本文试图以鲁迅为中心，通过对女吊形象的历时性考察，分析“民间”作为一种话语符号，其在现代语境中具体内涵的嬗变过程。文章分别以鲁迅对女吊的重塑、五六十年代“戏改”中的绍剧女吊、九十年代以来的调腔女吊为对象，探析三者如何为“民间”话语分别注入“自我”、“人民性”、“民族性”内涵。 论文首先论证女吊的“复仇”精神实系鲁迅之“发明”，《女吊》“朝花夕拾”风格的写作，实际上是另一种形态的“故事新编”。通过考辨绍兴民间目连戏中女吊形象的来源、流变及其多重形态，本文将勘误《鲁迅全集》中关于女吊形象的注释，并以此反思其对“民间”资源的本质主义阐释。鲁迅将女吊指认为复仇者，而其对女吊的叙述并未见复仇行动，通过文本分析，可以发现全文的复仇主旨仅由开篇所引王思任“会稽乃报仇雪耻之乡，非藏污纳垢之地”一语确立。通过考察鲁迅征引此言的历史语境，本文将指出鲁迅对女吊这一民间资源的改造，背后蕴藏着其与彼时知识界多方位的潜对话。通过对鲁迅复仇观的辨析，本文认为其在《女吊》中表现的复仇观实际与权力观相缔结，其根底在于对知识分子“权力话语”的敏感、警惕和拒斥。 继之，文章将进一步论述鲁迅对女吊审美意涵的重塑。鲁迅对女吊复仇精神的“发明”并非空穴来风，其艺术灵感极可能源于陶元庆画作《大红袍》。鲁迅后邀陶元庆为《苦闷的象征》设计封面，这幅封面画相较《大红袍》，在构图上高度抽象化，但基本元素和色彩别无二致。陶元庆以《苦闷的象征》复现《大红袍》，表现出对二者关系的敏锐感知。对鲁迅而言，“苦闷的象征”或许也正是打开“女吊”形象的一把钥匙。1934年以后鲁迅多次就京剧是否象征主义艺术这一问题展开论争，指斥京剧缺乏主体体验的演剧风格。从理论到实践，鲁迅均表现出迥异于“客观对应物”“非个人化”等“正统”象征理论的“象征观”。而《女吊》所呈现的魅影幢幢的世界，其所承载的个人精神的“苦闷象征”，以及对先民“神思”的召唤，也是在鲁迅充满裂隙的复仇书写背后的真正旨趣。 最后，本文将分别以五十年代之后“戏改”中的绍剧《女吊》和九十年代以来作为非物质文化遗产的调腔《女吊》为中心，考察官方与知识精英如何借助鲁迅话语创造出形态各异，却共同走向鲁迅《女吊》背面的女吊形象。在这一过程中，鲁迅为“民间”资源注入的“自我”内涵，先后被置换为“人民性”与“民族性”话语。鲁迅借以省思“权力话语”、重构自我精神的民间资源，成为制造新的集体话语的某种途径。

This thesis attempts to analyzes the transformation of the specific connotation of "folk" as a symbol, through the diachronic study of the Hanged Woman, with the centre of Lu Xun. This article takes three forms of the Hanged Woman as the research object: Lu Xun's essay，Shaoxing opera and Diaoqiang opera，and explore how the three respectively inject "self", "people" and "nationality" meaning into the "folk" discourse. This article will be discussed from three parts. The first part will point the revenge spirit of the Hanged Woman is the creation of Lu Xun. By investigating the origin, evolution and multiple forms of the Hanged Woman in the Shaoxing Mianlian opera, I will correct a footnote about the image of the Hanged Woman in the Complete Works of Lu Xun, and rethink its solid interpretation of "folk" resources. Lu Xun said that the Hanged Woman was an avenger, but in his passage, the behavior of the Hanged Woman does not reveal the trace of revenge. By analyzing the text, we can find that the gist of the passage is established by one sentence, that “The Kuaiji people are the Avengers, not the weak.” said by Wang Siren. By observing the historical context in which Lu Xun cites this statement, we will find Lu Xun's latent dialogue with the intellectuals at that time. And I will further explore the occurrence and connotation of Lu Xun's concept of “revenge”, and explain the intrinsic connection between "revenge" and "power",especially the discourse power. The second part mainly discusses how Lu Xun reshaped the aesthetic meaning of the Hanged Woman. It is not unfounded for Lu Xun to shape the Hanged Woman as an avenger. The artistic inspiration is likely to stem from Tao Yuanqing's painting Dahongpao. Lu Xun had invited Tao Yuanqing to design the cover for The Symbol of Depression. This cover painting is more abstract than the "Dahongpao" in composition, but the basic elements and colors are exactly the same. Tao Yuanqing reappears Dahongpao with The Symbol of Depression, showing his insight upon the relationship between the two. For Lu Xun, the "The symbol of depression" may also be the key to understanding the image of the Hanged Woman.After 1934, Lu Xun repeatedly debated whether the Beijing opera was symbolic or not, blaming the non-personal style of Peking Opera.This shows that he has a different view on symbolism from Western symbolic theory. Based on this, we will understand the root cause of Lu Xun’s depression of Peking Opera and his preference on the rural drama.The Hanged Woman presents a ghostly world, which expresses "the symbol of depression" of the individual spirit. At the same time, Lu Xun used this to summon the "thinking" of the ancient people.These are the real interests behind Lu Xun's revenge narrative which is full of fissures. Based on the discussion of the two parts above, the third part has two research objects: the Hanged Woman of the Shaoxing Opera after 1950 years, and the Hanged Woman of Diaoqiang Opera after the 1990s. The former is the product of the China opera reform, and the latter is one of the Chinese intangible cultural heritages.However all these images are contrary to the spiritual connotation of the Hanged Woman shaped by Lu Xun. In this part, I will investigate how the official and intellectuals utilize Lu Xun’s discourse to create various images of the Hanged Woman. In this process, Lu Xun’s “self” connotation for “folk” resources has been replaced by “people’s” and “national” discourse. In summary, this article will expound the constant changes in the connotation of the "folk" discourse, by studying Lu Xun's reshaping of the Hanged Woman, and the reshaping of the "Lu Xun's Hanged Woman" by later generations.Folk resources which Lu Xun used to examine "power discourse" and rebuild self-spirit has become a way to create collective discourse.