呐喊鲁迅

前言：想要写出一篇令人眼前一亮的文章吗？我们特意为您整理了5篇呐喊鲁迅范文，相信会为您的写作带来帮助，发现更多的写作思路和灵感。

呐喊鲁迅范文第1篇

关键词：翻译，跨文化交流，同化，异化

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 "衙门" or "麻将" 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. 况且衙门里的大老爷也还没有告示……（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. 未庄的乡下人不过达三十二张的竹牌，只有假洋鬼子能够叉"麻将"。（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，闺女生了一个夜叉之类。（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，断他的竹筷，放下他的辫子，并且批他几个嘴巴，聊且惩罚他忘了生辰八字，也敢来做革命党。（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.人都满了，连立足也难，我只得挤在远处人丛中看一个老旦在台上唱。（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仿佛文童落第似的觉得很冤屈，他慢慢走近园门去，忽而非常惊喜了，这分明是一畦老萝卜。他于是蹲下便拔，而门口突然伸出一个很圆的头来，又即缩回去了，这分明是小尼姑。小尼姑之流是阿Q本来视若草芥的，但世事须"退一步想"，所以他便赶紧拔起四个萝卜，拧下青叶，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照例的发了怒，他怒目而视了。

"原来有保险灯在这里！"他们并不怕。

阿Q没有法，只得另外想出报复的话来：

……（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. 华大妈听到"痨病"这两个字，变了一点脸色，似乎有些不高兴；但又立刻堆上笑，搭着走开了。这康大叔却没有察觉，仍然提高了喉咙只是嚷，嚷得里面睡着的小栓也合伙咳嗽起来。（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. 又有些胜利者，当克服一切之后，看见死的死了，降的降了，"臣诚惶诚恐死罪死罪"，他于是没有了敌人，没有了对手，没有了朋友，只有自己在上，一个，孤另另，凄凉，寂寞，便反而感到了胜利的悲哀。（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. 谁知道阿Q采用怒目注意之后，未庄的闲人们便愈喜欢玩笑他。一见面，他们便假作吃惊的说：……（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] 陈德彰，《英汉翻译入门》。北京：外语教学与研究出版社，2005。

[4] 陈定安，《英汉比较与翻译》。北京：中国对外翻译出版公司，1998。

[5] 邓炎昌，刘润清，《语言与文化--英汉语言文化对比》。北京：外语教学与研究出版社，1989。

[6] 黄远竟，杨敏，跨文化翻译的接受美学观，《中华文化论坛》2008 （8）： 213-215。

[7] 鲁迅著，杨宪益，戴乃迭译，《呐喊》。北京：外文出版社，2004。

[8] 彭娟，贾德江，从鲁迅著作《呐喊》的英译本看文化负载词的翻译策略，《文教资料》2008 （3）：12-14。

[9] 孙致礼，中国的文学翻译：从归化趋向异化，《中国翻译》2002 （1）：39-43。

[10] 许建平， 张荣曦. 跨文化交际中的异化与归化问题，《中国翻译》， 2002 （9）：35-38。

[11] 许渊冲，《文学与翻译》。北京：北京大学出版社，2003。

[12] 张瑜，浅谈《祝福》中称谓语的翻译，《现代语文》2008 （3）： 81-82。

呐喊鲁迅范文第2篇

[关键词]《呐喊》与《彷徨》 意象 内在气韵

钱理群曾经这样说过：“第一个有独创性的思想家和文学家，总是有自己惯用的、几乎已经成为不自觉的心理习惯的、反复出现的观念(包括范畴)、意象；正是在这些观念、意象里，凝聚着作家独特的精神世界艺术世界。”[1]鲁迅正是这样一位具有原创性的现代思想家和文学家。[2]因此在他的《呐喊》与《彷徨》里存在着许多观念和意象，如“民俗”与“高墙”；“看客”与“吃人”；“黑屋子”与“呐喊”等，这些观念和意象，分别从农民、知识者、启蒙者的视角，提出改造灵魂、探索道路、改造国民灵魂的重大主题，形成了割舍不断的内在气韵，并使其成为完整的统一体。

