幻灯片·翻译官·主体性——重释“幻灯片事件”兼及鲁迅的“历史意识”  

Slide,Translator and Subjectivity——On "the Slide Show Incident" and Lu Xun's "Historical Consciousness"

作　　者：罗岗[1] 徐展雄[1] 

机构地区：[1]华东师范大学中文系,上海200062

出　　处：《杭州师范大学学报（社会科学版）》2011年第5期61-70,共10页Journal of Hangzhou Normal University(Humanities and Social Sciences)

基　　金：教育部人文社会科学重点研究基地重大项目"现代国家想象与20世纪中国文学"(2007JJD757077)的研究成果之一

摘　　要：以往对"幻灯片事件"的研究很大程度上忽略了这一事件在数十年间穿梭于不同的历史语境以及被多种媒介挪用、移植和旅行的"重述"经历,因此,跨语境、跨媒介的互文性阅读不失为重审"幻灯片事件"的一种方式。以这种阅读方法为研究途径,在细读《呐喊.自序》《藤野先生》等文本的基础上,通过姜文导演的《鬼子来了》(2000)再次进入"幻灯片事件",可以澄清"国民性话语"研究中某些被忽略和简化的问题,重返鲁迅基于"震惊"体验构筑的"历史意识"和"历史主体"。The research on ＂the Slide Show Incident＂ used to pay little attention to its reiterative experience in different historical contexts in the past decades when it was often appropriated, transplanted and journeyed by varied media. Therefore, a trans-context and transmedia intertextual reading is a proper way to review ＂the Slide Show Incident＂. This paper, based on Lun＇s writ- ings such as Preface to Call to Arms and Mr. Fujino, reexamines ＂the Slide Show Incident＂ by way of Jiang Wen＇s Devils on the Doorstep （2000） to clarify some issues which were neglected and simplified in the study of ＂discourse of national character＂, and revisit Lu Xun＇s ＂historical consciousness＂ and ＂historical subjectivity＂ developed through his ＂ shocking＂ experience.

关 键 词：鲁迅 “幻灯片事件” 国民性话语 

分 类 号：I210.97[文学—中国文学]