摘 要本论文所要探索的核心问题是，鲁迅在十三年的漫长时空转换里“如何写”出《故事新编》的？对此问题的求解过程只能立足于其阐释可能的思考，而非定论的给出。大体来说，在鲁迅讲求“于中国有益”的庞杂翻译中，“拿来主义”的严正态度和“学下去，站起来”的不懈努力贯穿始终。这使得他的翻译（尤其是对果戈理、法捷耶夫、卢那查尔斯基等俄苏作家作品的翻译）和创作构成了一种潜在的互文关系，这种关系表现在《故事新编》不同时期创作上的差异，体现了鲁迅于现代汉语语言新质引入所付出的努力由点至面的变迁轨道。作为一个始终与所处时代纠缠的现代作家，鲁迅在作品中总是不断呈现哲学、道德、政治等外在因素与位于作家内面的审美因素的相互裹挟。《故事新编》也不例外。就文体而言，融会前期小说、新诗到散文诗、杂文诸种语言实践，鲁迅最终在《故事新编》里找到了构筑这种既相冲突又相支撑的悖论式语言景观的合适形式。与“离奇而驳杂”的创作特色相映照，鲁迅在思想上源出多家，尤其受到尼采和庄子的显著影响。这使得他的作品在文字上往往内在于哲学（或者思想）。在《故事新编》中，通过“以庄化尼”和“援俗入史”，鲁迅糅合了与尼采和章太炎的观念性对话，最终书写了他眼中的“活的”中国史与中国人物。总之，在鲁迅的作品谱系中，《故事新编》的特点在于它是鲁迅通过“忘破绽”甚至是“忘了努力”的方式逐步实现了文体和思想上的自由的作品。而鲁迅的文学生命，始终都在探讨着汉语写作的毫无止境的前进之路。他面对现代语言时持有的是一种开放的思维和心态。不拒绝，不逃避，不断尝试，不断开拓，在创作实践上可谓“有新腔而无定板”。在这个意义上，《故事新编》虽然结篇，但却是他未完成的文学写作。
AbstractThis dissertation mainly discusses how Lu Xun wrote Gushixinbian in thirteen years. The first thing to be emphasized is the explanation of this question should not aim at leaping to a fixed conclusion, but be established in the consideration of the possibility of its expatiation.In general, the “learn on and stand up” struggle permeates his numerous and jumbled translation. This makes his translation (especially the translation of writers such as Gogol and Fajeyev) and his composition form a kind of latent intertextual relationship. In Gushixinbian, this relationship is expressed as the from-points-to-surface transitionary clues of Lu Xun’s indraught of the new character of the modern Chinese language.As a modern writer who is entangled in his times, Lu Xun always presented the imbroglio of the exterior factors (philosophy, morality, politics, etc.)and the inner aesthetic factor. From the angle of style , Lu Xun tracked down the relations between the manifold aspects of his early fiction ,new poem, prosaic poem and scribble experience to bring forth his complicated expression.Apposite to the Keen and heterogeneous creative characteristic, Lu Xun’s thoughtway roots from various philosophers and he especially was influenced by Nitze and Zhang Taiyan. In Gushixinbian, by way of “depend on Zhuang Zhou’ s thinking to make Nitze’s furor thawed” and “bring the daily life into the history narration’, Lu Xun fused the conception of Nitze and Zhang Taiyan to write the “animated” Chinese history and Chinese characters.In a word, the characteristic of Gushixinbian is the production of “forget the rip and even forget the struggle” freedom in the style and thinking in Lu Xun’s on-limits creative pedigree. During his literature lifetime, Lu Xun never ceased to practice the renovation of Chinese writing. From this point of view, although Gushixinbian formed a volume, it still can be considered as his unfinished literature writing.
