Lu, Xun
(Shaoxing, Zhejigan 1881-1936 Shanghai) : Schriftsteller, Dichter, Übersetzer
Übersetzungen japanischer Autoren siehe Findeisen, Raoul.D. Lu Xun (1881-1936).
Übersetzungen japanischer Autoren siehe Findeisen, Raoul.D. Lu Xun (1881-1936).
Name Alternative(s)
Zhou, Shuren
Zhou, Zhangshou
Subjects
Index of Names : China
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Literature : China
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Periods : China : Qing (1644-1911)
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Periods : China : Republic (1912-1949)
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Translator
Chronology Entries (76)
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| 1 | 1898-1899 | Lu Xun macht chinesische Studien an der Jiangnan Naval Academy (Jiangnan shui shi xue tang) in Nanjing und schreibt Gedichte und Essays. |
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| 2 | 1899-1902 | Lu Xun studiert an der School of Mines and Railways der Jiangnan Military Academy. Er bekommt den ersten Kontakt mit westlicher Wissenschaft, studiert Deutsch und Englisch und liest die Übersetzungen von Yan Fu und Lin Shu. |
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| 3 | 1902-1904 | Lu Xun studiert an der Kobun Gakuin (School of Japanese as a Second Language) in Tokyo. Er liest Übersetzungen von Yan Fu und Lin Shu. |
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| 4 | 1903 |
[Hugo, Victor]. Ai chen. Lu Xun yi [ID D12565]. Luo Peng : Lu Xun schreibt im Nachwort : "Assez souvent l'homme est victime de son fanatisme, de ses habitudes et de son milieu. Ainsi le dogme religieux peut tuer, les lois peuvent étouffer, le milieu peut opprimer. L'auteur a parlé de la religion dans Notre-Dame de Paris, de la justice dans Les misérables et ici, dans cet article, du milieu. Fantine, un des personnages des Misérables, est née pauvre, sans recours. Qui plus est, elle a le tort de donner jour à un enfant. Quel malheur pour elle d'être mère. Elle se trouve prise dans le piège tendu par und société cruelle... Hélas ! Ces pièges, nous les retrouvons partout dans le monde, en Asie comme en Europe !... Si Hugo vivait encore, pourrait-il s'arrêter de décrire ces misères ? Quand le pourrait-il ?" Ainsi, l'histoire de Fantine, voire celle de tout le roman des Misérables est une protestation contre la cruauté sociale aux yeux de notre futur grand écrivain. Lui-même se sent opprimé par une société injuste, étouffé par son milieu et par des règles morales hypocrites. La société chinoise de l'époque lui apparaissait comme un monstre qui dévorait les hommes. C'est ce qu'il exprimera plus tard dans son roman Le journal d'un fou. Evidemment Lu Xun croyait avoir trouvé un frère d'esprit chez Hugo, qui parle en faveur des faibles. |
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| 5 | 1903 | Lu Xun reist nach Japan um Medizin zu studieren. |
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| 6 | 1903-1938 |
Lu Xun and Edgar Allan Poe Lu Xun's knowledge of Poe is by no means limited to The gold bug, however. In one of his early essays, he remarked that "The black cat in Edgar Allan Poe's tale is really horrible". Later, in an introduction to Mark Twain's Eve's diary, he made a judicious comparison between Twain and other nineteenth-century American writers : Poe, Hawthorne, and Whitman. He pointed out that Twain was outwardly a humorist, but inwardly a misanthrope, although Poe, Hawthorne and Whitman did not, like Twain, "think in one way, but behave in another". He also noticed that American writers before the Civil War could easily keep their individualist features, but after the Civil War they had to adapt themselves to the social requirements of a highly developed capitalist system. These remarks show that Lu Xun had read and understood Poe ; in later years in one of his talks with an American friend he admitted that in his early years he had been influenced by Poe. |
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| 7 | 1904-1906 | Lu Xun studiert Medizin am Sendai Medical College in Honshu. |
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| 8 | 1906-1909 | Lu Xun studiert am German Institute in Tokyo. In dieser Zeit beschäftigt er sich mit römischer und griechischer Mythologie, mit Friedrich Nietzsche, Charles Robert Darwin, Nikolai Wassil'evich Gogol, Anton Pavlovich Chekhov, interessiert sich für die Wissenschaft und befasst sich eingehend mit den möglichen Folgen einer Modernisierung Chinas nach westlichem Vorbild. Nebenbei nimmt er (1907) Russisch-Lektionen. Er verzeichnet (1906) in einem von ihm zusammengestellten Katalog 127 deutschsprachige Titel. |
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| 9 | 1907 | Lu Xun erwähnt Goethe als den grossen deutschen Dichter, der tief in die Philosophie eingedrungen ist und der einen weiten geistigen Horizont, wie umfangreiche Kenntnisse besitze und über starke Denkfähigkeit verfüge. In : Ren de li shi (1907). |
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| 10 | 1908 |
Lu, Xun. Moluo shi li shuo [ID D15080]. Es ist der erste bedeutende Artikel über westliche Literatur. Lu Xun ermutigt zum Kampf um Freiheit und Demokratie und empfielt darin folgende Autoren zu Lesen : Byron, Shelley, Puschkin, Gogol, Mickiewicz, Petöfi, Goethe, Schiller und Nietzsche. |
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| 11 | 1908 |
Lu, Xun. Mo luo shi li shuo = On the power of Mara poetry. [ID D26228]. [Auszüge]. Lu Xun erwähnt George Byron, Percy Bysshe Shelley, Thomas Carlyle, William Shakespeare, John Milton, Walter Scott, John Keats, Friedrich Nietzsche, Johann Wolfgang von Goethe, Henrik Ibsen [erste Erwähnung], Nikolai Wassil'evich Gogol, Platon, Dante, Napoleon I., Ernst Moritz Arndt, Friedrich Wilhelm III., Theodor Körner, Edward Dowden, John Stuart Mill, Matthew Arnold, John Locke, Robert Burns, Aleksandr Sergeevich Pushkin, Adam Mickiewicz, Sandor Petöfi, Wladimir Galaktionowitsch Korolenko. Lu Xun schreibt : "He who has searched out the ancient wellspring will seek the source of the future, the new wellspring. O my brothers, the works of the new life, the surge from the depths of the new source, is not far off". Nietzsche... Later the poet Kalidasa achieved fame for his dramas and occasional lyrics ; the German master Goethe revered them as art unmatched on earth or in heaven... Iran and Egypt are further examples, snapped in midcourse like well-ropes – ancient splendor now gone arid. If Cathay escapes this roll call, it will be the greatest blessing life can offer. The reason ? The Englishman Carlyle said : "The man born to acquire an articulate voice and grandly sing the heart's meaning is his nation's raison d'être. Disjointed Italy was united in essence, having borne Dante, having Italian. The Czar of great Russia, with soldiers, bayonets, and cannon, does a great feat in ruling a great tract of land. Why has he no voice ? Something great in him perhaps, but he is a dumb greatness. When soldiers, bayonets and cannon are corroded, Dante's voice will be as before. With Dante, united ; but the voiceless Russian remains mere fragments". Nietzsche was not hostile to primitives ; his claim that they embody new forces is irrefutable. A savage wilderness incubates the coming civiliization ; in primitives' teeming forms the light of day is immanent... Russian silence ; then stirring sound. Russia was like a child, and not a mute ; an underground stream, not an old well. Indeed, the early 19th century produced Gogol, who inspired his countrymen with imperceptible tear-stained grief, compared by some to England's Shakespeare, whom Carlyle praised and idolized. Look around the worls, where each new contending voice has its own eloquence to inspire itself and convey the sublime to the world ; only India and those other ancient lands sit motionless, plunged in silence... I let the past drop here and seek new voices from abroad, an impulse provoked by concern for the past. I cannot detail each varied voice, but none has such power to inspire and language as gripping as Mara poetry. Borrowed from India, the 'Mara' – celestial demon, or 'Satan' in Europe – first denoted Byron. Now I apply it to those, among all the poets, who were committed to resistance, whose purpose was action but who were little loved by their age ; and I introduce their words, deeds, ideas, and the impact of their circles, from the sovereign Byron to a Magyar (Hungarian) man of letters. Each of the group had distinctive features and made his own nation's qualities splendid, but their general bent was the same : few would create conformist harmonies, but they'd bellow an audience to its feet, these iconoclasts whose spirit struck deep chords in later generations, extending to infinity... Humanity began with heroism and bravado in wars of resistance : gradually civilization brought culture and changed ways ; in its new weakness, knowing the perils of charging forward, its idea was to revert to the feminine ; but a battle loomed from which it saw no escape, and imagination stirred, creating an ideal state set in a place as yet unattained if not in a time too distant to measure. Numerous Western philosophers have had this idea ever since Plato's "Republic". Although there were never any signs of peace, they still craned toward the future, spirits racing toward the longed-for grace, more committed than ever, perhaps a factor in human evolution... Plato set up his imaninary "Republic", alleged that poets confuse the polity, and should be exiled ; states fair or foul, ideas high or low – these vary, but tactics are the same... In August 1806 Napoleon crushed the Prussian army ; the following July Prussia sued for peace and became a dependency. The German nation had been humiliated, and yet the glory of the ancient spirit was not destroyed. E.M. Arndt now emerged to write his "Spirit of the Age" (Geist der Zeit), a grand and eloquent declaration of independence that sparked a blaze of hatred for the enemy ; he was soon a wanted man and went to Switzerland. In 1812 Napoleon, thwarted by the freezing conflagration of Moscow, fled back to Paris, and all of Europe – a brewing storm – jostled to mass its forces of resistance. The following year Prussia's King Friedrich Wilhelm III called the nation to arms in a war for three causes : freedom, justice, and homeland ; strapping young students, poets, and artists flocked to enlist. Arndt himself returned and composed two essays, "What is the people's army" and "The Rhine is a great German river, not its border", to strengthen the morale of the youth. Among the volunteers of the time was Theodor Körner, who dropped his pen, resigned his post as Poet of the Vienne State Theater, parted from parents and beloved, and took up arms. To his parents he wrote : "The Prussian eagle, being fierce and earnest, has aroused the great hope of the German people. My songs without exception are spellbound by the fatherland. I would forgot all joys and blessings to die fighting for it ! Oh, the power of God has enlightened me. What sacrifice could be more worthy than one for our people's freedom and the good of humanity ? Boundless energy surges through me, and I go forth ! " His later collection "Lyre and sword" (Leier und Schwert), also resonates with this same spirit and makes the pulse race when one recites from it. In those days such a fervent awareness was not confined to Körner, for the entire German youth were the same. Körner's voice as the voice of all Germans, Körner's blood was the blood of all Germans. And so it follows that neither State, nor Emperor, nor bayonet, but the nation's people beat Napoleon. The people all had poetry and thus the poets' talents ; so in the end Germany did not perish. This would have been inconceivable to those who would scrap poetry in their devotion to utility, who clutch battered foreign arms in hopes of defending hearth and home. I have, first, compared poetic power with rice and beans only to shock Mammon's disciples into seeing that gold and iron are far from enough to revive a country ; and since our nation has been unable to get beyond the surface of Germany and France, I have shown their essence, which will lead, I hope, to some awareness. Yet this is not the heart of the matter... England's Edward Dowden once said : "We often encounter world masterpieces of literature or art that seem to do the world no good. Yet we enjoy the encounter, as in swimming titanic waters we behold the vastness, float among waves and come forth transformed in body and soul. The ocean itself is but the heave and swell of insensible seas, nor has it once provided us a single moral sentence or a maxim, yet the swimmer's health and vigor are greatly augmented by it"... If everything were channeled in one direction, the result would be unfulfilling. If chill winter is always present, the vigor of spring will never appear ; the physical shell lives on, but the soul dies. Such people live on, but hey have lost the meaning of life. Perhaps the use of literaure's uselessness lies here. John Stuart Mill said, "There is no modern civilization that does not make science its measure, reason its criterion, and utility its goal". This is the world trend, but the use of literature is more mysterious. How so ? It can nurture our imagination. Nurturing the human imagination is the task and the use of literature... Matthew Arnold's view that "Poetry is a criticism of life" has precisely this meaning. Thus reading the great literary works from Homer on, one not only encounters poetry but naturally makes contact with life, becomes aware of personal merits and defects one by one, and naturally strives harder for perfection. This effect of literature has educational value, which is how it enriches life ; unlike ordinary education, it shows concreteley a sense of self, valor, and a drive toward progress. The devline and fall of a state has always begun with is refusal to heed such teaching... [The middle portion of this essay is a long and detailed description of Lu Xun's exemplary Mara poets, including Byron, Shelley, Pushkin, Lermontov, Michiewicz, Slowacki and Petöfi]. In 18th-century England, when society was accustomed to deceit, and religion at ease with corruption, literature provided whitewash through imitations of antiquity, and the genuine voice of the soul could not he heard. The philosopher Locke was the first to reject the chronic abuses of politics and religion, to promote freedom of speech and thought, and to sow the seeds of change. In literature it was the peasant Burns of Scotland who put all he had into fighting society, declared universal equality, feared no authority, nor bowed to gold and silk, but poured his hot blood into his rhymes ; yet this great man of ideas, not immediately the crowd's proud son, walked a rocky outcast road to early death. Then Byron and Shelley, as we know, took up the fight. With the power of a tidal wave, they smashed into the pillars of the ancien régime. The swell radiated to Russia, giving rise to Pushkin, poet of the nation ; to Poland, creating Mickiewicz, poet of revenge ; to Hungary, waking Petéfi, poet of patriotism ; their followers are too many to name. Although Byron and Shelley acquired the Mara title, they too were simply human. Such a fellowship need not be labeled the "Mara School", for life on earth is bound to produce their kind. Might they not be the ones enlightened by the voice of sincerity, who, embracing that sincerity, share a tacit understanding ? Their lives are strangely alike ; most took up arms and shed their blood, like swordsmen who circle in public view, causing shudders of pleasure at the sight of mortal combat. To lack men who shed their blood in public is a disaster for the people ; yet having them and ignoring them, even proceeding to kill them, is a greater disaster from which the people cannot recover... "The last ray", a book by the Russian author Korolenko, records how an old man teaches a boy to read in Siberia : “His book talked of the cherry and the oriole, but these didn't exist in frozen Siberia. The old man explained : It's a bird that sits on a cherry branch and carols its fine songs”. The youth reflected. Yes, amid desolation the youth heard the gloss of a man of foresight, although he had not heard the fine song itself. But the voice of foresight does not come to shatter China's desolation. This being so, is there nothing for us but reflection, simply nothing but reflection ? Ergänzung von Guo Ting : Byron behaved like violent weaves and winter wind. Sweeping away all false and corrupt customs. He was so direct that he never worried about his own situation too much. He was full of energy, and spirited and would fight to the death without losing his faith. Without defeating his enemy, he would fight till his last breath. And he was a frank and righteous man, hiding nothing, and he spoke of others' criticism of himself as the result of social rites instead of other's evil intent, and he ignored all those bad words. The truth is, at that time in Britain, society was full of hypocrites, who took those traditions and rites as the truth and called anyone who had a true opinion and wanted to explore it a devil. Ergänzung von Yu Longfa : Die Bezeichnung Mara stammt aus dem Indischen und bedeutet Himmelsdämon. Die Europäer nennen das Satan. Ursprünglich bezeichnete man damit Byron. Jetzt weist das auf alle jene Dichter hin, die zum Widerstand entschlossen sind und deren Ziel die Aktion ist, ausserdem auf diejenigen Dichter, die von der Welt nicht sehr gemocht werden. Sie alle gehören zu dieser Gruppe. Sie berichten von ihren Taten und Überlegungen, von ihren Schulen und Einflüssen. Das beginnt beim Stammvater dieser Gruppe, Byron, und reicht letztlich hin bis zu dem ungarischen Schriftsteller Petöfi. Alle diese Dichter sind in ihrem äusserlichen Erscheinungsbild sehr unterschiedlich. Jeder bringt entsprechend den Besoderheiten des eigenen Landes Grossartiges hervor, aber in ihrer Hauptrichtung tendieren sie zur Einheitlichkeit. Meistens fungieren sie nicht als Stimme der Anpassung an die Welt und der einträchtigen Freude. Sobald sie aus voller Kehle ihre Stimme erheben, geraten ihre Zuhörer in Begeisterung, bekämpfen das Himmlische und widersetzen sich den gängigen Sitten. Aber ihr Geist rührt auch tief an die Seelen der Menschen nachfolgender Generationen und setzt sich fort bis in die Unendlichkeit. Sie sind ohne Ausnahme vital und unnachgiebig und treten für die Wahrheit ein… Nietzsche lehnt den Wilden nicht ab, da er neue Lebenskraft in sich berge und gar nicht anders könne, als ehrlich zu sein. So stammt die Zivilisation denn auch aus der Unzivilisation. Der Wilde erscheint zwar roh, besitzt aber ein gütmütiges Inneres. Die Zivilisation ist den Blüten vergleichbar und die Unzivilisation den Knospen. Vergleicht man jedoch die Unzivilisation mit den Blüten, so entspricht die Zivilisation den Früchten. Ist die Vorstufe bereits vorhanden, so besteht auch Hoffnung. Sekundärliteratur Yu Longfa : Lu Xun befasst sich zwar nicht ausführlich mit Friedrich Nietzsche, aber auf der Suche nach dem 'Kämpfer auf geistigem Gebiet', dessen charakteristische Eigenschaften, besonders die Konfiguration des Übermenschen, macht er ausfindig. Lu Xun ist überzeugt, dass die Selbststärkung eines Menschen und der Geist der Auflehnung kennzeichnend für den Übermenschen sind. In Anlehnung an den Übermenschen zitiert er aus Also sprach Zarathustra : "Diejenigen, die auf der Suche nach den Quellen des Altertums alles ausgeschöpft haben, sind im Begriff, die Quellen der Zukunft, die neuen Quellen zu suchen. Ach, meine Brüder, die Schaffung des neuen Lebens und das Sprudeln der neuen Quellen in der Tiefe, das dürft wohl nicht weit sein !" Tam Kwok-kan : Earliest reference to Henrik Ibsen. This is the first Chinese article that discusses in a comprehensive manner the literary pursuits of the Byronic poets. Lu Xun ranks Ibsen as one of these poets and compares the rebellious spirit exemplified in Ibsen's drama to Byron's satanic tendency. Lu Xun had a particular liking for the play An enemy of the people, in which Ibsen presented his ideas through the iconoclast Dr. Stockmann, who in upholding truth against the prejudices of society, is attacked by the people. Lu Xun thought that China needed more rebels like Ibsen who dared to challenge accepted social conventions. By introducing Ibsen in the image of Dr. Stockmann, the moral superman, together with the satanic poets, Lu Xun believed that he could bring in new elements of iconoclasm in the construction of a modern Chinese consciousness. As Lu Xun said, he introduced Ibsen's idea of individualism because he was frustrated with the Chinese prejudice toward Western culture and with the selfishness popular among the Chinese. Chu Chih-yu : Lu Xun adapted for the greater part of Mara poetry his Japanese sources (Kimura Katataro), he also added some of his own comments and speculations. Guo Ting : Given Lu Xun's leading position in the Chinese literary field at that time, his defense of Byron was powerful and set the overarching tone for the time of Byron when he was first introduced to Chinese readers. Liu Xiangyu : On the power of Mara poetry itself is an expression of Byronism to 'speak out against the establisment and conventions' and to 'stir the mind'. Lu Xun criticized traditional Chinese culture and literature. |
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| 12 | 1908 |
Lu, Xun. Po’e sheng lun [ID D18282]. Lu Xun schreibt : Wenn wir die heute vertretenen gesamten Behauptungen ins Auge fassen, so können wir solche in zwei Arten gliedern : die eine besagt : Du solltest Staatsbürger sein ; die andere heisst : Du solltest Weltbürger sein. Die einen fürchten, dass, wenn man sich nicht der Staatsbürgerschaft zuwendet, China in Unterjochung geraten werde ; die anderen machen sich aber Sorgen, dass man der [abendländischen] Zivilisation zuwiderlaufe, wenn man kein Weltmensch werden wolle. Bei genauer Betrachtung beider Auffassungen kann man schon feststellen, dass innerhalb solcher Meinungen – wenn auch ganz verschieden – das Ich zu verneinen ist, d.h. den Leuten ist hier nicht zumute, das Ich zu betonen und sich von anderen Menschen zu unterscheiden. Daraus ergibt sich offensichtlich, dass die Individualität unterdrückt wird. Kurzum, die Vertreter der Menschen als Staatsbürger sprechen über das Loswerden abergläubischer Vorstellungen, über Befürwortung von Aggression und Verpflichtungen gegenüber dem Staat. Was die zweite betrifft, so ist damit eine Befürwortung einer weltweit einheitlichen Sprache, mit Verzicht auf das eigene Land, mit der Suche nach einer gemeinsamen Welt gemeint. Die chinesische Elite bezeichnet die beiden Völker als ein Rätsel, aber ich halte sie für vorwärtsschreitende. Sie wollen die beschränkte, relative und gegenwärtige Welt loswerden, suchen aber nach einem unendlichen, absoluten Kosmos. Ein Mensch muss einen inneren Halt haben. Der keine innere Gewissheit besitzende Mensch ist in diesem Sinne kein vollkommener. Was Friedrich Nietzsche betrifft, so kritisierte er das Christentum. Indem er die Darwinistische Evolutionslehre benutzte, stellte er seine 'Übermensch-Theorie' auf. Auch wenn Nietzsche selbst diese Lehre als eine wissenschaftliche bezeichnete, war sie vom religiösen Glauben nicht weit entfernt. Das Ziel seiner Lehre bestand nicht darin, Glaube zu vernichten, sondern darin, ihn zu verwandeln. Dieser Gedanke ist bis heute noch nicht verbreitet. Yu Longfa : Lu Xuns Kritik basiert auf der Erkenntnis, dass der Einzelne das Wichtigste ist. Dass Wert auf eine Veränderung von Politik und Ökonomie gelegt werden könnte, ist ihm nicht bewusst. Vielmehr scheint ihm ein Appell an die Subjektivität des Menschen unentbehrlich zu sein. Er war der Auffassung, dass man zur Beherrschung der Welt nicht von der Veränderung eines politischen Systems ausgeht, weil das System einer Gesellschaft in Anbetracht seiner kollektiven Eigenschaften eines solchen Systems der Natur des Einzelnen zuwider handelt. Lu Xun benutzt den Begriff des Individuums Nietzschescher Prägung als Mittel zur Bekämpfung der 'bösen Stimmen' und setzt sich mit der seit einigen tausend Jahren dominierenden konfuzianischen Ideologie auseinander. |
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| 13 | 1908 |
