论《呐喊》对《狂人日记》中“月光”“目光”的互文性阐释  

An Intertextual Interpretation of"Moonlight"and"Gazes"in Diary of a Madman through Call to Arms

作　　者：石涛 陶彦姝 SHI Tao;TAO Yanshu

机构地区：[1]武警警官学院基础部,四川成都610000 [2]成都第四十中学校中学组,四川成都610000

出　　处：《淮北职业技术学院学报》2024年第6期103-107,共5页Journal of Huaibei Vocational and Technical College

摘　　要：《狂人日记》作为鲁迅先生的创作起点,在《呐喊》集中得到了延续与深化。分析《呐喊》中各篇有关“月光”与“目光”的描写内容,可以发现这些意象在鲁迅笔下不仅是环境描写,更是人物心理、情节发展的内在映射。《呐喊》中的“月光”并非固定象征,而是随人物心理波动而变化,营造独特的情绪氛围;“目光”则通过细腻的“画眼睛”艺术,深刻揭示人物精神状态。这些艺术手法不仅推动了情节发展,更展现了鲁迅对社会现实的深刻洞察和对人性的深刻剖析。Diary of a Madman as the starting point of Lu Xun's creations,finds continuation and deepening in the collection Call to Arms.Through an analysis of the descriptions of"moonlight"and"gazes"in the stories of Call to Arms,it can be observed that these images are not merely environmental depictions in Lu Xun's writing,but rather internal reflections of character psychology and plot development.The"moonlight"in Call to Arms is not a fixed symbol;rather,it changes with the fluctuations of the characters'psychology,creating a unique emotional atmosphere.The"gazes",meanwhile,through the delicate technique of"painting the eyes",profoundly reveal the mental states of the characters.These artistic techniques not only propel the plot forward but also demonstrate Lu Xun's profound insights into social reality and human nature.

关 键 词：《呐喊》 《狂人日记》 “月光” “目光” 

分 类 号：I207.425[文学—中国文学]