Where can I download the listening materials of "2 1 Century College Practical English Comprehensive Course" Volume II (Fudan University Press)? Please give me a website, thank you!

Recently, many young friends asked me to write something about Lu Xun. Why do they want me to write? I guess their motives are probably nothing more than the following: First, now that Lu Xun's works are banned in Taiwan Province Province, the more people who can't see them, the more curious they are and want to know about this person. Second, a considerable number of young people have always heard of Lu Xun's name when they are in the mainland, or read some of his works, which is inevitably publicized by the producers of * * * and their fellow travelers, so they may have some illusions about this person. I once had a pen battle with Lu Xun, so someone wanted me to say a few words about the client.

Actually, I don't want to talk about him A few days ago, Mr. Chen Xiying returned from overseas. Someone once asked him at the dinner table, "What do you think of Lu Xun?" He just laughed and didn't answer. I cut in from the side. "You'd better not ask the two of us about Lu Xun." Mr. Xiying and Mr. Lu Xun conflict with each other (not for literary theory). After I argued with Lu Xun, our positions were opposite. What we said may not be fair. Besides, Lu Xun has been dead for a long time, and he won't answer me if I criticize him again. His works are banned here. Why "hit Reservoir Dogs" here and now? So after his death, I seldom talked about him, with one exception. During the Anti-Japanese War, I wrote an article "I and Lu Xun" in Central Weekly. Maybe some young people haven't read the article, but I'm forced now. Make an exception and repeat what I said in that article.

First of all, I personally disapprove of banning his works. In my life, I believe Voltaire's words most: "I don't agree with what you say, but I will support your freedom to say what you say to the death." I am like Lu Xun. I have written many words criticizing Lu Xun, and some people have collected comments from both sides and compiled a book. I think this is a good way to let everyone know who is right. I once worked as a librarian in a university for a while, and there were a number of low-level pornographic books and periodicals left over from the past on the bookshelf. I thought it was detrimental to the dignity of the university, so I took it away and canceled it. There are about dozens of books, not including some works by Lu Xun. But this incident immediately spread to Shanghai, saying that I burned Lu Xun and other left-leaning works. Lu Xun himself is also very happy to use this false information and send it as one of my charges! There is no such thing. Propaganda is self-propaganda, and facts are facts.

Lu Xun was neither a party member nor a fellow traveler. At first, he was quite opposed to the left-leaning elements at that time, so he fell out with a group of people in the creation society. He used to be a typical old-fashioned civil servant. He worked as a servant in the Ministry of Education of Beiyang warlord government, but he was not eliminated in the tide of personnel turnover in Beiyang warlord government for many times. First, because of his low status, and second, because he has never stood out, he can at best write some articles about novels or indirectly translate some European works from Japanese. After writing a little mixed feelings or short stories in New Youth magazine, it gradually attracted people's attention, and finally got involved in the wave of academic circles in Beijing and China at that time, and was strictly excluded from the Ministry of Education by Zhang Xing. Since then, he has been in academic field. In Beijing, Xiamen and Guangzhou, he had conflicts with others. There was no place where he could stay in his position for a long time. In the end, he stayed in Shanghai, earning a living and even dying.

Lu Xun's life was bumpy, and he hit a wall everywhere. Naturally, there was a resentment running through his chest. Who is the object of resentment? Ethics, system, tradition and government have all become the targets of his anger. He was born in Shaoxing, and perhaps he was born with the characteristics of "an official with a knife and a pen", which made his writing extremely bitter. Of course, his language foundation was outstanding among ordinary vernacular writers at that time, so his works (especially the so-called miscellaneous feelings) were really valuable at that time. His works are concise and vicious, and are valuable as sporadic satires. His main work is his collection of miscellaneous feelings. However, as a writer, it is not enough to be full of complaints and complaints. He must have a set of positive thoughts and a set of positive views on people and things, even if there is no need to form any system, at least he must have a positive proposition. It is not enough for Lu Xun to say so. All he has is a negative attitude, which is simply an attitude of "dissatisfaction with the status quo". There is nothing wrong with this attitude. Beiyang warlords have been in power for several years. Who can be satisfied with the status quo? The question is, is it just dissatisfaction? Our nation, politics and culture are really riddled with holes. What do we do? It's a way to seek improvement bit by bit. If Lu Xun doesn't agree with this method, that's fine. If he thinks it's a passive compromise, it's futile, but you have to come up with a method, not just abusing the object of corruption, abusing other people's ideas for improvement, abusing everything without putting forward positive ideas yourself. And Lu Xun's most serious shortcoming is. I once wrote a passage to force him to show his cards. The title of that article is "Dissatisfied with the status quo". I remember saying, "You scold everyone, you oppose all ideas, and your praise and criticism are worthless. What are you going to do? " ? Please express your positive views. "I must have tickled him. His answer is wonderful. First, he used his old trick to mock me, saying that my words were unreasonable, and "praise" was "praise" and "demotion" was "demotion". If it is not used as a derogatory term, it is impossible to add praise to the derogatory term. (Lu Xun probably forgot to find fault with the word "praise" together in A Dream of Red Mansions. Then he declared that there was an ism that he had never scolded. I asked him again, what doctrine is that? Is it capitalism? He didn't answer. Different people have different attitudes when facing the darkness exposed by life. Wise people will think deeply, return to themselves, and then choose a way to change; Fools do not seek redemption, but accuse each other of not telling themselves in detail where the road is smooth. -Huiyu Publishing House)

