This thesis is a comprehensive thematic study of the unique prose poetry collection Wild Grass by the famous modern Chinese writer Lu Xun. It provides a general survey of previous Wild Grass studies both in China and abroad in the past 70 years in Chapter 1. The survey clarifies the achievements and defects of those studies, and finds that they are still insufficient and can and should be further expanded. By employing a comprehensive methodology, including close reading, rhetorical analysis, intertextual interpretation, and some standard psychoanalytic insights, the thesis explores the themes of Wild Grass on three different levels. In Chapter 2, on the historical level, the thesis reveals the theme of social and political criticism of the dark reality of mid- 19208 China. In Chapter 3, some Wild Grass poems are interpreted on the philosophical level to show the theme of Lu Xun's meditations on the ego, will to life, and the meaning of human existence. In Chapter 4, the thesis examines some Wild Grass poems on the emotional level to display Lu Xun's dilemma of love and moral responsibilities at a crucial juncture of his life when he contemplated deserting his old-style wife and accepting a young lady's love. Some poems are informed by a strong awareness of repentance, which is essentially an embodiment of Lu Xun's sense of morality and responsibility. In its conclusion, the thesis summarizes the intellectual and artistic values of Wild Grass, deeming it a magnificent book marking a creative peak in Lu Xun's career and an achievement in modern Chinese literature of the twentieth century. Lu Xun's spirit of struggle, awareness of repentance, and subjective emotion and lyricism that are incorporated in Wild Grass have become an important legacy for Chinese literature and the Chinese people. The symbolic and surrealistic features, the expressionistic characterization, the structure of the logical dilemma, and elegant language make Wild Grass a great modern masterpiece.

This thesis is a comprehensive thematic study of the unique prose poetry collection Wild Grass by the famous modern Chinese writer Lu Xun. It provides a general survey of previous Wild Grass studies both in China and abroad in the past 70 years in Chapter 1. The survey clarifies the achievements and defects of those studies, and finds that they are still insufficient and can and should be further expanded. By employing a comprehensive methodology, including close reading, rhetorical analysis, intertextual interpretation, and some standard psychoanalytic insights, the thesis explores the themes of Wild Grass on three different levels. In Chapter 2, on the historical level, the thesis reveals the theme of social and political criticism of the dark reality of mid- 19208 China. In Chapter 3, some Wild Grass poems are interpreted on the philosophical level to show the theme of Lu Xun's meditations on the ego, will to life, and the meaning of human existence. In Chapter 4, the thesis examines some Wild Grass poems on the emotional level to display Lu Xun's dilemma of love and moral responsibilities at a crucial juncture of his life when he contemplated deserting his old-style wife and accepting a young lady's love. Some poems are informed by a strong awareness of repentance, which is essentially an embodiment of Lu Xun's sense of morality and responsibility. In its conclusion, the thesis summarizes the intellectual and artistic values of Wild Grass, deeming it a magnificent book marking a creative peak in Lu Xun's career and an achievement in modern Chinese literature of the twentieth century. Lu Xun's spirit of struggle, awareness of repentance, and subjective emotion and lyricism that are incorporated in Wild Grass have become an important legacy for Chinese literature and the Chinese people. The symbolic and surrealistic features, the expressionistic characterization, the structure of the logical dilemma, and elegant language make Wild Grass a great modern masterpiece. / Arts, Faculty of / Asian Studies, Department of / Graduate

