Characterrelationship
CloseErrorCorrection
LoverXuGuangping Anerror1362254on saanut palautetta
WifeZhuAn Anerror4777048on palautettu
SonZhouHaiying Anerror2492347on palautettu
FatherZhouBoyi Anerror4944360 on saatu palautetta
MotherLurui Virhe11007946 on ilmoitettu
TheyoungerbrotherZhouJianren Virhe on ollut768273Palaute
BrotherZhouZuoren Anerror253877on palautettu
GrandfatherZhouJiefu Virhe3946336on ilmoitettu
GrandsonZhouLingfei KylläVirhe2601288on ilmoitettu
Daughter-in-lawMaXinyun Virhe82698 on ilmoitettu
Great-granddaughterZhouJingxin Virhe1510604 on ilmoitettu
Sister-in-lawYuTaixinzi Virhe8722429on ilmoitettu
MyfriendZhaoJiabi Virhe2505801 on ilmoitettu
FriendTaiJingnong Virhe1820138 on ilmoitettu
FriendBernardShawp> Virhe953235 on ilmoitettu
ComradeFengNaichao Virhe1357943 on ilmoitettu
TeacherZhangTaiyan Virhe119131 on ilmoitettu
TeacherFujinoYanKuro Virhe148644on palautettu
StudentXiaoHong Virhe 16911 on palautettu
StudentSunFuyuan Virhe1844460 on ilmoitettu
Luonnekokemus
Nuoriso
LuXunin nuoret (3 kuvaa)
OnthethirddayofAugust,Xinsiyear,theseventhyearofGuangxu(September25,1881),hewasborninShaoxing,ZhejiangDongchangfangXintaimenZhoujia.TheyoungnameisAZhang,Changgen,ChangGeng,andthescientificnameisZhouZhangshou.IntheeighteenthyearofGuangxu(1892),heenteredtheSanweiBookstoreandstudiedwithShouJingwu,takingpicturesafterclass.EstablishedfriendshipwithZhangRunshui.
Inthe19thyearofGuangxu(1893),hisgrandfatherZhouJiefuwasimprisonedbecauseofanaccident,andhisfatherZhouBoyibecameseriouslyill.Everydayforhisfatherinandoutofqualityshopsandpharmacies,hewascold-eyed.
Guangxun 22. vuonna (1896), hänen isänsä kuoli. Perheen tilanne on pahentunut. Alkoi kirjoittaa päiväkirjaa tänä vuonna.
Inthetwenty-thirdyearofGuangxu(1897),thefamilyhadameetingtodividetheroomandgaveLuXunthepoorandsmallones.LuXunrefusedtosignandwasreprimandedbyhisuncles.
Pyrkii opiskelemaan
LuXunin Japanissa oleskelun aikana (5 kuvaa)
InAprilofthe24thyearofGuangxu(1898),heenteredthesouthoftheYangtzeRiver.TeacherAcademy,renamedZhouShuren.InDecember,Iwasurgedbymyuncletotakethecountyexam.Afterwinningtheranking,hestoppedtakingthegovernmentexamonthegroundsthathisfourthbrotherwasill,andcontinuedtostudyinJiangning.Inthetwenty-fifthyearofGuangxu(1899),hewastransferredtotheMiningRailwaySchoolattachedtotheJiangnanLushiSchooltolearnaboutmining.Duringthisperiod,hecameintocontactwithHuxley's"TianYanLun",whichhadacertaininfluenceonhislaterthinking.Inadditiontoreadingnewbooks,heloveshorseridinganddarestocompetewiththechildrenofQirenonhorseback.
InJanuaryofthe28thyearofGuangxu(1902),IgraduatedfromtheMiningRoadSchool.InMarch,togetherwithLiSuizhiandQianJunfu,wenttoJapantostudyatpublicexpense.InApril,IenteredtheJiangnanClassofHongwenCollegeGeneralCourse(aJapaneselanguagelearningcrashclass),andthethreeofthemwereinthesameclassinthesamedormitory.
Putthepigtailsinthe29thyearofGuangxu(1903).Afterclass,Iliketoreadbooksonphilosophyandliterature,payingparticularattentiontoissuesofhumannatureandnationalnature.
Guangxun 30. vuoden huhtikuussa (1904) hän valmistui Hongwen Collegesta.Kesäkuussa hänen isoisänsäJieFudiedi kuusikymmentäkahdeksaana.Syyskuussa hän tuli Sendai Medical Collegeen (nykyään TohokuUniversity, Japani), valmistui jinosta ja Yankurosta.
InJanuaryofthethirty-secondyearofGuangxu(1906),watchingthe"Japanese-RussianWarEducationalFilm"duringthebreakwasdeeplystimulatedanddecidedtoabandonmedicineandgotoliterature.InJune,thestudentstatuswasincludedintheGermanlanguageschoolsetupbythe"TokyoSoleLanguageAssociation".Insummerandautumn,hewasdeceivedtoreturntoChinatomarryZhuAn.SoonhereturnedtoJapan.InJuly,hereturnedtoTokyofromSendai,nolongerenrolledinschool,andspecializedinliteraryandartistictranslationwork.Inthefollowingyears,helearnedGermanandRussianindifferentways.
Guangxun 34. vuonna (1908), hän opiskeli herra ZhangTaiyanilta, oli "RecoverySocietyn" jäsen ja käänsi "The Collection of Foreign Novels" toisen veljensä, kirjailijan, kanssa.
Xuantongin ensimmäisenä vuonna (1909) julkaistiin kaksi osaa "The Collection of Foreign Novels" -kokoelmasta.
hämmentynyt ja ahdistunut
InAugustofthefirstyearofXuantong(1909),hereturnedtoChinaandservedasateacherofphysiologyandchemistryinHangzhouandZhejiangNormalSchoolsandaJapaneseteacherofSuzukiKanshou’sbotanytranslation.
Xuantongin toisen vuoden elokuussa (1910) hän toimi Shaoxingin keskikoulun opettajana ja ohjaajana. Vuonna 1911 hän kirjoitti ensimmäisen romaanin "Nostalgia" klassiseen kiinan kieleen.
InthefirstyearoftheRepublicofChina(1912),theProvisionalGovernmentwasestablishedinNanjing.AttheinvitationoftheDirectorofEducationCaiYuanpei,heservedastheChiefoftheFirstSectionoftheSocialEducationDepartmentoftheMinistryofEducation.InAugust,hewasappointedbythePresidentasamemberoftheMinistryofEducationoftheBeijingGovernment.Fromthisyearto1917,hecopiedalargenumberofancientsteles,compiledinscriptionsoninscriptionsonstonesteles,andproofreadtheancientbooks,amongwhichhealsoconductedcertainresearchonBuddhistthought.
InthesixthyearoftheRepublicofChina(1917),onJuly7th,ZhangXunresignedduetochaosandresigned.Onthe14th,hereturnedtotheMinistrywhenthechaoswassettled.
InJanuaryoftheseventhyearoftheRepublicofChina(1918),heparticipatedinthereorganizationof"NewNuoriso"andservedasaneditorialboardmember.
Kirjallisuuden edelläkävijä
LuXunin "Whathappenedafter Noraisgone" -puhe (2 kuvaa)
MayintheseventhyearoftheRepublicofChina(1918),PublishedunderthepseudonymLuXun,thefirstvernacularshortstorywritteninamodernstyleinthehistoryofmodernChineseliterature,"TheDiaryofaMadman",whichwaspublishedin"NewNuoriso"Volume4,No.5.IntheninthyearoftheRepublicofChina(1920),hetaughtthehistoryofChinesenovelsatPekingUniversityandBeijingNormalSchool.InJune,hereadtheChineseversionoftheCommunistManifestoandpraisedthetranslator.InSeptember,publishedthenovel"Storm".
InAugustofthetwelfthyearoftheRepublicofChina(1923),thecollectionofnovels"Scream"waspublished;heseparatedfromhisyoungerbrotherZhouZuorenandmovedtoNo.61XisitaHutong.Thereasonfortheseparationisunknown.InDecember,hegaveaspeechon"WhathappenedafterNorawasgone",andconcurrentlyservedasateacherofWomen'sNormalUniversityandEsperantoSchool;thefirstvolumeof"Kiinan romaanien lyhyt historia"waspublished.
Kiinan tasavallankolmennentoista vuoden heinäkuussa(1924), meninXi-luennolle "The Historical Changes of Chinese Novels".Paluun Pekingiin elokuussa.Marraskuussa"Yusi"viikkolehti julkaistiin
DemocracyFighter
Inthe14thyearoftheRepublicofChina(1925),the"WomenTeachers"wasfurtherescalated.LuXunwasrelievedofhispostbytheChiefEducationOfficerZhangShizhaoforsupportingthejuststruggleofprogressivestudents.Inthesameyear,LuXunsuedZhangShizhaotothePingzhengyuan.
InMarchofthe15thyearoftheRepublicofChina(1926),the"March18thMassacre"occurred.InApril,LuXun's"DeathPlace"and"RemembranceofLiuHezhen"criticizedDuanQirui'sgovernmentforslaughteringstudents.HewashunteddownandtookrefugeinYamamotoHospital.Duringtheasylumperiod,hecontinuedtoworkhard.InAugust,"Wandering"waspublishedandwenttoXiamenUniversityasaprofessorintheDepartmentofChineseLanguageandLiterature.ResignedinDecember.
