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吶喊魯迅范文第1篇

關(guān)鍵詞：翻譯，跨文化交流，同化，異化

Cross-cultural Communication in Lu Xun's Collection Work Call to Arms

Shi Miao

Abstract This essay analyzes the translation strategies in Lu Xun's collection work Call to Arms translated by Yang Hsien-yi and Gladys Yang， demonstrates the domestication and foreignization in the translation works that made it achieve the "spirit" of the original. To translate Chinese works into English successfully is no easy work， let alone the translation of Lu Xun's works. His works all have a humorous tone and are full of bitter ironies. These features made his works most outstanding ones in the literary world. Also， it is hard to translate Lu Xun's works successfully into English. Yang Hsien-yi and Gladys Yang begun their translation since the . Their translation works Dream of the Red Mansion； The Scholars etc enjoy excellent reputation in the translation field. In the collection works Call to Arms， Yang Hsien-yi and Gladys Yang followed the principle of domestication and foreignization， and made the translation work a master piece in the cross-cultural communication.

Key Words Translation， Cross-cultural communication， Domestication， Foreignization，

1.Introduction

Lu Xun is one of the greatest literary masters in the 20th century. His literary works are most read in China. His works are characterized with his humorous tone and bitter ironies. On his writing style， his language is concise， vivid and highly characterized. All these linguistic style make Lu Xun's works outstanding in the literature field. Yang Hsien-yi and Gladys Yang are two of the most prestigious translators in China. They have translated a large number of excellent literary works.

Call to Arms， written by Lu Xun and translated by Yang Hsien-yi and Gladys Yang， is a perfect combination of Lu Xun's literature and the Yangs' translation. Call to Arms is a book of great consequence in Chinese-English translation history.

2.Translation theories and methods

There are several important elements in translation. First， the translators should realize that what they are translating are texts， not independent words， phrases or sentences. Second， what the translators present in the translation works should be "natural". So it is not enough for them to just produce sentences correct in grammar， but they should make them natural. Third， we can see from the definition in Columbia Encyclopedia that the translators should preserve the original "flavor" of the works. It means that the special characteristics and manners of writing should be retained in the translation works.

From some modern theories， we may conclude that the translators should present a kind of translation which is "in the way the author intended" and at the same time "for readers with a different background". （Chen Dezhang， 2005： 2）

In this essay， translation would be referred as a means of cross-cultural communication.

The term "culture" refers to the total pattern of beliefs， customs， institutions， objects， and techniques that characterize the life of human community. It means that culture consists of not only material things but also non-material things. In another word， culture refers to entire way of life of a society. Lu Xun， as a great writer and revolutionist， provided abundant cultural information in his works. As it is said above， the total pattern of beliefs， customs， institutions， objects， and techniques that characterize the life of Chinese community was provided. Translation， as cross-cultural communication， deals with the language transmit and meaning "transplant" of the works.

When it comes to communication， though some information is hidden as all known information， these people can easily understand others as well as being understood. Since cultures are diverse， languages are diverse. When readers read something from another culture， they cannot easily relate the information in the content with the knowledge of the other culture. This phenomenon is very common in Lu Xun's case because not only did he provide so much cultural-related information in his works， but also did he give detailed and vivid descriptions of the Chinese characters in the stories.

Yang Hsien-yi and Gladys Yang， as the translators of Lu Xun's works， did a good job setting up the links between the two languages. They filled the vacuum of sense in the original works and presented through the translation works the colorful culture of our nation. And in their translation works， they presented the characters just as detailed and vividly as that of the original.

Culture and language are closely related and cannot be separated. It is said above that "without language， they maintain， culture would not be possible； on the other hand， language is influenced and shaped by culture； it reflects culture".

Words and terms in one language do not always have the same meaning when translated into another language. After all， we do not rely on a dictionary to give the proper translation. In the process of translating a book like Call to Arms， the translators can always be confronted with these kinds of problems：

First， the translator may not find a counterpart of a term in another language. Second， terms may have same meanings on the surface， but with different cultural connotations， etc.

2.1Foreignization of Culturally Unique Terms

The words that represent things and concepts specifically in Chinese culture usually have no counterparts in English. If the translators explain this kind of words in English， readers may still be confused since they don't have such things or concepts in their culture， such as language for political life， day-to-day activities， natural phenomena etc.

As there is no "衙門(mén)" or "麻將" in the English culture， Yang Hsien-yi and Gladys Yang used transliteration， gave these words names that sound the same as the original terms in the translation work. In this way， readers from the English society can understand that these words bear Chinese cultural information.

e.g. 況且衙門(mén)里的大老爺也還沒(méi)有告示……（Yang Hsien-yi & Gladys Yang， 2006： 156） Translated as： Besides， no order's come down yet from the big mandarin in the yamen….（Yang Hsien-yi & Gladys Yang， 2006： 157）

e.g. 未莊的鄉(xiāng)下人不過(guò)達(dá)三十二張的竹牌，只有假洋鬼子能夠叉"麻將"。（Yang Hsien-yi & Gladys Yang， 2006： 276） Translated as： In Weizhuang everyone played with thirty-two bamboo counters and only the Bogus Foreign Devil could play mahjong. （Yang Hsien-yi & Gladys Yang， 2006： 277）

2.2Domestication of Culturally Unique Terms

e.g.例如什么地方，雷公劈死了蜈蚣精；什么地方，閨女生了一個(gè)夜叉之類(lèi)。（Yang Hsien-yi & Gladys Yang， 2006： 146） Translated as： Where， for instance， the thunder god had blasted a centipede spirit， or where a virgin had given birth to a demon. （Yang Hsien-yi & Gladys Yang， 2006： 147）

There are no such thing as "……精"or "夜叉" in English culture. Yang Hsien-yi and Gladys Yang translated these terms into something that close to the English religion. "Spirit" for "……精"， and "demon" for "夜叉". These terms can be translated into Chinese simply as "鬼怪"， but in this book， these terms enable the readers to understand the context.

Similarly， in the example follows， Yang Hsien-yi and Gladys Yang translated something that exists only in Chinese culture into a concept that is well known to the western society.

