西方修辞学论文

简论中西方修辞观念的差异论文修辞格是修辞学研究最为重要的部分之一，它是“在特定的语境里，创造性的运用全民语言而形成的具有特殊修辞效果的言语形式”，即为特殊的言语形式。

以下是店铺为大家精心准备的：简论中西方修辞观念的差异相关论文。

内容仅供参考，欢迎阅读!简论中西方修辞观念的差异全文如下：摘要：修辞作为一门古老的技巧，给人们的言语交际与思想沟通带来了巨大的影响。

纵观中国和西方修辞学的历史，两者无论在修辞的理念上，还是在具体的内容上，都存在着不容忽视的差异。

本文就中西方修辞观念的差异进行论述，以期给我国修辞学的发展带来一些思考。

关键词：修辞学中西方差异自古以来，中西方都十分重视修辞艺术。

古希腊时期的亚里士多德就把修辞术当作一种演说的艺术，我国先秦时期的游说者最早凭借精湛的修辞技巧，打动君王来实施政治主张，修辞作为一门古老的技巧，给人们的言语交际与思想沟通带来了巨大的影响。

然而，中西方不同的修辞观念也为修辞学的发展带来了不同的影响。

纵观中国和西方修辞学的历史，两者无论在修辞的理念上，还是在具体的内容上，都存在着不容忽视的差异。

本文就中西方修辞观念的差异进行论述，以期给我国修辞学的发展带来一些思考。

一、修辞研究观念的差异中西方在修辞研究上的重大差别就是西方重理论构建，而中国重辞格分析。

早在古希腊时期，亚里士多德就撰写了《修辞学》一书，构建了完整、统一的修辞体系。

他提出了修辞学的原则，即：构思、谋篇布局、演说技巧、演说风格，为整个西方修辞学奠定了基础。

其后，古罗马的修辞学家西萨罗对希腊的修辞传统作了改造，使之适应罗马社会的现实与文化。

他在《论构思》中，试图把修辞学与哲学统一起来，把修辞学当作一种对所有实践都有用的艺术来对待。

如果说西方古典修辞学的理论性还不是很强的话，近代修辞学则是学派林立，理论体系层出不穷。

如理查兹的修辞哲学、伯克的动机修辞学、佩雷斯的论辩修辞学、格拉斯的新人文主义修辞学、基尔兹的人类修辞学等，都各自提出了自己的修辞理论和体系。

Not marble, nor the gilded monumentsOf princes, shall outlive this powerful rhyme;But you shall shine more bright in these contentsThan unswept stone, besmear'd with sluttish time.When wasteful war shall statues overturn,And broils root out the work of masonry,Nor Mars his sword nor war's quick fire shall burnThe living record of your memory.'Gainst death and all-oblivious enmityShall you pace forth; your praise shall still find roomEven in the eyes of all posterityThat wear this world out to the ending doom.So, till the judgment that yourself arise,You live in this, and dwell in lovers' eyes.Sonnet 55 is one of Shakespeare's most famous works and a noticeable deviation from other sonnets in which he appears insecure about his relationships and his own self-worth. Here we canfind an impassioned burst of confidence as the poet claims to have the power to keep his friend's memory alive evermore.We should focus on the translation of this poem at first. Not marble, nor the gold-plated shrines. Of princes shall outlive the power of poetry. You shall shine more bright in these verses than on dust-covered gravestones, ravaged by time.When devastating war shall overturn statues and conflicts destroy the mason's handiwork, the cause of war (Mars) nor the effects of war (fire) shall destroy the living record of your memory (this poem). Against death and destruction, which render people forgotten,shall you push onward; praise of you will always find a place even in the eyes of future generations. That survives until the end of humanity.So, until you arise on Judgment Day,you are immortalized in this poetry, and continue to live in lovers' eyes.Then we will discuss its stylistics.First, we focus on this poem ’s rhyme. Sonnet 55 is a fourteen-line sonnet, metered in iambic pentameter:x / x / x / x / x /No marble, nor the gilded monumentsx / x / x / x / x /Of princes, shall outlive this powerful rhymeIt consists of three quartrains followed by a couplet. The rhyme scheme is ABABCDCDEFEFGG.Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme But you shall shine more bright in these contents Than unswept stone, besmeared with sluttish time When wasteful war shall statues overturnAnd broils root out the work of masonry Nor Mars his sword nor war’s quick fire shall burn The living record of your memoryGainst death and all-oblivious enmityShall you pace forth, your praise shall still find roomEven in the eye of all posterity That wear this world out to the ending doom So, till the judgment that yourself arise You live in this, and dwell in lover ’s eyesSecond, we focus on this poem ’s metaphor. The poet uses metaphors like marble, monuments, and stone in the first four lines to say that none of them will be as everlasting as this poem. Then he says that war and broil may destroy many tough things like statues and masonry, but not people ’s memory of you ——the hero in this poem. It will survive your death and all the powers which work against you.You shall still move on, people will always honor you even their offsprings will praise you forA B A B C D C D E F E F G Gwhat you have done now. We will always remember you and your behaviors until you are judged reasonably.Third, we focus on this poem’s comparisons. Comparisons are frequently used in this sonnet as a foregrounding to the ideas that the poet wants to convey. At the beginning he compares the marble and monument with the rhyme, and tells us that the rhyme will outlive all these things as time goes by.He uses comparison again in the third and fourth lines to say it again that this rhyme will be everlasting. Again in the fifth and sixth lines he uses comparison to highlight