本文選題：修辭　切入點(diǎn)：象征　出處：《福建師范大學(xué)》2012年碩士論文

【摘要】：“印象系列”是當(dāng)今中國文藝界新興的一種藝術(shù)形式,并且開始在全國多個(gè)地方陸續(xù)上演。許多類似的藝術(shù)手法都只能短時(shí)間吸引觀眾的注意力,可唯獨(dú)這一系列長時(shí)間廣受關(guān)注,并且還正繼續(xù)擴(kuò)充和發(fā)展。這是本文之立意背景。 國內(nèi)學(xué)術(shù)界已從經(jīng)濟(jì)、政治、文化、旅游、藝術(shù)甚至環(huán)保等角度對(duì)“印象系列”進(jìn)行了積極有益的探討與研究。然而由于種種原因,未能從西方修辭學(xué)的角度予以關(guān)注和研究,這是展開本研究的動(dòng)力所在。 西方修辭學(xué)雖然在傳統(tǒng)上曾被等同于“言說的藝術(shù)”,“說服的藝術(shù)”,其象征手段似乎只跟“語言”應(yīng)用相關(guān),但實(shí)際上,它所涉及的“非語言”因素遠(yuǎn)遠(yuǎn)超過了人們想象的范圍。近代修辭學(xué)實(shí)際上大大延伸了傳統(tǒng)的“象征”定義,使之涵蓋了以語言為代表的一切標(biāo)記和符號(hào),包括語言的和非語言的�！坝∠笙盗小笔切鲁霈F(xiàn)的一種重要藝術(shù)形式,其興起和成功的原因若能從西方修辭學(xué)的象征角度進(jìn)行解釋,則表演方和觀眾必定都受益。 西方修辭學(xué)無論從定義、本質(zhì),還是內(nèi)涵與外延看,都離不開修辭者／受眾這一根本關(guān)系；任何一個(gè)修辭事件都是兩者關(guān)系的互動(dòng)而形成的�！坝∠笙盗小钡木帉�(dǎo)和觀眾之間的關(guān)聯(lián)從本質(zhì)上說是一種獨(dú)特而典型的修辭者／受眾關(guān)系。本文以此為突破口,重點(diǎn)探討“印象系列”編導(dǎo)者如何在修辭實(shí)踐中通過語言象征手段(主要是傳統(tǒng)的“施壓”方式)勸說受眾,以及通過非語言象征手段(主要是以伯克為代表的修辭學(xué)者提出的“認(rèn)同”策略)順應(yīng)受眾,最終贏得受眾的信服,取得預(yù)期的修辭效果,從而進(jìn)一步揭示修辭者與受眾之間操控與反操控的深層關(guān)系。本文還以“印象大紅袍”為案例,從修辭學(xué)的角度分析了“印象系列”中存在的不足之處。 本文采用西方修辭學(xué)角度,遵循理論聯(lián)系實(shí)際原則,采取描述性、歸納性、橫向與縱向、歷時(shí)與共時(shí)相結(jié)合的闡述與論述等方法開展相關(guān)研究。本文認(rèn)為：掌握西方修辭學(xué),并在公共話語以及“非語言”方式的修辭互動(dòng)中,善于開發(fā)各種修辭資源并靈活運(yùn)用各種修辭策略,不僅對(duì)以“印象系列”為代表的中國當(dāng)代文藝作品達(dá)到互動(dòng)目的、取得修辭效果具有啟發(fā)意義,更是修辭者／受眾雙方在修辭互動(dòng)中提高修辭意識(shí)、獲得“雙贏”效果的必經(jīng)之路與根本途徑。
[Abstract]:Impression Series is a new art form in Chinese literature and art circle, and it has been performed in many places in China.Many of these techniques are only short-term, but they are the only ones that have attracted a lot of attention for a long time and are continuing to expand and develop.This is the background of this paper.The domestic academic circles have carried on the positive and beneficial discussion and research on "impression series" from the angle of economy, politics, culture, tourism, art and even environmental protection.However, due to various reasons, it is the motive force of this study to pay attention and study from the perspective of western rhetoric.Although Western rhetoric has traditionally been equated with "the art of speech" and "the art of persuasion", its symbolic means seem to be related only to the application of "language", but in fact,It involves "non-verbal" factors far beyond one's imagination.In fact, modern rhetoric has greatly extended the traditional definition of "symbolism" to cover all marks and symbols represented by language, including linguistic and non-linguistic.Impression Series is an important new art form. If the reasons for its rise and success can be explained from the symbolic perspective of western rhetoric, both the performers and the audience will benefit.In terms of definition, essence, connotation and extension, Western rhetoric is inseparable from the fundamental relationship of the rhetorical person / audience, and any rhetorical event is formed by the interaction of the two.The relationship between the director of impression series and audience is essentially a unique and typical rhetorical / audience relationship.Taking this as a breakthrough, this paper focuses on how the editor of "impression Series" persuades the audience by means of linguistic symbolism (mainly traditional "pressure") in rhetorical practice.And by means of non-verbal symbolism (mainly the "identity" strategy proposed by Burke's rhetorical scholars), the audience will be convinced and the expected rhetorical effect will be achieved.It further reveals the deep relationship between manipulation and anti-manipulation between the rhetorical and the audience.Taking impression Da Hong Pao as an example, this paper analyzes the shortcomings of impression series from the perspective of rhetoric.From the perspective of western rhetoric and following the principle of combining theory with practice, this paper adopts the methods of descriptive, inductive, horizontal and vertical, diachronic and synchronic exposition and exposition.This paper holds that: mastering the rhetoric of the West, and in the public discourse and "non-verbal" rhetorical interaction, is good at developing various rhetorical resources and using various rhetorical strategies flexibly.It is not only instructive for the Chinese contemporary literary works represented by "impression Series" to achieve the purpose of interaction and achieve rhetorical effects, but also to enhance the rhetorical awareness of the two sides in the process of rhetorical interaction.The only way and the fundamental way to achieve the "win-win" effect.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H15

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