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簡(jiǎn)介:225RECEBIDODIA/MêS/ANOACEITODIA/MêS/ANOCIêNCIAENATURA,SANTAMARIA,V37PART12014,P225?236ISSNIMPRESSA01008307ISSNONLINE2179460XAPATTERNFORECOPARKDESIGNINBESHGHARDASHLANDSCAPEMOJGANGHORBANZADEH1,SEYEDHASANTAGHVAEI21INSTRUCTOR,DEPARTMENTOFARCHITECTURE,UNIVERSITYOFBOJNORD,BOJNORD,IRAN2ASSOCIATEPROFESSOR,DEPARTMENTOFLANDSCAPEARCHITECTURE,SHAHIDBEHESHTIUNIVERSITY,TEHRAN,IRANABSTRACTNOWADAYS,ATTENTIONTOSTRENGTHENENVIRONMENTALPROBLEMS,EFFECTEDFROMINCREASINGPOPULATIONANDPROCESSOFDEVELOPMENTINCOUNTRIES,ONEOFTHEMAJORCONCERNOFDESIGNERSISRECOGNITIONOFTHESUITABLECONDITIONSOFNATURALENVIRONMENT,ANDPROMOTIONOFTHEENVIRONMENTALQUALITYTHISCASEWITHFOCUSTOPRESENTCAPABILITIESANDUSESOFBIODIVERSITYANDDOMESTICISAPPLIEDECOPARKISONEOFTHECAPABILITIESWHICHHAVEBEENDESIGNEDTOTHEFOLLOWINGOBJECTIVESPROTECTIONOFENVIRONMENTANDENVIRONMENTALTECHNOLOGYPROGRESS,PROMENADEANDDEMONSTRATE,LEARNINGINFORMATIONFORPUBLICANDDISPLAYINGUNIFICATIONBETWEENNATUREANDHUMANANDTHEIRMUTUALRELATIONSHIPFORPROMOTIONTHECOMPREHENSIONOFENVIRONMENTTHISPAPERISABOUTINVESTIGATIONANDRECOGNITIONOFCAPABILITIES,FORCREATINGTHESUITABLESITUATIONTOCHANGEASREGIONALECOPARKTHECASESTUDYISNAMED“BESHGHARDASH“THATISLOCATEDIN5THKILOMETERSBODJNOURDCENTEROFNORTHERNKHORASANPROVINCETHISREGIONHASAPPROXIMATELY380HECTARESAREAANDLOCATEDINCOLDANDDRYCLIMATE,WHICHISONEOFTHEATTRACTIVETOURISMCENTERSINTHISREGIONTHISSTUDYISBASEDONFOURPRINCIPLESASTHEFOLLOWINGPROTECTIONPRINCIPLE,DEVELOPMENTPRINCIPLE,PRINCIPLEOFRESPONSIBILITYTOPUBLICWELFAREINPRESENTANDFUTURE,ADAPTINGWITHSITUATIONSPRINCIPLEFINALLYPATTERNOFDESIGNINGTHEBESHGHARDASHECOPARKFOLLOWINGTHEOBJECTIVESWHICHAREINSUSTAINABLEENVIRONMENTANDCANSAYTHATBESHGHARDASHECOPARKISANATURALENVIRONMENT,WHICHMOREOVERTOVERIFYTOENVIRONMENTALVALUESCANANSWERTHESUSTAINABLEDEVELOPMENT,LIKEIMPROVINGTHEHUMANSLIFEQUALITYKEYWORDSECOPARK,BESHGHARDASH,SUSTAINABILITY,SEMIARIDLANDSCAPE227RECEBIDODIA/MêS/ANOACEITODIA/MêS/ANOCENTEROFPROVINCEOFNORTHERNKHORASANINNORTHEASTOFIRANSEEFIGURE1THEWORD“BESHQARDASH“INLOCALLANGUAGEMEANSFIVEBROTHERSACCORDINGAHISTORICALTRUTH,THESEBROTHERSHADTAKENREFUGEINTHISAREAFROMTYRANNYOFMONGOLGOVERNORSANDHADFOUGHTAGAINSTTHEMSUCHNATURALANDHISTORICALAREAINCLUDESARUNNINGSPRING,VERYOLDTREESMORETHAN100YEARSOLD,MANYBROOKSANDSTREAMS,ANDOLDTOMBWITHABEAUTIFULBLUECOLORDOMEWHICHHASVIEWAMONGTHEOLDTREESBRANCHESTHISPLACEISSURROUNDEDBYROCKMOUNTAINSANDHILLS,INCLUDINGA30MHIGHHILLONTHEEASTWITHFIVESPRINGEMERGINGONITSFOOTTHEMEDICALEXPERTSBELIEVETHATTHEWATERFROMTHESPRINGISBENEFICIALFORSOMEMEDICALANDHEALINGPROPERTIESITUNBELIEVABLYBENEFITSFROMAPERMANENTSPRINGPER10KILOMETERSANDINFACT,NOOTHERPLACEHASKNOWNWITHSUCHAUNIQUESITUATIONINTERMSOFWIDESPREADSPRINGSINMOUNTAINENVIRONMENTTHEREFORE,THECITYCOMPREHENSIVEDESIGNINSISTEDONBESHGHARDASHPROJECTBECAUSEOFITSNATURALPOTENTIALSABUNDANTDRINKINGWATER,SUITABLEMORPHOLOGY,NATURALANDARTIFICIALCOVERAGE,ITSAVAILABILITYANDNEARACCESSTOBOJNORDCITYEITHERONFOOTORBYCAR3ENVIRONMENTALAPPROACHESAND“ECOLOGISTLANDSCAPEDESIGN”DURINGTHEENVIRONMENTALCHALLENGESONTHEBEGINNINGOF20THCENTURY,THEREAREMAJORAPPROACHESTONATUREANDENVIRONMENTALVALUETHATEMERGEDFROMRETURNINGTOUNDERSTANDINGOFVERNACULARTACITKNOWLEDGE,ANDECOLOGICALAPPROACHESOFACADEMIESAROUNDTHEWORLDTHESEISSUESHADWIDERANGEEFFECTONDESIGNTHEORIES,PLANNINGANDPRACTICEINTHEMIDDLEOFLASTCENTURYINADDITION,THERELEVANTLITERATURESPANSANIMMENSERANGEFROMANCIENTRELIGIOUS,SPIRITUALANDEVENMYTHICALREFERENCESTOMODERNTECHNICALANDSCIENTIFICSTUDIESIN1986,TYLORASBIOLOGYBASEDSCIENTISTSHASBEENPROPOUNDEDENVIRONMENTALETHICSWHOHASADEEPRESPECTFORNATUREINTYLOR’SOPINION,NATURALBEHAVIORSARESUITABLEPATTERNFORASSIGNINGHUMANNATURERELATIONITISTHESTRUCTUREANDOPERATIONOFEARTHECOSYSTEM,WHICHCLARIFIESTHETRUERELATIONBETWEENHUMANANDWORLDSNATUREECOLOGICALBALANCEBETWEENORGANISMSASWELLASTHEMANDTHEIRENVIRONMENTINAHEALTHYECOSYSTEMSHOULDBEOURGUIDANCEINFORMATIONOFAHUMANCULTURECOORDINATEDWITHNATURESSYSTEM?6?ASABASICENVIRONMENTALECOLOGICALTHEORYANDECOCENTRICTHOUGHT,IANMCHARG’SPRESENTATIONOFAN“ECOLOGICALMETHOD”FORREGIONALPLANNINGANDDESIGNEXPRESSESSOMETHINGOFAESTHETICMOTIVATIONUNDERLYINGTHEMETHODDURINGFORTYYEARSTHEBOOKOFDESIGNWITHNATURE1996BYMCHARG,HADINTENSIVEEFFECTONPLANNINGANDDESIGNTHEORIESANDMETHODS“WHILEMCHARGADVOCATEDHISTHEORYAND,FORTUNATELYJOHNTLYLE’SLONGTERMRESEARCHESONENVIRONMENTALANDSUSTAINABLEDESIGNANDINPARTICULAR,HISIDEAREGENERATIVEDESIGNSETSPOWERFULEXPRESSIONOFAMOREADAPTIVEECOLOGICALAPPROACH”?7?LYLEBELIEVESTHAT“IFWEACCEPTTHATTHECURRENTLEVELOFECOLOGICALCONSCIOUSNESSISPARTOFTHEBEGINNINGOFALONGLASTING,FUNDAMENTALCHANGEINATTITUDESANDENVIRONMENTALVALUES,THENLANDSCAPEARCHITECTUREMUSTBEARALARGEMEASUREOFRESPONSIBILITYFORMAKINGAESTHETICSENSEOUTOFTHISATTITUDINALMETAMORPHOSIS”?8?ASALANDSCAPEARCHITECTANDSPECIALISTDESIGNEROFDESERTCLIMATE,JOHNCKRIEG?9?REGARDINGECOLOGYORIENTEDLANDSCAPINGANDCONSIDERINGECOLOGICALCHARACTERISTICS,SOMEOFIMPORTANTFACTORSOFHISIDEAABOUTDESERTDESIGNTECHNIQUESARESPEAKTHELOCALVERNACULAR,THEMEGARDENSEVOKEEMOTIONS,APPLYTHEUNUSUAL,MAXIMIZEVIEWS,INTRODUCEWATER,ANDINVITEWILDLIFEFIGUR11ANOVERVIEWOFBESHGHARDASH
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上傳時(shí)間:2024-03-13
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上傳時(shí)間:2024-03-13