his idea that this poem, this rhyme will survive time, the fire of war.The ninth line begins to say something different from the first eight lines. He begins to talk about some abstract subjects like enmity, judgment, praise, and memory. But in the last couplet he concludes with so to say that you will always be remembered by your offspring till you are fairly judged by history. He uses the Christian concept in the last two lines about the arising of the hero.Fourth, we focus on this poem’s alliteration. He uses alliteration in the first line with not and nor to connect the two objects. Then h e uses “shall shine” for alliteration to make the internal rhyme. Alliteration is also used with “wasteful war shall statues” in the fifth line to make the internal rhyme.Fifth, Repetition is also used with the sentence pattern like you shall or shall you. It makes readers to feel the strong feelings of the must of immortalization.Finally, Inversion is used in several lines. The fifth line should be: when wasteful war shall overturn statues , and the eighth and ninth lineshould be:you shall pace forth against death and all-oblivious enmity.Sonnet 55 is a poem about time and immortalization. The speaker claims that his beloved will wear out this world to the ending doom. The speaker's poem won't last much compared to his beloved, even though his beloved is immortalised in the poem, adhering to a larger theme of giving and possessing that runs through many of Shakespeare's sonnets.This poem, however, emphasizes the concept of time slightly differently. He argues that the sonnet traces the progression of time, from the physicalendeavours built by man (monuments, statues, masonry), as well as theprimeval notion of warfare depicted through the image of "Mars his sword" and "war's quick fire", to the concept of the Last Judgment. The young man will survive all of these things through the verses of the speaker.Although the poet's previous pride in writing verse is missing in this sonnet, he still manages to demonstrate a superbly confident spirit: "Not marble, nor the gilded monuments. Of princes, shall outlive this powerful rime." He clearly abandons, at least for the time being, his earlier depressing opinion of his verse as "barren rime," for next he contrasts his verses' immortality to "unsweptstone, besmeared with sluttish time," meaning that the young man will be remembered longer because of the poet's having written about him than if descriptions of his beauty had been chiseled in stone.The next four lines address the same theme of immortality, but now the poet boasts that not only natural forces but human wars and battles cannot blot out his sonnets, which are a "living record" of the youth. Monuments and statues may be desecrated during war, but not so these rhymes.In the first seventeen sonnets, the poet worried about death's effect on the youth's beauty and questioned the nature of his sonnets' reputation after both he and the young man died. Now, however, in lines 9 through 12, he boldly asserts that death is impotent in the face of his sonnets' immortality: To the youth he says, "Against death and all-oblivious enmity, shall you pace forth." In fact, he asserts that the young man's name will be remembered until the last survivor on earth perishes: "your praise shall still find room. Even in the eyes of all posterity. That wears this world out to the ending doom." Only then, when no one remains alive, will the youth's beauty fade, but through no fault of the youth or the poet.This notion of "the ending doom" is the main point in the concluding couplet. The syntax of line 13"So, till the judgment that yourself arise" is confusing, restated, the line says, "Until the Judgment Day when you arise." The poet assures the youth that his beauty will remain immortal as long as one single person still lives to read these sonnets, which themselves will be immortal.Sonnet 55 symbolizes nothing but the rhyme and the poem will be everlasting as time goes on. The rhyme and the poem which can be a metaphor for justice were conducted by all kinds of heroes. Inthis way he is not only talking about the poem but also writing as an important matter of art and literation. Shakespeare shows that thepower of words and languages is much greater than wars, statues, and monuments which is the toughest thing in nature. It is significant that all Shakespeare’s work remains as masterpieces for us till now after almost five hundred years. He and his work elaborate the power and beauty of words and languages.。

