本文从计量和定性分析的角度对余华和苏童小说进行统计和研究。余华和苏童是当代中国文学的重要代表人物，有着不同的写作风格。本文的分析分四部分：文本长度（词长、句长、分句长、段落长）；词汇和标点符号（类符形符比、独有词、高频词、虚词、实词、标点符号的分布）以及词类和标点符号的文本层次聚类；血的名词短语的搭配分析；女的名词短语的搭配分析。余华的写作风格倾向于使用短句和短段落的写作方式，词汇重复现象较多而词汇丰富度偏低。余华语言朴素、幽默、使用较多的创新搭配。余华比较客观，注重人物的行为和对话，对人物的内心世界描述较少。动词、时间词和数词使用较多。双引号和冒号出现较频繁，以对话形式展开故事情节。苏童小说中分句比较多，段落比较长，以自由直接引语表达对话，描述性比较强，词汇丰富度很高。苏童注重描写人物内心世界和周围环境间的关系，细节描写较多，具有较强的感情色彩。苏童使用较多的名词、形容词和状态词。逗号、问号、感叹号的使用频率也较高。对血的名词短语，余华使用其代表血液、暴力、死亡和买卖的商品；而苏童使用其表达死亡、出生、暴力、感情和血统。动词搭配上，余华主要使用经济行为类动词、医学领域类动词和物体自然变化类动词；而苏童主要使用心理类和物体状态类的动词。形容词搭配上，余华使用形容词描述血的质量；而苏童使用形容词描述血的颜色、形状和嗅觉。量词搭配上，余华使用较多的动时量词、容器量词、度量词和个体量词；而苏童使用的量词都属于不定量词。余华使用女的名词短语比较泛化，社会角色较少；而苏童丰富多样，涉及不同年龄、不同社会阶层的各种女性角色。动词搭配上，余华给予女性角色的自主选择权较小，触觉和视觉类动词的出现频率比较高，“笑”出现得较频繁；苏童搭配的动词类别比余华多得多。形容词搭配上，余华形容词出现较少，一般用来描述女性的身体；苏童使用形容词来描述女人的性格、外貌的细节。

The present thesis makes use of quantitative and qualitative methods to compare and investigate Yu Hua and Su Tong novels‘ writing style.Yu Hua and Su Tong are prominent authors in contemporary Chinese literary scene, nevertheless, their writing styles differ considerably. The present analysis includes four parts: text length （word length, sentence length, clause length, paragraph length）; vocabulary and punctuation （TTR, hapaxes, high-frequency words, function words, content words, punctuation distribution） and text clustering classification; analysis of the noun ‘blood‘ and its collocations; analysis of the noun ‘woman‘ and its collocations.Yu Hua‘s writing style tends to use short sentences and short paragraphs, repetitions are relatively frequent and lexical diversity is quite low. His language is simple and humorous, and shows quite a number of innovative word collocations. Yu Hua’s style tends to be quite objective, his novels‘ characters are defined by their actions and dialogues, while their inner psychology is hardly ever touched upon. Verbs, time words and numerals are used frequently.The plot mainly displays through dialogues, and thus the number of quotation marks and colons is quite high.Su Tong‘s novels are characterized by long paragraphs and a high number of short clauses in each sentence. Free direct speech is largely used for dialogues. Descriptions constitute an important part of the narrative and the writing shows a high lexical diversity. Large space is left to characters‘ inner psychology, often reflected in their surrounding natural environment. His writing is rich in details and emotional nuances. Nouns and adjectives are usedfrequently, as well as commas, question marks and exclamation marks.As for ‘blood‘ and its collocations, Yu Hua mainly describes ‘blood‘ as a body fluid, a symbol of violence or death, and as a commercial good; for Su Tong, ‘blood‘ can represent death as well life, violence as well passionate feelings, and also family ties. As for verbal collocations, in Yu Hua‘s novels ‘blood‘ is often associated with verbs of trading, medical care and natural transformations; in Su Tong‘s novels instead focus more on verbs expressing emotions or natural transformations. Yu Hua uses adjectives that describe blood as a biological substance, while Su Tong is more interested in blood colour, shape and smell. As for classifiers, Yu Hua mainly uses verbal classifiers, measure of units, classifiers for containers and specific classifiers; Su Tong on the other hand only uses non-specific classifiers.As for ‘woman‘ and its collocations, in Yu Hua‘s novels female roles are few and generic; while in Su Tong‘s novels women play a variety of different roles, including roles from different age and social classes. In Yu Hua‘s novels, verbs related to women usually do not grant them a wide scope of action to decide for themselves, while verbs related to sight and touch, as well as the verb ‘smile‘, are quite frequent; in Su Tong‘s novel the number of verbs associated to women is much larger than in Yu Hua, and there is no significant high frequency in one specific lexical category. Yu Hua does not make large use of adjectives, hisdescriptions focus on the female body as a whole; Su Tong‘s novels are instead rich of details about both women’s character and aspect.