Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fict...Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fiction.Call to Arms(1923)and Wandering(1926)represent the greatest achievement of Chinese story-writing at that time.His short stories are not only profound in thinking,but also worthy of admiration for their great value and innovation in art.Since the 1920’s,Lu Xun’s stories have been translated into various languages and published throughout the world,enjoying an international reputation.Only their English versions in the 20th century are discussed within this paper.These versions are different with various features,especially in dealing with Chinese traditional culture according to different purposes and towards different English readers.展开更多
Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fict...Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fiction.Call to Arms(1923)and Wandering(1926)represent the greatest achievement of Chinese story-writing at that time.Since the 1920’s,Lu Xun’s stories have been translated into various languages and published throughout the world,enjoying an international reputation.The three English versions chosen are different with various features,especially in dealing with Chinese traditional culture according to different purposes and towards different English readers.展开更多
Father of modern Chinese literature,Lu Xun,is the first writer to use the vernacular to write fiction.In his short stories,he exposes the crimes of feudalism and describes the plight of the peasants,who have been econ...Father of modern Chinese literature,Lu Xun,is the first writer to use the vernacular to write fiction.In his short stories,he exposes the crimes of feudalism and describes the plight of the peasants,who have been economically exploited and spiritually enslaved.He also depicts the fate of the intellectuals who struggle in the intense social contradictions.His fiction has laid a solid foundation for the development of modern Chinese fiction.Lu Xun has created almost all the new forms for Chinese new literature,and enjoys the most prominent status in the Chinese literary development in the 20th century.His writings reflect the great achievements of the literary reform since the May Fourth Movement.展开更多
The two English versions of Lu Xun's stories, translated by Julia Lovell and the Rangs, are to be studied from the ecotranslatological perspective. A comparative study of the two English versions is made to figure...The two English versions of Lu Xun's stories, translated by Julia Lovell and the Rangs, are to be studied from the ecotranslatological perspective. A comparative study of the two English versions is made to figure out how the two translators linguistically and culturally make adaptive selections in the process of translation of Lu Xun's stories—In other words, how the eco-environment has greatly influenced the two translators' decisions to make adaptations and choices in linguistic and cultural aspects.The thesis discovers that the eco-environment has greatly influenced the process of translating Lu Xun's stories into English and eco-translatology is feasible to analyze the two translations, that both the Yangs and Lovell have offered successful translations by making adaptive selections and selective transformations. Therefore, neither of the two translations is superior or inferior to one another in different translational eco- environments. Hopefully, the thesis may enrich current researches on the Yang's and Lovell's translations and may be useful for the further study of applying eco-translatology to studies on other translators and their works.展开更多
While Lu Xun＇s early works of fiction have long established his literary reputation, this article focuses on the form and content of his zawen essays written several years later, from 1925 to 1927. Examining the zawe...While Lu Xun＇s early works of fiction have long established his literary reputation, this article focuses on the form and content of his zawen essays written several years later, from 1925 to 1927. Examining the zawen from Huagai ji, Huagai ji xubian （sequel）, and Eryi ji （Nothing more）, the author views these as ＂transitional＂ essays which demonstrate an emergent self-consciousness in Lu Xun＇s writing. Through close reading of a selection of these essays, the author considers the ways in which they point toward a state of crisis for Lu Xun, as well as a means of tackling his sense of passivity and ＂petty matters.＂ This crisis-state ultimately yields a new literary form unique to the era, a form which represents a crucial source of Chinese modernity. From sheer impossibility and a ＂negating spirit＂ emerges a new and life-affirming possibility of literary experience.展开更多
