【作者】 张巧玲；

【导师】 刘方政；

【作者基本信息】 山东大学 ， 中国现当代文学， 2012， 博士

【摘要】 作为中国社会由传统向现代过渡的标志性人物,鲁迅是中国现当代文学研究者无法规避的一个现实存在。然而,随着时代的发展,人们对于鲁迅及其文学创作的隔膜正日益加深,因此,当我们再次面对鲁迅这样一个特殊的研究对象时,首先可能必须回答的,是鲁迅及其作品到底在何种意义上能够实现与当今读者的心灵对话,进而满足他们通过文学阅读获得精神抚慰的内在愿望的问题。由于汪晖“反抗绝望”的论断仍然代表了迄今为止学术界对于鲁迅的精神实质最为普遍的看法,上述关于鲁迅当代意义的追问又可以被转化为鲁迅反抗绝望的精神动力到底在哪里?这能否成为可供今天的中国人借鉴的一种精神资源?等问题。在这方面,通过考察鲁迅作品中有关食物的描写,可以发现,由于使命感的过于强烈和精神上的高度紧张,鲁迅往往难以用一种余裕的态度去欣赏日常生活中的琐碎细节,他所追求的主要是一种精神上的充实,作为最顽强的“个人主义”者,鲁迅在这里某种意义上却是最不具备“个人性”的。正因如此,他感到绝望的原因就与“人”的存在境遇和个人的“生活”处境没有太大的关联,而与国族的命运紧密相关,他因无力改变环境而产生的悲愤感、寂寞感和虚无感也就更加强烈,他反抗绝望的行为就特别需要借助理性与意志的力量。根据许寿裳的说法,这种理性与意志的力量与鲁迅独特的爱与憎有关,憎使他在看清了历代统治者维护其政权的方法之后,在看透了中国人的懦弱、卑怯与毫无心肝之后,依然保持了“与黑暗捣乱”的勇气；爱使他心灵中始终保持着一些温暖人心的东西,使他始终意识到自己对国家和民族的责任,只有在对于“爱”与“憎”的对立把握中,才能更好的进入鲁迅的精神世界,探索他能够坚持“走”下去的灵魂奥秘。正因如此,以“一个人的爱与憎”作为论文的题目,是出于以下考虑：其一,强调“一个”,不仅意在突出鲁迅孤独、决绝的人生处境,而且意在呈现鲁迅作为独立个体的特异存在。其二,强调一个“人”,意味着鲁迅是一个有血有肉的生活在现实世界中的人,那么,我们就不能过多地把注意力放在对他思想观念发生根本转折的时间点的追寻上,而应该把鲁迅的人生历程看成是一条川流不息的时光之河,发现日常生活中看似无足重轻的一点一滴对于他的精神意义。其三,作为一名文学家,鲁迅政治的、哲学的、文化的思想都是通过文学的也就是“诗”的、情感的方式来表达的,同时这也与中国“诗言志”的抒情传统也是相通的,从这个角度切入,更有利于用“文学”的方式、用更适合中国作家的方式把握鲁迅。其四,关于鲁迅爱与憎的根源的探索有着深切的现实意义,将有助于今天我们更好地处理与传统及西方的关系。在此基础上,本文将论述的范围限定在鲁迅的文本世界中,采用文本细读、精神分析、意识形态理论等研究方法,力图用一种“文学的”方式去接近鲁迅的精神实质,发现鲁迅是以什么样的方式来“表达”这些因素对他的作用。具体说来,论文分为以下四个部分。第一章主要讨论童年经验对于鲁迅的意义。回忆在鲁迅作品及其精神世界的地位是毋庸置疑的,参照周作人与周建人的相关记述,鲁迅在将记忆中的经验转化为现实中的文本过程中,对其进行了如下“改造”：其一是采用拼贴的手法,将发生在不同时空的事件集中在一个人物或事件上,形成一种累积的效果,强化这些人、事对于鲁迅心理的影响。其二是按照或然率,推演出一些可能会发生的事情。其三是对已经发生过的事实做细节上的调整。在此意义上,鲁迅的回忆总是与他所面对的现实难题有着内在的呼应,总是与他纾解心情的需要紧密相关,他笔下的人生因之是他以自己的喜乐厌憎过滤后的现实。另一方面,鲁迅屡次返归童年而不是他人生的其他阶段的行为,说明了童年经验对于他的重要意义。鲁迅童年回忆里生命力的充盈和飞扬植根于人与自然生命亲密无间的内在关联,表现为一种强烈的好奇心和一种永不因循守旧的创造精神,并导致一种强烈自信的产生,他童年视角的作品因此体现了作家对人类社会诸如不公、专制、虚伪等问题的深切反思,成为有关人性的寓言。童年经验孕育了鲁迅最基本的价值准则,直接影响到了他此后对各种人和事的情感判断,每到生命最艰难的时刻,他总是倾向于回到这段时光以获得内心的强力支撑、印证他对于人世的看法、强化他的喜怒爱憎,鲁迅的作品因此在总体上呈现出一种回溯的特质。在中国文学中,回忆一直是一个不可或缺的主题,其内容主要可以分为两种不同方面(并在很多情况下表现为两者的糅合),其一是通过回忆表达对于以往的生活、流逝的岁月等的依依不舍与深情怀恋,其二是借古鉴今,吸取历史上的经验教训以助将来。真正显出鲁迅文学的独特风貌、反映出他与众不同的思维方式的回忆性作品,是他的那些对传统怀旧文学的第二方面内容加以现代改造的文章,这使他在进化论的乐观信仰中,始终无法排除那种“往事重现”的循环论历史观念,鲁迅的回忆性作品因此具备了“史镜”的功能,反映了他对“遗忘”的一种拒绝。值得注意的是,这种“故鬼重来”的思维方式一方面使鲁迅始终能够洞察历史、保持清醒的头脑,可他却从未因自己的这种“看破”而沾沾自喜,相反,终其一生,他都在努力克服自己灵魂中的这种“鬼气”,更在努力寻找一种可以使一盘散沙的人心得以凝聚的可信的东西,接近鲁迅,他“不信”的一面固然值得我们重视,但他“相信”的一面同样需要我们给予足够的关注。第二章主要揭示青年时代的鲁迅表达鲜明爱憎的独特方式。鲁迅早期的翻译小说带有很多“林译小说”的印记,是一种意译甚至改译,这具体表现为从某种宣传的目的出发,而不是在对外国文学全面而深刻的了解基础上来选择翻译对象；在小说的内容上,根据自己的表达需要加入一些具有鲜明情感倾向性的议论；在小说的形式上,表现出了对于传统小说叙述模式的大量借鉴,显示了鲁迅为了宣传的需要对读者传统阅读习惯的顺应。如果说“五四”之前鲁迅的文章大都充满了一种慷慨激昂的豪侠之气,那么,在此之后,他开始更多发现“笑”的力量。《呐喊》中的每一篇小说几乎都包含了一定的喜剧元素,这直接造成了《呐喊》特有的叙述角度和时空结构,在这个停滞的时间、封闭的空间里上演着一幕又一幕让人啼笑皆非的喜剧,而作者对于《儒林外史》“感而能谐、婉而多讽”讽刺手法的借鉴使《呐喊》喜剧性的表层结构下,又埋藏着一种悲剧性的深挚情感,《呐喊》喜剧与悲剧的互渗有助于实现他说服读者的内在目的的,——突出人物行为的喜剧性可以让读者对我们社会的种种痼疾和人们精神上的各种缺陷有更深刻的认识,表现人物命运的悲剧性和因此产生的悲壮情绪可以更好调动读者的同情心,激发他们改革现状的行动。鲁迅这一时期的杂文是更类似于演讲的一种文学体裁,说服性文章自然要做到条理清晰、逻辑严密,让读者更容易理解作者的主要观点,但更重要的是这些逻辑关系在读者心中引起的情感反应。鲁迅杂文逻辑性的主要表现是构筑文明与野蛮的对立；形成新与旧的鲜明对比；强调“西方”与“中国”的对照。这种逻辑建构在五四作家其实是非常普遍的,鲁迅杂文的个性特征在于其巨大的象征性和概括力。他善于以最快的速度抓住事物的本质特征,并用极为精简的语言将之提炼出来,使之成为一种极富表现力和感染力的文学形象。第三章主要呈现中年鲁迅的孤独处境及他的突围努力。鲁迅是一个爱夜的人,夜帮助他更清楚地看到人生的一些真相：看透人类压抑心底的种种卑琐与阴暗的念头,看清革命能够真正给中国社会带来的影响,看到人永远无法真正认识自我的悲剧,这些使鲁迅产生了巨大的虚无感,很大程度上加深了他与外界环境的隔离感。为改变这一心境,《彷徨》中采取了一种对话的方式,通过虚构使他在想象中完成对放弃责任和报复世人两条道路的实行,并看清楚这些行为带来的不良后果,因此毅然决然的通过小说结尾与吕纬甫、魏连殳的正式告别,宣布了现实中对这两种选择的同时否定,显现出他永远无法放弃的对于他人的爱,最终获得反抗绝望的精神动力。这些构成了鲁迅作品的独特思想品质,形成了其与众不同的艺术风貌,使他真正成为一个有着自己的独立创作个性的中国现代作家。第四章主要演绎后期鲁迅的独特生存方式。某种意义上,爱和憎作为一种价值判断的结果必然具有一定的时代特征,以杂文创作为标志的鲁迅“中间物”的身份认定使他的爱与憎带上了明显的过渡时期的特征——既是从现代的角度对传统文化的批判吸收,又是从中国的角度对西方文化的取舍迎拒。对鲁迅的爱与憎在内容方面逐渐演变过程的勾勒,因此就可以在一定程度上再现时代变迁的一个侧面,有助于我们更好地理解现代传统的建立过程,获得处理传统与现代、西方与中国问题的适当态度。