Download Free The Complete Stories Of Lu Xun Book in PDF and EPUB Free Download. You can read online The Complete Stories Of Lu Xun and write the review.

Lu Xun (Lu Hsun) is arguably the greatest writer of modern China, and is considered by many to be the founder of modern Chinese literature. Lu Xun's stories both indict outdated Chinese traditions and embrace China's cultural richness and individuality. This volume presents brand-new translations by Julia Lovell of all of Lu Xun's stories, including 'The Real Story of Ah-Q', 'Diary of a Madman', 'A Comedy of Ducks', 'The Divorce' and 'A Public Example', among others. With an afterword by Yiyun Li.
"Lu Hsun (1881-1936), chief commander of China's modern cultural revolution, was not only a great thinker and political commentator but the founder of modern Chinese literature. As early as in the May 1918 issue of the magazine New Youth, Lu Hsun published one of his best stories, A Madman's Diary. This was his "declaration of war" against China's feudal society, and the first short story in the history of modern Chinese literature. Thereafter he followed up with a succession of stories such as The True Story of Ah Q and The New Year's Sacrifice, which cut through and sharply attacked stark reality in the dark old society. These stories were later included in the three volumes Call to Arms, Wandering and Old Tales Retold, and have become treasures in the Chinese people's literary heritage. In his early life Lu Hsun was a revolutionary democrat, who later matured into a communist. His earlier works were mainly stories, 18 of the more important of which, plus the preface to Call to Arms, his first short story collection, have been selected for this volume. The stories show clearly his method in this period of creative writing, thoroughgoing critical realism, a method closely related to the outright anti-imperialist and anti-feudal views which he formed in his early days. In his preface to Call to Arms, the author tells his motive in choosing literature as a weapon of struggle. This will give readers a deeper understanding of Lu Hsun's stories." --
"Here at last is an accurate and enjoyable rendering of Lu Xun's fiction in an American English idiom that masterfully captures the sardonic wit, melancholy pathos, and ironic vision of China's first truly modern writer." -Michael S. Duke, University of British Columbia The inventor of the modern Chinese short story, Lu Xun is universally regarded as twentieth century China’s greatest writer. This long awaited volume presents new translations of all Lu Xun’s stories, including his first, “Remembrances of the Past,” written in classical Chinese. These new renderings faithfully convey both the brilliant style and the pungent expression for which Lu Xun is famous. Also included are a substantial introduction by the translator and sufficient annotation to make the stories fully accessible, enabling readers approaching Lu Xun for the first time to appreciate why these stories occupy a permanent place not only in Chinese literature but in world literature as well.
Lu Xun was the pen name of Zhou Shuren is one of the major Chinese writers of the 20th century. Considered by many to be the founder of modern Chinese literature, he wrote in baihua (the vernacular) as well as classical Chinese. Lu Xun was a short story writer, editor, translator, critic, essayist and poet. In the 1930s he became the titular head of the Chinese League of Left-Wing Writers in Shanghai. Lu Xun's works exerted a very substantial influence after the May Fourth Movement to such a point that he was lionized by the Communist regime after 1949. Mao Zedong himself was a lifelong admirer of Lu Xun's works. Though sympathetic to the ideals of the Left, Lu Xun never actually joined the Chinese Communist Party. Lu Xun's works are known to English readers through numerous translations, especially Selected Stories of Lu Hsun translated by Yang Hsien-yi and Gladys Yang.
