Liang Yuchun (1906— 1932), a native of Minhou, Fujian, was admitted to the English Department of Peking University on 1924. 1928 After graduation in autumn, I taught at Jinan University in Shanghai. The following year, I returned to work in Peking University Library. Later, he died of acute scarlet fever. I started literary activities during my college study, mainly translating western literary works and writing essays. Since 1926, he has published essays in periodicals such as Yusi, Running, camel grass, Modern Literature and Crescent Moon. And most of them have been included in "Spring Stories" and "Tears and Laughter".
Bibliography of works:
Spring Awakening Collection (Prose Collection)
1930, Beixin
Tears and Laughter (Prose Collection)
1934, enlightened
Selected Works of Liang Yuchun.
Baihua 1983
Translation bibliography:
Modern Forum (Paper) Dickinson, UK, 1929, Shanghai Chunchao Bookstore.
Selected English poems
193 1, Beixin
Gorky's On the Grassland in the Soviet Union (novel), 193 1, Beixin.
The autobiography of a slut (novel) by Defoe, England, 193 1, reprinted by Beixin, renamed as Moore Flanders,
1982, humanities
"Red Flower" (novel) Gorson, Russia, 193 1, Beixin
Lord Jim (novel) by Conrad, Poland, 1934, Business.
htKDmmHY
Duras data
HUPI @ 2006-0 1-28 2 1:05
Marguerite duras (translated by marguerite duras from Taiwan, Hong Kong and Macao,1965438+April 4, 2004-65438+March 3, 1996) is a French writer.
19 14 Margaret Donadieu was born in Jiading, China. Her father is a math teacher and her mother is a local primary school teacher. She has two older brothers. Her childhood and adolescence in zhina became the source of her creative inspiration. 1943 She changed her surname to Duras, which is the name of a small river in her father's hometown.
Duras studied mathematics, law and political science in college. After graduation, I worked as a secretary in the French colonial department from 1935 to 194 1, and later participated in the resistance movement and joined the * * * production party; 1955 was expelled from the party by * * *.
Her famous work is the autobiographical novel Resisting the Dam of the Pacific Ocean (1950). In her later works, she usually describes stories of people trying to escape loneliness. Her early works are classic in form, while her later works break the traditional narrative way, endow psychological analysis with new connotation and bring innovation to novel creation. She is often regarded as a representative writer of the New Fiction School, but she is denied by the author herself. 1984, her lover won the gunger prize for literature.
Duras' literary works include more than 40 novels and 10 plays, which have been adapted into movies for many times, such as Love in Hiroshima (1959) and Lover (1992). At the same time, she also made several films, including india song and Children.
Duras's life is a novel, and it is this novel that she keeps creating. This story is full of heat, storm, alcohol and irritability, dialogue and aphasia, lightning love and so on. Duras is hard to describe, gentle or irritable? Genius or narcissism? (See Raul Adler's Biography of Duras, marguerite duras) First of all, we should believe what she wrote: "I am a writer. Everything else can be forgotten. " In her works, she described the necessity, arduousness and horror of "speaking".
In order to live in this world, we must forget the troubles that plague us. But writing can cover up or expose. So Duras is trying, repeating, looking for the right words, "trying" to write, just like "trying" to love, knowing that it will never be achieved. Impossible love and the pursuit of love are a very important theme in Duras' works.
Her novels often revolve around an explosion center and are usually described in a violent moment. Hiroshima symbolizes the fusion of love, death and sex appeal. Destruction, she said. This language is combined with music-this is a kind of music like the sea, which changes endlessly around a theme, talking and celebrating, controlling and losing control. ...
Marguerite duras died on March 3, 1996, and was buried in Mon panas Cemetery.
Duras' works
Shameless people (1943)/ Novel Bloom Publishing House, reprinted by Kalima Publishing House (1992)
A Quiet Life 1944/ Novel Kalima Publishing House
Pacific Dam 1950/ Novel Galima
Sailors of Gibraltar 1952/ Novel Galima
Tatiana's Pony 1953/ Novel Galima
Years on the tree 1954/ Galima, a collection of short stories, including Python, Mrs. Dodan and construction sites.
