颓败线的颤动
摘要
论文主要以“倘若……然而……”的思维方式为方法论,对鲁迅与中国文学的现代性问题进行理论上的反思与探析。在论文中,我们把中国文学的现代性看作是中国文学从传统的“文”向现代的“文学”的转型过程,分别从内容和形式两方面给予界定。在内容上,中国文学的现代性的核心诉求是揭示并扭转传统中国人的价值体验方式。在形式上,中国文学的现代性的核心诉求则是要建立起新的语言、语体、文体以及新的意义表达方式。全文共分为五章,分别从以下几个方面展开论述:
第一章:“倘若”与“然而”——鲁迅话语世界的理想类型。本章在前人研究的基础上建立起鲁迅话语形式的“理想类型”:“倘若……然而……”,并从话语句式、行文的节奏、立意等几个方面,就鲁迅整体的价值意向、生存体验特点等做出了阐释。
“倘若……”作为某种情形的设定,带来的是一种意义表达上的俯冲力,而对它的启用也表征着话语意志的强烈和坚决。“然而……”却无疑是这一切的拆解和质疑。从纯粹形式上讲,“倘若……然而……”是对某种可能性的否定性表达。而这种“对某种可能性的否定性表达”正是鲁迅话语世界里的核心命题。
在鲁迅话语内部,一方是决绝甚至是执拗的话语意志,另一方也是同样有力的质疑与争辩,这两者的纠缠使鲁迅的话语立场和话语属性常常难以厘定。这在一方面造成了鲁迅话语本身“拒绝被描写”的特质,另一方面,也使对鲁迅话语的解读更易陷入各种话语意志的交锋与争斗中,因为后人可以同样在鲁迅的表达中找到契合自己反对他者的内容。鲁迅的这种表达方式源于他的那种“旋涡”式的心灵体验。而一种“旋涡”式的体验永远是激荡的,冲突的,其构成因素是在永无休止的互为冲撞、质疑和辩论着。鲁迅这种“倘若……然而……”的体验及其表达方式使人们在试图进入他的话语世界、讨论有关问题时常常显得手足无措。如果我们想进入鲁迅的话语世界,就必须需要一个和鲁迅话语世界的这一特点相契合的方法论。因此,我把鲁迅那种“倘若……然而……”的体验及表达方式本身作为探讨鲁迅与中国现代性的方法论。简单地讲,就是一方面注意鲁迅在中国文学的现代性诉求方向上的努力,另一方面同时注意他在相反方向上对现代
Mainly premising on the relational structure of "Supposing ……but", the thesisreflects and studies the problems of Lu Xun and modernity of Chinese literature. In the thesis, we regard modernity of Chinese literature as theoretical generalization of the transition course from traditional "wen" to modern "literature". About the modernity of Chinese literature, we define from two respects of content and form separately. In content, the core of the modernity of Chinese literature is to reveal and turn back traditional way of value experience of Chinese people. In form, the key demand of the modernity of Chinese literature is to set up new language , ecriture、 style and way of expression. There are four chapters in this thesis, disserting as following:Chapter one: "Supposing……but"——the ideal type of Lu Xun's discourse world.Basing on former studies, This chapter constructs the ideal type of Lu Xun's discourse form and gives a explanation on integral value intension and character of Lu Xun's life experiences, which depending on the study of discourse form、 rhythm、 conception.As a sentence pattern, "Supposing ……" involves a special situation, adive-likely capacity and resolute will. On the contrary, as a sentence pattern,"but……" involves doubting what "Supposing……" involves. as a special sentencepattern, "Supposing……but" means negative expression about a certain possibilitywhich being key proposition of Lu Xun's discourse word.Within Lu Xun's discourse, one party is even stubborn discourse will, another party is equally effective query and contention. So it is always difficult to determine standpoint and attribute of Lu Xun's discourse. On one hand, it makes Lu Xun's discourse be of the character of "refusing to be described", on the other hand , it males Lu Xun's discourse be apt to put into confrontation of various kinds of discourse will, because the descendant can find his own viewpoint which objects to his content in Lu Xun's expression . This kind of expression way comes from Lu Xun's heartfelt feeling of that kind of " swirl " type. This kind of swirl—like experience is still of agitated forever, conflict, its form factor is full of endless offend, query and argument. Lu Xun's experience way of "supposing ……But ……"and corresponding expression
