Yü Ta-Fu

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Yü Ta-Fu


Born 1896 in Fuyang, Chekiang Province; died Sept. 17, 1945. Chinese writer.

Yü graduated from Tokyo University with an economics degree. He took part in the May Fourth Movement, and in 1921 he helped found the Creation Society. In the same year he wrote the sentimental-romantic novella The Whirlpool. Yü’s short stories and socially oriented lyric “free prose” written in the 1920’s reflected an intensification of the personal element in Chinese prose. Notable collections from this period include Cooled Ashes, The Chicken’s Rib, and The Past. His heroes are most often members of the intelligentsia who fail to find a use in semifeudal China for the knowledge they have acquired abroad.

Yü’s works also include travel sketches, critical articles, translations, and the novellas The Late Flowers of the Cinnamon Tree, Autobiography, and Flight. During the Sino-Japanese War of 1937–45 he published in Singapore, where he emigrated in 1938, patriotic articles in support of the Wuhan government. A participant in the anti-Japanese movement that existed among Chinese émigrés in Singapore, Yü was seized by the police and secretly executed.


Yü Ta-fu ch’üan-chi, vols. 1–7. Shanghai, 1927–33.
In Russian translation:
Vesennie nochi. Moscow, 1972.


Petrov, V. V. “Lu Sin’ i Iui Da-fu.” Vestnik LGU, 1967, no. 2.
Adzhimamudova, V. S. Iui Da-fu i literaturnoe obshchestvo “Tvorchestvo.” Moscow, 1971.


References in periodicals archive ?
Yang studies the classical-style poetry of the modern Chinese writers Lu Xun (1881-1936), Yu Dafu (1896-1945), Zhuo Zuoren (1885-1967), Guo Moruo (1892-1978), and Nie Gannu (1903-86).
Chapter 4 focuses on Ng Kim Chew's fiction and especially the element of intertextuality in his stories, at least three of which deal with the 'Southbound' Chinese writer Yu Dafu and his disappearance in wartime Indonesia.
Hence, when Yu Dafu on request of Shao Xunmei posted a call for papers for a special issue of the Analects on ghost stories in 1936, it comes as no surprise that the majority of contributors expressed a great deal of anxiety about the subject matter or straightforwardly dismissed it as an idle pastime, especially in face of the looming military confrontation with Japan.
TEXT NOT REPRODUCIBLE IN ASCII]) (48) However, like Yu Dafu, Shao does not engage with the debates on the scientific proof of the existence of ghosts, and states explicitly that he had not received any articles from "ghost scientists" ([TEXT NOT REPRODUCIBLE IN ASCII]), who he mockingly speculates are too busy with the afterlife to deal with worldly affairs.
There are the "real ghosts" of Chinese and Western ghostlores and there are the "living ghosts" that Yu Dafu had invoked (the opium addicts, the colonialists, etc.
28) Yu Dafu, "'Gui gushi' hao zhengwen qishi" [Complete Works of Yu Dafu], vol.
The three short stories that make up Le porteur de jeunes mariees combine the glistening simplicity of Han, T'ang, and Sting dynasty poetics, as manifested in the vetoes of Pan Chieh-yu, Pan Chao, and Li Ch'ing-chao, with the more sophisticated prose structures of such twentieth-century writers as Yu Dafu and Shen Congwen.
At first, the group advocated the idea of "art for art's sake"; the works produced by its members, notably Guo, Tian Han, and Yu Dafu, were influenced by Western Romanticism and were highly individualistic and subjective.
Drawing on his PhD research, the author examines the question of revolution through the perspective of the intellectuals involved in China's Creation Society in the 1920s, focusing on their political activities, including Guo Moruo, Cheng Fangwu, Yu Dafu, Peng Kang, and Li Chuli, and their social network in Japan.
Lu Xun, Zhou Zuoren and Yu Dafu studied Japanese literature; Li Jinfa, Dai Wangshu and Luo Dagang were admirers of French poetry; Liu Yichang, Wang Wenxing and Wang Meng imported and transformed such Western literary techniques as stream-of-consciousness.
Rival societies were also born (1921), including Creation, to which Yu Dafu, among others, contributed.
Turning to the construction of the literati self in Chinese fiction, Yi-tsi Feuerwerker makes a case for this sews having become decreasingly "shaped by its own writing activities" and increasingly buffeted by its cultural environment in key narratives by Lu Xun, Yu Dafu, and Wang Meng.