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簡介：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

簡介：35COPYRIGHT?CANADIANRESEARCHACCEPTED4JUNE2013ABSTRACTTEACHINGMETHODSAREOPERATINGMETHODSANDTECHNIQUESAPPLIEDBYTEACHERSTOFINISHTEACHINGTASKSTHEKEYTOIMPROVINGTHETEACHINGQUALITYISTORATIONALLYANDFLEXIBLYUSEAPPROPRIATETEACHINGMETHODSWHICHAREACTIVELYEXPLOREDANDREFORMEDASPERTHEFEATURESANDREQUIREMENTSOFTHEDESIGNMAJORSTHATISALSOESSENTIALTOIMPROVETEACHINGEFFECTSTHISESSAYANALYZESTHESTATUSOFTEACHINGOFDESIGNBASISANDTHEPREMISESOFTEACHINGINNOVATION,ANDTRIESTOGIVEOPINIONSANDSUGGESTIONSONTHEINNOVATIONOFTEACHINGMETHODSINARTDESIGNBASICCOURSES,INCOMBINATIONWITHTHEAUTHOR’STEACHINGPRACTICESINRECENTSEVERALYEARSKEYWORDSARTDESIGNBASICTEACHINGMETHODSINNOVATIONLIUDONGFENG2013STUDYONTEACHINGMETHODINNOVATIONOFARTDESIGNBASICCOURSESHIGHEREDUCATIONOFSOCIALSCIENCE,51,3538AVAILABLEFROMURLHTTP//WWWCSCANADANET/INDEXPHP/HESS/ARTICLE/VIEW/JHESS19270240201305012614DOIHTTP//DXDOIORG/103968/JHESS19270240201305012614TEACHINGMETHODSAREOPERATINGMETHODSANDTECHNIQUESAPPLIEDBYTEACHERSTOFINISHTEACHINGTASKSTHEKEYTOIMPROVETHETEACHINGQUALITYISTOUSEPROPERTEACHINGMETHODSRATIONALLYTHEREFORE,IT’SVERYESSENTIALTOEXPLOREANDREFORMTEACHINGMETHODSACCORDINGTOFEATURESANDREQUIREMENTSOFDESIGNMAJORSANDFLEXIBLYAPPLYTHEMTOTHEIMPROVEMENTOFTEACHINGMETHODSANDEFFECTSASTHEFOUNDATIONOFMODERNARTDESIGNMAJOREDUCATION,BASICDESIGNCOURSESPLAYANIMPORTANTROLEINTHEWHOLEDESIGNTEACHINGTOSTRENGTHENTHEREFORMATIONANDRESEARCHONDESIGNBASICTEACHINGMETHODSISOFGREATIMPORTANCEONTHECULTIVATIONOFSTUDENTS’SOLIDFOUNDATION,ACUTEOUTSIGHT,UNIQUECREATIVETHINKINGABILITYANDOTHERRELATEDABILITIESONCEMENTIONEDINTHEPAST,THEBASICCOURSESWEREEASILYBROUGHTTOGETHERWITHEQUIVALENTTECHNIQUESRELATEDTOSTYLEDESIGNORSKILLSONOPERATIONALLEVEL,WHICHEMPHASIZEDTOOMUCHONHANDPRACTICEINSTEADOFBRAINTRAININGANDTHECULTIVATIONOFCREATIVETHINKINGABILITYONTHEPERSPECTIVEOFTEACHINGPURPOSE,DESIGN,WHETHERBASICDESIGNORPROFESSIONALDESIGN,ISALWAYSAWHOLESYSTEMAIMINGATCULTIVATINGSTUDENTS’DESIGNPERCEPTION,CREATIVETHINKINGABILITY,UNIQUETHINKINGSTYLEANDPERSONALCHARISMAWHENTHEBASICCOURSESSTART,TOSTIMULATEANDINFLUENCESTUDENTS’THINKINGANDMINDISNOTONLYTHEFUNCTIONBUTTHEGOALOFBASICCOURSES,WHICHHELPSTUDENTSTODEALWITHDESIGNPROBLEMSWITHANOPENMINDANDTHINKINGWHICHMAYBEOFGREATBENEFITSFORSTUDENTSINDESIGNMAJORDURINGRECENTSEVERALYEARSOFDESIGNBASICCOURSESTEACHING,THEAUTHORSUMMARIZEDANDCLARIFIEDSTUDENTS’QUESTIONSANDFEEDBACKFORTHETEACHINGEFFECT,CONTINUOUSLYMODIFIEDTEACHINGMETHODS,ANDPUTFORWARDHISOWNOPINIONSANDSUGGESTIONFORTEACHINGMETHODSSOASTOIMPROVEMETHODSTOBETTERTEACHINGEFFECTS1ANALYSISOFSTATUSQUOOFDESIGNBASICTEACHINGINRECENTYEARS,SOMEDOMESTICARTCOLLEGESANDUNIVERSITIESMAKEREFORMATIONANDADJUSTMENTOFDESIGNBASICCOURSESYSTEMANDINTENSIFYTHEDESIGNBASICCOURSETEACHINGTODEVELOPTHECOURSETOWARDSAMOREREASONABLEANDWELLSYSTEMATICDIRECTIONHOWEVER,INGENERAL,DESIGNBASICCOURSESINMOSTCOLLEGESANDUNIVERSITIESSTILLKEEPTRADITIONALTEACHINGWAYSOFTHINKINGANDTEACHINGSYSTEMSWITHTHETEACHINGPATTERNOFPREVIOUSARTSANDCRAFTS,WHICHAPPLIESTHEANTIQUATEDANDFIXEDTEACHINGMETHODS37COPYRIGHT?CANADIANRESEARCHDEVELOPMENTCENTEROFSCIENCESANDCULTURESLIUDONGFENG2013HIGHEREDUCATIONOFSOCIALSCIENCE,51,3538ANDCREATIVETHINKINGWAYSINWHOLETEACHINGPROCESS,INWHICHTHEINNOVATIVEAWARENESSSHOULDBEPRESENTEDFROMDESIGNOFTOPICS,CHOICEOFTEACHINGMETHODSTOTEACHINGASSESSMENTANDALLOTHERSTEPSTHECULTIVATIONOFINNOVATIVEAWARENESSIMPROVESTHEFLUENCY,FLEXIBILITY,ANDUNIQUENESSOFSTUDENTS’THINKINGDURINGTHETEACHINGPROCESS,THEMAINLINEOFBASICTEACHINGSHALLBETOSTIMULATESTUDENTS’POTENTIALTOTHEMAXIMUMEXTENT,FOCUSONTHECULTIVATIONOFPRACTICALABILITIES,ANDGUIDESTUDENTSTOEXPLORE,FIND,ANDSOLVEPROBLEMSCREATIVELY3STUDYONTHEINNOVATIONOFTEACHINGMETHODSTHEKEYOFTEACHINGMETHODSISTOESTABLISHMETHODSBASEANDMODIFYMETHODOLOGY,WHICHISESSENTIALTOALLTHEDESIGNMAJORSEDUCATIONALIDEASSHALLCHANGEFROMTHEKNOWLEDGETEACHINGTOLEARNINGABILITYTEACHING,TOSTIMULATEANDGUIDESTUDENTS’INNOVATIVENEEDSTHOUGHCONSIDERABLETEACHINGMETHODSWITHGREATDIFFERENCESAREEASILYACCESSIBLEINDAILYTEACHING,IT’ISIMPORTANTFORSTUDENTSOFDESIGNMAJORTOEXPLORESPECIFICTEACHINGMETHODSASPERFEATURESOFDESIGNMAJOR,WHICHAREFINALLYCREATEDONTHEUNDERSTANDINGOFINDIVIDUALCHARACTERSNECESSARYCOMMUNICATIONWITHEACHSTUDENTISNEEDEDANDTHESUMMARYOFTONSOFPRACTICESANDWAYSOFTHINKINGWITHTHEGUIDINGTHOUGHTOFTEACHINGSTUDENTSTOLEARNANDTHEMETHODTOLEARN,ANDTEACHINGTHEMTOCREATE,THESPECIALTEACHINGMETHODSHELPSTUDENTSMASTERTHEGENERALDISCIPLINESOFLEARNINGANDSPECIALLEARNINGMETHODSOFSPECIFICCOURSES,ANDGIVETHELEARNINGINITIATIVEBACKTOSTUDENTS,AROUSETHEPOSITIVITYOFLEARNINGANDCULTIVATEGOODLEARNINGHABITANDINTERESTSOFEXPLORATIONANDEXPERIMENTS,ALLOFWHICHCHANGEPASSIVITYTOINITIATIVE,ANDCONTINUOUSLYIMPROVELEARNINGABILITYSTUDYONTHEINNOVATIONOFTEACHINGMETHODSOFDESIGNBASICCOURSESCANBEDISCUSSEDFROMTWOASPECTS31PIECESOFADVICEFORTEACHINGMETHODINNOVATION311TAKEOPENTEACHINGMETHODSANDCULTIVATESTUDENT’SINNOVATIONAWARENESSTOTAKEOPENTEACHINGMETHODSANDPROMOTEOPENEDUCATIONISHELPFULTOTHEESTABLISHMENTOFSTUDENTS’SUBJECTCONSCIOUSNESSANDTHECULTIVATIONOFTHEIRINNOVATIVEAWARENESSINTHETEACHINGPROCESS,THEOPENTEACHINGMETHODSARECHARACTERIZEDBYTEACHERS’OPENWAYOFTEACHING,STUDENT’SOPENWAYOFQ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簡介：中文中文4670字出處出處LIUDSTUDYONTEACHINGMETHODINNOVATIONOFARTDESIGNBASICCOURSESJHIGHEREDUCATIONOFSOCIALSCIENCE,2013研究藝術設計基礎課程的教學方法創(chuàng)新摘要教學方法是由教師應用來完成教學任務的操作方法和技術。提高教學質(zhì)量的關鍵是合理和靈活使用適當?shù)慕虒W方法,積極探索和改革合乎設計專業(yè)的特點和要求的教學方法對提高教學效果也是至關重要的。本文分析設計基礎的教學現(xiàn)狀和教學創(chuàng)新的前提,并結合作者最近幾年的教學實踐，試圖給出針對藝術設計基礎課程教學方法創(chuàng)新的意見和建議。關鍵詞藝術設計；基礎教學方法創(chuàng)新教學方法是由教師應用來完成教學任務的操作方法和技術。提高教學質(zhì)量的關鍵是合理使用適當?shù)慕虒W方法。因此,依照設計專業(yè)的特點和需求探索和改革教學方法,并靈活地將它們應用到教學方法和效果的提高上是非常必要的。作為現(xiàn)代藝術設計專業(yè)的基礎教育、基本設計課程在整個設計教學中發(fā)揮了重要作用。加強設計基本教學方法的改革和研究，這對培養(yǎng)學生堅實的基礎,敏銳的觀察力,獨特的創(chuàng)造性思維能力和其他相關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風格設計或相關技能操作水平聯(lián)系起來,它們強調(diào)過多的手頭練習,而不是大腦訓練和創(chuàng)造性思維能力的培養(yǎng)。從教學目的的角度來看,設計，不管是基本設計或?qū)I(yè)設計,始終是培養(yǎng)學生設計觀念、創(chuàng)造性思維能力、獨特的思維方式和個人魅力的一個完整的系統(tǒng)?