Lu, Xun. Wen hua pian zhi lun [ID D18283]. Lu Xun schreibt über Friedrich Nietzsche : "Was den Materialismus und Massenbegriff betrifft, so könnte man damit wohl auf eine Seite der Zivilisation des ausgehenden 19. Jahrhunderts hindeuten. Allerdings halte ich diese Auffassung nicht für angebracht. Denn alle Erfolge von heute sind in vergangener Zeit spürbar. Auch Zivilisation entwickelt sich in der Art und Weise Tag für Tag. Es gab in ihrer Entwicklung sogar auch Strömungen gegen die Vergangenheit. Dass Zivilisation einseigite Kultur mit sich bringen wird, kann deswegen unvermeidlich sein. Wenn man wirklich Konzepte für die heutige Zeit entwerfen will, so ist es notwendig, die Vergangenheit zu betrachten, die Zukunft zu bedenken, gegen den Materialismus zu polemisieren, Geist zu entfalten, den Einzelnen hochzuschätzen, die Masse zu beseitigen. Da man seit langer Zeit die Gunst der materiellen Zivilisation erlangte, wurde der Glaube des Menschen an den Materialismus immer fester. Dieser wurde allmählich als eine Norm respektiert und eine existentielle Grundlage für alle Dinge angesehen. Man war sogar der Ansicht, dass alle Erscheinungen auf geistigem Gebiet durch den Materialismus eingeschränkt seien. Der Materialismus stehe in engem Zusammenhang mit dem realen Leben. Er solle nur respektiert und verehrt werden, anstatt ihn zu berühren. Neue Ideen entwickelten sich in gewaltigen Strömungen. Der Geist von Ideen war bereichert durch Protest und Veränderung. Man setzte Hoffnung auf die Gewinnung neuen Lebens, indem man speziell die gegebene Kultur kritisierte und sie aus dem Weg räumte. Der Deutsche F. Nietzsche verlieh der Gestalt des Zarathustra seine eigenen Worte : "Zu weit hinein flog ich in die Zukunft. Und als ich um mich sah, siehe : da war die Zeit mein einziger Zeitgenosse. Da floh ich rückwärts, heimwärts : so kam ich zu euch, Ihr Gegenwärtigen, und ins Land der Bildung. Aber Heimat fand ich nirgends ; und vertrieben bin ich aus Vater- und Mutterländern. An meinen Kindern will ich es gut machen". Was Nietzsche erwartete, ist beispiellose Willenskraft, die Ausdruck vom Übermenschen ist. Er ist fast wie ein Gott, einer der ausgeprägtesten Individualisten. Nietzsche setzte seine Hoffnungen auf grosse Persönlichkeiten und Genies, aber er war dagegen, dass die dumme Masse eine zentrale Rolle spielte. Nietzsche sagte, wenn ein Land von der Masse regiert werde, so werde die Vitalität eines Landes zugrunde gehen. Es wäre besser, wenn man die Volksmassen als Opfer ausnutzte, um ein oder zwei Genies erscheinen zu lassen. Sobald ein Genie zum Vorschein komme, werde die Gesellschaft dynamisch sein. Dies war die sogenannte Übermensch-Lehre, die den Intellektuellenkreis in Europa einmal erschüttert hat. Nachdem manche Intellektuelle etwas von neuen Gedanken gehört haben, schämen sie sich zutiefst. Sie wollen deshalb gleich eine Reform durchführen. Sie halten daran fest, nie davon zu sprechen, was den westlichen Grundsätzen nicht entspricht. Sie halten auch daran fest, dass sie nie tun, was der westlichen Art und Weise zuwiderläuft." Lu Xun schreibt über Henrik Ibsen : "[Byron's ideas] are close to those of the Norwegian writer Ibsen. Ibsen was born in the modern world, and he was anguished at seeing that the world was full of follies, whereas truth was discarded. In An enemy of the people, he presents his ideas through the protagonist Dr. Stockmann, who in upholding truth against the prejudices of society is attacked by the people. Dr. Stockmann is expelled from his house by the landlady and his son is rejected by the school, but he is not frightened and continues in his fight. At the end, he says that he has made a discovgery : the strongest man in the world is he who stands most alone. This is Ibsen's own view of the world. Henrik Ibsen was well know in the literary world for his talent and as an interpreter of Kierkegaard. His works were full of ideas opposing conventions in society, beliefs or morals, so long as they were biased and narrow-minded, Ibsen would attack them. He saw that in the modern world there were many people who did evil things in the name of equality. Mediocrity and superficiality grew day after day. Follies and hypocrisy became more and more widespread in people's behaviour. Thos who had high ideals and did not compromise their integrity for the favour of others were rejected in society. The dignity of the individual and the value of mankind were going to be lost. All these conditions gave Ibsen more anguish. For example, in his play An enemy of the people, he portrays a person who upholds truth and does not give in to popular beliefs. The person is totally isolated from the other people. But the cunning and evil persons become leaders of the fools. These people use the majority to bully the minority. They form parties as a means to achieve their selfish transactions. Thus a series of struggles arise and Ibsen's work comes to an end. The reality in society is fully depicted here." Yu Longfa : Die nach Japan geflohenen Reformatoren unter der Führung von Kang Youwei und Liang Qichao plädieren für eine Umformung der Staatsverfassung in eine konstitutionelle Monarchie. Innerhalb der Gruppe gibt es Meinungsverschiedenheiten, einige vertreten die Ansicht, dass ein parlamentarisches System nicht in China eingeführt werden sollte, weil das Wahlsystem, das nur zur Machtergreifung der herrschenden Klasse dient, für das chinesische Volk nicht geeignet sei. Lu Xun unterscheidet sich sowohl von den revolutionären als auch den konservativen Auffassungen und schenkt dem Individualismus im Sinne Nietzsches Aufmerksamkeit. Was die Einseitigkeit westlicher Kultur des 19. Jahrhunderts betrifft, so hat Lu Xun Hinweise auf zwei in Frage zu stellende Begriffe gegeben : den der 'Materie' und den der 'Masse'. Nachdem Lu Xun die historische Entwicklung der Persönlichkeiten, deren Geist voll zur Geltung gebracht worden ist, dargestellt hat, führt er als anschauliches Beispiel Nietzsche u.a. an, die ‚nach ihrem eigenen Willen mit ganzer Kraft gegen Sitten und Gebräuche ihrer Zeit kämpfen. Von Nietzsche spricht er als ein Zerstörer alter Kultur und Konventionen. Nach seiner Auffassung ist eine gründliche soziale Umgestaltung nichts wert, wenn die Menschen geistig noch nicht aufgeklärt sind. Er appelliert an die ‚Entfaltung des Individualismus’ vor der neuen Kulturbewegung und für ihn ist der 'Übermensch-Gedanke' der Ausdruck einer bereits von Konventionen befreite Individualität. Zhang Yushu : Für Lu Xun ist ‚der tiefsinnige und weitsichtige Nietzsche, der das Falsche und das Bornierte der modernen Zivilisation durchschaut hat’ deshalb bewundernswert, weil er unerschrockenen Kampfesmut und unversöhnlichen Rebellengeist ausweist, einen offenen Krieg an die westliche Welt, also an die kapitalistische Gesellschaft erklärt, und den deutschen Staat mit seiner herrschenden Moral und seiner kriecherischen Kultur schonungslos und treffend kritisiert. Nietzsche hat die verbreiteten Übel des zwanzigsten Jahrhunderts vorausgesehen : die Überbetonung des Materiellen und der Massen. Die Ideen von Nietzsche dienten Lu Xun als Waffe, mit der er sein Vaterland aus Not und Elend retten wollte. Lu Xun erklärt dem Drachen den Krieg. Tausend Jahre lang litt das chinesische Volk unter dem Drachen, der den Willen des Volkes vergewaltigte und ihm seinen Willen aufzwang. Jetzt sollte der Löwe seinen eigenen Willen ausdrücken : Ich will auf Erden glücklich sein und nicht mehr darben, ich will so handeln, wie es mir recht ist, ich will lieben und hassen, wie mein Herz mir befiehlt, ich will nicht mehr Sklave sein mit allen sklavischen Tugenden, Zeichen der Schwachheit, die nur billiges Mitleid erregen und nie dazu beitragen können, meine Lage zu verändern. Ich will mich selbst überwinden und mit übermenschlichen Fähigkeiten und Eigenschaften übermenschliche Leistungen vollbringen, ich will den Drachen besiegen und Herr meines eigenen Schicksals sein. Daher kritisiert Lu Xun auch alles, was mit dem Drachen verbunden ist, und alle, die versuchen den Drachen mit Theorie und Taten auf seinem Thron zu belassen. Nur wenn man seine Liebe und seinen Hass, seine Hoffnung und seine Enttäuschung kennt, kann man verstehen, warum Lu Xun von Nietzsches Übermensch-Philosophie beeindruckt werden konnte. Es war eine tragische Zeit, die Helden brauchte und Helden hervorbrachte. Es ist uns völlig klar, dass es, um die Volksmassen wachzurütteln, einiger hervorragender Persönlichkeiten bedarf, die als Avantgarde den Massen vorangehen sollten. Für Nietzsche waren sie anfangs hervorragende Philosophen und Künstler wie Schopenhauer und Wagner, und später Halbgötter und Übermenschen. Auch Lu Xun war für die Genies und die Philosophen. Er fragt : "Ist es nicht ratsamer, die Massen zu ignorieren, umd die Genies und Philosophen zu feiern, als umgekehrt, die Philosophen und die Genies zu hindern, um die Massen zu fördern ?" Raoul David Findeisen : In Nietzsches Ideal des Übermenschen sieht Lu Xun den Höhepunkt einer solchen ethischen Evolution : "Erst wenn der Übermensch erscheint, herrscht Frieden auf Erden". |
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| 14 | 1908 |
Lu, Xun. Moluo shi li shou [ID D23841]. Er schreibt : "Therefore, what a society needs is not only Newton but also Shakespeare… a writer like Shakespeare can make people have a sound and perfect human nature and avoid an odd and partial humanity, making them the very people a modern civilized society needs." |
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| 15 | 1908 |
Lu, Xun. Ke xue shi jiao pian. [The history of science]. 科學史教篇 Er erwähnt William Shakespeare : "What people hope for is not just Newton, but also a poet like Shakespeare." |
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| 16 | 1908 |
Lu, Xun. Mo luo shi li shuo = On the power of Mara poetry [ID D26228]. Lu Xun introduced Petöfi's life and poetry, praising him for his 'indomitability and integrity, not writing to comply with the readers and conventions, but to awaken his fellow countrymen and make his country rise in the whole world'. According to him Petöfi 'sang for love and died for his country', and was a national hero 'advocating freedom with fierce words' and an excellent poet 'representing objects in poetry with unearthly skills'. |
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| 17 | 1909-1912 | Lu Xun unterrichtet Naturwissenschaften, Anatomie und Chemie am Zhejiang Normal College in Hangzhou und ist als Übersetzer für japanische Lehrer tätig. |
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| 18 | 1910-1911 | Lu Xun ist Dekan der Shaoxing Middle School (Zhejiang). |
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| 19 | 1911 | Lu Xun möchte bei einem Verlag in Shanghai arbeiten, kehrt aber als die Revolution ausbricht nach Hangzhou (Zhejiang) zurück. |
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| 20 | 1911-1912 | Lu Xun ist Leiter des Shaoxing Normal College (Zhejiang). |
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| 21 | 1912 | Lu Xun arbeitet für das Ministry of Education unter Cai Yuanpei in Nanjing. |
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| 22 | 1912-1920 | Lu Xun ist Assistent am Sekretariat der republikanischen Regierung in Beijing. |
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| 23 | 1914 | Lu Xun übersetzt die beiden Gedichte Aus meinen Tränen und Die blauen Veilchen der Äugelein von Heinrich Heine um die feudal arrangierte Ehe zu bekämpfen und die freie Liebe zu besingen. | |
| 24 | 1917-1940 |
[Marxismus 1917-1949]. The Chinese revolution was not only a local and nationalist movement, but also a significant part of international revolutionary movement initiated by the Russian revolution of 1917. Certainly, there were fundamental differences between the Chinese and Russian revolutions. The Chinese revolution as primarily a peasant one, centered in the backward rural areas. The Russian revolution was city-based, led by a revolutionary vanguard, mobilized a well-organized urban proletariat. For Vladimir Lenin, revolution was primarily a political event, directed by a politically and ideologically sophisticated elite. But for the Chinese communists, revolution was at once political, social, and cultural. Unlike the Russia of prerevolutionary days, when objective conditions were considered ripe by the Leninist leadership, the Chinese revolution had to generate its own revolutionary momentum. At the time, China was dominated by a powerful alliance of warlords and Western imperialists, and the existence of bourgeoisie and urban proletarians was negligible. This rendered China fragmented, decentralized, and tension filled, but also made a well-organized urban revolutionary insurgence impossible. If the Russian revolution was a socialist revolution largely within the Western hemisphere or capitalist system, the Chinese revolution, and revolutions in the rest of the 'Third world', were much more complicated. The Chinese revolution was definitely a socialist, nationalist, and anti-imperialist struggle. Moreover, the Chinese revolution was conceived of as a way to bring about modernity, with the manifest goal of establishing a socialist alternative modernity instead of a capitalist one. The universalist and totalizing claims of the May fourth intellectuals reflect the awareness of China's social change as an integral part of a global modernity. To be sure, there were inherent connections between the forms of May fourth cultural radicalism and iconoclasm, and the deep-seated 'Chinese cultural predisposition' or 'monistic and intellectualistic mode of thinking'. But it is equally undeniable, and far more significant, that this radicalism fundamentally transformed traditional values, to which radical intellectuals themselves were thoroughly indebted. Marxism represents the single most powerful intellectual, ideological, and political force in modern China, not only contributing to the radicalization and diffusion of China's social formations, but also to the spatial and temporal fragmentation of Marxism itself as both a product and critique of Western capitalist modernity. While national salvation was certainly a high priority of the Chinese revolution, however, the enlightenment project already assumed a new objective in the Revolution : to create a new revolutionary subjectivity. This was markedly different from that of the bourgeois enlightenment advocated by Liang Qichao and Cai Yuanpei. The formation of a Marxist aesthetics in China was related to at least three complex aspects of global modernity : the universalism embedded in Chinese cultural tradition ; modern European humanist thought since the Enlightenment ; and Marxist traditions around the world. Chinese intellectuals turned toward European Enlightenment thought for new ways of reestablishing universality, viewing it as truly global and universal. They tried to free themselves from a narrowly defined, ethnocentric perspective, and genuinely believed that the European Enlightenment brought the hope of real universality for all humanity. This trend was well demonstrated in the thoughts of Liang Qichao and Cai Yuanpei, representing emergent bourgeois liberalism and humanism in China. Marxism provided the Chinese intellectuals with an alternative solution to the predicament of modernity by way of as social and political revolution that would change China's social structure and culture. This change was meant to be systematic and fundamental, in keeping with the Marxist vision of a transformation of all societies in the world. Thus, Marxist aesthetics in China was crucially related to the Chinese revolution in two senses : as a utopian discourse legitimating a socialst and communist universality, of which the Chinese revolution was an integral part, and as a hegemonic discourse in constructing a new culture and revolutionary subjectivity. Two other crucial aspects further complicated the nature of the Chinese revolution. The first has to do with urban Marxist intellectuals, who were champions and heirs of the May fourth legacy, and pioneers of the Marxist movement in China. Lu Xun's aesthetic thought is arguably the most sophisticated of the urban Marxists. His aesthetic views are expressed primarily through his allegorical writings. Lu Xun became a committed Marxist arround the turn of the 1930s. This was a time of crisis for the revolution, after the revolutionary alliance between Guomindang and the CCP broke up, and Chiang Kaishek began to round up and massacre his former communist allies in the 'reign of white terrer'. Lu Xun's conversion to Marxism was significant. As perhaps the most outspoken critical intellectual of the May fourth movement, his turn suggested a decidedly left-wing, pro-Marxist transition among a majority of May fourth intellectuals. Lu Xun's acceptance of Marxism also affected the revolution, in the sense that his influential work much enhanced the cultural struggles in the overall revolutionary movement. In Shanghai, a small yet highly energetic and dedicated group of left-wing writers gathered around Lu Xun. They and other factions of left-wing authors had miraculously effected a kind of 'Marxist turn' in Shanghai's cultural and intellectual scene in the early 1930s, when Chiang Kaishek virtually eliminated all communist activity in major cities and pushed CCP revolutonaries into the peripheral, impoverished rural regions of Jiangxi. One can view Lu Xun's acceptance of Marixsm as a dialectical process, bringing his subjective dispositions and personal psychic structures into dynamic interplay with social condistions and structures. Lu Xun took Marxism not only as an ideological guide for his politics, but also a scientific, epistemological guide for understanding the world. He advocated cultural revolution as a Marxist. He quoted Lenin to argue that without a change in attitudes and modes of behavior, the goal of revolution would never be accomplished. Lu Xun's understanding was largely acquired through Russian Marxists such as Lenin, Trotsky and Plekhanov, he was generally unaware of contemporary works by German Marxists, with the exception of Karl Wittfogel. As both a major CCP leader and Marxist theorist, Qu Qiubai contributed significantly to Chinese Marxism in two ways : he critiqued the Europeanization of the May fourth movement, and developed both a theory and practice of building a revolutionary national-popular culture. Qu's career as a writer and critic began with hist participation in Marxist movements. His writings on Russia and its leaders, including Lenin, whom he met on several occasions, aroused immediate excitement when they were published and had a lasting impact on China. Qu was ousted from his position in 1931. Withdrawing from political activity, he went to Shanghai, occupying himself exclusively with cultural and literary issues. During this period, he wrote profusely on Marxist cultural and easthetic theories, and literary criticism, in addition, he composed numerous zawen essays, and translated Russian Marxist literary theory and criticism. Qu's critique of Europeanization was derived from the classical Marxist category of class and the historical stages of progress, he was able to grasp the historical totality at the conjuncture of fragmentation and dislocation. The social reality that Qu faced was certainly different from today's advanced capitalism in the West. He frequently invoked the classical Marxist teleological notion of irreversible and unsurpassable stages in history. He maintained that 'Marxists differ from unscientific narodniks and anarchists in that they entertain no illusion at all of bypassing capitalism and arriving directly at socialism. There is only one way to socialism, that is, to carry out class struggle on the basis of capitalism. Qu mercilessly chastised the pretentiousness of Europeanized intellectuals even when they converted to Marxism. In his view, Marxism itself could not redeem them from the self-imposed 'epistemic violence' of the Western hegemonic discourse. For Marxism, he continued in his second stunning blast against Europeanization, appealed to the May fourth intellectuals precisely because it was the latest fashion of Westernization. Marxism was accepted by the Europeanizers as an ideology of Western modernity, yet as a constituent of Western epistemic violence, it could only perpetuate China's social problems. The Marxist-oriented revolutionary and proletarian literature that 'emerged from the May fourth foundation', Qu argued, 'simply offered the Europeanized gentry yet another sumptuous banquet to satisfy their new tastes, while the laboring people were still starving. Qu's main episteme was the Marxist notion of class analysis, which offers little of the theoretical ambiguity and sophistication that characterize poststructuralism. The crucial concept of class, however, did not appear reductionist or dogmatic in Qu's exposition, but rather polysemic and often self-contradictory. Qu introduced to Chinese Marxism the idea of a revoltion that would begin in cultural spheres, a revolution in which cultural change, as opposed to political or economic transformation, would be primary. The revolution in the cities was suppressed and had to shift its base to the impoverished rural areas ; at the same time, the left-wing urban intelligentsia took a 'Marxist turn' in the midst of the counterrevolutionary white terror. The urgent task for Qu, then, was to bring together the two revolutionary forces - the urban Marxist intellectuals and rural peasantry - under the hegemony of the proletariat. In his 'Draft postscripts on Marxist aesthetics' Qu stressed the significant role that culture and consicousness play in social revolution. He argued that under China's specific circumstances, revolutionary breakthrough might first occur in the superstructural realms, before social and economic transformations. He rejected the need to construct a bourgeois culture in China as an inevitable step, promoting cultural revolution as a means to subvert and go beyond bourgeois cultural hegemony. Mao Zedong saw the Chinese revolution as 'following the path of the Russians'. The Russian revolution, by waging a socialist revolution in an economically backward country, broke the teleology envisaged by classical Marxism. This was both an inspiration and justification for the Chinese communists, whose peasant revolution in a non-Western, agrarian society would constitute no less significant a beach than the Russian revolution to Marxist teleology. Classical Marxists could only conceive of a socialist revolution in the highly industrialized, advanced capitalist countries of the West, and hardly ever thought of the non-west as a possible site for revolution. White Russia was almost at the periphery of Eurocentric thinking, to which Marx remained captive, China was positively removed, and Marx's only serious reflection on China was cast in a rather ambiguous double bind. Marx did not want to follow Hegel's etnocentric notion to deny China a history outright, but he could not find a proper place in history for China, except in an indeterminate and vauge 'Asiatic mode of production'. In his Talks at the Yan'an forum Mao Zedong argued that urban Marxist intellectuals should come to understand that their passage from Shanghai to Yan'an 'involved not just two different localities but wo different historical eras. One is a semifeudal, semicolonial society ruled by big landlords and the big bourgeoisie ; the other is a revolutionary new democratic society under the leadership of the proletariat. To arrive in a revoltionary base area is to arrive in a dynasty, unprecedented in thousands of years of Chinese history, a dynasty were workers, peasants, and soldiers, and the popular masses hold power. |
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| 25 | 1918 |
Lu, Xun. Kuang ren ri ji [ID D18290]. Raoul David Findeisen : Lu Xun macht die deutlichsten Anleihen bei Friedrich Nietzsche in seinem Tagebuch. Ganze Passagen hat er fast wörtlich aus der Vorrede von Zarathustra übernommen. Im Rückblick spricht Lu Xun selber davon, dass er sich hauptächlich von Nietzsche und Gogol habe leiten lassen, als er seine Erzählung schrieb. Zarathustra verkündet die Lehre vom 'Übermenschen', der Wahnsinnige formuliert seine Hoffnung auf den 'wahren Menschen'. Nietzsches Angriffe richten sich gegen das Schristentum und seine ‚überirdischen Hoffnungen’, Lu Xun gegen die traditionelle konfuzianische Ethik und ihre 'Menschenfressermoral'. |
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| 26 | 1918-1919 |
Lu, Xun. Sui gan lu [ID D18294]. Raoul David Findeisen : Bezug auf Nietzsche nimmt Lu Xun am häufigsten in seinen 'Glossen'. Er fordert - von Darwin ausgehend, an dessen Evolutionslehre kein Zweifel bestehen kann – seine Zeitgenossen auf, sich anzustrengen und weiterzuentwickeln. Dabei sieht er in Nietzsches Ideal ein auf die Zukunft gerichtetes ethisches Gegenstück zu Darwins Theorie, denn 'obwohl seine Lehre vom Übermenschen sehr vage ist, beruht sie doch auf einer klaren Einschätzung des gegenwärtigen [Zustandes] der Menschheit'. Deutlich ist hier wiederum die Antithese, in der Lu Xun die Evolutionslehre einer vergangenen, naturgesetzlichen und materiellen Entwicklung zuordnet, während der Übermensch eine künftige, durch moralische Motivation des handelnden Individuums vorangetriebene, geistige Entwicklung vorzeichnet, wobei das Individuum im Sinne der Brücken-Metapher Nietzsches als Nahtstelle fungiert. Als sich Lu Xun über Gleichgültigkeit, Stillstand und Selbstzufriedenheit beklagt, fügt er aus Zarathurstra an : "Ich liebe die grossen Verachtenden, weil sie die grossen Verehrenden sind und Pfeile der Sehnsuch nach dem anderen Ufer". Ein weiteres Mal sieht Lu Xun in der Zerstörung eine Voraussetzung, um Kräfte für die Weiterentwicklung freizusetzen, denn Zarathustra fährt fort : "Ich liebe Den, welcher lebt, damit er erkenne, und welcher erkennen will, damit einst der Übermensch lebe. Und so will er seinen Untergang". Die essayistischen Arbeiten haben Lu Xun das Epitheton eines 'Nietzsche Chinas' eingebracht. |
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| 27 | 1920-1926 | Lu Xun arbeitet für das Ministry of Education in Beijing und ist Dozent für Literatur an der Beijing-Universität, der Beijing Normal University (Beijing shi fan da xue) und am Beijing Woman’s Normal College. |
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| 28 | 1920 |
[Nietzsche, Friedrich]. Chalatusitela de xu yan yi zhe fu ji [ID D12594]. Lu Xun schreibt im Vorwort : Nietzsches Stil ist ausgezeichnet, das Buch ist auch in Aphorismen verfasst. Von aussen her gesehen, finden sich darin oft Widersprüche, daher ist der Text nicht leicht zu verstehen. Das aus vier Kapiteln und einer Vorrede bestehende Werk wurde von 1883 bis 1886 [sic 1883-1884] geschrieben. Da das Buch in nur drei Jahren verfasst wurde, versteht sich von selbst, dieses Werk nicht als Gesamtheit des Denkens von Nietzsche zu sehen ; es gibt darin Widersprüche. Es gibt in der Übersetzung vielerorts Unzutreffendes, auf das ich nach weiterer Übersetzung noch einmal eingehen werde. Später schreibt er : Meine 'Einsamkeit' brauchte nicht lange Zeit, weil es bei mir noch etwas Nachwirkung von Nietzsches Zarathustra gibt, den ich gelesen habe. |
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| 29 | 1920 |
[Artsybashev, Mikhail Petrovich]. Xing fu. Lu Xun yi. [ID D12527]. Lu Xun. Xing fu yi zhe fu ji. [Nachwort]. Lu Xun calls Artsybashev a pessimist and a complete subjectivist, from whose every work arises the flavor of flesh, yet also a writer who only depicted the reality he saw. |
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| 30 | 1921-1929 |
[Artsybashev, Mikhail Petrovich]. Gong ren Suihuilüe fu. Lu Xun yi. [ID D12525]. Lu Xun was moved by Shevyrev's compassion. His view of this work influenced that of many of his followers and readers. He saw Shevyrev as torn apart by love and hate : a hate that originated in his broadminded love of mankind, and culminated in his final act of revenge on society. He disapproved Shevyrev's way of taking revenge : by firing at the masses whom he considered at least as culpable as the oppressive government. He was 'horrified' by this act of violence. Speaking about Shevyrev in Beijing, Lu Xun said : "We have not seen such wholly destructive men in China so far ; probably they will not appear here and I too do not hope that they do." 1922 Hu Zhongchi draw reader's attention to Lu Xun's translation in Wen xue xun kan. He retold the book's contents, though errors in his summary are suggestive of a cursory reading. He concluded with praise both for Artsybashev's writing style and the avowed word-for-word policy notwithstanding, for the fluency of Lu Xun's Chinese. "This translated book is not only a great contribution to the world of letters, but also a powerful testimony to the need of promoting direct translation. 1925 Briefe von Lu Xun and Xu Guangping. "I suspect that in the golden age of the future, renegades will still be condemned to death, and everyone will still consider it the proper business of a golden age ; the problem being that everyone is different. Anyone who tries to destroy utterly this general trend easily turns into individualist anarchist like Shevyrev. The destiny of such a character at the present time – though perhaps it's in the future – is that he wants to save the masses but is persecuted by the masses and ends up a solitary figure ; in an excess of fury and frustration, he does an about-turn, regards everyone as his enemy, and opens fire indiscriminately, destroying himself in the process." 1929 Shao Xian : "The author of Worker Shevyrev, from what they say, passed out of fashion and is now dead and gone. His empty reputation will now probably vanish as well from the world. But no, certainly not ! –at least for me, he shall remain at the centre of my admiration. Because he has made me open my eyes, and with courage ride the mad currents of this age. That I am no more tortured to death by any morality, nor crushed flat by any faith, is all due to the strength I have taken from him. Surely, it is in perpetual nothingness that deepest pleasure lies." |
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| 31 | 1922 |
[Wilde, Oscar]. Yu zhong ji. Zhang Wentian, Wang Fuquan yi. [ID D12194]. Zhou Xiaoyi : Lu Xun, after reading the Chinese translation of Gide's biography of Wilde, noted that "his way of life is most interesting". He also noted Wilde's style of dress. In a paragraph discussing Wilde's appearance, he states : "look at his pictures, in which Wilde wears a flower in his button hole, taking a cane inlaid with ivory ; how handsome he is, everybody would love him, not to speak of women". Lu Xun used the phrase 'aesthetic costume' to describe Wilde's dress. Lu Xun is critical of Wilde's way of life, because, as a writer with a social mission and ideals, he is hostile to aestheticism and art for art's sake as universal principles for literature. He emphasizes the essentially social function of art. Yet no matter how critical he was, he had a clear image of Wilde as an aesthetic figure. |
