The correct way to write the birth date and birth date, the complete way to write the birth date and birth date

The correct way to write the birth date

Bao Xiaoke was born in Shaoxing City, Zhejiang Province on September 25, 1881. Although it was 140 years ago, his figure But it has not retreated from our living world. Now in 2022, the earliest batch of "post-00s" have also come of age. So how will they, living in the 21st century, view Lu Xun, who lived in China in the early 20th century, and his works and thoughts? Luo Yi: Among Lu Xun's works, the one that impressed me the most was his "Divorce" published in 1925. This article was later included in "Wandering" and became the last article in this collection. Lu Xun once reflected on this chapter in "New Literature Series: Introduction". He believed that the difference between "Soap" and "Divorce" and other chapters from his earlier creations was that "the technique is slightly more mature and the depiction is slightly deeper", but at the cost. "On the one hand, it also reduces enthusiasm and is no longer noticed by readers." Although Lu Xun's self-evaluation is slightly derogatory, I still find that only by being conscious of "sophisticated techniques" and "deep characterization" in reading can we examine and reflect on the intricate issues contained in the text. For example, in "Divorce", a pervasive and extremely troubling question is: "Why did Aigu change from a resisting attitude at the beginning to a submissive attitude at the end?" There are two optional interpretation paths for this question: one is power. A conflict-based interpretation analyzes the conflicts between the characters into contradictions caused by power struggles. This contradiction can then be characterized as multi-level contradictions, such as the opposition between the city and the countryside, the opposition between the gentry and the people at the bottom, and the opposition between ethics and ethics. Opposition to women's freedom, etc.; first, a psychological reductionist interpretation, which restores Aigu's series of psychological changes from the initial angry struggle to the final submissiveness, and attributes this continuous emotional turn to the psychological changes caused by power conflicts. Pressure, such as the seventh master's "Come here" that frightened Ai Gu, is the cruelty of the gentry's spiritual control over the people at the bottom. Therefore, the two interpretation methods of psychological reduction and power conflict are actually mutually exclusive, taking into account the character's inner symptoms and the level of power operation. Only in this way can we get close to the cruel rural world described by Lu Xun.

"Wandering", Literary Publishing House, 2013 Buddy Apple: I was most impressed by Lu Xun's "". I think this work contains a spiritual atmosphere of depression and desolation that is entangled with pain and emptiness, but strives to struggle out of it. This crystallization of thoughts and emotions was called the "pale white flower" on the "border" by Lu Xun. In terms of content, "" roughly describes the life experience of a "lonely individual" wandering between life and death, light and darkness, hope and despair, reality and nothingness, from which Lu Xun sublimated his unique "resistance" "Despair" philosophy of survival. As far as artistic features are concerned, Lu Xun's skillful use of symbolic techniques can be seen everywhere in "". For example, his writing of "dreams" creates a strange, crazy and surreal world, and depicts the conflict between his consciousness and subconsciousness. Another example is the "snow in the north" in the article "Snow", which symbolizes the "rebel" who fights alone against the harsh environment. This makes "" obscure and difficult to read, but it highly condenses Lu Xun's profound thoughts and feelings. Among the other works I have yet to read, the one I am most looking forward to reading is Lu Xun’s essays. People usually think of Lu Xun's enlightenment of old morality and old system in his early essays, but what interests me most are the essays Lu Xun published after 1927, that is, the ten essay collections starting from "Ji Ji Ji". An important change in these "late essays" is that Lu Xun strengthened his understanding of current and cultural phenomena, and shifted his focus from the "old" to the "new", because the superficial "new" of these phenomena cannot conceal the "old" The connotation - that is, enslaving the weak. If """ profoundly expresses Lu Xun's philosophy of life against resistance, then his later essays are the practice of this philosophy of life. Since then, he has been using essays as weapons to communicate with all kinds of beautiful people dressed in "progress" They fight against the enemy in disguise and try to reveal that these people who claim to be the "gunless class" are actually "people with soft knives."

