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| 作者 | 主题:欢迎拍转！我的一篇历史课论文（a history research project） |
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cf_c81411 |
发表于:2005-5-10 12:03:06
 I just handed it in today. but still welcome critique, and I would like to share opinion with you.Women’s History in Lu Xun and Ding Ling’s Literature Introduction: Lu Xun believed that, “A writer’s job is to give sensitive descriptions of society. If this is forcefully done, it will in turn influence society and bring about changes.” He also required that stories should reflect “real life… the actual, dynamic struggle… galloping pulses, passion and ideas.” Both Lu Xun and Ding Ling shared the same writing ideal that story writing is not for “pure entertainment.” Therefore, I regard Lu Xun and Ding Ling’s literary works as historical writings, and select some of their works chronologically. Through the analysis of these selected pieces and the women figures, I argue that their writings are “politicized” based on the identifying role of women at the time and their reaction to social forces that kept women in specific roles. In creating oppressed and awakening women figures in their works, Lu and Ding had a political objective. They wanted their writings to influence the educated youth. As writers, they wanted to bring about social changes. Their works are reflection of different historical periods; these literary works reveal the changing status of women in China from 1911 to 1949. “When will it no longer be necessary to attach special weight to the word ‘woman’ and raise it specially?” Ding Ling opened her Thoughts on March 8 in 1942. Women’s right to be regarded as equal to men is still an ongoing goal throughout the world today. As early as the beginning of 20th century, writers such as Lu Xun and Ding Ling were aware of the miserable fates that women faced in the context of war and natural catastrophes. For instance, in 1933, Lu Xun published an article About Women in Shanghai Monthly. In this article, he points out that it is unjust to accuse ignorant and extravagant women as the origin of national calamity. He believes that what should be condemned is the social system that produced these women. Indeed, their fates are miserable, because besides pleasing their husbands there is nothing they can do. Similarly, in 1932, Ding Ling expresses her sympathy on helpless women in her fiction The Flood. She emphasizes women’s lower status through the content of men’s sexually oriented curses, in which women are subjects in the curses. She perceives women’s dependence in the context of a flood. “Extreme panic dominates these pitiful women. What a piteous and ignorant world!” What these women fear is that the flood will seize their husbands’ lives, and thus their support. In their works, Lu Xun and Ding Ling realize that it does not matter that the women are rich or poor, in the city or in the village, they are perceived as dependent and ignorant. Through expressing their sympathy for women in their works, they hope to enhance women’s social status and have equal rights with men, since both women and men are equal creatures. Both Lu Xun and Ding Ling are prominent leftist writers from the May Fourth era. Their literary works successfully characterize many women figures, such as Xianglin Sao in the New Year Sacrifice and Miss. Sophie in the Diary of Sophie. Most of these characters were derived from real life, and were very convincing. Lu Xun and Ding Ling’s literary pieces inspired many educated youths during the May Fourth era to overthrow the “cannibalistic” feudal system that oppressed human beings, especially women. Lu Xun and Ding Ling as Revolutionary Writers: I believe that Lu Xun and Ding Ling’s life experiences had significant impact on their writings in both style and content. Lu Xun is good at characterizations satire and plot. He creates many piteous women figures, which reflect the “conditions of the Chinese villagers from the 1911 Revolution to the founding of the Chinese Communist Party,” and indirectly uses their unfortunate stories to attack the inhumane society. Ding Ling’s writing is based on her experiences and reflects the problems in reality. As an emancipated woman, she is good at describing women’s awakening souls. Most of her writings deliberate on women’s struggles for freedom and respect, and the way to eliminate