2.3Liberal Translation of Culturally Unique Terms

There is some information whose origin is too complex to explain， or it is more important to understand its cultural connotation. For these items， the translators adopted liberal translation.

e.g.他很想即刻揪住他，斷他的竹筷，放下他的辮子，并且批他幾個(gè)嘴巴，聊且懲罰他忘了生辰八字，也敢來(lái)做革命黨。（Yang Hsien-yi & Gladys Yang， 2006： 307） Translated as： He was greatly tempted to seize him then and there， break his bamboo chopsticks， let down his pigtail and slap his face several times into the bargain to punish him for forgetting his place and for his presumption on becoming a revolutionary. （Yang Hsien-yi & Gladys Yang， 2006： 308）

e.g.人都滿(mǎn)了，連立足也難，我只得擠在遠(yuǎn)處人叢中看一個(gè)老旦在臺(tái)上唱。（Yang Hsien-yi & Gladys Yang， 2006： 414） Translated as： There was hardly any standing-room and I had to squeeze into the crowd at the rear to watch an actor singing an old woman's part. （Yang Hsien-yi & Gladys Yang， 2006： 415）

In this example， the translators did not the term "老旦" in Peking Opera， but explained the term as "an actor singing an old woman's part".

2.4The Use of English Idioms

Translation， as a means of communication between two languages， stands for not only the process of transformation between two languages， but also the process of "transplant" of culture. To translate the source language successfully into the target language， the translators should know well about the social background， customs and logics of the society of both languages.

In the process of translation， Yang Hsien-yi and Gladys Yang were not framed by the meaning of word or by the structure of sentences. They used many English idioms in the translation works. These English idioms made plain words from the original works more vivid in translation works. Though with these English idioms， the translation works seemed to be different in form with the original works， they could emphasize the personality of the characters and bring the style of the work into bold relief.

e.g. 阿Q仿佛文童落第似的覺(jué)得很冤屈，他慢慢走近園門(mén)去，忽而非常驚喜了，這分明是一畦老蘿卜。他于是蹲下便拔，而門(mén)口突然伸出一個(gè)很圓的頭來(lái)，又即縮回去了，這分明是小尼姑。小尼姑之流是阿Q本來(lái)視若草芥的，但世事須"退一步想"，所以他便趕緊拔起四個(gè)蘿卜，擰下青葉，兜在大襟里。（Yang Hsien-yi & Gladys Yang， 2006： 267） Translated as： Resentful as a scholar who has failed the examination Ah Q walked slowly towards the gate of the garden. Suddenly， however， he gave a start of joy， for what did he see there but a patch of turnips！ He knelt down and had just begun pulling when a round head appeared from behind the gate， only to be promptly withdrawn. This was no other than the little nun. Now though Ah Q had always had the greatest contempt for such people as little nuns， there are times when "Discretion is the better part of valor." He hastily pulled up four turnips， tore off the leaves， and stuffed them under his jacket. （Yang Hsien-yi & Gladys Yang， 2006： 268）

In this example， Ah Q is found stealing the turnips by the little nun at the convent. "Ah Q had always had the greatest contempt for such people as little nuns"， little nuns are targets of his pranks. But this time， with Ah Q's hunger warning him， and his being afraid to be caught by the old nun， Ah Q decides to take the turnips as soon as possible. "Discretion is the better part of valour" is just an excuse. Ah Q isn't willing to admit that he is scared. This is a typical presentation of the "Ah Q spirit". The relevant phrase for "退一步想"should be "on second thoughts". But in this way the readers of the target language would have difficulty in understanding the deep meaning in this phrase. The idiom "Discretion is the better part of valour" comes from Shakespeare's Henry Ⅳ. In Longman Dictionary of English Idioms， the explanation of this idiom is "one should not take an unnecessary risk". This idiom reflects the Ah Q spirit in this work.

e.g. 阿Q照例的發(fā)了怒，他怒目而視了。

"原來(lái)有保險(xiǎn)燈在這里！"他們并不怕。

阿Q沒(méi)有法，只得另外想出報(bào)復(fù)的話來(lái)：

……（Yang Hsien-yi & Gladys Yang， 2006： 217）

Translated as：

Ah Q rising to the bait as usual would glare in fury.

"So there is a paraffin lamp here，" they would continue， unafraid.

Ah Q could do nothing but rack his brains for some retort.

……（Yang Hsien-yi & Gladys Yang， 2006： 218）

Here， the idiom "rising to the bait" claims that Ah Q is seduced to be angry. And his fury just satisfies the idlers， reflects Ah Q's simple-minded personality and the facts that Ah Q is always the target of joking as being low in status. The idiom "rack his brains" gives a vivid picture of a slow-witted and embarrassed Ah Q who always wants to get back of others.

2.5The Use of English Sentence Structures

Here the use of English sentence structure means the modifying of sentences especially the supplements of conjunctions such as "and"， "but" etc.

Sometimes conjunctions are omitted in articles for the relations between sentences can be inferred from context. When translated into English， the translators put conjunctions back into their places in order to help the readers to understand the works.

e.g. 華大媽聽(tīng)到"癆病"這兩個(gè)字，變了一點(diǎn)臉色，似乎有些不高興；但又立刻堆上笑，搭著走開(kāi)了。這康大叔卻沒(méi)有察覺(jué)，仍然提高了喉嚨只是嚷，嚷得里面睡著的小栓也合伙咳嗽起來(lái)。（Yang Hsien-yi & Gladys Yang， 2006： 83） Translated as： The old woman seemed a little disconcerted by the word "consumption"， and turned a shade paler； however， she forced a smile again at once and found some pretext to leave. Meanwhile the man in brown was indiscreet enough to go on talking at the top of his voice until the child in the inner room was woken and started coughing. （Yang Hsien-yi & Gladys Yang， 2006： 84）

In this paragraph， the Yangs added a number of conjunctions in the translation works， such as "and"， "meanwhile"， "until". These conjunctions clarify the relations among sentences； combine the scattered short sentences together. In this way， the recreated sentences achieve clear logical sequence and are well organized.