鲁迅后期的小说《故事新编》与巴赫金提到的带有狂欢色彩的庄谐体有着内在的相似之处,具体表现为：它们的对象,或者说它们理解、评价和表现现实的出发点,是十分鲜明、时常又是十分尖锐的时代性；不是凭古老传说让读者对自己肃然起敬,而是有意地依靠经验和自由的虚构表现对传说神圣性的解构；拒绝史诗、悲剧、庄严的雄辩、抒情诗的那种修辞的统一性而表现出的杂体性和多声性,从而显现了鲁迅在对传统文化进行扬弃的基础上实现民族重建的理想。另一方面,作为一名有着鲜明文体意识的作家,鲁迅作品在叙事上的先锋性是有目共睹的,这具体表现为对元叙事和戏仿、拼贴等技巧的使用。值得注意的是,鲁迅作品中这些后现代叙述方式的存在,并不能证明鲁迅在叙述技巧上要超前于西方作家。这是因为,他对于这些技巧的应用,与其说是像西方后现代作家那样,建立在后现代社会特有哲学观念和经济文化发展现状的基础上,不如说是源于对中国古代传统文学技巧的辩证扬弃。在这方面,鲁迅对于日本之善于学习外国的肯定与竹内好等日本学者把他当成东方国家在学习西方过程中坚持自己的特殊国情走属于东方的现代化道路的最好代表形成了一种有意味的对话关系,其中蕴含的丰富内容值得我们认真加以体会。总之,鲁迅杂文式生存方式,即在始终不放弃对现实关注的同时,始终用文学的方式关注现实的特点,使他与“第三种人”,与“纯粹”的左翼作家始终有着一定的距离,给我们今天更好处理文学与现实以及政治的关系提供了有益的启示,特别是在现今“物质至上”观念冲击下,每个人都面临信仰危机的情况下,更有它的独特意义。更多还原

【Abstract】 Lu Xun, as one of the most famous writers in Chinese contemporary literature history, represented thoughtful and profound reflections on the social status of the special period as the transformation from pre-modernity to modernity, which cannot be ignored by current academic research. However, with the development of social outlook on certain aspects, it becomes harder for readers to understand and accept his works in the original way. That how do we connect with Lu when reading his words, spiritually and essentially, therefore, turns out to be the primary issue of current research. Namely, we have to figure out the significance that Lu’s works bear on modern readers, diminishing the distinctions caused by cultural and social backgrounds, in order to help readers get better understandings toward his works, thereby acquire spiritual comforts and realization of inside hopes. These issues are possible to viewed in another way. For instance, Wang Hui and some other scholars claim that the spiritual essence of Lu’s works is actually "Anti-Desperation". Then the quest to figure out the modern significance of his works turns out to be asking about the origin of his fighting spirit, as well as whether it could be learned by modern people, as a source of national soul or not. Based on his strong feelings of responsibility and highly tensed spirit, Lu Xun always treat chaos and details in daily life with the view of indifference, namely to ignore the lack in material and physical respects in harsh life, but to rich his spiritual life instead. As one of the toughest guy among individualists, he’s lacking of individuality according to the facts above. With regard of this, the reason why Lu felt desperate presents weak correlation with his life status, but with the destiny of country and nation. Since he’s powerless in changing the environment and destination of the nation, Lu needed more power from rationality and will, hence, to make his revolution of Anti-Desperation come true. According to Xu Shou shang, this power from rationality and will depends on Lu’s special emotion of love and hate. On the one hand, the aspect of hate enables him to keep fighting with the darkness, after examining the domination by ancient rulers that reflected weakness, timid behaviors and coldness of Chinese. On the other hand, the aspect of love enables him to keep something warm deep inside to realize the responsibility upon country and nation. Only with the aid of this grasp of love and hate could we find the way to walk into Lu’s spiritual world, exploring the secrets that support him to keep fighting with the darkness.Thus, to take love and hate as the subjects of this dissertation, firstly emphasizes that Lu existed as one individual that is special and unique in history; secondly emphasizes that as a human being, Lu existed as a real person with real flesh and blood in the real world. Consequently, we have to pay more attention to his life journey, instead of focusing on the