The Mao Dun Literature Prize is one of the well-known literary awards in China,and in the process of selection over the years,the Mao Dun Literature Prize has developed its own aesthetic orientation.A comparison is ma...The Mao Dun Literature Prize is one of the well-known literary awards in China,and in the process of selection over the years,the Mao Dun Literature Prize has developed its own aesthetic orientation.A comparison is made between the early generation of Xu Mao and His Daughters and the recent award-winning work,A Tale of the Wind,to discover the aesthetic heritage in its flux,which is enlightening for the literary criticism and an orientation for the literary creators.展开更多
This paper takes Mr.Mao Dun’s“Some Important Meanings Obtained from the Painting Exhibition”and“About the Characters in the Novel”published in Xinjiang Daily as the research object to explore his literary thought...This paper takes Mr.Mao Dun’s“Some Important Meanings Obtained from the Painting Exhibition”and“About the Characters in the Novel”published in Xinjiang Daily as the research object to explore his literary thoughts.He adhered to the utilitarian literary and artistic view of“guiding life”,dialectically absorbed foreign literary theories such as“naturalism”and“positivism”,focused on reality,emphasized the author’s correct outlook on life,world outlook and positive attitude towards life,paid more attention to the experience and perception of public life,constantly enriched and expanded the literary connotation of revolutionary realism,and made outstanding contributions to the popularization and popularization of literature and art in Xinjiang.展开更多
During the translation theoretically developments, the discussion on the standards of translation have never been stopped in term of different times, different countries, by different scholars and translators. Some th...During the translation theoretically developments, the discussion on the standards of translation have never been stopped in term of different times, different countries, by different scholars and translators. Some theories share the same or similar superficies and theoretical representation, but they are totally different at a deeper level. However, without restricting from language and culture, time and space, they are interlinked inside. It is interrogative to produce a consolidation with subtle differences of theories. This paper introduces and analyzes the ＇imitation＇ and ＇distortion＇ on the bases of the Three Types of Translation of John Dryden and Translation Theory of Mao dun; by comparing their theory to provide references to the further translation study.展开更多
Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict th...Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict that came from trying to understand this devastating loss. In 1954, while he served as the Minister of Culture for the People＇s Republic of China, Mao Dun made fundamental and sweeping edits to all three novels. He made changes in an effort to suit the changed political situation, to make his narrative voice more consistent, to make his characters more stereotypical, and in some cases, to tone down the more explicit sensuality of the original texts. However, through an analysis of these alterations, this paper shows that the edited edition is a diminished work.展开更多
文摘The Mao Dun Literature Prize is one of the well-known literary awards in China,and in the process of selection over the years,the Mao Dun Literature Prize has developed its own aesthetic orientation.A comparison is made between the early generation of Xu Mao and His Daughters and the recent award-winning work,A Tale of the Wind,to discover the aesthetic heritage in its flux,which is enlightening for the literary criticism and an orientation for the literary creators.
基金This work was supported by“A Study on Anti-Japanese War Literature and National Identity of Xinjiang Writers during the period of Anti-Japanese War”of the Humanities and Gansu“Innovation star”Projects of Excellent Postgraduates in 2021(Project No.2021CXZX-662).
文摘This paper takes Mr.Mao Dun’s“Some Important Meanings Obtained from the Painting Exhibition”and“About the Characters in the Novel”published in Xinjiang Daily as the research object to explore his literary thoughts.He adhered to the utilitarian literary and artistic view of“guiding life”,dialectically absorbed foreign literary theories such as“naturalism”and“positivism”,focused on reality,emphasized the author’s correct outlook on life,world outlook and positive attitude towards life,paid more attention to the experience and perception of public life,constantly enriched and expanded the literary connotation of revolutionary realism,and made outstanding contributions to the popularization and popularization of literature and art in Xinjiang.
文摘During the translation theoretically developments, the discussion on the standards of translation have never been stopped in term of different times, different countries, by different scholars and translators. Some theories share the same or similar superficies and theoretical representation, but they are totally different at a deeper level. However, without restricting from language and culture, time and space, they are interlinked inside. It is interrogative to produce a consolidation with subtle differences of theories. This paper introduces and analyzes the ＇imitation＇ and ＇distortion＇ on the bases of the Three Types of Translation of John Dryden and Translation Theory of Mao dun; by comparing their theory to provide references to the further translation study.
文摘Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict that came from trying to understand this devastating loss. In 1954, while he served as the Minister of Culture for the People＇s Republic of China, Mao Dun made fundamental and sweeping edits to all three novels. He made changes in an effort to suit the changed political situation, to make his narrative voice more consistent, to make his characters more stereotypical, and in some cases, to tone down the more explicit sensuality of the original texts. However, through an analysis of these alterations, this paper shows that the edited edition is a diminished work.
