鲁迅之“女吊”与女吊之“复仇”建构路径探析

Exploring the Construction Paths of Lu Xun's"Female Hanger"and Female Hanger's"Revenge"

《女吊》作为鲁迅遗嘱的衍义,对理解鲁迅晚年思想有着特殊价值。近年来不断有学者以田野调查方式考察鲁迅之女吊与绍剧之女吊的区别,进而推断鲁迅之女吊复仇精神实为一种“发明”。这一观点无疑对把握鲁迅思想具有重大意义,鲁迅的“女吊”并非绍兴目连戏中“女吊”的简单复刻。故而研究希望通过对“女吊”形象建构的系统梳理,结合不同时期对女吊“复仇”精神的思考,深入解读鲁迅之女吊形象形成的多方路径,以及不同时期解读“复仇”精神的不同立场,进而指出在《女吊》的书写与解读中,鲁迅对民间文化资源的挖掘与不同时代对以“复仇”精神为代表的“鲁迅资源”的建构同属于一条路径:文化资源的再征用。

As a derivative of Lu Xun's will,The Hanging Woman has special value in understanding Lu Xun's thoughts in his later years.In recent years,scholars have been constantly investigating the difference between Lu Xun's The Hanging Woman and Shaoxing Opera's The Hanging Woman by means of field research,and then infer that Lu Xun's The Hanging Woman's revenge spirit is actually an“invention”.This viewpoint undoubtedly holds great significance for grasping Lu Xun's thoughts.Lu Xun's“The Hanging Woman”is not a simple replica of the“The Hanging Woman”in Shaoxing Mulian Opera.Therefore,the research aims to systematically sort out the construction of the image of“female hangers”,combined with reflections on the“revenge”spirit of female hangers in different periods,to deeply understand the multiple paths of Lu Xun's female hangers'image formation,as well as the different positions of interpreting the“revenge”spirit in different periods.Furthermore,it points out that in the writing and interpretation of Female Hangers,Lu Xun's exploration of folk cultural resources and the construction of“Lu Xun's resources”represented by the spirit of“revenge”in different eras belong to the same path:the rerequisition of cultural resources.