way make people who manage to enter his discourse world and discuss relevant questions often be all in a fluster. If we attempt to enter Lu Xun's discourse world, we must need one methodology which agrees with Lu Xun's discourse world. So, Iregard Lu Xun's way of Experience and expression of "supposing......But......"asthe methodology about the proposition of "Lu Xun and modernity of Chinese literature" .Briefly Say, in order to restore the complexity of Lu Xun who is in thescene of modernity of Chinese literature as much as possible------this is also the keyproblem consciousness of this thesis , on one hand we should pay attention to Lu Xun's efforts in the direction of modernity of Chinese literature, on the other hand, we also should pay attention to Lu Xun's query of modernity of Chinese literature and his entanglement with traditional "wen" resource.Chapter two: resentment and its expression------Lu Xun's criticism of "Chinesenational character". In this and next chapter, I will study matters of substance ofmodernity of Chinese literature------reversing the way of Chinese people 'svalue—sense. With the aid of Nietzsche and M. schele's theory of resentment, I will state that Lu Xun's criticism of traditional way of Chinese people 's value—sense and his difficult position when he attempt to break through that traditional way of Chinese people 's value—sense.M. schele thinks that resentment involves a special way of competing against others. He also thinks that there are some conditions which have resentment 's possibility only owing to their form's character. Modern Chinese is in such a resentment condition. Living in such a condition, Lu Xun receives Yan Fu's theory of evolution because of his status that a man of a weaker country always confronts the danger of death. On the other hand, he isn't pleased with the way of Yan Fu's theory of evolution that seeks a solution through reversing the position of slave and master. Confronting this situation, Lu Xun receives it when he revolts against Modern Chinese in resentment condition .Lu Xun has deeply exposed that mechanism and form of resentment that evolves from weak in his criticism of "Chinese national character". Lu Xun also has reflect social structure and value—sense structure that result in resentment, and construct a classical figure —"MR.Q" who are full of resentment.Chapter three: Lu Xun and resentment. In this chapter, I will think about whether Lu Xun's criticism of "Chinese national character" is also a conduct full of resentment, and I will further discuss whether Lu Xun has a soul full of resentment?
In Lu Xun's criticism of "Chinese national character", as the profound signs , his defeatist sentiments mark that modern Chinese is in a resentment condition. On the other hand, Lu Xun doesn't shun and conceal but earnestly confront with his defeatist sentiments, which preventing him from the morass of resentment. It is a paradoxical fact.There are a number of examples of resentment on the aspects of Lu Xun's life such as his absorption, inclination and expression about literature. The stylistic character of "reversal values" in Lu Xun's essay resembles that mechanism of resentment. I think that they have opposite function when they have similar construction. Though it seems to be full of resentment, Lu Xun's essay is an antidote to resentment. It is also a paradoxical fact.In some works with motif of vengeance ,Lu Xun deeply probes into a complexity full of vengeance, resentment and humiliation. In this complexity full of resentment, Lu Xun has begin to grimly probes into