Garden in the street +0955/ novel Galima
Adagio Ruge 1958/ Novel Midnight Publishing House
Seine-Watts Viaduct 1959/ Drama Galima
10: 30 on a summer night 1960/ novel galima
Love in Hiroshima 1960/ The screenplay "Galima"
Such a Long Absence 196 1 year/The screenplay cooperated with Gé rard Jarraud and Galima.
Afternoon of Mr. Andermas 1962/ Short Story Galima
The Drunk Man of Lao V Stein 1964/ Novel Galima
Drama-Volume I 1965/ Drama Galima
Vice Consul 1965/ Novel Galima
Music 1966/ The film is directed by Paul Thurburn.
English lovers 1967/ novel galima
English lovers 1968/ Drama Galima
Drama-Volume II 1968, Galima
"Destruction," she said, "at midnight of 1969.
"Destruction, she said" film benoit Yago.
Abang Savannah and David 1970 Galima
Love 197 1 year/novel galima
Yellow sun 197 1 year/movie galima
Natalie Granci 1972/ Movie Galima
Indian Song 1973/ Drama, Film "Kalima"
Published by Ganges Woman 1973/Benoit Yago.
Natalie Granci 1973 Galima
Speaker 1974/ Midnight Dialogue with Xavier Gautier
Baxter, Brabaxter 1976/ Movie Galima
Her name is Venice 1976/Benoit Yago in the Kolkata Desert.
Benoit Argo released the film Years in the Tree.
Truck +0977/ Movie
Truck 1977/ The script has a dialogue with Michelle Bolt at midnight.
Marguerite duras 1977 Midnight Cooperation Territory with Michelle Porter.
Eden Cinema 1977/ Drama Merchant Publishing House
Night Boat 1978/ Movie
Ray 1979 movie
Melbourne Oreglia Steiner 1979/ Movie
Oreglia Steiner 1979/ Movie
Willa Baxter or Atlantic Beach 1980 Albat Ross Publishing House.
The man sitting in the corridor 1980/ short story midnight
Summer of 80 +0980 midnight
Green eyes and black hair 1980 movie log
Agada 198 1 year
Agatha or unlimited reading 198 1 year/movie
The outside world-Volume 1 981Alban Michel Publishing House.
Young girls and children 198 1 year-old/audio tape, adapted from Jan Andrea's Summer of 80, read by marguerite duras.
Rome Dialogue 1982/ Movie
Atlantic man 198 1 year/movie
Atlantic Man 1982/ Short Story Midnight
Savannah Bay first edition 1982, midnight supplement edition 1983.
The Disease of Death 1982/ Short Story Galima
Drama-Volume 3 1984/ Drama Galima
Lover 1984/ novel midnight
Pain 1985 Postal Code Press
Music II 1985 Galima
Chekhov Seagull 1985 Galima
Children 1985/ film co-produced with Jean Mascoro and Jean Marc Turina.
Blue eyes and black hair 1986/ novel midnight
1986 prostitutes on the Normandy coast at midnight
Material Life 1987 Publishing Company
Emily L.1987/novel midnight
Xia Yu 1990/ novel P.O.L publishing house
Lover from North China 199 1 year/novel Midnight.