一、民俗与高墙

《故乡》中的闰土在现实中连最起码的温饱都得不到解决，于是求助于“神”，所以在拣择“我和母亲”不搬走的东西时，拣了一幅香炉和烛台。从这种传统的民俗观念中，我们看到了闰土是深受封建等级秩序影响的。正因为这种民俗的强大力量，造成了闰土和“我”的隔阂。一声“老爷”，使“我非常气闷”，“只觉得我四面有看不见的高墙，将我隔成孤身。”这和鲁迅在《俄文译本(阿Q正转)序》中谈到的高墙是一个意思：“别人我不得而知，在我自己，总仿佛觉得我们人人之间各有一道高墙，将各各分离，使大家的心无从相印。”[3]

《孔乙己》中咸亨酒店内高高的曲尺柜台，把穿长衫的和穿短衣的隔开《药》中的人血馒头治痨病的习俗，造成了群众和革命者之间的隔膜《祝福》中的新年祭祖习俗，把祥林嫂和鲁镇的人隔开《风波》中的取名习俗，把人分成了若干的等级《长明灯》中吉光屯人对长明灯的看法，致使他们对“疯人”的反抗举动视为真的疯子；《离婚》中的“拆灶”习俗，使人与人之间的矛盾趋于僵化。

雷・韦勒克谈及意向时认为：“‘意象’以此表示有关过去的感受上、知觉上的经验在心中的重现或回忆，而这种重现和回忆未必一定是视觉上的。”[4]因此，我们可以说，鲁迅小说中的“高墙”意象是鲁迅有关过去的感受上和知觉上的经验在其心中的重现或回忆。鲁迅在《呐喊・自序》中也曾谈及这堵“高墙”：“我有四年多，曾经常常，一几乎是每天，出入于质铺和药店里，年纪可是忘却了，总之是药店的柜台正和我一样高，质铺的是比我高一倍，我从一倍高的柜台外送上衣服或首饰去，在悔蔑里接了钱，再到一样高的柜台上给我久病的父亲去卖药。”[5]鲁迅少年时代所面对的高贵的柜台，显然是鲁迅眼中的高墙，这应该是鲁迅小说中高墙的原版。这个高墙原版一直储藏在鲁迅的心里，并影响着鲁迅以后的创作。林辰在《鲁迅传》中是这样说：“曾祖母的逝世，祖父的下狱，父亲的早逝，这一连串的不幸接着发生于四五年之中，使鲁迅受尽了白眼，经济的压迫；然而，正是在这‘从小康人家而坠入困顿’的‘途路中’，他看见了‘世人的真面目’，这是他一生事业发展上的一个重大关键。”[6]所以“高墙”意象才会在他的小说中反复出现。

二、看客与吃人

鲁迅小说中的看客，多数都是生活在下层的群众，他们只要有口饭吃，就会无所事事的混下去，只有当最低的生存条件都无法保障时，他们才有可能成为“革命的追随者”，正像恩格斯说的那样：“作为政治力量的因素，农民至今在多数场合下只是表现他们的那种根源于农村生活隔绝状况的冷漠态度。”[7]鲁迅在他的散文诗《复仇》中把群众比作“爬在墙壁上的槐蚕”，并说他们“拼命地希求偎倚，接吻，拥抱，以得生命的沉酣的大欢喜。”“槐蚕”散出温热，使人讨厌，“偎倚，接吻，拥抱”令人想起拥挤、烦躁、不安。这样的场面，就是当今社会也屡见不鲜。鲁迅正是看到了这一点，才会几乎篇篇都让看客出现。鲁迅还为看客专门写了《示众》这篇小说。这篇小说具有极大的包容性，内含着多方面的生长点，甚至可以把《呐喊》、《彷徨》与《故事新编》里的许多小说都看作是《示众》的生发与展开，从而形成一个系列，如《狂人日记》、《孔乙己》、《明天》、《头发的故事》、《药》、《阿Q正传》、《祝福》、《长明灯》、《铸剑》、《理水》、《采薇》等。钱理群在小结这篇小说时说：“小说中所有只有一个动作：‘看’：他们之间只有一个关系：一面‘看别人’，一面‘被别人看’，由此而形成一个‘看＼被看’的模式。”进而说这是“中国人的基本生存方式”，也是“人与人的基本关系”。[8]

“看＼被看”的模式是鲁迅的深刻发现。在《呐喊》与《彷徨》中，“被看者”往往在“看者”贪婪的眼光中消失。孔已己是在酒客的讥笑中伤生的，祥林嫂是在鲁镇人的咀嚼中走完一生的，子君是在路人的轻蔑和亲友的绝交中走向坟墓的，狂人是被鲁镇人关进黑屋子的……。这样看来，看客“吃人”亦在情理之中。因为中国人向来就有将人的肉肝胆血当作食物享用或将脑骨当作壮阳益寿的药物煎吃的原始风俗。所以在《阿Q正传》的结尾处鲁迅将“吃人”与“被吃”的封建文化的本质再一次凸现出来：“这刹那间，他的思绪又仿佛旋风似的在脑里一回旋了。四年之前，他曾在山脚下遇见一只饿狼，永是不远不近的跟定他，要吃他的肉。他那时吓得几乎要死，幸而手里有一斫柴刀，才得仗这壮了胆，支持到未庄；可是永远记得那狼眼睛，又凶又怯，闪闪的像两颗鬼火，似乎远远的来穿透了他的皮肉。而这回他又看见从来没有见过的更可怕的眼睛了，又钝又锋利，不但已经咀嚼了他的话，并且还要咀嚼他皮肉以外的东西，永是不远不近的跟他走。这些眼睛们似乎连成一气，已经在那里咬他的灵魂。”可悲可怜的阿Q，一向以精神胜利法居于不败地位并常神往于“吃人”生活的阿Q，在屡次吃人之后，当自身将被吃掉时，那些无聊的看客，已经连成一气，都来分享其残羹了。这真是“群众的罚恶之心，并不下于学者与军阀。”

三、铁屋子与呐喊

因为狂人看出了封建文化的“吃人”本质，因此被关进了“黑沉沉”的屋子里；单四嫂子在她相依为命的宝儿病逝后的寂寞中，感到黑屋子叫“他喘气不得”；一心想吹熄吉光屯中从梁武帝时传下来的长明灯的疯子，被关进庙里一间有粗木直栅的只有一小方窗的黑屋子里。1925年，鲁迅在《聪明人和傻子和奴才》中，也描绘了一个“又湿，又阴，满是臭虫，睡下去就咬得真可以。晦气冲着鼻子，四面又没有一个窗”的黑屋子。鲁迅在《呐喊・自序》中也谈到了这个黑屋子：“假如一件铁屋子，是绝无窗户而万难破毁的，里面有许多熟睡的人们，不就要闷死了，然而从昏睡如死灭，并不感到就死的悲哀。现在你大嚷起来，惊动了较为清醒的几个人，使这不幸 的少数者来售无可挽救的临终的苦楚，你倒以为对得起他们么?”[9]

在他的小说中，出现“铁屋子”意象大多是一个清醒者如狂人、疯子，或者是像爱姑一样的有点反抗性的普通的人。所以，“铁屋子”这一主题意象的设置方式就有了这两种情况：一是在《狂人日记》和《长明灯》中，当觉醒者在“铁屋子”中发出呐喊试图唤醒沉睡者时，沉睡者里传统文化的得益者即阔人便借助强大的政治势力和宗法力量将觉醒者羁押起来，这时，作为羁押地的“铁屋子”意象出现。二是在《阿Q正传》和《离婚》中，当“铁屋子”中昏睡者中的极普通的下层人阿Q和爱姑因为某种原因进入“阔人”赵太爷或慰老爷的住所时，鲁迅就让“铁屋子”意象凸显出来。

鲁迅痛感昏睡的人们如此之多，使得他年轻时候的许多梦想归于破灭，而梦醒之后无路可走更是最大的苦痛。尽管如此，他仍要在绝望中抗争，于无希望中得救，表现了他反抗绝望的生命意识。鲁迅在《无声的中国》中这样说：“认识有的，没有声音，寂寞得很。――人会没有声音的么?没有，可以说：是死了。倘若说的客气一点，那就是：已经哑了。”[10]鲁迅痛恨没有声音的中国，他殷切地希望有真的声音出现：“只有真的声音，才能感动中国的人和世界的人，必须有了真的声音，才能和世界的人同在世界上生活。”[11]