his soul, which makes Lu Xun's criticism of "Chinese national character" has great soul—stirring effect.Resentment phenomenon happened on Lu Xun undoubtedly make us have more complicated understanding of modernity of Chinese literature but merely attempt to prove how much modernity happened on Lu Xun. In fact, this demonstration makes use of Lu Xun to cater to some demand of modernity of Chinese literature.With regard to Lu Xun's meaning to Chinese literature modernity, Lu Xun Who incorporates is various kinds of contradictions in the swirl that modernity of Chinese literature takes place, has been the most complicated sample of modernity of Chinese literature.Chapter four: from "wen" to "literature"------Lu Xun and development ofmodernity, of Chinese literature. In this chapter, I will study Lu Xun 's view and practice in the course of Chinese literature from "wen" to "literature" on the aspect of "ecriture", "style" and "way of expression".In this course, it's a fact that Lu Xun manage to expound the new literature spirit. But it's also a fact that Lu Xun is torn between new literature conception and traditional "wen'"s resources. Lu Xun regards Chinese character but Chinese language as the foundation of Chinese literature. Contrast with Hu Shi's practice in Vernacular Movement , Lu Xun's ecriture has based on his literal translation that reflects his thoughts of looking for the possibility of using Chinese character for catering to the west's unusual literature spirit. As the most conspicuous stylistic
character, "za" means upset fixed style classification of new literature. Lu Xun's style has a close relationship with traditional resources of "wen".Lu Xun's "Europeanized ecriture" is all the time in spiritual conflict between Chinese and west literature and in the fight with that stiff expression way. Through Imitating specific tone> Sound, he deeply exposes false and funny of that stiff expression way in Chinese classical world. Lu Xun's "Europeanized ecriture" benefits from confluence of language and speech that is recommend in Vernacular Movement. In "Europeanized ecriture", his brilliance in choice of words is due to Chinese tradition of "wen "that the article should based on Chinese character.On the tactics of expression, Lu Xun has fiercely criticized Confucius's way that conceal truthful thoughts through uninformed statement. Lu Xun is still suffered in his life from his wishes that there are coherency in discourse form, discourse content and discourse will. In fact, Lu Xun has absorbed lots of tactics from Confucius and Taoists which signify intricate effect of traditional resources in the course of development of Chinese literature's modernity.Chapter five: art 's "ideal "and "dilemma"------ Lu Xun and the problem ofChinese literature's aesthetic modernity. About aesthetic modernity, Lu Xun emphasizes the importance of combination between "aestheticism" and "nationalism" which accords with M. schele's original meaning of his theory of aestheticism. About aestheticism trend in modern Chinese literature, its attempt to shun social responsibility under cover of aestheticism has been criticized by Lu Xun.The aestheticism ideological trend appeared in the Modern Chinese Literature history focus on more art's function of consoling and freeing as to life. In fact, aesthetic assurance of the predicament that the mankind survives is a no alternative choice. As to the mankind, the meaning of aesthetic activity lies in that it is the only way that can express and bless the mankind's perceptual experience which is extremely emphasized by the original meaning of the aesthetic modernity.As a "sacrificial utensil" that turns towards living predicament of modern Chinese people, Lu Xun who regards life and literature as a aesthetic mask has been "a realist in the most significance" in the Modern Chinese Literature history.