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| 32 | 1923 |
Lu, Xun. Nuola zou hou zen yang ? = Lu, Xun. After Nora walks out, what then ? : a talk given at the Peking Womens Normal College = Beijing shi fan da xue on December 26, 1923. [ID D26227]. What I would like to talk about today is this : After Nora walks out, what then ? Ibsen is a Norwegian literary figure who lived in the second half of the nineteenth century. His works, with the exception of a dozen or so poems, are all plays. There was a period when most of his plays dealt with social issues – these are known to the world as "realistic problem plays". Nora is one of these "problem plays". Nora is also known as Ein Puppenheim, the Chinese translation for which is Family of puppets. But the term "puppe" refers not only to puppets on strings – it also covers dolls that children play with ; by way of metaphorical extension, the term also includes people who do whatever other people tell them to do. In the beginning, Nora was living contentedly in a so-called "happy family"; but she was eventually to wake up to the fact that she was a mere puppet manipulated by her husband, and her children were puppets manipulated by her. And so she walked out. We hear the slam of the door, and then the curtain falls. But I'm sure you're already familiar with all of this, so I won't go into the details. What would it take for Nora not to leave ? We might say that Ibsen himself has already provided us with an answer, which is the play The Lady from the Sea (Die Frau vom Meer), also translated as Sea Madame in China. This is about a woman who was already married, but had a lover before the marriage who lived across the sea. One day, the lover appeared out of nowhere and came looking for her, asking her to go away with him. She went and told her husband that she wanted to meet with this outsider. Towards the end of the play, the husband says to her : now you're totally free. You're free to choose [whether or not to leave], but you'll have to bear the consequences yourself. And that changed everything. She decided not to leave. Had Nora been given the same kind of freedom, then perhaps she would have chosen to stay put. But Nora did leave after all. What next ? Ibsen does not provide us with an answer – what's more, he's dead. But even if he weren't dead, he wouldn't have been responsible for giving us an answer anyway. This is because Ibsen is a writer of poetry – he is not the kind of person who identifies social problems and figures out solutions on our behalf. He is like an oriole : the oriole sings because it wants to sing ; it is not singing because it wants to amuse people, or because it wants people to benefit from it in some way or other. Ibsen is a man not very attuned to the ways of the world. It is said that, once, at a banquet in which some women got together to show their appreciation for his writing of A Doll's House, which gave people new insights into issues such as female self-consciousness and the emancipation of women, Ibsen announced, to everybody's surprise : "That isn't what I meant when I was writing the piece – I was simply composing poetry". So what happens after Nora leaves ? Others have expressed their views. An Englishman once wrote a play about a 'modern' woman who walked out on her family, but then had nowhere to go and ended up a degenerate in a brothel. And there was a Chinese chap – what shall I call him ? – let's say, a writer from Shanghai – he said he had seen a version of Nora that was different from the present translationiv : Nora comes back in the end. It's a shame no one else has ever seen this version – unless Ibsen himself sent the manuscript to him. But if we were to work at it with some common sense, then Nora, really, is left with only two ways out : either go home, or go to the dogs. Because - imagine if it were a little bird. While it's true that there's no freedom in a cage, once the bird leaves the cage, there are cats and hawks and other such [predators] outside. And, if it were a bird that's been caged for so long that its wings have become paralyzed – it no longer remembers how to fly – then, really, there's no way out for this bird. Well, there is another way out, which is to starve to death. But if it starves to death, then it would no longer be living, which would mean that it would no longer have any problems to deal with – so that's hardly a valid way out. The most painful thing in life is to wake up from a dream and have nowhere to go. People who dream are in bliss. So unless you can see a way out for these dreamers, it is important not to wake them up. Look at Tang dynasty poet Li He. Now isn't he a man who's spent his entire life in the dregs ? Yet on his deathbed he said to his mother : "Mamma, God built this mansion of white jade, and wants me to go and write a piece to celebrate the occasion". Now how can this be anything but a lie ? How can it be anything but a dream ? Yet here you have a young one facing an old one, one who's dying facing one who lives on ; [thanks to these lies and dreams] the dying one is able to die happily, and the living one lives on, at peace with oneself. It is at times like this that lies and dreams serve a great purpose. For this reason, I believe that if there is no way out, then what we need is a dream. But one should never, ever, dream of the future. Artsybashevv once used his novel to question those idealists who dreamt of building a golden world of opportunity, who encouraged others to suffer in the pursuit of this cause. He said : "You promise a golden world of opportunity to their sons and grandsons, but what have you left for they themselves to enjoy ?" Well, there is something for them to enjoy, and that is their hopes for the future. But this is to be enjoyed at a price. In order to have these hopes, the senses are fine tuned to be so acute as to feel one's pain and suffering in all their intensity; the spirit is summoned to witness one's rotting corpse of a body. At times like this, dreams and lies become vital. So I believe that if there is no way out, then what we need is a dream – not a dream of the future, but a dream in the present. But since Nora has already woken up from her dream, it is difficult for her to return to that dream state, and she is left with no choice but to leave. Yet once she leaves, at times it seems that her only options are return or ruin. Otherwise, what we need to ask is this : Has she brought anything with her, other than her emancipated mind ? If all she has is a mauve woolen scarf like the kind you women in the audience are wearing now, then, be it a two-foot scarf or a three-foot scarf, however wide it is, it is totally useless. She needs to be rich – she needs to have possessions in her suitcase. To put it bluntly, she needs money. Dreams are fine ; otherwise money is essential... In fact, these days, if somebody like Nora were to leave home, she probably wouldn't have too much trouble surviving, because this is a special person we're talking about – many people will sympathize with her and help her sustain a living. But relying on other people's sympathy for a living already implies giving up one's own freedom. Now suppose there were a hundred Noras who left home, then there would be a lot less sympathy to go around ; now suppose there were tens of thousands of Noras who left home – people would start to get annoyed. Far more reliable [than sympathy] would be to have some form of economic leverage in one's own hands. Now if we manage to acquire economic freedom, does this mean that we are no longer puppets manipulated by others ? Puppets we still are. The only difference is that we are less at the mercy of others, and have more people under our thumbs. Because, in modern society, it's not just women who are at the mercy of men, men are at the mercy of other men, and women at the mercy of other women ; there are also men who are at the mercy of women – this isn't something that will change overnight with a few women acquiring economic privileges. But then again we can't just sit there hungrily waiting for our ideal world to drop out of the sky ; like a fish lying on a wagon trail desperate for a sprinkling of water, we need something to ease our gasping, and the quest for down-to-earth economic privileges does just that – it is something to keep us going while we ponder other alternatives. Then again, so far we've been treating Nora as an ordinary person. Suppose she was special. Suppose she was the kind of person who would be willing to stick her neck out for others – that would make it a different story altogether. We have no right to encourage or entice people to make sacrifices ; nor do we have the right to stop people from sacrificing themselves. Mind you, the world is full of people all too happy to make sacrifices, all too happy to suffer pain... A pity it is that change does not come easily in China – this is a place where anything from moving a table to refitting a stove will almost always end in bloodshed – and the shedding of blood does not always guarantee that the table can be moved, that the stove can be refitted. It will take some hard lashing on the back with a giant whip [to bring about change] – China simply is not going to move of its own accord. I believe this lashing is going to come sooner or later (whether or not it’s a good thing is another matter), but China is definitely going to be hit hard. As for where this blow will come from, how it's going to come, I really cannot say with any certainty. And that concludes my talk. He Chengzhou : In his lecture, Lu Xun is not so much concerned with Ibsen's Nora as with the fate of a Chinese woman who dares to leave home. It seems that he only borrows the image of Nora and develops it into a polemic about the current situation of Chinese women. The solution for a Chinese Nora, according to Lu Xun, is that she will 'either degrade herself, or come back home... another alternative is to starve to death'. For women to avoid being puppets, it is very important to have equal economic rights with men. 'First, there must be a fair sharing between men and women in the family ; secondly, women should enjoy equal rights with men in society'. But Lu Xun immediately confesses that he has no idea about how women can win these rights. All he knows is that they must fight for it, and fight hard. |
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| 33 | 1923 |
Lu, Xun. Lu zhou [ID D27661]. In his response to Zhao Jingsheng (about fairy tales 1922), Lu Xun remarked that Hans Christian Andersen was more 'naive' than Oscar Wilde. He pointed out the simplicity and purity in Andersen but sophistication and wit in Wilde. He agreed with Zhao that Wilde's fairy tales were beautifully written and profound in insights. Lu Xun recalled that when he was young he liked reading Jing hua yuan, which is a famous Chinese novel about exotic adventures. As he read Wilde's fairy tales, was reminded of his love for this Chinese classic and saw the same kind of beauty and exoticism in both. The strange combination of dreamland and reality, and the multi-layered meanings in Wilde's fairy tales were particularly appealing, aesthetically and philosophically, to intellectuals even like Lu Xun who was renowned for his unsympathetic position on the more sentimental writers in his day. The irony and literary depths in the fairy tales of Wilde certainly moved him. |
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| 34 | 1925-1930 | Gründung der Wei ming she (Unnamed Society) durch Lu Xun zur Übersetzung sowjetischer Literatur. |
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| 35 | 1925 |
Lu, Xun. Lun zhao xiang zhi lei. [On photography]. 論照相之類 Er schreibt : "J'ai vu quelques dizaines de photos d'hommes célèbres, Tolstoï, Ibsen, Rodin, tous déjà âgés ; Schopenhauer, le visage tourmenté ; Wilde avec cet air un peu idiot qu'il avait déjà à l'époque où il porta des vêtements sophistiqués ; Romain Rolland un peu bizarre ; Gorki, un vrai clochard. Tous portaient sur leur visage les traces de souffrances et de luttes". |
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| 36 | 1925 | Jing Yinyu übersetzt La véridique histoire de Ah Q von Lu Xun ins Französische. | |
| 37 | 1925 |
Lu, Xun. Za yi (1925). [ID D26466]. Lu Xun schreibt : "It is said that the youth are fond particularly of Byron, and I think this is generally true. As far as I am concerned, I still remember how I enjoyed and was excited and envouraged by reading his poems. Another reason for the exceptional affection for Byron among the Chinese in those days was that he had assisted the independence cause of Greece. During the last years of the Qing dynasty, revolutionary thought prevailed among a section of Chinese youth. Any cry for revenge and rebellion was bound to have a response." |
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| 38 | 1926 | Lu Xun ist Professor an der Xiamen-Universität in Fujian. |
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| 39 | 1926 |
Lou, Siun [Lu Xun]. La vie de Ah Qui [ID D24518]- Jing Yinyu schreibt an Romain Rolland, dass er ihm seine Übersetzung von La véridique histoire de Ah Q von Lu Xun geschickt hat. Rolland publiziert sie in Europe : revue mensuelle. Rolland schreibt : "At first glance this story is an unremarkable work of realism. However, then you discover the sharp humor contained in it. After reading it, you surprisingly feel that this tragic and comic fellow won’t leave you. You can't bear to part with min." |
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| 40 | 1926 |
Bai, Sheng [Sun, Fuyuan]. Luoman Luolan ping Lu Xun [ID D24519]. Sun Fuyuan schreibt : « J'ai reçu une lettre de Quan Fei [Sun Fuxi] dans laquelle il y a un jugement de Romain Rolland sur Lu Xun à propos de La véridique histoire de Ah Q. C'est un art réaliste avéré d'ironie. La figure misérable de Ah Q reste toujours dans le souvenir... » |
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| 41 | 1926 |
Ankündigung der Publikation von Pang huang (1925), einer Novellensammlung von Lu Xun. In : Mang yuan ; no 15 (1926). "After the publication of Lu Xun's first collection of stories, Na han (1923), not only did the Chinese literary world commend it as an undying masterpiece, the modern French writer Romain Rolland read Mr. Jing Yinyu's translation of The true story of Ah Q and also gave it extraordinarily high praise, saying this is a kind of realistic art full of satire, and Ah Q's suffering face will be eternally left in my memory." |
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| 42 | 1926 |
Brief von Jing Yinyu an Lu Xun. [Das Original wurde an die Creation Society (Chuang zao zhou bao) geschickt]. Er schreibt : "Mr. Lu Xun : I took the liberty of translating The true story of Ah Q into French and sending it to Mr. Romain Rolland. He praised it highly (hen cheng zan). He said :... 'the story of Ah Q is a superb work of art, the proof being that I felt it was even better on the second reading. The miserable appearance of the pitiful Ah Q lingers in my memory...' Mr. Romain Rolland said he was going to publish it in the journal run by him and his friends, 'Europe'. Forgive me for not asking for you consent when translating it. Fortunately, I haven't gone beyond the bounds of propriety but rather gained glory for our countrymen, of which you should be informed and for which you should be thanked. I think you will also like having added this kind of foreign friend." Paul B. Foster : Lu Xun says that he never received Rolland's letter from the Creation Society. There is a long-running controversy about whether there ever was a letter from Rolland to Lu Xun. It is speculated that if there was a letter in the hands of the Creation Society, it was probably purposely suppressed because of the feud between Lu Xun and the Creation Society. |
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| 43 | 1927 | Lu Xun ist Professor für chinesische Literatur an der Zhongshan-University in Guangzhou (Guangdong), Leiter der School of Literature und Dekan des Chinese Literature Department. |
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| 44 | 1927-1930 | Lu Xun wird hauptberuflicher Schriftsteller in Shanghai und gibt Vorlesungen an der Fudan-Universität. Er liest russiche Literatur, studiert marxistische politische und kulturelle Theorie und hat Kontakt mit der chinesischen kommunistischen Partei. |
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| 45 | 1927 |
Lu, Xun. Fen [ID D18309]. Lu Xun schreibt : Da der Starke den Schwachen besiegt hat, so Friedrich Nietzsche, nennt der Schwache das Tun oder Handeln des Starken das Böse. Das Wort Böse ist deshalb in der Tat ein Fürwort für den Stärkeren ; Nietzsche fordert zur Selbststärkung auf und preist den Starken. Yu Longfa : Wie Nietzsche betont Lu Xun die Tapferkeit. Wer auf den Weg zu sich selbst gelangt, macht nach Nietzsche die Züge des künftigen 'Übermenschen' kenntlich. Lu Xuns Begegnung mit Nietzsche stützt sich vorwiegend auf den Übermensch-Gedanken, indem er dessen Ideen im Wesentlichen als Mittel für die geistige Aufklärung der Bevölkerung benutzt. Der Übermensch Nietzschescher Prägung besitzt den Willen, der im emotionalen Bereich frei werden kann. Gerade diesen übermenschlichen Willen will Lu Xun betonen und den moralischen und ästhetischen Werten vor den materiellen den Vorrang geben. Von daher zeigt sich bei ihm eine Tendenz, nicht die gesamten Werken von Nietzsche heranzuziehen, sondern eine selektive Nietzsche-Rezeption durchzuführen. |
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| 46 | 1927 | Lu Xun schreibt : "L'Anglais Bertrand Russell et le Français Romain Rolland s'opposaient à la guerre et tout le monde les a admirés, mais en fait c'est une chance que leurs paroles n'aient pas été suivies d'effet, car l'Allemagne aurait conquis l'Angleterre et la France. En fait, à moins de réaliser dans le même temps le pacifisme an Allemagne aussi, c'était chose nulle et non avenue. C'est pour la même raison qu'on n'a pu mettre en acte la théorie de non-résistance de Tolstoï. Comme il était opposé à ce qu'on rendît le mal pour le mal, il proposait de ne pas suivre les ordres du tsar : s'il entrôlait des conscrits, qu'on refusât de partir soldat et de faire la guerre, s'il ordonnait aux policiers de faire des arrestations, que les policiers refusent d'arrêter, s'il ordonnait au bourreau de faire des exécutions, que les bourreaux refusent d'exécuter, que tous en comme cessent d'obéir aux ordres du tsar et lui-même finirait par perdre le goût d'en donner, il perdrait toute ambition et le monde connaîtrait une grande paix. Mais il suffisait qu'une petite partie de ces gens lui obéissent pour que ce beau mécanisme ne fonctionne plus." | |
| 47 | 1927 |
Lu, Xun. Luosu he wei kou [ID D28835]. Lu Xun admitted that he had not read Irving Babbitt in the original and knew of Babbitt only from scanning Japanese material. He criticized Babbitt only as a means of undermining the reputation of Liang Shiqiu and others, who 'chewed over Babbitt somewhere in Shanghai' for the purpose of manifesting their special taste. It was Lu Xun's intention to ruin any preference for their 'taste'. He had the audacity of giving snorts of contempt for Babbitt without reading his works, and even went to the extreme of classifying Babbitt as a member of the New Moon Society. |
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| 48 | 1928 | Lu Xun steht im Kampf gegen die Crescent Moon Society (Xin yue she) und unterschreibt ein Manifest der Creation Society (Chuang zao zhou bao). |
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| 49 | 1928 |
Lu, Xun. Pian jiao hou ji [ID D26359]. Lu Xun schreibt : "Why did we specially choose Ibsen ? Because we had to build up a kind of Western-style new drama, to elevate our drama to use the vernacular to promote prose drama. And furthermore, because it was a task to urgent, we could only use practical examples to stimulate the senses of our intellectuals. These reason are all correct. But I still think that it was also because Ibsen dared to attack society and to fight against the majority. Probably, at thet time, people who introduced Ibsen also had the feeling that they were an isolated army surrounded in an old fortress. When we now look at their tombstones, we still feel the solitude, yet its spirit was great." |
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| 50 | 1928 |
Lu, Xun. Wen xue de jie ji xing [ID D28834]. Liang cited Shakespeare's Macbethas a great literary work, notwithstanding that class differences were of minor importance in the portrayal of the main characters and for interpreting the play. He asserted that 'class nature is only a superficial phenomenon' and that 'the essence of literature is the expressing of human nature'. |
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| 51 | 1929 | Lu Xun besucht Beijing, gibt Vorlesungen an der Yanjing-Universität. Er unterschreibt ein Manifest der The General Assembly of the Chinese Freedom Movement. |
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| 52 | 1929 |
Lu, Xun. Lu Xun quan ji [ID D11283] Lu Xun schreibt : Nietzsche, der die Evolutionslehre Darwins auf die Spitze getrieben, das Christentum angegriffen und die Lehre des Übermenschen verkündet hat, behauptet zwar, wissenschaftlich vorzugehen, doch [seine Philosophie] hat religiösen Charakter. Ich verstehe daher nicht, warum seine Theorien so sehr bewundert und gelobt werden. Die frühesten Anhänger Nietzsches waren gebildet und in allen Wissenschaften bewandert. Doch wenn einer etwas verkündet, schnappen es die Laute auf wie Nahrung. Diejenigen, die an ihn glauben, wollen noch mehr Anhänger gewinnen, aber es wird ihnen nicht gelingen, das Publikum zu überzeugen, weil sie nicht sachlich bleiben. Raoul David Findeisen : Lu Xun hat den Ausdruck 'Genie' als Synonym für den 'wahren Menschen' verwendet, für den 'unabhängig handelnden Menschen', von dem er letztlich erwartet, er würde den Übermenschen verwirklichen. Nietzsche greift das Christentum an, während sich die Polemik von Lu Xun gegen die konfzianische Ethik und ihren ‚Kannibalismus’ richtet. Beide Protagonisten sind der Gleichgültigkeit und dem Spott ihrer Umgebung ausgesetzt. Beider Einsamkeit geht auf eine hoch entwickelte Sensibilität zurück, die bei Lu Xun unmittelbar als Wahnsinn gekennzeichnet erscheint. |
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| 53 | 1929 |
Lu, Xun. Lu Xun lun mei shu. (Dalian : Da zhong shu dian, 1948). [Lu Xun on arts]. 魯迅論美術 Lu Xun published a catalogue of twelve paintings by Aubrey Beardsley (Biyazili hua xuan. (1929). Beardsley's paintings were introduced in an organized and focused manner, not just reproduced separately as illustrations. According to Lu Xun, Beardsley was the most widely known painter in black-and-white painting and greatly influenced Chinese modern art. Unique in the unstable society of 1890s, Beardsley was incomparable in the area of decorative arts and a pioneer of xin de yi shu [new art] during fin-de-siècle. In Beardsley's paintings, the folly and ugliness of the upper class and people indulging in sensual pleasures are often shown. Therefore, he was regarded as an indecent and offensive artist by some of his contemporaries. This painter, seen through the eyes of Lu Xun and others, was a talented and artistic rebel who was the spokesperson for uninhibited beauty and desires. |
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| 54 | 1930 | Lu Xun muss sich vor der Guomindang verstecken. |
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| 55 | 1930-1936 | Gründung der marxistisch-leninistischen Gesellschaft Zuo yi zuo jia lian meng [League of Leftist Writers] unter Lu Xun. | |
| 56 | 1931 | Lu Xun's son Haiying had found a copy of Mark Twain's Eve's diary, illustrated by Lester Ralph. Lu Xun immediately arranged for its translation : Xiawa ri ji translated by Li Lan [ID D29490]. In the preface Lu tries to tackle the incongruity in Mark Twain – a popular, humorous story teller, who yet proved to be an inveterate pessimist. To his own question : 'Laughing and joking while full of sorrow and sadness, how come ? ' Lu Xun explained that after the Civil War, America became an industrialized society where it was hard for writers to freely express their true thoughts and feelings because people's minds and personalities were now cast in the same mould. According to Lu Xun's observation of what American writers had become, 'Anyone who dared to assert his self would be persecuted'. Mark Twain chose instead to tell jokes in order to survive as a writer, hence this contradictions : sorrow on the one hand, and satire on the other. |
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| 57 | 1931 |
Lu, Xun. A reply to Qu Qiubai [ID D38988]. My dear Comrade I was very pleased to read your letter on translation. Since the appearance of a flood of translations last year, many people have raised their eyebrows, sighed, and even made sarcastic remarks. As one who translates from time to time, I should have made some comments, though I haven't so far… Take, for an example, Old Master Zhao Jingsheng. On the one hand, he criticizes the translations of treatises written from a scientific perspective, saying that it is ludicrous for authors to be forced to remain anonymous. On the other, he proclaims that the common folk will probably not understand such translations… First we need to decide what sort of readers among the common folk we are translating for. There are roughly three types : 1) the well-educated ; 2) the semi-literature ; and 3) the illiterates. The third group actually cannot be classified as 'readers', and it is the task of paintings, public lectures, drama, and movies to enlighten them. But the same books should not be given to the first two categories of readers, each of which should be provided with reading material appropriate for them. Even for the second group, we cannot give them translations. Adaptations are good enough, but creative works are still the best… Why not Sinicize our translations entirely, and save our readers trouble ? Can an incomprehensible translation be called a translation at all ? My answer is : It is still a translation because it introduces not only new content but also new means of expression… Even in translating works for the second group of leaders, I think we should introduce new expressions and new syntax from time to time… Roughly speaking, our written language cannot yet be infused with the crude dialect of the different regions in China, and it should either be a special vernacular language, or the dialect of one special region… |
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| 58 | 1931 |
