摘要
《野草》是鲁迅急需抛弃一切绝望,寻获新生而艰难探索的集中体现,而《过客》则又集中体现了《野草》对希望与绝望、历史与背景等悖论的拷问过程,是鲁迅开始走出"第二次绝望"的一个转折点。他试图通过忘却、疏离来摆脱"虚空中的暗夜",哪怕前路也是虚无,他只需要当下的"在场"来证明自己的存在。只有结合《野草》整体和鲁迅创作的时期特性的广阔背景上考察《过客》,我们才能理解鲁迅投射在《野草》里的基本面貌,才能使鲁迅研究"从独断型诠释学转换为探究型诠释学"成为可能。
Weeds is Lu Xun＇s full expression of urgent need to abandon all the despair and his difficult exploration to find new life, while Passing Passengers is his turning point to get out of ＂the second despair＂. He tries to get rid of the ＂empty darkness＂ by forgetting and alienation from the past,＇ even if the road is empty, he needs only present ＂presence＂ to justify his existence. Only by combining the Weed as a whole and the background of Lu Xun＇s writing, can we understand the basic features of Passing Passengers reflected from Weeds, and can the study of Lu Xun converse from arbitrary to exploring hermeneutics.
出处
《怀化学院学报》
2010年第6期52-55,共4页
Journal of Huaihua University
关键词
叙述
悖论
虚无
在场
narrative
paradox
empty
presence