西方修辞学复兴视阈下的韦恩·布斯修辞理论研究纵观西方修辞思想史,修辞学大致经历了四个发展阶段:古典时期、中世纪时期、文艺复兴时期和二十世纪修辞学复兴时期,总体上呈现为螺旋式上升的趋势。

这段曲折而悠长的修辞学发展史,激发着后人产生新的智性感悟。

当代美国人文学者韦恩·布斯是二十世纪修辞学复兴时期的优秀代表人物之一,他致力于将修辞发展成一门能够指导一切交流活动的基础学科,在文学批评和修辞学领域都产生了里程碑式的影响。

国内关于布斯修辞理论的研究多集中在其成名之作《小说修辞学》中的几个概念上,尚无相对系统的相关研究著述。

因此,本文将聚焦于布斯的修辞和伦理批评理论,以其核心著作《小说修辞学》、《反讽修辞学》、《现代教条与同意修辞》、《批判性理解:多元批评的力量和局限》和《修辞的修辞:寻求有效交流》为个案研究样本,兼顾其它论著、论辩论文和相关的小品文,从布斯“一切叙事皆修辞”的修辞视角出发,将其著作置于西方修辞理论史和修辞复兴视域中,不断进行纵向和横向对比分析,抽丝剥茧地对布斯原典进行相对全面系统的探究,以期发现蕴含在其中的理论体系,为国内文学批评及修辞学发展开拓新视野。

笔者通过研究发现,布斯修辞理论的核心为“同意修辞”、“信任/倾听修辞”、“双向理解”,这对反驳修辞复兴时期的现代教条、构建“良愿修辞”理论体系提供了理论依据;布斯的“隐含作者/读者”和“可靠/不可靠叙述者”等概念则为理解阅读过程、阅读策略和修辞本质提供了新视角;其独创术语“共导”则为文学批评开辟了崭新的修辞伦理批评语境。

同时,本文还通过探讨布斯的修辞伦理批评观及其哲学思想的多元基源,进一步发现,从《小说修辞学》的“内在批评”到《小说伦理学》的“外在批评”,布斯对于修辞的关注是一以贯之。

