The authenticity of the content in Lu Xun’s novel collections "Scream" and "Wandering"

If we can dispel the artificial or ideological sacred halo imposed on Lu Xun, or get rid of the indiscriminate and intentional concealment and slander, in other words, if (even if) we can neutralize the almost negative influence on Lu Xun Polarized criticism, such as "the most slandered person" and "the most courageous, resolute, correct and great" and other extreme words that shape Lu Xun, we can still find that there is no doubt that Lu Xun is still the most influential person in the 20th century. One of the most vivid, shocking and controversial souls in the history of Chinese literature. It can even be presumed that he will still play his unique historical role in the 21st century that cannot be ignored and is full of personality.

The fact that Lu Xun research has become a prestigious "Lu Xue" with almost a vast amount of research materials undoubtedly proves Lu Xun's endless charm and even magic power from one aspect. However, Lu Xun, who is recognized as the founder of modern Chinese novels, has only three volumes of novels: "The Scream", "Wandering" and "New Story" with 33 articles. What is intriguing is how Lu Xun achieved two "creative transformations" from traditional novels to modern novels and within his novels themselves? In particular, how does he present his unique understanding of "modernity" and his attitude of accepting and rejecting it through the evolution of the novel's narrative mode?

To a certain extent, the update and advancement of narrative methods are the soul of the evolution of novels. As someone said, "For new novels, the most difficult and critical change is not the subject consciousness, nor the plot type or novel subject matter, but the narrative method." It should be pointed out that "narrative mode" is a concept with different opinions and fluidity, but in this article, it refers to different paradigms extracted from the sum of the narrator's structure and narrative strategy. As someone said, "Narrative style is a set of means and language methods that create the image of a story mediator, the so-called narrator in narrative works."

In my opinion, the narrative mode of Lu Xun’s novels has basically undergone two major changes. First, if Lu Xun is placed in the rolling tide of the "literary revolution" as a whole and viewed from the outside, he took advantage of the power of the revolution in the novel world of the late Qing Dynasty to lead the way and promoted the gradual transformation of Chinese novel narratives from tradition to modernity. Mainly represented by "The Scream" and "Wandering"; the other happened within his novels. Lu Xun partially realized his attempt to update the narrative of the novel and create a novel genre with his "New Story", although this may conceal our Unknown greater narrative innovation and stylistic ambitions.

In comparison, research on the first transition is often extensive and fruitful. Generally speaking, almost all monographs on Lu Xun's novels have more or less discussed the narrative innovation and turning significance of "The Scream" and "Wandering"; while the research on the second transformation is relatively weak. Although it has been controversial since the day it was born, research that can truly analyze it on the platform of the internal development rules of Lu Xun's novels and point out its transformation and innovative significance is extremely rare. For this reason, the author's focus will be appropriately tilted towards the second transformation, and at the same time, Bakhtin's novelistic theory will be used to explore it. Therefore, the discussion of this article is mainly divided into the following three parts: 1. The level and applicability of the "novelity" theory; 2. The power of Lu Xun, mainly examining his role in the transformation of the narrative mode of Chinese novels; 3. Carnival: between intention and practice between. Mainly explore the important role and status of "New Story".

) Narrative updates of "Scream" and "Wandering". As early as 1923, Mr. Mao Dun keenly pointed out, "In China's new literary world, Lu Xun is often the pioneer in creating 'new forms'; almost every one of the more than ten novels in "The Scream" has a new form." Even Xia Zhiqing, who is not unbiased against left-wing writers, believes that "short stories were very successful at the beginning. It was Lu Xun who laid the foundation for this type of literature. He wrote in 1918 "Diary of a Madman", published in 2001, skillfully used the techniques of Western novels and was completely different from traditional Chinese storytelling methods. Therefore, it can be called the ancestor of modern Chinese short stories.

