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19世纪以来,在浪漫主义与实证主义反叛性运动的冲击下,修辞学在法国逐渐名声扫地,于1885年被逐出法国中学的人文课程。但到了20世纪60年代初,在涉及语言理论与诗学的俄国、捷克形式主义理论推动下,修辞学在法国重获生机。发源于俄国的形式主义运动在法国以结构主义的名号得以进一步发展,它教给人们一种崭新的文学创作与研究视角,有力地推动了以雄辩术为核心的文体修辞学的发展。研究乔治·佩雷克的作品,修辞学永远是最重要的切入点之一,因为他的作品在内容与风格上都属于文体修辞学研究的范畴。研究乔治?佩雷克的作品,一个要紧之处就是阐明佩雷克的“新形式主义”写作在很大程度上借鉴了古罗马修辞学的传统论题源以及作为亚里士多德修辞五艺之一的“记忆术”的普遍原则。
Since the nineteenth century, under the influence of romantic and positivist rebel movements, rhetoric has gained a fame in France and was expelled from liberal arts courses in French high schools in 1885. However, by the early 1960s, rhetoric was revived in France, driven by Russian and Czech formalist theories involving linguistic theory and poetics. The formalist movement originated in Russia is further developed in France under the name of structuralism. It teaches people a brand new perspective of literary creation and research, which has strongly promoted the development of stylistic rhetoric centered on eloquence. The study of George Pelecock’s work, rhetoric is always one of the most important starting point, because his works both in content and style belong to the category of stylistic rhetoric. One of the main points of studying George Perek’s work is to show that Perek’s “neo-formalism” writing draws heavily on the traditional sources of ancient Roman rhetoric and its use as Aristotelian rhetoric One of the five arts “memory technique ” the universal principle.