章法結構是先由其移位、轉位而形成節奏，再由各個節奏層層串聯而形成一篇韻律的。 　　大致說來，節奏乃由局部而整體地層層疊合成為一篇韻律，再加上章法各結構本身的毗剛或毗柔屬性，即可大致可解釋一篇風格所以形成之原因，而這種歷程，可約略由章法之「多、二、一（0）」結構加以考察。就在此「多、二、一（0）」的諸多結構中，必有其核心結構，它一定落在一篇辭章之主體所在，也就是最能凸顯「主旨」的部分，以牢籠整個篇章，可以說乃關鍵性之「二」，一面徹下以統合「多」（結構與節奏），一面徹上以歸根於「一（0）」（主旨、韻律與風格等），發揮徹上徹下之功用。因此，理清核心與輔助結構，考察其移位、轉位之情形，則章法結構所造成之節奏、韻律與風格等，就可以大致掌握。本文即以移位、轉位為範圍，先探討其哲學義涵，再探討它們在「多、二、一（0）」結構的作用，從而嘗試作美學上之詮釋，以見移位、轉位在章法結構中的重要性。

　　　　　In the organization of an author's Chinese writing, each structure of shifts and transfers develops a tempo, and the various tempos link to form the rhythm. Generally speaking, tempos are layered in parts and integrated as a whole to create rhythm. Furthermore, there are masculine and feminine modes of organizing a written text, and these help to determine the style. One can examine the process through which the author's writing is organized by means of "multiple, binary, and unitary (zero)" structures. Among these structures we can find the core, where the subject of the written discourse is located. This is the component that highlights the "theme" and "plot" of a literary work. The binary system may branch "downward" into multiple components (i.e., structures and tempos), or it may be integrated "upward" as a "single (0)" structure (i.e., theme, rhythm and style). Therefore it is possible to handle the tempo and rhythm that constitute a particular organization of a written text, but only if one can identify the core and secondary structures and examine the shifts and transfers. In this article, I focus on the dynamics of shift and transfer and discuss their function in "multiple, binary, and unitary (zero)" structures. Furthermore, I explore the philosophical implications of these shifts and transfers, and explicate their importance within an aesthetic context.