| Lu Xun’s writings contain a large number of "grave" images,expressing Lu Xun’s thinking about the value of individual death and self-mental dilemma.The image of "grave" is an important keyword to understand the aesthetic function of Lu Xun’s literature.The "grave" written by him bears the role of enlightened spiritual teacher.By examining the picture of the "grave" described in his early novel "Morrow Poetry" to the late essay "Female Hanger",we can find that Lu Xun’s core concern is still the individual’s spiritual problem,and the writing of the "grave" image is just to explore An important key to the problem of spiritual fate.First of all,Lu Xun’s "poetic power" and creation have a strong secret and tragic temperament,and his novels,essays,prose poems and even letters,diaries and other styles show the grave "image has a place for social funeral activities,the end of life implies death The meaning and the symbol of the burial of the dreams that were made when I was young refer to the three-fold generalization of the writing of the "grave" image from the perspective of space,the actual experience and the ideological dilemma.The writing of the "grave" is triggered by the actual experience The products of inner depression and loneliness have created aesthetic functions such as mysterious eerie style,metaphor to strengthen self-examination breadth,presenting a continuous sense of time and space and the tragic nature of extended narrative.Secondly,the image of "grave" expresses the three levels of themes of individual death,resistance to despair and spiritual return.From the perspective of the theme of individual death,"human blood bun","road" and "grave" in "Medicine" are used as texts The inner context of the sublimation through the mutual entanglement of its own metaphors,the meaninglessness of the enlightenment ’s death value,revealing Lu Xun ’s deep thoughts on life consciousness and the spiritual dilemma brought about by the ineffectiveness of the enlightenment."," Hope "and the novel" Sad Death ",the images scattered around the" grave "such as" night "," empty "and" empty ",etc.,they all have the same symbolic meaning as" road "and" walk ".The spiritual depression of nothingness must find its own value in history through "walking",in order to move beyond the tragic dilemma in the philosophical sense and point to the theme of "rebellion against despair".The theme of spiritual return to home enriches the ideological and ill nature of the work In the work before the death,the folk "ghost" carries the cultural tradition of Shaoxing in his hometown.Lu Xun’s memories of the female pendant actually returned to the roots of his literature and gained resistance from the folk culture of eastern Zhejiang.Lu Xun,through the combination of "ghost" and "grave",connected vitality and humanity to the "grave",and was still immersed in the "brilliant smile" after the completion of "Female Hanger" in the face of death.Transforming the image of death "grave" in folk memory into open-mindedness,not only detached from its own death awareness,but also affirmed that folk culture has the positive function of properly positioning the soul of the people.Furthermore,in the image of "grave" written by Lu Xun,there is a deep textual phenomenon that uses "grave" as a metaphor,which is interlinked with the attributes and traits of "grave",and forms its own metaphorical function in the process of repeated metaphors.The metaphors in Lu Xun’s writing of the "grave" image point to the four ends of family standardism,native complex,enlightenment invalidity,and old thought burial.These are all symbols of death with the "grave" image and a symbol of sorting out old thoughts.Sex as a theoretical basis aims to clarify the paradox and balance in Lu Xun’s thought.As a burial symbol for mourning relatives and ancestors,"grave" extends the cultural connotation of ancestor worship,blood relationship and land worship.The construction of the "grave" image has the function of metaphorical family standardism in Lu Xun’s works.The creation of the world of Luzhuang Weizhuang is based on Lu Xun’s inner "partial but not fully forgotten" Shaoxing personnel in eastern Zhejiang.The death implication of the "grave" image is reflected in the hometown’s sacrificial customs and customs and other characteristics embedded in In the writing of the works,the combination of the imagery "grave" and "road" highlights Lu Xun’s "wandering" consciousness,resulting in a complex rural complex.The ineffectiveness of the tragic death metaphor enlightened in the "grave" image is reflected in the enslavement of the enlightened and the meaningless sacrifice of the enlightened.In 1927,Lu Xun’s Xiamen University in the back hill was a "tomb" heap named a part of the previous collection of essays as "grave",and the old thought was buried under the metaphor of "grave".In fact,it was not a denial of past thought,but rather The record of the evolution of self thoughts,leaving its own words and traces in the world,indicating the full meaning of its existence.As a kind of commemoration,it is also a kind of burial.All thoughts are links of "historical intermediates".From the early "individualism" to the later "nilism",they all participated in the construction of Lu Xun’s overall thought.Come.In the end,Lu Xun’s choice of "grave" image is due to Lu Xun’s profound practical experience,the origin of Chinese and Western cultures and individual factors.These three are the sources of reality for the generation of Lu Xun’s "grave" image.The time when Lu Xun edited "Grave" coincided with Lu Xun’s living space surrounded by "tombs",taking photos at the hillside cemetery.The scenes and scenes of life scenes have always been an important resource in Lu Xun’s creation.The creative writing of the "grave" image reflects Lu Xun’s absorption of Chinese and Western cultural resources.It is the result of Lu Xun’s personal cultural genes and reading memory guiding his way of thinking in the cognitive world.The cultural origin is rooted in the old voice of the state and the new voice.Foreigners,the former is mainly reflected in the ancient Chinese traditional ghost culture,the folk culture of eastern Zhejiang and the Zhou family culture,the latter is the language and individualism of Nietzsche ’s literary creation,the sense of “emptiness” in the “grave” presents the individual ’s life and death The process of the ultimate questioning finally led to the grave stubbornly,and the "grave" was followed by the "no land" of darkness and nothingness,and the face of nothingness was the survival of the "wild grass" style.Starting from the questioning of the "me" of the individual’s life and death,to the broader "we" is an important reason for Lu Xun’s "Wild Grass" to the later essays.In addition,the "Lu Xun’s" aesthetic features in the "grave" are a comprehensive reflection of Lu Xun’s spiritual thinking,thoughts,emotions,and artistic psychology,which is inseparable from Lu Xun’s personal death experience and thinking style.On the one hand,as a witness and witness of death trauma,Lu Xun ’s inner spirit mainly consisted of childhood Lu Xun as a witness of death,the “slide event” of young Lu Xun,middleaged Lu Xun ’s serious illness and social death,and detached death in his later years View and participate in the generation.On the other hand,literary works are the products of imagination of thinking activities.Lu Xun’s "grave" image is the artistic feature he consciously formed during the creative process,which is embodied in the entanglement of forgetting and memory and the negative thinking mode of anti-traditional rebellious psychology.A large number of "grave" images appear in Lu Xun’s works,which is a characteristic of Lu Xun’s self-speaking and reflects the unique way of speaking and thinking characteristics of Lu Xun’s literature.Analyze the picture of "grave" image writing through careful reading of the text,and explain it by combining Lu Xun’s creative skills and narrative function,and deeply explore the spiritual demands reflected in the writing of "grave" imagery,which will help us further understand the poetics and art of Lu Xun’s creation The dimension provides a perspective for us to unlock the coding of Lu Xun’s thoughts. |
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