Jan Andrea Steiner1992 P.O.L. Publishing House
Write 1993 Galima
All over1995 p.o.l. publishing house
Novel, Film, Drama, 1943—— Comments on 1993, 1997 Galima.
ool.net/tianyige/foreign/plst/zyssnh.htm
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Liang Yuchun information
HUPI @ 2006-0 1-28 16:02
Liang Yuchun is a neglected role in the history of modern literature in China. In just 27 years, he left us only 37 essays and 20 or 30 translations. However, as he wrote in his eulogy to Xu Zhimo, Liang Yuchun left an image of a spontaneous fireman. He has a special complex about fire, because his own life is like a beating flame. Although there was only a little ash left in the end, he still threw himself into the flame and danced calmly. He said in "Watching Fire": "Our life should be as unrestrained as a flame, and it will be lively and interesting to run according to our own will. Our spirit should really drift like a flame. Only under the command of inner heat, breaking all kinds of barriers of customs, prejudice and morality and dancing as we please, will generate spark and create colorful flames. " Liang Yuchun's works, just like his people, are a kind of perspective of burning themselves in even watching the fire. He has long known that the flame of life will eventually go out and become a pile of ashes, so this investment has a tragic color and already contains the deepest despair and helplessness. Liang Yuchun's prose creation in his life, as he said in "On the Wanderer", "Writing in the madness of life" is a flash in the pan. Today, when we read his prose, we will still be surprised and excited by the wisdom, agility and strong tension that flashed in it.
First, the "tramp" prose
In Liang Yuchun's prose, talking about tramps is a very long article, which is also my personal preference. Liang Yuchun made no secret of his admiration and yearning for the tramp spirit in this article, which is exciting to read, and his own writing attitude and style are as unrestrained and enthusiastic as the tramp mentioned in the article. In this essay, Liang Yuchun said: "A real tramp will not arouse people's disgust, because he has reached a state of no one and no one. The impulse at that moment was his only guide. He loves to laugh, likes to see other people's smiles, and cares nothing else. " He added, "Wandering is a wandering mood." This wandering temperament of "no one is without me" is also a major feature of Liang Yuchun's prose.
1, "clown" aesthetic identity tendency
Jauss, a German reception aesthetician, explained aesthetic experience in his Aesthetic Experience and Literary Hermeneutics, in which there is an important concept "role distance". This inner distance stems from the aesthetic attitude of the game, and it is a kind of ability to deal with things that must be dealt with seriously with personal free will. The aesthetic experience of the game teaches us to "put another life near us and another world near our world." Take the masquerade as an example, it will lead to the preference for three roles: knight, shepherd and clown. "Some of our guests look for things that seem above or below society, while others look for things outside society." Three important literary traditions are rooted in three different aesthetic identification tendencies: hero, pastoral and tramp. Liang Yuchun's wandering prose is based on the aesthetic identification tendency of "clown". Of course, Yao's hermeneutics theory was born in the western cultural environment, which is different from the overall cultural vision of modern prose writers in China. However, Liang Yuchun's creation is obviously influenced by western prose. Ye Gongchao, an apprentice from Liang Yuchun, commented on this student when he wrote a postscript for his last work Tears and Laughter on New Year's Eve 1933: "In this collection, we can also see that he was really influenced by Lamb and hazlitt, especially Lamb. Based on the background of studying English in Liang Yuchun University, it is possible and reasonable to discuss Liang Yuchun's works with western aesthetic experience theory. The clown-like aesthetic identification shows the reader's desire to find something from society. Compared with many contemporary prose writers, Liang Yuchun is obviously more personal and emotional. In his works, more attention is paid to his own heart and humanity, and there are few traces of current events and specific social background. He once said, "Even if we write off any country or nation, we hope to live an interesting life." To some extent, this conforms to the clown's lifestyle of entertaining himself with his own performance, which makes his prose find a new way out.
2. Inherent tragic consciousness
Liang Yuchun's prose writing is a spontaneous youth writing. "Youth writing" is a vague classification. The meaning here refers not only to the writer's youth, but also to the unique exploration stage of immature style and confused thinking in the process of creation. Xin Qiji said that teenagers are "eager to write new words". Confusion and sentimentality are the colors of most youth writing, but the tragic consciousness of Liang Yuchun's prose is innate. The unique perspective of looking at life and questioning the feelings of everything in the universe have gone beyond the general emotional catharsis, which is reflected in his views on human death, tears and laughter, dawn, darkness and spring rain.