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Mr. Wang Yao, a historian of modern Chinese literature, also emphasized Lu Xun's status as the founder of modern literary history, "Lu Xun used his own creative practice to expand the position of new literature. At the same time, due to the profound content of these novels, The novelty of expression... laid the foundation for a new literature. "

It is not difficult to see that Lu Xun's position as the originator of modern Chinese novels is recognized. Similarly, he also played a similar role in the transformation of the narrative mode of the novel. The key to the problem is: how to achieve it

In Bakhtin, "fiction" is closely connected with the transition period, and the birth of modern Chinese novels itself implies the inherent characteristics of fiction: heterogeneity, inclusiveness, etc. The new novels in the initial transformation period are no exception. "The new novels draw a lot of inspiration from other literary forms. The infiltration of traditional poetry forms such as jokes, anecdotes, Q&A, travel notes, letters, diaries, narrative poems, and records of experiences into novels have played a great role in the formation of new novel narrative models. " On the other hand, it is precisely because of this characteristic that the novel has been pushed onto the wave of historical trends and attracted people's attention. Wang Yichuan pointed out, "The Chinese people's new modern experience is closely related to the new vocabulary of life, such as the concept of a globalized world, the concept of a globalized world, and the concept of modernity from the West. The discourse of science and technology and the names of modern artifacts are blended together... The novel can be narrated, lyrical and discussed in prose style, and can also integrate other genres such as poetry into itself, so it can become a new vocabulary that accommodates modern life. Suitable form. Therefore, novels have had good luck in expressing new experiences of modernity and have become the dominant or central genre of modern literature. "

Lu Xun's "Scream" and "Wandering" also reflect its rich modernity and even avant-garde nature. On the whole, in addition to continuing the old genre-plot novels, he also Developed "fragment novels with realistic life fragments as the main structural body", "psychological novels with the depiction of characters' personalities and outlining the clues of the characters' fate as the main structural body" and "meaning novels with specific atmosphere rendering and expression of emotions and connotations as the main structural body". "Thological novel" and so on.

The subversive and deconstructive side of "novel" is very strikingly reflected in Lu Xun's "Scream" and "Wandering", such as "Diary of a Madman". Whether it is reflection on national character, The evils of feudal moral preaching may be destructive or profound, which makes people reflect. Liu He pointed out, "The Madman's Diary focuses on the symbolic pathological diagnosis of Chinese history - implying Western norms." Reference - it goes far beyond the literal interpretation of any individual mind", which undoubtedly points out its rich modernity in content. Wang Runhua also wrote in his "The Influence of Western Literature on China's First Short Vernacular Novels" It narrates the macroscopic and subtle influences of Gogol's "Diary of a Madman", Carson's "The Red Flower" and Nietzsche's "Preface to Zalastera" on the narrative, content and meaning of "Diary of a Madman". /p>

But what needs to be understood is that modernity can also be understood as the attitude and tendency of self-reflection and criticism in a sense. This is of course one of the reasons and space for the development of postmodernity from this perspective. , the modernity of Lu Xun's novels also contains another unique voice and resistance posture, which we may call "Lu Xun-style modernity". Obviously, it contains many complex directions and sources: his understanding of ancient China. His familiarity with classics, his unique taste in the narrative mode of ancient Chinese novels, and his leading exposition naturally made him transcend the naivety of many people in his time who embraced Western modernity without reservation, and instead gained a bit of rare local calmness and maturity. Li Oufan's method of exploring Lu Xun's modernity in his famous book "The Scream in the Iron House" is to explore the roots of tradition but avoid the West.

Lu Xun's translation and reading of foreign novels. And the experience of studying in Japan gave him a broad international vision and a broad mind that adheres to "appropriationism". At the same time, "it is the core elements in the literary tradition that determine the spirit and history of new literature." Tradition, lyrical style, artistic conception, vernacular style and many other aspects have a profound historical connection with ancient Chinese literature, and present many vivid and concrete forms of literary historical continuity that are attractive and tempting to pursue.

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If we read through these two novels by Lu Xun, we can find that the modern expression of the theme of Lu Xun's novels seems to deviate from the original context of modernity, and instead presents more of a deep and detailed understanding of rural China. The care and entanglement, such as "The True Story of Ah Q", "Hometown", "Blessing", "Kong Yiji", etc. "There is no doubt that Lu Xun's works are regarded as the most typical expressions of the meaning of Chinese modernity... …Perhaps more importantly, Lu Xun expressed a kind of memory of rural China. These memories emerged from the historical gap of the transformation of Chinese modernity, and they expressed an existence completely different from the direction of modernity. What Lu Xun embodies here is not just criticism, but a far more complicated destiny about rural China - the destiny of those people who are always outside of historical progress and historical change. " If we have to give this kind of escape and departure the name of modernity, then it should be "Lu Xun-style modernity".