"The Voice from the Iron House" Leo Oufan Lee called Lu Xun a highly ideological writer, focusing on the psychological and artistic aspects of Lu Xun and his creation:
First, starting with the formation of Lu Xun's childhood family, education and early literary views, this paper expounds the writer's mental journey, expresses the inherent contradiction between his complex thoughts and "public" and "private", and especially emphasizes the latter, which was ignored in the research at that time, that is, its pessimistic dark side. This psychological exploration attempts to restore it to a living person, suggesting the connection between the text and the author, especially in his usual metaphor;
The second is to emphasize the originality and greatness of the writer from the artistic aspect, mainly to put Lu Xun's works in the background of the whole China literary tradition and emphasize the modernity of the works; Thinking about the pain in the middle caused by the transition from tradition to modernity is precisely the origin of his inner pain.
As for the third part of this book, as the author himself said, "This will probably be the most controversial part", which gave him the core self-awareness in his research, but out of my personal selfishness, I don't want to read it. Lu Xun, who understands the "warrior", needs to be calm.
It is also worth mentioning that Mr. Li Dongmu, a Japanese scholar who lived in Japan in his prime, combined his argumentation and speculation perfectly, which embodied the essence of traditional Chinese and Japanese learning. He not only translated Lu Xun and Japan-Modern Asia and Personal Thoughts by Ito Huwan, Lu Xun by Takeuchi, and Lu Xun's Complete Translation of Weeds by Katayama Zhihang, and introduced the outstanding works of Japanese Lu Xun to China, but also published a series of original and pioneering research works such as Lu Xun and Autumn Asajiro. All this is just the tip of the iceberg that has just been exposed, and the future will certainly show a more magnificent weather and great prospects.
United States:
The United States has made considerable achievements in the study of Lu Xun. William Lyle is an American expert on Lu Xun studies. His book Lu Xun's View of Reality was published in Berkeley and London on 1976, but the Chinese version failed to meet domestic readers. Only one chapter, "The Architect of Stories and the Carpenter of Words", was compiled by Mr. Le Dai Yun into Collected Works of Lu Xun Studies Abroad 1960. Even so, the book still has a heavy weight in the study of contemporary Lu Xun, especially in the study of overseas modern and contemporary literature.
J.R. Pussy's Lu Xun and Evolution is divided into nine chapters, which studies the relationship between Lu Xun and the theory of evolution under the background of the ideological history of the spread of evolution in modern China. Another important content of Lu Xun and Evolution is to trace back to the academic clues of how the domestic Lu Xun research community evaluates and discusses the relationship between Lu Xun and Evolution, and to supplement Pusse's personal evaluation from time to time. Puxi pointed out that China scholars usually say that young Lu Xun's thoughts are influenced by Darwinism and its branch-social Darwinism. However, Pussy quoted BenjaminSchwartz, a famous American expert on Yan Fu, as saying that Huxley's Evolution translated by Yan Fu read by Lu Xun in his youth was actually an "attack on social Darwinism". Scholars in China generally believe that Lu Xun's thought has undergone an evolutionary process from evolution to materialism. Pusai objected to this description, arguing that "Lu Xun's thoughts have never experienced real changes" and that "the real Lu Xun is the real Confucianism". Takeuchi put forward the almost unchangeable view of Lu Xun's thought as early as 1940s, and Yu-sheng Lin expounded the relationship between Lu Xun and Confucianism at least in 1970s. It is not wrong for Pussy to put forward the above views on the basis of predecessors. The problem is that Pussy used the main length of this monograph to question and refute China scholars, which revealed some traces of "cold war" thinking in his deep spirit, although Pussy herself was rationally trying to avoid falling into the trap of "cold war" thinking.
Others, such as Harriet Mills, Patrick Hanan, Smedley, Ed Si Nuo, etc. He is a famous American expert on Lu Xun studies or has written a considerable number of Lu Xun studies.
South Korea:
In Korea, the study of Lu Xun began at 1920. From 65438 to 0927, Lu Xun's translation of Diary of a Madman was published in the Korean magazine Dongguang, and its translation has never stopped with the development of Korean society for more than 80 years. Most of Lu Xun's works have been translated into Korean and published, and there are more than 400 papers on it.
Li Lu's poems, known as independent sportsmen and national poets, not only pay attention to the literary aspects of Lu Xun's works, but also pay attention to their social functions. This is an independent athlete's high evaluation of Lu Xun's revolutionary spirit and social reform consciousness. Han Xueye, a writer, accepted Lu Xun's humanitarianism and revolutionary spirit at that time, and regarded Lu Xun as an enlightenment thinker and humanist.
Lee Kwang Soo, a novelist, disagreed with the above scholars and expressed different views on Lu Xun's works. Although he acknowledged Lu Xun's talent as a novelist, he held a negative attitude towards characters such as Ah Q and Kong Yiji in Lu Xun's literary works. This is related to his admiration for Japanese imperialism. Regarding his own situation, he ignored the historical connotation and enlightenment consciousness of The True Story of Ah Q and Kong Yiji, and ignored the value and significance of The True Story of Ah Q and Kong Yiji in modern China literature. In addition, he deliberately ignored Lu Xun's literary value, critical spirit in literature and enlightening color in his works.