This edition of Lu Xun's Chinese classic A Madman's Diary features both English and Chinese side by side for easy reference and bilingual support. The Lu Xun Bilingual Study Series includes a study guide and additional materials for each book in the series. Published in 1918 by Lu Xun, one of the greatest writers in 20th-century Chinese literature. This short story is one of the first and most influential modern works written in vernacular Chinese and would become a cornerstone of the New Culture Movement. It is the first story in Call to Arms, a collection of short stories by Lu Xun. The story was often referred to as "China's first modern short story". The diary form was inspired by Nikolai Gogol's short story "Diary of a Madman, " as was the idea of the madman who sees reality more clearly than those around him. The "madman" sees "cannibalism" both in his family and the village around him, and he then finds cannibalism in the Confucian classics which had long been credited with a humanistic concern for the mutual obligations of society, and thus for the superiority of Confucian civilization. The story was read as an ironic attack on traditional Chinese culture and a call for a New Culture. The English translation is provided courtesy of the Marxists Internet Archive.
Literature in Times of Revolution (1927) -- Miscellaneous Thoughts (1927) -- The Divergence of Art and Politics (1928) -- Literature and Revolution: A Reply (1928) -- An Overview of the Present State of New Literature (1929) -- A Glimpse at Shanghai Literature (1931) -- On the "Third Type of Person" (1932) -- The Most Artistic Country (1933) -- The Crisis of the Small Essay (1933) -- V. On Modern Culture -- Impromptu Reflections No. 48 (1919) -- Untitled (1922) -- What Happens after Nora Walks Out (1924) -- On Photography and Related Matters (1925) -- Modern History (1933) -- Lessons from the Movies (1933) -- Shanghai Children (1933) -- How to Train Wild Animals (1933) -- Toys (1934) -- The Glory to Come (1934) -- The Decline of the Western Suit (1934) -- Take-ism (1934) -- Ah Jin (1936) -- Written Deep into the Night (1936) -- Notes -- Lu Xun's Oeuvre -- Acknowledgments -- Illustration Credits -- Index
Lu Xun (1881–1936), arguably twentieth-century China’s greatest writer, is commonly cast in the mold of a radical iconoclast who vehemently rejected traditional culture. The contradictions and ambivalence so central to his writings, however, are often overlooked. Challenging conventional depictions, Eileen J. Cheng’s innovative readings capture Lu Xun’s disenchantment with modernity and his transformative engagements with traditional literary conventions in his “modern” experimental works. Lurking behind the ambiguity at the heart of his writings are larger questions on the effects of cultural exchange, accommodation, and transformation that Lu Xun grappled with as a writer: How can a culture estranged from its vanishing traditions come to terms with its past? How can a culture, severed from its roots and alienated from the foreign conventions it appropriates, conceptualize its own present and future? Literary Remains shows how Lu Xun’s own literary encounter with the modern involved a sustained engagement with the past. His creative writings—which imitate, adapt, and parody traditional literary conventions—represent and mirror the trauma of cultural disintegration, in content and in form. His contradictory, uncertain, and at times bizarrely incoherent narratives refuse to conform to conventional modes of meaning making or teleological notions of history, opening up imaginative possibilities for comprehending the past and present without necessarily reifying them. Behind Lu Xun’s “refusal to mourn,” that is, his insistence on keeping the past and the dead alive in writing, lies an ethical claim: to recover the redemptive meaning of loss. Like a solitary wanderer keeping vigil at the site of destruction, he sifts through the debris, composing epitaphs to mark both the presence and absence of that which has gone before and will soon come to pass. For in the rubble of what remains, he recovered precious gems of illumination through which to assess, critique, and transform the moment of the present. Literary Remains shows how Lu Xun’s literary enterprise is driven by a “radical hope”—that, in spite of the destruction he witnessed and the limits of representation, his writings, like the texts that inspired his own, might somehow capture glimmers of the past and the present, and illuminate a future yet to unfold. Literary Remains will appeal to a wide audience of students and scholars interested in Lu Xun, modern China, cultural studies, and world literature.
In case of necessity one could use veiled allusions, but unfortunately I did not know how to, so although questions kept rising to the tip of my tongue, I had to bite them back. From his solemn expression I suddenly suspected that he looked on me as choosing not earlier nor later but just this time to come and trouble him, and that I was also a bad character; therefore to set his mind at rest I told him at once that I intended to leave Luchen the next day and go back to the city.