This study, drawing on Pierre Bourdieu’s theoretical framework of “champ”, “habitus”, and “capital”, traces the three-stage evolution of Chu Tienwen’s linguistic style from “fresh and plain(清新素朴)” to “ornate and baroque(繁复华丽)” and finally to a “sorcery-like poetics(巫术诗性)”. Through close readings of The City of Hot Summer(炎夏之都), Fin-de-siècle Splendor(世纪末的华丽), Notes of a Desolate Man(荒人手记), and Wuyan (巫言), this study explicates the interactive mechanisms among stylistic shifts, the transformations of the Taiwan literary champ, the “collective habitus” of literary groups, and the operation of capital. Nurtured in her early phase by military dependents’ village culture and Hu Lancheng’s aesthetics, Chu Tienwen adopts a restrained, concise, and colloquial mode of writing that produces a distinctive sense of clarity and serenity. After the lifting of martial law, under the impetus of urban culture and cross-media experience, and through the strategic pursuit of the reproduction of cultural capital and symbolic capital, her style develops into one marked by lexical luxuriance(辞采繁缛) and imagistic opulence(意象富丽). Entering the twenty-first century, within a postmodern literary champ she engages in a reflexive reconstruction of habitus, extending the boundaries of fictional language through nonlinear, ritualized discourse and shamanic imagery(巫魅意象). This study concludes that the metamorphosis of Chu Tienwen’s linguistic style is not a mere self-propelled aesthetic evolution of an individual writer, but the outcome of the continual shaping of her habitus by the literary champ of production; through conversions among different forms of capital—especially cultural and symbolic capital—she actively positions herself and realizes literary value. This has instructive implications for research on contemporary literary styles in Chinese.

This article aims to examine what kinds of non-linguistic parameters correlate with the variations of the sentence-ending styles used in television news. Specifically, we focus on shifting between Hapsyo-style and Haeyo-style, two dominant kinds uttered in the register, and the variations in Haeyo, based on the results from the analysis of a news corpus. It turned out that whereas the two styles are both used, Haeyo is used much less than Hapsyo in the news. In the use of Haeyo as opposed to Hapsyo, the three different parameters such as the gender of the speaker, the role of the speaker, and the type of the news item are shown to have significant correlations. That is, the values of women, anchors, and the type of news items for specific hearers, have positive correlation to the use of Haeyo, contrary to the values of men, reporters, and the type of news items for abstract hearers. The parameter which have the strongest correlation to the use of Haeyo turned out to be the types of news items, followed by the role of speaker, and the gender of the speaker are shown to be the weakest one. Regarding the variations among the different forms belonging to Haeyo, we examined the diversity of the endings used, with special attention to the proportion of the endings originated from clause-linkers, and it turned out that the role of speaker and the type of news items are significant parameters, among which the former is relatively more relevant.