鲁迅并非一个具有“内在统一”的文化主体。鲁迅身上同时存在“传统文化自我”和“现代文化自我”，前者主要体现在家庭私人生活中，后者主要体现于社会公共生活领域。鲁迅的两个文化自我之间形成了非常严重的对峙局面，终其一生都未能缓解。鲁迅身上的“自我文化对峙”主要是由于当时的社会文化历史背景所导致的，此外，也有鲁迅个人的原因:鲁迅本人未能在理论上完整地把握传统文化与现代文化的构成逻辑，未能认识到现代文化其实与传统文化具有共同的人性基础——现代文化和传统文化的共同点是根本性的，其不同点只是方法上的。鲁迅身上的“自我文化对峙”导致其本人未能在文化层面实现“自洽”，也导致他提出了不少偏激的文化主张。鲁迅是一位伟大的文学家，不过，他在文化方面具有较大的局限性，而这种局限性又反过来侵蚀了他的文学魅力。对鲁迅身上的“自我文化对峙”问题进行深入研究，有助于我们反思对传统文化的偏激态度所造成的各种文化问题，促使我们以理性的“改良”态度取代感性的“革命”态度，稳妥地推进中国现代文化建设。

A Discussion of Lu Xun’s “Cultural Opposition of Ego”: Getting out of the Cultural Puzzle of “Tradition vs. Modernity”

Li Zhimin

Lu Xun is not a cultural subject with “internal unity.” There are the ego of traditional culture and the ego of modern culture coexsisting in him, in which the former mainly reflects in family and private life, while the latter mainly reflects in the field of social public life. Between the two egos, there formed confrontation too severe to be solved throughout his life. Such confrontation was caused mainly by the social, cultural, and historical context of the day, and in addition, by the reason of himself, i.e. Lu Xun failed to grasp wholly the constitutive logic of traditional culture and modern culture, and failed to realize the common foundation of human nature between the two. Such confrontation resulted in failure to realize his self-consistence in culture, as well as many rabid cultural proposition. Lu Xun is a great litterateur, however, his limitation in culture is quite obvious, which in turn corrodes his literary charm. Research on this problem will make us replace perceptual “revolutionary” attitude with rational “evolutionary” attitude, and safely propel the construction of modern Chinese culture.