Inthe16thyearoftheRepublicofChina(1927),hewenttoteachatSunYat-senUniversityinJanuary.InMarch,metwithChenYannian,secretaryoftheCPCGuangdongandGuangxidistrictcommittees.OnApril1,hewenttotheWhampoaMilitaryAcademytodeliveraspeech"LiteratureintheRevolutionaryEra".Onthe12th,the"April12counter-revolutionarycoup"tookplace.Onthe29th,therescuedprogressivestudentsresignedwithoutsuccess.InAugust,published"WeiJinStyleandtheRelationshipbetweenArticlesandMedicineandLiquor".InSeptember,hewrotetoTaiJingnong,refusingtobeacandidatefortheNobelPrizeinLiterature,leavingGuangzhouforShanghai,andbeganlivingtogetherwithXuGuangpinginShanghai.InDecember,therewasadisputewithLiangShiqiuandothersonthe"thirdperson"andthe"freeperson."
InthespringoftheseventeenthyearoftheRepublicofChina(1928),heparticipatedintheChineseRevolutionaryMutualAidSociety.Thisyear,IstartedadebatewithmostmembersoftheCreationSocietyandtheSunSocietyontheissueof"revolutionaryliterature".Thisyear,IbegantocollectandtranslateMarxistworks.Atthesametime,hebegantoadvocaterevolutionaryartandthemodernwoodcutmovement.
OnSeptember27intheeighteenthyearoftheRepublicofChina(1929),XuGuangpinggavebirthtoason,andLuXunnamedhim"ZhouHaiying".Attheendoftheyear,withFengXuefengseveraltimestonegotiatetheformationofthe"ChineseLeft-wingWritersLeague."
Left LeagueLeader
InFebruaryofthe19thyearoftheRepublicofChina(1930),theChinaFreedomMovementLeaguewasestablished.Asoneofthepromoters.OnMarch2,attendedtheinauguralmeetingoftheChineseLeft-wingWritersLeagueandwaselectedasastandingcommitteemembertogiveaspeechon"OpinionsontheLeft-wingWritersLeague".
OnJanuary20thinthe20thyearoftheRepublicofChina(1931),RouShiwasarrestedandLuXuntookrefugeinhisapartment.Returntotheoldapartmentonthe28th.
Mr. LuXunin hautajaiset (9 kuvaa)
OnJanuary29,the21styearoftheRepublicofChina(1932),therewasawarinthelineoffire.ShetookrefugeintheUchiyamaBookstorethenextday.OnFebruary6,escortedbyafriendoftheNeishanBookstoretotheNeishanbranchintheBritishconcessionfortemporaryshelter.Initiatedthe"SpringFieldArtResearchInstitute"withAiQingandothers.InJanuaryofthe22ndyearoftheRepublicofChina(1933),CaiYuanpeiinvitedhimtojointhe"ChinaCivilRightsProtectionLeague"andwaselectedasanexecutivemember.OnFebruary17,CaiYuanpeiinvitedtoSoongChingLing'shousetowelcomeBernardShaw.ImissRouShias"ACommemorationforOblivion".
Kiinan tasavallan 23. vuoden tammikuussa (1934) julkaistiin "Beijing Annotation Book", jota toimitettiin yhdessä ZhengZhenduunin kanssa. Toukokuussa julkaistiin esipuheinen puupiirros"YinYuJi".
Gogolin "DeadSoulin" käännös alkoiKiinan tasavallan 24. vuoden helmikuussa (1935). Kesäkuussa integroitiin "New Literature Series·TheSecond Episode of Novels" ja kirjoitti pitkiä esipuheita.
InJanuaryofthe25thyearoftheRepublicofChina(1936),severepainsappearedintheshouldersandribs,andthelastinnovativework"NewStories"waspublished.InFebruary,begantotranslatethesecondpartof"Kuolleet sielut".OnMay15hehadarelapse,thedoctordiagnosedastomachproblem,butthefeverhasnothealedsincethen.OnMay31,Ms.SmedleyinvitedtheAmericandoctorDengtomakeadiagnosis,butthesituationwasnotoptimistic.InJune,hisbodyimprovedslightly,andLuXunandthepeoplearoundhimthoughtthat"Mr.LuXuniswell".Iwrote"AnAnswertotheTrotskyites"onJune9th,"AnAnswertoXuMaoyongandQuestionsabouttheAnti-JapaneseUnitedFront"onAugust5th,and"TwoorThreeThingsRemindedbyMr.TaiYan"inOctober,October17Theolddiseaserelapsed,andthediseasebrokeoutbeforedawnonthe18th.
Hahmo meni
Hepassedaway klo 5.25 19.10.1936.
Henkilökohtainen elämä
Perheenjäsenet
LuXunfamilymembers (9 kuvaa)
ZhouJiefu:LuXun'sgrandfather(1838—1904),therealnameZhifu,laterchangeditsnametoFuqing,thewordZhensheng,thenameisJiefu,thenumberoneMeixian.BorninHanlin,hewasonceexpatriatedasthemagistrateofJinxiCounty,JiangxiProvince,andwaslaterimprisonedduetoanimprisonmentcase,whichcausedtheZhoufamilytodecline.ZhouJiefu's"propositionandpracticeoffreereading"has"openedagapintheclosedsystemoftraditionaleducation"forLuXun.Jiang:LuXunin askel-isoäiti(1842-1910),ZhouJiefun puolisovaimo,ZhouBoyin äitipuoli,LuX ei henkilökohtaisesti hoitanut hautajaiset hänen lähtiessään.
PanDafeng:LuXun'sgrandmother(orAuntPan),ZhouJiefu'sconcubine.
ZhouBoyi:LuXunin isä (1861-1896), jonka oikea nimi on ZhouFengyi, kutsutaan Boyiksi. Hän oli avoimin mielin ja länsimaisen liikkeen myötämielisenä. Myöhemmin hän sotkeutui sairauteen,sairauteen jaluXunsuntshandluxunshands.
Perhe:GrandmaLuXun,GaofuTownista,KuaijiCountysta,muokannut isänsäHeYuanjie Imperial Academylle.
LuRui:LuXunin äiti (1858-1943), hän oli kiltti ja päättäväinen, kiltti ja rohkea, ja ajatukset olivat suhteellisen avoimia, millä oli suuri vaikutus LuXuniin.
ZhouZuoren: LuXunin toinen veli (1885-1967), joka tunnettiin aiemmin nimellä ZhouXiashou, kuuluisa moderni esseisti.
DuanGu:SisterLuXun,shediedbeforeshewasoneyearold,aboutoneyearolderthanZhouJianren.
ZhouJianren:LuXunin (1888-1984) kolmas veli, entinen nimi ZhouSongshou, biologi.
ZhouChunshou:LuXunin neljäs veli (1892-1898) kuoli aina kun hän oli 6-vuotias.
ZhuAn:LuXun'slegalwife(1878—1947),anativeofDingjiaLane,Shanyin,Zhejiang(nowDingxiangLane,ShaoxingCity),married25-year-oldLuXunattheageof28in1906.SheandLuXunhadbeenamarriedcouplefortwentyyears,buttheylivedcompletelycelibatelives.LuXun'smother'slifehasalwaysbeentakencareofbyher.
XuGuangping:LuXunin rakastaja (1898-1968),Panyun, Guangdongin syntyperä, oli LuXunin oppilas. Hän piti huolta LuXunin elämästä koko elämänsä ajan.
ZhouHaiying:SonofLuXunandXuGuangping(1929-2011),radioexpert.
Emotionaalinen kokemus
BrothersDiscord
Inhispersonallife,twothingshithimhard.Oneishismarriedlife,andtheotherishisdisharmonywithhisyoungerbrotherZhouZuoren.LuXunandZhouZuorenhavealwaysbeenreluctanttotalkaboutthismattertoothers,whichhasmadethismattermoreandmoreconfusingandhasbecomethemostincomprehensibleeventinthehistoryofmodernChineseliterature.Overtheyears,theresearchcommunityhasformedthreeviewpoints:"economictheory","disrespecttheory",and"familydisputetheory".Thefirst"economictheory"isthatZhouZuoren'swifeYuTaixinzispenttoomuchmoney,causingthefamilytomakeendsmeet,andfinallycausinggapsbetweenthebrothers.ThesecondargumentisthatLuXunhadanaffairwithXinzi,whichcausedtheZhoubrotherstofeud.ThethirdargumentisthateveryoneintheZhoufamilyisdissatisfiedwithXinzi,causingtensioninthebrotherhood.Asfarasthedenialof"brothers'discord"isduetotheideologicaldifferencesbetweenthetwo,thesethreepointsofviewareconsistent.Butotherthanthat,theacademicresearchbasicallyhasn'tmademuchprogress,andthethreeviewpointscan'treallyconvincereaders.
Avioliitto ja rakkaus
InLuXun’slife,hewasmarriedormarriedtotwowomen.Theloverelationship.First,whenhewas26yearsold,hereturnedtoShaoxingfromJapantomarryMs.ShanyinZhu'anundertheauspicesofhismother,LuRui;LuXundidnotreleaseitwithhersincehemarriedZhuAnuntilhisdeath.Thiskindofmaritalrelationship(LuXunknewthatoncehedivorcedhiswife,ZhuAnwouldsufferdeathorinhumanexperience,sohedidnotdivorce).DuringLuXun’stimeoutside,ZhuAnhasbeentakingcareofLuXun’smother’slifewithoutcomplaints;thesecondisWhenhewas47yearsold,hearrivedinShanghaifromGuangzhouandlivedwithXuGuangping,Panyu,whohadfollowedhimforalongtime.AfterLuXun'sdeath,Ms.ZhuAn,likeComradeXuGuangping,maintainednormalcontactwithsocietyasLuXun'ssurvivorformorethantenyears.
