在对鲁迅作品的研究中，《呐喊》和《彷徨》仍然是被关注的热点。这些小说曾被广泛、深入地研究了几十年，现在一般地解读其艺术内涵也许并不困难，重要的在于有所发现。胡尹强的《破毁铁屋子的希望——〈呐喊〉、〈彷徨〉新论》发现，《呐喊》、《彷徨》的二十来篇作品其实是有内在联系的系列小说，它们相互补充、相互阐释，从不同侧面表现了铁屋子意象所隐喻的丰富底蕴——鲁迅对２０世纪初中国社会的宏观把握和感悟。作者以铁屋子意象统摄全书，全面而深刻地揭示了鲁迅对现代中国人的存在命运与状态的深刻的人道主义关怀。李靖国的《〈狂人日记〉重探》发现，狂人形象的反封建并不具备彻底性与不妥协性，但这丝毫不降低作品的思想价值。恰恰相反，鲁迅的忧愤深广，正是通过一个清醒深刻的思想者被封建宗法制度强行剥夺自由思想独立人格而致“狂”，进而刻画了传统势力和礼教连“迫害妄想”症患者病发时的种种表现都不容许存在。最后，封建宗法制度与传统文化系统居然将“狂人”治“愈”，将反封建者驯服为其忠实的维护者与奴才，以此揭示封建主义“吃人”的凶残、虚伪与“高明”，从而警示改革者必须直面惨淡的人生和淋漓的鲜血，具备坚强的心理素质。
In the study of Lu Xun's works, shouts and hesitation are still hot spots. These novels have been studied extensively and deeply for decades. Now it is not difficult to interpret their artistic connotation generally. What is important is to find out. Hu Yinqiang's "the hope of destroying the iron house" and "a new theory of hesitation" found that more than 20 works of "the cry" and "hesitation" are actually a series of novels with internal relations. They complement and explain each other, and show the rich connotation of the metaphor of the iron house image from different aspects -- Lu Xun's macro grasp and perception of the Chinese society at the beginning of the 20th century. With the image of iron house, the author reveals Lu Xun's deep humanitarian concern for the fate and state of modern Chinese existence. Li Jingguo's reexamination of Madman's diary finds that the anti feudalism of Madman's image is not thorough and uncompromising, but it does not reduce the ideological value of his works. On the contrary, Lu Xun's worries and indignation are deep and wide. It is through a sober and profound thinker who was forcibly deprived of his independent personality by the feudal patriarchal system that his "madness" was caused. Furthermore, it depicts the various manifestations of traditional forces and ethics that even the patients with "persecution delusion" are not allowed to exist. Finally, the feudal patriarchal system and the traditional cultural system actually "cure" the "madman" and tame the anti feudalist to be their loyal maintainer and slave, so as to reveal the ferocity, hypocrisy and "brilliance" of feudalism "cannibalism", thus warning the reformer to face the bleak life and the dripping blood, and have a strong psychological quality.
