Lu Xun

Also found in: Wikipedia.

Lu Xun


Lu Hsün

(both: lo͞o`shün`), 1881–1936, Chinese writer, pen name of Chou Shu-jen. In 1902, he traveled to Japan on a government scholarship, eventually enrolling at Sendai Medical School. Troubled by what he saw as China's spiritual malaise, he soon abandoned medicine to pursue literature. He returned to China, where he published translations of Western works and held a post in the ministry of education. During the period 1918–26, he wrote 25 highly influential stories in vernacular Chinese. His works include "The Diary of a Madman" (1918), written in the voice of a man believing he is held captive by cannibals; "The True Story of Ah Q" (1921–22), the chronicle of a peasant who views personal failure as success even up to his execution, exposing the elitism of the 1911 republican revolution and a tendency to ignore grim realities; and "The New Year's Sacrifice" (1924), which portrays oppression of women. From 1926, Lu wrote satirical essays and served as head of the League of Leftwing Writers.


See translations by G. and H. Yang (4 vol., 1956–60) and W. A. Lyell (1990); studies by T. A. Hsia (1968), W. A. Lyell (1976), V. I. Semanov (1980), and L. O. Lee (1987).

References in periodicals archive ?
He is a retired ceramics professor and now a guest professor at Lu Xun Academy of Fine Arts in China.
He received a BA and an MA from Lu Xun Academy of Fine Arts degree (Sculpture Department) and Central Academy of Fine arts (Sculpture Department).
This book collects essays by Chinese writer Lu Xun (1881-1936) published between 1918 and 1937, including autobiographical and biographical essays on formative experiences impacting his worldview and sensibilities, as well as critical essays on the cultural aspects of his time.
World literature has smiled on Lu Xun [TEXT NOT REPRODUCIBLE IN ASCII].
As for exotic power, Zhu Geliang's ability of predicting with miraculous accuracy couldn't be matched by others so much so that Lu Xun drew a conclusion about him of being "approximating demon" (Lu Xun, 129).
Some of the most mordant of these writers, such as the novelist and essayist Lu Xun, placed much of the blame on the Chinese themselves.
She has written extensively on modern Chinese literature and translated poetry, fiction, drama, and film scripts by Bei Dao, Lu Xun, Mao Zedong, and many others.
Although The Sing-Song Girls was not a popular novel in the late Qing, it received much attention among May Fourth intellectuals including Lu Xun, Hu, Liu Fu, and later by Eileen Chang.
These include Zhao Yannian's 1974-94 woodcut illustrations for novels by Lu Xun, a key figure of the anti-imperialist May Fourth Movement, and the work of the self-taught abstract painter and poet Tang Chang, considered an outsider artist by his fellow Thai.
Almost a hundred years back, the Chinese writer Lu Xun said, "All blood debts must be repaid in kind: the longer the delay, the greater the interest.
The great Chinese writer Lu Xun once wrote, about an earlier massacre: "Lies written in ink cannot disguise facts written in blood.
Yecao (Wild Grass, or Weeds) was first published in 1927, says Kaldis, and is the only collection of modern style poetry by Lu Xun (1881-1936), widely acknowledged as 20th-century China's foremost literary figure.