中国传统的文化主体性与普遍主义话语丧失之后,以西方中心论为前提的“民族—国家”范式长期以来主导着现代中国的文化生产。这一范式对中国的政治独立以及现代化起到了极大的正面作用。然而从思维角度说,它造成了文化生产中意义生成过程的双向遮蔽:既不能深入人类作为个体存在的内在深度,又无法深入作为普遍存在的人类的整体生存境况。随着中国的发展,文化主体性与普遍主义话语的重建应当提上日程。这一过程,对内以针对“民族—国家”范式的“去中心化”为主,对外则以针对西方话语的“去权力化”为主。其目标是重回古代哲学中以“天地人互动”为基础的宏大格局,重回五四初期短暂出现的“人的解放”的主题,思考人与自然,人与社会,人与自身的内在关系。本文以五四以来鲁迅、周作人为代表的传统为背景,以莫言小说《檀香刑》为例对此进行阐发。莫言通过其小说在“个体—民间”范式,对于暴力作为人类最普遍的一种实践进行了哲学思考。以“作为老百姓写作”的民间立场,小说专注于从民间日常情景、历史参与,以及宗教化的刑罚仪式三个空间维度中揭示出个体生命在与体制之间不可调和的张力关系中毁灭、升华,从而详尽展示了暴力制造者、承受者与观看者各自的内在体验与精神状态。这一作品表明,文化主体性与普遍主义话语的建立,需要将鲁迅的历史使命感、社会批判意识与实践精神,以及周作人的文化视野、个性主义与理性反思精神的双重传统结合起来。它的成败,取决于知识分子能否站在民间立场去关注个体的命运,关注以这些个体为主体的社会实践。 After the loss of traditional Chinese cultural subjectivity and universalist discourse, the “national-state” paradigm based on the Western theory of the center has long dominated the cultural production of modern China. This paradigm has played a very significant positive role in China’s political independence and modernization. However, from a thinking point of view, it creates a two-way obscuring of the process of generating meaning in cultural production: it can neither go deep into the intrinsic depth of individual existence, nor deepen the overall existence of human beings as ubiquitous. With China’s development, the reconstruction of cultural subjectivity and discourse of universalism should be put on the agenda. This process is mainly “decentralized” towards the “national-state” paradigm and externally to the western discourse. The goal is to return to the grand pattern based on the “interaction between people and humans” in ancient philosophy and to return to the theme of “human liberation”, which briefly appeared in the early May Fourth Movement, and to think about man and nature, man and society, man And their own internal relations. Based on the tradition represented by Lu Xun and Zhou Zuoren since the May Fourth Movement, this essay expounds Mo Yan’s novel “Sandalwood Punishment” as an example. Mo Yan, through his novels in the “individual-folk” paradigm, philosophically considers violence as one of the most common practices of mankind. With the folk position that “writing as a common people ”, the novel focuses on revealing the irreconcilable tensions between individual life and system in the three dimensions of civil daily scenes, historical participation, and religious penalties , Sublimation, which shows in detail the violent makers, bearers and viewers of their own internal experience and mental state. This work shows that the establishment of cultural subjectivity and universal discourse needs to combine Lu Xun’s historic mission, the social critical consciousness and practical spirit, and the dual tradition of Zhou Zuoren’s cultural vision, individualism and rational reflection. Its success or failure depends on whether intellectuals can stand on the civil standpoint to pay attention to the destiny of individuals and pay attention to the social practices that are mainly composed of these individuals.