sexual discrimination against women. In general, both of them ultimately chose writing as their careers and shared the belief that writing should have political objectives and to reflect social phenomena. Lu Xun (1881-1936) was born in a gentry’s family in Shaoxing, Zhejiang province. Lu Xun commented on this experiences during the prosperity to the decline of the family in the autobiographical preface to his first story collection, Nahan (A Call to Arms), “Is there anyone whose family sinks from prosperity to poverty? I think in the process one can probably come to understand what the real world is like.” Lu Xun’s gentry’s family underwent dramatic changes in his early life, which enabled him to see the darkness of the Confucian social system. Leo Ou-fan Lee suggests that from Lu Xun’s statement, poverty was endurable, if it was not “accompanied by disgrace, the loss of family prestige.” To a certain extent, his grandfather and father were the victims of the Confucian system that had established and also ruined his family’s reputation (his grandfather was Jinshi, and was jailed for seven years on charges of receiving bribery while he was invigilate over the provincial examinations, which ruined his family’s reputation and wealth built upon Confucian system. His father was Xiucai who was frustrated by failed to attain any higher degree, and became addicted to opium). I believe this is one of the reasons that Lu Xun had a strong anti-traditional sentiment in his writings. In addition, Lu Xun’s life was closely bound to Chinese revolutions, which provided fresh-blood for his writings as “truthful reflection of the Chinese revolution,” although most of his stories are setting in the village towns and focus on the villagers. Lu Xun grew up in the context of reform at the end of Qing Dynasty led by Kang Youwei and Liang Qichao, which provided him an opportunity to embrace the new style of education. Lu Xun chose to study Western medical science first when he studied abroad in Japan in 1902, because he realized the pernicious effects of traditional Chinese medicine caused his father’s death. In addition, he wished to cure as many patients as possible after graduation. By doing so, on the one hand, he could feel better about his father’s death; on the other hand, his choice to practice medicine related to his growing nationalism—he assumed that a strong populace would form a strong country. However, in 1905, he viewed slides taken during the Russo-Japanese War and shifted his goal to become a writer. Despite other reasons that influenced Lu Xun’s decision to change his career from medicine to literature as Leo Ou-fan Lee suggests, Lu Xun himself confessed his reason was to cure his fellow people’s ill spirit. … [B]ecause after seeing these slides I felt that medical science was not such and important thing after all. People from an ignorant and weak country, no matter how physically healthy and strong they may be, could only serve to made examples of, or become onlookers of utterly meaningless spectacles. Such a condition was more deplorable than dying of illness. Therefore our fist important task was to change their spirit, and at the time I considered the best medium for achieving this end was literature. I was thus determined to promote a literary movement. This statement not only explained Lu Xun’s choice to be a writer, but also revealed his objective as a writer—to rescue the spirit of the ignorant populace, especially the “onlooker” and to save the nation. Before being a writer, Ding Ling was active in student movements. She also tried to be a movie star, as a way to express herself. As she failed to be a movie star and was encouraged by the success of her first story Meng Ke, she finally chose writing. Tani E. Barlow comments on Ding Ling’s writings that, “Ding Ling’s literature and life experience pose, in other words, very contemporary, transnational questions of women’s writing, feminist theory, and sexual difference.” I believe that Ding Ling’s insight on women’s issues is closely bound to her experiences. Like Lu Xun, Ding Ling (1904-1986) was born in a gentry’s family, but, in Linli, Hunan province. Her father died when she was four, and her family went into debt. From the age of seven, she lived in her uncle’s family, which endowed her with independence and sensitivity. At that time I loved David Copperfield very much, because