；菊n程開始時,刺激和影響學生的思維和薄弱,教學缺乏熱情,對基本教學較低的承認，自身限制等。同時學生相關方面主要包括模糊的學習目標，課程理解不足,自學能力差，缺乏興趣、學習方法不當?shù)纫蛩?。應該從以上兩個方面來努力來提高和完善基本教育培養(yǎng),考慮教學和學習,深入分析以修改和改良設計基礎教學和目標創(chuàng)新。2．教學方法創(chuàng)新前提設計基礎課程的教學強調(diào)基礎和方法基礎和方法。這里的基礎是一個通用的概念,一個廣泛的概念,超過了主要的限制,會讓學生從整體的角度看設計，沒有太大的壓力主要從創(chuàng)造力方面理解基礎。方法在這里指的是教學方法和思維方式。對于教師、教育理念的轉(zhuǎn)變和更新比僅僅是知識的傳遞更重要，系統(tǒng)化和合理的教學方法比無數(shù)漫無目的的設計實踐更有效。因此,設計基礎課程教學的探索和改革應該建立在掌握和思考整個基礎課程體系的基礎上,否則,即使是最新的教學方法也沒有任何意義?；谧罱鼛啄甑幕A課程教學，在基礎教學方法創(chuàng)新的建議中，完成創(chuàng)新需要幾個前提。21教師應當改變觀念,建立創(chuàng)新意識因為老師是教學過程中的領導者的事實,教師適應現(xiàn)代藝術設計專業(yè)逐漸變化的需求的最好辦法是根據(jù)實際情況改變觀念,調(diào)整教學方法,更新知識結構,不斷實現(xiàn)和完善自身,以便以豐富的教學和設計經(jīng)驗和相當多的知識激發(fā)學生的興趣和積極性。教學方法和理念的更新來源于嚴密的知識體系,寬廣的專業(yè)視角,豐富的教學經(jīng)驗、設計實踐和對專業(yè)前沿的掌握。適當?shù)慕虒W方法和教育理念的建立是一

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簡介：摘要20世紀以來，隨著經(jīng)學的式微，諸子學勃興，作為儒家重要經(jīng)典的孟子得到了多學科多領域的廣泛研究，文學研究是其中之一?？v觀百年孟子文學研究，有創(chuàng)獲亦有缺憾。就散文藝術而言，百年中研究者主要從孟子散文的語言藝術特色及其修辭技巧的運用、論辯藝術及其氣勢風格、文章的邏輯性及其文體特征等方面進行了廣泛探討，取得了可觀的成績?；仡櫯c總結百年孟子散文藝術研究，分析其得失，探討新的研究路向，對進一步深化孟子乃至先秦諸子散文藝術研究不無裨益。關鍵詞孟子；散文藝術；研究；述評在思想史上，“孔孟”并稱，孟子以孔子學說的繼承者和捍衛(wèi)者而聞名，其思想的犀利和性格的剛烈在先秦諸子中獨樹一幟；孟子文章議論風發(fā)，文辭華贍，氣勢磅礴，奔放不羈，具有鮮明的個性和獨特的風格，是極富感染力的文學散文。20世紀以來，傳統(tǒng)經(jīng)學瓦解，作為儒家重要經(jīng)典的孟子得到了多學科多領域的廣泛研究，文學研究是其中之一。關于孟子一書，研究者認為，今存內(nèi)七篇其體式雖不脫語錄窠臼，但“所記對話，多于獨白，對話復以往復辯論之辭為多”1（P316）；成書方式亦與論語出于弟子和后學眾手“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)國之文的“論辯”色彩。在先秦儒家之文中，孟子素以富于“文學”性而著稱。郭沫若將其列為“戰(zhàn)國散文四大家”之首3，劉大杰稱揚“當代的儒家作品以孟子最有文采，他的散文對后世很有影響?！?（P81）縱觀20世紀的孟子文學研究，涉及面廣泛，從散文藝術的角度看，主要是從語言藝術特色及其修辭技巧的運用、論辯藝術及其氣勢風格、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。本文著重就孟子散文藝術，從以上幾個方面對百年的孟子文學研究狀況進行簡要回顧，并對其得失和未來的研究趨向作一個粗淺的評說與前瞻，以期為未來的孟子及先秦諸子散文藝術研究提供一些借鑒與啟示。一、語言特色與技巧研究關于孟子的語言特色，一般認為與論語基本相同，屬語錄體，而多由對話所組成，明白曉暢、通俗易懂，但比論語更有文采和富于氣勢。柳存仁認為，孟子之“記言文字，極見流利豐暢?！?（P70）劉大杰認為“孟子的文章不僅文采華贍，清暢流利，尤以氣勢勝?！?