Professor Li Yongxi, known as "Korean Lu Xun" and the pillar of students' sports spirit, once made the following statement in the article "Looking at us today from Lu Xun": "Lu Xun presented to us is colorful and diverse, but I introduced Lu Xun, an intellectual who is a thinker and critic in the dark and chaotic society of China." He believes that Lu Xun's own thoughts are not only presented in the form of literature, but also praised by intellectuals in social practice. Therefore, Li Yongxi did not regard Lu Xun as a writer, but as a practical intellectual.
After the 1990s, the tendency to regard Lu Xun as a thinker and revolutionary eased, but it did not completely disappear. During this period, Lu Xun's literature, as a writer's own "literary" value, gradually gained more attention, and the research in this field showed a more diversified trend. During this period, scholars paid attention to the literariness and modernity of Lu Xun's works. Papers on the language style, narrative characteristics and character description in Lu Xun's works appear constantly, as well as the study of Lu Xun's modernity represented by Lu Xun's realism theory and the modernity essence of Lu Xun's narrative. These articles pay attention to the value of Lu Xun's literature itself and have a deeper understanding of Lu Xun. Lu Xun's position as a writer is more consolidated than before.
South Korea's famous Lu Xun scholars include Park Jae-woo, Jin Helin and Liu Zhongxia.
Europe
British scholars have made few achievements in the study of Lu Xun, but they have shown a steady and realistic spirit. China Literature in the 20th Century, written by Bonnie McDougall and Cam Law, belongs to the category of literary history, in which there are many comments on Lu Xun's creation. When talking about Weeds, The History of Literature pointed out that "these prose poems combine narrative, satire, nostalgia, fantasy, short plays, limerick and other styles and techniques", and Weeds made a rare attempt to explore subjective and lyrical styles. "Lu Xun's obsession with' dark forces' constitutes the basic clue of Weeds". The History of Literature gives a full evaluation of Lu Xun's novel creation, and holds that Lu Xun's Diary of a Madman is a completely original work, although it benefits from the inspiration and title of Nicola Nikolai Gogol. This is China's first novel written in classical Chinese and vernacular Chinese. The preface written in classical Chinese implies the authoritative position of this language, and the juxtaposition of literature and vernacular suggests that readers of New Youth need enlightenment. Of course, the history of literature also shows that western scholars have not completely got rid of the traditional analysis mode that Lu Xun's novels reflect the modern society in China. For example, the interpretation of The True Story of Ah Q, Medicine and other works basically defines it as a criticism of the incompleteness of the Revolution of 1911, which is probably influenced by the vulgar sociological research mode of domestic academic circles in China.
France
During this period, the study of Lu Xun in France seems to be struggling. The failure to publish eight volumes of Lu Xun's works due to financial problems should be regarded as a major setback for French Lu Xun researchers, but scholars in the "Lu Xun Group" such as Michel Lua love and study Lu Xun as always. Michelle Lua sent a textual research article "The Origin of the Name of Silent Fishing" to China, explaining the Christian background of Lu Xun's "The True Story of Ah Q" translated into French for the first time in the 1920s, and the significance and symbol of every word of its name in Christian culture, which has high academic value.
In the mid-1990s, Michel Lua prefaced The Complete Works of Lu Xun's World by China painters Qiu Sha and Wang Weijun. She thinks that Lu Xun's world described by Qiu Sha and Wang Weijun is a translated work in another sense, which is not easy compared with translating China Lu Xun's works into French. This special translation "is a link between two ways of feeling, a bridge for the exchange of ideas between two cultures, and a language that transcends national boundaries." She thinks that the pictures of Qiu Sha and Wang Weijun often "reveal Lu Xun's profound ideological connotation in front of us like lightning", and she thanks the artists for their hard work, which makes it easier for people to enter Lu Xun's spiritual world.
Germany
1994, six volumes of Selected Works of Lu Xun were published by Swiss United Press. The host of the selected work is Wolfgang Kubin of Germany. He wrote a long postscript, outlining the course of studying Chinese and moving towards the translation study of Lu Xun's works, reviewing and evaluating the basic situation of German scholars' translation of Lu Xun's works, carefully reading Lu Xun's novels, essays, essays and other works, interspersed with comments on Lu Xun's research achievements in Europe and America.
200 1 Peter Langer in Frankfurt, Germany published Lu Xun: China's "Moderate" Nietzsche in German. Its author, Zhang Zhaoyi, was a teacher at the University of Queensland in Australia (he published Nietzsche and the Development of Lu Xun's Thought in English at 1987). This book is divided into five chapters to discuss these issues: 1. Nietzsche's trip to the East; Second, the slave value revaluation; Third, Nietzsche's anti-political and spiritual radicalism; Fourth, Nietzsche's eternal "nationality" reform; 5. Nietzsche's influence on Lu Xun's literary creation. The final conclusion of the book is: "Lu Xun brought Nietzsche to China and China to the world by integrating the' positive forces' in the modern traditions of the West and China."
Soviet Union:
Soviet scholars have also made great achievements in the field of Lu Xun's research. But I'm not sure. There seems to be very little information on the Internet.
In addition, the study of Lu Xun in Australia has also made some progress, but the number of related works is small, so it is ignored.
Lu Xun is one of the few Asian writers who enjoy the world reputation in the history of literature, and he deserves to be remembered and missed by every one of us in China.