I also had no father and lived lonely life. Another foreign book which I like was named [Robinson] Crusoe, but I have forgotten the author, and also Gulliver’s Travels. Of Chinese literature I liked best Shuihu zhuan (The Water Margin) and The Seven Heroes and the Five Righteous Men. As a child, Ding Ling was sensitive to feelings of loneliness and abandonment, and “about the basic injustice in society.” She was also a precocious child who knew how to seek comfort from books. I think she reveals her childhood’s memories vividly in her story New Year written in 1929. In this story, Ding Ling’s main character is a sensitive little girl named Xiaohan, who is attended by an inattentive servant girl, Ruyi (means as one wishes, which is the opposite), lives in a big room, her aunt and relatives treat her mannerly but distant, and who was constantly longing for mother and brother. Ding Ling writes: Xiaohan was so happy with this kind of life. She hoped she could live like this forever, but the happy time seemed to reach an end. If all happened because of the New Year, then she wanted everyday to be the New Year. However, the New Year will soon end, and the Festival of Lanterns will soon arrive. Once it is the sixteenth of the first month, all the illumination will be gone … everything will be gone. And… How hard it will be to Xiaohan! … Mother and brother will return to school… The festival was meaningless! … She listened to the mice, and thought about the mice again, once mother is home, the mice never bothered her. Maybe the mice also know that mother is going to leave and have come to tease her. Although her mother was constantly absent from her life, her mother’s experiences and educational aspirations influenced her profoundly. There are three people greatly influenced Ding Ling’s career as a feminist and revolutionary writer. Her mother, Yu Manzhen, a widow possessed of independent and democratic thoughts; Xiang Jingyu, her mother’s intimate friend, also an emancipated woman; Chen Qiming, her teacher in First Normal of Hunan province. Yu Manzhen was a well educated woman, and continued pursuing her modern education after her husband’s death. She acted as Ding Ling’s “moral pedagogue.” For example, she indulged Ding Ling with the tales of revolutionary heroes, such as Madame Roland, and Qiu Jin’s. Yu Manzhen inspired Ding Ling with a revolutionary mind. Xiang Jingyu played a similar role as Ding Ling’s mother. Both Yu Manzhen and Xiang Jingyu ploughed the seed of feminism on Ding Ling’s soul. Chen Qiming is the person who led her onto the path of new literature and new thoughts. Ding Ling reminisced Chen’s influence on her in her corpus: He [Chen Qiming] edited several outside magazines and newspapers, whose articles he underlined in red for us to read. Those we could not understand he would explain. Many of the articles in New Youth became transformed into teaching materials. Most of us paid very little attention to our other classes. We liked to debate problems, and opposition to the entire feudal system became the main topic of that hour. In such an atmosphere my ideas naturally changed a great deal and I also gained the courage to engage in battle all of the old teachings and mores. Ding Ling moved to Beijing out of disappointment after her closest friend Wang Jianhong died in 1924. She had access to both physical and psychological freedom; however, this freedom took her nowhere. Under extreme stress and a failed attempt at a career in theater, she finally started writing stories. Ding Ling started writing under this pen name in 1927; she finished and published Meng Ke in that year and Miss Sophie’s Diary in the following year. There are many similarities between Ding Ling herself and these two characters, Meng Ke and Sophie. In these two works, Ding Ling focuses on the individual’s inner souls; however, her writing style varies in different periods of writing life. Earlier in 1923, Qu Qiubai predicted that her character would be like “a moth drawn to a flame and in the end was bound to perish.” In her career as a writer, Ding Ling was constantly challenging herself, thus her writings in different periods reflect different stages in history. Their Writings in Chronological Order: Lu Xun created various typical figures drawn from the real world, which held the interest of every class and served as a mirror for people to see