第一章:“倘若”与“然而”——鲁迅话语世界的理想类型。本章在前人研究的基础上建立起鲁迅话语形式的“理想类型”:“倘若……然而……”,并从话语句式、行文的节奏、立意等几个方面,就鲁迅整体的价值意向、生存体验特点等做出了阐释。
“倘若……”作为某种情形的设定,带来的是一种意义表达上的俯冲力,而对它的启用也表征着话语意志的强烈和坚决。“然而……”却无疑是这一切的拆解和质疑。从纯粹形式上讲,“倘若……然而……”是对某种可能性的否定性表达。而这种“对某种可能性的否定性表达”正是鲁迅话语世界里的核心命题。
在鲁迅话语内部,一方是决绝甚至是执拗的话语意志,另一方也是同样有力的质疑与争辩,这两者的纠缠使鲁迅的话语立场和话语属性常常难以厘定。这在一方面造成了鲁迅话语本身“拒绝被描写”的特质,另一方面,也使对鲁迅话语的解读更易陷入各种话语意志的交锋与争斗中,因为后人可以同样在鲁迅的表达中找到契合自己反对他者的内容。鲁迅的这种表达方式源于他的那种“旋涡”式的心灵体验。而一种“旋涡”式的体验永远是激荡的,冲突的,其构成因素是在永无休止的互为冲撞、质疑和辩论着。鲁迅这种“倘若……然而……”的体验及其表达方式使人们在试图进入他的话语世界、讨论有关问题时常常显得手足无措。如果我们想进入鲁迅的话语世界,就必须需要一个和鲁迅话语世界的这一特点相契合的方法论。因此,我把鲁迅那种“倘若……然而……”的体验及表达方式本身作为探讨鲁迅与中国现代性的方法论。简单地讲,就是一方面注意鲁迅在中国文学的现代性诉求方向上的努力,另一方面同时注意他在相反方向上对现代
Mainly premising on the relational structure of "Supposing ……but", the thesisreflects and studies the problems of Lu Xun and modernity of Chinese literature. In the thesis, we regard modernity of Chinese literature as theoretical generalization of the transition course from traditional "wen" to modern "literature". About the modernity of Chinese literature, we define from two respects of content and form separately. In content, the core of the modernity of Chinese literature is to reveal and turn back traditional way of value experience of Chinese people. In form, the key demand of the modernity of Chinese literature is to set up new language , ecriture、 style and way of expression. There are four chapters in this thesis, disserting as following:Chapter one: "Supposing……but"——the ideal type of Lu Xun's discourse world.Basing on former studies, This chapter constructs the ideal type of Lu Xun's discourse form and gives a explanation on integral value intension and character of Lu Xun's life experiences, which depending on the study of discourse form、 rhythm、 conception.As a sentence pattern, "Supposing ……" involves a special situation, adive-likely capacity and resolute will. On the contrary, as a sentence pattern,"but……" involves doubting what "Supposing……" involves. as a special sentencepattern, "Supposing……but" means negative expression about a certain possibilitywhich being key proposition of Lu Xun's discourse word.Within Lu Xun's discourse, one party is even stubborn discourse will, another party is equally effective query and contention. So it is always difficult to determine standpoint and attribute of Lu Xun's discourse. On one hand, it makes Lu Xun's discourse be of the character of "refusing to be described", on the other hand , it males Lu Xun's discourse be apt to put into confrontation of various kinds of discourse will, because the descendant can find his own viewpoint which objects to his content in Lu Xun's expression . This kind of expression way comes from Lu Xun's heartfelt feeling of that kind of " swirl " type. This kind of swirl—like experience is still of agitated forever, conflict, its form factor is full of endless offend, query and argument. Lu Xun's experience way of "supposing ……But ……"and corresponding expression
