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.
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Yeh. 9.
Yang, Daqing. “The Challenges of the Nanjing Massacre: Reflection on Historical Inquiry.”
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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.
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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
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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.
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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.
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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.
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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.
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