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簡(jiǎn)介:中文中文4670字出處出處LIUDSTUDYONTEACHINGMETHODINNOVATIONOFARTDESIGNBASICCOURSESJHIGHEREDUCATIONOFSOCIALSCIENCE,2013研究藝術(shù)設(shè)計(jì)基礎(chǔ)課程的教學(xué)方法創(chuàng)新摘要教學(xué)方法是由教師應(yīng)用來完成教學(xué)任務(wù)的操作方法和技術(shù)。提高教學(xué)質(zhì)量的關(guān)鍵是合理和靈活使用適當(dāng)?shù)慕虒W(xué)方法,積極探索和改革合乎設(shè)計(jì)專業(yè)的特點(diǎn)和要求的教學(xué)方法對(duì)提高教學(xué)效果也是至關(guān)重要的。本文分析設(shè)計(jì)基礎(chǔ)的教學(xué)現(xiàn)狀和教學(xué)創(chuàng)新的前提,并結(jié)合作者最近幾年的教學(xué)實(shí)踐,試圖給出針對(duì)藝術(shù)設(shè)計(jì)基礎(chǔ)課程教學(xué)方法創(chuàng)新的意見和建議。關(guān)鍵詞藝術(shù)設(shè)計(jì);基礎(chǔ)教學(xué)方法創(chuàng)新教學(xué)方法是由教師應(yīng)用來完成教學(xué)任務(wù)的操作方法和技術(shù)。提高教學(xué)質(zhì)量的關(guān)鍵是合理使用適當(dāng)?shù)慕虒W(xué)方法。因此,依照設(shè)計(jì)專業(yè)的特點(diǎn)和需求探索和改革教學(xué)方法,并靈活地將它們應(yīng)用到教學(xué)方法和效果的提高上是非常必要的。作為現(xiàn)代藝術(shù)設(shè)計(jì)專業(yè)的基礎(chǔ)教育、基本設(shè)計(jì)課程在整個(gè)設(shè)計(jì)教學(xué)中發(fā)揮了重要作用。加強(qiáng)設(shè)計(jì)基本教學(xué)方法的改革和研究,這對(duì)培養(yǎng)學(xué)生堅(jiān)實(shí)的基礎(chǔ),敏銳的觀察力,獨(dú)特的創(chuàng)造性思維能力和其他相關(guān)的能力都是非常重要的。一旦提到過去,基本課程很容易與等效的技術(shù)風(fēng)格設(shè)計(jì)或相關(guān)技能操作水平聯(lián)系起來,它們強(qiáng)調(diào)過多的手頭練習(xí),而不是大腦訓(xùn)練和創(chuàng)造性思維能力的培養(yǎng)。從教學(xué)目的的角度來看,設(shè)計(jì),不管是基本設(shè)計(jì)或?qū)I(yè)設(shè)計(jì),始終是培養(yǎng)學(xué)生設(shè)計(jì)觀念、創(chuàng)造性思維能力、獨(dú)特的思維方式和個(gè)人魅力的一個(gè)完整的系統(tǒng)?;菊n程開始時(shí),刺激和影響學(xué)生的思維和薄弱,教學(xué)缺乏熱情,對(duì)基本教學(xué)較低的承認(rèn),自身限制等。同時(shí)學(xué)生相關(guān)方面主要包括模糊的學(xué)習(xí)目標(biāo),課程理解不足,自學(xué)能力差,缺乏興趣、學(xué)習(xí)方法不當(dāng)?shù)纫蛩?。?yīng)該從以上兩個(gè)方面來努力來提高和完善基本教育培養(yǎng),考慮教學(xué)和學(xué)習(xí),深入分析以修改和改良設(shè)計(jì)基礎(chǔ)教學(xué)和目標(biāo)創(chuàng)新。2.教學(xué)方法創(chuàng)新前提設(shè)計(jì)基礎(chǔ)課程的教學(xué)強(qiáng)調(diào)基礎(chǔ)和方法基礎(chǔ)和方法。這里的基礎(chǔ)是一個(gè)通用的概念,一個(gè)廣泛的概念,超過了主要的限制,會(huì)讓學(xué)生從整體的角度看設(shè)計(jì),沒有太大的壓力主要從創(chuàng)造力方面理解基礎(chǔ)。方法在這里指的是教學(xué)方法和思維方式。