The "Noise" Phenomenon In Lu Xun’s Text

In the theoretical context of cultural studies,the "auditory turn" accompanying the "visual turn" has gradually become an important theoretical discourse.And "noise",as one of the important themes,has penetrated into contemporary cultural studies and has become a phenomenon that music and philosophy researchers must pay attention to.However,in the field of humanities and social sciences in China,the research on noise is still insufficient,and there is no special research on the phenomenon of "noise" in literary works.Entering from the perspective of "noise" is a supplement to the current interdisciplinary research on Lu Xun,and has a certain enlightenment for the in-depth understanding of the artistic connotation and thought of Lu Xun’s literature.This paper intends to explore the various forms of noise in Lu Xun’s writing,analyze the internal motivation and in-depth meaning of noise writing,and make a specific analysis of the grammar of "noise".The first chapter focuses on the noise experience in Lu Xun’s daily life,focusing on the investigation of non-fictional texts such as diaries and letters,and sorting out the records of "physical noise" in Lu Xun’s works.The noise of neighbors,the new noise brought by the industrial revolution,the sound of war,and the noise of sacrificial festivals together constitute the auditory environment in Lu Xun’s life.The second chapter focuses on the metaphorical "noise" in Lu Xun’s texts,and interprets the four types of "inappropriate sounds" of the enlightener’s "crazy words",animal sounds,subversive sounds,and characters’ "inner noise".This chapter will summarize the rebellious and creative power of it,and reveal the artistic expression of this kind of noise speech.The third chapter will start from Lu Xun’s ideological level,analyze the causes of "noise" writing based on Lu Xun’s life experience and personality characteristics,explore the reasons for the diachronic changes of Lu Xun’s attitude towards noise,and identify Lu Xun’s understanding and discovery of the political and practical effects of "noise".The fourth chapter enters from Lu Xun’s language dimension,combines semiotics and the concept of "dissonance" in music theory,explores Lu Xun’s "noise grammar" style,and analyzes the spiritual causes of this style,revealing Lu Xun’s unique language tension.The conclusion is that Lu Xun’s creations have obvious expressions of "noise" in terms of content,subject matter and ideological connotation,and in his language,Lu Xun also added a lot of noise grammar,which broadened the boundary of Lu Xun’s language.The attitude,expression,and emotional color of noise are also closely related to his experiences,encounters,and ideological dynamics at various times.The writing of "noise" in Lu Xun’s works has rich and far-reaching connotations.