"", Yilin Publishing House, early 2013: I was most impressed by "Forging Swords" in Lu Xun's "New Stories". The theme of "Forging a Sword" is revenge and the will for revenge, which is a key theme in Lu Xun's later creations. According to my own understanding, this is Lu Xun's own grasp of an "incomplete" but "vital" "state of mind" or "will" in the 20th century. Obviously, in Lu Xun's reconstruction of the story of "", the purpose of revenge and the will to revenge is quite simple. The purpose of Meijianchi going to the royal capital is for, and Yanzhi'ao's purpose of revenge for Meijianchi is because he is already a self-pitying and self-injurious "revenge" soaked in darkness and blood--these are The purpose of the actions used to "decorate" revenge in traditional literature is as trivial as "splitting a cabbage head" or "swallowing a mouthful of cold water". However, Lu Xun outlined the so-called "mood of revenge" in an extremely desolate, desolate, and decisive style - the body and mind of the avenger are equally immersed in darkness and blood as those of the avenger, suffering from self-injury, self-pity, fear and shrinkage. Intentions surround these sword-wielding men like ghosts. However, it is accompanied by a decisive killing intention and sacrificial will, and through these rounds of actions, the order itself established through "revenge" or "violence" is repeatedly broken (the last two "anti-thieves" The skeleton of the king was worshiped together with the skeleton of the king). For the early 20th century, the purpose and logic of revenge were obscure and even trivial. However, the training and generation of this state of mind was crucial to the shaping of the "new" national character. What I appreciate is this kind of revelation of the "state of mind" of revenge that is not divine, not great, and even somewhat trivial. It truly accompanies the actions and emotions of all recipients, and breeds hope - a kind of An obscure hope not yet occupied by any definite goal, this is undoubtedly profound and accurate. So in my opinion: (1) Lu Xun finally went. (2) Lu Xun was not a writer who judged the national character. On the contrary, he profoundly explained the complex situation in which the real creators of history found themselves, and called for more powerful strategies. As far as (1) is concerned, Lu Xun made excellent use of literary theory in his later works (first of all Trotsky and Yuan Weiren) to conduct literary historical research, and to reexamine his early romantic position of no harmony through the theory of . As far as (2) is concerned, what I pay special attention to is "The True Story of Ah Q" - is the purpose of "The True Story of Ah Q" just to depict and so-called "national character"? Definitely not! This is a shallow belittlement and denial of Lu Xun! In fact, in Lu Xun's view, the thousands of Ah Qs are the sufferers living on the earth and the ones in the future. However, they were trapped in various absurd ideologies and poor material living conditions. The production and reproduction of these conditions were achieved through the collusion of the landlord class such as Juren Master and Zhao Taiye with the compradors. In the end, Ah Q was "not allowed to ", being pulled as a scapegoat, Xinhai still failed to inspire the flames and brilliance of those spirits living in the dark abyss. And what Lu Xun called for through Ah Q was the brand new awakening of these "lowly people".

"The True Story of Ah Q", United Publishing Company, 2022 Red Panda: As a person born after 2000, the first time I got to know Lu Xun was in Chinese class. The junior high school textbook contains several essays by Lu Xun. I remember one of the articles I read seemed to be "From Baicao Garden to Sanwei Bookstore". But for me at that age, the childhood life written in the article was far from my own experience. It's not far, so I felt no excitement after reading it, and even felt a little boring. To truly understand Lu Xun outside of textbooks, we should start by reading essays. At that time, there was a collection of Lu Xun's essays published in the 1980s at home, and on a whim, I picked it up and read it. I did read the so-called "general fighting spirit" in it, and the discussion was sharp and yet confident; but beyond the sharpness, I also felt a writing style that reconciled seriousness and non-seriousness, just like the "Grave" It is said in "Inscription": "There are many uncomfortable people in the world, but some people are dedicated to creating a world that is comfortable for themselves.