(1) the image of "fire"
Liang Yuchun has a unique fascination with fire. The title of his eulogy to Xu Zhimo was Kissing the Fire, and he himself often sat alone by the fire, silently staring at the ever-changing flame in front of him. He hopes to be a Persian in his next life, because "they are really smart people, and they know how to worship fire." Even if he has no money to buy cigarettes, he will take a box of matches and light them one by one to "solve this fire addiction", which shows his obsession with fire.
Fire has a contradictory nature. On the one hand, it is gorgeous and charming. On the other hand, it is short-lived and dangerous. People who like fire are doomed to have such double factors of beauty and danger in their personality. The tragedy of fire is that it is doomed to go out, so its burning is tragic with dying. Liang Yuchun's prose has a sense of disillusionment, especially his second collection of essays, Tears and Laughter. The persistence of idealism, which burns even if it burns, usually makes people struggling in reality fall into deep helplessness and despair, and Liang Yuchun is no exception. He believes that everyone is a fireman sent by God to the world, because everyone born in the world has the responsibility to save people. "I believe that life is a stubborn piece of iron, unless it burns red in the melting pot of sympathy, taking the disasters in the world as a hammer and letting it spark in generate. He is always so cold, lifeless and disconsolate on the road of life, and we spend every day in extreme numbness-a pain that even we can't get sympathy. " Faced with the helplessness of reality, this writer who is eager to "put out the fire" has no choice but to blame himself. "I dare not go to the dance floor of life to dance with my companions, but hide behind the curtains and sob. This is the attitude of our weak people. " Firefighters' infatuation and helplessness with "fire" is a major manifestation of Liang Yuchun's prose tragedy.
(2) Spring damage
The vibrant spring has always been the object of praise by literati. However, here in Liang Yuchun, "spring" is full of sadness, and his description of "spring" always contains a kind of anxiety of "prosperity and perishable", which is not unrelated to the melancholy deposited in his character. In "Another Year of Spring Grass Green", he began like this: "All the year round, what I fear most is spring." Then he said: "As soon as I saw the grass green in front of the steps and the bonus outside the window, I felt the disharmony of the universe, as if I heard a girl laughing at the bedside of a dying patient." No, it's like hearing the death knell of sadness at a wedding. " Few people associate spring with the death knell. In A Dream of Red Mansions, Daiyu may have some such feelings when burying flowers, because Lin Daiyu is also a person with a natural tragic mentality about her own destiny and the world.
(3) affirmation of "tears"
Liang Yuchun never thought it a shame to shed tears. He has a warm sympathy for those who cry, because it is much better to feel pain than to be completely numb. He said: "Tears are an affirmation of life ... Every time I see people's tears, whether it is the sting of lovelorn or the pain of bereavement, I always feel that this world is really worth living." (Laughter and tears) Taking the sad reflection of "tears" as a sign of affirming life shows the innate tragic consciousness in Liang Yuchun's character.
Second, the writing of "tears in laughter"
The overall tone of Liang Yuchun's prose can be summarized as "tears in laughter", and Ye Gongchao commented that he has "tragic humor of lamb". In Another Year of Spring Grass Green, he said that he "is a person who always wears a smiling face, although his mood is mostly sad." This tearful singing attitude has a lot to do with his world outlook and outlook on life.
1, world view
Liang Yuchun believes that contradiction is the fundamental principle of the universe, and infinite binary opposition constitutes everything in the whole world and the universe. "Spring flowers bloom every year next to the grave, and the universe is always so binary. The two are intertwined to form this messy and inferior world. " There is a binary opposition between "tears" and "laughter" in Liang Yuchun's prose, because "humor is due to seeing the contradiction of things". "People who often laugh are sympathetic to life. He saw the weakness of human beings. Facts and ideals are different. He smiled. (Drunk talk in a dream (1)) This is consistent with the clown's attitude of begging for laughter in tears.