way make people who manage to enter his discourse world and discuss relevant questions often be all in a fluster. If we attempt to enter Lu Xun's discourse world, we must need one methodology which agrees with Lu Xun's discourse world. So, Iregard Lu Xun's way of Experience and expression of "supposing......But......"asthe methodology about the proposition of "Lu Xun and modernity of Chinese literature" .Briefly Say, in order to restore the complexity of Lu Xun who is in thescene of modernity of Chinese literature as much as possible------this is also the keyproblem consciousness of this thesis , on one hand we should pay attention to Lu Xun's efforts in the direction of modernity of Chinese literature, on the other hand, we also should pay attention to Lu Xun's query of modernity of Chinese literature and his entanglement with traditional "wen" resource.Chapter two: resentment and its expression------Lu Xun's criticism of "Chinesenational character". In this and next chapter, I will study matters of substance ofmodernity of Chinese literature------reversing the way of Chinese people 'svalue—sense. With the aid of Nietzsche and M. schele's theory of resentment, I will state that Lu Xun's criticism of traditional way of Chinese people 's value—sense and his difficult position when he attempt to break through that traditional way of Chinese people 's value—sense.M. schele thinks that resentment involves a special way of competing against others. He also thinks that there are some conditions which have resentment 's possibility only owing to their form's character. Modern Chinese is in such a resentment condition. Living in such a condition, Lu Xun receives Yan Fu's theory of evolution because of his status that a man of a weaker country always confronts the danger of death. On the other hand, he isn't pleased with the way of Yan Fu's theory of evolution that seeks a solution through reversing the position of slave and master. Confronting this situation, Lu Xun receives it when he revolts against Modern Chinese in resentment condition .Lu Xun has deeply exposed that mechanism and form of resentment that evolves from weak in his criticism of "Chinese national character". Lu Xun also has reflect social structure and value—sense structure that result in resentment, and construct a classical figure —"MR.Q" who are full of resentment.Chapter three: Lu Xun and resentment. In this chapter, I will think about whether Lu Xun's criticism of "Chinese national character" is also a conduct full of resentment, and I will further discuss whether Lu Xun has a soul full of resentment?
In Lu Xun's criticism of "Chinese national character", as the profound signs , his defeatist sentiments mark that modern Chinese is in a resentment condition. On the other hand, Lu Xun doesn't shun and conceal but earnestly confront with his defeatist sentiments, which preventing him from the morass of resentment. It is a paradoxical fact.There are a number of examples of resentment on the aspects of Lu Xun's life such as his absorption, inclination and expression about literature. The stylistic character of "reversal values" in Lu Xun's essay resembles that mechanism of resentment. I think that they have opposite function when they have similar construction. Though it seems to be full of resentment, Lu