Mao Dun

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Mao Dun:

see: Mao TunMao Tun
or Mao Dun
, pseud. of She Yen-ping
, 1896–1981, Chinese novelist and Minister of Culture (1949–65). His fiction offers a sympathetic portrayal of working-class life and praise of revolution. Midnight (1933, tr.
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Frog, his 11th novel (published in China in 2009), won the 2011 Mao Dun Literature Prize.
He was best known for his English translations of the Chinese classic novel Outlaws of the Marsh , as well as works by the more modern authors Ba Jin and Mao Dun.
He was immediately joined by a cohort of younger writers such as Zhou Zuoren [TEXT NOT REPRODUCIBLE IN ASCII] (1885-1967), Yu Dafu [TEXT NOT REPRODUCIBLE IN ASCII] (1896-1945), Mao Dun [TEXT NOT REPRODUCIBLE IN ASCII] (1896-1981) and Guo Moruo [TEXT NOT REPRODUCIBLE IN ASCII] (1892-1978) whose writings together formed a critical mass that succeeded in laying the foundations of China's modern literature.
As commented by Mao Dun, a famous Chinese literary figure in the early twentieth century, "Individualism has become the main goal of the new literary movement during the May Fourth Movement period.
First published in 1995, this major work has, like many of Wang's books, waited too long for an English version despite winning China's most prestigious literary award, the Mao Dun Prize, and having been adapted for the stage, television, and film.
In a 1942 novel Mao Dun tells the story of the revenge of Samson against the femme fatale Delilah, where the Philistines symbolize the Japanese; Xiang Peiliang in Annen (1926), a one-act play, turns the love of Amnon for Tamar into a sexual aberration; the writer Gu Cheng, personally obsessed by the death of Christ, writes the novel Ying'er, then becomes insane, killing his wife and hanging himself in 1993; Wang Duqing understands Jesus as an illegitimate son, displaying in a poem on the Virgin Mary (1925) some decadent tendencies; Wang Meng, minister of culture before Tiananmen, takes inspiration from the Apocalypse, describing in The Cross (1988) how the fourth animal, Christ's negative mirror, brings destruction into the world.
He published Shi under the pseudonym Mao Dun, a pun on the Chinese word for "contradiction," and the work was an instant success.
Not only did the lack of time or the vastness of his projects cause Mao Dun to leave works unfinished or to make significant changes in them, but I think also that the binary opposition of hope and hopelessness was for him, as for Lu Xun, a keen and always returning conviction.
In Shanghai, where she spent the next four years writing, establishing contact with the underground revolutionary movement and mixing in Chinese and foreign intellectual circles, she became close to Madame Sun Yat-sen and the writers Lu Xun, Mao Dun, Xu Zhimo and Ding Ling, and found not only psychological peace of mind but the kind of satisfaction in her political work and writing which had evaded her in the United States and Europe.
The choice of Mao Dun [TEXT NOT REPRODUCIBLE IN ASCII] as editor-in-chief and Ai Qing [TEXT NOT REPRODUCIBLE IN ASCII] as assistant editor invested the magazine with a great amount of prestige.
It also garnered the highest literary award in China--the Mao Dun Prize--in 2000.
After reading The Song of Youth, Mao Dun [TEXT NOT REPRODUCIBLE IN ASCII] (1896-1981) immediately wrote an article to endorse the novel's political and literary merits.