摘要
将鲁迅小说中的癫狂话语置于中西方文化交接的平台上考察,我们不难发现,鲁迅其实和西方话语有着神交的一面,但同时,鲁迅对这些话语却又有更具化和丰富的一面。癫狂话语的形构既是对传统文化逻辑暴力结构的批判,同时又是对被压抑的可能性和新的现代性的称羡。而耐人寻味的是,如果重新审视"狂人"形象,我们也可以发现其形成中的吊诡之处,它既是反传统的传统主义者和拿来主义者,又是对西方话语进行改编的本土进化论的先知先觉者。
If putting Madness discourse in Lu Xun's fiction onto the platform connecting both Chinese and Western cultures,we can find that Lu Xun's ideas were not only spiritually overlapped with some Western discourses but also made them more concrete and colorful.The formation of madness discourse can be regarded as criticism on violent structure of Chinese traditional cultures,also it figures out the depressed and possibly new modernity of Chinese fiction.If we re-examine the image of 'madman',we can also find many paradoxes during the process of its formation: it is on the one hand a tradition supporter of anti-tradition,and on the other hand a pioneer of adapting western discourses.
出处
《中山大学学报（社会科学版）》
CSSCI
北大核心
2008年第4期41-47,共7页
Journal of Sun Yat-sen University(Social Science Edition)
关键词
鲁迅小说
癫狂
话语形构
权力
Lu Xun's fiction
Madness
discursive formation
power