timing of transformation in thought and outlook. Lu’s life journey performed like a unceasingly running river of time, full of life details and chaos that might be useful to enlighten the research of his works. In addition, as a writer, Lu expressed his political and cultural thoughts through literary method poetically. We have to understand him via this poetic path to make it more appropriate for research on a writer. Moreover, to research from love and hate in his works has profound realistic significance that would be helpful to a better relation between modern and tradition, as well as with the western world.This dissertation aims at research on Lu Xun’s texts, with close reading, psychological analysis, theory of ideology, etc., trying to approach his spiritual essence in a poetic way, in order to find out the method he used to convey how these factors influenced him. It’s divided into four parts.In Chapter One, I would discuss the influence from Lu’s childhood on his writings. It’s crucial to Lu Xun literature research that we focus on the influence of his early years. According to memories of his brothers Zhou Shuren and Zhou Jianren, Lu xun modified his childhood memory in three ways. Firstly of all, to pasting fragments of memories, Lu collected characters and events in different periods of his childhood to concentrate them into one story, creating an atmosphere, which emphasizes the influence upon him. Secondly, he guessed and deducted events might happen and write them into stories. Moreover, he made adjustments to details in the events that have already happened. According to this, Lu combined his memories with the complaints towards issues in reality, always relating to the demands to express his feelings. As a consequence, the characters and stories in his works perform as products filtered from true characters and events in the real memories, mingled with Lu’s personal emotion of happiness and anger.In addition, Lu wrote more about his childhood instead of other periods in his life, which indicates the importance of childhood. Derived from deep relation between human being and nature, Lu’s words full of energy and richness of life, presents strong curiosity and creative spirit that always breaks the tradition out of date. This creative spirit helps Lu become a confident person, reflecting profoundly on social problems as allegory of humanity. Childhood is significant to Lu’s life for conceiving standard of value judgment, which affects the judgment of people and events directly and essentially. Every harsh time he intended to come back to this peculiar period of his life to acquire spiritual support and prove the rightness and adjustment of his judgments, deepening emotions of love and hate. Thus, his works is actually fulfilled with characteristics of memorization. In the history of Chinese literature, memory and memorization are subjects that cannot be ignored, splitting in two respects (of course, sometimes they combine as one in different circumstances). On the one hand, he wanted to express yearn of the past by telling stories of his childhood. On the other, he attempted to criticize on social problems and the darkness by creating and adapting ancient stories, aiming at proposing solutions for the future. The most typical works that reflect this dimension are the adoption on traditional literature with modern styles and techniques, which makes his evolutionary faith and refuse to forget about the past together into one story. Therefore, his works of childhood memory could be regarded as the mirror of history. To