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Christopher Williams (2017)
‘The Shadow in the East’Media History, 23
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“ Cong tengye xiansheng de xueshu changyu kan riben Lu Xun yanjiu de tezhi ” 从《藤野先生》的学术场域看日本鲁迅研究的特质 ( “ The Scholarly Field around Mr . Fujio and Characteristics of Lu Xun Studies in Japan ” )
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Lu Xun de gu jia 鲁迅的故家 (The Old Home of Lu Xun). Shijiazhuang
E. Yeh (2012)
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The Search for 'Voice': The Origin of Lu Xun's Vernacular Writing")
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For more about the woodcut movement and Lu Xun's pivotal role, see Tang
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Lu Xun's writings on serial picture books are collected in Jiang
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Mass mediaNature, 359
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Wenzhang wei meishu zhi yi: Lu Xun zaonian de meishu guan yu xiangguan wenti” 文章为美术之一:鲁迅早年的美术观与相关问题 (“Literature Is One of the Arts: Lu Xun’s Early Views on Art and Related Issues”)
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Xiandai dianying yu youchan jijie” 现代电影与有产阶级 (“Modern Cinema and the Bourgeoisie”)
Carolyn Bloomer (2009)
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Famous People and Famous Words")
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J. Carlson (2009)
Postcards and Propaganda: Cartographic Postcards as Soft News Images of the Russo-Japanese WarPolitical Communication, 26
Rey Chow (1995)
Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema
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Lianhuan tuhua bianhu” 连环图画”辩护 (“In Defense of Serial Pictures”)
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Dianying chudao Shanghai kao” 电影初到上海考 (“On the Arrival of Cinema in Shanghai”)
Aaron Gerow (2010)
Visions of Japanese Modernity
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Questions of Style
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Modeng jingying: 18–20 shiji zhongguo zaoqi huandeng de fangying, zhizuo, yu chuanbo” 魔灯镜影: 18–20 世纪中国早期幻灯的放映、制作与传播
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Irina Rajewsky (2005)
Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality
Deac Rossell (1998)
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Wenzi wenhua yu shijue wenhua: Wenhua yanjiu de Lu Xun guan yi kaocha
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A Small History of Wenyi
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Denise Gimpel (2001)
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Among other books, Lu Xun translated Jules Verne's Journey to the Moon
Lun'na 阿伦娜 A (2010)
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309) identifies the title and the painter but inaccurately describes the figure as a poet, which was in fact the artist's own interpretation of the ancient figure of Hope. References A, Lun'na 阿伦娜
E. Yeh (2015)
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Hongsheng Jiang (2012)
The Ancient Wellspring and the Source of the Future: The Creation of New Poetry and the New Man in Lu Xun's On the Power of Mara PoetryFrontiers of Literary Studies in China, 6
Elizabeth Emrich (2014)
3 Modernity through Experimentation: Lu Xun and the Modern Chinese Woodcut Movement
(2018)
Xuni yingxiang: Zhongguo zaoqi dianying meijie kaogu” 虚拟影像: 中国早期电影媒介考古
Michel Hockx, Joan Judge, B. Mittler (2018)
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Xin wenhua” de jueqi yu liubo “新文化” 的崛起与流播 (The Emergence and Circulation of the “New Culture”)
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Po e sheng lun” 破恶声论
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Aaron Gerow (2010)
Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925
By recounting how Lu Xun 鲁迅 went from studying medicine in Japan to writing for the magazine Xin qingnian 新青年 (New Youth), the preface to Nahan 呐喊 (Outcry, 1923), Lu Xun's first collection of short stories, not only presents an origin story of an important author but also contains important clues for understanding modern Chinese literature. This article offers a new reading of that canonical text by focusing on the problem of medium. Synthesizing author biography, media history, and textual analysis, it examines three intermedial references in the preface—the famous lantern slide, the modern periodical, and the recurring notion of outcry. As an autobiographical account, the preface contains narrated events that call for more media‐centered analysis, including the “slide incident” (renamed “screen incident”) and Lu Xun's failed experiment with the periodical medium. Reading the preface as an act of narration, this article scrutinizes textual choices such as the confusing word dianying 电影 (film) and the outcry metaphor. The emergence of both modern vernacular literature and Lu Xun as a major literary figure, it is argued, should be historicized in a broader transnational media environment, in which diverse media practices intersected.
positions – Duke University Press
Published: May 1, 2021
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