在《朝花夕拾》中，鲁迅借助对乡野文化世界及其从兴盛到失落的过程的呈现，重塑一个鲜活于当下的“记忆之场”。作为“存储记忆”，鲁迅的写作是为了对抗传统文化结构与现代性经验对乡野文化记忆的双重遗弃。在鲁迅这里，乡野之民通过非文字的记忆媒介，即图像、身体和口传故事建构认知并获取经验，具有异于基于文字媒介的主流文化的“在场性”生命力，这种感发作用暗合于鲁迅早年概括的“摩罗之力”。另一方面，来自于主流社会和现代经验的双重排斥导致乡野文化的凋敝，文字和现代技术的隐性暴力使得鲁迅意识到文化结构中意义阐释的危机，为了缓解这种精神紧张，鲁迅选择召唤乡野“在场”以讨论文本更新的可能，这成为《朝花夕拾》创作的潜在缘由。

Dawn Blossoms Plucked at Dusk，in which Lu Xun had narrated the rise and fall of the uncultivated world, actually aimed to revive a realm of culture memory as a storage memory , so as to antagonize the rejection from mainstream culture and modernity. In his opinion, agrestic people, depending on non-literate memory media, such as images, bodies and verbal languages, were more dynamic and intelligent than those based on written words. As they embodied the strength of presence, Lu Xun defined this temperament as "the power of the Mara". However, the hegemony of mainstream and modernity caused the loss of the wild spirit. The decline, which strongly illustrated the crisis of meaning in culture structure, had aroused the tension consciousness of Lu Xun. In search of a remedy for this, Lu Xun chose to return to the past and recall the agrestic force, becoming the underlying causes of Lu Xun's creation.