The extent of Lu Xun＇s identification with the cause of the revolutionists who worked to bring about the 1911 Revolution has been the subject of debate among scholars ever since the year after his death when his brot...The extent of Lu Xun＇s identification with the cause of the revolutionists who worked to bring about the 1911 Revolution has been the subject of debate among scholars ever since the year after his death when his brother Zhou Zuoren emphatically denied his membership in the Guangfu Hui. The scholars who think he did join （and actively participate in） that revolutionary organization rely on attributions to Lu Xun by third parties who conversed with him late in his life, but Lu Xun never actually addressed this question in his written or published works and, despite his student-teacher relationship with Zhang Taiyan （and therefore by inference the Tokyo and Zhejiang branches of the Guangfu Hui）, no one has ever brought forth archival evidence to support the claim of his membership. Here I will examine the classical-style poetry Lu Xun wrote before and after the event in order to gauge through first-hand evidence his disposition toward the Republican revolution and the historic transition it signaled for China.展开更多
In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when ...In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when China was facing profound cultural changes. Part of their significance lies in the way they provide us with an unabashed glimpse at what Lu Xun set out to accomplish, early on, in his new-found literary career. Although they are mainly the product of his final Lehrjahre （years of study） in Japan, the fact that he chose to include the two longest of them in the very first pages of his important 1926 anthology Fen （The grave） indicates that he considered the views expressed therein neither too immature nor too pass- to reprint at the height of his career as a creative writer. In fact, he wrote that one of his reasons for doing so was that a number of the literary figures and issues treated in these essays had, ironically, taken on an increased relevance for China ＂since the founding of the Republic.＂ The central concern of all the essays turns on questions of cultural crisis and transition. What I propose to do in this paper is to re-examine the essays within the context in which they first appeared, i.e., the expatriate Chinese journal Henan, then published in Tokyo as an unofficial organ of the anti-Manchu Tongmenghui （Revolutionary Alliance）.展开更多
After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern C...After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern Chinese literary author in Korea Peninsula.“A Madman’s Diary”translated by Ryu Sooin,was published in the magazine Donggwang(The oriental light)in 1927.Yang Baekhwa's translation of“The True Story of Ah Q”was serialized in The Chosun llbo(The Korea daily)in 1930.“Lu Xun and His Works”by Jeong Raedong,who conduct systematic criticism on Lu Xun's literature,was published in The Korea Daily in 1931.Lu Xun was thus differentiated from the so-called “Zhou Brothers”and claimed a place of his own as a representative Chinese writer.After that,Lu Xun’s various works were translated into Korean,and he was acknowledged as“a Chinese literary master”and“a world-class writer”in the Korean literary world.Lu Xun’s literature was hence widely acknowledged.Lee Kwangsoo even created another character called“Park Seondal”based on the motif of“Ah Q.”With the development of mass media,people were eager to see Lu Xun's personal image.In the 1930s,major Korean media,such as The Shin Dong-a(The new East Asia),The Dong-a llbo(The East Asia daily),The Chosun llbo(The Korea daily),The Maeil Sinbo(The daily report),Chokwang(The morning light)and Samcheonli(Three thousand miles),successively published Lu Xun’s portraits and photos,helping visualize Lu Xun’s image and making great contributions to shaping the public image of Lu Xun and his literature.Through these major media in Korea,Lu Xun’s works and his reputation became widely known,and his portrait images were also circulated.In February 1938,the Hwarang Garden Troupe staged the play The True Story of Ah Q.Considering the commercial nature of the theatre at that time,the public performance of The True Story of Ah Q indicates that Lu Xun and his works had achieved a solid foothold in the public mind.However,Korean people’s access to Lu Xun’s literature was blocked after March 1938,when Japanese imperialists imposed a blanket ideological clampdown.With the advent of liberation on August 15,1945,the modern Korean public strongly needed Lu Xun's life experience and literary spirit as enlightenment.Hence,translation and research of Lu Xun’s literary works became active again.In particular,in 1946,after the publication of The Collected Short Stories of Lu Xun(Volumes 1-2),jointly translated by Kim Kwangju and Lee Yongkyu,which included Lu Xun’s major works,Korean people were able to gain a more systematic access to Lu Xun’s literature.The inspirational value of Lu Xun’s literature was re-ignited after Korea's liberation and independence.Lu Xun was thus once again praised as“a literary giant”and“a great writer.”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Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fiction.Call to Arms(1923)and Wandering(1926)represent the greatest achievement of Chinese story-writing at that time.His short stories are not only profound in thinking,but also worthy of admiration for their great value and innovation in art.Since the 1920’s,Lu Xun’s stories have been translated into various languages and published throughout the world,enjoying an international reputation.Only their English versions in the 20th century are discussed within this paper.These versions are different with various features,especially in dealing with Chinese traditional culture according to different purposes and towards different English readers.