themselves. Lu Xun wrote the New Year Sacrifice in the spring of 1924. He portrayed a tragic heroine, Xianglin Sao, in the satirical story. Although Xianglin Sao’s life ends in a miserable death, she provokes the thought of an intellectual “I” on the meaning of life and death. “After a person dies, does he turn into a ghost or not?” “Then, there must be a Hell?” “Then will all the people of one family who have died see each other again?” Xianglin Sao is constantly beaten down by cruel realities, but she always remains hopeful, although this time her hope is after death. In contrast to Xianglin Sao, the narrator, “I”, seems to be a coward. “May be… I think.” “…there should be too—but not necessarily…” As an intellectual, “I” am neither insightful, nor responsible for the answer. Lee believes that Lu Xun blames the intellectual to be a “passive spectator.” In focusing on a peasant woman’s mental misery the story’s narrative structure also reflects negatively upon the intellectual’s crucial flaw… In a strange sort of role reversal, the narrator has become the passive spectator, whose position is not so different from that of the crowd. In this story, Lu Xun successfully built his plot around a single character, Xianglin Sao, who is surrounded by a set of crowds, the villagers, both gentry and commoners. As a woman, she twice widowed; and as a mother, she loses her son. Xianglin Sao’s tragedies are merely “cheap catharsis” and “entertainment” for the villagers. After her son’s death (her son has been eaten by wolf), she returns to Lu Town and works as maidservant again for Lu’s family. She involuntarily repeats her son’s story and cries frequently. However, most of her audiences merely seek novelty and abreaction from her sad story. Lu Xun satirized the shameless spectators in the story: There were some old women who had not heard her speaking in the street, who went specially to look for her, to hear her sad tale. When her voice trailed away and she started to cry, they joined in, shedding thee tears which had gathered in their eyes. Then they sighed, and went away satisfied, exchanging comments. The novelty of Xianglin Sao’s story soon fades and people become impatient to her repeating the same story; they indeed mock Xianglin Sao’s weak effort to resist to her second marriage. In short, the villagers are ignorant and cold-blooded spectators. In addition to the villagers’ gossip and ostracism, the superstitious society forms a psychological burden on Xianglin Sao. She does not only endure tragic fate while she is still living, but also to be punished after her death, because she married twice and is considered unfortunate. In conclusion, the authority of tradition, the authority of superstition, the authority of husband, and the authority of clan, all these oppressions drive Xianglin Sao insane, and finally to a miserable death. However, in this story, the villagers may not be blamed or to bear the total responsibility of Xianglin Sao’s tragedy. Society should be blamed because of its traditional social and the superstitious belief systems. The villagers may also be the future Xianglin Sao if the society remains unchanged. Xianglin Sao serves as a heroine, she uses her death to warn the spectators and the watchers that the longer the old social and traditional systems exist, the more insecurity people would have to endure. Meanwhile, in the context of the time Lu Xun wrote this story, numerous women were victims of the traditional marriage and family systems like Xianglin Sao. In 1925, Lu Xun published another fiction, Regret for the Past: Chuan-sheng’s (Chunsheng) Notes, also called Mourning the Death. In this story, Lu Xun creates Zijun, a half-emancipated woman figure from her boyfriend Chunsheng’s point of view. According to him, Zijun once bravely claimed: “I’m my own mistress. None of them has any right to interfere with me.” She then leaves her uncle to live with Chunsheng for the sake of her love for him. Her decision is novel to the close society, even to Chunsheng as an emancipated young man. Chunsheng writes, These few words of hers stirred me to the bottom of my heart, and rang in my ears for many days after. I was unspeakably happy to know that Chinese women were not as hopeless as the pessimists made out, and that we should see them in the not too distant future in all their glory. However, Chunsheng was too optimistic. The