PersonalWorks
Kokoelma romaaneja
"Scream" elokuussa 1923, julkaisija BeijingXinchaoNewsAgency
"Vaeltava" elokuu 1926, BeijingBeixin Kirjakauppa
"NewStories"1936,ShanghaiCulturalLifePublishingHouse
Kokoelma esseitä
EachofthecompleteworksofLuXunListofkindsofeditions(5photos)
TheessayscreatedbyLuXunbeforehisdeathwerecompiledandpublishedbyCaiYuanpeiandXuGuangping.Afterhisdeath,theywereincludedinthefirsteditionofLuXun'scompleteworks.However,thetimeisrushed,anditisinevitabletobeleftbehind,1948In1952,TangTaocompiledandpublished"SupplementtotheCompleteWorksofLuXun"and"SupplementtotheCompleteWorksofLuXun".ThesearticleswerelaterincludedinvariousversionsofLuXun'scompleteworksindifferentclassifications.Therearemanynames,andthefollowingarebasedonthe2005editionof"TheCompleteWorksofLuXun"byPeople'sLiteraturePublishingHouse.Työn nimi | Ensimmäisen asteen tiedot | Työn nimi | Ensimmäisen painoksen tiedot |
|---|---|---|---|
"Hauta" | maaliskuuta 1927, WeimingSociety | "Kuuma tuuli" | 1925 marraskuu 2008, BeijingBeixin Kirjakauppa |
"Huagai-kokoelma" | elokuu 1926, BeijingBeixin-kirjakauppa | "The HuagaiCollectionSequel" | May1927,BeijingBeixinBookstore |
Nämä ovat jatkoa | 1948,Shanghai Publishing Company | "JustCollection" | lokakuu 1928, ShanghaiBeixin-kirjakauppa |
"SanxianJi" | Syyskuu 1932,ShanghaiBeixin-kirjakauppa | "Nanqiangbei-kokoelma" | huhtikuuta 1934, sama kirjakauppa Shanghaissa |
"TwoHearts Collection" | |||
p> | 1932,ShanghaiHezhong-kirjakauppa | "Pitsikirjallisuus" | Kesäkuu1936,ShanghaiLianhua-kirjakauppa |
"PseudoFreeBook" | lokakuu 1933, ShanghaiQingguang-kirjakauppa | "ZhunfengyueTan" | Joulukuu 1934,ShanghaiLianhua-kirjakauppa |
"QiejietingEssays" | July1937,ShanghaiSanxianBookstore | "QiejietingEssayTwoCollection" | July1937,ShanghaiSanxianBookstore |
Viimeinen QijietingEssays-kokoelma | July1937,ShanghaiSanxianBookstore p> | 《Jiwaiji》 | 1935 toukokuussa, ShanghaiMassBookCompany |
"Jiwaiji-kokoelma" | 1938,The Complete WorksofLuXun PublishingHouse | "SupplementtoJiwaiji" | 1952,Shanghai Publishing Company |
Yllä olevat tiedot on koottu |
Käännöstyöt
Käännöstyöt | Ensimmäisen painoksen tiedot | Käännöstyöt | Ensimmäisen painoksen tiedot | |
|---|---|---|---|---|
《WallNextTranslationCollection | Huhtikuu 1929,ShanghaiBeixin-kirjakauppa | "Modern Japanese Novel Collection" | Kesäkuu 1923, Shanghai Commercial Press | |
"Kysymyksiä modernista uudesta kirjallisuudesta" | ||||
p> | Huhtikuu 1929,ShanghaiDajiang-kirjakauppa | "PeachyCloud" | July1923,BeijingXinchaoClub | |
"Taideteoria" | Kesäkuu 1929, ShanghaiDajiangin kirjakauppa | "Masennuksen symboli" | Joulukuu 1924, BeijingUnnamedSociety | |
Kirjallisuus ja kritiikki | Kesäkuu 1929,ShanghaiShuimo-kirjakauppa | "OutoftheIvory Tower" | joulukuuta 1925, BeijingWeimingSociety | |
"Matka kuuhun" | 1903, TokyoEvolutionSociety, Japani | "Pikku John" | tammikuuta 1928, BeijingWeimingSociety | |
"WorkerSuihuiluofu" | toukokuu 1922, Shanghai Commercial Press | "Ajatuksia · Maisema · Hahmot" | Toukokuu 1928, PekingUusi-Seelanti Kirjakauppa | |
"ModernNovelSeries Translation" | Heinäkuu 1922, Shanghai CommercialPressLibrary | "Modern ArtHistoryTrends" | 1929, Beixinin kirjakauppa | |
"Airoshenkon satuja" | Heinäkuu 1922, Shanghai Commercial Press | "PikkuPetari" | Marraskuu 1929,ShanghaiChunchao-kirjakauppa | |
"Kirjallisuus- ja taidepolitiikka" | Kesäkuu 1930,ShanghaiShuimo-kirjakauppa | "Taideteoria" | July1930,ShanghaiGuanghuaBookstore | |
"Tuhoa" | Syyskuu 1931,ShanghaiDajiang-kirjakauppa | "Harppu" | 1933 syyskuu, ShanghaiLiangyou BookCompany | |
"Lokakuu" | Helmikuu 1933,ShanghaiShenzhouGuoguangSociety | "OneDay'sWork" | maaliskuu 1933, ShanghaiLiangyouBookCompany | |
《表》 | Heinäkuu 1935,ShanghaiCulturalLifeBookstore | "Venäjän satuja" | elokuu1935,ShanghaiCulturalLife-kirjakauppa | |
"Kuolleet sielut" | Vuonna 1938,ShanghaiCulturalLifePublishingHouse | "Bad ChildrenandOtherAnekdootit" | Kesäkuu1936,ShanghaiLianhua-kirjakauppa | |
Kasvit ja muut" | Kesäkuu 1936, Shanghai Commercial Press | "MountainPeople's Pastoral Singing" | p> | Vuonna 1938LuXun PublishingHouse:n Täydelliset teokset |
"Käännöslisäosa" | maaliskuu 2008, FujianEducationPress | |||
"maanalainen matka" | March1906,ShanghaiPopularBookstoreandNanjingQixinBookstore | |||
Extraterritoriaalromaanien kokoelma | maaliskuu 1909, yksi osa; heinäkuu 1909, toinen osa | |||
Yllä olevat tiedot on koottu |
Akateemiset monografiat
"Kiinan romaanien lyhyt historia" | Joulukuu 1923, osa I; kesäkuu 1924, osa II, Peking University New Wave Publishing House |
"Kiinan kirjallisuuden historian ääriviivat" | Vuonna 1938LuXun PublishingHouse:n Täydelliset teokset,organizedbytheCommitteeoftheCompleteWorksofLuXun |
"Kiinan romaanien historialliset muutokset" | 1938TheCompleteWorksofLuXunPublishingHouseandtheCompleteWorksCommitteeofLuXunorganizeditin2009> |
Taideteoksia
Kannen suunnittelu (valittu) | Pekingin yliopistoSchoolemblem (Luksusalkuperäinen versio) | ThedesignofthenationalemblemintheearlyRepublicofChina |
|---|---|---|
Itsesymboli (pöllö) | Maalaus (pöllö) | Copyworks |
|---|---|---|
Muut työt
Työn nimi | Ensimmäisen painoksen tiedot | Huomautukset |
|---|---|---|
"Wild Grass" | July1927,BeijingXinchaoClub | Kokoelma proserunoja |
"PickingUpintheMorningFlower" | September1928,BeipingWeimingSociety | ProseCollection |
"AncientBook Prefaceand PostscriptCollection" | Vuonna 1938LuXun PublishingHouse:n Täydelliset teokset | CompiledandcompiledbytheCommitteeoftheCompleteWorksofLuXun |
Käännösten esipuhe ja jälkikirjoitus | Vuonna 1938LuXun PublishingHouse:n Täydelliset teokset | LuXunCompiledandeditedbythecommitteeofthecompleteworks |
"Kahden paikan kirja" | 1933,ShanghaiNuorisoGuangshuBureau | Kirjekokoelma LuXunilta ja XuGuangpingilta |
"LuXun'sLetters" | In1937,SanxianBookstore | XuGuangping-järjestelyt |
"LuXunin päiväkirja" | 1951,Shanghai Publishing Company | Kerätty XuGuangping |
Yllä oleva on järjestetty alkaen |
LuXunin käsikirjoitus
"LuXunManuscriptSeries" (15 osaa), People's LiteraturePublishingHouse, 2014;
CharacterEvaluation
Positiivinen arviointi
MaoZedongClassrevolutionist):"LuXun'sbonesarethehardest,hedoesn'thavetheslightestsenseofslaveryorcharm.Thisisthemostpreciouscharacterofthecolonialandsemi-colonialpeople.LuXunisanationalheroontheculturalfront."LuXunisthemasteroftheChineseCulturalRevolution.Heisnotonlyagreatwriter,butalsoagreatthinkerandagreatrevolutionary.""
KimYangshou(Koreanliterarycritic):"ThewriterwhooccupiesthelargestterritoryonthemapofEastAsiancultureinthe20thcentury."