Qu Qiubai. On translation : a letter to Lu Xun [ID D38987]. Dear Comrade The publication of your translation of Razgrom (The rout) [by Aleksandr Alexandrovic Fadeev] was of course a truly memorable event in China's cultural life. Translating masterpieces of proletarian revolutionary literature from around the world and introducing these works to Chinese readers in a systematic fashion (especially masterpieces from the Soviet Union, which through concrete images present in an artistic way the 'heroes' of the great October Revolution, the Civil War and the Five-year Plans) – this is one of the crucial tasks of writers working for proletarian literature in China. Producing translations such as those of Razgrom and Zhelezhyi potok (Iron stream) [by Alexander Serafimovich] should be regarded as the responsibility of all Chinese revolutionary writers. Every revolutionary fighter on the literary front and every revolutionary reader should celebrate this victory, even though this is just a small victory… Translation – in addition to introducing the content of the original to Chinese readers – has another important function, that is, helping us create a new modern Chinese language… Since we are engaged in the struggle for a new modern Chinese language, we cannot but set two standards for translation : absolute accuracy and absolute vernacular Chinese. This is to introduce the language of a new culture to the masses… The use of absolute vernacular Chinese for translation does not necessarily mean that we cannot 'preserve the spirit of the original'. Of course, this is difficult and painstaking. But we must never balk at difficulties ; we must make every effort to overcome them… Even if the new words have not yet been completely assimilated, the potential for such assimilation is already there. As for new sentence structures, it is more difficult. Still, sentence structure in the spoken language have changed and improved greatly… |
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| 59 | 1932 |
Lu, Xun. Zhu Zong E wen zi zhi jiao. (1932). In : Nan qiang bei diao ji (Shanghai : Tong wen shu dian, 1934). [Celebrating Chinese-Russian literary ties]. "As for me, I could say that I grew up suckling the milk of Russian literature. The influence of Russian literature on me is far from being limited to the literary aspect, for it has entered my blood and marrow : the way I see and make sense of everything in the world, even my very soul, are inseparable from the moral instruction and upbringing (tao ye xun yu) of Russian literature." |
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| 60 | 1932 |
Ge, Baoquan. The influence of classical Russian literature on modern Chinese literature before and after the May fourth movement. Lu Xun schreibt : Russian literature, since the time of Nicolas II, has been "for life". No matter whether its object has been inquiry or the settling of questions, or whether it has fallen into the depths of mysticism or despair, its main current has been only one : for life. |
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| 61 | 1932 |
Qu, Qiubai. Again on translation : a reply to Lu Xun [ID D38989]. Dear Comrade Translation is still an extremely important issue in China. Since the May Fourth Movement, time and again the issue of translation has been raised, and time and again translation has been the subject of controversy. Yet the problem has not been resolved as far as basic principles are concerned… I have put forward the principle that 'in translating, one should absolutely adopt vernacular Chinese as the standard and achieve accuracy'… To say, as you did, 'accuracy even at the expense of fluency' or 'at present we could tolerate some degree of non-fluency' is to fail to pay heed to the principle that vernacular Chinese should absolutely be adopted as the standard… In translating as well as in writing works of our own, we should of course be bold enough to use new means of expression, new words and new sentence structures… We should not allow ourselves the easy way out and accept everything that is 'not fluent'… We must not only adopt strange-looking sentence structures, but also consider how these structures can 'become our own'. If in translating we just concentrate on 'bringing in strange-looking sentence structures' and fail to consider if these structures can be read aloud by living people… We should adopt a new guiding principle : we must make sure that new words and new sentence structures become alive and that these new means of expression can be assimilated into a living language… The new language should be a language of the masses – a language that the masses can understand and use. As the Chinese language is imprecise, we should make it more precise. As the Chinese language is unclear, we should make it clearer. As the Chinese language is not rich, we should make it richer… |
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| 62 | 1933 | Gründung der Chinese Alliance for the Protection of Civil Rights (Zhongguo min quan bao zhang tong meng) unter der Führung von Lu Xun, Song Qingling und Cai Yuanpei. Sie protestieren mit einer Gruppe chinesischer Schriftsteller, wie Lin Yutang, Lu Xun und Cai Yuanpei, vor dem deutschen Konsul Richard C.W. Behrend in Shanghai gegen die Verfolgung der fortschrittlichen Schriftsteller in Deutschland und überreichen dem deutschen Konsul zum Schutz der Menschenrechte ein Protestschreiben gegen die Verfolgung von Persönlichkeiten und Schriftstellern, gegen die Judenverfolgung und gegen Massenverhaftungen. |
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| 63 | 1933 |
Lu, Xun. Six essays in defense of Bernard Shaw [ID D27925]. Lu, Xun. Song xiao. (Febr. 15 1933). [In praise of Shaw]. In : Lu, Xun. Wei zi you shu. (Shanghai : Qing guang shu ju, 1933). 偽自由書 = He, Jiagin. "In praise of Shaw". In : Shen bao ; Febr. 7th (1933). Before Bernard Shaw's arrival, the Da wan bao [Shanghai Evening News] anticipated that Japanese troops in North China would suspend their aggression in deference to Shaw and called him "Old Man Peace." However, after the publication of the translation of the Reuters dispatch of Shaw's speech to the Hong Kong young people, it condemned Shaw for making "Communist propaganda." According to the Reuters report of 11 February 1933, Shaw had remarked that the Reuters reporter did not look Chinese to him and was surprised that there was not a single Chinese among those present. "Are they so ignorant that they have not heard of me?" he asked. Actually we are not ignorant. We understand quite well the benevolence of the Hong Kong governor, the regulations of the Shanghai Municipal Council, the friends and enemies of certain celebrities, as well as the birth- days and favorite dishes of the wives of public figures. But about Shaw, sorry, we only know the three or four titles of his that have been translated. Thus, we do not know his thoughts before or after the European War, or his thoughts after his Russian trip. But according to a Reuters report of 14 February from Hong Kong, he said to the students of Hong Kong University, "Should you not be a Red revolutionary before the age of twenty, you will end up a hopeless fossil by fifty; should you be a Red revolutionary by twenty, you may be all right by forty," so you know that he is great. What I call greatness lies not in his asking our people to become Red revolutionaries. Our peculiar national condition does not allow one to be Red. Merely declaring oneself a revolutionary could lead to losing one's life the next day. There is no way to see a Red live to forty. I call Shaw great because he thought of our youths' future, when they will have reached forty or fifty, and he did not lose sight of their present either. The wealthy with their future in mind can hide their riches in foreign banks and leave China by airplane. But the poor, in a country where politics are whirlwinds and the people the hunted deer, hardly dare or are able to think about tomorrow. So, how can they think twenty or thirty years ahead ? This is a simple, yet big question. This is why Shaw is Shaw ! Lu, Xun. Xiao Bona jiu jing bu fan. In : Da wan bao (Febr. 17 1933). [Bernard Shaw is truly unusual]. In : Lu, Xun. Wei zi you shu. (Shanghai : Qing guang shu ju, 1933). 偽自由書 There is nothing so bad or so good that you will not find Englishmen doing it ; but you will never find an Englishman in the wrong. He does everything on principle. He fights you on patriotic principles ; he robs you on business principles ; he enslaves you on imperial principles ; he bullies you on manly principles ; he supports his king on loyal principles and cuts off his king's head on republican principles. His watchword is always Duty ; and he never forgets that the nation which lets its duty get on the opposite side to its interest is lost. This is Bernard Shaw's satirical critique of British society in his The Man of Destiny. It is quoted here by way of introducing him and to let our readers know the secret to becoming great. Satire fills his works, embarrassing its victims and delighting its onlookers; the popularity of these smart lines has established Mr. Shaw. Becoming famous by promoting "isms" is the trend among today's scholars. Shaw has a talent for satirizing Englishmen, though not much talent for evaluating himself. He is at the forefront of pacificism and a lifelong supporter of socialism; his plays, novels, and essays are full of exposition of his doctrines. Though he believes in socialism, he is a mean accumulator of material wealth, as well as a strong denouncer of charity. As a consequence, he has already become a millionaire sitting on immense wealth. Shaw sings the tune of equalizing wealth, speaks up for oppressed workers, and makes sarcastic remarks about parasitic capitalists ; for these he wins the sympathy of the public. When a new book of his is out, all rush to buy it. When one of his plays is presented, it usually runs for a hundred or more performances - he never has to worry about box office sales. Shaw promotes Communism by sitting in an easy chair with smiling complacency. Gaining fame by isms is like displaying a sheep's head yet selling dog meat to cheat buyers. What a deception ! Shaw is very successful and now has come to our poor China to enjoy himself. We thank him for his enthusiasm in advising our young people : in Hong King he told students, "Should you not be a Red revolutionary by twenty, you will end up a hopeless fossil by fifty; should you be a Red revolutionary by twenty, you may be all right by forty." In other words, the reason for being a Red revolutionary is out of fear of becoming a fossil or a dropout rather than for the principle itself, which certainly has very little to do with the future of the individual. To become something in society, one merely has to avoid being petrified or falling behind. How can this famous piece of advice on social behavior, so boldly expressed, not make us reverent toward Shaw the modern-day Confucius ? But Mr. Shaw, don't you look down upon our venerable China. Not that we don't have fashionable scholars like you in our country, sitting in easy chairs and casting sarcastic remarks to propagate isms. This is familiar enough to us, and there is no need for your advice. But had you known this, I imagine you would have merely smiled with delight and said, "I am not alone on this path." According to our humble understanding, the important element of a great personality is honesty. Whatever doctrine one may believe in, one must honestly practice it, not just mouth it and make it sound good. If Mr. Shaw or his compatriots really believe in Communism, please let him distribute his wealth first, then talk. But, come to think of it, if Mr. Shaw were actually to distribute his property, clothe himself in ragged proletarian garb, and come as a third-class passenger to China, then who would take the trouble to see him ? When we think about it this way, Mr. Shaw is truly unusual. Lu, Xun. Qian wen de an yu. [A footnote to the foregoing essay by Le Wen]. In : Lu, Xun. Wei zi you shu. (Shanghai : Qing guang shu ju, 1933). 偽自由書 The foregoing essay makes several important points: First, Shaw's sharp sarcasm, effective in "embarrassing its victims and delighting its onlookers," is merely a trick to achieve "greatness." Second, this trick of "becoming famous by promoting isms" is equivalent to displaying a sheep's head, but selling dog meat instead. Third, the Shanghai Evening News seems to say that, in principle, one must either sing praises without restraint or open up one's cannibalistic big mouth to swallow one's fellow men; whether one drops out of the rank and file or becomes a fossil at the age of fifty is of no consequence. Fourth, if Bernard Shaw does not agree with these principles, he ought not to sit in his easy chair nor possess any property. Of course, it would be a different story if he did. Yet, even the rottenness of China has reached such a degree that within the class of petty bourgeoisie, people still love the future and do not care to drop out. They march toward the road of revolution. They utilize every posssible personal ability to assist earnestly in the building of revolution. Though previously supporting capitalist connections, they now consciously are transforming themselves into rebels against the bourgeois class, and rebels are often more troublesome than enemies. Their attitude is that, when you are endowed with a million-dollar estate or world-wide prestige and you still rebel and still feel dissatisfied, you are utterly contemptible. So Shaw is contemptible. Fishing for fame by promoting doctrines, as they say, is loathsome philistinism, typical materialism. So Shaw is contemptible. However, you and I know that Bernard Shaw does not belong to these categories, even though he is despised by these critics. The Shanghai Evening News has also mentioned that China, too, has those who "sit in easy chairs and cast sarcastic remarks to propagate isms, . . . there is no need for your [Shaw's] advice." This similarity be- tween China and the West is so obvious to the editorial writer that it seems to need no elaboration, but none of us were ever aware of the existence of these armchair critics. The pity of it is that although cannibalism has been adopted by our ruling class for quite some time, it still has no supporters with Shaw's status. Alas! As for Shaw, his greatness has not been diminished in the least by the loathing of his embarrassed victims. Hence I say good riddance to the troublesome but obsequious literary men in Chinese history who allowed their property to be confiscated by their rulers. Lu, Xun. Shui de Mao Dun ? (Febr. 19 1933). [Who is being contradictory ?]. In : Lu, Xun. Nan qiang bei diao ji. (Shanghai : Tong wen shu dian, 1934). Bernard Shaw enjoys not so much cruising about the world, but rather observing journalists' faces around the world. Here in China, they set oral trials for him, and he seems to have failed the ordeal. He was unwilling to accept ceremonial welcomes, but they welcomed him and interviewed him anyway. After the interviews, all made cutting remarks about him. He evaded and hid; they spied and tracked him down. They wrote up a storm about him, then accused him of angling for publicity. They pressed him to talk when he was not in a talking mood, and they egged him on to make speeches. When he complied, the papers would not print exactly what he said and blamed him for being verbose. When he was telling the truth, they said that he was joking. They laughed at him and blamed him for not laughing himself. When he was telling the truth, they obstinately called it sarcasm; they laughed at him and blamed him for conceit. He is not a satirist at heart, but they accused him of being one and looked down on him; then they themselves used sardonic remarks to needle him. He is not an encyclopedia, yet they put trivial queries to him. His answers made them cross, as if they certainly knew better than he. He came with the intention to relax, but they forced him to philoso- phize. After listening to a few words, they were displeased and accused him of coming with the intent "to propagate Communism." Some despised him because he is not a Marxist writer. Were he one, they would not have given him a second glance. Some resented him because he has never engaged in manual labor. Were he a laborer, he would not have been able to visit Shanghai, and they would have had no chance to see him. Some looked down on him because he is not a practicing revolutionary. Were he one, he would have been jailed with the Noulens, and they would have avoided mentioning his name. He has money but he favors socialism. He does no labor and he travels. He came to Shanghai, talked about revolution, talked about Soviet Russia, and purposely gave people no peace. Therefore, he is contemptible. He is contemptible because he is tall. He is contemptible because he is old. He is contemptible because his hair and beard are white. He is contemptible because he does not appreciate ceremonial welcomes and avoids interviews. Even his affectionate relationship with his wife be- comes contemptible. But now he has left China, a Shaw who all agree is a contradiction. I think that we must swallow our pride and accept him as a literary giant of world renown, for our mumbling and backbiting are not going to hurt his image one bit. Furthermore, his visit gives us an excuse to grumble. When the contradictory Shaw declines, or the contradictions of Shaw are resolved, that will mark the time when the contradictions of the world are resolved. That will be the day. Lu, Xun. Kan Xiao he kan Xiao de ren men. (Febr. 23 1933). [Watching Shaw and those who watches Shaw]. In : Lu, Xun. Nan qiang bei diao ji. (Shanghai : Tong wen shu dian, 1934). I like Shaw, not because of my reading of his works or his biography, but because I came across some of his epigrams and heard that he often tears the masks off people. That is why I like him. Furthermore, many Chinese who ape Western gentlemen do not like Shaw, and I find that those who are disliked by those whom I dislike are often excellent men. Now Shaw has come to China. I had no special intention to search him out, but on the afternoon of 16 February 1933, Uchiyama Kanzo showed me a telegram from the Tokyo office of Kaizo magazine and asked me to meet Shaw. Since I was needed, I decided to go. On the morning of the seventeenth, Shaw was to have landed in Shanghai, but no one knew where he was hiding himself. Haifa day passed and it appeared that our meeting was not to materialize. However, by that after- noon, a note from Mr. Cai Yuanpei told me that Shaw was having lunch at the home of Madame Sun Yat-sen, and that I was to come forthwith. I got there as soon as I could. Upon entering a small side-room off the living room, I spotted Shaw in the seat of honor at a round table having lunch with five others. Since I had seen photographs of Shaw as a famous man, I knew right away that this was the literary giant. However, there was no special aura of eminence. His snow-white hair and beard, ruddy complexion, and kindly face made me think to myself that he would be an excellent model for a portrait painter. They seemed to be halfway through lunch already. It was vegetarian and very simple. A White Russian newspaper had speculated that there would be a plethora of waiters on such an occasion; in fact, there was only the cook serving. Shaw did not eat much, but he may have started early and therefore had had enough. Midway through the meal, he attempted to use chopsticks, but was not very successful. To his credit, he kept working at it, and soon became rather adept. When he finally got hold of a morsel tightly, he looked from face to face expectantly, but few, unfortunately, observed his success. I did not particularly notice Shaw's satiric traits as we were eating. His conversation topics were the usual things. For example, he mentioned that friends are the best because a lasting relationship can be maintained with them, whereas parents and siblings are not of one's own choosing, so a distance has to be kept. After lunch, three pictures were taken. Standing next to Shaw, I became aware of my shortness. I thought to myself that, were I thirty years younger, I would exercise rigorously to make myself taller. At about two o'clock, the P.E.N. Club was giving a reception. I went along by car. It was held in a large Western-style building called World College. Upstairs, about fifty men of letters, writers of Ethnic Literature, socialites, the king of Peking opera, and so forth had already gathered. They surrounded Shaw and asked him sundry questions as if consulting the Encyclopedia Britannica. He responded with a few words: "You are all men of letters, hence you are familiar with publicity stunts. The actors among you are practitioners, so you understand these things more than a mere writer such as I. What do I have to say to you? This gathering today is like your visiting an animal in a zoo. Now that you've seen it, it should be enough." Everyone laughed, probably considering it to be satire. Shaw also addressed questions to Dr. Mei Lanfang and other celebrities, which I shall omit. There followed a ceremony to present Shaw with gifts. These were presented by Shao Xunmei, a literary man known for his handsome looks. One gift was a box of small, stylish Peking opera masks made of clay. Another, as I was told, was a stage costume; since it was wrapped in paper, I did not see it. Shaw cordially accepted. According to a later report by Mr. Zhang Regu, Shaw asked a few questions about the gifts and Zhang made some snide remarks, but Shaw did not appear to hear them, and neither did I. Someone asked Shaw his reasons for being a vegetarian. By then, many had started taking pictures. Figuring that my cigarette smoke would not be welcome, I went into the outer room. Since there was another scheduled interview with news reporters at Mme Sun's house at three o'clock, we returned there. Forty or fifty people had already gathered, but only half of them were let in. First came Mr. Ki Kimura and four or five writers. Among the reporters were six Chinese, one English, one White Russian, and three or four photographers. On the backyard lawn, they formed a semicircle around Shaw and again barraged him with detailed questions. Shaw seemed in no mood to talk, but if he would not the reporters would not let him go, so he talked. The more he said, the less the reporters wrote down. In my opinion, Shaw is not really a satirist at all. It is just that he is gifted in eloquence. The quiz ended at about four-thirty. Shaw looked very tired, so Mr. Kimura and I returned to Uchiyama Bookstore. The press releases of the next day were far more colorful than Shaw's own words. The reporters, who had all gathered at the same place, at the same time, and heard the same words, managed to report disparate stories. It was as if the English language that Shaw had uttered had transformed itself. For example, on the topic of the Chinese govern- ment, the Shaw of the English language press said that the Chinese must choose their own favorite man as the leader; the Shaw of the Japanese press said that there was more than one Chinese government; and the Shaw of the Chinese press said that the people had never appreciated their government, no matter how good it was. In this case, we see that Shaw is not a satirist, but a reflective mirror. Most of the news reports on Shaw were unfavorable. Reporters came to hear what they wanted, but also heard disagreeable sarcasms. So each threw barbs at Shaw, saying that he was a mere satirist. In the sarcasm competition, Shaw is the winner, in my opinion. I asked Shaw no question, and he asked me none. Nevertheless, Mr. Kimura wanted me to write my impression of Shaw. I have read reports by others who seem to know the very heart of the one interviewed at a glance; I admire their penetrating observations. As for myself, I have never studied any books on physiognomy, so even when I have met a famous man, I cannot relate a great many words about him. However, since the request came all the way to Shanghai from Tokyo, I must at least write this much to fulfill my obligation. Lu, Xun. Xiao Bona zai Shanghai xu. (Febr. 28 1933). [A preface to Bernard Shaw in Shanghai]. In : Lu, Xun. Nan qiang bei diao ji. (Shanghai : Tong wen shu dian, 1934). Nowadays, so-called humans are covered with some type of wrap, be it silk, brocade, flannel, or coarse fabric. Poor beggars wear at least pants, ragged though they be. Even primitives have a string of leaves to cover themselves. Should this covering be removed in public by the wearer or torn off by others, a man would not be considered proper. Improper though he may be, people still like to look. Some stand to watch; others follow him around. Ladies and gentlemen cover their eyes with their hands, but peek through their fingers. They want to see the nakedness of others, however careful they are about their own wraps. The words of men are also wrapped in silk, brocade, or tree leaves. Should the wraps be torn off, people want to listen and, at the same time, fear to hear. Out of curiosity, they surround the speaker; out of trepida- tion, they try to soften the effect by dubbing him a satirist. I believe this is the reason that Bernard Shaw's arrival in Shanghai caused a far greater stir than that of Tagore, not to mention Boris Pilnyak and Paul Morand, because Shaw's speeches are unwrapped. An- other reason is that tyranny turns men into cynics, but that is the worry of the English, not of the Chinese, a people traditionally trained to be mute. Yet, times are different after all. Chinese people now will listen to a foreign satirist for "humor" and for a few laughs. But one must guard his own wraps, and each has a different wish. The lame wanted Shaw to support the use of canes; the scabby-headed wanted him to support wearing hats; women who wear makeup wanted him to ridicule those who do not; and the writers of Ethnic Literature expected him to crush the Japanese troops. What is the result? From the number of complaints we know of, not very satisfactory, it seems. But the greatness of Shaw also lies here. Although newspapers owned by the English, Japanese, and White Russians fabricated different stories, in the end they attacked him in concert, which only proves that Shaw is not to be used by any of these imperialists. As for some Chinese newspapers, their standpoint is hardly worth mentioning since they are the followers of their overseas lords. This habit has existed for a long time; only when it comes to "nonresistance" or "strategic retreats" do they march in the front. Shaw was in Shanghai for less than a day, yet he gave rise to many stories. This would not happen with any other literary man. As it is not a trivial matter, the compilation of articles on him surely is important. In the first three parts, the different faces of writers, politicians, warlords, and lapdogs are reflected as in a flat mirror. Calling Shaw a concave or convex mirror [both distort reality] is not accurate. In the wake of the stir reaching Peking, British reporters drew the conclusion that Shaw did not like having the Chinese welcome him. A Reuters report of the twentieth said that the amount of Peking papers' coverage of Shaw was "enough to prove the callousness of the Chinese." Dr. Hu Shih, especially detached, said that no welcome was the highest form of welcome. The same reasoning applies to "To beat is not to beat, and not to beat is to beat." These events make me feel that I am looking at reflections in a mirror in which men, whatever their pretensions, are all revealed in their true nature. The articles about Shaw in Shanghai, though the writers are less skilled in writing than the foreign reporters and Chinese scholars of Peking, do present variety. The collection has its limits; some articles may have been left out and others may have appeared too late for inclusion, but by and large most are included. Lu, Xun. Lun yu yi nian. (Aug. 23 1933). [On the anniversary of the "Analects" : another occasion to talk about