path leading to their conjugality is tortuous. Most people in the society still do not accept their free love; many people even have look down at a woman who falls in love. There are “searching looks,” “sarcastic smiles,” “lewd and contemptuous glances” around Zijun and Chunsheng. Even Chunsheng has to “summon all my pride and defiance to my support.” In contrast, Zijun is fearless to rejection of society. She loves Chunsheng, and just wants to share her life with Chunsheng, that is all! As a woman in the 1920s, Zijun is amidst many emancipated women who are pursuing their true loves. However, Zijun ends up going back to her uncle’s home again after Chunsheng claims the end of their love, and dies depressingly. Chunsheng cannot stand for Zijun’s focus on chores, such as cooking and keeping a dog, Ahsui, and four chicks. After losing his job, Chunsheng feels annoyed with the dog, Ahsui, and gets rid of it by pulling it into a pit. However, he does not understand Zijun’s sadness. He even blames Zijun for his break up with his old friends and old life styles. In his notes he complains, “Now I had to put up with all these hardships mainly because of her sake—getting rid of Ahsui was a case in point. But Tzu-chun (Zijun) seemed too obtuse now even to understand that.” Indeed, he never thinks about Zijun in his daily routine. When Chunsheng had a job, Ahsui was Zijun’s only companion, and housekeeping was all the things Zijun choose to express her love for Chunsheng by been a good wife and housekeeper. Chunsheng complains because Zijun’s is not living like a more progressive woman. Zijun grew up in an old family, so she automatically accepts the traditional wife’s role with Chunsheng. Actually, Chunsheng realizes this before they live together, “In matters life this, Tzu-chun (Zijun) probably hadn’t yet freed herself entirely from old ideas.” In fact, the causation of Zijun and Chunsheng’s break up, according to Lu Xun’s talk to his students at Beijing Women’s Normal College in 1923, was the old social system. What Happens After Nora Leaves Home? He (Lu Xun) pointed out that a Chinese Nora would have only three choices: to starve, to “go to the bad,” or to return home to her husband. After awakened, Nora needs money to evade such choices. … How would women get money in China’s society? Only by obtaining their full economic rights, both inside the family and outside in the world at large. … Only by struggle, by long, slow, patient struggle. “Nora” is not necessarily a wife who leaves her husband; she represents many progressive women of the 1920s. Unfortunately, the Chinese society was still asleep in the meantime. It was not prepared to support the modern women. During the 1920s, even a man was hard to be employed and there were limited occupations for women. In contrast to Lu Xun’s characterizing women figures through plot development, Ding Ling directly depicts women’s inner souls in her stories. According to Spence, in the story Diary of Miss Sophie, published in 1928, Ding Ling portrays a “bored, ill, fretful, self-pitying, cruel, and emotionally uncontrolled” woman. Ding Ling utilizes the form of a diary to reveal Sophie’s liberated thoughts on love triangles among Weidi, Ling Jishi, and herself: Weidi loves her, she knows that; she is attracted by Ling Jishi’s handsome appearance; but Ling Jishi is a beau, a playboy, not worthy of serious consideration. Sophie may be capricious to the people around her, such as Weidi, Ling Jishi; however, she is frank to her heart. She writes in her diary on December 24, I’ve always wanted a man who would really understand me. If he doesn’t understand me and my needs, then what good are love and empathy? Father, my sisters, and all my friends end up blindly indulging me, although I never have figured out what it is in me that they love. Is it my arrogance, my temper? Or do they just pity me because I have TB? At times they infuriate me because of it, and then all their blind love and soothing words have the opposite effect. Those are the times that I wish I had someone who really understood. Even if he reviled me, I’d be proud and happy. Although Sophie needs love badly, she does not accept a love without understanding. Without understanding and mutual consent, the love is pale, and she even despises the “grandstand affection.” She knows herself well through constantly digging into her