清末中国在社会文化各领域掀起变革风潮，“论体文”作为承载思想、辨析名理、言说事理的一类文章，随着急剧变迁的现实和文化动荡，而发生“现代转型”，其语言、文体和功用皆有巨大而深层的变动。清末“论体文”论域甚宽，难以穷尽全局，本文主要选取作为思想家和翻译家的严复所书写与翻译的“论体文”作为研究对象，透过对其相关写译的文体架构及文学观念的研究，理解和把握严复如何在中西思想范式涵濡的进程中，促进“论体文”在用字正名、论说体式、篇章布局、集撰成书及文学功用等方面的现代转型。相应的，中国文化传统、思维范式和文章观念在与西方他者相遇之后所发生的古今之变，亦在“论体文”转型的这一工作性架构中，得到探讨和理解。本文共分为四章，前三章从“文体意识”出发，借用“积字成文”的框架，由“字”及“篇”渐次探讨“论体文”各层级书写所发生的“现代转型”，并揭示与该转型关联的思想文化要素。第四章从“文学观念”出发，尝试重构清末情理兼备的文学观念，以此锚定“论体文”的功能与价值，从而论及近现代文学观念之差异：第一章，从“字”的层面入手，探讨严复如何将逻辑学中“名德相符”的界说规范，移置到传统“名与道同”的正名方式中，并探讨严复如何利用汉字的文化思维涵濡西方逻各斯的观念，从而在中西思维观念的交融下，重塑中国思想文化秩序，构建“名的世界”，以实现救亡图存的目的。第二章，由“字”及“句”、“章”，探讨“论体文”论式的现代转型。该章主要探讨严复如何在传统文章“论说”基础上，将逻辑学中归纳与演绎的论证法引入“论体文”中。并通过分析严复如何利用“连珠”转译演绎法中的“三段论”，探讨“格物观念”与归纳法的异同，来比较中西论证言说方式的差异，进而尝试探讨逻辑规范下“论体文”书写形式的不同样态。第三章，由“句”及“篇”，关注“论体文”首尾贯通的谋篇布局如何被报刊“连载”所截断，思考严复如何参照西学“论文”中分节的方式来保证连载“论体文”的完整性；亦会探讨多篇“论体文”在集撰成书时，传统集、著的形式如何向西学论文及论著的结构转型。第四章，尝试将视野从“论体文”的文章结构转向对其性质、功用的界定。借由严复所译的《美术通诠》，勾连19世纪末20世纪初，中国与英国对“美术”、“文学”的理解，重构清末“文学”观念的内涵与外延。从而在“美术”——“文学”——“论体文”框架之下，为“论体文”寻找合适的位置，并评判其功用与价值，借此思索传统的文章观，如何转向现代文学观。正是通过“文体”和“文学”的视角，严复“论体文”所承载的中西文化之磨合，道与逻各斯间的竞逐，旧识与新知的迭代，以类相从与逻辑推理方式的替换，情与理的抉择，皆被渐次呈现出来。在传统与现代诸范畴交替与摩擦的间隙中，“论体文”开始逐渐背离古文的门庭，向着现代书写迈出了尝试性的一步。

At the end of the Qing Dynasty, China sparked a wave of transformation in various fields of social and cultural life. As a type of article that carried ideas, analyzed names and principles, and expressed facts, argumentative essays underwent a modern transformation with the rapid changes in reality and cultural turbulence. Its language, style, and function underwent significant and profound changes. In the late Qing Dynasty, the scope of argumentative essays. was very broad and difficult to exhaust the overall situation. This article mainly selects the argumentative essays written and translated by Yan Fu, a philosopher and translator, as the research object. Through the study of the literary structure and literary concepts related to his writing and translation, we can understand and grasp how Yan Fu promoted the modern transformation of argumentative essays in terms of word naming, discourse style, discourse layout, compilation and literary function in the process of transforming Chinese and Western thought paradigms. Correspondingly, the changes that have occurred in Chinese cultural traditions, thinking patterns, and literary concepts since their encounter with the West are also explored and understood in the working framework of the transformation of argumentative essays.The article is divided into four chapters. The first three chapters use the perspective of stylistics, to explore the modern transformation of argumentative essays from the level of characters to articles, in accordance with the principle of writing in words, which in other to explores the modern transformation that has taken place at each level of the essay and reveals the ideological and cultural elements associated with it. Chapter four starts from the perspective of literary concepts, attempting to reconstruct the literary concept of both emotion and reason in the late Qing Dynasty, and finding a positioning for the function and value of argumentative essays in it, thus presenting the differences in the categories of modern and contemporary literature:The first chapter starts from the level of characters and discusses how Yan Fu transferred the theory of "matching fame and property" in logic to the traditional "Proper name" method of "name combine with Tao" In this transformation, it also discusses how Yan Fu uses the cultural thinking of Chinese characters to encompass the concept of Western Logos, so as to construct a "world of names" to reshape the ideological and cultural order under the fusion of Chinese and Western thinking concepts, and to save the country and society to survive.In the second chapter, it is proposed to think about the transformation of argument from in the level of words, sentences and chapters. This chapter mainly explores how Yan Fu introduced the induction and deduction in logic into the Lun Shuo. And by analyzing how Yan Fu used the syllogism in the Lian zhu translation and deduction method, and compared the differences in argumentative speech between China and the West using the Ge wu concept to compare induction. Furthermore, attempts are made to explore the different forms of transformation in the writing form of argumentative essays under logical norms.In the third chapter, we will start from sentences to articles to explore how the layout of the argumentative essays is truncated by the serialization of newspapers and periodicals. Ponder how Yan Fu can ensure the integrity of the argumentative essays by referring to the sectional method in the treatise of Western Studies; It will also explore how the traditional form of "collections" and "writings" transform to the structure of treatises and monographs in Western studies will also be discussed when the argumentative essays are compiled into books.In the fourth chapter, the article attempts to shift the perspective from the discussion of the internal structure of the argumentative essays to the definition of its external nature, and restores the connotation and extension of Fine Arts and Literature in the late Qing Dynasty through Yan Fu's translation of Mei shu tong quan, so as to construct a model of Fine Arts-Literature- the Argumentative Essays, find a suitable position for the argumentative essays, and think about how articles change to Literature.It is through the perspectives of literary style and literature that the integration of Chinese and Western cultures, the competition between Tao and Logos, the iteration of old and new knowledge, the replacement of analogies and logical reasoning methods and the choice of emotion and reason are gradually presented in Yan Fu's argumentative essays. And it is in the gap between the alternation and friction of many categories between tradition and modernity that argumentative essays gradually deviates from the gate of ancient style prose and takes a tentative step towards modernity.