2.6The Use of English Rhetoric

There are great differences between Chinese and English rhetoric. If the translators employ word-for-word translation or literal translation， some of the Chinese rhetorical devise would be distorted. On the other hand， if the translators choose not to translate the rhetorical devise， the translation works would lose the style and certain content that the original works own. Yang Hsien-yi and Gladys Yang， as senior translators， chose not to be refrained by the structures of the original works； but to employ the English rhetoric to explain and express the original meaning of the works.

e.g. 又有些勝利者，當(dāng)克服一切之后，看見(jiàn)死的死了，降的降了，"臣誠(chéng)惶誠(chéng)恐死罪死罪"，他于是沒(méi)有了敵人，沒(méi)有了對(duì)手，沒(méi)有了朋友，只有自己在上，一個(gè)，孤另另，凄涼，寂寞，便反而感到了勝利的悲哀。（Yang Hsien-yi & Gladys Yang， 2006： 239） Translated as： There are other victors who， having carried all before them， with the enemy slain or surrendered， utterly cowed， realize that now no foe， no rival， no friend is left---- none but themselves， supreme， lonely， lost， and forlorn. Then they find their triumph a tragedy. （Yang Hsien-yi & Gladys Yang， 2006： 240）

In this example， "slain and surrendered"， "find their triumph a tragedy" used alliteration， made the translation work readable and remained the original language feature of reduplication.

2.7Wording of Revealing Personality of Characters

In Lu Xun's works， all characters have their own personalities. A characters actions， sayings and thoughts can reflect his/her personality. Lu Xun used description and narration made their personalities clearly presented in the works. When Yang Hsien-yi and Gladys Yang were translating， they chose words not only the most accurate and equivalent， but also fit and reflect the personalities of the characters.

Here are some examples：

In Kong Yiji， the leading character Kong Yiji is a failed scholar who is doltish and useless enough to consider himself a real scholar. He is so bad off and not trust-worth that he had to steal things for a living. Yet， as he considers himself a "noble" scholar， he is unwilling to admit that he is actually a thief. However， to make thing more hilarious， he makes up a number of excuses which are obviously fake. In the translation work of Kong Yiji， Yang Hsien-yi and Gladys Yang used words that showed Kong Yiji's characteristics clearly and vividly.

Here below is another example.

e.g. 誰(shuí)知道阿Q采用怒目注意之后，未莊的閑人們便愈喜歡玩笑他。一見(jiàn)面，他們便假作吃驚的說(shuō)：……（Yang Hsien-yi & Gladys Yang， 2006： 217） Translated as： It so happened， however， that after Ah Q had taken to using his furious glare， the idlers in Weizhuang grew even more fond of making jokes at his expense. As soon as they saw him they would pretend to give a start and say：…. （Yang Hsien-yi & Gladys Yang， 2006： 218）

Here "玩笑他"could simply be translated to "making jokes about him" as usual. But the Yangs used "making jokes at his expense"， stressed that Ah Q is always the victim of people's pranks， and made clear the fact that in every conflict between him and others， Ah Q is always the loser.

3.Conclusion

This essay uses examples from Call to Arms to demonstrate the flexible use of translation strategies which should be appreciated and studied by English Learners in order to improve translation skills. It aims to illustrate how to use the translation skills under different circumstances and to solve certain problems in the process of translation by citing examples from a good model of translation works.

The theories on which the analysis is based are collected from the text books of translation and cultural-related classes and books that I read for information in relevant with translation. Examples in this thesis are quoted from the book of collection works Call to Arms.

Through the reading of the original works of Lu Xun's and the translation versions， I compare the words， meaning and style between the translation works and their originals； analyze the different strategies that the translators employed to deal with actual problems in translation， then display them with examples from Call to Arms. Then， from the aspect of translating novels， I pick out some typical examples of novel translations where the personalities of characters can be revealed by the precise wording.

The examples show that Yang Hsien-yi and Gladys Yang adopted certain translation strategies such as domestication and foreignization to ensure that the translation works are readable and understandable to the foreign readers， or in another word----catch the "spirit" of the originals. Moreover， this paper supports the feasibility and effectiveness of the translation strategy "make full use of good expressions of the target language" proposed by Xu Yuanchong （Xu Yuanchong， 2003： 64）； and it further demonstrates that this theory of Mr. Xu can be used not only in translation of poetry but also in translation of contemporary literature works.

References

[1] Lefevere A， Translation， rewriting and the manipulation of literary fame. London and New York： Routeledge Inc.，1992.

[2] Wang X， Cultural loss in Chinese-English translation. Sino-US English Teaching.2007， 4： 75-81.