AlexanderAlexandrovichFadeyev,SovietUnionWriter):"LuXunisatrueChinesewriter.Becauseofthis,hehascontributedalotofnationalandinimitableworkstotheworld’sliterature.Hislanguageisinafolkstyle.AlthoughhisironyandhumorarecommontomankindHischaracter,butitalsohasnationalcharacteristicsthatcannotbeimitated."HealsocommentedonLuXunas"China’sGorky."
GuoMoruo(Poet,Scholar):"LuXunisarevolutionarythinkerandanepoch-makingliteratureandart.Awriterisahistorianwhoseekstruthfromfacts,aneducatorwholeadsbyexample,andaninternationalistwholongsfortheliberationofmankind."
YoshimiTakeuchi (TakeuchiYoshimi, japanilainen kirjallisuuden kriitikko): "LuXunisamoderni kiinalainenKulttuurin äiti."
Neutraaliarvostus
HuShi(modernthoughtenlightenmentist):"LuXunisaliberalandwillneverbesuccumbedtoexternalforces.LuXunisourperson"
WangMeng(theformerMinisterofCultureoftheRepublic,afamouscontemporarywriter):"IsittoogoodforourwriterstobelikeLuXun?Notnecessarilyatall.ItisaverygreatthingtohaveLuXunintheliteraryworld.WhatiftherearefiftyLuXun?MyGod!"
XiaZhiqing (kiinalais-amerikkalainen,kuuluisa kirjallisuushistorioitsija): "Yleisesti ottaen LuXu onhiseran armoa, ei tämä oleesimerkki ja aikansa taide."
Negatiivinen arvio
ChengFangwu(proletarianrevolutionist):"WeChinesehaveacommonproblem.Whennovelsbecomepopular,weusewhateverwordsareItiscalledanovel,whichiseasytomisunderstand.Theauthorisadmiredbythousandsofpeople,andhisinfluenceonordinaryyoungpeopleisgreat.Iamparticularlydissatisfiedwithhimlikethis."
JiangMenglin (Pekingin yliopiston entinen presidentti, moderni kouluttaja): "Siisti kuin tiedän, hänen varhaiset teoksensa, kuten "Madman'sDiary" ja "The TrueStoryofAhQ", olivat kaikki hauskaa, tanssia ja muskkia, ja kyllästyneet vanhaan etiikkaan ja sosiaaliseen tilaan,."
WangShuo(contemporarywriter):"IhaveneverfeltthatLuXun’snovelsarewellwritten,andhisnovelsaretoodull.LuXun’skindofpositiveinthe1920sand1930sThevernaculartextthatisinitsinfancyandhasnotcompletelyseparatedfromtheinfluenceofclassicalChineseisalsoalittlelumpy,anditisalwaysabitambiguoustoread."
Taiteelliset ominaisuudet
Uusia ominaisuuksia
"AMadmanin päiväkirja"ZhaoYanninin maalaama puupiirros (6 kuvaa)
LuXun'snovelsareuniqueintheirselectionofmaterials.Inthechoiceofsubjectmatter,LuXunonlyselects"thewarriorandthetactician,thethief,themonster,themonsterThemodelofgods,talentedmenandbeautifulwomen,laterprostitutesandclients,andrascalslaves”hasbeenreformed,withtheconceptof“forlifeThe"Enlightenment-style"creationpurposecreatedthetwomainthemesofmodernliterature"showingfarmersandintellectuals".Hismaterialsare"mostlytakenfromtheunfortunatepeopleinamorbidsociety."LuXunhasanextremelyuniqueperspectivewhendealingwiththesesubjects.Whenobservingandexpressinghisprotagonist,hehashisownuniqueperspective,thatis, healwayspaysattentiontothemental"sickness"ofintellectualsandfarmersin"pathologicalsociety".Therefore,in"Hometown",themostshockingthingisnotRuntu'slaterpoverty,butthenumbnessoftheheartshownbyhis"Master".Theexcavationofintellectualthemesalsofocusedontheirtraumaandcrisis.Forexample,"OntheRestaurant"sawthattheheroeswhofoughtaloneintheRevolutionof1911couldnotescapetheirlonelyfate,andunderthepressureofpowerfulfeudaltraditionsBacktotheorigin,consuminghislifeinthedepression.ThesereformsofLuXunin"Hell"and"Wandering"evolvedintotwoplotsandstructuralmodelsof"seeing/ olla katsottu"ja "palata kotiin".Romaanissa "ShowingthePublic"kaikkien toimet ovat vain "katsomista"jasuhde on vain "katsominen" ja "katsominen". mode,LuXunnotonlytellsthestoriesofothersbutalsotellshisownstories.Thetwopermeateandinfluenceeachothertoformapolyphony.Thetriplerelationshipof"LuTown".Thisrelationshipcontainsboththestoryof"I"and"LuTown",aswellasthestoryofMrs.XianglinandLuTown.However,readersoftenignoretheformer.Theformerspeaksofan"eternaldrifter".Story,thelattertellsastoryaboutcannibalisminfeudalsociety.Thetwostoriesareconnectedintandem,usingXianglin'swifetoquestionthesoulof"I",thusrevealingtheinnerconnectionbetween"I" jaLuzhenin perinteinen henki.Tätä mallia vastaavia romaaneja ovat "Hometown", "The Lonely" ja "AttheRestaurant".
Nämä"NewStoriesista"(12 kuvaa)
Inaddition,ontheonehand,LuXunhasbeenexploringtheformofthesubjectinfiltratingthenovel.In"OntheRestaurant"and"TheLonelyMan",thenarrator"I"andthecharactersinthenovelaretheexternalizationoftwodifferentsidesof"self"ortwosidesofinnercontradiction,sothewholestoryhasaselfsoulThenatureofdialogueandmutualrefutation.Ontheotherhand,LuXunisalsopursuingasubtleandrestrainedexpression,aswellasasimpleandcondensedlanguagestyle.Heoncesaid,"Itrytoavoidthenaggingofwriting.Ionlyaskforthemeaningtobepassedontoothers.Iwouldratherhavenofoil."Inthisregard,whenintroducinghisexperienceinwritingnovels,healsosaid,"Drawapersonsparingly.It’sbesttodrawhiseyes.”“InoldChinesedramas,thereisnobackground.ThereareonlyafewmainpeopleonthedecorativepapersoldtochildrenintheNewYear(butthedecorativepaperhasalotofbackground).IamconvincedthatFormypurpose,thismethodisappropriate.”ThisalsoshowsthatLuXunemphasizedthespiritualoutlookofthecharacterswhendescribingthecharacters,andpaidgreatattentiontotheartistictasteofthefarmersinthedescription.LuXunstudiedtheartisticcharacteristicsofolddramasandNewYearpaintingsthatfarmersliked,andusedtheminhisownartisticcreations,makinghisnovelsshowstrongnationalcharacteristics.Andhehasextensivelyborrowedfromtheartisticexperienceofpoetry,prose,music,art,andevendramatocreatenovels,andtriedtointegratethemintoonefurnace,so"poeticnovels"("SorrowsforthePast","SocialOpera",etc.)andprosestylesappeared.Novels("RabbitandCat","Duck'sComedy",etc.),even"dramaticnovels"("RiseofDeath",etc.),etc.Inthe1930s,LuXun’screativeenergywasmainlyfocusedonessays,buthedidnotforgetthecreationofnovelsandcontributedtohislastinnovativework"NewStories".ThiscollectionofnovelsstillshowsLuXun'suninhibitedimaginationandpowerfulcreativity:ithasanewimpactonthecreationnormsofmodernChinesenovelscreatedin"Scream"and"Wandering",lookingfornewbreakthroughs.In"NewStories",LuXunconsciouslybroketheboundariesoftimeandspace,andadoptedthe"mixtureofancientandmodern"methods:Inadditiontothehistoricalrecordsofthemaincharactersinthenovel,healsocreatedsomeminordramaticinterspersedcharacters.Alotofmodernlanguage,plotanddetailsareaddedtowordsanddeeds.Usemodernlanguagetoplayfreely,mockandexposerealityina"slick"posture.Atthesametime,therearetwocolorsandintonationmelodiesof"solemn"and"absurdity"inmanyarticles,whichcomplementeachotherandpermeatethedissolution.Forexample,in"MendingtheSky",Nuwawasyearningforthegrandeurandmagnificencewhenshecreatedhumanbeings.Attheend,posteritycampedonthebellyofdeadcorpsesunderthebannerof"creatingman,repairingthesky",whichisextremelyabsurd.ThisabsurdityThegreatnessofthepreviousarticlehasdisappeared,andtransformedintoakindofhistoricalsadness.
esseiden ominaisuudet
Inhislife,LuXundevotedmostofhislifeandeffortstothecreationofessays,especiallyinthelateryearsofhismostmaturethinking.Hisessaysareextremelycritical.LuXunoncedividedtheessaysinto"socialcriticism"and"civilizedcriticism",andwhatheemphasizedwastheconnotationandfunctionof"criticism".Readingthroughthe14collectionsofessayspublishedbyLuXunduringhislifetime,youcanseeachronicleofideologicalandculturalstrugglesthatconstantlycriticizes,debates,andcounterattacks...CriticismandcontroversywiththeRetroistscontinuedtotheprotestofthefascistdictatorshipoftheKuomintanggovernmentin"TheLastPartofQijieting'sEssays"andthecounterattackagainstthe"Left"lineoftheChineseCommunistParty.LuXun’sessaysshowtheunyieldingspiritof"don’tconquertheenemy,neverendthewar",whichisfundamentallycontrarytotheChinesecultureandthetraditionsof“forgiveness”and“thegoldenmean”ofChineseintellectualsandscholar-officialculture.TherebelliousnessandheterogeneityofLuXun'speopleandwritings.