Don't think that Lu Xun deliberately paved the way for the * * * production party from the beginning. That's not true. He has nothing to do with the producer. He was cornered and finally cornered. It is also true that he never criticizes materialism. He left such a back door open. So later, when the producer wanted to use him to lead the left-wing writers' alliance, it hit it off. In fact, Lu Xun's criticism of left-leaning elements was very severe, and he didn't stop attacking until he was favored by the * * * production party and became a left-wing leader. About this time, he translated the "Literary Policy" of the Russian production party in a blunt and rude style. The translation of the book "Literary Policy" is an important thing for Lu Xun, which clearly shows that he is inclined to the Party. However, I still have some doubts whether this book was translated by Lu Xun himself, because the translation is so bad that Lu Xun seems to be at this point. It is very likely that this is a document that the producer of * * * insists on his name, and he can't shirk it. The life span of this document is not long, because the Russian literary and art circles suffered a big purge soon, such as Luna Karski, plekhanov and Meyer Kauski, who all suffered the most tragic fate. The "street literary movement" in Shanghai was ordered to end, and the so-called "Left-wing Writers Union" was ordered to disappear. For details of this dramatic change, please refer to Hysmans's book The Artist in Uniforms. After this period, Lu Xun went deep into the camp of the * * * production party.

At this time, an anti-Russian incident happened on the Middle East Road in the northeast of China. Of course, no one agrees with the warlord regime in Northeast China. However, when our officers and men in China clashed with Soviet imperialism and we suffered heavy casualties, the people of China could not but express their concern. This is a test of China's * * * production party and its sympathizers. I was surprised to find that their slogan was "against attacking the Soviet Union!" Shanghai roadside wires and walls. I naively asked: Did China attack the Soviet Union or did the Soviet Union invade China? Lu Xun and his gang replied: China warlords were instigated by imperialism to attack the Soviet Union. After this test, Lu Xun's position is obvious.

Lu Xun has no literary theory, first of all, he takes a mass of grievances as the content, then pursues the literary policy of Soviet Russia, and finally completely obeys the manipulation of Soviet Russia and the * * * production party. This kind of sentence has no strength.

Shortly before his death, Lu Xun wrote a short article entitled "Death". He seems to feel that he is dying. In his article, he advised young people that "people are dying, and words are still in their ears." We don't have to waste our breath with others. This sentence is: "Don't be a short story writer." What is a short writer? What he means is that writers should have literary works, not empty talk. This sentence is quite right. There are too many people who think they are in the literary world by writing something casually and pretend to be writers. No wonder Lu Xun satirized them. But then again, Lu Xun satirized himself. Immediately after Lu Xun's death, someone printed the complete works for him, because with organization, personnel, money and organization, everything is convenient. The whole set of scarlet covers has been published. I can't remember how many books there are, about a dozen to twenty. This is not a short story writer. However, according to its content, all translated novels and the like are included together, breaking the general practice at all times and in all countries. Of course, I don't know if Lu Xun had this idea before his death, but apart from his remarkable greatness, it really doesn't make any sense to include a large set of translated works in the complete works. Fortunately, Lu Xun translated the Dead Soul in Gogo, not anything else, otherwise the Complete Works in Gogo would be attached to the Complete Works of Lu Xun.

