在现代中国文学史上,鲁迅担当起“五四”思想启蒙的急先锋,以其无法超越的文学实绩当之无愧地成为新文化的旗手和新文学的典范。长期以来,鲁迅的小说集《呐喊》《彷徨》,被学界精英人为强化其从“以笔为旗”到“无地彷徨”再而“反抗绝望”的“启蒙主义”的思想立场,以致主观超越作品自身的文本意义、严重背离作家鲁迅的创作初衷,这种广被接受认可的研究理路几乎丧失了正确言说鲁迅的任何可能。实际上,晚清民初启蒙狂热时代升腾起现代民族国家和现代个人主体双重建构的思想氛围与由此生成的从新民召唤到青春 In the history of modern Chinese literature, Lu Xun assumed the vanguard of enlightenment of the May Fourth Movement and deservedly become the standard bearer of the new culture and the model of the new literature with his insurmountable literary achievements. For a long time, Lu Xun’s collection of novels, “Shout” and “Imitation,” was used by elites in the academic field to strengthen the “Enlightenment” of “destroying hopelessness” from “using pen as the flag” to “ ”, So that the subjective beyond the textual meaning of the work itself, a serious departure from writer Lu Xun’s original intention of writing, this widely accepted research philosophy almost lost any possibility to say Lu Xun correctly. In fact, the era of enlightenment and enlightenment in late Qing Dynasty and early Republic of China rose from the dual atmosphere of the modern nation-state and the modern individual body, and the resulting call from the New People to youth