论新批评理论与袁可嘉新诗现代化理论

四十年代袁可嘉针对中国新诗出现的两种不良倾向,借鉴新批评理论,系统地阐述了新诗现代化理论。新诗现代化理论在本体论、有机综合论、戏剧化论等方面吸收新批评的合理成分,与中国实际情况相结合,发展了中国的新诗传统诗歌理论。     

《约伯记》对陀思妥耶夫斯基文学观的影响

文章尝试从独立思想者的塑造、戏剧化的情节结构以及多重共生的对话体这三个方面,探讨了《圣经.旧约》中的《约伯记》对陀思妥耶夫斯基之文学观的影响,从而加深对陀思妥耶夫斯基作品的理解,体会作家对圣经文本的化用及其精神上的宗教情节。     

Epistemology and ontology in Kenneth Burke's dramatism

Kenneth Burke initially established dramatism as a method for understanding the social uses of language. An examination of Burke's major rhetorical concepts—identification, the definition of the human being, the concept of reality, and terms for order—reveals the epistemology of his dramatism as a marriage of paradox and metaphor. However, recently Burke has shifted dramatism towards a philosophy. Three shifts establish a dramatism based upon “act,”; not the tension between “action”; and “motion,”; dramatism that employs language “literally,”; rather than exploiting its ambiguity, and dramatism that is more “reality”; oriented rather than the link that orders and relates “reality”; to our abstract values.     

Bibliography of SAES members∗

In this essay, Kenneth Burke re‐examines his distinction between dramatism and logology which he proposed in 1968, Dramatism is treated as a technique for analyzing language as a mode of action in which specialized nomenclatures are recognized, each with particular ends and insights. Logology is cast as the study of the knowledge acquired by the human being's aptitude for learning communication. Implications for the rhetoric‐as‐epistemic question conclude this discussion.     

Defending Dramatism as ontological and literal

For twenty years, scholars have contested Burke's argument—originally offered at an Eastern Communication Association convention — that dramatism is ontological and literal. These Burkean scholars have instead emphasized dramatism as epistemological and metaphorical. In this essay, I reread this dispute in support of Burke's position. I conclude that this debate contains two separate claims by Burke: (1) dramatism is ontological, and not epistemological, because it begins with language as action, not representation; and (2) this starting‐point can claim a privileged (literal) status because it offers the most complete approach to its topic. Through this interpretation of the debate, I make a case for a rehabilitated (and ontologically‐grounded) notion of literality—and sketch its implications for contemporary rhetorical theory.     

Fanaticism: A practical critique

Brock's (1985) recent suggestion that rhetorical critics who work out of the philosophy of dramatism could enrich their analyses by utilizing Burke's pentad and terms for order in combination is taken up in this essay. Enhancing these grammatical and formal features of drama through application of Burke's “principle of perfection,” nine “indexes of dramatic intensity” are proposed and were employed in a study of the tragic‐symbol preaching of Rev. Jerry Falwell. Falwell's televised discourses are found to be strongly dramatic and appropriately so, given the audience of true believers bent on changing society he addresses.