其理论在继承亚里士多德、新亚里士多德学派及伯克理论的基础上,又有所超越,使其理论表征出由内而外的发展轨迹。

从学术史上看,布斯小说修辞理论对小说修辞和文学批评理论做出了突出贡献,在二十世纪修辞复兴的大环境下发挥着承上启下的重要作用。

西方人文主义修辞学研究，最值得一提的是格拉斯的“新人文主义”修辞学。

格拉斯在肯定意大利人文主义修辞学传统的前提下，对这一优良传统进行了重新诠释。

他认为：修辞学是生成真理、而不仅仅是传达真理的手段；通过修辞，人类适应了他所生活着的世界。

格拉斯坚持认为，修辞学优越于哲学，修辞言语的价值在哲学的理性言语之上；修辞言语与人类生活密切相关，人类通过隐喻等修辞方式去理解和诠释人类的经验。

与其他的人文主义者一样，他认为理性言语、理性知识是不完善的，因为它没有考虑到社会和生活的特殊环境，没有考虑到修辞的特殊语境。

格拉斯从人文主义的视角关注语言、关注修辞，把语言和修辞当作了解世界的方式和途径，这与笛卡尔的理性主义形成直接的鲜明的对照。

格拉斯的人文主义所关注的修辞学，“并不是人们一直所解释的那样，只是一种表达逻辑演绎内容的方式，而是真正的哲学，因为它紧紧抓住人类存在的基本问题，理性演绎只能建立在这个基础之上”(温科学，2006：241)，“它所关注的并不是存在的问题，而是词的问题、隐喻思想问题，是对修辞思想哲学的功能的认识问题”(温科学，2006：61)。

对格拉斯人文主义修辞学来说，如果不同时考虑那些词语的使用、使用词语的人和语境，不考虑隐喻的特殊性，意义便不能被理解。

“因为事物的意义来源于事物与人的具体关系以及人类认真对待这些事物的努力”(温科学，2006：250)，修辞学是真正的哲学而不是逻辑推理，因为它努力克服人类存在的基本问题——以人类了解世界、解释世界和创造世界的基本过程为基础问题。

很显然，格拉斯人文主义修辞学比以往任何人文主义修辞学，对语言都具有更大的解释力。

Western humanism rhetoric studies, most notably glass "new humanism" rhetoric.Glass on the premise of certain Italian humanistic traditions, reinterpretation of the fine tradition.He think: rhetoric is to generate the truth, not just the means of conveying truth;Through the rhetoric, the human adapted to the world he lived.Glass insists that rhetoric is superior to philosophy, the value of the rhetoric words on rational words of philosophy;The rhetoric words is closely related to human life, human through metaphor and other rhetorical means to understand and interpret the human experience.Like other humanists, he thought that rational speech, rational knowledge is not perfect, because it does not take into account the social and the special environment of life, without considering the special context of rhetoric.Glass from the Angle of humanism focuses on language, rhetoric, the language and rhetoric as a way to understand the world and the way, this form directly with cartesian rationalism in sharp contrast.Glass humanism concern rhetoric, "is not always explains, was a way to express logic deductive content, but true philosophy, because it hold the basic problems of the human, rational deduction can only be based on the", "it is not of concern problems, but a word, the metaphor thought, is the understanding of the function of the philosophy of rhetoric problem".For glass humanism rhetoric, if not consider the use of words, the use of words and the context, not to consider the particularity of metaphor, meaning cannot be understood."Because the meaning of things from things and people, and the relationship between human effort" take these things seriously, rhetoric is not the real philosophy logic, because it tried to overcome the basic problems of the human - human understand the world, explaining the world and to the creation of the world based on the basic process of problem.Obviously, glass humanism than any previous humanism rhetoric, rhetoric of language has more explanatory power.当代修辞学更是吸收了欧洲许多世纪以来的哲学、语言学、社会学、心理学、交际理论、话语理论、文学批评乃至人类学的研究成果，形成了一个涉及范围广泛、内容更加丰富的跨学科系统；但是它的人文色彩从没有被削弱，修辞学日渐成为人们认知社会、阐释意义、协调社会关系、探索未知甚至是解决人类生存的困惑的重要的话语模式。

西方修辞视角下的“洪荒之力”文章追溯了“洪荒之力”的起源，阐述了西方的修辞理论，并以这一理论具体分析了“洪荒之力”强势传播的动因，主要是因为修辞者自身的人格魅力和新媒体时代修辞情境的变化：社交媒体成了话语流通的重要平台，以及作为受众的网民规模和低龄化的发展及其从众心理。

标签：“洪荒之力”；修辞情境；社交媒体；受众一、“洪荒之力”的起源“洪荒”二字的起源于南北朝时期，梁武帝为了普及教育，命周兴嗣编撰《千字文》，里面的头一句便是“天地玄黄，宇宙洪荒。