[3] 陳德彰，《英漢翻譯入門(mén)》。北京：外語(yǔ)教學(xué)與研究出版社，2005。

[4] 陳定安，《英漢比較與翻譯》。北京：中國(guó)對(duì)外翻譯出版公司，1998。

[5] 鄧炎昌，劉潤(rùn)清，《語(yǔ)言與文化--英漢語(yǔ)言文化對(duì)比》。北京：外語(yǔ)教學(xué)與研究出版社，1989。

[6] 黃遠(yuǎn)竟，楊敏，跨文化翻譯的接受美學(xué)觀，《中華文化論壇》2008 （8）： 213-215。

[7] 魯迅著，楊憲益，戴乃迭譯，《吶喊》。北京：外文出版社，2004。

[8] 彭娟，賈德江，從魯迅著作《吶喊》的英譯本看文化負(fù)載詞的翻譯策略，《文教資料》2008 （3）：12-14。

[9] 孫致禮，中國(guó)的文學(xué)翻譯：從歸化趨向異化，《中國(guó)翻譯》2002 （1）：39-43。

[10] 許建平， 張榮曦. 跨文化交際中的異化與歸化問(wèn)題，《中國(guó)翻譯》， 2002 （9）：35-38。

[11] 許淵沖，《文學(xué)與翻譯》。北京：北京大學(xué)出版社，2003。

[12] 張瑜，淺談《祝?！分蟹Q(chēng)謂語(yǔ)的翻譯，《現(xiàn)代語(yǔ)文》2008 （3）： 81-82。

吶喊魯迅范文第2篇

[關(guān)鍵詞]《吶喊》與《彷徨》 意象 內(nèi)在氣韻

錢(qián)理群曾經(jīng)這樣說(shuō)過(guò)：“第一個(gè)有獨(dú)創(chuàng)性的思想家和文學(xué)家，總是有自己慣用的、幾乎已經(jīng)成為不自覺(jué)的心理習(xí)慣的、反復(fù)出現(xiàn)的觀念(包括范疇)、意象；正是在這些觀念、意象里，凝聚著作家獨(dú)特的精神世界藝術(shù)世界。”[1]魯迅正是這樣一位具有原創(chuàng)性的現(xiàn)代思想家和文學(xué)家。[2]因此在他的《吶喊》與《彷徨》里存在著許多觀念和意象，如“民俗”與“高墻”；“看客”與“吃人”；“黑屋子”與“吶喊”等，這些觀念和意象，分別從農(nóng)民、知識(shí)者、啟蒙者的視角，提出改造靈魂、探索道路、改造國(guó)民靈魂的重大主題，形成了割舍不斷的內(nèi)在氣韻，并使其成為完整的統(tǒng)一體。

一、民俗與高墻

《故鄉(xiāng)》中的閏土在現(xiàn)實(shí)中連最起碼的溫飽都得不到解決，于是求助于“神”，所以在揀擇“我和母親”不搬走的東西時(shí)，揀了一幅香爐和燭臺(tái)。從這種傳統(tǒng)的民俗觀念中，我們看到了閏土是深受封建等級(jí)秩序影響的。正因?yàn)檫@種民俗的強(qiáng)大力量，造成了閏土和“我”的隔閡。一聲“老爺”，使“我非常氣悶”，“只覺(jué)得我四面有看不見(jiàn)的高墻，將我隔成孤身?！边@和魯迅在《俄文譯本(阿Q正轉(zhuǎn))序》中談到的高墻是一個(gè)意思：“別人我不得而知，在我自己，總仿佛覺(jué)得我們?nèi)巳酥g各有一道高墻，將各各分離，使大家的心無(wú)從相印。”[3]

《孔乙己》中咸亨酒店內(nèi)高高的曲尺柜臺(tái)，把穿長(zhǎng)衫的和穿短衣的隔開(kāi)《藥》中的人血饅頭治癆病的習(xí)俗，造成了群眾和革命者之間的隔膜《祝?！分械男履昙雷媪?xí)俗，把祥林嫂和魯鎮(zhèn)的人隔開(kāi)《風(fēng)波》中的取名習(xí)俗，把人分成了若干的等級(jí)《長(zhǎng)明燈》中吉光屯人對(duì)長(zhǎng)明燈的看法，致使他們對(duì)“瘋?cè)恕钡姆纯古e動(dòng)視為真的瘋子；《離婚》中的“拆灶”習(xí)俗，使人與人之間的矛盾趨于僵化。

雷?韋勒克談及意向時(shí)認(rèn)為：“‘意象’以此表示有關(guān)過(guò)去的感受上、知覺(jué)上的經(jīng)驗(yàn)在心中的重現(xiàn)或回憶，而這種重現(xiàn)和回憶未必一定是視覺(jué)上的?！盵4]因此，我們可以說(shuō)，魯迅小說(shuō)中的“高墻”意象是魯迅有關(guān)過(guò)去的感受上和知覺(jué)上的經(jīng)驗(yàn)在其心中的重現(xiàn)或回憶。魯迅在《吶喊?自序》中也曾談及這堵“高墻”：“我有四年多，曾經(jīng)常常，一幾乎是每天，出入于質(zhì)鋪和藥店里，年紀(jì)可是忘卻了，總之是藥店的柜臺(tái)正和我一樣高，質(zhì)鋪的是比我高一倍，我從一倍高的柜臺(tái)外送上衣服或首飾去，在悔蔑里接了錢(qián)，再到一樣高的柜臺(tái)上給我久病的父親去賣(mài)藥?！盵5]魯迅少年時(shí)代所面對(duì)的高貴的柜臺(tái)，顯然是魯迅眼中的高墻，這應(yīng)該是魯迅小說(shuō)中高墻的原版。這個(gè)高墻原版一直儲(chǔ)藏在魯迅的心里，并影響著魯迅以后的創(chuàng)作。林辰在《魯迅?jìng)鳌分惺沁@樣說(shuō)：“曾祖母的逝世，祖父的下獄，父親的早逝，這一連串的不幸接著發(fā)生于四五年之中，使魯迅受盡了白眼，經(jīng)濟(jì)的壓迫；然而，正是在這‘從小康人家而墜入困頓’的‘途路中’，他看見(jiàn)了‘世人的真面目’，這是他一生事業(yè)發(fā)展上的一個(gè)重大關(guān)鍵?！盵6]所以“高墻”意象才會(huì)在他的小說(shuō)中反復(fù)出現(xiàn)。