呐喊鲁迅范文第3篇

关键词：中学语文；《故乡》；文本分析

鲁迅先生的《故乡》最初发表在一九二一年五月《新青年》的第九卷第一号，后收在小说集《呐喊》中。鲁迅题之为“呐喊”，用他的话说就是“聊以慰藉那在寂寞里奔驰的猛士，使他不惮于前驱”。但鲁迅并不相信自己的呐喊所拥有的威力和效用。他用铁屋子来比喻当时的中国，用将要昏睡而死的人来比喻国人。可是，鲁迅并没有为自己找到一条明确的路。他在《呐喊》自序里说到希望的时候说：“是的，我虽然自有我的确信，然而说到希望，却是不能抹杀的，因为希望是在于将来，决不能以我之必无的证明，来折服了他之可谓可有。”这段话有些纠结。首先，他说他有自己的确信，也就是说有自己坚信的观念，有自己的主张。但这主张里却不能排除希望，因为在他的观念里是没有希望的。鲁迅一方面坚信从自己的经历来看希望是必无的，因为他有“必无的证明”，这是对自己的确信。但鲁迅又站在自己之外来看希望，希望在于将来，虽然自己不信它的存在，但未来的事谁能说得准？所以又不能抹杀这种可能。对于希望，鲁迅就是如此的纠结。正如他自己所说，他在年青的时候也曾经做过许多的梦，也曾经对一切都充满了热忱，但他的经历屡屡的让他失望，这还并不仅仅是说他个人的遭遇，更多的则是指国家的命运。整个中国就像一个舞台，无尽的丑角跳来跳去，让人寒彻心扉。鲁迅心中的希望就是如此的矛盾与纠结，他曾经引用匈牙利诗人裴多菲的诗句来形容希望：“希望就像妓，她对谁都蛊惑，把一切都献给，最后又抛弃你。”可以说，尽管鲁迅已经确认希望的不存在，然而，他又一次次地禁不起希望的蛊惑，然而，又一次次地失望。

《故乡》，题曰“故乡”，似乎并不是在写希望，然而，我们发现，这篇小说从始至终所充斥的莫不是这种希望—失望—希望—又失望的情绪。而且，小说在最后结束的时候回到了对希望的探讨上，写出了关于希望的经典语句：“希望是本无所谓有，无所谓无的。这正如地上的路；其实地上本没有路，走的人多了，也便成了路。”第一句话作者是解构了希望的，它无所谓有无所谓无。但作者用一个美好的比喻来劝说自己，并不以自己必无的证明来否认希望存在的可能。这就像路，虽然开始没有，但走的人多了，也便有了路。但这句话是从理论上来讲的，也只是希望存在的可能性。如果走这条路的人并不多呢？希望不仍然是虚无缥缈吗？所以，《故乡》所探讨的仍然是关于希望的话题。从文中的叙述来看，出现了三个时空的“故乡”，下面一一分析。

一、回忆中的故乡

我们先来看作者回故乡的心情。首先是时间上的久远，“相隔两千余里”，其次是感情上的陌生，“别了二十余年”。古人云“近乡情更怯”，等“我”回乡那天，我所看到的是阴晦的天气，苍黄的天地，萧索的荒村，完全是一副破败了无生机的样子，“我的心禁不住悲凉起来了”。

因为这不是我记忆中的故乡了。相隔那么多年，下定决心回到相隔那么遥远的故乡去，当然希望寻找到原来记忆中的故乡的影子，也当然希望重温一下记忆中故乡的种种温馨和美好。然而，事实并非如此。“我记忆中的故乡要好得多了，但是要说它有多么的美丽，又无从说出，似乎也就是如此，于是就自己安慰自己，故乡本就是如此。”这就是鲁迅在序言中提到的麻醉法，以此来麻醉自己，欺骗自己。这是真实的记忆中的故乡，却被眼前的萧索击得粉碎。但是作者的热忱仍然在挣扎，他希望为自己残留些希望。这希望就是闰土，于是出现了一段关于闰土的回忆。要知道，这是当做记忆中的故乡来写的，记忆中的故乡似乎就是以少年闰土为代表的。我们注意到，在这个段落里，除了闰土几乎没有写到其他人和事。这就是那份残留的美好和希望吧。然而，结果呢？