”《辞海》中，将“洪荒”一词解释为混沌、矇昧的状态，也指远古时代。

传说天地初开之时，曾经有过一次大洪水，几乎毁灭了整个世界。

因此，洪荒之力指的是天地初开之时这种足以毁灭世界的力量。

受热播仙侠剧《花千骨》的影响，剧中“洪荒之力”多次出现，被人们熟悉，但并未带动全民使用“洪荒之力”。

而2016年里约奥运会上，当中国游泳小将傅园慧顺利晋级100米仰泳决赛后，接受央视记者采访时说：“我已经用了洪荒之力啦。

”播出后不久，“洪荒之力”便出现在各大网络平台，甚至引发了国外媒体的争相报道，同时也引起了语言学界的热议。

“洪荒之力”为何会取得如此空前的传播效果？文章将从西方修辞学角度解读该词并探讨引起其广泛流传的原因，以期对该流行语的研究提供新的视角。

二、流行语“洪荒之力”与西方修辞不同于中国的“修辞”概念，当代西方修辞学家将修辞定义为“通过象征手段影响人们的思想，感情，态度，行为的一门实践”。

[1]而语言作为一种象征手段则是取得修辞效果的一种重要手段。

里约奥运会上，傅园慧面对记者的采访时，不拘一格的回答，为其赢得了空前的反响。

根据网络上的数据统计显示，仅仅在视频播出两天之内，傅园慧的微博粉丝量从原先的16万达到300多万，涨了将近20倍，并被广大网友们称之为“洪荒少女”。

由此可见，傅园慧这段简短的答记者问在网络媒体上有效地影响了人们对该运动员的看法，感情，态度以及行为，是一种典型的修辞实践，而流行语“洪荒之力”的使用则是她的修辞取效手段。

浅议中西方修辞差异【摘要】本文试图以中西对修辞的对象、修辞目的的角度来探讨中西修辞的不同。

【关键词】中西修辞传统；差异；修辞目的；东西修辞在各自的文化土壤，各有发展特色“同”与“异”并存。

如东西方修辞学都关注人类的语言交流的修辞规律、方法和、手段，以及修辞的影响和功能。

(胡成花&陈汝东，2008:67)但在研究对象、修辞层面及修辞追求却各不相同。

在对受众的反应上，国内的研究传统关注修辞活动，不太重视修辞接受者，而西方恰恰相反。

(温科学，2009:172)。

在研究对象上，中国早期修辞更关注书面语写作的手段、方法、风格以及原则。

西方修辞学从一开始就把关注对象聚焦在演讲、辩论上。

(胡成花&陈汝东，2008:67-68)。

在研究层面上，汉语修辞研究看中语料整理，重视文本的梳理与归纳。

西方修辞学则既关注微观材料，也有社会与哲学方面的思考。

(鞠玉梅,2011:114)。

综上，中国修辞传统为以立言者为中心，而西方修辞是与社会互动为主的论辩修辞。

1.以立言者为中心的语言修辞对比以社会互动为主的论辩修辞以立言者为中心的语言修辞是指修辞为立言者单方面的修辞活动，并视语言为表达工具，主要受到其修辞功用的影响。

如《易经》认为“修辞立其诚”。

庄子认为“言之所尽”，“得意而忘言”(《庄子.夕物》)。

孔子也认同“辞达而已”(《论语卫灵公》)。

现代学者宗廷虎认为修辞就是言要达意。

(宗廷虎，1983:38)，陈望道认为言要传情。

(陈望道，2001:3)由于语言被视为表达言说者真实想法的工具，受众也更喜欢揣摩“言外之意”，当心意被通晓之后，连工具都在人的视野中消失了。

基于这种修辞传统，自然是以立言者为主体的修辞活动而非受众。

西方修辞活动以涉及治理社会、制定社会规则等方式直接参与、构成人们的生存方式，因此人们开始对它进行反思、探索、总结。

于是修辞学逐渐成为一个重要的研究领域，自罗埃德比彻(Lloyd Bitzer)提出“修辞形势”，修辞的目的不仅是为了取得最佳语效，而是在一定的修辞形势之中，修辞者和受众在取得相互认同。