文摘Lu Xun(1881-1936)has been acclaimed father of modern Chinese literature.He is the first writer to use the vernacular to write fiction.His stories have laid a solid foundation for the development of modern Chinese fiction.Call to Arms(1923)and Wandering(1926)represent the greatest achievement of Chinese story-writing at that time.Since the 1920’s,Lu Xun’s stories have been translated into various languages and published throughout the world,enjoying an international reputation.The three English versions chosen are different with various features,especially in dealing with Chinese traditional culture according to different purposes and towards different English readers.
文摘Father of modern Chinese literature,Lu Xun,is the first writer to use the vernacular to write fiction.In his short stories,he exposes the crimes of feudalism and describes the plight of the peasants,who have been economically exploited and spiritually enslaved.He also depicts the fate of the intellectuals who struggle in the intense social contradictions.His fiction has laid a solid foundation for the development of modern Chinese fiction.Lu Xun has created almost all the new forms for Chinese new literature,and enjoys the most prominent status in the Chinese literary development in the 20th century.His writings reflect the great achievements of the literary reform since the May Fourth Movement.
文摘The two English versions of Lu Xun's stories, translated by Julia Lovell and the Rangs, are to be studied from the ecotranslatological perspective. A comparative study of the two English versions is made to figure out how the two translators linguistically and culturally make adaptive selections in the process of translation of Lu Xun's stories—In other words, how the eco-environment has greatly influenced the two translators' decisions to make adaptations and choices in linguistic and cultural aspects.The thesis discovers that the eco-environment has greatly influenced the process of translating Lu Xun's stories into English and eco-translatology is feasible to analyze the two translations, that both the Yangs and Lovell have offered successful translations by making adaptive selections and selective transformations. Therefore, neither of the two translations is superior or inferior to one another in different translational eco- environments. Hopefully, the thesis may enrich current researches on the Yang's and Lovell's translations and may be useful for the further study of applying eco-translatology to studies on other translators and their works.
文摘While Lu Xun＇s early works of fiction have long established his literary reputation, this article focuses on the form and content of his zawen essays written several years later, from 1925 to 1927. Examining the zawen from Huagai ji, Huagai ji xubian （sequel）, and Eryi ji （Nothing more）, the author views these as ＂transitional＂ essays which demonstrate an emergent self-consciousness in Lu Xun＇s writing. Through close reading of a selection of these essays, the author considers the ways in which they point toward a state of crisis for Lu Xun, as well as a means of tackling his sense of passivity and ＂petty matters.＂ This crisis-state ultimately yields a new literary form unique to the era, a form which represents a crucial source of Chinese modernity. From sheer impossibility and a ＂negating spirit＂ emerges a new and life-affirming possibility of literary experience.
文摘The extent of Lu Xun＇s identification with the cause of the revolutionists who worked to bring about the 1911 Revolution has been the subject of debate among scholars ever since the year after his death when his brother Zhou Zuoren emphatically denied his membership in the Guangfu Hui. The scholars who think he did join （and actively participate in） that revolutionary organization rely on attributions to Lu Xun by third parties who conversed with him late in his life, but Lu Xun never actually addressed this question in his written or published works and, despite his student-teacher relationship with Zhang Taiyan （and therefore by inference the Tokyo and Zhejiang branches of the Guangfu Hui）, no one has ever brought forth archival evidence to support the claim of his membership. Here I will examine the classical-style poetry Lu Xun wrote before and after the event in order to gauge through first-hand evidence his disposition toward the Republican revolution and the historic transition it signaled for China.
