3,297 research outputs found
Édouard Chavannes, Lu Xun et la Mission archéologique dans la Chine septentrionale
No full textHe Mengying. Édouard Chavannes, Lu Xun et la Mission archéologique dans la Chine septentrionale. In: Bulletin de l'Ecole française d'Extrême-Orient. Tome 103, 2017. pp. 453-472
Lu Xun zaoqi wenyan lunwen li suo tansuo de xin wenhua (The 'New Culture' formulated in Lu Xun's early classical-style essays)
No full textThis article links a number of the main themes expressed in Lu Xun's early wenyan essays, written in Japan in 1906-1908, with the concerns of the New Culture Movement, which emerged later (circa 1919) in China. The author argues that these book-length theses written in dense classical language were in fact intellectual precursors to the New Culture Movement and its aftermath. It delineates a partial outcome of the author's Australian Research Council (ARC) project on the early Lu Xun and his formative period in Japan
Lu Xun Yanjiu zai Yingyu Shijie: Guoqu, Dangqian, Weilai
No full textAn analytical survey of English-language scholarship on Lu Xun from the 1920s to the present. Lu Xun, the pen name of Zhou Shuren (1881-1936) is often called the Father of Modern Chinese literature. English-language scholarship on him has evolved through general stages from introduction to translation to biography to close reading to comparative and theoretical studies. The author of this chapter expresses concern regarding the potential for marginalization of Lu Xun studies within the Western academy, in part as a result of the marginalization of Sinology and in part as a result of the ghettoization of theoretical writing on China by other Western-oriented theorists. The author of this chapter did the first complete translation of Lu Xun's classical-style poetry into any foreign language, which was subsequently revised and published with a critical introduction and copious annotations as a monograph titled *The Lyrical Lu Xun* (Honolulu: University of Hawaii Press, 1996). He is currently researching the formation of Lu Xun's early thought during his "Lehrjahre" in Japan (1902-1909)
Lu Xun, the Critical Buddhist: A Monstrous Ekayāna
No full textAbstract
When Lu Xun 魯迅 (1881–1936) sows in “Gudu zhe” 孤獨者 (The Misanthrope) the analogy of a seed in a conversation about the nature of children, he alludes to the epistemic seedbed other than evolutionary thinking: Buddhism. This study probes into this moment of double conjuration as religion encounters science and soteriology confronts natural law. It unravels the significance of the Buddhist reference by tracing the seed to its Yogācāra provenance and implanting it in a twentieth-century debate between the Yogācārins and the advocates of the Tathāgatagarbha doctrine across East Asia. The author situates Lu Xun in a shared intellectual horizon with the contemporary lay Buddhist scholar, Ouyang Jingwu 歐陽竟無 (1871–1943), whose critique of Dasheng qixin lun 大乘起信論 (Treatise on the Awakening of Faith in the Mahāyāna, or the Awakening of Faith) in 1922 furnishes a Buddhist exemplum of the “obsession with China.” In spirit both Ouyang and Lu Xun anticipate the Critical Buddhism movement of late 1980s Japan, in which hongaku 本覚， or original enlightenment thought, is censured for latent ideological complicity with Japanese ethnocentrism. Lu Xun, the author suggests, turns out to be the most critical of all Critical Buddhists. This is evidenced by his “Sihuo” 死火 (Dead Fire), which features a ghastly twist in its retelling of the burning house parable from the Miaofa lianhua jing 妙法蓮華經 (Saddharma-puṇḍarīka-sūtra; Sūtra of the Lotus of the Wonderful Dharma, or the Lotus Sūtra). Having undergone a Buddhist vita contemplativa in the preceding years of the literary revolution, Lu Xun came to personify a profound “consciousness of darkness” (youan yishi 幽暗意識) in dwelling on the karma of modernity.</jats:p
Understanding the interaction of attentional mechanisms (Research Profile of Dr Xun He):Excellence in Science
No full textLu Xun, Cris (Call to Arms)
No full textSebastian Veg pursues his translation of the fictional works of the great modern Chinese author Lu Xun (1881-1936), whom succeeding generations have put forward as the incarnation of the iconoclastic spirit of May Fourth or as a harbinger of the communist revolution. He now offers us a new French translation of the first collection of Lu Xun’s short stories entitled Cris (Nahan in Mandarin, or Call to Arms, 1923), one of the most important examples of the new Chinese literature that it went o..
"Glimpses of the Duanwu Festival" by Fang Xun (1736-1799) : commemorative painting or private souvenir ?
No full textInternational audienceFang Xun (1736 or 1737-1799) was a painter from the Hangzhou area who is now known essentially as the author of a treatise on painting, although he enjoyed during his lifetime local artistic fame. This paper details his relationship with a network of friends and clients belonging to the local gentry through the analysis of a painting he realized around 1780, describing a gathering at the estate of his main patron, Jin Deyu (1750-1800)
Lu Xun, Cris (Call to Arms)
No full textSebastian Veg pursues his translation of the fictional works of the great modern Chinese author Lu Xun (1881-1936), whom succeeding generations have put forward as the incarnation of the iconoclastic spirit of May Fourth or as a harbinger of the communist revolution. He now offers us a new French translation of the first collection of Lu Xun’s short stories entitled Cris (Nahan in Mandarin, or Call to Arms, 1923), one of the most important examples of the new Chinese literature that it went o..
"Glimpses of the Duanwu Festival" by Fang Xun (1736-1799) : commemorative painting or private souvenir ?
No full textInternational audienceFang Xun (1736 or 1737-1799) was a painter from the Hangzhou area who is now known essentially as the author of a treatise on painting, although he enjoyed during his lifetime local artistic fame. This paper details his relationship with a network of friends and clients belonging to the local gentry through the analysis of a painting he realized around 1780, describing a gathering at the estate of his main patron, Jin Deyu (1750-1800)
"Glimpses of the Duanwu Festival" by Fang Xun (1736-1799) : commemorative painting or private souvenir ?
No full textInternational audienceFang Xun (1736 or 1737-1799) was a painter from the Hangzhou area who is now known essentially as the author of a treatise on painting, although he enjoyed during his lifetime local artistic fame. This paper details his relationship with a network of friends and clients belonging to the local gentry through the analysis of a painting he realized around 1780, describing a gathering at the estate of his main patron, Jin Deyu (1750-1800)
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