對(duì)于教師、教育理念的轉(zhuǎn)變和更新比僅僅是知識(shí)的傳遞更重要,系統(tǒng)化和合理的教學(xué)方法比無數(shù)漫無目的的設(shè)計(jì)實(shí)踐更有效。因此,設(shè)計(jì)基礎(chǔ)課程教學(xué)的探索和改革應(yīng)該建立在掌握和思考整個(gè)基礎(chǔ)課程體系的基礎(chǔ)上,否則,即使是最新的教學(xué)方法也沒有任何意義?;谧罱鼛啄甑幕A(chǔ)課程教學(xué),在基礎(chǔ)教學(xué)方法創(chuàng)新的建議中,完成創(chuàng)新需要幾個(gè)前提。21教師應(yīng)當(dāng)改變觀念,建立創(chuàng)新意識(shí)因?yàn)槔蠋熓墙虒W(xué)過程中的領(lǐng)導(dǎo)者的事實(shí),教師適應(yīng)現(xiàn)代藝術(shù)設(shè)計(jì)專業(yè)逐漸變化的需求的最好辦法是根據(jù)實(shí)際情況改變觀念,調(diào)整教學(xué)方法,更新知識(shí)結(jié)構(gòu),不斷實(shí)現(xiàn)和完善自身,以便以豐富的教學(xué)和設(shè)計(jì)經(jīng)驗(yàn)和相當(dāng)多的知識(shí)激發(fā)學(xué)生的興趣和積極性。教學(xué)方法和理念的更新來源于嚴(yán)密的知識(shí)體系,寬廣的專業(yè)視角,豐富的教學(xué)經(jīng)驗(yàn)、設(shè)計(jì)實(shí)踐和對(duì)專業(yè)前沿的掌握。適當(dāng)?shù)慕虒W(xué)方法和教育理念的建立是一
下載積分: 10 賞幣
上傳時(shí)間:2024-03-16
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大?。?0.03(MB)
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下載積分: 13 賞幣
上傳時(shí)間:2023-07-21
頁數(shù): 0
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簡(jiǎn)介:摘要20世紀(jì)以來,隨著經(jīng)學(xué)的式微,諸子學(xué)勃興,作為儒家重要經(jīng)典的孟子得到了多學(xué)科多領(lǐng)域的廣泛研究,文學(xué)研究是其中之一。縱觀百年孟子文學(xué)研究,有創(chuàng)獲亦有缺憾。就散文藝術(shù)而言,百年中研究者主要從孟子散文的語言藝術(shù)特色及其修辭技巧的運(yùn)用、論辯藝術(shù)及其氣勢(shì)風(fēng)格、文章的邏輯性及其文體特征等方面進(jìn)行了廣泛探討,取得了可觀的成績(jī)?;仡櫯c總結(jié)百年孟子散文藝術(shù)研究,分析其得失,探討新的研究路向,對(duì)進(jìn)一步深化孟子乃至先秦諸子散文藝術(shù)研究不無裨益。關(guān)鍵詞孟子;散文藝術(shù);研究;述評(píng)在思想史上,“孔孟”并稱,孟子以孔子學(xué)說的繼承者和捍衛(wèi)者而聞名,其思想的犀利和性格的剛烈在先秦諸子中獨(dú)樹一幟;孟子文章議論風(fēng)發(fā),文辭華贍,氣勢(shì)磅礴,奔放不羈,具有鮮明的個(gè)性和獨(dú)特的風(fēng)格,是極富感染力的文學(xué)散文。20世紀(jì)以來,傳統(tǒng)經(jīng)學(xué)瓦解,作為儒家重要經(jīng)典的孟子得到了多學(xué)科多領(lǐng)域的廣泛研究,文學(xué)研究是其中之一。關(guān)于孟子一書,研究者認(rèn)為,今存內(nèi)七篇其體式雖不脫語錄窠臼,但“所記對(duì)話,多于獨(dú)白,對(duì)話復(fù)以往復(fù)辯論之辭為多”1(P316);成書方式亦與論語出于弟子和后學(xué)眾手“論纂”不同,而是由孟子“與萬章、公孫丑等親炙弟子一次纂成,故全書一致耳”I2;論說方式與論語等春秋之文重在“立意”和“見志”的“陳述”有異,而更多帶有戰(zhàn)國(guó)之文的“論辯”色彩。