Xun's essay is an antidote to resentment. It is also a paradoxical fact.In some works with motif of vengeance ,Lu Xun deeply probes into a complexity full of vengeance, resentment and humiliation. In this complexity full of resentment, Lu Xun has begin to grimly probes into his soul, which makes Lu Xun's criticism of "Chinese national character" has great soul—stirring effect.Resentment phenomenon happened on Lu Xun undoubtedly make us have more complicated understanding of modernity of Chinese literature but merely attempt to prove how much modernity happened on Lu Xun. In fact, this demonstration makes use of Lu Xun to cater to some demand of modernity of Chinese literature.With regard to Lu Xun's meaning to Chinese literature modernity, Lu Xun Who incorporates is various kinds of contradictions in the swirl that modernity of Chinese literature takes place, has been the most complicated sample of modernity of Chinese literature.Chapter four: from "wen" to "literature"------Lu Xun and development ofmodernity, of Chinese literature. In this chapter, I will study Lu Xun 's view and practice in the course of Chinese literature from "wen" to "literature" on the aspect of "ecriture", "style" and "way of expression".In this course, it's a fact that Lu Xun manage to expound the new literature spirit. But it's also a fact that Lu Xun is torn between new literature conception and traditional "wen'"s resources. Lu Xun regards Chinese character but Chinese language as the foundation of Chinese literature. Contrast with Hu Shi's practice in Vernacular Movement , Lu Xun's ecriture has based on his literal translation that reflects his thoughts of looking for the possibility of using Chinese character for catering to the west's unusual literature spirit. As the most conspicuous stylistic
character, "za" means upset fixed style classification of new literature. Lu Xun's style has a close relationship with traditional resources of "wen".Lu Xun's "Europeanized ecriture" is all the time in spiritual conflict between Chinese and west literature and in the fight with that stiff expression way. Through Imitating specific tone> Sound, he deeply exposes false and funny of that stiff expression way in Chinese classical world. Lu Xun's "Europeanized ecriture" benefits from confluence of language and speech that is recommend in Vernacular Movement. In "Europeanized ecriture", his brilliance in choice of words is due to Chinese tradition of "wen "that the article should based on Chinese character.On the tactics of expression, Lu Xun has fiercely criticized Confucius's way that conceal truthful thoughts through uninformed statement. Lu Xun is still suffered in his life from his wishes that there are coherency in discourse form, discourse content and discourse will. In fact, Lu Xun has absorbed lots of tactics from Confucius and Taoists which signify intricate effect of traditional resources in the course of development of Chinese literature's modernity.Chapter five: art 's "ideal "and "dilemma"------ Lu Xun and the problem ofChinese literature's aesthetic modernity. About aesthetic modernity, Lu Xun emphasizes the importance of combination between "aestheticism" and "nationalism" which accords with M. schele's original meaning of his theory of aestheticism. About aestheticism trend in modern Chinese literature, its attempt to shun social responsibility