《阿Q正传》的艺术性问题管窥——兼议鲁迅写作的先锋性  

On Issues of the Artistic Feature of The True Story of Ah Q——An Analysis of Lu Xun's Avant-gardist Writing Views and Practices

作　　者：周韵 

机构地区：[1]江苏第二师范学院国际合作与交流处,江苏南京210013

出　　处：《江苏第二师范学院学报》2017年第10期11-17,共7页Journal of Jiangsu Second Normal University

摘　　要：从先锋派的视角重读《阿Q正传》以及相关文章,对鲁迅的写作观念和实践加以再审视,借此揭出小说的艺术性所在。首先从鲁迅关于"速朽"的概念出发,揭示其写作既有与传统决裂的姿态,也有面向未来的自我否定倾向,呈现出"破坏性的创造和创造性的破坏"(尼采语)的先锋特征。其次从鲁迅关于"反省"为写作目的的立场,指出他不仅拒绝传统写作,而且反对传统阅读,借此剖析他对艺术相对自主性的坚持的缘由,揭示鲁迅持有文化革命和社会革命同样重要的先锋立场。最后聚焦小说的文本实践,着重分析鲁迅在文本中对"戏仿"的利用,揭示文本对传统霸权话语的批判和颠覆,由此把写作变成了一种革命行动。鲁迅的写作意在颠覆传统主流文化及其价值的同时开拓新的文化空间,以期达到改变大众、改良社会的目的。This paper is to revisit"The True Story of Ah Q"and its criticisms from a perspective of the avant-garde,via an analysis of Lu Xun's writing views and practices,thus revealing the artistic features of the story. To begin with Lu Xun's defining it as"dead essay",this paper will reveal that his writing not only breaks with tradition,but also has a future-oriented intention of self-negation. It is concluded that there is an avant-gardist feature of being both"destructively creative and creatively destructive "in his writing. Then,by examining his aim to inspire"reflective reading",the paper will demonstrate Lu Xun opposes traditional writing and positivist reading as well,and his insistence on relative autonomy of art is a result of his avant-gardist understanding that cultural revolution is as important as social revolution. The last part of the paper will focus on the textual practice of the story with an elaboration of Lu Xun's use of"parody". It is argued the use of parody turns the text as a critique and subversion of traditional hegemonic discourse,and his writing a revolutionary action. In a word,Lu Xun's writing opens a new cultural space with a prospect of enlightening the mass and reforming the society.

关 键 词：阿Q正传 速朽 反省 戏仿 现代性 

分 类 号：I210[文学—中国文学]