In 1923, Wu Ruiyan, a schoolgirl at the Beijing People＇s Art Drama School, starred in a play titled Hero and Beauty, written by Chert Dabei. This was the first joint performance of male and female performers in the h...In 1923, Wu Ruiyan, a schoolgirl at the Beijing People＇s Art Drama School, starred in a play titled Hero and Beauty, written by Chert Dabei. This was the first joint performance of male and female performers in the history of Chinese drama. The incident immediately triggered a debate in the Morning Newspaper Supplement between a group of middle-class intellectuals concerning ＂female involvement in art performances＂. This paper sees the boom in female participation in politics in the 1920s, as well as the ＂improvement in traditional drama＂ during the early republican period in China as the reasons behind the discussion. This incident shows how the New Cultural Movement shaped intellectuals＇ views on females and art performances.展开更多
It is generally acknowledged that Lu Xun＇s collection of prose poems, Wild Grass （Yecao）, is his epitomizing work. Among the numerous research on this work, it is rare to find studies that explicitly expound Zhou Z...It is generally acknowledged that Lu Xun＇s collection of prose poems, Wild Grass （Yecao）, is his epitomizing work. Among the numerous research on this work, it is rare to find studies that explicitly expound Zhou Zuoren＇s relationship with Lu Xun and his effect upon the latter＇s writing. This is probably because scholars seldom associate poetry with Zhou Zuoren, a writer famous for his prose and essays. In addition, the relationship between the two brothers broke up completely in 1923. Therefore, Zhou Zuoren does not appear to have played a significant role in the composition of Wild Grass in 1924. This essay attempts to explore the relationship between the two brothers from a new perspective, revolving the analysis around the ＂Shadow＇s Leave-Taking＂ （Ying de gaobie） the most difficult and important work in Lu Xun＇s collection of prose poems, Wild Grass.展开更多
文摘In 1923, Wu Ruiyan, a schoolgirl at the Beijing People＇s Art Drama School, starred in a play titled Hero and Beauty, written by Chert Dabei. This was the first joint performance of male and female performers in the history of Chinese drama. The incident immediately triggered a debate in the Morning Newspaper Supplement between a group of middle-class intellectuals concerning ＂female involvement in art performances＂. This paper sees the boom in female participation in politics in the 1920s, as well as the ＂improvement in traditional drama＂ during the early republican period in China as the reasons behind the discussion. This incident shows how the New Cultural Movement shaped intellectuals＇ views on females and art performances.
文摘It is generally acknowledged that Lu Xun＇s collection of prose poems, Wild Grass （Yecao）, is his epitomizing work. Among the numerous research on this work, it is rare to find studies that explicitly expound Zhou Zuoren＇s relationship with Lu Xun and his effect upon the latter＇s writing. This is probably because scholars seldom associate poetry with Zhou Zuoren, a writer famous for his prose and essays. In addition, the relationship between the two brothers broke up completely in 1923. Therefore, Zhou Zuoren does not appear to have played a significant role in the composition of Wild Grass in 1924. This essay attempts to explore the relationship between the two brothers from a new perspective, revolving the analysis around the ＂Shadow＇s Leave-Taking＂ （Ying de gaobie） the most difficult and important work in Lu Xun＇s collection of prose poems, Wild Grass.
