鲁迅文学创作中的“戏仿”艺术考察  

A Study on the Art of“Parody”in Lu Xun’s Literary Creation

作　　者：高俊林[1] GAO Jun-lin(School of Liberal Arts,Northwest University,Xi’an 710127,China)

机构地区：[1]西北大学文学院,陕西西安710127

出　　处：《西北大学学报（哲学社会科学版）》2024年第5期63-71,共9页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：国家社会科学基金项目“鲁迅小说创作与中国古典小说理论之关系研究”(23BZW121)。

摘　　要：戏仿艺术,在鲁迅的文学创作中是一个大量存在的事实,这既是对中国源远流长的模拟体写作传统的继承,同时也承担了几分立足于近代启蒙主义立场之上的对于封建旧传统的解构或颠覆性功能。鲁迅的这些戏仿之作,从来源上讲较为驳杂,既有对于古代原典的戏仿,也有对于同时代人作品的戏仿,更有对于民间文学的戏仿。并且依其时具体的创作心境,而服务于不同的艺术目的:或是为了批判过时的礼教,或是为了抨击现实的弊病,或是出自对于冥顽不化的国民劣根性的鞭挞。而所有这些,都在根本上与鲁迅早年所坚持的“立意在反抗,指归在动作”之现实参与品格一脉相承,体现了其“韧”的战斗精神。The parody art is a widespread fact in Lu Xun’s literary creation,which not only inherits China’s long-standing tradition of mimetic writing,but also undertakes some functions of deconstructing or subverting feudal old traditions based on the standpoint of the modern Enlightenment.Lu Xun’s parody works are relatively diverse in origin,including parodies of ancient classics,works of contemporaries,and folk literature.And according to the specific creative mood at the time,it serves different artistic purposes:either to criticize outdated ethics,or to criticize the drawbacks of reality and the stubborn national evil.And all of these are fundamentally consistent with Lu Xun’s early insistence on the character of“intention in resistance,pointing to action”in reality,reflecting his“resilient”fighting spirit.

关 键 词：鲁迅 戏仿 模拟 反讽 

分 类 号：I210.96[文学—中国文学] I210.97