2. Outlook on life
Liang Yuchun loves life very much, although he keeps saying "the view of human death", because he loves beauty too much to face and bear the darkness of reality. As advocated by existentialism: "All resistance and despair are for love", Liang Yuchun holds an attitude of "dying for life". In a letter to a lovelorn (1), he clearly stated: "In this short life, our greatest need and purpose is love." With this attitude, he pays more attention to and shows the contradiction, fragility and sensitivity between his heart and human nature in his articles. He hopes to appreciate the taste of life more and strongly opposes the cynical lifestyle of numbness, moderation and muddling along, so he will have a special fascination with the wanton burning of fire and a deep understanding and pity for tears.
3. The tone of the article
(1) "Laugh with tears, laugh with tears"
Liang Yuchun said in "The Second Youth": "When I went upstairs and looked at the Yunshan Mountain outside, my tears flowed into the whirlpool of laughter. This is their life. " Maybe it's his own attitude towards life. Tears are because I see the embarrassment and helplessness of life, and laughter is an affirmation of life after seeing through life; Tears are also burned because they are completely immersed in the flame of this life. A tearful smile is more like a broad-minded mind beyond pain and an oath unwilling to be numb. "The world is still full of darkness, and darkness can be said to be the core of life; The attitude of life is to care about how to deal with this darkness. ..... Only those who know the darkness will enthusiastically praise the light. " (Darkness) It is in the darkness that Liang Yuchun's prose constantly praises the light. He once quoted Pierre Augustin Caron de Beaumarchais, a French playwright, as saying in Drunk Dreams (II): "I have to laugh wildly all the time. I am afraid that as soon as the laughter stops, I will cry. " Perhaps it can also be seen as a portrayal of his own attitude towards writing.
(2) Innocence cultivated by experience
Liang Yuchun's youthful spirit, thinking courage and enthusiasm are impressive. In the article "Give me my head back" and others, he pointedly pointed out the status quo of conformity: "Their attitudes and observation points are always the same-almost the same", and he advocated thinking independently with his own mind to overthrow the so-called "authenticity" instead of superstitious authority. He even teased Liang Qichao, his mentor at that time. "Mr. Liang Qichao opened a list of books. That method is completely the act of the executioner killing people in the streets of Wan Li in a clear sky." He also ridiculed Hu Shi's self-righteousness in Modern Review: "Mr. Hu Shi once said that his method of governing the history of philosophy is to push a unique road, and anything different from him will fail ... (1) He intends to give up Mr. Hu's road without help. Its tone and wording can be described as straightforward and naive. But this naivety is different from the ignorance and naivety in Liang Yuchun's prose? Each has his own strengths? Based on this, he is widely quoted, but he can create his own taste, which makes the article appear cordial and tasteful, showing natural taste, making the work clear and profound, and full of life tension. He thinks that children's innocence is not commendable, it is "innocent innocence", which is no different from the innocence of the table. People should pursue "beyond the innocence of things". He said, "the innocence cultivated by experience is the innocence of not picking flowers, not looking at beautiful women and not moving pillows." (Innocence and Experience) This can also be seen from his attitude towards prostitutes. "So the most virtuous and noble woman in the world is a prostitute. They have been laughed at, experienced the bleak situation in the world and tasted all the bitterness. If their hearts are still self-reliant, then this heart must be full of sympathy and pity. "("Darkness ") shows that the frankness and naivety revealed in Liang Yuchun's prose are more valuable because they are based on the profound accumulation and understanding of naivety.
Third, be spontaneous.
Spontaneity and action can be used to describe Liang Yuchun's writing attitude. This wandering style of writing stems from his basic attitude towards life. A famous rock lyric is used to describe it as "if you are doomed to wither, then simply forget to burn." According to his point of view, if you want to write a good article, you must be loyal to your heart, and the idea or inspiration that moves you and excites you at the first time is the essence of the article. Good friend Feng Zhi said in the preface of his prose collection Tears and Laughter: "His thoughts are like stars and beads, flashing everywhere, but they are fleeting without a clue. He can't collect everything like a mirror." You can see the improvisation of his writing. Improvisation often brings brand-new creation, so Liang Yuchun's prose can't be the same. Zhou Zeng commented on his originality in the preface of Tears and Laughter: "He is not dominated by the opinions of any predecessors, and he is" like a deaf ear. "In Liang Yuchun's prose, we can really feel the temperament of' no one is without me, no one is lifeless and no one is energetic' mentioned in Random Talk.
