内容提要： 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。

关键词： 文化主体性　普遍主义话语　个体—民间　民族—国家　暴力　日常生活　历史　信仰

Abstract: Since the loss of its subjectivity and universalist claims, Chinese culture has been dominated by the “nation-state” paradigm, which is based on a West-centric view in modern times. Such a paradigm, characterized by an “obsession” with China, contributed significantly to the seeking of national independence and modernization. Nevertheless, it overshadowed the exploration of both the unique value of individual life as such, reducing it to pure instrument of nation building, and the fundamental questions of philosophical significance concerning the general human condition, only being satisfied with such theories borrowed from the West. With the development of China’s economy, society and culture, it is time to go beyond and think the pathways for reconstructing the subjectivity of Chinese culture and its universalist claims. This article argues that such an endeavor should begin with the decentralizing of the “nation-state” paradigm and the disempowering of the dominant Western discourses. It aims to restore the traditional philosophical standpoint based on the interactions between “heaven, earth and humanity”, to return to the initial proposal of the May Fourth enlightenment for the emancipation of humanity, and to reconfigure the relationships between human and nature, human and society, and human and himself. With the practices of the two paradigm-setting May Fourth writers Lu Xun and Zhou Zuoren as the background, this article analyzes the effort of going beyond the “nation-state” paradigm with Mo Yan’s novel, The Sandalwood Death . With an “individual-the people” model replacing the “nation-state” paradigm, the author carries out a philosophical reflection on the most universal practice—violence—in human history. From a stance of “writing as a member of the people”, he delineates the ways in which the individual life, in its tension with the state, is physically destroyed and spiritually sublimated, and demonstrates the complex interiority of the inflictor, victim, and spectator of violence in the three imagined spaces of the everyday, the historical and the religious. An analysis of the text indicates that the establishment of cultural subjectivity and universalist discourses entails a combination of Lu Xun’s sense of historical responsibility, social criticism and emphasis on practice, and Zhou Zuoren’s cultural vision, individualism and rationalist thinking. Its future depends on whether intellectuals are able to be more concerned with individual life, the social practices, and with the reality in China, whose universal implications are expressed from a stance of the people.

Key words: cultural subjectivity; universalism; individual-the people; nation-state; violence; everyday life; history; faith cuLcF2sNW2ty3zIenxydnGdbZiA8OUJPg/yHVlrlsO2XKZIahpJCL0g9W/Q0TvIb