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Rhetoric as the Art of Listening: Concepts of Persuasion in the First Eleven Chapters of the Guiguzi

機(jī)譯：修辭學(xué)作為聽力的藝術(shù)：《鬼谷子》前十一章的說服觀念

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摘要

The first eleven chapters of the book Guiguzi 鬼谷子 are ascribed to Master Guigu, the alleged teacher of the two famous rhetoricians Su Qin 蘇秦 and Zhang Yi 張儀. These chapters provide a methodological approach to the art of persuasion which is fundamentally different from European rhetoric. Whereas European rhetoric, originating in Greek rhetoric, is mainly concerned with the persuasion of big audiences in public forums and institutions such as assemblies (the agora as birthplace of democracy) and courtrooms, the persuasive strategies in the Guiguzi mainly focus on the involvement with an individual counterpart. In the Guiguzi listening to and assessing the particular type of opponent and then taking advantage of his individual preferences is most decisive for the success of persuasion. The Guiguzi does not teach how to formulate a perfect piece of rhetorical art which accords to all rules of a commonly shared system of persuasive logic as it is known from European rhetorical traditions. From this different approach also follows a different set of systematic problems in the art of persuasion. The typology of formal figures of speech, so important in European rhetoric, is not as important as the exact typology of human characters which have to be correctly identified to be correlated to the types of speech which have the greatest persuasive effect on them. Each of the eleven chapters discusses a particular method of persuasion in an analysis of different aspects of the communicative process in which persuasion takes place. Together they appear as a handbook on the dynamic process of persuasion, a persuasion that evolves in a dialogic encounter not in a monologic performance as in European rhetoric.
機(jī)譯：《鬼谷子》《鬼谷子》一書的前十一章是歸功于“鬼谷大師”，他是兩位著名修辭學(xué)家蘇欽蘇秦和張藝張儀的據(jù)稱老師。這些章節(jié)為說服藝術(shù)提供了一種方法論方法，這與歐洲的修辭學(xué)有著根本的不同。歐洲修辭起源于希臘修辭，主要關(guān)注在公眾論壇和機(jī)構(gòu)（例如集會（民主的發(fā)源地）和法庭）等公共場所的說服力，而居古茲的說服策略則主要著眼于個人對應(yīng)。在Guiguzi中，傾聽和評估特定類型的對手，然后利用他的個人偏好對說服成功至關(guān)重要。 Guiguzi沒有教導(dǎo)如何制定完美的修辭藝術(shù)，以符合從歐洲修辭傳統(tǒng)中得知的說服邏輯共同共享系統(tǒng)的所有規(guī)則。通過這種不同的方法，在說服領(lǐng)域也產(chǎn)生了一系列不同的系統(tǒng)問題。在歐洲修辭學(xué)中很重要的正式言辭類型學(xué)，沒有像必須正確識別與之具有最大說服力的言語類型相關(guān)的人類角色的確切類型學(xué)那樣重要。十一章的每一章都在分析說服發(fā)生的溝通過程的不同方面時，討論了一種特殊的說服方法。它們一起作為一本關(guān)于說服力動態(tài)過程的手冊出現(xiàn)，這是一種說服力在對話中演變而來的，而不是像歐洲修辭學(xué)那樣以單一論的表現(xiàn)演變而來。

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    Gentz, Joachim;

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  • 年度 2014
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