二、看客與吃人

魯迅小說(shuō)中的看客，多數(shù)都是生活在下層的群眾，他們只要有口飯吃，就會(huì)無(wú)所事事的混下去，只有當(dāng)最低的生存條件都無(wú)法保障時(shí)，他們才有可能成為“革命的追隨者”，正像恩格斯說(shuō)的那樣：“作為政治力量的因素，農(nóng)民至今在多數(shù)場(chǎng)合下只是表現(xiàn)他們的那種根源于農(nóng)村生活隔絕狀況的冷漠態(tài)度?！盵7]魯迅在他的散文詩(shī)《復(fù)仇》中把群眾比作“爬在墻壁上的槐蠶”，并說(shuō)他們“拼命地希求偎倚，接吻，擁抱，以得生命的沉酣的大歡喜?！薄盎毙Q”散出溫?zé)幔谷擞憛?，“偎倚，接吻，擁抱”令人想起擁擠、煩躁、不安。這樣的場(chǎng)面，就是當(dāng)今社會(huì)也屢見(jiàn)不鮮。魯迅正是看到了這一點(diǎn)，才會(huì)幾乎篇篇都讓看客出現(xiàn)。魯迅還為看客專(zhuān)門(mén)寫(xiě)了《示眾》這篇小說(shuō)。這篇小說(shuō)具有極大的包容性，內(nèi)含著多方面的生長(zhǎng)點(diǎn)，甚至可以把《吶喊》、《彷徨》與《故事新編》里的許多小說(shuō)都看作是《示眾》的生發(fā)與展開(kāi)，從而形成一個(gè)系列，如《狂人日記》、《孔乙己》、《明天》、《頭發(fā)的故事》、《藥》、《阿Q正傳》、《祝?！?、《長(zhǎng)明燈》、《鑄劍》、《理水》、《采薇》等。錢(qián)理群在小結(jié)這篇小說(shuō)時(shí)說(shuō)：“小說(shuō)中所有只有一個(gè)動(dòng)作：‘看’：他們之間只有一個(gè)關(guān)系：一面‘看別人’，一面‘被別人看’，由此而形成一個(gè)‘看＼被看’的模式?！边M(jìn)而說(shuō)這是“中國(guó)人的基本生存方式”，也是“人與人的基本關(guān)系”。[8]

“看＼被看”的模式是魯迅的深刻發(fā)現(xiàn)。在《吶喊》與《彷徨》中，“被看者”往往在“看者”貪婪的眼光中消失?？滓鸭菏窃诰瓶偷淖I笑中傷生的，祥林嫂是在魯鎮(zhèn)人的咀嚼中走完一生的，子君是在路人的輕蔑和親友的絕交中走向墳?zāi)沟?，狂人是被魯?zhèn)人關(guān)進(jìn)黑屋子的……。這樣看來(lái)，看客“吃人”亦在情理之中。因?yàn)橹袊?guó)人向來(lái)就有將人的肉肝膽血當(dāng)作食物享用或?qū)⒛X骨當(dāng)作壯陽(yáng)益壽的藥物煎吃的原始風(fēng)俗。所以在《阿Q正傳》的結(jié)尾處魯迅將“吃人”與“被吃”的封建文化的本質(zhì)再一次凸現(xiàn)出來(lái)：“這剎那間，他的思緒又仿佛旋風(fēng)似的在腦里一回旋了。四年之前，他曾在山腳下遇見(jiàn)一只餓狼，永是不遠(yuǎn)不近的跟定他，要吃他的肉。他那時(shí)嚇得幾乎要死，幸而手里有一斫柴刀，才得仗這壯了膽，支持到未莊；可是永遠(yuǎn)記得那狼眼睛，又兇又怯，閃閃的像兩顆鬼火，似乎遠(yuǎn)遠(yuǎn)的來(lái)穿透了他的皮肉。而這回他又看見(jiàn)從來(lái)沒(méi)有見(jiàn)過(guò)的更可怕的眼睛了，又鈍又鋒利，不但已經(jīng)咀嚼了他的話，并且還要咀嚼他皮肉以外的東西，永是不遠(yuǎn)不近的跟他走。這些眼睛們似乎連成一氣，已經(jīng)在那里咬他的靈魂?！笨杀蓱z的阿Q，一向以精神勝利法居于不敗地位并常神往于“吃人”生活的阿Q，在屢次吃人之后，當(dāng)自身將被吃掉時(shí)，那些無(wú)聊的看客，已經(jīng)連成一氣，都來(lái)分享其殘羹了。這真是“群眾的罰惡之心，并不下于學(xué)者與軍閥。”

三、鐵屋子與吶喊

因?yàn)榭袢丝闯隽朔饨ㄎ幕摹俺匀恕北举|(zhì)，因此被關(guān)進(jìn)了“黑沉沉”的屋子里；單四嫂子在她相依為命的寶兒病逝后的寂寞中，感到黑屋子叫“他喘氣不得”；一心想吹熄吉光屯中從梁武帝時(shí)傳下來(lái)的長(zhǎng)明燈的瘋子，被關(guān)進(jìn)廟里一間有粗木直柵的只有一小方窗的黑屋子里。1925年，魯迅在《聰明人和傻子和奴才》中，也描繪了一個(gè)“又濕，又陰，滿(mǎn)是臭蟲(chóng)，睡下去就咬得真可以。晦氣沖著鼻子，四面又沒(méi)有一個(gè)窗”的黑屋子。魯迅在《吶喊?自序》中也談到了這個(gè)黑屋子：“假如一件鐵屋子，是絕無(wú)窗戶(hù)而萬(wàn)難破毀的，里面有許多熟睡的人們，不就要悶死了，然而從昏睡如死滅，并不感到就死的悲哀?，F(xiàn)在你大嚷起來(lái)，驚動(dòng)了較為清醒的幾個(gè)人，使這不幸 的少數(shù)者來(lái)售無(wú)可挽救的臨終的苦楚，你倒以為對(duì)得起他們么?”[9]

在他的小說(shuō)中，出現(xiàn)“鐵屋子”意象大多是一個(gè)清醒者如狂人、瘋子，或者是像愛(ài)姑一樣的有點(diǎn)反抗性的普通的人。所以，“鐵屋子”這一主題意象的設(shè)置方式就有了這兩種情況：一是在《狂人日記》和《長(zhǎng)明燈》中，當(dāng)覺(jué)醒者在“鐵屋子”中發(fā)出吶喊試圖喚醒沉睡者時(shí)，沉睡者里傳統(tǒng)文化的得益者即闊人便借助強(qiáng)大的政治勢(shì)力和宗法力量將覺(jué)醒者羈押起來(lái)，這時(shí)，作為羈押地的“鐵屋子”意象出現(xiàn)。二是在《阿Q正傳》和《離婚》中，當(dāng)“鐵屋子”中昏睡者中的極普通的下層人阿Q和愛(ài)姑因?yàn)槟撤N原因進(jìn)入“闊人”趙太爺或慰老爺?shù)淖∷鶗r(shí)，魯迅就讓“鐵屋子”意象凸顯出來(lái)。