修辞学论文就希特勒入侵苏联而发表的演说——修辞赏析本文是英国前首相丘吉尔在德国人入侵苏联后发表的广播演讲，号召英国人民摒弃前嫌，团结一切可以团结的力量，共同抗击法西斯。

在演讲中，丘吉尔使用了大量的排比句式，同时还有发文等修辞手段，时演讲富有感染力，号召力。

本文将会从不同的修辞手法出发，对本文进行一个系统的修辞分析，以求尽己所能对文章加以分析研究使大家对本文有更加深刻的认识。

Parallelism：（排比）In grammar, parallelism is a balance of two or more similar words, phrases, or clauses. The application of parallelism in sentence construction improves writing style and readability. Parallelism may also be known as parallel structure or parallel construction. In English, parallelism of the predicate provides for one of the few structural situations in which the subject for each verb does not need restatement.排比是一种修辞手法，利用三个或三个以上意义相关或相近，结构相同或相似和语气相同的词组（主谓/动宾）或句子并排，达到一种加强语势的效果。

它可使文章的节奏感加强，条理性更好，更利于表达强烈的感情。

在本文中，丘吉尔运用了大量的排比句式来支撑他的观点，这些排比句式使内容集中，增强气势；叙事透辟，条分缕析；节奏鲜明，长于抒情。

In t his text, the sentences as follows are all parallelism structure:1.The past, with its crimes, its follies, and its tragedies, flashes away.2.I see,...I see...I see…3.the return of the bread-winner, of their champion, of their protector.4.We shall fight him by land, we shall fight him by sea, weshall fight him i n the air5.Any man or state... Any man or state...6.Let us... Let us…在这一部分中，丘吉尔使用的排比句式有很大的不同，部分选用句子排比，部分选用词语排比，部分选用了短语上的排比，通过使用这一系列的排比句式，可以说在语言感染力的表达上远胜于了空洞的说教和吟唱！此外，在他的演讲中，这种形式的排比句式屡见不鲜，但是却让人读起来琅琅上口，层次选用较为分明，并不是毫不逻辑的生拉硬套。

西方修辞学视域下的修辞能力构建及其当代意义李　克摘　要：修辞能力是西方修辞学理论体系的重要组成部分。

修辞能力虽耳熟能详，但现有研究中却鲜见对修辞能力核心要素的构建。

修辞能力一般被视作修辞者的一种内在属性，是修辞者为履行修辞任务必须具备的各种具体能力的总和，因而其包含的内涵较丰富。

鉴于此，为提炼修辞能力的内涵，本文将基于西方修辞学发展历程中的两个重要阶段——古典修辞学与新修辞学，尝试从修辞的定义出发厘定修辞能力。

依据修辞的概念范畴可知，修辞者、修辞对象、修辞情境、修辞策略与修辞目的是界定修辞能力的重要因素。

笔者在界定古典修辞学与新修辞学视域下修辞能力概念的基础上，归纳出修辞能力的基本概念，认为把握修辞能力的概念对促进外语能力以及国家修辞能力研究都有着重要的启示意义。

关键词：修辞能力；修辞；西方修辞学；国家修辞能力［中图分类号］H315 DOI：10.12002/j.bisu.238［文献标识码］A ［文章编号］1003-6539（2019）04-0020-14引言修辞能力作为西方修辞学领域的基本概念，伴随西方修辞学的发展已具备一定程度的学理积淀。

早在西方古典修辞学时期，《论言说者》（De Oratore）的作者Cicero与《论言说者的教育》（Institutio Oratoria）的作者Quintilian等古典修辞学家就曾直接或间接论及修辞能力，Aristotle（1954：24）关于“修辞是在每一件事上发现可用的劝说手段的能力”的论述明确将修辞能力与修辞概念紧密关联，为修辞能力研究提供了重要的思路。

目前基于西方修辞学的修辞能力研究主要包括Sproule（1991/1997）、Arthos（2011）、刘亚猛（2004）、鞠玉梅（2008）、鞠玉梅和彭芳（2014）等。

其中，美国传播学会（NCA）前会长Sproule在西方古典修辞学知识谱系下依托亚氏理论对修辞能力的表现形式进行的探索较具开拓性。