deepest soul by writing a diary. On January 10, she continues, I understand myself completely. I am a thoroughly female woman, and women concentrate everything on the man they’ve got in their sights. I want to possess him. I want unconditional surrender of his heart. I want him kneeling down in front of me, begging me to kiss him. Sophie is a liberated woman who professes profound thoughts on love. She believes that a sexual appetite is normal; there is no need to deny it. In her diary on January 12, she comments on Yufang and Yunlin’s “asceticism,” I can’t help scoffing at her (Yufang) asceticism. Why shouldn’t you embrace your lover’s naked body? Why repress this part of love? How can they (Yufang and Yunlin) be so preoccupied with all the details before they’ve even slept together! I won’t believe love is so logical and scientific. After the May Fourth New Culture Movement, people’s minds were awakened, and started to think about true love. Before Ding Ling, there was no direct depiction of a woman’s deep thoughts on love. Therefore, Sophie, the protagonist in Ding Ling’s story is a “bored, ill, fretful, self-pitying, cruel, and emotionally uncontrolled” woman. Her first self-consciousness awakening afflicts her, and there is no one who understands her. Just as Lu Xun metaphor of the “iron house” reveals, Imagine an iron house having not a single window and virtually indestructible, in which there are many people soundly asleep who are about to die of suffocation. Yet form slumber to demise—it does not cause them to feel the sorrow of impending death. Now if you raise a shout to wake up a few of the relatively light sleepers, making these unfortunate few suffer the agony of irrevocable death, do you really think you are doing them a good turn? Sophie awakens and seeks her true love. Unfortunately, the person, Weidi, who loves her, does not understand her; another person, Ling Jishi, who attracts her, is beneath her love, because his “precious, beautiful form” “resides such a cheap, ordinary soul.” With extreme disappointment, she sighs in her March 28 diary, In the course of my life, my desire for people to understand and sympathize with me has been too strong, which is why I’ve felt such bitter despair for so long. Only I know how many tears I’ve shed. … Life sneaks on. Death too. Oh, how pathetic you are Sophia (Sophie)! In the story Miss Sophie’s Diary, Ding Ling uses the first person point of view and focuses on a woman’s liberated mind. This writing style was new to Chinese writers, but reflected well a woman’s awakening of self-consciousness in the 1920s. However, in 1932, Ding Ling shifted her focus on women in her fiction Net of Law. Rather than show the oppressions on woman by the traditions, according to Barlow, Ding Ling showed, [S]exual oppression within class oppression, and she goes to great lengths to show that men are not the agents of women’s oppression but merely the immediate instruments of the oppressors. The Party of the Proletariat has, of course, the responsibility to remedy society’s ills. What seems remarkable in this story, nonetheless, is Acui’s exaggerated passivity. In Net of Law, Ding Ling goes out of her way to deny historical agency to the female subproletariat. In this fiction, there are two ordinary couples, Acui and Gu Meiquan, Xiaoyuzi and Yu Axiao. The two women are from the same city and become intimate friends. The men work in same factory. Both Acui and Xiaoyuzi are virtuous women, especially Acui. Acui loves children, and different from the local women who “cursing loudly” and “be angry” in “everyday conversation.” Simply, she is a “woman with a pleasant personality and good looks.” Nonetheless, in the context of flood, the poor people, such as Grandma Wang even curses Acui for taking her business of washing clothes. “You’re all no-good, cheap stuff. You witch, with all that smelly face cream!” These sore accusations grieve Acui and result at her miscarriage. Xiaoyuzi tries to comfort her, but fails to do so. In addition, due to Yu Axiao’s purposeful elimination of opponent (Yu does not tell the accountant of Gu’s reasonable absence), Gu Meiquan loses his job. The men break up their relationship. Under the pressure of being unemployed for a long time, Gu frequently gets drunk, and kills Xiaoyuzi accidentally. Yu greases the police not to close the case and to capture Gu. Gu escapes, and