在先秦儒家之文中,孟子素以富于“文學(xué)”性而著稱。郭沫若將其列為“戰(zhàn)國(guó)散文四大家”之首3,劉大杰稱揚(yáng)“當(dāng)代的儒家作品以孟子最有文采,他的散文對(duì)后世很有影響。”4(P81)縱觀20世紀(jì)的孟子文學(xué)研究,涉及面廣泛,從散文藝術(shù)的角度看,主要是從語言藝術(shù)特色及其修辭技巧的運(yùn)用、論辯藝術(shù)及其氣勢(shì)風(fēng)格、文章的邏輯性及其文體特征等方面展開的,取得了可觀的成績(jī)。本文著重就孟子散文藝術(shù),從以上幾個(gè)方面對(duì)百年的孟子文學(xué)研究狀況進(jìn)行簡(jiǎn)要回顧,并對(duì)其得失和未來的研究趨向作一個(gè)粗淺的評(píng)說與前瞻,以期為未來的孟子及先秦諸子散文藝術(shù)研究提供一些借鑒與啟示。一、語言特色與技巧研究關(guān)于孟子的語言特色,一般認(rèn)為與論語基本相同,屬語錄體,而多由對(duì)話所組成,明白曉暢、通俗易懂,但比論語更有文采和富于氣勢(shì)。柳存仁認(rèn)為,孟子之“記言文字,極見流利豐暢?!?(P70)劉大杰認(rèn)為“孟子的文章不僅文采華贍,清暢流利,尤以氣勢(shì)勝。”4(P83)譚家健發(fā)表于50年代中期的略談〈孟子〉散文的藝術(shù)特征一文6對(duì)孟文語言藝術(shù)特征作了細(xì)致而獨(dú)到的分析,認(rèn)為孟文語言給人的“第一個(gè)印象便是明白曉暢”,這是因?yàn)樗皇碌褡?,不用生僻的詞匯和蹩扭的句法,加之善于精工刻鏤,精辟準(zhǔn)確地使用詞匯,平實(shí)淺近,干凈利落,“有一種爽朗明快的風(fēng)格,給人樸素自然的美感”。譚氏并由人物語言入手,分析了孟子的人物形象,認(rèn)為孟文成功地塑造了一個(gè)生動(dòng)而復(fù)雜的孟子形象,他具有“豪爽直率、潑辣大膽的個(gè)性”,“鋒芒畢露、痛快淋漓的風(fēng)格”,“基本上是當(dāng)時(shí)先進(jìn)知識(shí)分子的代表”;而作為議論散文,既沒有曲折的情節(jié),也無法描寫繁復(fù)的活動(dòng),主要是利用個(gè)性化的人物語言,通過孟子自己說的話,“塑造一個(gè)栩栩如生的抒情主人公的形象”。在50年代初中期人們大多只注重諸子散文思想內(nèi)容的評(píng)判,而忽視其藝術(shù)特征探究的背景下,譚氏之論引人注目,而由人物語言入手鹽章鬯瞪⑽鬧械娜宋鐨蝸螅嗔釗碩課恍?。杨躬△茹暘—《毛I(xiàn)印返摹壩镅匝轄鞫鞒穸垌Ф鋼攏諫美鋇撓镅災(zāi)校髀蹲徘苛葉拭韉母星欏保埂懊獻(xiàn)擁男愿窕釹衷謚繳稀保傭浞值乇硐至嗣獻(xiàn)擁母魴蘊(yùn)卣鱗7(P354)。一些研究者從修充分地表現(xiàn)了人物的感情,因而孟子使用譬喻“不是邏輯思維的產(chǎn)物,而是情感聯(lián)想的產(chǎn)物,因此它也是抒情的”7(P354)。徐立認(rèn)為,孟子設(shè)喻取譬不僅數(shù)量多,而且豐富生動(dòng),“孟子設(shè)喻不拘一格,有的是眼前景物,有的是出于杜撰,有的是當(dāng)時(shí)的故事;有的夸張,有的幽默;有的一語破的,有的妙喻成串?!?8章滄授分析了孟子用喻的具體情況,認(rèn)為孟文或以物喻理,深入淺出,或以事喻理,情理顯豁;或以寓言喻理,入木三分,從而化抽象為具體可感,化深?yuàn)W為淺近通達(dá),因此,作者認(rèn)為“孟文用喻,自如嫻熟,搖曳多姿?!?管仁福孟、荀散文藝術(shù)比較19III,通過比較論析認(rèn)為,孟文用喻不僅多而廣,而且比喻手法富于創(chuàng)造性,作者往往根據(jù)不同的對(duì)象、不同的內(nèi)容設(shè)喻,既有針對(duì)性,又妙趣橫生,同時(shí)孟子的比喻富于想象力,并且通過與對(duì)比手法結(jié)合,以一些超乎常理的比喻使抽象的道理形象化。