LuXunessay-kokoelma
LuXun’scriticismisdifferentfromordinarythoughtreviews.Healwaysfocuseshiscriticismonpeople,theirpsychologyandsoul:thisisakindofcarefromawriter.AsLuXunhimselfsaid:"Myhabitsarenotverygood,andwheneverIrefusetobelievewhatisonthesurface,"Ioftenhave"suspicions."Therefore,whathepaysmostattentiontoispeople'sconcealedmentalstate,andeventhementalstatethathecan'tconsciouslyrealizehimself.Forexample,intheessay"On"Fucking"",LuXunseesthedistortedandunavoidablementalityofresistancecausedbythefeudalhierarchyandfamilysystembehindthe"nationalcurse"thatChinesepeopleareaccustomedto.LuXunalsoproposedthe"push-back"wayofthinking,thatis,"lookatthepositiveandnegativeside".Basedonthis,hewrotesomeessays,suchas"XiaoZagan":"Ifyouclaimtobeathief,youdon'tneedtoguardagainstit,butyouareagoodperson;Therighteousgentlemanmustguardagainstit,theoppositeisthethieves":Thisissodeeptothepointthatitiscreepy,andnaturallyitisalso"venomous."LuXun’sessaythinkingisalsonon-standardized.Heoftengoesbeyondtheconventionalthinkinglinetofindnewwaysandingenuity,openingupnewideas,suchasinthefamousacademicessay"WeiJinStyleandtheRelationshipbetweenArticlesandMedicineandLiquor"Basedonthislineofthinking,adifferentconclusioncanbedrawn:JiandRuan’sdestructionofethicsisonlyasuperficialphenomenon,butinfactitisamanifestationofexcessivelove.LuXun’sessaysaresharpandvenomousandunacceptable.Italsoliesinhisimagination,whichalsoviolatesthe“conventional”(association).Ontheonehand,LuXunconnectspeopleandthingsthatseemtobethefurthestawayinappearanceandform,andseemtobeimpossibletoconnect.Together:Discovertheinterlinkageof"God"inthehugecontrastof"Shape";ontheotherhand,wecandiscoverandfeeltheuniqueconnectionbetweenhistoryandreality.In"TheCrisisoftheEssay","Thefireworkgirlcannolongerpullherbusinessinthelane,soshehastoapplygreaseandpowderandcomeontheroadatnight".Inthisway,oneendisthenoblemanandhishall,andtheotherendisthe"mostuncleanplace"ontheground.UnderLuXun'sinvolvement,the"sacred""joy"andthe"elegant""vulgarization"havebeenachieved.
LuXunin jäännökset (ShanghaiLuXunMemorialCollection) (8 kuvaa)
"Specificandindividualpeopleandthingsareexcludedfromindividuality,specificity,andparticularity,Makeageneralmeaning,understandtheoverallgeneralization,andaddabriefname,whichisupgradedtoa"specimen"of"thiskind"by"thisone",whileretainingtheimageandspecificcharacteristics,becomingtheunityof"one"and"kind""ThisisthebasicmethodusedbyLuXunwhenconductingcontroversies.InLuXun's14essaycollectionsduringhislifetime,manywonderfulandtypicalimageswerecreated,suchas"Ba'erDog","XiZai","ForemanoftheRevolution"andsoon.Theseimagesareoftenatypeofsocietyextractedbydissectingsomeone’swordsanddeedsatonetimeandoneplaceasatypicalphenomenon,"attackonepoint,butnottherest",andthusextractatypeofsociety.Theseimageshavethemeaningoftimeandspace,whichalsomakesThistypeof"commonname"haslong-termartisticvitality,justlikeAhQandXianglin'swifeinLuXun'snovels.Inlinewiththeunconstrainednatureofthought,thelanguageofLuXun'sessaysisalsounrestrainedandextremelycreative.LuXun'sessayscanbesaidtohavebroughttheexpressiveandlyricalfunctionsofChinesetotheextreme.Inhisessays:orthemixtureoforalandclassicalChinesesentencepatterns;orthecrossapplicationofparallelismandrepetitivesituations;ortheinterlacingoflongsentencesandshortsentences,declarativesentencesandrhetoricalquestions,mixingthesimplicityofproseandthebeautyandmomentumofparallelprose.Itcanbedescribedas"affectionateandprosperous."Forexample,in"RememberLiuHezhen":"Arealwarrior,daretofacethebleaklife,anddaretofacethedrippingblood."Heartyandimpressive.Ontheotherhand,thelanguageofLuXun’sessaysisanti-normative.Hedeliberatelydestroysgrammaticalrules,violatesconventionalusage,andcreatesaninharmonious"contradictorystyle"inordertobreakthebondageoflanguagetoideas,andatthesametimeachieveabsurdityandabsurdity.Qijun'saestheticeffect.Forexample,hesometimesorganizeswordswithoppositemeaningsorincompatiblewordstogether,whichisprofoundlyillogical:"reasonableoppression","kneelingrebellion","gallopingonyoungplants"andsoon.
ProseFeatures
BookShadows (6 kuvaa)
LuXunhasnotmanyessays,butitcanbesaidtobeexcellent.ThesechaptersContainedin"PickUptheFlowerintheEvening"and"Weeds"."ComeintheMorning"isLuXun’sreviewofhischildhoodandadolescence.Itisarecollectionoftheauthor’sadolescentlife,includinghischildhoodimpressionsofShaoxing,studyinginNanjing,studyinginJapan,andteachinginShaoxingafterreturningtoChina.Especiallythosewhodescribethelifeintheirhometownarethemost.Comparedwithhisessays,theseessaysaremoreclear,innocent,andcordial."CrossingFlowersintheEvening"focusesonthedepictionofworldlyhumanfeelings,notonlyonthevividnaturalsituations(suchas"FromtheBaicaoGardentotheSanweiBookHouse")andthetruerecollectionofyouthfulactionsfullofvigor,butalsoonthegraciousnessThefamilyaffectionportrayslivingcharacters,suchasMr.Fujino,FanAinong,andMr.ShouJingwuof"SanweiBookstore".Theauthordidnotwritethemrigidlyfromtheperspectiveofamoralist,butinsteadusedemotionstodriveTuanYi'spen.Themostrepresentativefigureistheeldestmother.In"AChangYu"andotherworks,LuXuntriedhisbesttoobjectivelynarrate,nottopraiseandcriticizeatwill,inthesimpletextandstory,thereaderwasdeeplymovedbythekind,simple,enthusiasticandbeautifulheartoftheeldermother.Incontrast,thedissatisfactionwiththeboring,ridiculous,andsillyworldoftheoldlifein"PickUptheMorningFlowersandEvening"doesnotappeartobeprominent.Thebeautyandloveoftheolddays.ItcanberegardedasaspiritualrefugeforLuXunwhenhisthoughtsaredepressed,anditcanalsoberegardedasaretreatforhistiredbodyandmind.Thecollectionofprosepoems"Wild Grass",whichhasacompletelydifferent"gossip"stylefrom"ThePicksofMorningFlowersandEvenings",presentsanother"LuXunstyle".In"Wild Grass",LuXun'swritingsburstintothehaziness,heavinessandweirdnessofdreams,thegloomandmysteryofghosts;magicalscenes,absurdplots;uncertainvagueideas,incomprehensibleabnormalfeelings;magnificence,Thecoldcolors,thestrangeimagination,thestrongpoeticsentiment...Oneofthemainreasonsforthese"strangevariations"isthepeculiarityofthelanguage-fromthevariationofdailylifelanguage,whichisacombinationofmagnificenceandarduousness.Ontheotherhand,thereasonisthevariantstyleof"Weeds":itclearlyshowsthepoetic,fictionalization("TremblingoftheDecliningLine")anddramatization("Passenger")oftheprose.Thegeneralartisticfeatureof"Wild Grass"istheintrovertedlyricaltendency.Whatitrevealsisthe"truth"and"deepness"ofthesoul,andistheconsciousexperienceandbreakthroughofthepredicamentof"man".LuXunuseditforreferenceandsuccessfullyabsorbedit.Itusessymbolism,butitisobviouslymoreautonomousthanLiJinfa’srigidtransplantationinthesameperiod.Asaresult,ithasalsoachievedgreatsuccessintheexplorationofartisticexpressionmethods."Wild Grass"expressestheuncertaintyofthethemeandalmostcontainsLuXun'semotions.,Personalityandevenallaspectsoftheentireinnerworld,itisthespiritualhistoryofthetransitionfromLuXun,aculturalcriticduringtheEnlightenmentperiod,toafighteraftertheEnlightenmentperiod.
Akateeminen ajatus
LuXun’sthoughtsonliteraryhistoryareextremelyrichandprofound,emittingashiningbrilliancewiththecharacteristicsofthetimes.Hecreativelyengagedinthecompilationofliteraryhistory,leavingittotwoliteraryhistorymonographs-"Kiinan romaanien lyhyt historia"and"AnOutlineoftheHistoryofChineseLiterature"",hasmadeagreatcontributiontothestudyofChineseliteraryhistory.Itisextremelyregrettablethat,duetotherealisticandobjectiveconditionsthatwerenotconducivetocreationatthattime,acompletehistoryofChineseliteraturethatheoriginallyplannedtowritecouldnotbecompletedinhislifetime.SupportLuXunTherearetwomajorconceptsforacademiccreation,oneistheliteraryhistoryviewoftheearlyevolutionism,andthesecondistheliteraryhistoryviewguidedbyMarx’smaterialisminthemiddleandlatestages.