日本学者丸尾常喜的《“人”与“鬼”的纠葛——鲁迅小说论析》发现，鲁迅小说中有一个“鬼”的形象系列：传统文化“鬼”、民间民俗“鬼”、国民性弊端“鬼”、自身意识到的“鬼”，在这些“鬼”的意象中，《呐喊》和《彷徨》显示出独特的文化批判价值。王冰的《鲁迅作品中生命群像的存在主义哲学色彩》以存在主义哲学观点，发现鲁迅作品中有一个“佯狂”、“向死而生”的生命群像。曹书文的《论鲁迅小说创作的家族意蕴》发现，鲁迅也是中国现代家族小说的创始人，《呐喊》和《彷徨》对女性命运与精神悲剧的关注，对封建家庭叛逆知识分子形象的成功塑造，为我国现代家族小说不断走向成熟奠定了坚实的基础。缪军荣的《永远的地狱——论祥林嫂之死》发现，祥林嫂之死的原因其一是旧礼教各条律之间的内在矛盾，是族权与夫权之间的相悖；其二是愚昧大众“看客”的凶眼，通过“心理暗示”的作用使祥林嫂产生犯罪之感、自我心灵折磨以致跨入地狱之门。解志熙的《别有一番滋味在心头—新小说中的旧文化情绪片论》认为，《呐喊》诚然是一部悲愤控诉旧文化、旧礼教，热情鼓吹新文化、新道德的“呐喊”之作，但某些篇章如《故乡》、《社戏》等其实也自觉不自觉地流露出对旧文化和传统生活方式的眷恋与反顾。江业国的《鲁迅笔下阿Ｑ之死的“仪式感”》认为，鲁迅描述阿Ｑ之死的“仪式感”，既是为了在艺术上终结这个“问题人物”，更是为了使“阿Ｑ”彻底成为关于人的存在问题的哲学思辨的艺术符号。
The tangle between "man" and "ghost" -- an analysis of Lu Xun's novels by Marunouchi Changxi, a Japanese scholar, finds that Lu Xun's novels have a series of images of "ghost": traditional culture "ghost", folk custom "ghost", national malpractice "ghost" and self-conscious "ghost". Among these images of "ghost", the cry and hesitation show unique cultural critical value 。 Wang Bing's Existential Philosophical color of life group images in Lu Xun's works, based on the Existential Philosophical Point of view, finds that there is a life group image of "feigning madness" and "living towards death" in Lu Xun's works. Cao Shuwen's "on the family implication of Lu Xun's novel creation" found that Lu Xun was also the founder of modern family novels in China. The attention paid to women's fate and spiritual tragedy in cry and hesitation, and the successful shaping of the image of rebellious intellectuals in feudal families laid a solid foundation for the continuous maturity of modern family novels in China. Miao Junrong's eternal hell: on the death of Xianglin sister-in-law found that the causes of Xianglin sister-in-law's death were: one was the internal contradiction between the old rules of ethics; the other was the contradiction between the clan power and the husband power; the other was the fierce eyes of the ignorant public "spectators". Through the function of "psychological suggestion", Xianglin sister felt guilty, suffered from self soul and entered the door of hell. According to Xie Zhixi's "have a different taste in my heart - on the old cultural mood in the new novel", the cry is indeed a cry for complaining about the old culture and the old ethics, and advocating the new culture and the new morality. However, some chapters, such as hometown and social drama, show their nostalgia and retrospection for the old culture and the traditional way of life 。 Jiang Yeguo's "ritual sense" of Ah Q's death in Lu Xun's works holds that Lu Xun's description of the "ritual sense" of Ah Q's death is not only to end the "problem figure" in art, but also to make "Ah Q" completely become an artistic symbol of philosophical thinking about the existence of human beings.
不少研究鲁迅小说艺术形式的成果也颇具新意。严加炎的《复调小说：鲁迅的突出贡献》利用巴赫金的复调理论，发现鲁迅小说是有着多种声音的复调形式，正是这种形式赋予了作品以丰富、多义的美学意蕴。张直心的《神思会通：鲁迅小说的现代主义审美取向》认为，鲁迅小说创作的成功实践印证了鲁迅化的现实主义理论与西方现代主义艺术方法并非势不两立，恰恰相反，它蕴涵着集合诸种方法冲突作用力的开阔性。李春林的《鲁迅与世界现代主义文学》也持同样的观点，他特别一反那种认为鲁迅只是受西方现代主义影响的观点，提出了“平行”说：“他并未完全抛弃传统现实主义，而又融入了新的‘文学趋势’——现代主义”。
Many achievements in the study of Lu Xun's novel art form are also quite innovative. Yan Jiayan's polyphony novel: Lu Xun's outstanding contribution uses Bakhtin's polyphony theory to find that Lu Xun's novels are polyphony forms with multiple voices, which endows the works with rich and polysemy aesthetic meaning. Zhang Zhixin's "Shensi Huitong: the modernist aesthetic orientation of Lu Xun's Novels" believes that the successful practice of Lu Xun's novel creation proves that Lu Xun's realism theory and Western modernist art methods are not irreconcilable, on the contrary, it contains the openness of integrating all kinds of methods to break through the force. Li Chunlin's Lu Xun and the world modernist literature also hold the same view. He especially opposes the view that Lu Xun is only influenced by western modernism, and puts forward the "parallel" theory: "he has not completely abandoned the traditional realism, but has integrated the new" literary trend "- modernism".