under cover of aestheticism has been criticized by Lu Xun.The aestheticism ideological trend appeared in the Modern Chinese Literature history focus on more art's function of consoling and freeing as to life. In fact, aesthetic assurance of the predicament that the mankind survives is a no alternative choice. As to the mankind, the meaning of aesthetic activity lies in that it is the only way that can express and bless the mankind's perceptual experience which is extremely emphasized by the original meaning of the aesthetic modernity.As a "sacrificial utensil" that turns towards living predicament of modern Chinese people, Lu Xun who regards life and literature as a aesthetic mask has been "a realist in the most significance" in the Modern Chinese Literature history.
引文
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谭君强:《叙述的力量——鲁迅小说叙事研究》,云南大学出版社,2000年版。
王富仁:《鲁迅前期小说与俄罗斯文学》,陕西人民出版社,1983年版。
王富仁:《中国反封建革命的一面镜子——<呐喊><彷徨>综论》,北京师范大学出版社,2000年版。
王富仁:《中国文化的守夜人——鲁迅》,人民文学出版社,2002年版。
王运熙主编:《中国文论选》,江苏文艺出版社,1996年版。
汪晖:《反抗绝望——鲁迅及其文学世界》,河北教育出版社,2000年版。
汪晖:《旧影与新知》,辽宁教育出版社,1996年版。
王齐:《走向绝望的深渊——克尔凯郭尔的美学生或境界》,中国社会科学出版社,2000年版。
王乾坤:《由中间寻找无限——鲁迅的文化价值观》,陕西人民教育出版社,1996年版。
王乾坤:《鲁迅的生命哲学》,人民文学出版社,1999年版年版。
王晓明主编:《批评空间的开创》,东方出版中心,1998年版。
汪毅夫:《鲁迅与新思潮——论鲁迅留日时期的思想》,陕西人民教育出版社,1996年版。
王瑶:《鲁迅与中国文学》,陕西人民出版社,1982年版。
吴俊:《鲁迅评传》,百花洲文艺出版社,1997年版。
吴炫:《否定主义美学》,吉林教育出版社,1998年版。
夏中义:《世纪初的苦魂》,上海文艺出版社,1995年版。
解志熙:《生的执着——存在主义与中国现代文学》,人民文学出版社,1999年版。
解志熙:《美的偏至——中国现代唯美—颓废主义文学思潮研究》,上海文艺出版社,1997年版。
许广平:《许广平文集》,江苏文艺出版社,1998年版。
徐麟:《鲁迅中期思想研究》,湖南师范大学出版社,1997年版。
徐麟:《鲁迅:在言说与生存的边缘》,山东文艺出版社,1997年版。
许寿赏:《挚友的怀念》,马会芹编,河北教育出版社,2001年版。
严复:《严复集》,王栻主编,中华书局,1986年版。
叶嘉莹:《王国维及其文学批评》,河北教育出版社,1997年版。
叶维廉:《中国诗学》,三联书店,1992年版。
余英时:《中国思想传统的现代诠释》,江苏人民出版社,1998年版。
乐黛云主编:《国外鲁迅研究论集》,北京大学出版社,1981年版。
乐黛云主编:《当代英语世界鲁迅研究》,江西人民出版社,1993年版。
张福贵:《惯性的终结——鲁迅文化选择的历史价值》,吉林大学出版社,1999年版。
张辉:《审美现代性批判》,北京大学出版社,1999年版。
张京媛主编:《后殖民理论与文化批评》,北京大学出版社,1999年版。
章太炎:《国学概论》,中华书局,2003年版。
张祥龙:《朝向事情本身——现象学导论七讲》,团结出版社,2003年版。
赵汀阳:《论可能生活》,三联书店,1994年版。
郑家建:《被照亮的世界——《故事新编》诗学研究》,福建教育出版社,2001年版。
郑欣淼:《鲁迅与宗教文化》,陕西人民教育出版社,1996年版。
周振甫:《文心雕龙注释》,人民文学出版社,1981年版。
周锡山编校:《王国维文学美学论著集》,北岳文艺出版社,1987年版。
周作人:《中国新文学的源流》,华东师范大学出版社,1995年版。
周作人:《知堂回想录》,群众出版社,1999年版。
周作人:《周作人文类编》,钟叔河编,湖南文艺出版社,1998年版。
朱光潜:《朱光潜全集》,安徽教育出版社,1987年版。
朱谦之撰:《老子校释》,中华书局,1984年版。
北冈正子:《摩罗诗力说材源考》,何乃英译,北京师范大学出版社,1983年版。
柄谷行人:《日本现代文学的起源》,赵京华译,三联书店,2003年版。
山田敬三:《鲁迅世界》,韩贞全 武殿勋译,山东人民出版社,1983年版。
藤井省三:《鲁迅比较研究》,陈福康编译,上海外语教育出版社,1997年版。
藤井省三:《鲁迅〈故乡〉阅读史——近代中国的文学空间》,董炳月译,新世界出版社,2002年版。
丸山真男:《日本政治思想史研究》,王中江译,三联书店,2000年版。
丸尾常喜:《“人”与“鬼”的纠缠——鲁迅小说论析》,秦弓译,人民文学出版社,1995年版。
伊藤虎丸:《鲁迅、创造社与日本文学》,北京大学出版社,1995年版。
伊藤虎丸:《鲁迅与日本人》,李冬木译,河北教育出版社,2002年版。
竹内好:《鲁迅》,李心峰译,浙江文艺出版社,1986年版。
弗朗索瓦·于连:《迂回与进入》,杜小真译,三联书店,1998年版。
吉尔·德勒兹:《尼采与哲学》,周颖刘玉宇译,社会科学文献出版社,2001年版。
费尔巴哈:《基督教的本质》,荣震华译,商务印书馆,1984年版。
弗里德里希·席勒:《审美教育书简》,冯至范大灿译,上海人民出版社,2003年版。
汉斯·格奥尔格·加达默尔:《真理与方法》,洪汉鼎译,上海译文出版社,2004年版。
卡尔·雅斯贝斯:《时代的精神状况》,王德峰译,上海译文出版社,2003年版。
康德:《判断力批判》,宗白华译,商务印书馆,1964年版。
马丁·海德格尔:《海德格尔选集》,孙周兴选编,上海三联书店,1996年版。
马克斯·霍克海默 西奥多·阿道尔诺:《启蒙的辨证法》,渠敬东 曹卫东译,上海人民出版社,2003年版。
尼采:《历史对于人生的利弊》,姚可昆译,商务印书馆,1998年版。
尼采:《苏鲁支语录》,徐梵澄译,商务印书馆,1992年版。
尼采:《悲剧的诞生》,赵登荣等译,漓江出版社,2000年版。
尼采:《论道德的谱系·善恶之彼岸》,谢地坤等译,漓江出版社,2000年版。
韦伯:《新教伦理与资本主义精神》,于晓等译,三联书店,1987年版。
本杰明·史华兹:《寻求富强:严复与西方》,叶凤美译,江苏人民出版社,1996年版。
本尼迪克特·安德森:《想象的共同体》,吴壑人译,上海人民出版社,2003年版。
丹尼尔·贝尔:《资本主义文化矛盾》,赵一凡等译,三联书店,1989年版。
郝伯特·马尔库塞:《审美之维》,李小兵译,广西大学出版社,2001年版。
列文森:《儒教中国极其现代命运》,郑大华 任菁译。中国社会科学出版社,2000年版。
马泰·卡林内斯库:《现代性的五副面孔》,顾爱彬 李瑞华译,商务印书馆,2003年版。