LuXunacceptedYanFu’s"TianYanLun"inhisearlyyears."Theinfluenceofthetheoryofevolutionisdeeplyingrainedanddirectlyaffectshisacademicresearch.Ontheonehand,LuXunbelievesthatliterature,asanartform,isconstantlychanginganddeveloping.Ithastheessenceofseekinginnovationandchange,anditschangeanddevelopmentareirresistible."Evolutionislikeaflyingarrow.Itdoesn'tstopfalling,itdoesn'tstopatthings,prayingtoflyandreturntothestring,it'simpossibleforreason."Humansocietyisconstantlyevolving.""Thenovel,oneoftheliterarystyles,"isalsolikeapoem.IthaschangedintheTangDynasty.Althoughitisstillinthesearchforstrangestories,thenarrativeiscircumstantial,andthewordsaregorgeous.Comparedwiththecrudeandcrudeoutlinesofthesixdynasties,theevolutionisveryclear."Andastheinitialformofthenovel,"Forcingtheevolutionofmythology,thecentralpersonisgraduallyapproachinghumannature,andeverythingisnarrated,whichisnowcalledalegend."Ontheotherhand,basedonthecontinuousevolutionanddevelopmentofliterature,LuXunbelievesthatliteraturestillItmustbeinnovated."Intheprocessofevolution,itmustbemetabolized.Sothenewoneshouldgoforwardhappily,thisisstrong,andtheoldoneshouldalsogoforwardhappily,thisisthewayofevolution."InthestudyofliteraryhistoryafteracceptingMarxism,LuXunhasalwaysadheredtomaterialism,proceedingfromtheobjectivityofscience,insistingontheprimacyofmatter,andthinkingthathumanconsciousnessisareflectionandimitationofobjectiveexistence.
KäännösThoughts
ListofthefirsteditioncoversofLuXun'stranslationworks(25photos)
LuXunisagreatpioneerofChinesetranslationliterature.Inhislife,translationAndtheintroductionofforeignliteraryworksoccupiesaveryimportantposition.Histranslationideasinvolveallimportantaspectsoftranslation,andhisuniqueinsightsstillhaveahugeguidingroleincurrenttranslationtheoryresearchandtranslationpractice.Comparedwithmanytranslationtheories,LuXun’stranslationHisthoughtsaresimpleandunpretentious,andmostofthemareexpressedthroughmetaphorsclosetolife.Histranslationthoughtsinvolvethefollowingaspects:First,LuXun’spurposeoftranslatingforeignliteraryworksistoservethetransformationofthesociety,nottopromoteordowhathewants.Translationandtranslation.Hesaidintheprefaceof"TheCollectionofForeignNovels":"WhenwewerestudyinginJapan,wehadadazedhope;thatliteratureandartcantransfertemperamentandtransformsociety.Becauseofthisopinion,henaturallythoughtofintroduction.Thismatterofforeignliterature."ItcanbeseenthatLuXunconnectstranslationwithsocialchangesandthedestinyofthepeople.Second,theenlightenmentviewoftranslationwithaudienceselectivity.LuXunexplicitlyincludes"translatedreaders"intotranslationstudies.Hementioned:"WeThetranslationofthebookcannotbeassimpleasthat.Firstofall,itisnecessarytodecidewhatkindofreaderstotranslatetothepublic.Thesepeoplearedividedroughly:A,someareveryeducated;B,someareliterate...".Here,LuXunclassifiedthetargetreadersandpointedoutthatdifferentreadersshouldbeusedindifferenttranslations.Method.Histranslationshouldbeaprinciplethatreadersshouldconsider,andithasthesameeffectastheWesternaestheticsofreception.Third,thetranslationmethodologyof"hardtranslation".LuXunproposedthe"hardtranslation"methodologyinthe1930s.AndinthedebatewithLiangShiqiu,heputforwardthetranslationprincipleof"preferringfaithratherthancompliance".LuXun'sviewisbynomeanstooppose"faith"and"compliance",onthecontrary,heemphasizestheneedtogiveconsiderationtoboth.It’sjustthat“faithfulness”and“shunness”cannotbeachievedatthesametime.Thereasonisthat“thetranslationisfaithfulbutnotsmoothbutnotunderstandable.Ifyouthinkaboutit,youmightunderstandit,butthetranslationissmoothandsmooth.Thosewhodonotbelievecanbemisleading,andtheywillnotunderstandhowtothink.Ifyouseemtohaveunderstood,thenyouarejustlost."The"unsatisfactory"hesaidistotoleratesomeunsatisfactory,notdeliberatelytomaintaintheunsatisfactory,butto"installthetranslationintoadifferentsyntax.""Butthesituationisofcoursenotpermanent.Partofitwillchangefrom"unsuccessful"to"satisfactory",andsomewillbeeliminatedandkickedoffbecauseof"unsuccessful"intheend.Themostimportantthingisourowncriticism.Inthepast100years,Chinesehascontinuouslyabsorbednewexpressions,andhasbeencontinuouslyimprovedanddeveloped,suchas"undertheleadershipof...","when...","just...said",and"strike"thatpeoplehavelongbeenusedto.Theexpressionssuchas"dropthecrocodiletears"and"armedtotheteeth"wereintroducedintoChinesethroughtranslation.ThefactsofthedevelopmentofmodernChinesehaveprovedthatLuXun’spropositionisinlinewiththetrendoflanguagedevelopment.
Kalligrafian ominaisuudet
LuXunin skalligrafia (6 kuvaa)
LuXunisnotonlyagreatwriterandthinker,butalsoanexcellentcalligraphyHome,becauseofhisideologicalandliteraryachievements,peopleoftenignorehiscalligraphyachievements.GuoMoruooncesaidthathiscalligraphy"farsurpassedtheSongandTangDynasties,andwentstraighttotheWeiandJinDynasties."LuXun'scalligraphywasmostlyinrunningscript.Takingacomprehensivelookatitsstyleandcharacteristics,whenYanZhenqing’s"ZhengZuoTie"emerges,theupperpartblendsthesealscriptandtheZhangCaoYi,thelowerpartmixestheSongpen,theMingandQingdynastywritingmethods,formingasimpleandvigorous,softontheoutside,strongontheinside,sparseandelegant,Freeandeasyartstyle.Thelarge-scalewritings,payingattentiontothecomposition,stablestructure,dignifiedandunpretentioususeofthepen,abandoningthedetailsandgreatbody,theslownessofthespirit,andthecharmstraightintotheWeiandJinDynasties,whichshowsthedepthofhiscalligraphyartaccomplishment.Smalllettersandmanuscriptsarehandyandfamiliar.Duetotimevariations,hastilyineffectiveandancientmethods,theyareofteninnocentandinnocent,whichshowshisearlycalligraphyskills.Inthisregard,thecriticWangJinyusaidthatMr.LuXunhasasolidcalligraphyskills,YuYanTiandBeibeiworkedthemostdiligent,andparticipatedinthesamādhi,buthecompletelyembodiedthebrushworkandcompositionindailynaturalwriting.Mostpeoplecan'tseeitbecauseoftheirpersonalvision,levelandotherreasons.LuXun'scalligraphycanbedividedintothreephases:early,middleandlate,eachwithitsowncharacteristics.Theearlyperiodwasbefore1901.ThemainpatriarchalpatriarchalworkswereTangandSongDynasties.Aglimpseofthewritingsofthetwokingsandthewritingstylesofthetwokings.Thebodycompositionismoredense.Duringthisperiod,theendofthepenissometimesfilledwithyouthfulblood,sothecharmisslightlyinferior.Themiddleperiodwasfrom1911to1927.ThewritingsweremainlybasedonWeiJinKaixing,combinedwithZhangCaoandSealLi,andthewritingstylechangedtosimple,concise,implicitandunpretentious.However,duringthisperiod,thewritingsandwritingsweremorediverse:somepreservedthewritinginWei-Jinlower-casescript;someweremixedwiththetwokingsmethodinYanXing;somestrokeswereroundandround,thecalligraphystylewassimple,andthecompositionwassparse;somewereintegratedintothesealscriptwritingwithacursivechapter.Bodystance;somearethecomebackofhisearlierstyleofwritingandsoon.Allthiscanberegardedasatransitionalperiodbook.Thelaterperiodwasfrom1927to1936,whenthecalligraphywasmature.BasedonLuXun'sstrongfoundationinhisearlyyearsandhismid-termaestheticchoicesaswellaslong-termworkandcopying,LuXun'scalligraphyforthepurposeofworkhasmaturedandstabilizedfromtechniquetoaesthetics,formingauniquestyle.Intermsoftechnique,thebrushisbasedontheround,hidden,butthicklinesofthecenter;thestructureischaracterizedbytheshapeofthecharacters,andtheshapeisdense;thecompositioniselegantandclean,theairisrelaxed,andthefreeandeasynatureisthemainstyle.Intermsofaesthetics,thepurposeissimple,elegant,naturalandancient.