文摘In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when China was facing profound cultural changes. Part of their significance lies in the way they provide us with an unabashed glimpse at what Lu Xun set out to accomplish, early on, in his new-found literary career. Although they are mainly the product of his final Lehrjahre （years of study） in Japan, the fact that he chose to include the two longest of them in the very first pages of his important 1926 anthology Fen （The grave） indicates that he considered the views expressed therein neither too immature nor too pass- to reprint at the height of his career as a creative writer. In fact, he wrote that one of his reasons for doing so was that a number of the literary figures and issues treated in these essays had, ironically, taken on an increased relevance for China ＂since the founding of the Republic.＂ The central concern of all the essays turns on questions of cultural crisis and transition. What I propose to do in this paper is to re-examine the essays within the context in which they first appeared, i.e., the expatriate Chinese journal Henan, then published in Tokyo as an unofficial organ of the anti-Manchu Tongmenghui （Revolutionary Alliance）.
基金the National Social Science Fund of China:Documentation and Research on the History of Modern and Contemporary Literature Exchange between China and South Korea(Project No.16ZDA189).
文摘After Lu Xun published“A Madman’s Diary”(Kucmgren riji)and“The True Story of Ah Q”(A Q zhengzhuan),through the active introduction by modern Korean mass media,Lu Xun enjoyed the highest popularity of all modern Chinese literary author in Korea Peninsula.“A Madman’s Diary”translated by Ryu Sooin,was published in the magazine Donggwang(The oriental light)in 1927.Yang Baekhwa's translation of“The True Story of Ah Q”was serialized in The Chosun llbo(The Korea daily)in 1930.“Lu Xun and His Works”by Jeong Raedong,who conduct systematic criticism on Lu Xun's literature,was published in The Korea Daily in 1931.Lu Xun was thus differentiated from the so-called “Zhou Brothers”and claimed a place of his own as a representative Chinese writer.After that,Lu Xun’s various works were translated into Korean,and he was acknowledged as“a Chinese literary master”and“a world-class writer”in the Korean literary world.Lu Xun’s literature was hence widely acknowledged.Lee Kwangsoo even created another character called“Park Seondal”based on the motif of“Ah Q.”With the development of mass media,people were eager to see Lu Xun's personal image.In the 1930s,major Korean media,such as The Shin Dong-a(The new East Asia),The Dong-a llbo(The East Asia daily),The Chosun llbo(The Korea daily),The Maeil Sinbo(The daily report),Chokwang(The morning light)and Samcheonli(Three thousand miles),successively published Lu Xun’s portraits and photos,helping visualize Lu Xun’s image and making great contributions to shaping the public image of Lu Xun and his literature.Through these major media in Korea,Lu Xun’s works and his reputation became widely known,and his portrait images were also circulated.In February 1938,the Hwarang Garden Troupe staged the play The True Story of Ah Q.Considering the commercial nature of the theatre at that time,the public performance of The True Story of Ah Q indicates that Lu Xun and his works had achieved a solid foothold in the public mind.However,Korean people’s access to Lu Xun’s literature was blocked after March 1938,when Japanese imperialists imposed a blanket ideological clampdown.With the advent of liberation on August 15,1945,the modern Korean public strongly needed Lu Xun's life experience and literary spirit as enlightenment.Hence,translation and research of Lu Xun’s literary works became active again.In particular,in 1946,after the publication of The Collected Short Stories of Lu Xun(Volumes 1-2),jointly translated by Kim Kwangju and Lee Yongkyu,which included Lu Xun’s major works,Korean people were able to gain a more systematic access to Lu Xun’s literature.The inspirational value of Lu Xun’s literature was re-ignited after Korea's liberation and independence.Lu Xun was thus once again praised as“a literary giant”and“a great writer.”
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.