二、现实中的故乡

然而，等到现在的闰土一出场，这一点美好也荡然无存了。闰土已经不再有紫色的脸膛，更可怕的是“他的态度终于恭敬起来了，分明的叫道——老爷！”这一叫，就将记忆中的故乡和希望叫得荡然无存。记忆中的希望已经没有了，而所看到的又是如此破败了的无生机的故乡。豆腐西施面目可憎，为自己打算精细。而“我”在这个现实世界里竟然如此的孤独，像有四壁将“我”围起，和一切人都那么的隔膜。从此，故乡已经不再是我的故乡。早有论者指出，这不仅是知识分子没有了家乡，也是他们精神家园迷失的一个最好象征。

三、理想中的故乡

故乡如此，那么，“我”只好又走出。我们发现，“走出”是鲁迅在小说中出现频率最高的词汇和意象。他总是在不停地向前走，就像《过客》里的那个过客，就算前面是坟墓，也一如既往。“你总还是觉得走好么？”“是的。还是走好。”于是，我带了母亲和宏儿走出故乡。我躺着，听船下潺潺的水声，我知道我在走我的路，这个时候我有了自己的希望。我希望什么？我希望什么样的生活？未来的，理想中的故乡应该是什么样子？鲁迅还是没有说出。他从来都不给众人许诺一个黄金的世界，从来不给别人一个虚无的不可靠的描述。所以，他并没有从正面回答希望是什么，而是用否定句来表达自己的愿望：“我希望他们不再像我……都如我的辛苦辗转而生活，也不愿意他们都如闰土的辛苦麻木而生活，也不愿意都如别人的辛苦恣睢而生活。”只要他们不这样生活，那么，就应该是美好的生活吧。美好的生活应该是新的生活，为我们所未经历过的。

这就是作者笔下理想中的故乡，不过是一个乌托邦，不过是一个并不可靠的希望。我希望他美，却不知道怎么才是美。在小说中，尽管作者忧郁苦闷悲凉的情绪时有流露，但他时时地提醒和劝说自己，让自己相信希望的存在。我们可以看到他的努力。文章以个人的独思结尾，想到希望竟然害怕起来。闰土的要求简单，容易满足，所以，他的希望还算切近，而我的，却茫远无期。到了就要结尾的时候，作者仍然不能确信自己的希望。不过，正如《呐喊》序言里所说的那样，“既然是呐喊，则当然须听将令的了，所以我往往不恤用了曲笔，在《药》的瑜儿的坟上平空添上一个花环……”而我朦胧中，眼前所展开的那片海边碧绿的沙地，也不过是一处“曲笔”罢了。

参考文献：

呐喊鲁迅范文第4篇

也许，这是一个在文化上“弑父”的年代，推倒旧偶像成为时尚。但我仍然要说，鲁迅是推不倒的。不信你就试试吧。因为他不是泥塑的偶像。如果非要说他是偶像的话，他也是一尊有血有肉有体温的偶像。他在纸上一个字一个字地爬格子之时，已无意识地塑造出自己。鲁迅必将永生在我们的母语中。他以青铜的质感进入历史，并且成为历史本身，历史不可以假设。也很难。就像李白的出现使唐诗一扫前朝之萎靡，在白话文取代文言文的中。鲁迅同样属于创世纪的人物。我们今天的语言，无论口语还是书面语，都无法完全剔除那个伟大转型期的影响。赞扬“鲁迅吃的是草，挤的是奶”，其实，仅就汉语演变和文化传承而言，我们确实是吃鲁迅那一代文学革命家的奶长大的。

