is that reportage has existed since ancient times and can be traced back to very early historical and biographical literature.Another is that reportage originated in modern times,and the third is the reportage is "imported.".The interweaving of these three viewpoints has formed a variety of different views and theoretical understandings of reportage,and also formed the basic prototype of different stylistic views of reportage.This article holds that although Chinese reportage is a latecomer style,traditional Chinese literature constitutes the premise and foundation for its independent style development,so reportage cannot be simply regarded as "exotic".Chinese reportage is an inevitable development of style since modern times,and it is nurtured and influenced by Chinese classical literary works and theories,as well as promoted by foreign literary resources from the West.Its emergence and development meet the needs of the times,and it is the product of the process of Chinese modernity.From the perspective of the history of stylistic development,its roots originate in China,and its stylistic attributes are closely related to traditional styles.The third chapter gives an overall overview of the development and evolution of reportage style since modern times.This article attempts to describe the stylistic development of Chinese reportage in different periods through a longitudinal diachronic comb,with a view to displaying the development style and corresponding stylistic views of Chinese reportage as an independent style in different social development periods.This chapter explores the integration of diachronic combing and the evolution of stylistic perspectives,examining the stylistic characteristics of reportage in different periods from different times.The development of reportage style is mainly divided into three major stages and nine different periods,in which the gestation and initial growth period of style was from the late 19 th century to the 1930 s.During this stage,reportage inherited styles such as Chinese classical prose,and under the influence of the introduction of Western reportage theory,while being promoted by the "Left League",and gradually formed its own sense of style.In the second stage,from the mid-1930 s to the mid-1950 s,China’s reportage achieved initial prosperity.As an independent literary style,reportage has gradually been recognized by people.However,with the misunderstanding of stylistic functions,reportage has become rigid and the development of literary style has also experienced twists and turns.The third stage is from the late 1970 s to the present.Chinese reportage has experienced recovery,adjustment,expansion and transformation,and has moved to a higher stage of development.In the new century,reportage has realized the media-oriented,diversified and comprehensive development path of its style.It is embracing new development opportunities and challenges with a diverse and inclusive development trend.The fourth chapter shifts its perspective from diachronic analysis to the analysis of the stylistic characteristics of reportage,focusing on the stylistic characteristics of reportage from three dimensions: "authenticity","journalistic",and "literariness".In the process of discussion,this chapter focuses on discussing the understanding of these issues by reportage writers and theorists in different periods during the historical development of literary style,as well as the stylistic awareness presented in the practice process.The issue of "authenticity" in reportage can be said to be the core issue of reportage style,which has been the focus and hot topic of discussion since the beginning,and researchers have been paying constant attention to this issue for a hundred years.The stylistic truth of reportage is the truth of life,and the truth of art is also the essential truth."Journalism" of reportage is an important feature of reportage as a literary style with newspapers as its material carrier.It is precisely "journalistic" that makes the stylistic attributes of reportage complex and unique,and thus distinguishes reportage from other literary styles.The "literariness" of reportage has enabled reportage to have a cross stylistic attribute,which not only distinguishes reportage from literature and non literature,but also distinguishes reportage from news,dispatch,and "non fictional writing.".The fifth chapter examines the stylistic functions of reportage from the perspective of stylistic functions.Combining the perspective of stylistic functionalism,this chapter focuses on exploring the stylistic functions of reportage from the perspectives of its practical,social,and aesthetic functions.Reportage is a reflection of real life,and one of its important functions is to reflect and influence reality.On the whole,the realistic function of reportage is to record the changes in real society in real time.The intervention function of reportage in real life is an extension and expansion of its function of recording reality,which emphasizes the dynamic nature of reportage in its relationship with life.Reportage works actively participate in life,not only do creators need to integrate themselves into life,but more importantly,they reveal social problems and criticize negative phenomena through their works,shoulder social responsibilities for social development and people’s lives,and have a certain guiding role for social trends.Aesthetic function is the inherent attribute of the development of reportage style,including true beauty,rational beauty,artistic beauty,and so on.Aesthetic function not only determines the success or failure of reportage works,but also undertakes the important mission of aesthetic improvement for the recipient.In the new century,with the continuous development of style,the aesthetic shift of reportage has brought new vitality to the development of reportage style.The sixth chapter starts from the perspective of narratology,further examining the stylistic issues of reportage from within the text,focusing on the narrative language,narrative perspective,narrator,and structure of reportage.The existing form of literary style is presented through language and narration,and the existing mode of reportage style is also realized through language.In terms of the uniqueness of reportage genre,compared with other literary texts and journalistic works,it has uniqueness in the selection of narrative perspectives,the use of narrative language,and the use of narrative time.Examining reportage from the perspective of narratology can not only clarify the stylistic connotation of reportage,but also help to further distinguish the relationship between reportage and literature in the general sense,as well as news.