memorize the ghost, firstly indicates that Lu Xun was such kind of person who consciously inspects into history and society and secondly, he was never arrogant for his profound introspection, but instead, he had tried all his life to overcome this orientation of writing about ghost and the past, by searching for something that unifies people faithfully. To understand Lu better, we have to pay attention to his unfaithfulness though, the aspect of belief turns out to be as important too.In Chapter Two, I intend to uncover the particular way that young Lu Xun conveyed his feelings of love and hate. In his early period of composition, Lu presented styles like translated novels by Lin Shu, which translated works according to their meanings or modified a great deal based on personal propaganda aims, instead of fully understanding of the original texts. As to the content of the novel, he added intentional criticism into the translation work, based on his own demands of propaganda. Similarly, as to the form of the novel, he adapted and modified the foreign works with narrative ways of Chinese traditional novels. By diminishing the distance between foreign cultures and modern readers, the works translated by Lu Xun provide familiar styles of narration with reading habits.If his works composed before the May4th Movement (1919) are full of excitement and justice, the works after that perform more power of laughter. Almost each novel in the corpus Nahan contains factors of comedy, which directly form the special angels of narration and structure of time and space. He described several comedy scenes in ceasing time and limited space, by imitating the ironic style of Rulinwaishi. However, his works also express deep feelings of tragedy and sadness. The combination of comedy and tragedy fiercely confirms his intentionality of persuading readers and helps his words to influence them, deepening their understanding of social problems and the darkness, as well as the weakness of personality. Readers are supposed to understand him better, then, with more passion and enthusiasm, as well as determination in actions of social revolution.Essays in this period are more likely to be speeches in terms of its genre. To persuade readers, Lu made more efforts to write in clear logic and serious deduction, to provide readers with precise statements. But the most important is, he enlightened readers with the deduction of logic narrations, by construing the contrast between the enlightened and the barbaric, and the conflict between the old and the new. Although to emphasize the distinction between China and the western world is common among composition of writers in the same period with Lu Xun, he was still distinguished for enormous generalization and symbolization. He was truly good at grasping the nature of objects quickly, and describing it with the most precise words. As a result, his works are full of characters with power of expression and influence.I examine the solitude status of middle-aged Lu Xun in Chapter Three, as well as his endeavor of breaking through. Lu was such kind of person who loved night pretty much, since night helps him recognize truth in life, and introspect into the weakness and darkness deeply inside human soul. He realized the influence brought by revolution to Chinese society and the tragedy that people cannot know themselves truly. These provide him with huge emptiness, broadening the distance between himself and outside environment. To change this psychological status, Lu adopted conversation as narrative way of his