鲁迅呼喊“救救孩子”的时候，是否想到，孩子也会有孩子，孩子的孩子还会有孩子?如此顺延直至无限，他的呐喊没有过期，也就不会失效：孩子是中国的未来，拯救现在也就等于拯救未来。我不知自己属于鲁迅怜爱的孩子中的第几代，现在的孩子又是第几代。但我知道：鲁迅的呐喊，与我有关，也与你有关，与我们大家都有关。鲁迅的爱，鲁迅的恨，恨铁不成钢的那种恨，也同样如此。

作为一个读鲁迅文章长大的孩子，一个曾经的中学生，我最初就是通过语文课本了解鲁迅的。鲁迅给我的印象，是一个有大爱也有大恨的人。说到底他除了有小我之外，还有一个大我，这个无形的大我与时代、民族、国家、群众等融为一体。鲁迅印证了我对文学大师的想象：如果没有大爱、大恨、大我。如果不能先天下之忧而优、后天下之乐而乐，又怎能算得上大师?又怎能成为一个时代的代言人?也许我们每一个人在日常生活中不见得能做到这点。不见得能成为英雄，但我们应该景仰这种精神。人类为什么需要超凡脱俗的英雄。英雄能使更多的人看到更大的希望。正如鲁迅在《故乡》中所言：“希望是本无所谓有。无所谓无的。这正如地上的路；其实地上本没有略，走的人多了，也便成了路。”而披荆斩棘的开路人，领路人，每一条新路上走过的第一个人，注定将给后来的追随者带去远比一条道路虚拟得多，也重要得多的希望。

我想，鲁迅对于中学生最重大的意义，在于使年少的读者在未来成长中有可能成为一个理想主义者。至少，会给那些幼稚的心田播下理想主义的种子。是否能如期发芽、开花、结果，尚不好说，但他们会知道，人类中的一种人。譬如鲁迅这种的，总是能超越自我的爱与恨、超越个人的乐与忧，而把视野与胸怀投向更多的人、更广大的人群……鲁迅之所以有大喜与大悲。因为他有大理想。即对全体中国人的关怀与期望。鲁迅之所以对旧中国的现状不满，因为这与他理想中的中国不符，他的理想对于现实有更高的要求与更多的希望。这无疑将有益于创造更加美好的未来。理想，或许正是社会进步的驱动力。

呐喊鲁迅范文第5篇

打败四大高手的人，名叫鲁迅，是我们精神家园的守护神。其实他本来只是一位郎中，没有雨果大师那样深厚的内功，没有屠格涅夫大侠那样巧妙繁华的招式。后来弃医从武，成为一位行侠仗义的大侠。他嫉恶如仇，使病态社会的千疮百孔暴露无遗。他的剑异常锋利，嬉笑怒骂皆成招式，却不是自命清高者的冷嘲热讽。他的一招一式无不闪烁着睿智与深刻，其中包含的是一颗忧愤深沉的爱国之心。他当之无愧是我们精神家园的守护神。

鲁迅的招式只有四招。第一招：“骂”，骂苟延残喘、阴险狡诈的“落水狗”，骂奴颜婢膝、貌似中庸的伪君子；第二招：“论”，论国民众生的劣根本性，论轰轰烈烈的大革命的悲剧之源；第三招：“抨击”，抨击狂人眼中“吃人”的世界，抨击把孔乙己推上绝路的封建礼教；第四招：“呐喊”，为艰辛而麻木地生活着的闰土，为受大权压迫的祥林嫂。四招足够了，足以保护我们的精神家园。我们的精神家园在他的守护下，成了铜墙铁壁，成了一方真正的净土。

于是，在热情勇敢的农村孩子中间，我看到了一个无知无能的“我”；在衣衫褴褛的人力车夫面前，我感受到了体面外袍下自私自利的“我”。当我醉心享乐、虚度光阴时，“浪费时间无异于慢性自杀”的警告，会使我痛出一身冷汗；当我无法把握自我，却又自欺欺人、逃避现实时，阿Q的形象使我窥见了自己的影子，猛然从梦中惊醒；当我钻入虚无主义的圈子里不能自拔，对我们这个古老民族的历史产生怀疑甚至自卑时，那一句“中国人失掉自信力了吗”的诘问，又使我重新挺起了胸膛。