This can't be so cheap, and putting something hateful in front of them makes them feel uncomfortable sometimes, and they know that their own world is not easy. The flying crow of flies is because they don’t know that they hate it; but I know it clearly, but as long as it can fly, I will fly.” - Because there is an object of criticism and concern for the uncomfortable person, it is serious ; And from the metaphor of "the buzzing of flies", we can see the joking and unserious attitude. Lu Xun never regarded his works as important or noble. His essays were just in this world. It is a kind of abuse, a negative and negative voice, so it cannot be considered elegant and cannot be called "great literature". But I think of what Chen Danqing said about Lu Xun's "fun". He thought Lu Xun's words were quite interesting. His essays are all games, focusing on the pleasure of writing, and are sharp and proud of a writer. Therefore, Chen Danqing wants to rectify Lu Xun's name: "He is both sharp and kind, both fierce and sober. He will push his own opinions and attitudes to extremes, making him feel like he has a high fever - an angry person is also a wise man, and his anger is beautiful literature. "If it is not "great literature", then it is "beautiful literature." Chen Danqing's evaluation is more in line with my impression of reading Lu Xun's essays at the time. Being overly serious and overly angry can easily make people lose themselves. However, in a book that is full of insight and introspection, It is easier for us to catch the light of wisdom in laughter and scolding. Maybe this is why I still read Lu Xun's essays from time to time, and I can get unexpected enlightenment from them.

"Selected Essays of Lu Xun", Literary Publishing House, 1993. Listen carefully: The first time I came into contact with Lu Xun's works was probably in the primary school Chinese textbook, which talked about the story of young Runtu about catching birds, thorns, and thorns. The description of the watermelon field left a deep impression on me. I thought it was fun and lively. Lu Xun was highly emphasized in elementary school. In order to prepare for the exam, we had to memorize Lu Xun’s life completely: Lu Xun’s original name was Zhou Shuren, and he was from Shaoxing, Zhejiang... …In general, in the beginning, I mainly got a general understanding of Lu Xun and his works through teacher lectures and Chinese textbooks. When I reached the middle school stage, especially after the second grade of junior high school, I would consciously look for Lu Xun’s books to read, such as his. The short story "Diary of a Madman", but generally speaking, there are still very few people who read Lu Xun's works. On the one hand, it is because Lu Xun's works are indeed difficult to attract people. On the other hand, before reading Lu Xun, I have already learned some of the criticisms about Lu Xun's works. The labels, such as being obscure and difficult to understand, made me even more reluctant to read it. Therefore, among Lu Xun's works, the one that impressed me most was "Diary of a Madman". At the beginning, I still had to read it because it was a Chinese short story. After reading it, I was really shocked, because "" is really eye-catching, incredible and difficult to accept. Given the background of the time, I felt scared and angry about the situation at that time, as well as feeling disgusted with it. The people living there felt sympathy and regret. I still remember the last words, "Save the children...". The helplessness, helplessness, grief and other emotions still impressed me deeply.

"Diary of a Madman", Literary Publishing House, 2013 Darkness of Summer: One of my impressions of Lu Xun's works is "From Baicao Garden to Sanwei Bookhouse" selected from the middle school Chinese textbook. My own appreciation of nature. I don’t have much interest in animals and plants, but I remember the “purple mulberries” and “raspberries” described in this article very clearly. I always feel that I can see the small, fresh fruits through the text. It's very interesting and a pleasure to read. In the future, I am very much looking forward to reading "Scream" and "Wandering" because I am very curious about why Lu Xun "screams" and feels "wandering", so these two works are both short stories. What is the relationship between these two titles and the content? In addition, I want to read these two works because I am curious about the ideological environment of Lu Xun's time and want to understand China in the 20th century.

"The Scream", Guangxi Normal University Press, 2013 Wang Ke: Among the many works I have read, I like Lu Xun's "New Stories" the most.

After reading the complete writing method of birth date, I hope this will be helpful to everyone!