“修辞”的诗学意义及其限度——论胡怀琛的修辞学研究  

On Hu Huaichen's Rhetoric

作　　者：卢永和[1] 

机构地区：[1]扬州大学文学院,江苏扬州225009

出　　处：《扬州大学学报（人文社会科学版）》2013年第2期93-99,共7页Journal of Yangzhou University(Humanities and Social Sciences Edition)

基　　金：教育部人文社会科学研究青年基金(12YJC752002)

摘　　要：晚清民国时期胡怀琛的修辞学研究关涉中国文学近现代转型的诸多诗学问题。胡怀琛认为修辞的目的在于美,故修辞学与文学相邻近,此观点契合中国古代源远流长的"文"学传统。从修辞层面看,胡怀琛认为文学只有写得好不好的问题,而不存在新旧中西的问题。胡怀琛强调情感为文学的第一位,由此为"修辞"在文学中的位置划界,同时也具调和新旧文学观念冲突的意涵。胡怀琛的修辞学研究通过文学语言运用实践,让读者切实感受到口号式文学革命观念如何落实在词、句、段等文学技术构造层面。胡怀琛由文言修辞学转向白话修辞学,可理解为新旧文学观念的折衷调适。In the years around the end of Qing Dynasty, Hu Huaichen＇s rhetoric concerned many poet- ic issues in Chinese modern literary transformation. He took beauty as the goal of rhetoric. Hence the adjacency of rhetoric to literature. This view of his fit the long history of the ancient Chinese tradition of literary form study. In terms of rhetoric, he thought literary works could be well or badly written, and the old or new and Chinese or Western were beyond question. He emphasized the primary status of emotion in literature, which located rhetoric in literature and reconciled the ideational conflict be- tween old and new literature. By means of the application of literary language in practice, his rhetoric rendered readers to understand how the slogan-like ideas of literary revolution were embodied in the technical construction of words, sentences, and paragraphs. Hu Huaichen＇s shift from classical to vernacular rhetoric can be understood as a compromise between the old and new literary ideas.

关 键 词：胡怀琛 修辞 修辞学 诗学 

分 类 号：H15[语言文字—汉语]