Acui becomes the fall guy. The police put her in jail in order to attract her husband. Finally, Yu is bankrupt because of the police’s endless extortion, and Acui dies in jail. Ironically, after they lose everything, Gu and Yu reconcile. Gu realizes the root of the tragedy in his letter to Yu. Axiao! You probably still hate me and would like to boil my flesh. I, however, don’t feel any hatred for you anymore. … You shouldn’t hate me either, because just as you weren’t the person who caused me to lose my job, I was not the person who killed your wife. … the ones who fired me were the oppressors. … Gu Meiquan did it only because he had lost his job, couldn’t find food to eat, and lost his head. Only because I mistakenly blamed you could I do such a confused thing. I feel even more hatred for that power that makes us so miserable. … We were both brothers in poverty! … Similarly, Yu simply forgives Gu at the end. However, in this fiction, different from her past writings, Ding Ling plots women as periphery, in order to reflect their status as “subproletariat.” In 1932, the traditional oppressions on woman ended. Instead, the new rising power, proletarian brotherhood threatened women’s rights. Through this story, Ding Ling revealed the new challenges to woman’s rights at that time. Conclusion: Lu Xun and Ding Ling, as the prominent May Fourth writers, advocate writing for the sake of life. Writers have the responsibility to reveal the truth in their writings, especially in the context of national jeopardy and compatriots’ tribulation. Lu Xun and Ding Ling’s writings not only reveal the truth throughout the 1920s to the 1940s, but also pose a clear objective—to alert people to rise and fight all the irrationalities. In these selected works, both Lu Xun and Ding Ling mirror women’s situations in different periods through their stories written in different times. In addition, their characterizations of women figures have common ground with the contemporary women. In modeling the typical women figures, they encourage people to think and to challenge to status quo. Moreover, their works provide historical account of women’s history, and constantly are examined by readers and feminists. Acknowledgement: Mrs. Hysell, my writing tutor. Yeh, Yi-chun. “Lu Hsun’s Life and His Short Stories” in Selected Stories of Lu Hsun translated by Yang Hsien-yi and Yang Gladys, 1st edition. Beijing Waiwen chuban she (Foreign Language press in Beijing), 1960. Yeh. 9. Yang, Daqing. “The Challenges of the Nanjing Massacre: Reflection on Historical Inquiry.” Lu, Xun. “About Women.” Nanqiang Beidiao Ji (Collection of Mixed Accent). http://www.bwsk.com/mj/l/luxun/nqbd/019.htm. Ding, Ling. “Shui” (The Flood). Ding Ling Zuopin Jingxuan (Selected Works of Ding Ling). Wu, Lina and Wu, Xuxi, eds. Changjiang Wenyi Chuban she (Yangtze Literature Press). Ding. DLZPJX. 185. Translated by Chen, Cuifang. Yeh. 11. Ding. DLZPJX. 4-5. Lee, Leo Ou-fan. Voices from the Iron House: A study of Lu Xun. Indiana University Press, 1987. 6. Lee. 6. Lee. 6. Yeh. 1. Lee. 10. Lee. 15. Lee. 17-18. Barlow, Tani E. and Bjorge, Gary J., Eds. I Myself Am a Woman: Selected Writings of Ding Ling. Boston: Beacon Press, 1989. 2. Alber, Charles J. Enduring the Revolution: Ding Ling and the Politics of Literature in Guomindang China. 3. Wang, Zengru. Wunai de Niepan: Ding Ling Zuihou de Rizi (Involuntary Nirvana: Ding Ling’s Ultimate Life). 166. Alber. 14. Alber. 14. Ding. DLZPJX. 97-98. Translated by Chen. Wang. 166. Barlow and Bjorge. 19. Barlow and Bjorge. 19-20. Alber. 21. Quote of Ding Ling. Barlow and Bjorge. 23. Wang. 167. Wu. 3. Yeh. 18. Lee. 75. Lu. 169. Lee. 75. Yang. 183. Anonymous. Shuxi de Mosheng Ren—Qianxi Lu Xun Bixia de Sange Funv Xingxiang (Familiar Strangers—Analysis of Three Women Figures in Lu Xun’s Writings). http://www.study888.com/lunwen/Print.asp?ArticleID=1306 Lee. 74-75. Lu. 254. Lu. 254. Lu. 256. Lu. 256. Lu. 254. Spence, Jonathan D. The Gate of Heavenly Peace. Viking Press, New York, 1981. 216-217. Barlow and Bjorge. 52. Barlow and Bjorge. 56. Barlow and Bjorge. 59. Barlow and Bjorge. 59. Spence. 221. Lee. 86. Quote of Lu Xun. Barlow and Bjorge. 68. Barlow and Bjorge. 78-81. Barlow and Bjorge. 72-173. Barlow and Bjorge. 175. Barlow and Bjorge. 176. Barlow and Bjorge. 183. Barlow and Bjorge. 196. Barlow and Bjorge. 173. 57 Spence. 