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.

WORKS

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

REFERENCES

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.

V. S. ADZHIMAMUDOVA

References in periodicals archive ?
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.
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.