魯迅痛感昏睡的人們?nèi)绱酥?，使得他年輕時(shí)候的許多夢(mèng)想歸于破滅，而夢(mèng)醒之后無(wú)路可走更是最大的苦痛。盡管如此，他仍要在絕望中抗?fàn)?，于無(wú)希望中得救，表現(xiàn)了他反抗絕望的生命意識(shí)。魯迅在《無(wú)聲的中國(guó)》中這樣說(shuō)：“認(rèn)識(shí)有的，沒(méi)有聲音，寂寞得很。――人會(huì)沒(méi)有聲音的么?沒(méi)有，可以說(shuō)：是死了。倘若說(shuō)的客氣一點(diǎn)，那就是：已經(jīng)啞了?！盵10]魯迅痛恨沒(méi)有聲音的中國(guó)，他殷切地希望有真的聲音出現(xiàn)：“只有真的聲音，才能感動(dòng)中國(guó)的人和世界的人，必須有了真的聲音，才能和世界的人同在世界上生活?！盵11]

吶喊魯迅范文第3篇

關(guān)鍵詞：中學(xué)語(yǔ)文；《故鄉(xiāng)》；文本分析

魯迅先生的《故鄉(xiāng)》最初發(fā)表在一九二一年五月《新青年》的第九卷第一號(hào)，后收在小說(shuō)集《吶喊》中。魯迅題之為“吶喊”，用他的話說(shuō)就是“聊以慰藉那在寂寞里奔馳的猛士，使他不憚?dòng)谇膀?qū)”。但魯迅并不相信自己的吶喊所擁有的威力和效用。他用鐵屋子來(lái)比喻當(dāng)時(shí)的中國(guó)，用將要昏睡而死的人來(lái)比喻國(guó)人?？墒牵斞覆](méi)有為自己找到一條明確的路。他在《吶喊》自序里說(shuō)到希望的時(shí)候說(shuō)：“是的，我雖然自有我的確信，然而說(shuō)到希望，卻是不能抹殺的，因?yàn)橄Ｍ窃谟趯?lái)，決不能以我之必?zé)o的證明，來(lái)折服了他之可謂可有?！边@段話有些糾結(jié)。首先，他說(shuō)他有自己的確信，也就是說(shuō)有自己堅(jiān)信的觀念，有自己的主張。但這主張里卻不能排除希望，因?yàn)樵谒挠^念里是沒(méi)有希望的。魯迅一方面堅(jiān)信從自己的經(jīng)歷來(lái)看希望是必?zé)o的，因?yàn)樗小氨責(zé)o的證明”，這是對(duì)自己的確信。但魯迅又站在自己之外來(lái)看希望，希望在于將來(lái)，雖然自己不信它的存在，但未來(lái)的事誰(shuí)能說(shuō)得準(zhǔn)？所以又不能抹殺這種可能。對(duì)于希望，魯迅就是如此的糾結(jié)。正如他自己所說(shuō)，他在年青的時(shí)候也曾經(jīng)做過(guò)許多的夢(mèng)，也曾經(jīng)對(duì)一切都充滿(mǎn)了熱忱，但他的經(jīng)歷屢屢的讓他失望，這還并不僅僅是說(shuō)他個(gè)人的遭遇，更多的則是指國(guó)家的命運(yùn)。整個(gè)中國(guó)就像一個(gè)舞臺(tái)，無(wú)盡的丑角跳來(lái)跳去，讓人寒徹心扉。魯迅心中的希望就是如此的矛盾與糾結(jié)，他曾經(jīng)引用匈牙利詩(shī)人裴多菲的詩(shī)句來(lái)形容希望：“希望就像妓，她對(duì)誰(shuí)都蠱惑，把一切都獻(xiàn)給，最后又拋棄你?！笨梢哉f(shuō)，盡管魯迅已經(jīng)確認(rèn)希望的不存在，然而，他又一次次地禁不起希望的蠱惑，然而，又一次次地失望。

《故鄉(xiāng)》，題曰“故鄉(xiāng)”，似乎并不是在寫(xiě)希望，然而，我們發(fā)現(xiàn)，這篇小說(shuō)從始至終所充斥的莫不是這種希望—失望—希望—又失望的情緒。而且，小說(shuō)在最后結(jié)束的時(shí)候回到了對(duì)希望的探討上，寫(xiě)出了關(guān)于希望的經(jīng)典語(yǔ)句：“希望是本無(wú)所謂有，無(wú)所謂無(wú)的。這正如地上的路；其實(shí)地上本沒(méi)有路，走的人多了，也便成了路?！钡谝痪湓捵髡呤墙鈽?gòu)了希望的，它無(wú)所謂有無(wú)所謂無(wú)。但作者用一個(gè)美好的比喻來(lái)勸說(shuō)自己，并不以自己必?zé)o的證明來(lái)否認(rèn)希望存在的可能。這就像路，雖然開(kāi)始沒(méi)有，但走的人多了，也便有了路。但這句話是從理論上來(lái)講的，也只是希望存在的可能性。如果走這條路的人并不多呢？希望不仍然是虛無(wú)縹緲嗎？所以，《故鄉(xiāng)》所探討的仍然是關(guān)于希望的話題。從文中的敘述來(lái)看，出現(xiàn)了三個(gè)時(shí)空的“故鄉(xiāng)”，下面一一分析。

一、回憶中的故鄉(xiāng)

我們先來(lái)看作者回故鄉(xiāng)的心情。首先是時(shí)間上的久遠(yuǎn)，“相隔兩千余里”，其次是感情上的陌生，“別了二十余年”。古人云“近鄉(xiāng)情更怯”，等“我”回鄉(xiāng)那天，我所看到的是陰晦的天氣，蒼黃的天地，蕭索的荒村，完全是一副破敗了無(wú)生機(jī)的樣子，“我的心禁不住悲涼起來(lái)了”。