鄒秉洛. / 據手稿本複印 / Thesis (M.A.)--香港中文大學硏究院敎育學部. / Ju shou gao ben fu yin. / Includes bibliographical references (leaves 547-563). / Zou Bingluo. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue bu. / 自序 --- p.i / 論文提要 --- p.iv / 圖表目次 --- p.vi / Chapter 第一章 --- 導論 --- p.1 / Chapter 一 --- 引言 --- p.1 / Chapter 二 --- 研究動機與目的 --- p.3 / Chapter 第二章 --- 論題說明 --- p.7 / Chapter 一 --- 「性格」與「發展」的詮釋 --- p.7 / Chapter 二 --- 「發展心理學」及「性格發展學說」的簡介 --- p.11 / Chapter 三 --- 「魯迅」其人的生平簡史及學問工作 --- p.29 / Chapter 第三章 --- 文 獻 評 述 --- p.41 / Chapter 一 --- 「心理傳記」的概說 --- p.41 / Chapter 二 --- 中國人性格發展的有關資料述要 --- p.60 / Chapter 三 --- 魯迅的「自傳」及「日記」闡析 --- p.92 / Chapter 第四章 --- 研 究 設 計 --- p.116 / Chapter 一 --- 研究對象、性質和限制 --- p.116 / Chapter 二 --- 研究假設 --- p.120 / Chapter 三 --- 研究工具和學理根據 --- p.122 / Chapter 四 --- 研究方法和步驟 --- p.177 / Chapter 第五章 --- 研究結果：魯迅在人生各階段的性格發展 --- p.183 / Chapter 一 --- 幼兒階段(出生至七歲；1881年~ 1887年)的個性分析 --- p.183 / Chapter 二 --- 兒童階段(七歲至十二歲；1887年~1892年)的個性分析 --- p.271 / Chapter 三 --- 青少年階段(十二歲至廿二歲；1892年~1902年)的個性分析 --- p.343 / Chapter 四 --- 成年階段(廿二歲至五十六歲；1902年~1936 年)的個性分析 --- p.493 / Chapter 第六章 --- 結論及建議 --- p.520 / 參考書目： --- p.547 / Chapter 一 --- 中文論著 --- p.547 / Chapter 二 --- 英文論著 --- p.556 / 附 錄： --- p.564 / Chapter 一 --- 許壽裳編《魯迅先生年譜》 --- p.564 / Chapter 二 --- 許廣平輯錄《魯迅先生譯著書目》 --- p.569 / Chapter 三 --- 魯的名、號和筆名表 --- p.575 / Chapter 四 --- 魯迅教學生活一覽表 --- p.577 / Chapter 五 --- 魯迅關注「國民性問題」及「青年人」的資料輯錄 --- p.578