Bernard Shaw]. In : Lu, Xun. Nan qiang bei diao ji. (Shanghai : Tong wen shu dian, 1934). The journal Analects has reached its first anniversary, and its editor, Mr. Lin Yutang, has asked me to write a piece about it. This is like having to asked me to write a piece about it. This is like having to write an old-fashioned "eight-legged essay" in the vernacular under the assigned title "Xue er." Impossible though this may be, write I must. To tell the truth, I am often against what Lin promotes. In the past, he has promoted "fair play," and now "humor." I believe that humor is a plaything created by those who are in favor of holding international roundtable conferences. The meaning of the word "humor" is impossible to translate into Chinese. In our country, there were Tang Bohu, Xu Wenchang, and the most famous Jin Shengtan. Jin said once, "Beheading is painful, yet I have arrived at it unexpectedly. Is that not marvelous?" Whether this quotation is truth or joke, fact or fiction, at all events it shows that, first, Jin Shengtan was not a rebel and, second, that he converted the cruelty of butchering into a laughing matter. He made a happy ending of a sad fact. This is the kind of thing we have, but it has nothing to do with humor. In the pages of Analects, there is a long list of names, but very few of these people actually contributed any writings to it. This is the custom in China, to lend one's name, but not one's labor, to a cause. Hence actually publishing two issues a month of "humor" is quite humorous. This humor gives me a pessimistic feeling, though I do not care much for it and I have not been enthused about the Analects. But its Special Issue on Shaw is a good thing. In it, articles rejected elsewhere have been printed, thus exposing twisted remarks about Shaw's speeches. This undertaking has made a few well-known figures unhappy, and some bureaucrats angry and disgruntled. The longer they hate it and the more the people hate it, the more the influence of this Special Issue is proven. Shakespeare may be the English bard of drama, but few of us ever mention him. When Ibsen was introduced to China during the May 4th Movement of 1919, he fared quite well. This year, Shaw's arrival has been a disaster. Even today there are people who are still indignant about him. It is probably because Shaw smiled. Who can tell the meaning of his smile ? Did he smile sarcastically or amusedly? No, it was neither. Was his smile filled with barbs which pierced the viewers' vulnerable parts? No, it was not that either. Litvinov explained that Ibsen was a great question mark, while Shaw was a great exclamation point. Needless to say, Ibsen and Shaw's audiences are mostly upper-class ladies and gentlemen, those concerned with maintaining "face." Ibsen, though he puts them on stage and exposes their weaknesses, offers no conclusions. He deliberately says, "Come, think about it. Why is it this way?" The dignity of the audience is shaken, but it is allowed to return home to contemplate, so it saves people "face." Whether people indeed contemplate or what it is they contemplate is not the issue. Therefore, when Ibsen was introduced to China, public tranquility was undisturbed, and those against him were far fewer than those who enjoyed him. This is not the case with Shaw. Shaw also puts upper-class folks on stage, but he tears off their masks and their finery, and then he grabs one by the ear and points him out to the audience saying, "Look, here is a maggot!" He does not give them the chance to evade or cover up. At this moment, those who can still smile are the lower-class members who do not have the shortcomings he points out. Hence, Shaw is closer to the lower and further from the high and mighty. What is to be done ? There is an ancient way to counteract, which is simply to yell as loudly as one can: He is wealthy! He is pretentious! He is famous! He is tricky! or at least the same as, or worse than, they are. If they themselves live in a cramped latrine, they believe that Shaw too lives in such a place, or must have climbed out of a large one, but is a maggot nevertheless. They believe that those who introduced him are stupid and those who praised him are hateful. Yet I think that even if Shaw were a maggot, he would be an extraordinary maggot, just as among many exclamation points, he is a great point. For instance, there is a certain crowd of maggots, whether they call themselves ladies and gentlemen, writers and scholars, politicians or celebrities, who nod to one another, bow to one another, and all is in peace. But then they are all common maggots. Should there be one who suddenly jumps out and shouts, "We are actually mere maggots!" then, though he too is from a latrine, we have to admit that he is an exceptional maggot. Even maggots vary in size and quality. The theory of evolution was proposed by Charles Darwin, who let us know that our distant ancestors were related to the monkeys. The behavior of these ancients was exactly the same as that of humans today, yet today's beings deride Darwin as a monkey. Dr. Lo Guangting's experiment of natural creation of the species at Sun Yatsen University has not been conclusive, so suppose we just accept the theory that man is a relative of the monkey, undignified though it may be. Among the relatives of the monkey, Darwin cannot but be the greatest. Why ? Because though he believed that, he did not make it taboo to point it out. Rela- tives of the monkey also vary in size and quality. Darwin was good at research but not at making cutting remarks; hence he was laughed at by upper-class gentlemen for half a century. The one who defended him was Thomas Henry Huxley, who called himself Dar- win's bulldog. Huxley, with his profound learning and excellent writing, attacked and demolished the last citadel of those who considered them- selves the descendants of Adam and Eve. The denunciation of calling a man a dog is currently in vogue. But even dogs vary : some eat meat, some pull sleds, some work in the military, some help in police work, some race in the Zhang Garden's racecourse, some follow beggars as their masters. How does a lapdog which gives pleasure to the wealthy compare with a Saint Bernard who rescues the distressed in snow? Huxley was a good dog who benefited mankind. Dogs vary in size and quality too. In order to comprehend, one must first distinguish. Lin Yutang said once, "Humor is something in between cleverness and dignity." Without distinguishing between cleverness and dignity, how does one understand the "in between"? Although we have been branded as the disciples of Confucius, in fact we are the followers of Zhuangzi. Zhuangzi said in his work, "That view involves both a right and a wrong, and this view in- volves also a right and a wrong." So why does one bother to distinguish them? Did Zhuangzi dream about being a butterfly, or did the butterfly dream about being Zhuangzi ? Dreaming and waking, too, are indistinguishable. Life must be chaos. Should chaos be made sensible, life would be no more. Zhuangzi said, "At the end of seven days Chaos died." In chaos, is there a place for an exclamation point ? There is no place for a smile either. The headmasters of the old-fashioned schools never allowed students to show a trace of anger, sad- ness, or gladness. Despots did not smile. Slaves were not allowed to smile. Once they were to smile, they might progress to anger and stir up trouble. Today those who live on royalties of writing dare to make only sad or sarcastic remarks. This shows you that there is no humor in China. This also shows that my pessimism regarding Analects is not due to oversensitiveness. If those having royalty income make only pitiful noises, can we expect those who must live with the dangers of bombing and floods to have a sense of humor ? I am afraid that they make no sound of sadness or sarcasm, not to mention that of a prosperous time. In the future, some of us may be present at a conference roundtable, but we will be the guests. In that case, between host and guest, no humor is necessary. Gandhi refused to eat time and again. Newspapers of his host country suggested that he deserved a whipping. This shows that in India there is no "humor" either. The most severe whipping given to a host country was by Bernard Shaw. For that, some of our Chinese ladies and gentlemen dislike him. This to Shaw is like the case of Jin Shengtan, arriving at a treatment totally unexpectedly. But that would make a good source for a new magazine, Filial Piety, since piety agrees with the ways of our bureaucrats, especially toward their foreign lords. The titles of the Confucian classics, The Golden Mean, The Great Learning, and now the Analects, have been adopted as modern magazine titles. Eventually, Filial Piety must also be put out. Should that happen, the next after could be entitled Zuo zhuan [The Leftist Biography]. In the present situation, how can Analects prosper? Twenty-five issues is good enough for us to say, "What a joy!" |
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| 64 | 1934 | Lu Xun, Mao Dun und Li Liewen gründen den Verlag Shanghai yi wen chu ban she. | |
| 65 | 1934 | Lu Xun schreibt in einem Brief über die Übersetzung von La véritable histoire de Ah Q durch Jing Yinyu : "On dit que le français de Jing Yinyu est bon, mais sa traduction ne peut être parfaite, car son but, c'était de l'argent." Les neuf chapitres du roman deviennent huit. Jing Yinyu a sauté tous les passages qui le gênaient. | |
| 66 | 1934 |
Lu, Xun. Zhu Zhong E wen zi zhi jiao [ID D37397]. "When they (May Fourth men of letters) looked around for concrete advice and guidance, it was then they found Russian literature. Russian literature opened to us the beautiful soul of the oppressed, their suffering, their struggle. Our souls were inflamed when we read the writers of the 1840s. We suffered with the characters created by the writers of the 1860s." |
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| 67 | 1935 |
Lu Xun schreibt über die literarische Revolution : Wenn das alte chinesische Schrifttum nicht ausgerottet wird, muss China im Wettstreit mit den andern Ländern unterlieben ; denn seine Kompliziertheit lässt unsere Kultur in Weigkeit nicht fortschreiten. Das Volk nimmt an der Kultur keinen Anteil und versteht nicht einmal sein eigenes Elend. Ich habe sehr mit dem alten chinesischen Schrifttum gerungen und kenne es ziemlich gründlich. Ich behaupte fest, dass eine neue Sprache die bisher so behinderte Masse des Volkes zu erobern imstande sein wird. Schon unmittelbar, nachdem sich die neue Sprache durchgesetzt hatte, wirkte sie sich in fruchtbarer Weise auf die Literatur aus. Leider wurde sie durch politische Massnahmen gehemmt. Vielleicht fürchteten diese Politiker, dass das Volk dadurch klug werde und die aus der Literatur gewonnenen Erkenntnisse als politische Waffen benutzen könne. Damit mögen sie recht haben ; aber diese bereits begonnene Entwicklung zu verhindern suchen, das ist sinnlos. Ich vertrete die Ansicht, dass sich die literarische Revolution mit der Volksrevolution notwendig verbinden und gemeinsam mit ihr fortschreiten muss... |
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| 68 | 1938 |
Lu, Xun. Lu Xun quan ji (1938). But there are two more types. One, those who regard the Chinese as an inferior race deserving to remain so, and therefore deliberately praise the old things of China. Two, those who want peoples to be different so as to increase their interest in travel, seeing the queue in China, wooden sandals in Japan, bamboo hats in Korea ; if clothes were the same, it would be no fun, and therefore oppose the Europeanization of Asia. Both the types are despicable. As for Bertrand Russell, who praised the Chinese because he saw sedan-chair carries smiling around the West Lake, perhaps he meant something else. But if the sedan-chair carriers were able not to smile at their passengers, China would have long ago ceased to be what it is today. |
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| 69 | 1944 |
Sun, Fuyuan. Lu Xun xian sheng er san shi [ID D18320]. Sun schreibt : Liu Bannongs Widmung 'Lehre von Tolstoy und Nietzsche, Stil der Wei-Jing-Zeit' an Lu Xun hielten Freunde jener Zeit für sehr angebracht. Lu Xun selbst war auch nicht dagegen. Der Titel bezieht sich auf zwei berühmte Persönlichkeiten im 19. Jahrhundert. Ihre zahlreichen Werke hatten grosse Wirkung auf die Gesellschaft. Lu Xun war in seinen Studienjahren sehr beeinflusst von den Lehren der beiden. |
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| 70 | 1956 | Film von Lu, Xun. New year's sacrifice = Zhu fu = 祝福. Director : Sang Hu, script ; Xia Yan. (Beijing : Beijing dian ying zhi pian chang, 1956). | |
| 71 | 1973 |
Lu, Xun. Lu Xun quan ji. (Beijing : Ren min wen xue chu ban she, 1973). When the Marxist influence became stronger, Lu Xun turned away from his early enthusiasm for Ibsen, and became more and more critical. Ibsen's returning to Norway after 27 years of exile became in Lu Xun's opinion a compromise that Ibsen made with the bourgeois society at home. The change of Lu Xun's attitude towards Ibsen represents a tendency in the Chinese reception of Ibsen. |
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| 72 | 1980 | Ausstellung über Lu Xin in Berlin. |
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| 73 | 1981 |
Zhang, Hua. Lu Xun he Nicai [ID D18323]. Zhang schreibt : Der Einfluss von Nietzsche auf Lu Xun war äusserst gering. Nietzsche war im Grunde ein feindliches Bild für Lu Xun. Durch die Beschränktheit der Zeit und durch Lu Xuns engen Denkhorizont gibt es bei ihm einige Missverständnisse bezüglich Nietzsche. Unter dem extremen kleinbürgerlich-demokratischen Aspekt beginnt Lu Xun, nur einen kleinen Teil von Nietzsches Denkzu schätzen, zu selektieren und zu rezipieren. In der Übernahme hat Lu Xun Nietzsches Ideen zum grössten Teil geändert, so dass die Originalität der Philosophie Nietzsches nicht mehr zu sehen ist. Besonders nachdem Lu Xun Kommunist geworden war, hat er Nietzsches Denken gründlich kritisiert und sogar überwunden. |
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| 74 | 1981 | Ausstellung über Leben und Werk von Lu Xun an der Australian National University in Canberra. |
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| 75 | 1988 |
Liu, Xiaobo. Xuan ze de pi pan [ID D18347]. Liu schreibt : We can then see why Lu Xun so glorified Nietzsche, the theory of evolution, and symbols of suffering. Nietzsche was the smasher of idols, the symbol of individual freedom ; the theory of evolution is the replacement of the old by the new, the symbol of free competition ; and symbols of suffering is sensual life, the symbol of subconscious distress and the tragedy of existence. |
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| 76 | 1990 |
Liu, Xiaobo. Yi ge fan chuan tong zhu yi zhe de fan xing [ID D18348]. Liu schreibt : After Lu Xun had transcended Chinese reality and culture by means of critique, he was utterly cut off. Unable to endure the confrontation with the unknown, with the loneliness and terror of the grave by himself, and unwilling to carry on a transcendental dialogue with himself under the gaze of God, the traditional utilitarian personality was reborn within him. Lacking transcendental values, Lu Xun could only fall into decadence. He desired only to 'rebel against the darkness' which surrounded him, but was unable to transcend darkness. Although deeply influenced by Nietzsche, Lu Xun's greates difference from Nietzsche was this : after his disillusionment with humanity, with Western culture and with himself, Nietzsche, fortified by his reference to the 'Übermensch' who transcends all, moved toward the elevation of individual life. But after his disillusionment with the Chinese, with Chinese culture and with himself, Lu Xun never found a frame of reference for transcendental values, turning back insead to the reality he had completely abandoned. |
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| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
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[Verne, Jules]. Di di lü xing. Rule Fan'erna zhu ; Zhou Shuren [Lu Xun] yi. In : Xin xiao shuo (Yokohama) ; vol. 1 (1902). = In : Zhejiang chao ; Dec. (1903). = In : Lu, Xun. Lu Xun quan ji. Vol. 11, vol. 1. (Shanghai : Lu Xun quan ji chu ban she, 1938).= Übersetzung von Verne, Jules. De la terre à la lune : trajet direct en 97 heures. (Paris : Hetzel, 1865). 地底旅行 |
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| 2 | 1903 |
[Hugo, Victor]. Ai chen. Geng Chen [Lu Xun] yi. In : Zhejiang chao ; no 5 (1903). Übersetzung von Hugo, Victor. L'origine de Fantine. In : Choses vues (Paris : J. Hetzel, 1887). (Oeuvres inédites de Victor Hugo). [Übersetzung aus dem Japanischen]. 哀塵 |
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| 4 | 1908 |
Lu, Xun. Wen hua pian zhi lun. In : Henan ; no 7 (1908). [Über die Einseitigkeiten in der Kultur ; Friedrich Nietzsche, Henrik Ibsen]. 文化偏至論 |
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| 5 | 1908 |
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| 6 | 1909-1920 |
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| 7 | 1909 |
[Andreyev, Leonid Nikolaevich]. Hong de xiao. Anteliefu zhu ; Lu Xun yi. Übersetzung von Andreyev, Leonid Nikolaevich . Krasnyi smekh. In : Sbornik Tovarishchestva "Znanie". (S.-Peterburg 1905). = The red laugh : fragments of a discovered manuscript. Transl. by Alexandra Linden. (London : T. Fisher Unwin, 1905). = Das rote Lachen : Fragmente einer aufgefunden Handschrift. (Berlin : J. Ladyschnikow, 1905). = Le rire rouge : la guerre en Mandchourie. (Paris : F. Juven, 1905). [Manuskript verloren] 紅的笑 |
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| 8 | 1909 |
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| 9 | 1909 |
[Aho, Juhani]. Xian qu. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Aho, Juhani. Pioneers. In : Squire Hellman and other stories. (New York, N.Y. : Cassell, 1893). 先驱 |
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| 10 | 1909 |
[Sienkiewicz, Henryk]. Yue ren yang ke. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Sienkiewicz, Henryk. Janko Muzykant. In : Kurierze Warszawskim (1879). = Janko der Musikant. In : Ums liebe Brot und 10 andere Novellen. (Einsiedeln : Benziger, 1906). 乐人扬珂 |
Publication / Sien2 |
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| 11 | 1909 |
[Wilde, Oscar]. An le wang zi. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Wilde, Oscar. The happy prince. In : Wilde, Oscar. The happy prince, and other stories. Ill. By Walter Crane and Jacomb Hood. (London : D. Nutt, 1888). 安樂王子 |
Publication / WilO125 |
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| 12 | 1909 |
[Maupassant, Guy de]. Yue ye. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Maupassant, Guy de. Clair de lune. (Paris : Monnier, 1884). [Geschrieben 1882]. 月夜 |
Publication / Maup83 |
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| 13 | 1909 |
[Garshin, Vsevolod Michajlovic]. Xie hou. Lu Xun yi. In : Yu wai xiao shuo ji ; vol. 2 (1909). Übersetzung von Garsin, Vsevolod Michajlovic. Cetyre dnja. In : Otecestvennyja zapiski (1877). = In : Garsin, V.M. Rasskazy. (S. Peterburg : [s.n.], 1882). = Vier Tage. In : Russische Soldatengeschichten. (Berlin : Schorss, 1890). = Four days. In : The signal and other stories. (London : Duckworth, 1915). = Vier Tage. In : Die rote Blume und andere Novellen. (Leipzig : P. Reclam, Vorw. dat. 1906). 邂逅 |
Publication / Gars1 |
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| 14 | 1909 |
[Poe, Edgar Allan]. Jin jia chong. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Poe, Edgar Allan. The gold bug. (South Bend, Ind. : Virginia Tech, 1843). 金甲蟲 |
Publication / PoeEA1 |
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| 15 | 1909 |
[Sienkiewicz, Henryk]. Tian shi. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Sienkiewicz, Henryk. Angel. In : Angel : i drugie rasskazy. (S.-Peterburg : S.-Peterburgskaia elektropechatnia, 1902). = Der Engel und andere Geschichten. (Berlin : Globus-Verl., 1903). 天使 |
Publication / Sien1 |
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| 16 | 1909 |
[Stepniak, Sergey]. Yi wen qian. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Stepniak, Sergey. Skazka o kopeike. In : Stepniak, Sergey. Sobranie sochinenii. (S.-Peterburg : M.IA. Minkova, 1907-1908). 一文錢 |
Publication / Step1 |
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| 17 | 1909 |
[Garshin, Vsevolod Michajlovic]. Si ri. Lu Xun yi. In : Yu wai xiao shuo ji ; vol. 2 (1909). Übersetzung von Garshin, Vsevolod Michajlovic. Chetyre dnia. In : Otechestvenny zapiski (1877). = (Moskva : I. D. Sytina", 1886). = Four days. In : Poet lore ; vol. 3 (1891). = Vier Tage. In : Die rote Blume und andere Novellen. (Leipzig : P. Reclam, Vorw. dat. 1906). 四日 |
Publication / Gars2 |
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| 18 | 1909 |
[Sienkiewicz, Henryk]. Deng tai shou. Lu Xun yi. In : Yu wai xiao shuo ji (1909). Übersetzung von Sienkiewicz, Henryk. Latarnik. (1882). In : Pisma Henryka Sienkiewicza. (Warszawa : Gebethner i Wolff, 1883). = The lighthouse keeper of Aspinwell. In : Yanko, the musician and other stories. (Boston : Little, Brown, and Co., 1893). = Der Leuchtturmwärter. In : Ums liebe Brot, und zehn andere Novellen. (Einsiedeln : Benziger, 1901). 灯台守 |
Publication / Sien3 |
|
| 19 | 1914 |
[Heine, Heinrich]. Hena de shi ; Yi wen za hua. Zhou Zuoren [Lu Xun] yi. In : Zhong hua xiao shuo jie ; No 2 (Febr. 1914). Übersetzung der beiden Gedichte Aus meinen Tränen und Die blauen Veilchen der Äugelein aus Heine, Heinrich. Buch der Lieder. (Hamburg : Hoffmann und Campe, 1827). 赫納的詩 / 藝文雜話 |
Publication / Hei2 |
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| 20 | 1918 |
Lu, Xun. Kuang ren ri ji. (Xingzhou : Xingzhou shi jie shu ju, 1927). (Lu Xun xuan ji ; 2). [Tagebuch eines Wahnsinnigen]. 狂人日記 |
Publication / Nie28 | |
| 21 | 1918-1919 |
Lu, Xun. Sui gan lu. Tang Hongcui bian. (Shenzhen : Hai tian chu ban she chu ban fa xing, 1992). [Glossen ; Friedrich Nietzsche]. 魯迅随感录 |
Publication / Nie32 | |
| 22 | 1920 | [Artsybashev, Mikhail Petrovich]. Xing fu. Lu Xun yi. In : Xin qing nian ; vol. 8, no 4 (1920). = Xian dai xiao shuo yi cong ; vol. 1, Bd. 11. Übersetzung von Artsybashev, Mikhail Petrovich. Schast'e. (1907). In : Etiudy. (St. Petersburg : Progress, 1910). = Glück. In : Aufruhr und andere Novellen. (München : Georg Müller, 1910). | Publication / LuX30 |
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| 23 | 1920 |
[Poe, Edgar Allan]. Mo. Lu Xun yi. In : Yu wai xiao shuo ji (1920). Übersetzung von Poe, Edgar Allan. Silence : a fable. (South Bend, Ind. : Virginia Tech, 1837). 默 |
Publication / PoeEA2 |
|
| 24 | 1920 |
[Sienkiewicz, Henryk]. Qiu zhang. Lu Xun yi. In : Yu wai xiao shuo ji (1920). Übersetzung von Sienkiewicz, Henryk. Sois bénie ! légende indienne. (1889). Extrait de Le Gaulois du Dimanche, 16-17 mars 1901. = Le chef indien. [Original-Titel nicht gefunden]. 酋长 |
Publication / Sien4 | |
| 25 | 1921 |
[Andreyev, Leonid Nikolaevich]. An dan de yan ai li. Lu Xun yi. In : Xian dai xiao shuo yi cong ; Vol. 1, Bd. 11 (1921). Übersetzung von Andreyev, Leonid Nikolaevich. V tëmnuju dal'. In : Kur'er ; no 357 (25 Dec. 1901) = In düsterer Ferne. In : Aus fremden Zungen ; Jg. 12, Bd. 2 (1902). 黯淡的煙靄裡 |
Publication / LuX25 |
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| 26 | 1921 |
[Andreyev, Leonid Nikolaevich]. Shu ji. Lu Xun yi. In : Xian dai xiao shuo yi cong ; Vol. 1, no. 11 (1921). Übersetzung von Andreyev, Leonid Nikolaevich. Kniga. In : Pomoshch' (St Peterburg : Tip. I. Gol'dberga, 1903). = Im Nebel und andre Novellen. (1903). [Das Buch]. 書籍 |
Publication / LuX26 | |
| 27 | 1921 |
[Artsybashev, Mikhail Petrovich]. Gong ren Suihuilüe fu. Azhibasuifu zhu ; Lu Xun yi. In : Xiao shuo yue bao ; Vol. 12, nos 7-9, 11-12 (1921). = (Shanghai : Shang wu yin shu guan, 1922). (Wen xue yan jiu hui cong shu). Übersetzung von Artsybashev, Mikhail Petrovich. Rabochii Shevyrev. In : Zemlia (1909). = Der Arbeiter Schewyrjow. In : Revolutionsgeschichten. (München : G. Müller, 1909). 工人綏惠略夫 |
Publication / LuX28 | |
| 28 | 1921 |
[Artsybashev, Mikhail Petrovich]. Yi sheng. Lu Xun yi. In : Xiao shuo yue bao. [Sondernummer] : Eguo wen xue yan jiu ; Vol. 12, no 9 (1921). Übersetzung von Artsybashev, Mikhail Petrovich. Doktor. (1906). In : Etiudy. (St. Petersburg : Progress, 1910). = Der Arzt. In : Revolutionsgeschichten. (München : G. Müller, 1909). 醫生. |
Publication / LuX29 |
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| 29 | 1921 |
[Canth, Minna]. Feng gu niang. Lu Xun yi. In : Xiao shuo yue bao ; vol. 12, no 10 (1921). Übersetzung von Canth, Minna. Vanha piika. In : Novelleja. (Helsinki : Otava, 1892). [Die verrückte Frau]. 瘋姑娘 |
Publication / LuX47 | |
| 30 | 1921 |
[Cirikov, Evgenii Nikolaevich]. Lian qiao ; Sheng hui. Lu Xun yi. In : Xian dai xiao shuo yi cong ; vol. 1 (1921). Übersetzung von : Cirikov, Evgenii Nikolaevich. Erzählungen. Übersetzt von Max Schick. (Berlin : Ladyschnikow, 1906). Lin qiao = Siren = Goldfieber. Sheng hui = Gorodok [Die kleine Stadt]. 連翹 / 省會 |
Publication / LuX50 | |
| 31 | 1921 |
[Karasek, Josef]. Jin dai Jieke wen xue gai guan. Lu Xun yi. In : Xiao shuo yue bao ; vol. 12, no 10 (1921). Übersetzung von Karasek, Josef. [Ein Kapitel aus] : Slavische Literaturgeschichte. (Leipzig : Göschen'sche Verlagshandlung, 1906). (Sammlung Göschen 277/278). 近代捷克文學概觀 |
Publication / LuX69 | |
| 32 | 1921 |
[Karpeles, Gustav]. Xiao Eluosi wen xue lüe shuo. Lu Xun yi. In : Xiao shuo yue bao ; vol. 12, no 10 (1921). Übersetzung von Karpeles, Gustav. Grundriss der ukrainischen Literatur. In : Allgemeine Geschichte der Litteratur. (Berlin : Grote, 1891). 小俄羅斯文學略說 |
Publication / LuX70 | |
| 33 | 1921 |
[Alkio, Santeri]. Fu qin zai Yameilijia. Lu Xun yi. In : Chen bao fu kan ; 17.-18.7.1921. Übersetzung von Alkio, Santeri. Isä on Amerikassa. (ca. 1890). [Vater ist in Amerika]. 父親在亞美利加 |
Publication / LuX113 | |
| 34 | 1921 |
[Vazov, Ivan Minchov]. Zhan zheng zhong de Weierke. Lu Xun yi. In : Xiao shuo yue bao ; vol. 12, no 10 (1921). Übersetzung von Vazov, Ivan. Valko na vojna. ([S.l. : s.n.], 1886). 戰爭中的威爾珂 |
Publication / LuX121 | |
| 35 | 1921 |
[Erosenko, Vasilij Jakovlevic]. Xia de long. Lu Xun yi. In : Xin qiong nian ; vol. 9, no 4 (1921). [Fabel, Enger Käfig]. 狹的籠 |
Publication / LuX191 | |
| 36 | 1921 |
[Erosenko, Vasilij Jakovlevic]. Chi bian. Lu Xun yi. In : Chen bao ; 24.-26. Sept. (1921). [Fabel, Am Teich]. 池邊 |
Publication / LuX192 | |
| 37 | 1921 |
[Erosenko, Vasilij Jakovlevic]. Chun ye de meng. Lu Xun yi. In : Chen bao fu juan ; 22.10 (1921). [Fabel, Ein Frühlingsnachtstraum]. 春夜的夢 |
Publication / LuX193 | |
| 38 | 1921 |
[Erosenko, Vasilij Jakovlevic]. Diao de xin. Lu Xun yi. In : Dong fang za zhi ; vol. 18, no 22 (1921). [Fabel, Geierherz]. 雕的心 |
Publication / LuX195 | |
| 39 | 1921 |
[Erosenko, Vasilij Jakovlevic]. Shi jie de huo zai. Lu Xun yi. In : Xiao shuo yue bao ; vol. 13, no 1 (1922). [Fabel, Welt in Brand]. 世界的火災 |
Publication / LuX197 | |
| 40 | 1922 |
Xian dai xiao shuo yi cong. Antelaifu deng zhu ; Zhou Zuoren, Lu Xun yi. (Shanghai : Shang wu yin shu guan, 1922). (Xian dai xiao shuo yi cong). [Übersetzungen von Kurzgeschichten aus Russland und Osteuropa]. 現代小說譯叢 |
Publication / Zho7 |
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| 41 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Ailuoxianke tong hua ji. Lu Xun yi. (Shanghai : Shang wu yin shu guan, 1922). Übersetzungen von russischen Fabeln von Vasilij Erosenko. Knabrakontoj. 愛羅先珂 童話集 |
