鲁迅与阿Q形象新解读——以堂吉诃德的二重极化为视角  

A New Interpretation of the Images of Lu Xun and Ah Q:In the Light of the Two Opposing Poles of Don Quixote

作　　者：方维保[1] Fang Weibao

机构地区：[1]安徽师范大学文学院,芜湖241002

出　　处：《中国社会科学评价》2021年第4期105-115,157,共12页China Social Science Review

摘　　要：塞万提斯在《堂吉诃德》中所塑造的堂吉诃德形象,进入现代中国语境后变异为两种相反的面相,一是通过理论和创作中的自我指称和他者指称,从正面塑造了鲁迅中国式堂吉诃德的悲剧战士形象;二是鲁迅通过小说《阿Q正传》,从反面塑造了阿Q这一中国式堂吉诃德的乡村流氓无产者形象。这是将堂吉诃德形象质的正面或反面价值在本土语境下极化的结果。通过对读可以看出,鲁迅和阿Q形象以悲剧性的正反两极组合共同呈现了国民人格的整体。他们的形象既是现代中国文化心理和审美趣味的投射,也是观察和言说现代中国社会文化的重要视角和方法。The image of Don Quixote created by Cervantes in Don Quixote has mutated into two opposing poles in the modern.Chinese context.The first comes from the self-and other-referentiality of their theory and creation.In it,Lu Xun is positively portrayed as a Chinese-style Don Quixote,the image of a tragic warrior.The second image is that of Ah Q in The True Story of Ah Q.Lu Xun portrays Ah Q negatively,as a Chinese-style Don Quixote whose image is that of a penniless rural ne'er-do-well.This is the consequence of the polarization in the local context of the positive and negative values attached to Don Quixote's character.A comparative reading shows that the images of Lu Xun and Ah Q display the whole national personality through the tragic combination of the two poles of negative and positive value.Not only are the two images a projection,of modern Chinese cultural psychology and aesthetic tastes;they also offer an important perspective and technique for observing and illustrating modern Chinese society and culture.

关 键 词：堂吉诃德 现代中国文学 鲁迅形象 阿Q形象 形象学 

分 类 号：I106.4-03[文学—世界文学]