從上述可知,對(duì)孟文擅長(zhǎng)的譬喻手法的研究比較深入,實(shí)際上無論是單純的比喻,還是故事性的長(zhǎng)喻,為先秦諸子散文所共有,而孟文為人所稱道,是因?yàn)橛衅洫?dú)特的“個(gè)性”,從而形成了孟文特有的風(fēng)格,管文提供的思路當(dāng)有某種方法論意義。二、論辯藝術(shù)研究戰(zhàn)國(guó)諸子,好辯、善辯為時(shí)尚,而孟子尤以知言善辯著稱。孟子在中國(guó)文學(xué)史、美學(xué)史上第一次明確提出了“氣”這一概念,并把“養(yǎng)氣”和“知言”結(jié)合起來,“他所謂知言的本領(lǐng)植根于養(yǎng)氣,而養(yǎng)氣就是對(duì)自己本性中的善端,循乎自然地加以擴(kuò)充,不斷地進(jìn)行道義的積累”20(P112),具體運(yùn)用于在對(duì)話和論辯中,形成了孟文剛?cè)嵯酀?jì)而析義極精的論辯藝術(shù),充分表現(xiàn)了孟子散文鮮明的個(gè)性和獨(dú)特的與風(fēng)格。在對(duì)孟子論辯藝術(shù)的研究中,又大致集中在論辯方法技巧與論辯風(fēng)格兩方面。錢基博認(rèn)為孟子論辯“開辟抑揚(yáng),高談雄辯,曲盡其妙一縱一橫,論者莫擋?!?5(P33)段凌辰發(fā)表于20世紀(jì)30年代的〈孟子〉之辯論術(shù)一文21,對(duì)孟子的論辯技巧方法作了條分縷析的分析概括,奠定了孟文論辯藝術(shù)研究的基礎(chǔ)。另外,楊壽昌孟子文學(xué)之管見22、李長(zhǎng)之論孟子文章的特點(diǎn)及其在中國(guó)文學(xué)史上之地位23等一批早期論文,對(duì)孟文的論辯技巧也時(shí)有論及。而從文學(xué)散文的角度對(duì)孟子論辯藝術(shù)進(jìn)行理論研究,當(dāng)是50年代中后期以后。譚家健從文章結(jié)構(gòu)入手分析了孟子的論辯藝術(shù),認(rèn)為其特征是(一)抓住要害,突出中心,在論辯中“有如老吏斷獄”,一下子就能把握住問題的關(guān)鍵,作集中分析論證以服人;(二)脈絡(luò)分明,有條不紊,次序極為清楚,“簡(jiǎn)直是塊天成的織錦”;同時(shí)(三)又極富于騰挪跌蕩,搖曳多姿,在一問一答中逐步深入問題,穿插變幻章法,富于戲劇因素,“真是極盡曲折變化之能事”6。李竹君〈孟子〉散文的論辯藝術(shù)一文24,對(duì)孟子的論辯風(fēng)格和論辯方法作了綜合研究,認(rèn)為孟子其人“堪稱一位雄辯家”,“孟子幾乎是一部辯論集”,作為一個(gè)“有血性的漢子”,孟子“嬉笑怒罵,感情畢露,豪爽直率,痛快淋漓,心地正大光明,議論開口見心”,其論辯具有“若決江河”、勢(shì)不可擋的“氣勢(shì)”和鋒芒畢露、萬物披靡的“詞鋒”;行文以暢達(dá)詳盡取勝,運(yùn)用了“逐層疏解,不怕反復(fù),多用排語,重言申明”的鋪排手法,“具有戰(zhàn)國(guó)時(shí)期縱橫家的氣概”;“不得己”而辯的現(xiàn)實(shí)所迫,促使孟子“十分講究辯論技巧”,論辯中往往采取誘敵深入因勢(shì)利導(dǎo)的欲擒故縱方法,形成咄咄逼人的氣勢(shì),加之嚴(yán)密的邏輯推理,引導(dǎo)對(duì)方,使其漸入彀中,陷論敵于自相矛盾的尷尬境地,使其無可置辯,甘心折服。徐立孟子論說文的特色一文18稱孟子在論辯中“表現(xiàn)了自己的論辯技巧,可以稱得上是一個(gè)雄辯滔滔的辯論家”,“有縱橫家的特點(diǎn)”,指出“他擅長(zhǎng)縱橫家那套‘捭闔’、‘轉(zhuǎn)丸’、‘揣情’、‘摩意’之術(shù),”加上他的長(zhǎng)于“知言”,辯論起來“很會(huì)揣情摩意,把對(duì)方心理
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