张箭飞的《鲁迅小说的音乐式分析》认为，鲁迅小说中的许多章节和段落都契合了变奏、复格段、回旋曲、复调等音乐的旋律结构，具有独特的音乐美。赵卓的《鲁迅心理小说艺术综论》认为，鲁迅的小说大都属于心理小说，它以丰富多彩的心理结构形态和圆熟深刻的心理表现技巧，率先打开了一个全新的审美视野，是带动中国小说现代化转型的先锋创作。邹贤尧的《鲁迅小说的先锋性》把鲁迅小说放到今天的后现代文学的语境中，仍然发现了其形式的先锋和前卫：“我们在先锋作家作品中看到的‘叙事实验’、‘语言狂欢’等等，在鲁迅那里就有。鲁迅在现代文学奠基时期发出的声音，抵达遥远的今天，依然清晰而鲜活”。朱寿桐的《〈呐喊〉：叙事的变焦》认为，《呐喊》的叙事方式可分为“宏观叙事”、“中观叙事”和“微观叙事”三种。
According to Zhang Jianfei's analysis of the musical style of Lu Xun's novels, many chapters and paragraphs in Lu Xun's novels fit the melody structure of the music such as variation, Fugue, Rondo and polyphony, and have unique musical beauty. Zhao Zhuo's "a comprehensive review of Lu Xun's psychological novel art" holds that Lu Xun's novels are mostly psychological novels. With its rich and colorful psychological structure and sophisticated and profound psychological performance skills, it has taken the lead in opening up a new aesthetic field of vision and is the pioneer creation that drives the modernization and transformation of Chinese novels. In Zou Xianyao's vanguard of Lu Xun's novels, Lu Xun's novels are put into the context of postmodern literature today, and the vanguard and avant-garde of their forms are still found: "we can see the" narrative experiment "," language Carnival "and so on in the works of vanguard writers in Lu Xun's works. Lu Xun's voice in the foundation period of modern literature is still clear and fresh when it reaches a distant day. According to Zhu shoutong's shouts: the zoom of narration, the narrative mode of shouts can be divided into three kinds: "macro narrative", "meso narrative" and "micro narrative".
对下层社会不幸者精神状态的批判和鞭挞，基本上建立在鲁迅改良社会、民族进步的宏观视野上，属于“宏观叙事”，体现出的是作者对改造国民性的呐喊：“中观叙事”则指作品将叙述的背景移到比较封闭的、日常的人生场景，将主人公移向一些准“不幸”者，即被抛离了上流社会轨道而直接堕入下流社会的读书人，体现出的是作者对人性善的呼唤；而另外一些作品如《社戏》、《兔和猫》等，则主要是鲁迅自我情感的微波细流的寄托与抒发，属于“微观叙事”。这三种叙事方式共同构成了《呐喊》的“表现的深切”。
The criticism and criticism of the spiritual state of the unfortunate in the lower society is basically based on Lu Xun's macro vision of improving society and national progress, which belongs to the "macro narrative", reflecting the author's cry for the transformation of national character: "meso narrative" refers to the work moving the narrative background to a relatively closed and daily life scene, and moving the protagonist to some quasi unfortunate people, That is to say, the readers who have been thrown out of the orbit of the upper class society and directly fall into the lower class society reflect the author's call for the good of human nature; while some other works, such as social drama, rabbit and cat, are mainly the sustenance and expression of Lu Xun's self emotion, which belongs to "micro narrative". These three ways of narration together constitute the "depth of expression" of the cry.