Taiteellinen ajatus
LuXunin suunnittelutyöt (5 kuvaa)
LuXun’slifehasaverycloserelationshipwithart.Henotonlyhasaprofoundartisticaccomplishmentandin-depthresearchonfinearts,butalsoactivelyadvocatespopularart,personallyparticipatedinalargenumberoffineartspracticeactivities,andwroteagloriouspageinthehistoryofmodernChineseart.ThethoughtoftransformingnationalcharacterbasedonthespiritofpatriotismistherootfoundationoftheformationofLuXun'sartthought.Themainthemeis:toaffirmthesocialutilityoffinearts,emphasizethecloseconnectionbetweenfineartsandsociety,thetimes,andthepeople,andusefineartsasaweapontofightagainstalldark,backward,anddecadentforces,therebychangingthespiritofthepeople.TherichcontentofLuXun'sartthoughtreflectsthetwomostbasicspirits:oneistopayattentiontoandpromotetheartofthemasses,andtheotheristopromotethespiritofrealism.LuXunadvocatedmodernpopularartandpaidattentiontotheancientpopularart—folkart,toshowthatonlybyrespectingthepubliccanfineartshaveendlessvitality.LuXun'srealismspiritisconcentratedinhistreatmentofartheritageas"usedism"inhistreatmentofartcreationitself.Itismanifestedasemphasizingtheideologicalandspiritualconnotationofthework.Advocatingmassartandadvocatingthespiritofrealismcomplementeachother.StrungtogethertherichcontentofLuXun'sartthought.Runojen ominaisuudet
LuXunalsowrotemanyexcellentpoemsinhiscreativecareer.Althoughtheoverallnumberisnotverylarge,therearemanypraiseworthyandin-depthresearchesonitsartisticcharacteristics.GuoMoruooncecommented:"Mr.LuXunhasnointentionofcomposingpoems,andoccasionally,hewillsingeveryperfectsong.Eithertherhino-horncandleisstrange,orthelivershines."LuXun'spoemsareparticularlyprominentinthecreationofarchaicpoems,andthesepoemsarenotonlycontent.Richandcatchy,withhighartisticbeautyandideologicalcharacteristics,itisagoodcombinationofrevolutionaryrichemotionsandperfectartisticcharacteristics.
LuXunin runot (2 kuvaa)
TheartisticcharacteristicsofLuXun'sclassicalpoetrymainlyhavethefollowingpoints:First,ithasadistinctivepersonalityandarealimage.InLuXun'sancientstylepoems,readerscanoftenreallyfeeltheemotionstheauthorwantstoexpressthroughthevariousnaturalscenerieshedescribesorsomespecificcharacters.Thesesceneriesareextremelywideinscopeandhavedeepmeaning,suchas"ThousandForests","HeronShadows","YellowSheep"andsoon.Thecharactersinclude"XuFu","Mother","Husband","Hero"andsoon.Sometimes,theauthoroftenuseshimselfasthesubjectofthepoemintheformofaself-portrait,expressingwhathethinksstraightforwardly,andlettingtheworldrealizethesubjecthewantstocriticizeandpraisewithhisbroadmind.Forexample,inthepoem"Untitled·UsedtoLongNightsinSpring",theauthoruses"thetearsoflovingmothersarefaintindreams,andthecityheadchangestheking'sflag."Asimpleandclearsentencesurroundsoneselfinwhitesurroundedbyfamilymembers'thoughtsofthemselvesandwarlordsandthepeoplearenotliving.Thesceneisvividlyoutlined.Theauthordidn'tusetoomuchlanguagetopavetheway,butonlyreliedonthetwoimagesof"Mother'sTears"and"Dawangqi"toexpressitinafascinatingmanner.Second,thelanguageissimpleandtheintentionisprofound.ThelanguageofLuXun'spoemsissimpleandnatural,withouttoomuchdecorationandrendering,anditiskindandnaturaltoread.However,whenyoucarefullysavorit,youcanimmediatelydiscovertheintentionofitsexpression,buttheemotionitpromotesisfarfromthat.Plain.Forexample,inthepoem"TheGengziSendstheStoveIsaMatter",onecanclearlyfindakindofemotionimplicitinLuXun'spoem-theironyandlashingoffeudalsuperstition.Theauthorchoosesthismattertoreflectthepovertyinthefamily.Theimplicitcontentisthatthekitchengoddoesnotexist.Worshipingthekitchengodwillonlymakethepovertyathomeworse.Ifyouwanttogetridofyourfate,youcanonlyrelyonyourselfandrelyonpersonalstruggleinexchangefortomorrow.Happiness.Third,richrhetoricanddiverseforms.Intermsofrhetoric,LuXun’scommonlyusedrhetoricincludesmetaphor,exaggeration,allusion,irony,andantithesis.TheserhetoricaltechniqueswithdifferentfunctionsanddistinctivefeatureshavebecomeverygoodweaponsforpropagatingthoughtsandventingemotionsinLuXun'swriting,andalsoletreadersdeeplyrealizeLuXun'sprofoundknowledgeandwisemind.Inaddition,LuXun'sancientstylepoemsarealsoveryrich,includingfive-characterverses,seven-characterquatrains,andseven-characterverses.Forexample,thefivewordsinclude"TheGengziGivestheStove"and"Title"Wandering"",etc.,andthesevenwordsinclude"AnswertotheGuest"and"Self-InscribedSmallPortrait".Hahmojen vaikutus
Kirjallisuuden ja taiteen vaikutus
LuXunisaculturalgiantinthe20thcentury.Hehasworkedonnovels,essays,essays,woodcuts,modernpoems,old-stylepoems,translationsofclassics,andancientbooks.Manyfieldssuchascollationandmodernacademicshavemadegreatcontributions.AsthegreatfounderofmodernChineseliterature,LuXun’sfewnovelscreatedanewformofChinesenovels;hisprose“showstheachievementsoftheliteraryrevolution”;theessayshecreatedarefullofmodernity,Liberal,critical,andcombativearethe"criticalweapons"mostcommonlyusedbywritersoflatergenerations.HisessaysaremoreaboutChinesesociety,politics,history,law,religion,morals,philosophy,literature,artandevenculturalpsychology,civilsociety,andcivilsociety.Anencyclopediaofsex,folklore,folklore...AlmostallChinesewritershavedevelopeddifferentliterarystylesonthebasisofLuXun'screation.Asatranslator,hetranslatedalargenumberofforeignliteraryworks,scientificandnaturalworks,andmadeahugecontributiontounlockingthepeople'swisdomandintroducingadvancedscientificandculturalideas.Asanartlover,LuXunintroducedalargenumberofWesternwoodcutsandprints,andsupportedyoungpeopletolearnwoodcutsandprintsinthetheoreticalandspiritualaspects,whichgreatlypromotedthespreadanddevelopmentofmodernwoodcutsandprintsinmodernChina.ModernChina'sfineartshavemadeoutstandingcontributions.
Akateeminen vaikutus
Asanacademicresearcher,ontheonehand,LuXunusedWesternliteraryconceptstostudyChineseclassicalnovelsandwrote"Kiinan romaanien lyhyt historia",whichnotonlyended"TheerawhenChinesenovelshavenohistory"hasalsocreatedatypicalexampleofliteraryhistoryworks,"showingcountlesswaysforlaterlearners".GuoMoruoandWangGuowei's"TheHistoryofSongandYuanOperas"arebothreferredtoasmodernChineseShuangbiinacademichistory.Ontheotherhand,hecollatedandcorrecteddozensofancientbookssuchas"AncientNovels","JiKangCollection","HanPortraitCollection","HuijiCountyAncientBooksMiscellaneousCollection"andotherdozensofancientbooks.wealth.
Hengellinen vaikutus
LuXuncanbecalledthenationalsoulofmodernChina.Hisspirithasprofoundlyinfluencedhisreaders,researchers,andevengenerationsofmodernChinesewritersandintellectuals..LuXunwasalsooneoftheworld'sculturalgiantsinthe20thcentury.Hecreated"bothinsideandoutside,bothmergedwiththecontemporarytrendsoftheworld,withoutdamagingChina'snationalcharacter",andhasauniquepersonalstyleof"theChinesewhowanttoparticipateinthecauseoftheworldtoday"literature.Liketheworld'soutstandingthinkersandwritersofthesameperiod,whilepayingattentiontohisownnation,healsopaidattentiontotheproblemsfacedbymankindandmadehisownuniquecontribution.
Poliittinen vaikutusvalta
LuXunpursueddemocracythroughouthislife.HedeclaredwaronfeudalandoldcultureasearlyasthebeginningoftheNewLiteratureMovement,constantlystrugglingwiththeoldideasandculturethatoppressedthepeople.Afterthe"WomenTeachersUniversityTide"occurred,hearguedwiththewarlordswhopersecutedthestudents.LuXunwasnotafraidofrapeandwrotetofight,showingthespiritofanuprightliterati.Afterwards,undertheruleoftheKuomintang,itboldlydiscloseditsdarkrule.Inthe1930s,theystruggledwiththewrongleft-leaningliteraryandartisticlineoftheCommunistParty.Later,incooperationwithliteraryandartisticworkersundertheleadershipoftheparty,theyestablishedtheLeagueofLeft-wingWritersledbytheproletarianliteraryandideologicalthoughts.AstheleaderoftheLeftLeague,LuXunledtheLeftLeaguetocrushtheKuomintangreaction.Theconspiracyofliteratureandarttostrangletheproletarianliteratureandartinvain.
Luonteellisia tarinoita
AsthemostcontributorywriterinthehistoryofmodernChineseliterature,LuXunhasbeenfabricatedmanyanecdotesafterhisdeath.Becauseitisdifficulttodistinguishbetweentrueandfalse,theyareoftencirculatedwidelyandunknown.Itstrueandfalse.Themorefamousofthesefalserumorsis"TheStoryofLuXun'sHaircut",whichisprovedtograftthestoryoftheshavedheadinthebook"LaughsandSmiles"compiledbyQingdynastyscholars.Inaddition,"LuXunLostCottonTrousers"and"ACloseFriendInformedtoHelpLuXunEvacuate"haveallbeenverifiedasfalse.AnotheranecdoteofLuXun'soppositiontoacertainbookstore's"non-paymentofpunctuationandblanks"isstillinconclusive.Regardingthequestionoftrueandfalsetextualresearch,pleaserefertothepaperswrittenbyLuXunresearchexpertsfordetailedinformation.