1, a wonderful move.
Most of Liang Yuchun's essays belong to "accidental masterpieces". In "Drunk Dreams (I)", he once wrote a special account on the topic of "making a big fuss with the same strength" and stated his views on writing. He thinks that Hu Shizhi's saying that "it takes effort to make a mountain out of a molehill" is too correct and not evil. If it takes effort to pretend to cater to readers, it is better to write an essay diary casually. "It can be seen that sometimes what is said in the mouth is higher than what is painstakingly built." However, Liang Yuchun's happy writing doesn't mean talking nonsense without thinking. What he appreciates is a relaxed state after a thorough understanding of skills. "The ideal purpose of selling strength is that people can't see the traces of selling strength." In other words, it is necessary to have "skillful hands" to turn accidental inspiration into exquisite works. Liang Yuchun's improvisation can also be found in many of his articles. For example, when quoting an English author who can't remember his name, he directly put a bracket and said, "I can't remember his name", quoted an English passage and put a bracket behind it, saying, "I can't remember the sentence either, maybe so", without any intention of carefully checking the source of the quotation in order to make the article more complete; In "Drunk Dreams (II)", the fourth article is simply titled "This article is written in a straight line, so there is no topic", which shows its frank attitude towards writing. Although it looks less rigorous, it shows Liang Yuchun's true personality.
2. Contradictory remarks are sincere.
Since Liang Yuchun believes that contradiction is the fundamental principle of the universe, he naturally won't hide his inner contradictions and chaotic thoughts in his articles. In "A quiet inside Smile", he talked about why people want "quiet inside" and his many difficulties in this world. "As for myself, I'm not cold enough to be a leisurely spectator, watching the fire on the other side, but I can't coax myself into making a fool of myself, with my feet on both sides of the boat. At this time, I am tired of myself and life. How good is that? " He compared life to rows of shelves. "For example, some people row shelves, some people row shelves with shelves, some people row shelves with or without shelves, some people row childish shelves, and some people row shelves that are already very sophisticated. So why not think of yourself as a sophisticated shelf, and together with many shelves, build this big void of life into eight floors. Some of us walk there trembling, and some people strut and eventually fall down. This insight into fate and life more or less contains some helplessness, but this does not prevent Liang Yuchun from continuing to risk falling to build his own eight-story building, because he can't convince himself to get away from everything. As he himself said: "Only contradictory statements in the world are sincere and vivid, which can be said to be consistent. Contradiction is consistency, and those who can appreciate this contradiction can understand all contradictions between heaven and earth. "
Reading Liang Yuchun's prose, no matter his early youthful impulse and vigor, or his later slight sinking and vicissitudes, will not make people feel dull as water. He is a tramp on the journey of life, raising a glass to the moon and dancing in the fire. As for the shortcomings in his prose, a scholar in Taiwan Province Province commented: "Because the author is young, has little experience, and his life experience has not reached the point of profound practice, the performance of the article is not perfect. However, we can read between the lines his profound and humorous attempt to manage his own life. We can appreciate the works of such a talented author with a more tolerant eye. " Indeed, in his short life, the torchbearer gave off enough energy and heat to make us sweat.
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Not just a joke.
HUPI @ 2006-0 1-28 15:54
How many tomorrows are there? Who knows! Maybe it's my bad luck, only ten; You are lucky, there are twenty left. . .
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Not just a joke.
HUPI @ 2006-0 1-28 15:24
Translate "…"
"The world is big, not necessarily your own son."
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