斯坦利·罗森:《启蒙的面具》,吴松江 陈卫斌译,辽宁教育出版社,2003年版。
张灏:《寻找秩序与意义——危机中的中国知识分子》,高力克等译,山西人民出版社,1988年版。
周策纵:《五四运动:现代中国的思想革命》,周子平等译,江苏人民出版社,1996年版。
齐格蒙特·鲍曼:《现代性与矛盾》,邵迎生译,商务印书馆,2003年版。
日兰·克尔凯郭尔:《恐惧与颤栗》,一谌等译,华夏出版社,1999年版。
米兰·昆德拉:《被背叛的遗嘱》,孟湄译,牛津大学出版社、上海人民出版社,1995年版。
雅罗斯拉夫·普实克:《普实克中国现代文学论文集》,湖南文艺出版社,1987年版。
《鲁迅年谱》(增订本),人民文学出版社,2000年版。
《鲁迅辑录古籍丛编》,人民文学出版社,1999年版。
《鲁迅佚文全集》,群言出版社,2001年版。
《鲁迅回忆录》,北京出版社,1999年版。
《鲁迅研究学术论著资料汇编》,中国文联出版社,1987年版。
《鲁迅生平资料汇编》,天津人民出版社,1981年版。
《鲁迅研究》、《鲁迅研究月刊》杂志。
鲍晶编:《鲁迅「国民性思想」讨论集》,天津人民出版社,1982年版。
曹础基:《庄子浅注》,中华书局,2000年版。
曹聚仁:《鲁迅评传》,东方出版中心,1999年版。
陈方竟:《鲁迅与浙东文化》,吉林大学出版社,1999年版。
陈方竟:《多重对话:中国新文学的发生》,人民文学出版社,2003年版。
陈平原:《中国现代学术之建立》,北京大学出版社,1998年版。
程麻:《沟通与更新——鲁迅与日本文学关系发微》,中国社会科学出版社,1990年版。
邓晓芒:《灵之舞——中西人格的表演性》,东方出版社,1995年版。
废名:《论新诗及其他》,辽宁教育出版社,1998年版。
佛雏校辑:《王国维哲学美学论文辑佚》,华东师范大学出版社,1993年版。
佛雏:《王国维诗学研究》,北京大学出版社,1987年版。
高旭东:《鲁迅与英国文学》,陕西人民教育出版社,1996年版。
郜元宝:《鲁迅六讲》,上海三联书店,2000年版。
姜玢编选:《章太炎文选》,上海远东出版社,1996年版。
蒋永青:《境界之“真”:王国维境界说研究》,中国社会科学出版社,2001年版。
姜义华:《章太炎评传》,百花文艺出版社,1995年版。
李长之:《鲁迅批判》,北京出版社,2003年版。
李欧梵:《铁屋中的呐喊》,岳麓书社,1999年版。
李孺义:《“无”的意义——朴心玄览中的道体论形而上学》,人民文学出版社,1999年
李天明:《难以直说的苦衷——鲁迅<野草>探秘》,人民文学出版社,2000年版。
李怡:《中国现代新诗与古典诗歌传统》,西南师范大学出版社,1994年版。
林毓生:《中国意识的危机——“五四”时期激烈地反传统意识》,穆善培译,贵州人民出版社,1988年版。
刘禾:《语际书写——现代思想史写作批判纲要》,上海三联书店,1999年版。
刘禾:《跨语际实践》,宋伟杰等译,三联书店,2002年版。
刘师培:《中国中国文学史讲义》,上海古籍出版社,2000年版。
刘小枫主编:《人类困境中的审美精神》,东方出版中心,1994年版。
刘小枫:《拯救与逍遥》(修订本),上海三联书店,2001年版。
刘小枫:《现代性社会绪论》,上海三联书店,1998年版。
闵抗生:《鲁迅的创作与尼采的箴言》,陕西人民教育出版社,1996年版。
倪墨炎:《鲁迅旧诗探解》,上海书店出版社,2002年版。
彭晓丰 舒建华:《[S会馆]与五四新文学的起源》,湖南教育出版社,1995年版。
钱理群:《心灵的探寻》,河北教育出版社,2000年版。
孙玉石:《现实的与哲学的——鲁迅<野草>重释》,上海书店出版社,2001年版。
孙玉石:《中国现代主义诗潮史论》,北京大学出版社,1999年版。
汤志钧:《章太炎年谱长编》,中华书局,1979年版。
谭君强:《叙述的力量——鲁迅小说叙事研究》,云南大学出版社,2000年版。
王富仁:《鲁迅前期小说与俄罗斯文学》,陕西人民出版社,1983年版。
王富仁:《中国反封建革命的一面镜子——<呐喊><彷徨>综论》,北京师范大学出版社,2000年版。
王富仁:《中国文化的守夜人——鲁迅》,人民文学出版社,2002年版。
王运熙主编:《中国文论选》,江苏文艺出版社,1996年版。
汪晖:《反抗绝望——鲁迅及其文学世界》,河北教育出版社,2000年版。
汪晖:《旧影与新知》,辽宁教育出版社,1996年版。
王齐:《走向绝望的深渊——克尔凯郭尔的美学生或境界》,中国社会科学出版社,2000年版。
王乾坤:《由中间寻找无限——鲁迅的文化价值观》,陕西人民教育出版社,1996年版。
王乾坤:《鲁迅的生命哲学》,人民文学出版社,1999年版年版。
王晓明主编:《批评空间的开创》,东方出版中心,1998年版。
汪毅夫:《鲁迅与新思潮——论鲁迅留日时期的思想》,陕西人民教育出版社,1996年版。
王瑶:《鲁迅与中国文学》,陕西人民出版社,1982年版。
吴俊:《鲁迅评传》,百花洲文艺出版社,1997年版。
吴炫:《否定主义美学》,吉林教育出版社,1998年版。
夏中义:《世纪初的苦魂》,上海文艺出版社,1995年版。
解志熙:《生的执着——存在主义与中国现代文学》,人民文学出版社,1999年版。
解志熙:《美的偏至——中国现代唯美—颓废主义文学思潮研究》,上海文艺出版社,1997年版。
许广平:《许广平文集》,江苏文艺出版社,1998年版。
徐麟:《鲁迅中期思想研究》,湖南师范大学出版社,1997年版。
徐麟:《鲁迅:在言说与生存的边缘》,山东文艺出版社,1997年版。
许寿赏:《挚友的怀念》,马会芹编,河北教育出版社,2001年版。
严复:《严复集》,王栻主编,中华书局,1986年版。
叶嘉莹:《王国维及其文学批评》,河北教育出版社,1997年版。
叶维廉:《中国诗学》,三联书店,1992年版。
余英时:《中国思想传统的现代诠释》,江苏人民出版社,1998年版。
乐黛云主编:《国外鲁迅研究论集》,北京大学出版社,1981年版。
乐黛云主编:《当代英语世界鲁迅研究》,江西人民出版社,1993年版。
张福贵:《惯性的终结——鲁迅文化选择的历史价值》,吉林大学出版社,1999年版。
张辉:《审美现代性批判》,北京大学出版社,1999年版。
张京媛主编:《后殖民理论与文化批评》,北京大学出版社,1999年版。
章太炎:《国学概论》,中华书局,2003年版。
张祥龙:《朝向事情本身——现象学导论七讲》,团结出版社,2003年版。
赵汀阳:《论可能生活》,三联书店,1994年版。
郑家建:《被照亮的世界——《故事新编》诗学研究》,福建教育出版社,2001年版。
郑欣淼:《鲁迅与宗教文化》,陕西人民教育出版社,1996年版。
周振甫:《文心雕龙注释》,人民文学出版社,1981年版。
周锡山编校:《王国维文学美学论著集》,北岳文艺出版社,1987年版。
周作人:《中国新文学的源流》,华东师范大学出版社,1995年版。
周作人:《知堂回想录》,群众出版社,1999年版。
周作人:《周作人文类编》,钟叔河编,湖南文艺出版社,1998年版。
朱光潜:《朱光潜全集》,安徽教育出版社,1987年版。
朱谦之撰:《老子校释》,中华书局,1984年版。
北冈正子:《摩罗诗力说材源考》,何乃英译,北京师范大学出版社,1983年版。
柄谷行人:《日本现代文学的起源》,赵京华译,三联书店,2003年版。
山田敬三:《鲁迅世界》,韩贞全 武殿勋译,山东人民出版社,1983年版。
藤井省三:《鲁迅比较研究》,陈福康编译,上海外语教育出版社,1997年版。
藤井省三:《鲁迅〈故乡〉阅读史——近代中国的文学空间》,董炳月译,新世界出版社,2002年版。
丸山真男:《日本政治思想史研究》,王中江译,三联书店,2000年版。
丸尾常喜:《“人”与“鬼”的纠缠——鲁迅小说论析》,秦弓译,人民文学出版社,1995年版。
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