Lu Xun's works, as I have said, are more exciting because of his mixed feelings. But how many of them can become satirical literature with permanent value is still debatable. The so-called satirical literature also needs some conditions. First, the idea should be profound and the writing should be old-fashioned. Lu Xun is good at this. Second, the house should be loyal. Although the author can be cynical, there is still love, not hate. The purpose is not to be quick, not to "destroy the food" to overthrow others. At this point, I doubt whether Lu Xun has such a mind. Third, it is best to satirize the common phenomenon or the shortcomings of * * *, at least not personal criticism, so as to maintain an objective attitude, not to criticize women. In Lu Xun's Miscellaneous Emotions, there are too many elements of personal criticism. Whether the future will change and people will be wiped out by the tide is a considerable problem. Fourth, although there is no fixed genre in satirical works, we should also pay attention to the rules and regulations. Satire, like other articles, has a proper length, a beginning and an end, and becomes a whole. Lu Xun's miscellaneous feelings are mostly fragmentary in nature. It seems that the sooner you write them, the better. They can fill the space of newspapers and magazines and may not become good literary works. What I said above may be too harsh, because Lu Xun himself didn't claim that his mixed feelings were over? -Huiyu Publishing House)

Don't think that Lu Xun deliberately paved the way for the * * * production party from the beginning. That's not true. He has nothing to do with the producer. He was cornered and finally cornered. It is also true that he never criticizes materialism. He left such a back door open. So later, when the producer wanted to use him to lead the left-wing writers' alliance, it hit it off. In fact, Lu Xun's criticism of left-leaning elements was very severe, and he didn't stop attacking until he was favored by the * * * production party and became a left-wing leader. About this time, he translated the "Literary Policy" of the Russian production party in a blunt and rude style. The translation of the book "Literary Policy" is an important thing for Lu Xun, which clearly shows that he is inclined to the Party. However, I still have some doubts whether this book was translated by Lu Xun himself, because the translation is so bad that Lu Xun seems to be at this point. It is very likely that this is a document that the producer of * * * insists on his name, and he can't shirk it. The life span of this document is not long, because the Russian literary and art circles suffered a big purge soon, such as Luna Karski, plekhanov and Meyer Kauski, who all suffered the most tragic fate. The "street literary movement" in Shanghai was ordered to end, and the so-called "Left-wing Writers Union" was ordered to disappear. For details of this dramatic change, please refer to Hysmans's book The Artist in Uniforms. After this period, Lu Xun went deep into the camp of the * * * production party.

At this time, an anti-Russian incident happened on the Middle East Road in the northeast of China. Of course, no one agrees with the warlord regime in Northeast China. However, when our officers and men in China clashed with Soviet imperialism and we suffered heavy casualties, the people of China could not but express their concern. This is a test of China's * * * production party and its sympathizers. I was surprised to find that their slogan was "against attacking the Soviet Union!" Shanghai roadside wires and walls. I am so naive. Residual Dutch invasion? Private? ニ? So pry camphor? Is rank crisp? Ke Wei changed the mace curtain. Is it embarrassing? ニ? >? What about Jia Jia? Do you want to forgive Mu Fu? /span>。

Lu Xun has no literary theory, first of all, he takes a mass of grievances as the content, then pursues the literary policy of Soviet Russia, and finally completely obeys the manipulation of Soviet Russia and the * * * production party. This kind of sentence has no strength.

Shortly before his death, Lu Xun wrote a short article entitled "Death". He seems to feel that he is dying. In his article, he advised young people that "people are dying, and words are still in their ears." We don't have to waste our breath with others. This sentence is: "Don't be a short story writer." What is a short writer? What he means is that writers should have literary works, not empty talk. This sentence is quite right. There are too many people who think they are in the literary world by writing something casually and pretend to be writers. No wonder Lu Xun satirized them. But then again, Lu Xun satirized himself. Immediately after Lu Xun's death, someone printed the complete works for him, because with organization, personnel, money and organization, everything is convenient. The whole set of scarlet covers has been published. I can't remember how many books there are, about a dozen to twenty. This is not a short story writer. However, according to its content, all translated novels and the like are included together, breaking the general practice at all times and in all countries. Of course, I don't know if Lu Xun had this idea before his death, but apart from his remarkable greatness, it really doesn't make any sense to include a large set of translated works in the complete works. Fortunately, Lu Xun translated the Dead Soul in Gogo, not anything else, otherwise the Complete Works in Gogo would be attached to the Complete Works of Lu Xun.