Erinomaiset arvosanat
WhenLuXunwasintheMiningRoadSchool,hisacademicperformancewasoutstanding.Theschool’sdirectorQianDepeioncepraisedhim:"ZhouShurenisreallyknowledgeable."Atthattime,everytimehetookanexamTherearebonuses.TheChineselanguageisonceaweek,andtheotherquizzesareonceamonth,andthebestonesaregiventhird-classsilvermedals.Accordingtotheregulations:everyfourthird-classchaptersareallowedtobeexchangedforasecond-classone,afewsecond-classonesareexchangedforafirst-classone,andafewfirst-classonesareexchangedforagoldone.Inthewholeclass,onlyLuXunreceivedthiskindofgoldenmedal.
Nuorten auttaminen
WhenLuXunwasinGuangzhou,ayoungmanwasinfluencedbyhimandfollowedhimtoShanghai.AfterarrivinginShanghai,LuXunenthusiasticallystayedinhisapartmentinJingyun,andlaterthemanaskedLuXuntofindhimajobinShanghai.LuXunfoundYuDafuinadifficultsituationandsaidthattherewasnoway.Hehadtoaskabookstorenewspapertoaskhimtodothingsinname.ThemonthlysalaryofthirtytofortyyuanwastakenoutbyLuXunhimself,andDafutransferredittothebookstorenewspaperasamonthlysalary.he.TheextentofLuXun'ssupportandassistancetotheyouthcanbeseen.
Kaulan tuttavuus
LuXunandthefamousmodernmedicalscientistandfounderofZhejiangMedicalUniversityLiSuizhiandQianXuesen’sfatherQianJunfuaretheacquaintancesoftheneck.ThethreeofthemwenttoJapantostudytogetherin1902,andtheysharedthesamebedroominthesameclass.LuXun'smedicalgraduationthesisongeneticswaswrittenbyLiSuizhi'shelp.Thenamesofthetwowerealsolistedinthe"Who'sWhoinJapan"atthetime.AlthoughLuXun,LiSuizhi,andQianJunfuwereindifferentuniversities,theystillgatheredtogethertodiscusstheworldandexpressthegrandplanofnationalsalvation.Aftertheyreturnedtothecountry,theyoftenwentbacktoeachother,andthefriendshipremainedthesame.
Pikkuvalkoinen ja punainen norsu
LinYutangoncewroteinanarticlethatMr.LuXuniscommendableinChina,andheisknownasthe"WhiteElephant".Becauseelephantsaremostlygray,whenyouencounterawhiteone,itisregardedasanationaltreasure.XuGuangpingoftenreferredtohimasthe"littlewhiteelephant"whenhewasseparatedfromLuXunandexchangedletters,andLuXunoccasionallyreferredtohimselfashimselfinhisletters.AfterthebirthofhissonZhouHaiying,LuXunuseditasagifttohissonasthe"littleredelephant",whichcanbedescribedas"awhiteelephantandaredelephantandafatherandson."Littleelephant,redred,littleredelephant;littleelephant,littlered,littleredelephant,littlered,littleelephant,littleredred.”Thewarmthofthehusband’spitycanbeseen.
Ei raskaat käsikirjoitukset
LuXundidn’tcareaboutthepreservationofmanuscripts.Heoftenlitteredthemanuscripts,andsometimesdistributedthemtovisitinggueststowipetheirhands,orevensoldthemasscraps.AwriterXiaoHongboughtfrieddoughsticksonLaduRoadinShanghaitoeat,butfoundoutthatthesheetoffrieddoughstickswasactuallythemanuscriptpaperofLuXun’stranslationof"Kuolleet sielut".XiaoHongwassurprisedandwrotetoLuXun,butwhenLuXunknewaboutitNotsurprising.XiaoHonghadnochoicebuttotruthfullytellXuGuangpingthisknowledge,andXuGuangpingseverelycriticizedLuXunforthis.
Buddhalaisuudesta ja taolaisuudesta oppimista
Inthemindsofscholar-officials,BuddhismishigherthanTaoism.Thechangesinthemodernideologicalworldhavefurtherstrengthenedscholars’goodwilltowardsBuddhism.LuXunonceaskedforalargenumberofpurchasesandstudiedBuddhistscriptures.LuXunoncesaid:"Shakyamuniisreallyagreatphilosopher.Iusuallyhavemanydifficultproblemsinlife,andhehasalreadyunderstoodmostoftheenlightenment.Itisagreatphilosopher!"AboutTaoismInrelationtoChinesesociety,themostfamousassertionisprobablywhatLuXunsaid:"ChinaisrootedinTaoism."Intheeyesofmanyintellectuals,TaoismisthesourceofthemaladiesinChinesesocietyandculture.LuXunalsoclaimedthattheTaoist"stoletheBuddhistscripturesandmadetheTaoistscripturesindiscriminately,andthisscripturecametocursetheBuddhistscriptures,andontheotherhand,heusednastymethodstoharmthemonks,causingthemtobesmokyandchaotic."
Opettaja-opiskelija kiintymystä
DuringhisstudiesinJapan,LuXunandhisteacherYankuroFujino'sdayandnightgettingalongwitheachotherhadanimportantinfluenceonhisgoingtotheworld.FujinograduatedfromtheAichiPrefecturalMedicalSchool(nowNagoyaUniversity),andhewaspromotedtoprofessortwomonthsbeforeLuXunenrolled.WhenFujinospokewithanaccentfromhishometownofFukuiCounty,LuXunwasnotusedtoit,butfeltcordial.LuXun,whowasdeterminedtoabandonthedoctorandgotoschool,finallyappliedtoFujinotowithdrawfromschool."Mr.Fujino"isLuXun'smemoriesoflifeinSendai.Later,FujinolearnedthatZhouShuren,aformerChinesestudentstudyingabroad,becameawriterLuXun,andwrotehisstoryinprose.
Myöhempien sukupolvien muistopäivä
LuXunLiterature Award
SponsoredbytheChineseWritersAssociation,theLuXunLiterature AwardisoneofChina’shighestliteraryawards.Itisselectedonceayear.Itaimstorewardthecreationofexcellentnovellas,shortstories,reportage,poems,essays,andliterarytheoryreviews,rewardthetranslationofChineseandforeignliteraryworks,andpromotetheprosperityanddevelopmentofChineseliterature.
Muistomerkit
LuXunin entinen asuinpaikka (4 kuvaa)
AsofSeptember2013,thereare11LuXunmemorialplacesinChina:theyarerespectivelyBeijingLuXunMuseum,BeijingLuXun’sFormerResidence;ShanghaiLuXunMemorial,ShanghaiLuXun’sFormerResidence,andLuXun’sTomb;XiamenLuXunMemorialinXiamen;GuangzhouLuXunMemorialinGuangzhou;NanjingLuXunMemorialinNanjing;ShaoxingLuXunMemorialinShaoxing,ShaoxingLuXunTheformerresidenceandLinhaiLuxunExhibitionHallinLinhaiCounty,ZhejiangProvince.ExceptfortheprivateLuXunmemorialhallsponsoredbytheZhejiangLinhaiLuXunExhibitionHall,theothersareallofficiallysponsored.ThelargeronesareShanghai,BeijingandShaoxing.Shaoxing Memorial Hall
TheShaoxingLuXunMemorialHallwasestablishedinJanuary1953.ItislocatedontheeastsideofLuXun’sformerresidence.ItisadjacenttoLuXun'sancestralresidenceintheeast,ZhoujiaxintaiGateinthewest,ZhujiataiGateinthenorth,Dongchangfangkouinthesouth,andShoujiataiGateacrosstheriver.LuXunlivedinhisformerresidencenexttothismemorialwhenhewasadolescent,andLuXunhasmentionedthismanytimesinhisworkssincethen.
Pekingin museo
BeijingLuxunMuseumislocatedinFuchengmenInnerStreet,XichengDistrict,BeijingGongmenkouErTiaoNo.19,October1,1949,justafterthefoundingofNewChina,XuGuangpingarrangedtheformerresidenceofLuXunatNo.21XisantiaoHutongasitwas,andopeneditonOctober19,1949onLuXun’s13thanniversaryofhisdeath.FromMay1924toAugust1926,LuXunlivedhere.HereLuXuncompletedhiscollectionsof"Huagai-kokoelma","The HuagaiCollectionSequel","Weeds"andsomearticlesin"Wandering","Hauta",and"ComeontheFlowerintheEvening".
Shanghai Memorial Hall
ShanghaiLuXunMemorialHallisthefirstmemorialhallinthecountryafterthefoundingofthePeople’sRepublicofChina(Museum),foundedin1950,islocatedatNo.200Tian'aiRoad,HongkouDistrict,Shanghai.Themuseumwasnamedthefirstbatchof"nationalfirst-classmuseums"bytheStateAdministrationofCulturalHeritagein2008.Today,theLuXunMemorialHallinShanghaihasformedatrinityofmemorialbuildingsthatdisplaythelifeofLuXun'sformerresidence,LuXun'stomb,andLuXun'smemorialhall.