Publication / LuX4 |
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| 42 | 1922 |
[Garshin, Vsevolod Michajlovic]. Yi pian hen duan de chuan qi. Lu Xun yi. In : Fu nü za zhi ; vol. 8, no 2 (1922). Übersetzung von Garshin, Vsevolod Michajlovic. Ocen korotken'kij roman. (1878). In : Polnoje sobranie soainenii. (St. Petersburg : [s.n.], 1910). = Garschin, W.M. Die rote Blume und andere Novellen. Aus dem Russischen übersetzt von B.W. Loewenberg. (Leipzig : P. Reclam, Vorw. dat. 1906). (Universal-Bibliothek ; 4866). [Eine Kürzestnovelle]. 一篇很短的傳奇 |
Publication / LuX58 | |
| 43 | 1922 | Lu, Xun. Lu zhou. In : Chen bao fu kan ; 31th April (1922). [The oasis]. [Betr. Hans Christian Andersen und Oscar Wilde]. | Publication / WilO52 |
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| 44 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Yu de bei ai. Lu Xun yi. In : Fu nü za zhi ; vol. 8, no 1 (1922). [Fabel, Die Trauer des Fischers]. 魚的悲哀 |
Publication / LuX194 | |
| 45 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Shi jie de huo zai. Lu Xun yi. In : Xiao shuo yue bao ; vol. 13, no 1 (1922). [Fabel, Welt in Brand]. 世界的火災 |
Publication / LuX196 | |
| 46 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Wei ren lei. Lu Xun yi. In : Dong fang za zhi ; vol. 19, no 3 (1922). [Fabel, Für die Menschheit]. 為人類 |
Publication / LuX198 | |
| 47 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Eguo de hao jie. Lu Xun yi. In : Chen bao fu juan ; 2. April (1922). [Der Held von Russland : Geschichte von Sten'ka Razin]. 俄國的豪杰 |
Publication / LuX199 | |
| 48 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Xiao ji de bei ju. Lu Xun yi. In : Fu nü za zhi ; vol. 8, no 9 (1922). [Fabel, Kükentragödie]. 小雞的悲劇 |
Publication / LuX200 | |
| 49 | 1922 |
[Erosenko, Vasilij Jakovlevic]. Shi guang lao ren. Lu Xun yi. In : Chen bao si zhou nian ji nian zeng kan ; 1. Dez. (1922). [Fabel, Zeit des Alten]. 時光老人 |
Publication / LuX203 |
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| 50 | 1923 |
[Erosenko, Vasilij Jakovlevic]. Tao se de yun. Zhou Shuren [Lu Xun] yi. (Beijing : Xin chao she, 1923). [Pfirsichfarbene Wolke]. 桃色的雲 |
Publication / LuX5 | |
| 51 | 1923 |
Lu, Xun. Nuola zou hou zen yang ? (1923) = Lu, Xun. After Nora walks out, what then ? : a talk given at the Peking Womens Normal College = Beijing shi fan da xue on December 26, 1923. In a new translation by Wen-Chao Li. http://userwww.sfsu.edu/~wenchao/translation/nora.pdf. 娜拉走後怎樣 |
Publication / Ibs69 | |
| 52 | 1923 |
[Erosenko, Vasilij Jakovlevic]. 'Ai' zi de cang. Lu Xun yi. In : Xiao shuo yue bao ; vol. 14, no 3 (1923). [Fabel, Das Geschwür des Wortes 'Liebe']. 愛字的瘡 |
Publication / LuX204 | |
| 53 | 1923 |
[Erosenko, Vasilij Jakovlevic]. Hong de hua. Lu Xun yi. In : Xiao shuo yue bao ; vol. 14, no 1 (1923). [Fabel, Die rote Blume]. 紅的花 |
Publication / LuX205 | |
| 54 | 1924 |
[Multatuli]. Gao shang sheng huo ; Wu li yu fei li. Lu Xun yi. In : Jing bao fu kan (1924). Übersetzung von Multatuli. Chresos ; Der Impresario. Nr. 261, 262, 447. In : Ideen. (Amsterdam : R.C. Meijer ; G.L. Funke, 1862-1877). 高尚生活 / 無禮與非禮 |
Publication / LuX91 | |
| 55 | 1924 |
[Multatuli]. Wu li yu fei li. Lu Xun yi. In ; Jing bao fu kan ; 16. Dez. (1924). Übersetzung von Multatuli. Sittenlos und unsittlich. In : Aus fremden Zungen ; Bd. 11, Nr. 2 (1901). 無禮與非禮 |
Publication / LuX212 | |
| 56 | 1925 |
Lu, Xun. [A Q zheng zhuan]. Übersetzt von Boris Aleksandrovich Vasil'ev. [Es ist die erste Übersetzung von Lu Xun in eine ausserasiatische Sprache]. 阿Q正傳 |
Publication / LuX3 | |
| 57 | 1925 |
[Koeber, Raphael von]. Xiao shuo de liu lan he xuan ze. Lu Xun yi. In : Yu si ; nos 49-50 (1925). Übersetzung von Koeber, Raphael von. Fragen und Antworten. In : Kleine Schriften : philosophische Phantasien, Erinnerungen, Ketzereien, Paradoxien. (Tokyo : S. Iwanami, 1918). 小説的瀏覽和選擇 |
Publication / LuX72 | |
| 58 | 1925 |
[Petöfi, Sándor]. A. Petöfi de shi. Lu Xun yi. In : Yu si ; no 11 (1925). Übersetzung von Petöfi, Sándor. 5 Gedichte. In : Petöfi, Alexander. Poetische Werke. (Wien : Halm und Goldmann, 1910). 的詩 |
Publication / LuX95 | |
| 59 | 1925 |
Lu, Xun. Za yi (1925). In : Lu Xun quan ji ; vol. 1 (1963). [Enthält Eintragungen über George Gordon Byron]. 杂艺 |
Publication / Byr71 |
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| 60 | 1926 |
[Artsybashev, Mikhail Petrovich]. Bashigeng zhi si. Lu Xun yi. In : Mang yuan ; no 17 (1926) ; Yi cong bu ; Vol. 16 (1926). = Übersetzung von Artsybashev, Mikhail Petrovich. Smert' Bashkina. (1909). [Der Tod von Baskina, The death of Bashkin. Betr. Vasilii Bashkin]. 巴什庚之死 |
Publication / LuX31 | |
| 61 | 1926 |
[Schopenhauer, Arthur]. Wu hua de qiang wei. Lu Xun yi. In : Yu si ; no 69 (1926). Übersetzung von Schopenhauer, Arthur. Aphorismus. In : Parerga und Paralipomena : kleine philosophische Schriften. (Berlin : Hayn, 1851). 無花的薔薇 |
Publication / LuX114 |
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| 62 | 1926 |
[Trotsky, Leon]. Yalishanda Boluoke. Lu Xun yi. In : Blok, Aleksandr. Shi'er ge. (Beijing : Bei xin shu ju, 1926). (Wei ming cong kan). Übersetzung von Trotsky, Leon. Aleksandr Blok. In : Literatura i revoljucija (Moskva : Izd-vo Krasnaja Nov, 1923). 亞歷山大勃洛克 |
Publication / LuX118 | |
| 63 | 1926 | Lou, Siun [Lu Xun]. La vie de Ah Qui. Trad. par Kin-Yn-Yu [Jing Yinyu]. In : Europe : revue mensuelle ; vol. 11, no 41-42 (1926). | Publication / JiY2 |
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| 64 | 1926 | Lu, Xun. Luoman Luolan de zhen yong zhu yi. In : Mang yuan = Mang yuan ban yue kan ; no 7-8 (1926). [Romain Rolland's heroism]. [Artikel zum 60. Geburtstag von Romain Rolland, Übersetzung eines japanischen Artikels von 1915 ; enthält zwei Photos von Romain Rolland]. | Publication / Rol93 | |
| 65 | 1927 |
[Jakovlev, Aleksandr Stepanovich]. Nong fu. Lu Xun yi. In : Da zhong wen yi ; vol. 1, no 3 (1928). Übersetzung von Jakovlev, Aleksandr Stepanovich. Muzik. (1926). [Der Bauer]. 農夫 |
Publication / LuX65 | |
| 66 | 1927 |
[Lelevic, G.]. Lielieweizhi. Lu Xun yi. In : Wen yi zheng ce. Übersetzung von Lelvic, G. Moskva. (1924). [Die Literaturpolitik der Sowjetunion]. 烈烈威支 |
Publication / LuX76 | |
| 67 | 1927 |
[Pil'njak, Boris Andreevic]. Xin zhou za ji. Lu Xun yi. In : Yu si ; vol. 4, no 2 (1927). Übersetzung 1 Kapitel aus Pil'njak, Boris Andreevic. Korni iaponskogo solntsa. (Leningrad : Priboi, 1927). [Aufzeichnungen aus Shinshu]. 信州雜記 |
Publication / LuX97 | |
| 68 | 1927 |
[Raché, Paul]. Yuan xu. Lu Xun yi. In : [Eeden, Frederik van]. Xiao Yuehan. [ID D12552]. [Übersetzung des Vorwortes]. 原序 |
Publication / LuX103 | |
| 69 | 1927 |
Riazanov, David. Lüesanuofu. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Riazanov, David. Moskva. (1924). 略薩諾夫 |
Publication / LuX109 | |
| 70 | 1927 |
[Sinclair, Upton]. Bai jin yi shu. Lu Xun yi. In : Lusuo he wei kou. In : Yu si ; vol. 4, no 4 (1928). Übersetzung von Sinclair, Upton. Mammonart : an essay in economic interpretation. (Pasadena, Calif. : The author, 1925). [Auszüge]. [Rousseau und der Appetit]. 拜金藝術 |
Publication / LuX116 |
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| 71 | 1927 | [Zoscenko, Michail]. Gui jia fu nü. Lu Xun yi. In : Da zhong wen yi ; vol. 1, no 1 (1927). Übersetzung von Zoscenko, Michail. Aristokratka. In : Rasskazy Nazara Il'icha, gospodina Sinebriukhova. (St. Petersburg : Epokha, 1922). | Publication / LuX125 | |
| 72 | 1927 |
Lu, Xun. Fen. (Beijing : Wei ming she, 1927). [Enthält Essais geschrieben 1907-1925]. [Friedrich Nietzsche]. 坟 |
Publication / Nie44 |
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| 73 | 1927 |
Lu, Xun. Luosu he wei kou. In : Lu Xun Liang Shiqiu lun zhan shi lu [ID D28834]. [Rousseau and taste]. 盧梭和胃口 |
Publication / Babb40 |
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| 74 | 1927 |
[Dostoyevsky, Fyodor]. Xiang shi de kai shi. Dusituoyisiyi zuo ; Lu Xun yi. (Shanghai : Xing guang chu ban she, 1927). (Xing guang wen xue cong shu). Übersetzung von Dostoyevsky, Fyodor. Krotkaia. In : Dnevnik pisatelia (1876). = Krotkaïa. (Paris : E. Plon, Nourrit et Cie, 1886). = A gentle spirit. Transl. by Constance Garnett. In : The short stories of Dostoevsky. (New York, N.Y. : The Dial Press, 1946). 相識的開始 |
Publication / Dost63 | |
| 75 | 1927 |
[Artsybashev, Mikhail Petrovich]. Xue hen. Zheng Zhenduo yi. (Shanghai : Kai ming shu ju, 1927). Übersetzung von Krovavoe piatno (1906). In : Rasskazy. (S.-Peterburg : S. Skirmunta, 1905-1906). = The blood-stain. In : Tales of the revolution. (London : Martin Secker, 1917). 血痕 [Enthält] : Yi sheng. Lu Xun yi. Basha Dumainuofu. Zheng Zhenduo yi. Ningna. Shen Zemin yi. Zhao ying. Shen Zemin yi. Ge ming dang. Hu Yuzhi yi. |
Publication / Arts10 | |
| 76 | 1928 |
[Apollinaire, Guillaume]. Tiao zao. Lu Xun yi. In : Ben liu ; Vol. 1, no 6 (1928). Übersetzung von Apollinaire, Guillaume. Le fléau. In : Le bestiaire ou cortège d'orphée. Illustré de gravures sur bois par Raoul Dufy. (Paris : Deplanche, 1911). 跳蚤 |
Publication / LuX27 |
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| 77 | 1928 |
[Averbach, Leopold Leonidovic]. Aweibahe. Lu Xun yi. In : Ben liu ; vol. 1, no 3 (1928) ; Wen yi zheng ce ; vol. 1 (1928). Übersetzung von Averbach, Leopold Leonidovic. Moskva. (1924). 阿衛巴赫 |
Publication / LuX32 | |
| 78 | 1928 |
[Baroja, Pio]. Bashike zu de ren men. Baluoha zhu ; Lu Xun yi. (1928). In : Ben liu = 奔流 ; vol. 1, no 1 (1928) ; Jin dai shi jie duan pian xiao shuo ji ; vol. 2 (1928). [Enthält] : Liu lang zhe = 流浪者 = Errantes. Hei Mali. = Mari Belcha. Yi jia. = Hogar triste. Dao go = Angelus. Übersetzung von Baroja, Pio. Vidas sombrias. (Madrid : Impr. De Antonio Marzo, 1900). 跋世珂族的人們 |
Publication / LuX33 | |
| 79 | 1928 |
Bednij, Demjan. Taiming Peiteni. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Bednij, Demjan. Moskva. (1924). 台明• 培特尼 |
Publication / LuX41 | |
| 80 | 1928 |
[Bezymenskij, Aleksandr Iljic]. Peisaimiansiji. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Bezymenskij, Aleksandr Iljic. Moskva. (1924). 培賽勉斯基 |
Publication / LuX42 | |
| 81 | 1928 |
[Bucharin, Nikolaj Ivanovich]. Suwei'ai lian bang cong Maxim Gorky qi dai zhe. Lu Xun yi. In : Ben liu ; Bd. 1, no 2 (1928). [Was erwartet die Sowjetunion von Maksim Gorky]. 蘇維埃聯邦從 |
Publication / LuX44 | |
| 82 | 1928 |
[Bucharin, Nikolaj Ivanovich]. Buhalin. Lu Xun yi. In : Ben liu ; vol. 1, no 2 (1928). Übersetzung von Bucharin, Nikolaj Ivanovich. Moskva. 布哈林 |
Publication / Lux45 | |
| 83 | 1928-1929 | [Cocteau, Jean]. Xiong ji he za zhuan chao. Lu Xun yi. In : Zhao hua zhou kan ; no 4, 6 (1928-1929). Übersetzung von : Cocteau, Jean. Le coq et l'arlequin. (Paris : Ed. de la Sirène, 1918). [Aphorismen]. | Publication / LuX49 | |
| 84 | 1928 |
[Eeden, Frederik van]. Xiao Yuehan. T. 1. Aitan zhu ; Lu Xun yi. (Shanghai : Wei ming she, 1928). (Wei ming cong kan ; 1). 小約翰 |
Publication / LuX51 | |
| 85 | 1928 |
[Evreinov, Nikolaj Nikolaevic]. Sheng huo de yan ju hua. Lu Xun yi. In : Ben liu ; vol. 1, no 2 (1928). Übersetzung von Evreinov, Nikolaj Nikolaevic. Teatralizacija zizni. In : Teatr kak takovoj : obosnovanie teatral'nosti v smyslie polozhitel'nago nachala stsenicheskago iskusstva i zhizni. (St. Petersburg : [s.n.], 1912). [Theatralisierung des Lebens (1910)]. 生活的演劇化 |
Publication / LuX52 | |
| 86 | 1928 |
[Evreinov, Nikolaj Nikolaevic]. Guan yu ju ben de kao cha. Lu Xun yi. In : Ben liu ; vol. 1, no 6 (1928). Übersetzung von Evreinov, Nikolaj Nikolaevic. Prosichozdenjie dramy. (1921). [Eine Studie zu Theaterstücken]. 關於劇本的考察 |
Publication / LuX53 | |
| 87 | 1928 |
[Fedin, Konstantin Alexandrovich]. Guo shu yuan. Kangshitanding Feiding zhu ; Lu Xun yi. In : Da zhong wen yi ; vol. 1, no 6 (1928). = (Shanghai : Xian dai shu ju, 1931). Übersetzung von Fedin, Konstantin Alexandrovich. Sad. (Petrograd : Izd-vo Petrograd, 1922). [Der Garten]. 果樹園 |
Publication / LuX54 | |
| 88 | 1928 |
[Jakovlev, Aleksandr Stepanovich]. Yagewulaifu de jie yu. Lu Xun yi. In : Ben liu ; vol. 1, no 3, 5 (1928). Übersetzung von Jakovlev, Aleksandr Stepanovich. Moskva. (1924). 雅各武萊夫的結語 |
Publication / LuX66 | |
| 89 | 1928 |
[Jakublovskij, Georgij Vasilevic]. Yakebofusiji. Lu Xun yi. In : Ben liu ; vol. 1, no 3 (1928). Übersetzung von Jakublovskij, Georgij Vasilevic. Moskva. (1924). 雅克波夫斯基 |
Publication / LuX68 | |
| 90 | 1928 |
[Kerzencev, Platon Michailovic]. Kai'erxiancuifu. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Kerzencev, Platon Michailovic. Moskva. (1924). 開爾顯崔夫 |
Publication / LuX71 | |
| 91 | 1928 |
[Lidin, Vladmir]. Shu qin. Lu Xun yi. In : Xiao shuo yue bao ; vol. 20, no 1 (1929). Übersetzung von Lidin, Vladimir. Arfa. (1923). [Die Harfe]. 豎琴 |
Publication / LuX77 | |
| 92 | 1928 |
[Lunacarskij, Anatolij Vasilevic]. Lunaka'ersiji. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Lunacarskij, Anatolij. Moskva. (1924). 盧那卡爾斯基 |
Publication / LuX79 | |
| 93 | 1928-1929 |
[Lunacarskij, Anatolij Vasilevic]. Tuo'ersitai yu Makesi. Lu Xun yi. In : Ben liu ; vol. 1, no 7-8 (1928-1929). Übersetzung von Lunacarskij, Anatolij Vasilevic. Tolstoj i Marks. (1924). 托爾斯泰與馬克思 |
Publication / LuX80 | |
| 94 | 1928 |
Lunc, Lev. Zai sha mo shang. Lu Xun yi. In : Bei xin ; vol. 3, no 1 (1929). Übersetzung von Lunc, Lev. V pustyne. (1922). [In der Wüste]. 在沙漠上 |
Publication / LuX88 | |
| 95 | 1928 |
[Mescer'akov, Nikolai Leonovic]. Meixiqielüekefu. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Mescer'akov, Nikolai Leonovic. Moskva. (1924). 梅希且略珂夫 |
Publication / LuX90 | |
| 96 | 1928 |
[Majskij, Ivan Michajlovic]. Leov Tolstoi - yi jiu er ba nian jiu yue shi wu ri zhu Ri Sulian da shi guan can zan. Maiski zhu ; Lu Xun yi. In : Ben liu ; vol. 1, no 7 (1928). Übersetzung von Majskij, Ivan Michajlovic. Lev Tolstoj. (1928). [Rede an einer Gedenkfeier zum Geburtstag von Leo Tolstoy in Tokyo]. 一九二八年九月十五日駐日蘇聯大使館參贊 |
Publication / LuX89 | |
| 97 | 1928 |
[L'vov Rogacevskij, Vasilij]. Zui jin Eguo wen xue shi lüe de yi zhang. Lu Xun yi. In : Ben liu ; vol. 1, no 7 (1928).. Übersetzung von L'vov Rogacevskij, Vasilij. Lev Tolstoj. In : Noveishaia russkaia literatura. (Moskva : Izd. Vserossiiskogo tsentr. soiuza potr. obshchestv, 1922). 最近俄國文學史略 的一章 |
Publication / LuX85 | |
| 98 | 1928 |
[Philippe, Charles-Louis]. Shi ren ren zhong de hua. Lu Xun yi. In : Da zhong wen yi ; vol. 1, no 2 (1928). Übersetzung von Philippe, Charles-Louis. Histoire d'anthropophages. In : Philippe, Charles-Louis. Contes du matin. (Paris : Gallimard, 1916). 食人人種的話 |
Publication / LuX96 | |
| 99 | 1928 |
[Pletnev, Valerian Fedorovic]. Pulieteneifu. Lun Xu yi. In : Ben liu ; vol. 1, no 3 (1928). Übersetzung von Pletnev, Valerian Fedorovic. Moskva. (1924). 普列忒内附 |
Publication / LuX101 | |
| 100 | 1928 |
[Polonskij, Viaceslav Pavlovic]. Bolongsiji. Lu Xun yi. In : Ben liu ; vol. 1, no 2 (1928). Übersetzung von Polonskij, Viaceslav Pavlovic. Moskva. (1924). 波隆斯基 |
Publication / LuX102 | |
| 101 | 1928 |
[Radek, Karl]. Ladike. Lu Xun yin. In : Ben liu ; vol. 1, no 3 (1928). Übersetzung von Radek, Karl. Moskva. (1924). 拉迪克 |
Publication / LuX104 | |
| 102 | 1928 | [Ranke, Leopold von]. Lasike'erniekefu. Lu Xun yi. In : Ben liu ; vol. 1, no 2 (1928). Übersetzung von Ranke, Leopold von. Weltgeschichte. Hrsg. von Alfred Dove. T. 1-9. (Leipzig : Duncker & Humblot, 1881-1888). [Auszüge]. | Publication / LuX105 | |
| 103 | 1928 |
[Raskolnikov, Fedor Federovich]. Lasike'erniekefu. Lu Xun yi. In : Ben liu ; vol. 1, no 2 (1928). Übersetzung von Raskolnikov, Fedor Federovich. Moskva. (1924). 拉思珂耳涅珂夫 |
Publication / LuX106 | |
| 104 | 1928 |
[Rodov, Semen Abramovic]. Luotuofu. Lu Xun yi. In : Ben liu ; vol. 1, no 4 (1928). Übersetzung von Rodov, Semen Abramovic. Moskva. (1924). 羅陀夫 |
Publication / LuX110 | |
| 105 | 1928 |
[Trotsky, Leon]. Tuoluociji. Lu Xun yi. In : Ben liu ; vol. 1, no 3 (1928). Übersetzung von Trotsky, Leon. Moskva. (1924). 托羅玆基 |
Publication / LuX119 | |
| 106 | 1928 |
[Vardin, Illarion Visariovic]. Wajin de bao gao yan shuo. Lu Xun yi. In : Ben liu ; vol. 1, no 1, 5 (1928). Übersetzung von Vardin, Illarion Visariovic. Moskva. (1924). 瓦進的報告演説 |
Publication / LuX120 | |
| 107 | 1928 | [Vardin, Illarion Visariovic]. Wajin de jie yu. Lu Xun yi. In : Ben liu ; vol. 1, no 5 (1928). [Schlusswort]. | Publication / LuX138 | |
| 108 | 1928 |
[Gérard, Jules]. Bu shi. In : Da jiang yue kan ; vol. 1, no 1 (1928). Übersetzung von Gérard, Jules. La chasse au lion. Ornée de gravures dessinées par Gustave Doré, et d'un portrait de Jules Gérard. (Paris : Librairie nouvelle, 1855). 捕獅 |
Publication / LuX139 | |
| 109 | 1928 | Lu, Xun. Pian jiao hou ji. In : Ben liu ; vol. 1, no 3 (20. Aug. 1928). [Editor's note ; enthält Henrik Ibsen]. | Publication / Ibs123 | |
| 110 | 1928 |
[Baroja, Pio]. Liu lang zhe. Lu Xun yi. In : Ben liu ; vol. 1, no 1 (1928). Übersetzung von Baroja, Pio. Errantes. In : Vidas sombrias. (Madrid : Antonio Marzo, 1900). 流浪者 |
Publication / LuX180 | |
| 111 | 1928 |
[Baroja, Pio]. Hei Mali.Lu Xun yi. In : Ben liu ; vol. 1, no 1 (1928). Übersetzung von Baroja, Pio. Mari Belcha. In : Vidas sombrias. (Madrid : Antonio Marzo, 1900). 黑馬理 |
Publication / LuX181 | |
| 112 | 1928 |
[Baroja, Pio]. Yi jia. Lu Xun yi. In : Ben liu ; vol. 1, no 1 (1928). Übersetzung von Baroja, Pio. Hogar triste. In : Vidas sombrias. (Madrid : Antonio Marzo, 1900). 移家 |
Publication / LuX182 | |
| 113 | 1928 |
[Baroja, Pio]. Dao gao. Lu Xun yi. In : Ben liu ; vol. 1, no 1 (1928). Übersetzung von Baroja, Pio. Angelus. In : Vidas sombrias. (Madrid : Antonio Marzo, 1900). 禱告 |
Publication / LuX183 | |
| 114 | 1928 |
[Philippe, Charles-Louis]. Bu shi. Lu Xun yi. In : Da jiang yue kan ; vol. 1, no 1 (1928). Übersetzung von Philippe, Charles-Louis. La chasse au lion. In : Contes du matin. (Paris : Editions de la Nouvelle revue française, 1916). 捕獅 |
Publication / LuX213 | |
| 115 | 1929 |
Bi xia yi cong. Zhou Shuren [Lu Xun] bian yi. (Shanghai : Bei xin shu ju, 1929). [Übersetzungen vom Fuss der Mauer]. 壁下譯叢 |
Publication / LuX7 |
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| 116 | 1929 |
Jin dai shi jie duan pian xiao shuo ji. Zhou Shuren [Lu Xun] yi. Vol. 1-2. (Shanghai : Zhao hua she, 1929). [Zeitgenössische Erzählungen aus aller Welt]. 近代世界短篇小説集 |
Publication / LuX6 |
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| 117 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Yi shu lun. Lunakaersiji zuo ; Zhou Shuren [Lu Xun] yi. (Shanghai : Da jiang shu pu, 1929). (Yi shu li lun cong shu ; 1). Übersetzung von Lunacarskij, Anatolij. Dialog ob iskusstve. (Moskva : Izdatel'stvo Vseross. Centr. Isp. Komiteta Sovetov RSKiK deputatov, 1919). [Dialog über Kunst]. 藝術論 |
Publication / LuX8 |
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| 118 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Wen yi yu pi ping. Lunakaersiji zuo ; Zhou Shuren [Lu Xun] yi. (Shanghai : Shui mo shu dian, 1929). (Ke xue de yi shu lun cong shu ; 6). [Kunst und Kritik]. 文藝與批評 |
Publication / LuX9 | |
| 119 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Wen yi zheng ce. Lunakaersiji zuo ; Zhou Shuren [Lu Xun] yi. (Shanghai : Shui mo shu dian, 1929). (Ke xue de yi shu lun cong shu ; 13). [Literaturpolitik]. 文藝政策 |
Publication / LuX10 | |
| 120 | 1929 |
[Jakovlev, Aleksandr Stepanovich]. Shi yue. Yakefuliefu zhu ; Lu Xun yi. In : Da zhong wen yi ; vol. 1, no 5-6 (1929). = (Shanghai : Lu Xun quan ji chu ban she, 1933). (Lu Xun quan ji dan xing ben fan yi zhi bu ; 26). Übersetzung von Jakovlev, Aleksandr Stepanovich. Oktiabr’. (Moskva : Zemliai fabrika, 1929). [Abhandlung über die Oktober-Revolution]. 十月 |
Publication / LuX18 | |
| 121 | 1929 | [Baroja, Pio]. Wang zhen zhi ye. In : Shan ming mu chang = 山民牧唱. Baluoha zhu ; Lu Xun yi. In : Zhao hua zhou kan = 朝花周刊 ; no 14 (1929) ; Jin dai shi jie duan pian xiao shuo ji ; vol. 2 (1929). Übersetzung von Baroja, Pio. Noche de médico. In : Baroja, Pio. Vidas sombrias. (Madrid : Impr. De Antonio Marzo, 1900). | Publication / LiuX31 | |
| 122 | 1929 | [Baroja, Pio]. Fang lang zhe Yilishabitai. Baluoha zhu ; Lu Xun yi. In : Jin dai shi jie duan pian xiao shuo ji ; vol. 2 (1929). Übersetzung von Baroja, Pio. Elizabide el vagabundo. In : Baroja, Pio. Idilios vascos. Illustr. De F. Periquet y R. Baroja. (Madrid : Serra, 1901). (Biblioteca mignon ; 24). | Publication / LuX34 | |
| 123 | 1929 |
[Lidin, Vladmir]. Liding zi zhuan. Lu Xun yi. In : Ben liu ; vol. 2, no 5 (1929). Übersetzung von Lidin, Vladmir. Autobiografia. In : Literaturnaja rossija ; (1926). 理定自傳 |
Publication / LuX78 | |
| 124 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Tuo'ersitai zhi si yu shao nian Ouluoba. Lu Xun yi. In : Chun chao ; vol. 1, no 3 (1929). Übersetzung von Lunacarskij, Anatolij Vasilevic. Smert' Toltogo i molodaja Evropa. In : Novaja zizni ; Febr. (1911). [Der Tod von Tolstoy und das junge Europa]. 托爾斯泰之死與少年歐羅巴 |
Publication / LuX81 | |
| 125 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Yi shu yu jie ji. Lu Xun yi. In : Yu si ; vol. 4, no 40 (1928). Übersetzung von Lunacarskij, Anatolij Vasilevic. Iskusstvo i klassy. In : Nacaly pozitivnoj estetiki (1903). [Grundlagen einer positiven Ästhetik]. 藝術與階級 |
Publication / LuX82 | |
| 126 | 1929 | [Lunacarskij, Anatolij Vasilevic]. Suwei'ai guo jia yu yi shu. Lu Xun yi. In : Ben liu ; vol. 2, no 1, 5 (1929). Übersetzung von : Lunacarskij, Anatolij Vasilevic. Sovetskoe gosudarstvo i iskusstvo. (1919). [Staat und Kunst in der Sowjetunion]. | Publication / LuX83 | |
| 127 | 1929 |
[L'vov Rogacevskij, Vasilij]. Qikefu yu xin wen yi. Lu Xun yi. Übersetzung von L'vov Rogacevskij, Vasilij. A.P. Cechov i novye puti. In : Ben liu ; vol. 2, no 5 (1929). 契呵夫與新文藝 |
Publication / Lux87 | |
| 128 | 1929 |
[L'vov Rogacevskij, Vasilij]. Ren xing de tian cai - Jia'erxun. Lu Xun yi. In : Chun chao ; vol. 1, no 9 (1929). Übersetzung von L'vov Rogacevskij, Vasilij. Garsin. In : Noveishaia russkaia literatura. (Moskva : Izd. Vserossiiskogo tsentr. soiuza potr. obshchestv, 1922). [Vsevolod Michajlovic Garshin]. 人性的天才 – 迦爾洵 “近代俄國文學史梗概“ 之一篇 |
Publication / LuX86 | |
| 129 | 1929 |
[Plechanov, Georgij Valentinovic]. Lun wen ji "Er shi nian jian" di san ban xu. Lu Xun yi. In : Chun chao ; vol. 1, no 7 (1929). Übersetzung von Plechanov, Georgij Valentinovic. Predislovie k tret'emu izdaniju "Za dvadsat' liet". In : Za dvadsat' liet : sbornik statei literaturnykh, ekonomicheskikh i filosofsko-istoricheskikh. (St. Petersburg : Jb.vi t.va Ibsgcgestvebbaua oik'zam 1908 [1. Aufl. 1905]). [Vorwort zur 2. Aufl. von "Aus zwanzig Jahren". Kunst in der Klassengesellschaft]. 論文集 “二十年間“ 第三版序 |
Publication / LuX99 | |
| 130 | 1929 |
[Temnyi, Nikolai]. Qing hu ji you. Lu Xun yi. In : Ben liu ; vol. 2, no 5 (1929). Übersetzung von Temnyi, Nikolai. [Reisebericht vom grünen Meer]. In : Dreissig neue Erzähler des neuen Russland : junge russische Prosa. (Berlin : Malik, 1929). 青湖記游 |
Publication / LuX117 | |
| 131 | 1929 | [Zoscenko, Michail]. Bolan gu niang. Lu Xun yi. In : Jin dai shi jie duan pian xiao shuo ji ; vol. 1 (1929).. Übersetzung von Zoscenko, Michail. Viktorija Kazimirovna. In : Almanach der Serapions-Brüder (1921).Übersetzung von Zoscenko, Michail. Viktorija Kazimirovna. In : Alamach der Serapions-Brüder. (1921). | Publication / uX126 | |
| 132 | 1929 |
Lu, Xun. Ai'erlan wen xue zhi hui gu. In : Yi wen ; vol. 2, no 2 (June 1929). [Irish literature : a survey]. 爱尔兰文学之回顾 |
Publication / OCa7 |
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| 133 | 1929 |
[Gorky, Maksim]. E mo. Lu Xun yi. In : Bei xin ; vol. 4, no 1-2 (1929). Übersetzung von Gorky, Maksim. O corti. (1899-1900). [Über den Teufel]. 惡魔 |
Publication / LuX206 | |
| 134 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Mei xue shi shen me. Lu Xun yi. In : Yi shu lun ; vol. 6 (1929). Übersetzung von Lunacarskij, Anatolij Vasilevic. Cto takoe estetika. In : Nacaly pozitivnoj estetiki. (1903). [Was ist Ästhetik ?]. 美學是甚麼? |
Publication / LuX208 | |
| 135 | 1929 |
[Lunacarskij, Anatolij Vasilevic]. Yi shu shi zen yang de fa sheng de. Lu Xun yi. In : Wen yi yu pi ping ; vol. 6 (1929). Übersetzung von Lunacarskij, Anatolij Vasilevic. [Wie die Kunst entstand]. In : Tolstoj i Marks. (1924). 藝術是怎樣地發生的 |
Publication / LuX209 | |
| 136 | 1930 |
[Plechanov, Georgij Valentinovic]. Yi shu lun. Pulihannofu zhu ; Lu Xun yi. (Shanghai : Guang hua shu ju, 1930). (Ke xue di yi shu lun cong shu ; 1). Übersetzung von Plechanov, Georgij Valentinovic. Iskusstvo i obscestvennaja zizn. (Moskva : Moskov. Inst. Zurnalistiki, 1922). [Die Kunst und das gesellschaftliche Leben]. 藝術論 |
Publication / LuX11 |
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| 137 | 1930 |
[Gábor, Andor]. Wu chan jie ji ge ming wen xue lun. Lu Xun yi. In : Shi jie wen hua ; 1930). Übersetzung von Gábor, Andor. Über die proletarisch-revolutionäre Literatur. In : Die Links-Kurve ; Nr. 3 (1929). 無產階級革命文學論 |
Publication / LuX56 | |
| 138 | 1930 |
[Lunacarskij, Anatolij Vasilevic]. Bei jie fang de Tang Jihede. Lu Xun yi. In : Bei dou ; vol. 1, no 3 (1931). Übersetzung von Lunacarskij, Anatolij Vasilevic. Osvobozennyi Don Kichote. (1922). = Der befreite Quichotte : ein Schauspiel in 9 Bildern und einem Epilog. (Berlin : Volksbühne, 1925). 被解放的堂•吉訶德 |
Publication / LuX84 | |
| 139 | 1930 |
[Plechanov, Georgij Valentinovic]. Cheleneisuifusiji de wen xue guan. Lu Xun yi. Übersetzung von Plechanov, Georgij Valentinovic. Esteticeskaja teoria N. Cernysevskogo. (1897). [Die ästhetische Theorie von Cernysevskij zur Literatur]. 車勒内綏夫斯基的文學觀 |
Publication / LuX100 | |
| 140 | 1930 | [Zamjatin, Evgenij Ivanovich]. Tong ku. Lu Xun yi. In : Dong fang za zhi ; vol. 28, no 1 (1931). Übersetzung von Zamjatin, Evgenij Ivanovich. Pescera. (1920). [Die Höhle]. | Publication / LuX124 | |
| 141 | 1930 |
[Sejfulina, Lidia Nikolaevna]. Fei liao. Lu Xun yi. In : Bei dou ; vol. 1, no 1-2 (1931). Übersetzung von Sejfulina, Lidia Nikolaevna. Peregnoj. (1922). 肥料 |
Publication / LuX115 | |
| 142 | 1930 | [Pil'njak, Boris Andreevic]. Ku peng. Bilinieke, B. ; Lu Xun yi. In : Dong fang za zhi ; vol. 27, no 3 (1930). Übersetzung von Pil'njak, Boris Andreevic. Polyn'. (1919). [Wurmstichiges Holz]. 苦蓬 | Publication / LuX215 | |
| 143 | 1931 |
[Erosenko, Vasilij Jakovlevic]. Xing fu de chuan. Ailuoxianke zhu ; Xia Mianzun, Lu Xun yi. (Shanghai : Kai ming shu dian, 1931). (Shi jie shao nian wen xue cong kan ; 12). [Boot des Glücks]. 幸福的船 |
Publication / LuX12 | |
| 144 | 1931 |
[Fadeev, Aleksandr Alexandrovic]. Hui mie. Fajieyefu zhuang ; Zhou Shuren [Lu Xun] yi. (Shanghai : Da jiang shu pu, 1931). Übersetzung von Fadeev, Aleksandr Alexandrovic. Razgrom : Vsesojuznaja Associacija proletarskich pisatelej. (Leningrad : Priboj, 1927). (Novinki proletarskoj literatury ; 3). = The nineteen. (Lonon : Martin Lawrence, 1929) = Die Neunzehn. (Wien : Verlag für Literatur und Politik, 1928). 毀灭 |
Publication / LuX16 | |
| 145 | 1931 |
[Kogan, Pëtr Semenovic]. Shimintu dai xu. Lu Xun yi. (1931). In : Lu Xun ri wen zuo pin ji. (Shanghai : Shanghai wen yi chu ban she, 1981) ; vol. 10. Übersetzung von Kogan, Pëtr Semenovic. [Geleitwort zu] Gladkov, Fedor. Tsement. (Moskva : Izd-vo Zemiliai fabrika, 1927). “士敏土“ 代序 |
Publication / LuX74 | |
| 146 | 1931 |
[Renn, Ludwig]. Shi jie wu chan jie ji ge ming zuo jia dui Zhongguo bai se kong bu ji di guo zhu yi gan she de kang yi. Lu Xun yi. In : Wen xue dao bao ; vol. 1, no 2 (1931). Übersetzung von Renn, Ludwig. Protest der proletarisch-revolutionären Schriftsteller gegen weissen Terror und imperialistische Einmischung in China. Manifest bei der 2. Internationalen Konferenz revolutionärer Schriftsteller, Moskau 1930. 世界無產階級革命作家對中國白色恐怖及帝國主義干涉的抗議 |
Publication / LuX108 | |
