传统及当代汉语“用典”规范的当代修辞观  

Norms for Allusions in Traditional & Contemporary Chinese Revisited in Contemporary Rhetoric's Light

作　　者：秦亚勋[1] 姚晓东[2] 

机构地区：[1]福建师范大学外国语学院,福建福州350007 [2]北京林业大学外语学院,北京100083

出　　处：《福建师范大学学报（哲学社会科学版）》2014年第1期64-70,共7页Journal of Fujian Normal University:Philosophy and Social Sciences Edition

基　　金：中央高校基本科研业务费专项资金项目(项目编号:RW2013-31)的阶段性成果

摘　　要：国内用典研究一直未能走出"各唱各调,互不相关"局面。事实上用典研究自身也是一种修辞实践,"各唱各调"是学术发明的催生剂,"互不相关"倾向则应予以克服。本文融合西方"新修辞"理论资源,推出"受众+动机"的用典研究新范式。研究认为:要准确看待"僻典"及传统和当代用典观,详细考察文本与受众主体和作者创作动机之间的微妙戏动;用典之所以历久不衰,主要应归因于用典赋予作者邀请受众进入修辞互动的机会。Domestic scholars in allusion studies tend to argue their own cases without due consideration to viewpoints of others＇. Considering these studies per se constitute a rhetorical operation, we contend that while the articulation of independent opinions is a testimonial to scholarly inventiveness, apathy to viewpoints of others＇, however, is inadvisable. Bricolaging the ideas of contemporary western rhetoric, we come up with an ＂Audience ＋ Motive＂ paradigm. In its light, to aptly appreciate ＂obscure allusions＂ in particular and views on allusions in general demands scrupulous attention to the tricky play among text, audiences and the rhetor＇s motive of invention. Audiences＇ opportunities of engaging the rhetor at the latter＇s invitation account for the sustained interest in the use of allusions.

关 键 词：用典 受众 动机 戏剧五元模式 含蓄 

分 类 号：H05[语言文字—语言学] I05[文学—文学理论]