Parallel title in Chinese characters. Includes bibliographical references (p.[179]-192) and index.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis is an analysis of The True Story of Ah Q in English translation (in Chinese-English bilingual format). By applying new translation theories, specifically those of Christiane Nord and Lawrence Venuti, and by demonstrating their applicability it is hoped that this research project will contribute to these theories becoming more accepted in China. The skopos theory and the concepts domestication and foreignisation are the main translation theories utilised in this thesis. The research was begun with the hypothesis that the translators domesticated the English target text, based on Venuti’s belief that the majority of English translations domesticate the original. The two main research questions are: What is the dominant translation strategy utilised by the translators? Does this strategy fulfil the skopos (i.e. the aims of the translation)? The research will also give suggestions for an improved translation and a more effective translation strategy in light of the skopos. In addition, the study will determine whether the bilingual format is suited for the fulfilment of the current skopos. As pointed out in the publisher’s note, this Chinese-English bilingual version of The True Story of Ah Q is intended to exhibit this modern Chinese classic as a great piece of Chinese literature. The primary aim of the translation is to give readers a real experience of the depth and the heights of Chinese culture. The secondary aims of the translation focus on language learning as well as the function for translators (namely to use this translation as an example for future translations). This research project will determine if the translation has fulfilled these aims. The translation theories on which the analyses in this thesis are based are presented in the literature study (chapter 2). This provides the foundation for the comparison between the Chinese ST and the English TT, the evaluation of the translation, and subsequent conclusions. Chapters 3 and 4 present the application of the theory, divided into an analysis of the macro and microstructures respectively. Translation decisions are analysed on these two levels within the theoretical insights presented in chapter 2. It will be these chapters that provide the foundation for the research findings of this thesis. In cases where improvements of the translation are proposed, suggestions will be made and motivated by theoretical insights. The final chapter (chapter 5) will answer the research questions in detail, based on the individual analyses made in chapters 3 and 4 and motivate these answers based mainly on the translation theories of Nord and Venuti. These answers as well as the suggestions for an improved translation are the main contributions that this thesis makes to translation studies. Lastly, suggestions for further research are made in order to stimulate further research on English translations produced in China. / AFRIKAANSE OPSOMMING: In hierdie tesis word die Engelse vertaling van The true story of Ah Q geanaliseer. Met die studie word daar onder meer gepoog om, deur die toepassing van nuwe vertaalteorieë soos dié van Christiane Nord en Lawrence Venuti, en deur die illustrasie van die teorieë se toepasbaarheid, daartoe by te dra dat dié teorieë meer in China aanvaar word. Die skoposteorie en die konsepte domestikering (‘domestication’) en vervreemding (‘foreignisation’) verteenwoordig die vernaamste vertaalteorieë waarop hierdie tesis berus. Ter aanvang van die studie word die hipotese gestel dat die vertalers ’n domestikerende inslag aan die Engelse teks gegee het. Dit word gebaseer op die mening van Venuti wat glo dat die meerderheid Engelse vertalings ’n domestikerende weergawe van die oorspronklike teks verteenwoordig. Die twee primêre probleemstellings wat in hierdie studie gestel word, lui soos volg: Wat is die dominante vertaalstrategie wat deur die vertalers aangewend word? Vervul hierdie strategie die skopos (met ander woorde die doelstellings van die vertaling)? Die studie doen voorts ook voorstelle vir ’n verbeterde vertaling aan die hand en stel ook ’n meer effektiewe vertaalstrategie op grond van die skopos voor. Verder stel die studie ook vas of die tweetalige format inderdaad gepas is om die bestaande skopos te verwesenlik. Volgens die nota van die uitgewer, is die doel van hierdie Chinees-Engelse weergawe van The true story of Ah Q om dié moderne Chinese klassieke werk as ’n belangrike Chinese literêre teks daar te stel. Die primêre doelstelling van die vertaling is om lesers ’n ware ervaring te gee van die omvattendheid van die Chinese kultuur. Die sekondêre doelstellings van die vertaling fokus op die aanleer van taal, sowel as op die pragmatiese waarde daarvan vir vertalers (naamlik om die vertaling as voorbeeld te neem vir toekomstige vertalings). Hierdie ondersoek sal bepaal of die vertaling wel hierde doelstellings vervul het. Die vertaalteorieë waarop die analise in hierdie tesis berus, word in die literatuurstudie (hoofstuk 2) aangebied. Dit verskaf die basis vir die vergelyking tussen die Chinese .bronteks en die Engelsedoelteks, die evaluering van die vertaling, en die daaropvolgende gevolgtrekkings. Hoofstuk 3 en 4 handel oor die toepassing van die teorie, en is verdeel in die analise van die makro- en mikrostruktuur onderskeidelik. Besluite ten opsigte van die vertaling word op hierdie twee vlakke, en op grond van die teoretiese insigte wat in hoofstuk 2 aangebied word, gëevalueer. Dit is hierdie hoofstukke wat die basis vorm vir die navorsingsresultate van hierdie tesis. In gevalle waar verbeterings vir die vertaling aangebied word, word voorstelle op grond van die relevante teoretiese insigte gegee en gemotiveer. Die slothoofstuk (hoofstuk 5) beantwoord die navorsingsvrae in groter detail en is gebaseer op die afsonderlike analises in hoofstuk 3 en 4. Motiverings vir die antwoorde op hierdie vrae word gebaseer op die vertaalteorieë van veral Nord en Venuti. Hierdie antwoorde, sowel as die voorstelle ter verbetering van die vertaling, is die primêre bydrae van hierdie tesis tot vertaalstudie in die algemeen. Ten slotte word voorstelle vir verdere navorsing gemaak om só verdere ondersoeke oor Engelse vertalings wat in China geproduseer word, te stimuleer.

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication.

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman. / Arts, Faculty of / Asian Studies, Department of / Graduate

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication. / Arts, Faculty of / Asian Studies, Department of / Graduate