| 147 | 1931 |
[Baring, Nina]. Meiling ge de Guan yu wen xue shi. Lu Xun yi. In : Bei dou ; vol. 1, no 4 (1931). [Zur Literatur von Franz Mehring]. 梅令格的《關於文學史》 |
Publication / LuX178 | |
| 148 | 1931 |
[Meyer, Hanns]. Zhongguo qi le huo. Lu Xun yi. In : Wen xue dao bao ; vol. 1, no 2 (1931). Übersetzung von Meyer, Hanns. China brennt. [Gedicht] 中國起了火 |
Publication / LuX211 | |
| 149 | 1931 | Suifulinna, L. Feiliao. In : Bei dou ; vol. 1, no 1 (1931). Übersetzung von Seifullina, Lidija. Peregnoj. (1922). [Dung]. | Publication / LuX216 | |
| 150 | 1931 |
[Sholokhov, Mikhail Aleksandrovich]. Jing jing de dun he. Suoluohefu zuo ; He Fei yi. (Shanghai : Shen zhou guo guang she, 1931). Übersetzung von Sholokhov, Mikhail. Tikhii don : roman. = Tikhiy don. Vol. 1-3. In : Oktyabr, 1928–1932. = Vol. 1-3. (Moskva : Moskovskii rabochii, 1928-1933). = And quiet flows the Don : a novel in four books. (Moscow : Foreign Languages Publ. House ; New York, N.Y. : A.A. Knopf, 1934-1940). = The Don flows home to the sea. (London : Putnam, 1940). = Der stille Don. Bd. 1-2. (Berlin : Verlag Volk und Welt, 1947). [Postscript von Lu Xun ; Nobelpreis]. 靜靜的頓河 |
Publication / Shol6 |
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| 151 | 1931 | Lu, Xun. A reply to Qu Qiubai. (1931). In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004). | Publication / LuX217 |
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| 152 | 1931 | [Zozulja, Efim Davidovich]. Ya ke yu ren xing. Lu Xun yi. In : Shu qin ; vol. 19 (1931). Übersetzung von Zozulja, Efim Davidovich. Rasskaz ob ake i celovecestve. (Moskva : Izd-vo Ogonek, 1925). = Eine Geschichte über Ach und die menschliche Natur. In : Dreissig neue Erzähler des neuen Russland : junge russische Prosa. (Berlin : Malik, 1929). | Publication / LuX127 |
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| 153 | 1932 |
[Jakovlev, Aleksandr Stepanovich]. Zuo zhe zi zhuan. Lu Xun yi. In : Shi yue. (1930). Übersetzung von Jakovlev, Aleksandr Stepanovich. Ochez mal'jar. In : Literaturnaja rossija ; vol. 1 (1924). [Autobiographie]. 作者自傳 |
Publication / LuX67 | |
| 154 | 1932 |
[Inber, Vera Michajlovna]. Lala de li yi. Lu Xun yi. In : Shu qin ; vol. 19 (1932). Übersetzung von Inber, Vera Michajlovna. Ljaliny interesy. (1925). 拉拉的利益 |
Publication / LuX207 | |
| 155 | 1933 |
Shu qin. Lu Xun bian yi. (Shanghai : Liang you tu shu yin shua gong si, 1933). (Liang you wen xue cong shu ; 1). [Übersetzungen von russischen Kurzgeschichten. Darin enthalten : Aleksandr Stepanovich Jakovlev, Vera Inber et al]. 豎琴 |
Publication / LuX17 | |
| 156 | 1933 |
Yi tian de gong zuo. Lu Xun bian yi. (Shanghai : Liang you tu shuo yin shua gong si, 1933). (Liang you wen xue cong shu ; 4). [Übersetzungen von russischen Kurzgeschichten]. 一天的工作 [Enthält] : Bilinieke, B. Ku peng. Lu Xun yi. In : Dong fang za zhi ; vol. 27, no 3 (1930). Übersetzung von Pil'njak, Boris Andreevic. Polyn'. (1919). [Wurmstichiges Holz]. 苦蓬 Suifulinna, L. Feiliao. In : Bei dou ; vol. 1, no 1 (1931). Übersetzung von Seifullina, Lidija. Peregnoj. (1922). [Dung]. Luexike, N. Tie de jing ji. Übersetzung von Liasko, Nikolaj. Zeleznaja tisina. In : Zeleznaja tisina : rasskazy. (1922). [Eiserne Stille]. Nieweiluofu, A. Wo yao huo. Übersetzung von Neverov, Aleksandr. Ja chocu zit'. (1922). In : Neverov, Aleksandr. Das Antliz des Lebens : Erzählungen. Hrsg. und übers. von Maria Einstein. (Wien : Verlag für Literatur und Politik, 1925. [Ich will leben]. 我要活 Malashigeng, S. Gong ren. Übersetzung von Malaskin, Sergei. [Arbeiter]. (1922). 工人 Suilafeimoweizhi, A. Yi tian de gong zuo. Qu Qiubai yi. Übersetzung von Serafimovich, Aleksandr S. [A day of work. Original-Titel nicht gefunden]. [Auch in : Qu Qiubai wen ji. (Beijing : Ren min wen xue chu ban she, 1953). 瞿秋白文集]. 一天的工作 Suilafeimoweizhi, A. Cha dao fu. Qu Qiubai yi. Übersetzung von Serafimovich, Aleksandr S. [Original-Titel ev. Switchman (1891). In : Sand, and other stories. (Moscow : Foreign Languages Publ. House, 1958)]. [Auch in : Qu Qiubai wen ji. (Beijing : Ren min wen xue chu ban she, 1953). 瞿秋白文集]. 岔道夫 Fu'ermanuofu, D. Ge ming de ying xiong men. Übersetzung von Furmanov, Dmitri. Krasnyi desant. (1921). = Die roten Helden. (Berlin : Verlag der Jugendinternationale, 1928). [Helden der Revolution]. Suoluohefu, M. Fu qin. Übersetzung von Sholokhov, Mikhail Aleksandrovich. Semejnyi elovek. In : Donskie rasskazy (1927). = Der Vater. In : Dreissig neue Erzähler des neuen Russland. (Berlin : Malik, 1929). 父親 Banfeiluofu, F. ; Yiliankefu, V. Ku mei, ren men he nai huo zhuan. Übersetzung von Panferov, Fedor Ivanovic ; Il'enkov, Vasilij Pavlovich. Koks Jiudi, ogneu porny kirpici. (1931). [Koks, Menschen und Bricket]. |
Publication / LuX19 |
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| 157 | 1933 |
[Furmanov, Dimitrij]. Ge ming de ying xiong men. Fu'ermannuofu zhu ; Lu Xun yi. In : Yi tian de gong zuo [ID D12509]. Übersetzung von Furmanov, Dimitrij. Krasnyi desant. (Moskva : Gos. Izd.-vo khudozh. lit-ry, 1932). 革命的英雄們 |
Publication / LuX55 | |
| 158 | 1933 |
Qu, Qiubai ; Lu, Xun. Xiao Bona zai Shanghai. (Shanghai : Ye cao shu wu, 1933). [Abhandlung über George Bernard Shaw]. 萧伯纳在上海 |
Publication / Shaw44 | |
| 159 | 1934 |
[Gorky, Maksim]. E mo. Lu Xun yi. (Shanghai : Chun guang shu dian, 1934). (Shi jie wen xue ming zhu yi cong). [Übersetzungen von Short stories von Gorky].. 惡魔 |
Publication / LuX20 |
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| 160 | 1934 | [Baroja, Pio]. Shan ming di yun = Shan ming mu chang = 山民牧唱. Baluoha zhu ; Lu Xun yi. In : Wen xue = 文學 ; vol. 2, no 3 (1934). Shao tan ren = El carbonero. Qiu de hai bian = Playa de otono. Yi ge guan fen ren de gu shi = Las coles de cementerio. Maliqiao = Marichu. Shang en = Bondad oculta. Xiao ke zhang = La venta.Shou feng qin song = Elogio sentimental del acordeón. Übersetzung von Baroja, Pio. Idilios vascos. Illustr. De F. Periquet y R. Baroja. (Madrid : Serra, 1901). (Biblioteca mignon ; 24). | Publication / LuX35 | |
| 161 | 1934 | [Baroja, Pio]. Xu wen : Si jiang gu shi ti. Baluoha zhu ; Lu Xun yi. In : Yi wen = 譯文 ; vol. 1, no 2 (1934) ; Jin dai shi jie duan pian xiao shuo ; vol. 2). Übersetzung von Baroja, Pio. Prólogo : con aire de balada. In : Idilios vascos. Illustr. De F. Periquet y R. Baroja. (Madrid : Serra, 1901). (Biblioteca mignon ; 24). | Publication / LuX36 | |
| 162 | 1934 | [Baroja, Pio]. Hui you. Baluoha zhu ; Lu Xun yi. In : Yi wen = 譯文 ; vol. 1, no 3 (1934). Übersetzung von Baroja, Pio. El charcutero : un episodo de la historia de los chapelaundes del Bidasoa. In : Baoja, Pio. Cuentos. Illustraciones de Agustin. Vol. 1-4. (Madrid : R. Caro Raggio, 1919). | Publication / LuX37 | |
| 163 | 1934-1935 |
[Chekhov, Anton Pavlovich]. Qi wen san ze = Qi wen er ze / Huai hai zi he bie de qi wen. Lu Xun yi. In : Yi wen ; vol. 1, no 4, 6 - vol. 2, no 2 (1934-1935) / Yi wen ; vol. 4. Übersetzung von Tschechow, Anton. Der persische Orden und andere Grotesken. Mit acht Holzschnitten von W.N. Massjutin ; Deutsch von Alexander Eliasberg. (Berlin : Welt-Verlag, 1922). [Enthält] : Jia bing ren = Simulajanty [Die Simulanten]. Pu ji ke fu shou ri ji chao = Iz dnevnika pomoscnika buchgaltera [Aus dem Tagebuch des Buchhaltungsgehilfen]. Na shi ta = To byla ona [Das war sie !]. Huai hai zi = Zloj mal'cik [Der böse Junge]. Bao zao ren = Iz zapisok vspyl'civogo celoveka [Aus den Aufzeichnungen eines reizbaren Mannes]. Nan jie de ying ge = Zagadocnaja natura [Ein geheimnisvoller Charakter]. Bo si xun zhang = Lev i solnce [Löwe und Sonne]. Yin mou = Intrigy [Intrigen]. 奇聞三則 |
Publication / LuX48 | |
| 164 | 1934 |
[Gide, André]. Miao xie zi ji. Lu Xun yi. In : Yi wen ; vol. 1, no 2 (1934). Übersetzung von Gide, André. Portrait. In : Le cri de Paris (1901). 描寫自己 |
Publication / LuX59 | |
| 165 | 1934 |
[Gogol, Nikolai Vasil'evich]. Bi zi. Lu Xun yi. In : Yi wen ; vol. 1, no 1 (1934). Übersetzung von Gogol, Nikolai Vasil'evich. Nos. (1836). = Phantasien und Geschichten. Deutsch von Wilhelm Lange und Philipp Löbenstein. Bd. 1-4. (Leipzig : P. Reclam, 1883-1884). (Reclam's Universal-Bibliothek). 鼻子 |
Publication / LuX60 | |
| 166 | 1934 |
[Gorky, Maksim]. Wo de wen xue xiu yang. Lu Xun yi. In : Wen xue ; vol. 3, no 2 (1934). Übersetzung von Gorky, Maksim. O tom kak ja ucilsa p'sat. (1913). [Meine literarische Bildung]. 我的文學修養 |
Publication / LuX62 | |
| 167 | 1934 |
[Grosz, George]. Yi shu du hui de Bali. Lu Xun yi. In : Yi wen ; vol. 1, no 1 (1934). Übersetzung von Grosz, George. Paris als Kunststadt. In : Grosz, George. Die Kunst ist in Gefahr : drei Aufsätze. (Berlin : Malik, 1925). 藝術都會的巴黎 |
Publication / LuX63 | |
| 168 | 1934 |
[Körber, Lili]. Zeng Xin Yulin shi ji zhi Xin Yulin du zhe ci. Lu Xun yi. In : Xin yu lin ; no 3 (1934). Übersetzung von Körber, Lili. Ein Gedicht für Xin yu lin und ein Grusswort an die Leser von Xin Yulin. (1934). 增“新語林“詩及至“新語林“讀者辭 |
Publication / LuX73 | |
| 169 | 1934 |
[Saltykov-Shchedrin, Michail Evgrafovic]. Ji jin. Lu Xun yi. In : Yi wen ; vol. 2, no 2 (1934). Übersetzung von Saltykov-Shchedrin, Michail Evgrafovic. Golodnyi gorod. In : Istorija odnogo goroda. (1970). [Hungersnot, Geschichte einer Stadt]. 饑饉 |
Publication / LuX112 | |
| 170 | 1934 | Lu, Xun. Zhu Zhong E wen zi zhi jiao. In : Lu, Xun. Nan qiang bei diao ji. (Shanghai : Tong wen shu dian, 1934). [The ties between Chinese and Russian literatures]. | Publication / LuX179 |
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| 171 | 1934 |
[Baroja, Pio]. Shao tan ren. Lu Xun yi. In : Shan min di yun. (1934). Übersetzung von Baroja, Pio. El carbonero. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 燒炭人 |
Publication / LuX184 | |
| 172 | 1934 |
[Baroja, Pio]. Qiu de hai bian. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. Playa de otono. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 秋的海邊 |
Publication / LuX185 | |
| 173 | 1934 |
[Baroja, Pio]. Yi ge guan fen ren de gu shi. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. Las coles de cementerio. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 一個管墳人的故事 |
Publication / LuX186 | |
| 174 | 1934 |
[Baroja, Pio]. Maliqiao. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. Marichu. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 馬理喬 |
Publication / LuX187 | |
| 175 | 1934 |
[Baroja, Pio]. Shan gen. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. Bondad oculta. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 善根 |
Publication / LuX188 | |
| 176 | 1934 |
[Baroja, Pio]. Xiao ke zhang. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. La venta. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 小客棧 |
Publication / LuX189 | |
| 177 | 1934 |
[Baroja, Pio]. Shou feng qin song. Lu Xun yi. In : Shan min mu chang (1934). = Wen xue ; vol. 2, no 3 (1934). Übersetzung von Baroja, Pio. Elogio sentimental del acordeon. In : Baroja, Pio. Idilios vascos. (Madrid : R. Serra, 1901). 手風琴頌 |
Publication / LuX190 | |
| 178 | 1935 |
[Gorky, Maksim]. Eluosi de tong hua. Lu Xun yi. (Shanghai : Wen hua sheng huo chu ban she, 1935). Übersetzung von Gorky, Maksim. Russkiia skazki. (Berlin : J. Ladyschnikow, 1912). [Russische Märchen]. 俄羅斯的童話 |
Publication / LuX23 |
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| 179 | 1935 | [Baroja, Pio]. Cu xia gui Laigeqiangtaiqi. Baluoha zhu ; Lu Xun yi. In : Xin xiao shuo = 新小說 ; vol. 1, no 3 (1935). Übersetzung von Baroja, Pio. Lecochandegui, el joviál. In : Baroja, Pio. Nuevo tablado de Arlequin. (Madrid : R. Caro Raggio, 1917). | Publication / LuX38 | |
| 180 | 1935 | [Baroja, Pio]. Shao nian bie. Baluoha zhu ; Lu Xun yi. In : Yi wen = 譯文 ; vol. 1, no 6 (1935). Übersetzung von Baroja, Pio. Adiós a la beohemia ! In : Baroja, Pio. Nuevo tablado de Arlequin. (Madrid : R. Caro Raggio, 1917). | Publication / LuX39 | |
| 181 | 1935 |
[Buek, Otto]. Fu lu. Lu Xun yi. In : Shi jie wen ku ; no 6 (1935). Übersetzung von Buek, Otto. Anhang zu Die Abenteuer Tschitschikows oder Die toten Seelen. In : Sämtliche Werke. (München : Kröner, 1914). 附錄 |
Publication / LuX46 | |
| 182 | 1935-1936 |
[Gogol, Nikolai Vasil'evich]. Si ling hun. Lu Xun yi. T. 1-2. In : Shi jie wen ku ; no 1-6 (1935) ; Yi wen ; vol. 1, no 1-3, vol. 2, no 2 (1936). Übersetzung von Gogol, Nikolai Vasil'evich. Mërtvye duzi. T. 1-2 (1842, 1852). = Die Abenteuer Tschitschikows oder Die toten Seelen. In : Sämtliche Werke. (München : Kröner, 1914). 死靈魂 |
Publication / LuX61 | |
| 183 | 1935 |
[Kotljarevskij, Nestor Aleksandrovich]. Xu yan. Lu Xun yi. In : Gogol, Nikolai Vasil’evich. Si ling hun. Guogeli zhu ; Lu Xun yi. (Shanghai : Wen hua sheng huo chu ban she, 1935). [Vorwort]. 序言 |
Publication / LuX75 | |
| 184 | 1935 |
[Panteleev, Leonid Ivanovich]. Biao. Lu Xun yi. In : Yi wen ; vol. 2, no 1 (1935). = (Shanghai : Chun guang shu dian, 1935). Übersetzung von Penteleev, Leonid Ivanovich. Casy. [Die Uhr]. (1928). In : Panteleev, Leonid Ivanovich. Die Uhr. Übers. von Maria Einstein. (Berlin : Verlag für Literatur und Politik, 1930). 表 |
Publication / LuX94 | |
| 185 | 1935 |
[Sadoveanu, Mihail]. Lian'ge. Lu Xun yi. In : Yi wen ; vol. 2, no 6 (1935). Übersetzung von Sadoveanu, Mihail. Cintecul de dragoste. In : Povestiri. (Bucuresti : [s.n.], 1904). = Sadoveanu, Mihail. Das Liebeslied und andere Erzählungen. (Leipzig : Reclam, 1908). (Universal-Bibliothek ; 5044). 戀歌 |
Publication / LuX111 | |
| 186 | 1935 |
[Vazov, Ivan Minchov]. Cun fu. Lu Xun yi. In : Yi wen ; vol. 2, no 6 (1935). Übersetzung von Vazov, Ivan. Edna Bulgarka. (1899). 村婦 |
Publication / LuX122 | |
| 187 | 1935 |
[Gogol, Nikolaj Vasil’evich]. Si ling hun. Guogeli zhu ; Lu Xun yi. (Shanghai : Wen hua sheng huo chu ban she, 1935). Übersetzung von Gogol, Nikolai Vasil’evich. Mervye dushi. Vol. 1-2. (Moskva : V Univ. Tip, 1842-1955). = Dead souls. (London : Vizetelly, 1887). [Erw. Aufl. (1938)]. 死靈魂 |
Publication / LuX22 |
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| 188 | 1936 | Chekhov, Anton Pavlovich. Huai hai ze he bie de qi wen. Lu Xun yi. (Shanghai : Lian hua shu ju, 1936). [Übersetzungen von Short stories von Chekhov]. | Publication / LuX24 | |
| 189 | 1936 | Lu, Xun. Tuosituo yi fu si ji de shi. (1936). In : Lu Yun quan ji ; vol. 7 (1981). [Abhandlung über Leo Tolstoy]. | Publication / LuX177 | |
| 190 | 1936-1939 |
[Sholokhov, Mikhail Aleksandrovich]. Jing jing de dun he. Suoluohefu zhu ; Zhao Xun, Huang Yiran he yi. Vol. 1-4. (Shanghai : Guang ming shu ju, 1936-1939). Übersetzung von Sholokhov, Mikhail. Tikhii don : roman. = Tikhiy don. Vol. 1-3. In : Oktyabr, 1928–1932. = Vol. 1-3. (Moskva : Moskovskii rabochii, 1928-1933). = And quiet flows the Don : a novel in four books. (Moscow : Foreign Languages Publ. House ; New York, N.Y. : A.A. Knopf, 1934-1940). = The Don flows home to the sea- (London : Putnam, 1940). = Der stille Don. Bd. 1-2. (Berlin : Verlag Volk und Welt, 1947). [Nobelpreis]. 靜靜的頓河 |
Publication / Shol5 | |
| 191 | 1937 | Lu, Hsün [Lu, Xun]. Vrava : [Osm povidek]. (Praze : Lidova kultura, 1937). (Lidova knihovba ; 24). | Publication / Prus21 | |
| 192 | 1938 |
Lu, Xun. Lu Xun quan ji. (Shanghai : Lu Xun quan ji chu ban she, 1938). Vol. 8. [Lu Xun schreibt darin über die Grösse von Johann Wolfgang von Goethe, Karl Marx und Friedrich Nietzsche]. 鲁迅全集 |
Publication / Goe28 | |
| 193 | 1941 | [Lu, Xun]. Ah Q and others : selected stories of Lusin. Transl. by Chi-chen Wang. (New York, N.Y. : Columbia University Press, 1941). | Publication / WaC8 | |
| 194 | 1947 |
Lu, Hsün [Lu, Xun]. Segen. Aus dem Chinesischen übertragen von Joseph Kalmer. (Herrliberg-Zürich : Bühl-Verlag, 1947). (Bühl-Verlag-Blätter ; 21). |
Publication / KAJ4 |
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| 195 | 1948 |
Lu, Shun [Lu, Xun]. Hesitation. Compiled and ann. by Jörgensen [Zhao Jingshen]. (Shanghai : Bei xin shu ju kan xing, 1948). Übersetzung von Lu, Xun. Pang huang. (Shanghai : Bei xin shu ju, 1925). [Text in Englisch und Chinesisch]. 彷徨 |
Publication / LuX152 |
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| 196 | 1948 |
[Gorky, Maksim]. Gao'erji ji ji jie zuo ji. Lu Xun yi. (Shanghai : He zhong shu dian, 1948). [Übersetzung der gesammelten Werke von Gorky]. 高尔基杰作集 |
Publication / Gork55 | |
| 197 | 1949 |
Lu, Xun. The war cry. Compiled ann. By Jörgensen [Zhao Jingshen]. (Shanghai : Bei xin shu ju, 1949). (Xian dai Zhongguo wen xue cong kan). Übersetzung von Lu, Xun. Na han. (Beijing : Xin chao she, 1923). 吶喊 [Enthält] : The diary of a crazy man, Kong Yiji, Medicine, A little incident, Wind and wave, The old home, The true story of Ah Q, White light. |
Publication / LuX155 | |
| 198 | 1951 | Lu, Sün [Lu, Xun]. Vrava ; Polni trava. Z cin. orig. Na-chan, Jie-cchao, prel., predml. Jaroslav Prusek. (Praha : Svoboda, 1951). (Knihovna Svobody ; 102). | Publication / Prus20 | |
| 199 | 1952 | Lu, Hsün [Lu, Xun]. Erzählungen aus China. Übertragen von Josi von Koskull. (Berlin : Rütten & Loening, 1952). (Kleine R & L-Bücherei). | Publication / Kos1 |
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| 200 | 1953 | Lou, Sin [Lu, Xun]. La véritable histoire de Ah Q ; suivi de Sur 'La véritable histoire de Ah Q' par Feng Soueh-feng [Feng Xuefeng] ; trad. par Paul Jamati ; préf. de Claude Roy. (Paris : Editeurs français réunis, 1953). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). | Publication / LuX2 | |
| 201 | 1954 | Lu, Xun. Die wahre Geschichte von Ah Queh. Mit einer Vorbemerkung und mit Anmerkungen. [Übersetzung aus dem Chinesischen] von Richard Jung und mit einem Nachw. über das Werk und seinen Verfasser von Feng Hsüa-feng [Feng Xuefeng]. (Leipzig : P. List, 1954). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). 阿Q正传 | Publication / LuX131 | |
| 202 | 1955 | Lu, Hsün [Lu, Xun]. Die Reise ist lang : gesammelte Erzählungen. Aus dem Chinesischen übersetzt von Joseph Kalmer. (Düsseldorf : Progress-Verlag Fladung, 1955). | Publication / Kal10 |
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| 203 | 1955 |
Lu, Xun. La vera storia di Ah Q e altri racconti. (Milano : Feltrinelli, 1955). [Enthält] : La vera storia di Ah Q, Tempesta in una tazza da tè, Il misantropo, Villaggio natio, Kung I-ci, Diario di un pazzo, Rimpianto del passato, L'opera del villaggio, La famiglia felice, Medicina, Un incidente, Nella bottega del vino, Forgiando la spada, Il sacrificio di Capodanno. |
Publication / LuX171 | |
| 204 | 1956-1960 | Lu, Hsün [Lu, Xun]. Selected works of Lu Hsün. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. Vol. 1-4. (Peking : Foreign Languages Press, 1956-1960). = Lu, Xun. Selected works. Translated by Yang Xianyi and Gladys Yang. Vol. 1-4. (Beijing : Foreign Languages Press, 1980). | Publication / Yan49 | |
| 205 | 1956 | Lou, Sin [Lu, Xun]. Nouvelles choisies. Note de l'éditeur, dessin du couvre-livre par Setou Kiao [Situ Qiao]. (Pékin : Ed. en langues étrangères, 1956. | Publication / LuXun2 | |
| 206 | 1958 | Lu, Ssün [Lu, Xun]. Morgenblüten - abends gepflückt : eine Auswahl aus seinem Werk. Hrsg. und aus dem Chinesischen übersetzt von Johanna Herzfeldt. (Berlin : Rütten & Loening, 1958). | Publication / Herz2 |
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| 207 | 1958 | Lusin [Lu, Xun]. Diary of a madman. Transl. by Chi-chen Wang [Wang Jizhen] ; introd. by Julie Rueter. (Thornhill, Ont. : Gus Rueter, 1958). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918). | Publication / LuX154 | |
| 208 | 1959 |
Lu, Hsün [Lu, Xun]. A brief history of Chinese fiction. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1959). (China knowledge series ; 7). Übersetzung von Lu, Xun. Zhongguo xiao shuo shi lue. Vol. 1-2. (Beijing : Bei da di yi yuan xin chao she, 1923-1924). 中國小說史略 |
Publication / Yan52 | |
| 209 | 1959 |
Lou, Siun [Lu, Xun]. Contes anciens à notre manière. Présentés et trad. par Li Tche-houa. (Paris : Gallimard, 1959). (Connaissance de l'Orient). Übersetzung von Lu, Xun. Gu shi xin bian. (Shanghai : Wen hua sheng huo chu ban she, 1936). 故事新编 |
Publication / LuXun3 |
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| 210 | 1959 | Lu, Hsun [Lu, Xun]. Chosen pages from Lu Hsun : the literary mentor of the Chinese Revolution. (New York, N.Y. : Cameron Associates, 1959?). | Publication / LuX146 |
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| 211 | 1959 |
[Andreyev, Leonid Nikolaevich]. Xian dai xiao shuo yi cong. Anteliaifu deng zhu ; Lu Xun yi. (Xianggang : Jian wen shu ju, 1959). (Xian dai xiao shuo yi cong). [Übersetzung von Short stories von Andreyev]. 現代小說譯叢 |
Publication / And51 | |
| 212 | 1960 |
Lu, Hsün [Lu, Xun]. Selected stories of Lu Hsün. Translated from the Chinese by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1960). [Enthält] : Call to arms. A madman's diary. Gong Yiji. Medicine. Tomorrow. An incident. Storm in a teacup. My old home. The true story of ah Q. Village opera. The new year's sacrifice. In the wine shop. A happy family. Soap. The misanthrope. Regret for the past. The divorce. The flight to the moon. Forging the swords. |
Publication / Yan50 | |
| 213 | 1960 |
Lu, Ssün [Lu, Xun]. Die Flucht auf den Mond : alte Geschichten neu erzählt. Hrsg. und übers. von Johanna Herzfeldt. (Berlin : Rütten & Loening, 1960). Übersetzung von Lu, Xun. Gu shi xin bian. (Shanghai : Wen hua sheng huo chu ban she, 1936). 故事新編 |
Publication / LuX134 | |
| 214 | 1960 |
Lu, Xun. Storia della letteratura cinese : la prosa. A cura di Gaetano Viviani e R Angelozzi. (Roma : Editori riuniti, 1960). Übersetzung von Lu, Xun. Zhongguo xiao shuo shi lue. (Beijing : Bei da di yi yuan xin chao she, 1923-1924). 中國小說史略 |
Publication / LuX174 | |
| 215 | 1961 |
Lu, Hsün [Lu, Xun]. Old tales retold. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1961). Übersetzung von Lu, Xun. Gu shi xin bian. (Shanghai : Wen hua sheng huo chu ban she, 1936). 故事新编 |
Publication / Yan54 | |
| 216 | 1962 | Lu, Hsun [Lu, Xun]. Cultura e società in Cina. A cura di Teresa Regard. (Roma : Editori riuniti, 1962). (Nuova biblioteca di cultura ; 41). | Publication / LuX167 | |
| 217 | 1964 |
China erzählt : acht Erzählungen. Ausgewählt und eingeleitet von Andreas Donath. (Frankfurt a.M. : Insel-Verlag, 1964). [Enthält] : Guo, Moruo. Der Han-Gu-Pass. Hu, Shi. Eine Frage. Lu, Xun. Die ewige Lampe. Mao, Dun. Seidenraupen im Frühling. Lao, She. Die Mondsichel. Wu, Zuxiang. Das Elexier. Zhao, Shuli. Die Heirat des Hsiau Ori-he. Liu, Binyan. Brückenbau. |
Publication / Don3 | |
| 218 | 1964 | Lu, Hsün [Lu Xun]. Tapani. Prelozila Berta Krebsova. (Praha : Knihovna Klasiku, 1954). | Publication / KrebB5 | |
| 219 | 1967 | Lu, Hsün [Lu, Xun]. A Lu Hsün reader. Compiled and ann. by William A. Lyell. (New Haven, Conn. : Yale University, 1967). (Mirror series ; C15. Far Eastern Publicatons). | Publication / Lye2 | |
| 220 | 1968 |
Lu, Xun. La falsa libertà. A cura di Edoarda Masi. (Torino : Einaudi, 1968). (Nuova universale Einaudi, 91). [Übersetzung von Texten von Lu Xun]. [Enthält] : Divergenze tra letteratura e politica. |
Publication / LuX176 | |
| 221 | 1969 |
Lu, Xun. Fuga sulla luna. (Bari : De Donato, 1969). (Rapporti). [Enthält] : La vera storia di Ah Q, La luce bianca, Fuga sulla luna, Riparazione della volta celeste, La raccolta della veccia, La lameda eterna, La traversata del passo, I fratelli, La festa della barca del drago, Contro l'aggressione, Il sapone, Tano strepito per nulla, Il professor Kao, Il misantropo, Villaggio natale, K'ung-I-Chi, Diario di un pazzo, Il diluvio, Divorzio, Domani, Prefazione a Alle armil, Resurrezione, Rimpianto del passato, L'opera del villaggio, Alla berlina, I capelli, Conigli e gatti, La commedia degli anatroccoli, Medicina, Un incidente, Nella taverna, Le spade, Il sacrificio di Capodanno. |
Publication / LuX170 | |
| 222 | 1970 |
Modern drama from Communist China. Ed. by Walter J. and Ruth I. Meserve. (New York, N.Y. : New York University Press, 1970). [Enthält] : Guan, Hanqing. Snow in midsummer. = Gan tian dong di dou e yuan (1958). 感天動地竇娥冤 Lu, Xun. The passer-by. = Guo ke (1925). 过客 Lao, She. Dragon beard ditch. = Long xu gou (1950). 龙须沟 Ding, Yi ; He Jingzhi. The white-haired girl. = Bai mao nü (1945). 白毛女 Sun, Yu. The women's representative. = Fu nü dai biao (1953). 妇女代表 Chang, Baohua. Yesterday. = Zuo tian (1961). 昨天 Ren, Deyao. Magic aster. = Ma lan hua (1956). 马兰花 Sha, Se. Letters from the South. = Nan fang lai xin (1964). 南方来信 Weng, Ouhong ; A, Jia. The red lantern. = Hong deng ji (1964). 紅灯記 |
Publication / Mes2 |
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| 223 | 1970 |
Textes de littérature moderne. Vol. 1-2. (Paris : Ministère de l'Education nationale, Centre national de télé-enseignement, Institut national des langues et civilisations orientales, 1970). [Enthält] : Ai Qing, Hu Shi, Lu Xun, Shen Congwen, Tian Jian, Wen Yiduo, Xu Zhimo, Zang Kejia, Zhu Ziqing. |
Publication / Ant37 |
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| 224 | 1970 |
Lu, Xun. Three stories. With introd. and notes by Paul Kratochvil. (London : Cambridge University Press, 1970). [Enthält] : Fengbo, Cong bai cao yuan dao san wei shu wu, Ajin. |
Publication / LuX147 | |
| 225 | 1972 |
Lu, Hsün. The true story of Ah Q. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1972). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). 阿Q正传 |
Publication / Yan25 | |
| 226 | 1972 | Lu, Hsun [Lu, Xun]. Selected stories. Transl. by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1972). | Publication / LuX142 | |
| 227 | 1973 | Lu, Xun. Silent China : selected writings of Lu Xun. Ed. and translated by Gladys Yang. (London : Oxford University Press, 1973). (A Galazy book ; GB 405). | Publication / Yan51 | |
| 228 | 1973 | Lu, Hsün [Lu, Xun]. Der Einsturz der Lei-feng-Pagode : Essays über Literatur und Revolution in China. Hrsg. und übers. von Hans Christoph Buch und Wong May. (Reinbek bei Hamburg : Rowohlt, 1973). (Das neue Buch ; 32). | Publication / LuX130 | |
| 229 | 1973 |
[Gorky, Maksim]. Yi yue jiu ri. Gao'erji zhu ; Lu Xun xu ; Cao Jinghua yi. (Xi'an : Shanxi ren min chu ban she, 1973). Übersetzung von Gorky, Maksim. 9-oe ianvaria : ocherk. (Berlin : J. Ladyschnikow, 1907). = Der 9. Januar : die Ereignisse in Petersburg am 9. Januar 1905. (Königstein : Athenäum, 1981). 一月九日 |
Publication / Gork188 | |
| 230 | 1974 | Lu, Xun. Einige Erzählungen. (Peking : Verlag für Fremdsprachige Literatur, 1974). | Publication / LuX129 |
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| 231 | 1974 |
Luxun [Lu, Xun]. Tempête dans une tasse de thé : nouvelle. (Pékin : Ed. en langues étrangères, 1974). Übersetzung von Lu, Xun. Feng bo. In : Xin qing nian ; 9 (1920). 风波 |
Publication / LuXun15 |
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| 232 | 1975 |
Lu, Xun. La mauvaise herbe. Traduction et introduction de P[ierre] Ryckmans [Simon Leys]. (Paris : Union générale d'éditions, 1975). (Bibliothèque asiatique ; 21). Übersetzung von Lu, Xun. Ye cao. (Shanghai : Bei xin shu ju, 1928). 野草 |
Publication / Ryc12 |
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| 233 | 1976 | Lu, Xun [et al.]. Fonctions d'un classique : Luxun dans la Chine contemporaine, 1975-1977. [Choix des textes, traduit du chinois, présentation et notes par François Jullien]. (Lausanne : A. Eibel, 1978). (Cahiers Luxun ; 1). | Publication / Jul2 |
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| 234 | 1976 |
Luxun [Lu, Xun]. Fleurs du matin, cueillies le soir. Trad. du chinois, préf. et notes par François Jullien. (Lausanne : A. Eibel, 1976). (La Chine d'aujourd'hui ; 3). Übersetzung von Lu, Xun. Zhao hua xi shi. (Beijing : Bei xin shu ju, 1927). 朝花夕拾 |
Publication / Jul4 |