（P83）譚家健發(fā)表于50年代中期的略談〈孟子〉散文的藝術特征一文6對孟文語言藝術特征作了細致而獨到的分析，認為孟文語言給人的“第一個印象便是明白曉暢”，這是因為它不事雕琢，不用生僻的詞匯和蹩扭的句法，加之善于精工刻鏤，精辟準確地使用詞匯，平實淺近，干凈利落，“有一種爽朗明快的風格，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，認為孟文成功地塑造了一個生動而復雜的孟子形象，他具有“豪爽直率、潑辣大膽的個性”，“鋒芒畢露、痛快淋漓的風格”，“基本上是當時先進知識分子的代表”；而作為議論散文，既沒有曲折的情節(jié)，也無法描寫繁復的活動，主要是利用個性化的人物語言，通過孟子自己說的話，“塑造一個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)容的評判，而忽視其藝術特征探究的背景下，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印返摹壩镅匝轄鞫鞒穸垌Ф鋼攏諫美鋇撓镅災校髀蹲徘苛葉拭韉母星欏保埂懊獻擁男愿窕釹衷謚繳稀保傭浞值乇硐至嗣獻擁母魴蘊卣鱗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）。徐立認為，孟子設喻取譬不僅數(shù)量多，而且豐富生動，“孟子設喻不拘一格，有的是眼前景物，有的是出于杜撰，有的是當時的故事；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，化深奧為淺近通達，因此，作者認為“孟文用喻，自如嫻熟，搖曳多姿。”9管仁福孟、荀散文藝術比較19III，通過比較論析認為，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)不同的對象、不同的內(nèi)容設喻，既有針對性，又妙趣橫生，同時孟子的比喻富于想象力，并且通過與對比手法結合，以一些超乎常理的比喻使抽象的道理形象化。從上述可知，對孟文擅長的譬喻手法的研究比較深入，實際上無論是單純的比喻，還是故事性的長喻，為先秦諸子散文所共有，而孟文為人所稱道，是因為有其獨特的“個性”，從而形成了孟文特有的風格，管文提供的思路當有某種方法論意義。二、論辯藝術研究戰(zhàn)國諸子，好辯、善辯為時尚，而孟子尤以知言善辯著稱。孟子在中國文學史、美學史上第一次明確提出了“氣”這一概念，并把“養(yǎng)氣”和“知言”結合起來，“他所謂知言的本領植根于養(yǎng)氣，而養(yǎng)氣就是對自己本性中的善端，循乎自然地加以擴充，不斷地進行道義的積累”20（P112），具體運用于在對話和論辯中，形成了孟文剛柔相濟而析義極精的論辯藝術，充分表現(xiàn)了孟子散文鮮明的個性和獨特的與風格。在對孟子論辯藝術的研究中，又大致集中在論辯方法技巧與論辯風格兩方面。錢基博認為孟子論辯“開辟抑揚，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30年代的〈孟子〉之辯論術一文21，對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研究的基礎。另外，楊壽昌孟子文學之管見22、李長之論孟子文章的特點及其在中國文學史上之地位23等一批早期論文，對孟文的論辯技巧也時有論及。而從文學散文的角度對孟子論辯藝術進行理論研究，當是50年代中后期以后。譚家健從文章結構入手分析了孟子的論辯藝術，認為其特征是（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鍵，作集中分析論證以服人；（二）脈絡分明，有條不紊，次序極為清楚，“簡直是塊天成的織錦”；同時（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〉散文的論辯藝術一文24，對孟子的論辯風格和論辯方法作了綜合研究，認為孟子其人“堪稱一位雄辯家”，“孟子幾乎是一部辯論集”，作為一個“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”、勢不可擋的“氣勢”和鋒芒畢露、萬物披靡的“詞鋒”；行文以暢達詳盡取勝，運用了“逐層疏解，不怕反復，多用排語，重言申明”的鋪排手法，“具有戰(zhàn)國時期縱橫家的氣概”；“不得己”而辯的現(xiàn)實所迫，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利導的欲擒故縱方法，形成咄咄逼人的氣勢，加之嚴密的邏輯推理，引導對方，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，可以稱得上是一個雄辯滔滔的辯論家”，“有縱橫家的特點”，指出“他擅長縱橫家那套‘捭闔’、‘轉(zhuǎn)丸’、‘揣情’、‘摩意’之術，”加上他的長于“知言”，辯論起來“很會揣情摩意，把對方心理