因?yàn)檫@不是我記憶中的故鄉(xiāng)了。相隔那么多年，下定決心回到相隔那么遙遠(yuǎn)的故鄉(xiāng)去，當(dāng)然希望尋找到原來(lái)記憶中的故鄉(xiāng)的影子，也當(dāng)然希望重溫一下記憶中故鄉(xiāng)的種種溫馨和美好。然而，事實(shí)并非如此?！拔矣洃浿械墓枢l(xiāng)要好得多了，但是要說(shuō)它有多么的美麗，又無(wú)從說(shuō)出，似乎也就是如此，于是就自己安慰自己，故鄉(xiāng)本就是如此?！边@就是魯迅在序言中提到的麻醉法，以此來(lái)麻醉自己，欺騙自己。這是真實(shí)的記憶中的故鄉(xiāng)，卻被眼前的蕭索擊得粉碎。但是作者的熱忱仍然在掙扎，他希望為自己殘留些希望。這希望就是閏土，于是出現(xiàn)了一段關(guān)于閏土的回憶。要知道，這是當(dāng)做記憶中的故鄉(xiāng)來(lái)寫(xiě)的，記憶中的故鄉(xiāng)似乎就是以少年閏土為代表的。我們注意到，在這個(gè)段落里，除了閏土幾乎沒(méi)有寫(xiě)到其他人和事。這就是那份殘留的美好和希望吧。然而，結(jié)果呢？

二、現(xiàn)實(shí)中的故鄉(xiāng)

然而，等到現(xiàn)在的閏土一出場(chǎng)，這一點(diǎn)美好也蕩然無(wú)存了。閏土已經(jīng)不再有紫色的臉膛，更可怕的是“他的態(tài)度終于恭敬起來(lái)了，分明的叫道——老爺！”這一叫，就將記憶中的故鄉(xiāng)和希望叫得蕩然無(wú)存。記憶中的希望已經(jīng)沒(méi)有了，而所看到的又是如此破敗了的無(wú)生機(jī)的故鄉(xiāng)。豆腐西施面目可憎，為自己打算精細(xì)。而“我”在這個(gè)現(xiàn)實(shí)世界里竟然如此的孤獨(dú)，像有四壁將“我”圍起，和一切人都那么的隔膜。從此，故鄉(xiāng)已經(jīng)不再是我的故鄉(xiāng)。早有論者指出，這不僅是知識(shí)分子沒(méi)有了家鄉(xiāng)，也是他們精神家園迷失的一個(gè)最好象征。

三、理想中的故鄉(xiāng)

故鄉(xiāng)如此，那么，“我”只好又走出。我們發(fā)現(xiàn)，“走出”是魯迅在小說(shuō)中出現(xiàn)頻率最高的詞匯和意象。他總是在不停地向前走，就像《過(guò)客》里的那個(gè)過(guò)客，就算前面是墳?zāi)?，也一如既往?！澳憧傔€是覺(jué)得走好么？”“是的。還是走好?！庇谑牵?guī)Я四赣H和宏兒走出故鄉(xiāng)。我躺著，聽(tīng)船下潺潺的水聲，我知道我在走我的路，這個(gè)時(shí)候我有了自己的希望。我希望什么？我希望什么樣的生活？未來(lái)的，理想中的故鄉(xiāng)應(yīng)該是什么樣子？魯迅還是沒(méi)有說(shuō)出。他從來(lái)都不給眾人許諾一個(gè)黃金的世界，從來(lái)不給別人一個(gè)虛無(wú)的不可靠的描述。所以，他并沒(méi)有從正面回答希望是什么，而是用否定句來(lái)表達(dá)自己的愿望：“我希望他們不再像我……都如我的辛苦輾轉(zhuǎn)而生活，也不愿意他們都如閏土的辛苦麻木而生活，也不愿意都如別人的辛苦恣睢而生活?！敝灰麄儾贿@樣生活，那么，就應(yīng)該是美好的生活吧。美好的生活應(yīng)該是新的生活，為我們所未經(jīng)歷過(guò)的。

這就是作者筆下理想中的故鄉(xiāng)，不過(guò)是一個(gè)烏托邦，不過(guò)是一個(gè)并不可靠的希望。我希望他美，卻不知道怎么才是美。在小說(shuō)中，盡管作者憂郁苦悶悲涼的情緒時(shí)有流露，但他時(shí)時(shí)地提醒和勸說(shuō)自己，讓自己相信希望的存在。我們可以看到他的努力。文章以個(gè)人的獨(dú)思結(jié)尾，想到希望竟然害怕起來(lái)。閏土的要求簡(jiǎn)單，容易滿(mǎn)足，所以，他的希望還算切近，而我的，卻茫遠(yuǎn)無(wú)期。到了就要結(jié)尾的時(shí)候，作者仍然不能確信自己的希望。不過(guò)，正如《吶喊》序言里所說(shuō)的那樣，“既然是吶喊，則當(dāng)然須聽(tīng)將令的了，所以我往往不恤用了曲筆，在《藥》的瑜兒的墳上平空添上一個(gè)花環(huán)……”而我朦朧中，眼前所展開(kāi)的那片海邊碧綠的沙地，也不過(guò)是一處“曲筆”罷了。

參考文獻(xiàn)：

吶喊魯迅范文第4篇

也許，這是一個(gè)在文化上“弒父”的年代，推倒舊偶像成為時(shí)尚。但我仍然要說(shuō)，魯迅是推不倒的。不信你就試試吧。因?yàn)樗皇悄嗨艿呐枷?。如果非要說(shuō)他是偶像的話，他也是一尊有血有肉有體溫的偶像。他在紙上一個(gè)字一個(gè)字地爬格子之時(shí)，已無(wú)意識(shí)地塑造出自己。魯迅必將永生在我們的母語(yǔ)中。他以青銅的質(zhì)感進(jìn)入歷史，并且成為歷史本身，歷史不可以假設(shè)。也很難。就像李白的出現(xiàn)使唐詩(shī)一掃前朝之萎靡，在白話文取代文言文的中。魯迅同樣屬于創(chuàng)世紀(jì)的人物。我們今天的語(yǔ)言，無(wú)論口語(yǔ)還是書(shū)面語(yǔ)，都無(wú)法完全剔除那個(gè)偉大轉(zhuǎn)型期的影響。贊揚(yáng)“魯迅吃的是草，擠的是奶”，其實(shí)，僅就漢語(yǔ)演變和文化傳承而言，我們確實(shí)是吃魯迅那一代文學(xué)革命家的奶長(zhǎng)大的。

