CAJ | 학술논문

现代中国小说的开山之作《狂人日记》，与其说是“第一篇现实主义小说”，不如说是象征主义小说的发端。它主要借重象征主义表现法，使“狂人”的感觉能力得以升华，乃至发出“从来如此，便对么”的惊世之问，表征了新文化先驱不无孤绝地反传统的心境。而就小说的创作方法、属性问题的去讹存真，恰可揭示鲁迅审美视野的开阔，以及勉力集合诸种创作方法张力的用心。
현대중국소설적개산지작《광인일기》，여기설시“제일편현실주의소설”，불여설시상정주의소설적발단。타주요차중상정주의표현법，사“광인”적감각능력득이승화，내지발출“종래여차，편대요”적량세지문，표정료신문화선구불무고절지반전통적심경。이취소설적창작방법、속성문제적거와존진，흡가게시로신심미시야적개활，이급면력집합제충창작방법장력적용심。
As the pioneering work of modern Chinese fiction, The Diary of a Madman is, more or less, regarded to be the origin of symbolic fiction rather than the first realistic one. It is likely to get the feeling of the madman sublimated by means of symbol-ic expression, and thus comes out the world-shocking question “That’s the way it has always been. Does that make it right?”, which shows the isolated mood and anti-tradition attitude of the new cultural pioneer. It is suggested in this paper that a close study on writing techniques and properties of Lu Xun’s works by eliminating the false and retaining the true will inevitably reveal the writer’s wide aesthetic vision and his effort to combine the tension of all kinds of writing techniques.