空间的时间性审美——鲁迅《故乡》论  

The Temporal Aesthetic Narrative of Space:On Lu Xun's Hometown

作　　者：霍士富[1] 胡莉蓉 Huo Shifu;Hu Lirong

机构地区：[1]西安交通大学外国语学院,陕西西安710049

出　　处：《复印报刊资料（中国现代、当代文学研究）》2023年第8期102-109,共8页MODERN AND CONTEMPORARY CHINESE LITERATURE

基　　金：国家社会科学基金项目“鲁迅文学对日本现代文学的影响研究”(22BWW020)。

摘　　要：《故乡》以“相隔两千里”、阔别“二十余年”开篇,一举确立了时间与空间并肩前行的叙事构架。整部小说就在空间位移与历史时间的理念中展开叙事:相比“过去”的幻想与“现在”的悲凉,对“未来”的期待更具现实意义。“我”原以为润土“崇拜偶像”是无可救药,可自己期盼的“希望”不也是“手制的偶像么?”由此突破主客相关的世界认知意识,实现了“自我”的世界观变革。它承接《狂人日记》中寄“希望”于“孩子”的主题,拓展历史时间的认知理念,开启了一系列“归乡”叙事模式的新篇章。同时,以空间的时间性审美叙事为线索,对开辟鲁迅文学不断超越“绝望之为虚妄,正与希望相同”的哲学命题,具有奠基性意义。Hometown begins with"more than two thousand miles"and"over twenty years",establishing a narrative structure in which space and time are parallel.The whole work is narrated with the movement of space and the progression of historical time.Compared with the fantasy of the past and the sadness of the present,the expectation of the future is more realistic."I"had been thinking that Runtu's"worshiping idol"was hopeless,but isn't the"hope"that I look forward to also a"handmade idol"?In the denial and self-denial,"I"broke through the world cognition related to the subject and the object,and changed my worldview.This work inherits the theme of hope in children in The Madam's Diary,expands the cognitive concept of historical time,and opens a series of new chapters in the"homecoming"narrative mode.At the same time,taking the temporal aesthetic narrative of space as a clue,it has a foundational significance for opening up the philosophical proposition that Lu Xun's literature continues to transcend"despair is false,it is the same as hope".

关 键 词：鲁迅 时空审美 “故乡”叙事模式 审美叙事 

分 类 号：I210.976[文学—中国文学]