魯迅(1881-1936)、沈從文(1902-1988)及韓少功(1953-)三位作家都以寫作鄉土小說見長，早年的鄉土經驗提供他們小說創作重要的材料。我們若要區別他們彼此的風格時，關鍵便在於說明他們如何「回望」早年的鄉土生活經驗。我將以魯迅〈藥〉(1919)、沈從文〈我的教育〉(1929)及韓少功〈北門口預言〉(1992)這三篇題材相似的小說為主，藉以釐清他們「如何觀看」鄉土人物及鄉土文化的問題。首先，從「觀看」殺頭示眾場面的方式這一角度來分析他們如何呈現鄉土中國，並比較他們對於鄉土中國的態度。其次，從他們創作關注焦點的變化轉移，可看出這三位不同時期的作家彼此傳承和發展的關係。最後，呈現鄉土小說中的鄉土中國印象在現代（1920、30年代）和當代（後文革時期）的明顯對照。

Lu Xun, Shen Cun-Wen and Han Shao-Gung are three representative writers in different periods of modern Chinese literary history. In this paper, I discuss their XiangTu stories, especially on how they “represent” the local culture and the life of the native. My analysis is focused on the scenes of execution in their stories, Lu Xun's "Medicine" (1919), Shen Cun-Wen's "My Education" (1929) and Han Shao-Gung's "the Prophecy of North Gate" (1992). I try to examine how these three writers "represent" the brutal details of execution and the relationships among people in the scenes: the executor, the executed and the audience. By their difference of "ways of seeing", I compare their attitudes towards the local culture with each other and show the process of turning of modern Chinese XiangTu stories in different periods.