Lu Xun's works, as I have said, are more exciting because of his mixed feelings. But how many of them can become satirical literature with permanent value is still debatable. The so-called satirical literature also needs some conditions. First, the idea should be profound and the writing should be old-fashioned. Lu Xun is good at this. Second, the house should be loyal. Although the author can be cynical, there is still love, not hate. The purpose is not to be quick, not to "destroy the food" to overthrow others. At this point, I doubt whether Lu Xun has such a mind. Third, it is best to satirize the common phenomenon or the shortcomings of * * *, at least not personal criticism, so as to maintain an objective attitude, not to criticize women. In Lu Xun's Miscellaneous Emotions, there are too many elements of personal criticism. Whether the future will change and people will be wiped out by the tide is a considerable problem. Fourth, although there is no fixed genre in satirical works, we should also pay attention to the rules and regulations. Satire, like other articles, has a proper length, a beginning and an end, and becomes a whole. Lu Xun's miscellaneous feelings are mostly fragmentary in nature. It seems that the sooner you write them, the better. They can fill the space of newspapers and magazines and may not become good literary works. The above may be too harsh, because Lu Xun himself did not declare that his miscellaneous feelings must be passed down from generation to generation, but there are quite a few admirers of Lu Xun, which seems to have to be reminded.

In terms of novels, Lu Xun only wrote a few short stories, but not many long ones. His famous The True Story of Ah Q is also very short. In my opinion, the best of his short stories is The True Story of Ah Q, and the rest are not like short stories in structure, but like fragmentary sketches, some of which are beautiful in words and emotional appeal. As far as a single work is concerned, The True Story of Ah Q is very valuable. Writing a typical ignorant person in Shaoxing around Xinhai, the psychological description is very profound and delicate. However, if this novel is based on China's nationality and says that Ah Q is a typical representative of China people, I think it is an exaggeration, and Lu Xun himself may not have this intention. Ah Q has its epochal and regional characteristics. The artistic success of a work does not mean that a writer can become a great writer. A great writer's works must have its seriousness and proper weight. A work like The True Story of Ah Q seems not enough to make its author a great writer. Once Bernard Shaw came to Shanghai, the so-called writers in Shanghai gathered our "great writer" Lu Xun Weng to see him, and took photos and published them in magazines. On one side stood Bernard Shaw, a tall man with silver beard and white hair, and on the other side stood Lu Xun, a weak man with loose hair. In contrast, I really didn't say that his figure or the number of works was weighed. This comparison is really confusing.

In terms of literary research, Lu Xun's only commendable work is his Introduction to China's Novels, and he has studied China's novels. I'm afraid this book is still a good one in this respect. I think at least this book should be released in advance and allowed to circulate. Besides, I don't see any other contribution from him. Some people say that he has translated many literary works of weak European nations. My knowledge is too limited to criticize the literature of the so-called "disadvantaged groups". But I think Lu Xun translated Japanese, so he may not have a proper understanding of the literature of various nationalities, and Lu Xun's motivation for translating this kind of literature may be out of sympathy, sympathy for the oppressed nationalities, and he may not pay much attention to its own literary value.

Since the May 4th Movement, there have been many authors of new literature and art, but few have made real achievements, especially those like Lu Xun. He could have achieved more, but he died too early. Secondly, he didn't have a sound ideological foundation, so that he was swept away by the party's trend of * * *, and lost his position in literature and art. Naturally, a writer can't talk about the moon all day. Naturally, he wants to open his eyes and look around. He naturally wants to vent the anger and obstacles accumulated in his chest. However, it is quite important that he should "observe life calmly and observe the whole of life." Look at life steadily, look at life completely. This sentence was said by Arnold matthew arnold, a British critic, when he criticized the English man's nest. He said that the nest plug failed to do this, and his observation of life was sporadic, one-sided and superficial. If I want to criticize Lu Xun, I will also borrow this famous saying. Lu Xun's attitude is not calm enough, and he is often emotional, so his foothold is unstable. Those who oppose him and those who intend to support him have exerted unnecessary influence on him. He has a pen that a writer should have, but he doesn't have the mind and psychological preparation that a writer should have. He writes a lot, but his attitude is only extreme.