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| 235 | 1976 | Lu, Hsün [Lu, Xun]. Dawn blossoms plucked at dusk. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1976). [Zhao hua xi shi]. | Publication / Yan56 | |
| 236 | 1976 | Lu Xun : writing for the revolution : essays by Lu Xun and essays on Lu Xun from Chinese literature magazine. (San Francisco : Red Sun Publ., 1976). (Modern Chinese series ; no 2). | Publication / LuX145 |
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| 237 | 1976 |
Lu Xun : 1881-1936. English translation by R. Drake Pike. (Beijing : Wen wu chu ban she, 1976). [Includes 8 poems and excerpts from the Diary of Lu Xun]. 鲁迅 : 1881-1936. |
Publication / LuX149 | |
| 238 | 1976 | Lu, Hsun [Lu, Xun]. The true story of Ah Q. Ill. by Cheng Shih-fa [Cheng Shifa]. (Hong Kong : C & W Publ. Co., 1976). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). | Publication / LuX150 | |
| 239 | 1977 | Luxun. Pamphlets et libelles (1925-1936). Présentation et traduction par Michelle Loi. (Paris : F. Maspero, 1977). (Collection Théorie. Série écrits politiques). | Publication / Loi7 |
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| 240 | 1977 |
Lu, Hsuen [Lu, Xun]. Fuga sulla luna. (Milano : Garzanti, 1977). (I grandi libri Garzanti ; 27). Übersetzung von Lu, Xun. Ben yue. In : Mang yuan ; vol. 2, no 2 (15.1.1927). = Lu, Xun. The flight to the moon. In : Selected stories of Lu Xun. (Peking : Foreign Languages Press, 1960). 奔月 |
Publication / LuX161 |
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| 241 | 1978 |
Luxun [Lu, Xun]. Sous le dais fleuri : les luttes idéologiques en Chine durant l'année 1925. Trad. du chinois, préf. et notes de François Jullien. (Lausanne : A. Eibel, 1978). (La Chine d'aujourd'hui). Übersetzung von Lu, Xun. Hua gai ji xu bian. (Beijing : Bei xin shu ju, 1926). 華蓋集續編 |
Publication / Jul22 |
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| 242 | 1978 |
Lu, Xun. Wilde Gräser. (Beijing : Verlag für fremdsprachige Literatur, 1978). Übersetzung von Lu, Xun. Ye cao. (Beijing : Bei xin shu ju, 1927). 野草 |
Publication / LuX136 |
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| 243 | 1978 |
Lu, Xun. Contes anciens sur un mode nouveau. (Pékin : Ed. en langues étrangères, 1978). Übersetzung von Lu, Xun. Gu shi xin bian. (Shanghai : Wen hua sheng huo chu ban she, 1935). 故事新编 |
Publication / LuXun5 |
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| 244 | 1978 |
Lou, Sin [Lu, Xun]. Le sacrifice du nouvel an : nouvelle. Ill. de Yong Siang [Yong Xiang], Hong Jen [Hong Ren], Yao Kiao [Yao Qiao]. (Pékin : Ed. en langues étrangères, 1978). Übersetzung von Lu, Xun. Zhu fu. (Shanghai : Shang wu yin shu guan, 1933). 祝福 |
Publication / LuXun6 |
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| 245 | 1978 | Lu, Xun. The New Year's sacrifice. Adapted from the short story ; ill. by Yung Hsiang [Yong Xiang], Hung Jen [Hong Ren], Yao Chiao [Yao Jiao]. (Peking : Foreign Languages Press, 1978). Übersetzung von Lu, Xun. Zhu fu. (Shanghai : Shang wu yin shu guan, 1933). 祝福 | Publication / LuX148 | |
| 246 | 1978 | Lu, Xun. Letteratura e sudore : scritti dal 1925 al 1936. A cura di Anna Bujatti. (Milano : Mazzotta, 1978) (Miranda ; 496). | Publication / LuX163 | |
| 247 | 1979 | Lu, Xun. Die Methode wilde Tiere abzurichten : Erzählungen, Essays, Gedichte. Auswahl, Übertragung und Einführung von Wolfgang Kubin. (Berlin : Oberbaumverlag, 1979). (Bücherei Oberbaum ; No 1016). | Publication / Lu, -Kubi1 |
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| 248 | 1979 | Luxun. Sur la langue et l'écriture chinoises. Présentation, traduction et notes de Michelle Loi. (Paris : Aubier Montaigne, 1979). (Présence et pensée). | Publication / Loi18 |
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| 249 | 1979 | Lu, Hsun [Lu, Xun]. Poems. Transl. and noted by Huang Hsin-chyu [Huang Xinqu]. (Hong Kong : Joint Publ., 1979). [Texte in Englisch und Chinesisch]. | Publication / LuX143 | |
| 250 | 1980 | Lu, Xun. Die Grosse Mauer : 21 politische und literarische Essays ous dem China der 20er und 30er Jahre. Hrsg. und mit einem aktuellen Nachwort versehen von Florian Mausbach. (Worms : Wissen und Tat, 1980). | Publication / LuX160 | |
| 251 | 1981 | Lu, Xun. Call to arms. Translated by Yang Xianyi and Gladys Yang. (Beijing : Foreign Languages Press, 1981). Übersetzung von Lu, Xun. Na han. (Beijing : Xin chao she, 1923). | Publication / Yan53 | |
| 252 | 1981 |
Lu, Xun. Wandering. Translated by Yang Xianyi and Gladys Yang. (Beijing : Foreign Languages Press, 1981). Übersetzung von Lu, Xun. Pang huang. (Shanghai : Bei xin shu ju, 1925). 彷徨 |
Publication / Yan55 | |
| 253 | 1981 | Lu, Xun. In tiefer Nacht geschrieben : Auswahl. Aus dem Chinesischen, Auswahl, Übers., Zeittaf. und Anm. von Yang Enling und Konrad Herrmann. (Leipzig : Reclam, 1981). (Reclam Universal-Bibliothek ; Bd. 879E. Belletristik ; Bd. 879). Übersetzung von Lu, Xun. Lu Xun ji xie yu shen ye li. | Publication / LuX132 | |
| 254 | 1981 |
Lu, Xun. Causerie d'un profane sur la langue et la littérature. Trad. et notes par Ng Yok-soon. (Cologne : Kai Yeh, 1981). Übersetzung von Lu, Xun. Men wai wen tan. (Shanghai : Tian ma shu dian, 1935). 门外文谈 |
Publication / LuXun7 | |
| 255 | 1981 |
Luxun [Lu, Xun]. Le journal d'un fou : nouvelles. Préf. de Jean Guiloineau. (Paris : Stock, 1981). (Bibliothèque cosmopolite). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918). 狂人日記 |
Publication / LuXun8 |
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| 256 | 1981 |
Lu, Xun. La tombe. Sous la direction de Michelle Loi. (Paris : Acropole, 1981). (Coll. Unesco d'œuvres représentative ; série chinoise). Übersetzung von Lu, Xun. Fen. (Beijing : Wei ming she, 1927). 坟 |
Publication / LuXun9 | |
| 257 | 1981-1986 |
Lu, Xun. Oeuvres choisies. [Introd. par Feng Xuefeng]. Vol. 1-4. (Beijing : Ed. en langues étrangères, 1981-1986). Vol. 1 : Nouvelles, poèmes en prose et souvenirs. Vol. 2 : Essais 1918-1927. Vol. 3 : Essais 1928-1933. Vol. 4 : Essais 1934-1936 |
Publication / LuXun10 | |
| 258 | 1981 | Lu, Xun. The complete stories of Lu Xun. Transl. by Yang Xianyi and Gladys Yang. (Bloomington, Ind. : Indiana University Press, 1981). | Publication / LuX141 | |
| 259 | 1981 | Lu, Xun. Poesie e scritti sulla poesia. A cura e con introd. di Anna Bujatti. (Roma : Istituto della Enciclopedia italiana, 1981). (Bibliotheca biographica). | Publication / LuX164 | |
| 260 | 1982 | Luxun [Lu, Xun]. Un combattant comme ça : choix de poèmes et essais. Présentés par Michelle Loi et le Groupe d'études de Luxun de l'Université de Paris VIII. (Paris : Ed. de l'Université de Paris VIII, 1982). | Publication / Loi16 |
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| 261 | 1982 |
Lu, Xun. Selected poems = Lu Xun shi xuan. Transl. by W.J.F. Jenner. (Beijing : Foreign Languages Press, 1982). 魯迅詩選 |
Publication / Jen16 |
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| 262 | 1982 | Lu, Xun. Die wahre Geschichte des Ah Q : Erzählung. Übertragen aus dem modernen Chinesisch von Oskar von Törne ; Nachwort von Helmut Martin. (Frankfurt a.M. : Suhrkamp, 1982). (Bibliothek Surhkamp ; 777). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). 阿Q正传 | Publication / LuX128 | |
| 263 | 1983 | Lu, Xun. Kein Ort zum Schreiben : gesammelte Gedichte. Aus dem Chinesischen von Egbert Baqué und Jürgen Theobaldy. (Reinbek bei Hamburg : Rowohlt, 1983). (Das neue Buch ; 780). | Publication / LuX133 | |
| 264 | 1983 | Lu, Xun. Aufruf zum Kampf. (Beijing : Verlag für Fremdsprachige Literatur, 1983). Übersetzung von Lu, Xun. Na han. (Shanghai : Bei xin shu ju, 1922). | Publication / LuX135 |
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| 265 | 1983 |
Masterpieces of modern Chinese fiction, 1919-1949. (Beijing : Foreign Languages Press, 1983). (Modern chinese literature). [Enthält] : Lu, Xun. The true story of Ah Q. Übersetzung von Lu, Xun. A Q zheng zhuan. 阿Q正传 Guo, Moruo. Crossroads. Ye, Shengtao. How Mr. Pan westhered the storm. Bing, Xin. The separation. Wang, Tongzhao. The child at the lakeside. Xu, Dishan. Big sister Liu. Yu, Dafu. Intoxicating spring nights. Übersetzung von Yu, Dafu. Chun feng chen zui de wan shang. (Beijing : Zhong guo gong ren chu ban she, 2016). 春风沉醉的晚上 Mao, Dun. The shop of the Lin family. Übersetzung von Mao, Dun. Lin jia pu zi. (Beijing : Beijing bei ying lu yin lu xiang gong si, 2002). 林家铺子 Rou, Shi. A hired wife. Zhang, Tianyi. Mr. Hua Wei. Übersetzung von Zhang, Tianyi. Huawei xian sheng. (Beijing : Huaxia chu ban she, 2010). 华威先生 Ding, Ling. The diary of Miss Sophia. Überwetzung von Ding, Ling. Sha fei nü shi de ri ji. In : Xiao shuo yue bao (1927). 莎菲女士的日記 Ao, Wu. Mrs. Shi Qing. Ye, Zi. Harvest. Übersetzung von Zi, Ye. Feng shou. (Shanghai : Nu li she, 1935). Ba, Jin. A moonlit night. Lao, She. Crescent moon. Übersetzung von Lao, She. Yue ya er. 月牙儿 Shen, Congwen. The husband. Übersetzung von Shen, Congwen. Zhang fu ji. (Changsha : Yuelu shu she, 1992). 丈夫集 Xiao, Hong. Hands. Übersetzung von Xiao, Hong. Shou. ([S.l.] : Shi jie ying yu bian yi she, 1947). 手 Liu, Baiyu. Three peerless fighters. Liu, Qing. Land mines. Lu, Xun. Wild grass. (Peking : Foreign Languages Press, 1974). Übersetzung von Lu, Xun. Ye cao. (Shanghai : Bei xin shu ju, 1928). 野草 |
Publication / Mast2 |
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| 266 | 1983 | Lu, Xun. Alte Geschichten neu erzählt. (Bejing : Verlag für fremdsprachige Literatur, 1983). | Publication / LuX92 |
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| 267 | 1985 | Luxun. Poèmes. Traduit du chinois par Michelle Loi. (Paris : Arfuyen, 1985). (Cahier ; no 20. Textes chinois). | Publication / Loi17 |
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| 268 | 1985 | Luxun. La vie et la mort injustes des femmes : anthologie. Textes de Luxun traduits du chinois et présentés par Michelle Loi et le Groupe Luxun de l'Université de Paris VIII. (Paris : Mercure de France, 1985). | Publication / Loi19 |
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| 269 | 1986 |
Lu, Xun. Fiori del mattino raccolti la sera, e, Soliloqui. Trad. dal cinese et note a cura di Anna Bujatti. (Roma : Ed. e/o, 1986). Übersetzung von Lu, Xun. Zhao hua xi shi. (Beijing : Bei xin shu ju, 1927). Übersetzung von Lu, Xun. Zi yan zi yu. In : Guo min gong bao ; Teil 1-7 (19.8., 20.-21.8., 7.9., 9.9., 1919). 朝花夕拾 /自言自语 |
Publication / LuX166 | |
| 270 | 1987 |
Lu, Xun. Lu Xun xiao shuo ji ci hui = Lu Xun xiao shuo ji, vocabulary = Selected short stories of Lu Xun. Compiled by D.C. Lau. (Hong Kong : Chinese University Press, 1987). 魯迅 小說集詞彙 |
Publication / Lau13 |
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| 271 | 1987 |
Treize récits chinois, 1918-1949. Trad. et présentés par Martine Vallette-Hémery. (Arles : Pciquier, 1987). [Enthält] : Ba Jin, Lao She, Li Guangtian, Lu Xun, Mao Dun, Shen Congwen, Wu Zuxiang, Ye Shengtao, Yu Dafu. |
Publication / Ant38 |
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| 272 | 1987 |
Lu, Xun. La littérature en dentelles : essais. Trad. par le Groupe Lu Xun de l'Université de Paris VIII ; préf. de Michelle Loi. (Paris : Acropole, 1987). [Revue en 1986]. Übersetzung von Lu, Xun. Hua bian wen xue. (hanghai : Lian hua shu ju, 1936). 花边 |
Publication / LuXun11 |
|
| 273 | 1987 |
Lu, Xun. Die grosse Mauer : Erzählungen, Essays, Gedichte. (Nördlingen : Greno, 1987). (Andere Bibliothek ; 26). Übersetzung von Lu, Xun. Chang cheng. In : Hua gai ; 15.5.1925. 長城 |
Publication / LuX159 |
|
| 274 | 1988 | Lu, Hsun [Lu, Xun]. Complete poems : a translation with introduction and annotation by David Y. Ch'en. (Tempe, Ariz. : Arizona State University, Center for Asian Studies, 1988). (Monograph series). | Publication / LuX144 | |
| 275 | 1988 |
Lu, Xun. Fuga sulla luna. Trad. dal cinese di Primerose Gigliesi. (Roma : Editori Riuniti, 1988). Übersetzung von Lu, Xun. Ben yue. (geschrieben Dez. 1926). = Lu, Xun. The flight to the moon. In : Selected stories of Lu Xun. (Peking : Foreign Languages Press, 1960). 奔月 |
Publication / LuX169 | |
| 276 | 1989 | Lu, Xun. Racconti dalla Cina. A cura di Rosanna Pilone e Yuan Huaqing. (Milano : Mondadori, 1989). (Oscar. Narrative ; 1015). | Publication / LuX165 | |
| 277 | 1990 | Lu, Xun. Diary of a madman and other stories. Transl. by William A. Lyell. (Honolulu, Hawaii : University of Hawaii Press, 1990). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918). | Publication / Lye5 | |
| 278 | 1991 |
Lu, Xun. La grande muraille = The great wall = Chang cheng. Original text by Lu Xun in Chinese, English and French translation ; [gravures de] Shirley Sharoff ; version française par Michelle Loi ; calligraphie par Zhu Jie. (Paris : Sharoff, 1991). Übersetzung von Lu, Xun. Chang cheng. In : Hua gai ; 15.5.1925. 長城 |
Publication / LuX153 | |
| 279 | 1992 |
Lu, Xun. Six essays in defense of Bernard Shaw. In : Shaw ; vol. 12 (1992). http://www.jstor.org/stable/40681349. |
Publication / LuXun1 | |
| 280 | 1992 | Lu, Xun. Diario di un pazzo e altri racconti. Trad. dal cinese di Anna Nota e Rosella Pelosi ; saggio, schede e note a cura di Anna Nota. (Roma : Signorelli A., 1992). (Gli incontri). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918) [et al.]. | Publication / LuX173 | |
| 281 | 1993 |
Luxun [Lu, Xun]. Brève histoire du roman chinois. Trad. par Charles Bisotto. (Paris : Gallimard, 1993). (Connaissance de l'Orient). Übersetzung von Lu, Xun. Zhongguo xiao shuo shi lüe. (Beijing : Bei da di yi yuan xin chao she, 1923-1924). 中國小說史略 |
Publication / LuXun12 | |
| 282 | 1993 | Lu, Xun. Diario di un pazzo. Trad. dal cinese di Primerose Gigliesi. (Roma : Editori riuniti, 1993). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918). | Publication / LuX168 | |
| 283 | 1994 | Lu, Xun. Applaus : Erzählungen. Aus dem Chinesischen von Raoul David Findeisen, Wolfgang Kubin und Florian Reissinger. (Zürich : Unions-Verlag, 1994). (Lu, Xun. Werke in sechs Bänden ; Bd. 1). | Publication / Lu, -Find-Kubi-Reis1 | |
| 284 | 1994 | Lu, Xun. Das trunkene Land : sämtliche Gedichte, Reminiszenzen. Aus dem Chinesischen von Angelika Gu und Wolfgang Kubin ; mit einem Nachwort zur Werkausgabe von Wolfgang Kubin. (Zürich : Unionsverlag, 1994). (Lu, Xun. Werke in sechs Bänden ; Bd. 6). | Publication / Lu, -Gu, -Kubi1 | |
| 285 | 1994 | Lu, Xun. Werke in sechs Bänden. Hrsg. von Wolfgang Kubin. Bd. 1-6. (Zürich : Unionsverlag, 1994). Bd. 1 : Applaus : Erzählungen. Bd. 2 : Zwischenzeiten, Zwischenwelten : Erzählungen. Bd. 3 : Blumen der Frühe am Abend gelesen : Erinnerungen. Bd. 4 : Altes, frisch verpackt. Bd. 5 : Das Totenmal : Essays. Bd. 6 : Das trunkene Land : Reminiszenzen. | Publication / Lu, -Kubi2 |
|
| 286 | 1994 | Lu, Xun. Diario di un pazzo ; e, La vera storia di Ah Q. Trad. e presentazione di Davide Sala. (Bussolengo : Demetra, 1994). (Acquarelli ; 39). Übersetzung von Lu, Xun. Kuang ren ri ji. In : Xin qing nian ; 5 (1918). Übersetzung von Lu, Xun. Ah Q zheng zhuan. (Singapore : Shi Jia, 1921). 阿Q正传 | Publication / LuX172 | |
| 287 | 1994 | Lu, Xun. Erbe selvatiche. A cura di Edoarda Masi. (Milano : Libri Scheiwiller, 1994). (In ottavo ; 1). [Übersetzung von Short stories von Lu Xun]. | Publication / LuX175 | |
| 288 | 1995 |
Luxun [Lu, Xun]. Cris : nouvelles. Avant-propos de Michelle Loi. (Paris : A. Michel, 1995). (Les grandes traductions). Übersetzung von Lu, Xun. Na han. (Shanghai : Bei xin shu ju, 1922). 吶 |
Publication / LuXun13 |
|
| 289 | 1996 | Luxun [Lu, Xun]. Voilà ce que je lui ai fait : nouvelles. Trad. et présentés par Michelle Loi. (Paris : Hachette-Jeunesse 1996). (Courts toujours !). | Publication / LuXun14 | |
| 290 | 1996 | Lu, Xun. Racconti esemplari. Nuovissima trad. dal cinese e cura di Lucia Regola. (Santarcangelo di Romagna : FARA, 1996). (Catai ; 5). | Publication / LuX162 | |
| 291 | 1997 |
Lu Xun Liang Shiqiu lun zhan shi lu. Li Zhao bian. (Beijing : Hua ling chu ban she, 1997). 鲁迅梁实秋论战实录 |
Publication / Babb39 |
|
| 292 | 2000 |
Lu, Xun. Wild grass = Ye cao. Written by Lu Xun ; translated by Yang Xianyi and Gladys Yang. (Beijing : Foreign Languages Press, 2000). (Echos of classics). Übersetzung von Lu, Xun. Ye cao. (Shanghai : Bei xin shu ju, 1928). 野草 |
Publication / Yan91 | |
| 293 | 2000 | Lu, Xun ; Xu, Guangping. Letters between two : correspondence between Lu Xun and Xu Guangping. Transl. by Bonnie S. McDougall. (Beijing : Foreign Languages Press, 2000). | Publication / McD16 | |
| 294 | 2002 |
Lu, Xun. The new-year sacrifice and other stories = Zhu fu ji qi ta. Original Chinese text by Lu Xun ; translated by Yang Xianyi and Gladys Yang. (Xianggang : Zhong wen da xue chu ban she, 2002). (Bilingual series on modern Chinese literature = Zhongguo xian dai wen xue Zhong Ying dui zhao xi lie). Übersetzung von Lu, Xun. Zhu fu. (Shanghai : Shang wu yin shu guan, 1933). 祝福 |
Publication / Yan67 | |
| 295 | 2002 | Lu, Xun ; Xu, Guangping. Love-letters and privacy in modern China : the intimate lives of Lu Xun and Xu Guangping. [Transl. by] Bonnie S. McDougall. (Oxford : Oxford University Press, 2002). (Studies in contemporary China). | Publication / McD15 | |
| 296 | 1920 |
[Nietzsche, Friedrich]. Chalatusitela de xu yan yi zhe fu ji. Tangsi [Lu Xun] yi. In : Xin chao ; vol. 2, no 5 (Sept. 1920) ; Min duo (15. Aug. 1920). Übersetzung von Nietzsche, Friedrich. Zarathustra's Vorrede. [ID D12465]. 差拉圖斯忒拉的序言 |
Publication / LuX93 |
|
Secondary Literature (48)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1926 | Bai, Sheng. Luoman Luolan ping Lu Xun. In : Jing bao fu kan ; 2. März (1926). [Romain Rolland parle de Lu Xun]. | Publication / Rol9 | |
| 2 | 1926 | Jing, Yinyu. Du le 'Luoman Luolan ping Lu Xun' yi hou. In : Hong shui ; vol. 2, no 17 (1926). [After reading Romain Rolland's critique of Lu Xun]. | Publication / Rol89 |
|
| 3 | 1931 |
Qu Qiubai. On translation : a letter to Lu Xun. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004). |
Publication / QuQ11 |
|
| 4 | 1932 |
Qu, Qiubai. Again on translation : a reply to Lu Xun. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004). |
Publication / QuQ12 |
|
| 5 | 1953 |
Wang, Xiyan. Wei da de ren he wei da de zuo jia. (Shanghai : Xin wen yi chu ba she, 1953). [Abhandlung über Maksim Gorky und Lu Xun]. 偉大的人和偉大的作家 |
Publication / Gork258 | |
| 6 | 1953 | Krebsova, Berta. Lu Sün, sa vie et son oeuvre. (Prague : Ed. de l'Académie ttchécoslovaque des sciences, 1953). (Archiv orientalni ; Suppl. 1). [Lu Xun]. | Publication / KrebB2 | |
| 7 | 1958 | Sorokin, Vladislav Fedorovich. Formirovanie mirovozzreniia Lu Sinia; ranniaia publitsistika i sbornik "Klich". (Moskva : Izd-vo vostochnoi lit-ry, 1958). [Abhandlung über Lu Xun]. | Publication / Soro5 | |
| 8 | 1958 | Last, Jef. Der Wandel in der Beurteilung Lu Hsüns und seine Ursachen. MS. Diss. Univ. Hamburg, 1958. [Lu Xun]. | Publication / LastJ1 | |
| 9 | 1959 | Last, Jef. Lu Hsün, Dichter und Idol eine Beitrag zur Geistesgeschichte des neuen China. (Berlin : A. Metzner, 1959). [Lu Xun]- | Publication / LastJ2 | |
| 10 | 1963 | Mills, Harriet C. Lu Hsün, 1927-1936 : the years on the left. Vol. 1-2. (New York, N.Y. : Columbia University, 1963). Diss. Columbia Univ., 1963. [Lu Xun]. | Publication / Mil3 | |
| 11 | 1969 | Schickel, Joachim. China : die Revolution der Literatur : ein Dossier. Kommentiert und hrsg. von Joachim Schickel. (München : Hanser, 1969). (Reihe Hanser ; 18). [Literatur Republik, Volksrepublik, Lu Xun, Guo Moruo]. | Publication / SchiJ2 | |
| 12 | 1971 | Lyell, William A. The short story theatre of Lu Hsün. Vol. 1-2. (Chicago, Ill. : University of Chicago, 1971). Diss. Univ. of Chicago, 1971. [Lu Xun]. | Publication / Lye1 | |
| 13 | 1971 | Peters, Irma. Zur ideologischen Entwicklung des chinesischen Schriftstellers Lu Xun (1881-1936). Diss. Humboldt-Univ. Berlin, 1971. | Publication / Peters2 | |
| 14 | 1976 | Lyell, William A. Lu Hsün's vision of reality. (Berkeley, Calif. : University of California Press, 1976). [Lu Xun]. | Publication / Lye6 | |
| 15 | 1976 | Lu Xun : writing for the revolution : essays by Lu Xun and essays on Lu Xun from Chinese literature magazine. (San Francisco : Red Sun Publ., 1976). (Modern Chinese series ; no 2). | Publication / LuX145 |
|
| 16 | 1976 |
Feng, Tzu- k'ai [Feng, Zikai]. Cartoons of Lu Hsun's selected stories : English-Chinese = Hua bi xia de Lu Xun xiao shuo xuan. (Xianggang : Zhong liu chu ban she, 1976). [Lu Xun]. 豐子愷畫筆下的魯迅小說選 |
Publication / FeZi5 | |
| 17 | 1978- | Cahiers Luxun. Dirigés par François Jullien. T. 1 (1978-). (Lausanne : A. Eibel, 1978-). | Publication / Jul1 |
|
| 18 | 1979 | Jullien, François. Lu Xun, écriture et révolution. (Paris : Presses de l'Ecole normale supérieure, 1979). Diss. Univ. Paris 7 - Denis Diderot. | Publication / Jul16 |
|
| 19 | 1979 |
Liu, Xiaobo. Yi ge fan chuan tong zhu yi zhe de fan xing. In : Ming bao yue kan ; no 7 (July 1990). [Lu Xun]. 一個反傳統主義者的反省 |
Publication / Nie78 | |
| 20 | 1980 | Lu Xun, Zeitgenosse : Ausstellung aus China : Katalog : Staatsbibliothek Berlin, 10. Januar bis 23. February 1980. Hrsg. von Egbert Baqué und Heinz Spreitz. (Berlin : Leibniz-Gesellschaft für Kulturellen Austausch, 1980). | Publication / LuX158 | |
| 21 | 1981-1983 | Quelques pages pour le centenaire de la naissance de Luxun (1881-1936). Groupe d'études Luxun du Centre de recherches de l'Université de Paris VIII Vincennes à Saint-Denis ; sous la direction de Michelle Loi. Vol. 1-2. (Saint Denis : Centre de recherches de l'Université de Paris VIII-Vincennes, 1981-1983). | Publication / Loi4 |
|
| 22 | 1981 |
Zhang, Hua. Lu Xun he Nicai. In : Zhang, Hua. Lu Xun he Wai guo zuo jia. (Xi’an : Shaanxi ren min chu ban she, 1981). [Lu Xun und Nietzsche]. 鲁迅和外国作家 |
Publication / Nie58 | |
| 23 | 1981 | Kowallis, Jon. Poems of Lu Hsun. In : Chinese literature : essays, articles, reviews ; vol. 3, no 1 (1981). | Publication / LuX202 |
|
| 24 | 1981 |
Han, Changjing. Lu Xun yu Eluosi gu dian wen xue. (Shanghai : Shanghai wen yi chu ban she, 1981). [Lu Xun und die russische Literatur : Mikhail Petrovich Artsybashev, Nikolai Vasil'evich Gogol, Leo Tolstoy, Anton Pavlovich Chekhov]. 鲁迅与俄罗斯古典文学 |
Publication / Chek144 | |
| 25 | 1981 |
Zhang, Hua. Lu Xun he wai guo zuo ji. (Xian : Shanxi ren min chu ban she, 1981). (Lu Xun yan jiu cong shu. Lu Xun yan jiu cong shu). 鲁迅和外国作家/张华著 [Enthält] : Lu Xun he Nicai [Friedrich Wilhelm Nietzsche]. Lu Xun he Yi Busheng [Henrik Ibsen]. Lu Xun he Xiao Bona [George Bernard Shaw]. Lu Xun he Ailuo Xianke [Vasili Yakovlevich Eroshenko]. Lu Xun he Youdao Wufu. Lu Xun he Duo'ersitai [Leo Tolstoy]. Lu Xun he Chuchuan Baicun [Kuriyagawa Hakuson]. Lu Xun he Qihefu. [Anton Pavlovich Chekhov]. |
Publication / Chek190 | |
| 26 | 1982 | Qin, Hong. Lu Xun dui Huiteman de jie shao. In : Lu xun xue kan ; no 1 (1982). [Lu Xun's introduction of Whitman]. | Publication / WhiW127 |
|
| 27 | 1983 |
Wang, Furen. Lu Xun qian qi xiao shuo yu Eluosi wen xue. (Xi'an : Shanxi ren min chu ban she, 1983). [Abhandlung über literarische Texte von Lu Xun und russische Literatur : Nikolai Vasil'evich Gogol, Anton Pavlovich Chekhov, Leonid Nikolaevich Andreyev, Mikhail Petrovich Artsybashev]. 魯迅前期小说与俄罗斯文学 |
Publication / Chek178 | |
| 28 | 1985 | Lu Xun and his legacy. Ed. with an introd. by Leo Ou-fan Lee. (Berkeley, Calif. : University of California Press, 1985). [Papers from a conference held at the Asilomar Conference Center, Pacific Grove, Alif. Aug. 23-28, 1981]. | Publication / LeeL7 | |
| 29 | 1985 |
Li, Chunlin. Lu Xun yu Tuosituoyefusiji. (Hefei : Anhui wen yi chu ban she, 1985). [Abhandlung über Fyodor Dostoyevsky]. 鲁迅与陀思妥耶夫斯基 |
Publication / Dost124 | |
| 30 | 1985 | Weiss, Ruth F. Lu Xun : a Chinese writer for all times. (Beijing : New World Press, 1985). | Publication / WeiR4 | |
| 31 | 1987 | Lee, Leo Ou-fan. Voices from the iron house : a study of Lu Xun. (Bloomington, Ind. : Indiana University Press, 1987). (Studies in Chinese literature and society). | Publication / LeeL3 | |
| 32 | 1987 | Kotzenberg, Heike. Der revolutionäre Holzschnitt Chinas : Künstler aus dem Umkreis von Lu Xun. (Köln : Museum für Ostasiatische Kunst, 1987). | Publication / Kotz3 | |
| 33 | 1988 |
Zhou, Zhiping [Chou, Chih-p'ing]. Hu Shi yu Lu Xun. (Taibei : Shi bao chu ban gong si, 1988). (Wen hua cong shu ; 80). [Hu Shi and Lu Xun]. 胡適與魯迅 |
Publication / Chou21 | |
| 34 | 1989 | Aus dem Garten der Wildnis : Studien zu Lu Xun (1881-1936). Hrsg. von Wolfgang Kubin. (Bonn : Bouvier, 1989). (Studium universale ; Bd. 11). | Publication / KW5 |
|
| 35 | 1990 | Loi, Michelle. Luxun : histoire d'A Q, véridique biographie. (Paris : Presses universitaires de France, 1990). (Etudes littéraires ; 28). [A Q zheng zhuan]. | Publication / Loi13 |
|
| 36 | 1991 | Fang, Weigui. Brecht und Lu Xun : eine Studie zum Verfremdungseffekt. (Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1991). (Reihe Sprach- und Literaturwissenschaft ; Bd. 27). | Publication / Bre59 | |
| 37 | 1991 |
Lee, Leo Ou-fan. Tie wu zhong de na han : Lu Xun yan jiu. Lee Leo Oufan zhu ; Yin Huimin yi. (Xianggang : San lian shu dian you xian gong si, 1991). (San lian jing xuan. Xue shu xie lie ; 8). 鐵屋中的吶喊 : 魯迅研究 |
Publication / LeeL34 | |
| 38 | 1993 | Wang, Rujie. The transparency of Chinese realism : a study of texts by Lu Xun, Ba Jin, Mao Dun and Lao She. (Ann Arbor, Mich. : University Microfrilms Internationa, 1994). Diss. Rutgers Univ., 1993. | Publication / LaoS46 | |
| 39 | 1994 | Zhang, Li-ping. The Chinese outcry and the American dream : a comparative study of Lu Xun and F. Scott Fitzerald. Dissertation Florida State University, 1994. (Ann Arbor, Mich. : University Microfilms International, 1994).. | Publication / FitF1 | |
| 40 | 1996 | Findeisen, Raoul D. Weltliteratur im Entstehensprozess : eine biographisch-dokumentarische Annäherung an Lu Xun. (Bonn : [s.n.], 1996). Diss. Univ. Bonn, 1996. [Lu Xun]. | Publication / FiR1 | |
| 41 | 1996 |
Min, Kangsheng. Lu Xun de chuang zuo yu Nicai de zhen yan. (Xi’an : Shaanxi ren min jiao yu chu ban she, 1996). (Lu Xun yan jiu shu xi). [Friedrich Nietzsches Einfluss auf Lu Xun]. 鲁迅的创作与尼采的箴言 |
Publication / Nie252 | |
| 42 | 2000 |
Zhang, Lijun. Ji shu shi dai de fan yi yu xie zuo : yi Benyaming de "ji qiao" gai nian zhong xin ce hui Lu Xun de xie zuo di tu. (Hong Kong : Chinese University of Hong Kong, 2000). Diss. Chinese Univ. of Hong Kong, 2000. [Abhandlung über Walter Benjamin und Lu Xun]. 技術時代的翻譯與寫作 : 以本雅明的技巧槪念重新測繪鲁迅的寫作地圖 |
Publication / Ben29 | |
| 43 | 2001 | Findeisen, Raoul D. Lu Xun (1881-1936) : Texte, Chronik, Bilder, Dokumente. (Basel : Stroemfeld / Nexus, 2001). (Nexus ; 19). | Publication / FiR5 |
|
| 44 | 2001 | Foster, Paul B. The ironic inflation of Chinese national character : Lu Xun's international reputation, Romain Rolland's critique of "The true story of Ah Q", and the Nobel prize. In : Modern Chinese literature and culture ; vol. 13, no 1 (2001). | Publication / Rol7 |
|
| 45 | 2002 | Denton, Kirk A. Lu Xun biography : http://mclc.osu.edu/rc/bios/lxbio.htm. | Web / Dent2 |
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| 46 | 2003 |
Wang, Shishi. Lu Xun, Kamiu, Nicai dou zhe : jie shou bi jiao yna jiu. (Taibei : Zhuan zhe, 2003). Diss. Furen Catholic Univ., 2003. [Abhandlung über Lu Xun, Albert Camus und Friedrich Nietzsche]. 魯迅卡謬尼采讀者 : 接受比較研究 |
Publication / Nie280 | |
| 47 | 2004 | Chang, Shuei-may. Casting off the shackles of family : Ibsen's Nora figure in modern Chinese literature, 1918-1942. (New York, N.Y. : P. Lang, 2004). (Studies on themes and motifs in literature ; vol. 31). | Publication / Ibs111 | |
| 48 | 2006 | Foster, Paul B. Ah Q archaeology : Lu Xun, Ah Qu, Ah Q's progeny and the national character discourse in twentieth-century China. (Lanham, Md. : Lexington Books, 2006). | Publication / Rol8 |
|