works, like the ones in Panghuang, completing his task of revenge to mass, abandoning the responsibility, and realizing the awful consequence of these behaviors in his imagination fictionally. He claims his choice of abandoning two ways above by conveying it in the conversation among characters in the end of the article. It indicates that Lu was unable to discard love and care for others forever, and acquire the spiritual motivation of Anti-Desperation, which constitute the peculiar characteristics and artistic styles of his works. Because of this, he is regarded as the modern writer with special individual creativity.I discuss the unique living style of the aged Lu Xun in Chapter Four. To some extent, love and hate as the consequence of value judgment reflect certain characteristics of the era. Represented by essay composition, Lu is regarded to be as in the middle of love and hate, which not only absorbs traditional culture from the perspective of modernism critically, but also accept and refuse certain aspects of western culture from the perspective of Chinese. To outline the changing process of love and hate, therefore, identifies and reflects time and social changes, which is helpful for us to understand the construction of modern culture better and approach an appropriate attitude of issues and solutions between modern and tradition, as well as China and the western world. The representative novel named Gushixinbian is similar to the seriocomic style mentioned by Bakhtin in his theory of carnival, namely the literary genre, which is serious and facetious simultaneously, for their objects both reflect typical characteristics of time in an ironic way. Instead of getting respect from the readers by borrowing ancient stories, he de-construed sacredness of myth and legend by intentionally composing fictions freely, relying on experience. He refused to use identification style of epic, tragedy, poem and argument, but emphasizing nonidentity and polyphony. Consequently, the ideal to reconstruct nation and dialectical abandon traditional culture has been fully presented in his works.Additionally, as a writer with specific consciousness of genre, Lu Xun performed as a pioneer of narration in modern literary, in the realm of usage of meta-narration, parody and paste, as well as other writing skills. What’ crucial here, is that these skills and narrative styles are not enough to prove the perfection of Lu better that western writers of post-modernism, since these skills are not formed on the basis of imitation of the western world, namely on the foundation of development of Chinese society in unique philosophy and economy, as well as cultural aspects, but being based on the dialectical absorbing and abandoning of Chinese traditional writing theory in the ancient time. Moreover, Japanese scholars take Lu as the typical representative of keeping national style in writing in modern literary composition is reasonable, which also gets positive resonance in Lu’s work back. The two voices constitute so significant relation of communication and conversation that need us to examine exactly.In conclusion, the life style of Lu Xun, namely never abandoning the focus toward reality and simultaneously reflecting the attention in a poetic way, separates him with the Left-Wing writers, providing us with an improved measure of dealing with the relation between literature and reality. It performs unique and valuable significance especially in the current circumstances that our faith toward reality and life confronts with the crisis of Fetishism.更多还原