考究鲁迅塑造“中国形象”的议题,需要从发生学意义上对其历史逻辑和内在机制进行梳理。中国近代以降的现代性危机使得传统的中国形象遭遇了前所未有的认同困境,也驱动了包括鲁迅在内的现代知识分子重构中国形象的主体构想。鲁迅的国家意识植根于“比较既周,爰生自觉”的基石上,着力于建构“能与世界大势相接”的“广博”的“世界识见”。鲁迅“自塑”中国形象表征了后发现代性国家对被动现代性的回应,是对外国人“他塑”中国形象的一种纠偏。他立足于本土文化自审的立场、选择了“人的现代化”为焦点,去谋求中国内忧外患的根本解决方法和图景,进而有效地将“人国”理想与“立人”理路统合起来了。而这种“立人”与“立国”的融合则体现了“国家”主体与“人”主体的双重建构。 It is necessary for Luxun to shape the issue of “China’s image” and to sort out its historical logic and its internal mechanism from the perspective of genesis. The crisis of modernity in which China dropped in the modern era has caused the traditional Chinese image to encounter an unprecedented identity predicament and driven the main idea of ​​modern Chinese intellectuals including Lu Xun to reconstruct the image of China. The national awareness of Lu Xun is rooted in the cornerstone of “comparing both the Zhou Dynasty and the students’ self-consciousness,” and focuses on building a “knowledgeableness” of “broadness” and “connection with the general trend of the world.” The image of Lu Xun and his self-plastic China symbolized the response of the representative country to the passive modernity and was a correction to the image of foreigners in China. Based on the position of local culture self-examination, he has chosen “people’s modernization” as the focal point to seek the fundamental solution and picture for China’s internal and external problems and to effectively establish the ideal of “people’s country” “Road together. The integration of such ”people“ and ”nationhood“ embodies the dual construction of the subject of ”nation“ and ”person".