147. “Art for life’s sake”—Qu Qiubai. Bibliography: Lu, Xun. Selected Works of Lu Xun. Trans. Yang, Hsien-yi and Yang, Gladys. Foreign Language Press of Beijing, 1960. Barlow, Tani E. and Bjorge, Gary J., Eds. I Myself Am a Woman: Selected Writings of Ding Ling. Boston: Beacon Press, 1989. Spence, Jonathan D. The Gate of Heavenly Peace. Viking Press, New York, 1981. Ding, Ling. Ding Ling Zuopin Jingxuan (Selected works of Ding Ling). Wu, Lina and Wu, Xuruo, Eds. Changjiang Wenyi Chuban she (Yangze Literature Press), 2003. Wang, Zengru. Wunai de Niepan: Ding Ling Zuihou de Rizi (Involuntary Nirvana: Ding Ling’s Ultimate Life). Shanghai Shudian Chuban she (Shanghai Bookstore Press), 2003. Lee, Leo Ou-fan. Voices from the Iron House: A study of Lu Xun. Indiana University Press, 1987. Alber, Charles J. Enduring the Revolution: Ding Ling and the Politics of Literature in Guomindang China. Connecticut: Praeger, 2002. Anonymous. Shuxi de Mosheng Ren—Qianxi Lu Xun Bixia de Sange Funv Xingxiang (Familiar Strangers—Analysis of Three Women Figures in Lu Xun’s Writings). http://www.study888.com/lunwen/Print.asp?ArticleID=1306. |
虚心求教 | 发表于:2005-5-10 23:36:58 真长，看了第一节，发现有点时态混乱，有的过去时，有的又现在时 Lu Xun believed that.... In this article, he points out.... He believes that.... in 1932, Ding Ling expresses... ............... >He believes that what should be condemned is the social system that produced these women. 把女性做私产作为封建社会惯疾，恐怕social institution比social system合适 >In their works, Lu Xun and Ding Ling realize that it does not matter that the women are rich or poor... .... Ding Ling realized .... matter whether the women .... >they hope to enhance women’s social status and have equal rights with men hope to enhance ...and have(?).... .....第三段的问题比较多，还有........ |
ronner | 发表于:2005-5-11 0:05:22 唉，内行看门道，外行看热闹啊． 不懂～～～ |
martin^
| 发表于:2005-8-31 16:51:34 叙述语态可以用现在时. 楼主文字功底深厚啊,  ---------------------------------------------------- 我爱我家,英语俱乐部就是偶的家园,里面都是偶的兄弟姐妹 |
xinran522 | 发表于:2005-9-30 18:46:45真 不 错 |
sherwin | 发表于:2005-10-2 14:28:03 Your Writing is wonderful! |
atp_101 | 发表于:2005-10-16 15:52:12 你这是拿出来吓唬人的  不看了 |
subnetting
| 发表于:2005-12-13 13:25:17 I'll check more of your article's delails when I have time enough! ---------------------------------------------------- Making a great progress everyday! |
寒冰 | 发表于:2006-5-30 20:47:10 `````````晕 好厉害 啊 ```quiter well |
should-01 | 发表于:2006-6-3 10:28:26 不错~  ---------------------------------------------------- The value of life lies not length of days, but in the use of we make of them. |
night_alex | 发表于:2006-6-7 13:13:34 强 楼主啊，你是怎么练出来的啊 |
shangguanr
| 发表于:2006-6-7 22:37:06 我一看篇幅就先晕了~~~~~~~~~~不过你真的很强啊 ~~~~~~`` ---------------------------------------------------- 因为梦想,我选择永不言弃,即使被无数石粒绊倒,我也会燃烧希望之火,腾飞_ |
bigbasin | 发表于:2006-6-28 12:42:33 awesome! |
lamonade | 发表于:2006-8-17 20:48:55 Great ,well done |
ryj2006 | 发表于:2006-8-26 16:06:36 由于文章太长,我只看了前面一小段. 觉得文章写的流畅. 写一篇论文,不论长短,都要结构完整,尤其是重要的几个部分.我是学工科的, 我认为这篇文章写的流畅和华丽,但缺少了一篇论文最关键的东西,那就是: 1. 这篇文章没有告诉我们为什么要写Women’s History. 因为也有 man's History呀..等等.一篇文章如果连其意义都不写,论点再多,再强,也会让读者和学者茫然. 2. 这篇文章也没写为什么要选 Lu Xun and Ding Ling’s Literature, 而不选其他的作家? 3. 本文也没有告诉大家是否曾有人写过Women’s History,如果有,他们都引用谁的文献,与你有什么不同. 4.Lu Xun believed that, “A writer’s job is to give sensitive descriptions of society. ......” Both Lu Xun and Ding Ling shared the same writing ideal ...” 前面只引用了Lu Xun 的几句话,突然跑出来一个Ding Ling,而且Both Lu Xun and Ding Ling shared the same writing ideal ? Ding Ling 什么观点都没有告诉读者,就shared啦? 我就看了一两段,不对之处,请大家指正. |
fxm007 | 发表于:2006-9-7 13:36:04 in fact this article is very bulish at all,no meaning without extending data ---------------------------------------------------- please express yourself clearly,if you can`t,get me away,shut up your fucking asshole!! |
杰子 | 发表于:2006-12-17 3:40:56 So long ! I can't understand the main idea! But I think the writer'English is very good for sure! |
abcd11 | 发表于:2006-12-26 12:07:01 这里是两个学习英语的网站。 http://www.xue68.com http://www.hjbbs.com 学习英语,块来吧！ |
rubyli | 发表于:2007-3-6 23:39:58 It's too long,but you are probably right. |
baby唄唲
| 发表于:2007-3-31 17:48:34 晕喽``哪天抱着字典再看 |
zal | 发表于:2007-4-2 23:18:06 this is too long for me to read it completely. |
humor | 发表于:2007-4-4 0:35:28 this is awesome! it's pretty long, i feel sorry that i don;t have patience to finish it.Anyway, the effort is excellence! |
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| 快速回复 | 主题：欢迎拍转！我的一篇历史课论文（a history research project） |