整个20世纪中国文坛上的泰斗鲁迅最近也受到重重灾难。其实并不能说鲁迅受难是一件耳目一新的事情。在鲁迅去世后的几十年中，对鲁迅进行的误导解释代替了鲁迅自身，结果鲁迅自身反倒一直被排除在外。毛主义（Maoism）对鲁迅的神圣化解释正属于此类情况。但这些解释都是以肯定鲁迅的价值为前提的，尽管我们说，这些评价有可能是有所不当的。80年代以后的启蒙主义否定了之前被神圣化的鲁迅像，尝试肯定凡人鲁迅和文学家鲁迅。固然，我们不能否认这种思维所包含的错误读解侧面，也无法否认它在某种程度上同意识形态也是相关联的，但我们同时也不能否认它是对鲁迅自身的一种认真探讨。但是最近的情况却大有不同，中国的网民和作家作为主要力量批判了从前的鲁迅解释法，这种批判用最近的流行语来说，是对鲁迅文本的经典性（canonicity）进行的批判。尽管对毛主义所定义的经典化和80年代之后启蒙主义所定义的经典化进行批判是必要的事情，但这并不意味着这个必要性会自动地赋予批判一种正当性。批判要想具备正当性的话，首先要以尊重文本本身为前提，而且还要进一步有新的诠释，既要肯定以往观点相对有价值的部分，同时又要将自己的相对价值合理客观化。但事实并非如此，更遗憾的是，在否定鲁迅文本的经典性的同时，轻而易举地将鲁迅文本自身也否定得一文不值。其实，鲁迅文本的经典化并非鲁迅的意图，也并非鲁迅文本的意图。可是，对经典化的批判居然在某一瞬间转向了对鲁迅的批判。然而，我们现在所要考察的鲁迅之难是另外一个领域内的问题，是一个非文学内的、文学界之外的问题。比如，在重视电影的文化研究领域里，鲁迅和他的文学被误解和贬低，这种观点是同最近流行的“视觉文化高于文字文化”这个话语相关联的。 周蕾在她的《原始的激情》① 一书中，第一部第一节“一个newsreel 改变了中国现代史：重述老事”中引用了鲁迅的第一部小说集《呐喊》（1923）的序言中的故事，然而重要的是她对这个故事进行了史无前例的新的诠释。她引用的部分不是汉语原文，而是如下的英译本。 I do not know what advanced methods are now used to teach microbiology,but at that time lantern slides were used to show the microbes;and if the lecture ended early,the instructor might show slides of natural scenery or news to fill up the time.This was during the Russo-Japanese War,so there were many war films,and I had to join in the clapping and cheering in the lecture hall along with the other students.It was a long time since I had seen any compatriots,but one day I saw a film showing some Chinese,one of whom was bound,while many others stood around him.They were all strong fellows but appeared completely apathetic, According to the commentary,the one with his hands bound was a spy working forthe Russians,who was to have his head cut off by the Japanese military as a public demonstration,while the Chinese beside him had come to appreciate this spectacular event. Before the term was over I had left for Tokyo,because after this film I felt that medical science was not so important after all.The people of a weak and backward country,however strong and healthy they may be,can only serve to be made materials or onlookers of such meaningless public exposures; and it doesn't really matter how many of them die of illness.The most important thing,therefore,was to change their spirit,and that time I felt that literature was the best means to this end,I determined to promote a literary movement....I was fortunate enough to find some kindred spirits....Our first step,of course,was to publish a magazine,the title of which denoted that this was a new birth.As we were then classically inclined,we called it Xin Sheng〔New Life〕. 被称为“幻灯片事件”的这个故事因成为鲁迅在日本仙台医科学院留学时弃医从文的契机而被周知。周蕾对这种惯论提出了异议。在她看来，“批评家们一贯认为‘这个故事’是一个转折性的文学问题，因而没有注意到鲁迅的故事本身这个侧面，只是关注到了这个故事在文学史上的意义。”她想重点考察的是“视觉的境遇”这个侧面。使鲁迅产生思想变化的关键在于“视觉的境遇”，此时重要的是“视觉的境遇怎么会成为变化的原因”这个问题。周蕾提出了以下几个问题： 1）鲁迅看影片的时候，他怎么会知道旁观的中国人是处于麻木的状态呢？