魯迅呼喊“救救孩子”的時(shí)候，是否想到，孩子也會(huì)有孩子，孩子的孩子還會(huì)有孩子?如此順延直至無(wú)限，他的吶喊沒(méi)有過(guò)期，也就不會(huì)失效：孩子是中國(guó)的未來(lái)，拯救現(xiàn)在也就等于拯救未來(lái)。我不知自己屬于魯迅憐愛(ài)的孩子中的第幾代，現(xiàn)在的孩子又是第幾代。但我知道：魯迅的吶喊，與我有關(guān)，也與你有關(guān)，與我們大家都有關(guān)。魯迅的愛(ài)，魯迅的恨，恨鐵不成鋼的那種恨，也同樣如此。

作為一個(gè)讀魯迅文章長(zhǎng)大的孩子，一個(gè)曾經(jīng)的中學(xué)生，我最初就是通過(guò)語(yǔ)文課本了解魯迅的。魯迅給我的印象，是一個(gè)有大愛(ài)也有大恨的人。說(shuō)到底他除了有小我之外，還有一個(gè)大我，這個(gè)無(wú)形的大我與時(shí)代、民族、國(guó)家、群眾等融為一體。魯迅印證了我對(duì)文學(xué)大師的想象：如果沒(méi)有大愛(ài)、大恨、大我。如果不能先天下之憂而優(yōu)、后天下之樂(lè)而樂(lè)，又怎能算得上大師?又怎能成為一個(gè)時(shí)代的代言人?也許我們每一個(gè)人在日常生活中不見(jiàn)得能做到這點(diǎn)。不見(jiàn)得能成為英雄，但我們應(yīng)該景仰這種精神。人類(lèi)為什么需要超凡脫俗的英雄。英雄能使更多的人看到更大的希望。正如魯迅在《故鄉(xiāng)》中所言：“希望是本無(wú)所謂有。無(wú)所謂無(wú)的。這正如地上的路；其實(shí)地上本沒(méi)有略，走的人多了，也便成了路?！倍G斬棘的開(kāi)路人，領(lǐng)路人，每一條新路上走過(guò)的第一個(gè)人，注定將給后來(lái)的追隨者帶去遠(yuǎn)比一條道路虛擬得多，也重要得多的希望。

我想，魯迅對(duì)于中學(xué)生最重大的意義，在于使年少的讀者在未來(lái)成長(zhǎng)中有可能成為一個(gè)理想主義者。至少，會(huì)給那些幼稚的心田播下理想主義的種子。是否能如期發(fā)芽、開(kāi)花、結(jié)果，尚不好說(shuō)，但他們會(huì)知道，人類(lèi)中的一種人。譬如魯迅這種的，總是能超越自我的愛(ài)與恨、超越個(gè)人的樂(lè)與憂，而把視野與胸懷投向更多的人、更廣大的人群……魯迅之所以有大喜與大悲。因?yàn)樗写罄硐?。即?duì)全體中國(guó)人的關(guān)懷與期望。魯迅之所以對(duì)舊中國(guó)的現(xiàn)狀不滿(mǎn)，因?yàn)檫@與他理想中的中國(guó)不符，他的理想對(duì)于現(xiàn)實(shí)有更高的要求與更多的希望。這無(wú)疑將有益于創(chuàng)造更加美好的未來(lái)。理想，或許正是社會(huì)進(jìn)步的驅(qū)動(dòng)力。

吶喊魯迅范文第5篇

打敗四大高手的人，名叫魯迅，是我們精神家園的守護(hù)神。其實(shí)他本來(lái)只是一位郎中，沒(méi)有雨果大師那樣深厚的內(nèi)功，沒(méi)有屠格涅夫大俠那樣巧妙繁華的招式。后來(lái)?xiàng)夅t(yī)從武，成為一位行俠仗義的大俠。他嫉惡如仇，使病態(tài)社會(huì)的千瘡百孔暴露無(wú)遺。他的劍異常鋒利，嬉笑怒罵皆成招式，卻不是自命清高者的冷嘲熱諷。他的一招一式無(wú)不閃爍著睿智與深刻，其中包含的是一顆憂憤深沉的愛(ài)國(guó)之心。他當(dāng)之無(wú)愧是我們精神家園的守護(hù)神。

魯迅的招式只有四招。第一招：“罵”，罵茍延殘喘、陰險(xiǎn)狡詐的“落水狗”，罵奴顏婢膝、貌似中庸的偽君子；第二招：“論”，論國(guó)民眾生的劣根本性，論轟轟烈烈的大革命的悲劇之源；第三招：“抨擊”，抨擊狂人眼中“吃人”的世界，抨擊把孔乙己推上絕路的封建禮教；第四招：“吶喊”，為艱辛而麻木地生活著的閏土，為受大權(quán)壓迫的祥林嫂。四招足夠了，足以保護(hù)我們的精神家園。我們的精神家園在他的守護(hù)下，成了銅墻鐵壁，成了一方真正的凈土。

于是，在熱情勇敢的農(nóng)村孩子中間，我看到了一個(gè)無(wú)知無(wú)能的“我”；在衣衫襤褸的人力車(chē)夫面前，我感受到了體面外袍下自私自利的“我”。當(dāng)我醉心享樂(lè)、虛度光陰時(shí)，“浪費(fèi)時(shí)間無(wú)異于慢性自殺”的警告，會(huì)使我痛出一身冷汗；當(dāng)我無(wú)法把握自我，卻又自欺欺人、逃避現(xiàn)實(shí)時(shí)，阿Q的形象使我窺見(jiàn)了自己的影子，猛然從夢(mèng)中驚醒；當(dāng)我鉆入虛無(wú)主義的圈子里不能自拔，對(duì)我們這個(gè)古老民族的歷史產(chǎn)生懷疑甚至自卑時(shí)，那一句“中國(guó)人失掉自信力了嗎”的詰問(wèn)，又使我重新挺起了胸膛。