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作 者:丁文 DING Wen(School of Chinese Language and Literature,University of Chinese Academy of Social Sciences,Beijing 102488,China)
出 处:《海南师范大学学报(社会科学版)》2024年第4期38-50,109,共14页Journal of Hainan Normal University(Social Sciences)
基 金:中国社会科学院大学校级科研项目“原型人物视角下的鲁迅小说研究”。
摘 要:《孤独者》延续了自《狂人日记》起便贯穿在鲁迅小说中的“暴露家族制度”这层意旨,具体表现作为现代主体的魏连殳如何面对传统这一难题。周氏家族与绍兴地方大家族的联姻,使鲁迅将家族人物及内外姻亲作为小说的重要素材,为研究者提供了从家族史视角把握鲁迅小说生成历程的线索。《孤独者》中“盛装的画像”,整合了鲁迅祖母孙月仙家族的相关信息。魏连殳与画像的对视,不仅隐喻了现代主体与传统之间的融和与叛逆,也显现“观者—镜像”这一总体结构在鲁迅文学世界的核心位置。在《孤独者》中,鲁迅表现了运用原型人物这一中国古代小说的人物塑造技法上的灵活多样:包含对原型人物的关系、所经历的事件、贯联人物经历、置身氛围的种种挪用。《孤独者》具有“样本”特质,展现了可供持续开掘的丰富可能性。The Loner continues the theme of"exposing the family system"that has run through Lu Xun's novels since The Diary of a Madman,as is specifically manifest in how Wei Lianshu,as a modern subject,faces the issue of tradition.The marriages between the Zhou family and other local big families in Shaoxing enabled Lu Xun to use family characters and their in-laws as important materials for his novels,thus providing researchers with clues to grasp the generation process of Lu Xun's novels from the perspective of family history."The splendidly dressed ancestral portrait"in The Loner integrates relevant information of the family of Sun Yuexian,the grandmother of Lu Xun.The gaze between Wei Lianshu and the portrait not only symbolizes the integration and rebellion between modern subjects and tradition,but also reveals the core position of the"viewer-mirror"overall structure in Lu Xun's literary world.In The Loner,Lu Xun has demonstrated a flexible and diverse use of prototype characters as a characterization technique in ancient Chinese novels,including various adaptations of the relationships between prototype characters,the events they experience,the interconnected experiences of characters,and the surrounding atmosphere.The Loner has the traits of a"sample"and presents rich possibilities for continuous exploration.
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