2026-06-07

위화 (소설가) - 위키백과, 우리 모두의 백과사전

위화 (소설가) - 위키백과, 우리 모두의 백과사전

위화 (소설가)

위키백과, 우리 모두의 백과사전.
위화
余華
로마자 표기Yú Huá
출생1960년 4월 3일
중국 저장성 항저우시
성별남성
국적중국
학력루쉰 문학원
직업소설가
활동 기간1983년 ~

위화(여화, 중국어 정체자: 余華, 간체자: 余华, 병음: Yú Huá, 1960년 4월 3일~)은 중국의 소설가이다.

1960년 중국 저장성 항저우시 출신으로, 고등학교를 졸업하고 치과에 취직하여 의사를 도와 발치인(이빨을 뽑아주는 사람)으로 일하였고, 루쉰 문학원을 이수한 후 1983년부터 글을 쓰기 시작한 위화는 『열여덟 살에 집을 나서 먼 길을 가다.』,『세상사는 연기와 같다.』 등 실험성 강한 중단편 소설을 내놓으며 중국 제 3세대 문학을 대표하는 작가이다. 그의 문학적 기여는 그를 중국 선구적 소설 운동의 선도적 인물로 자리매김하게 했습니다.

어릴 적 학교에 잘 다니지 못했으며 소설을 시작했을 때 아는 한자가 많지 않아서 글이 간결한 특징을 갖게 되었다. 하지만 유명세를 띠고 난 후 중국 비평가들이 그의 간결한 글을 칭찬하였는데, 위화는 이에 아는 한자가 많지 않아서 그런 것이라고 답했다. 위화는 자신의 청소년기에 겪었던 경험을 바탕으로 중국 현대사를 비판적이면서도 풍자적이며 냉철한 시선을 자신의 소설에 녹여내고 있다.[1]

대표작으로 『첫 번째 기숙사』, 『허삼관매혈기(許三觀賣血記)』, 『살아간다는 것』, 『형제』 등이 있으며, 『살아간다는 것』은 장이머우 감독이 연출하고 궁리가 주연을 맞은 영화 인생의 원작이다. 인생은 장이머우 감독이 영화화해 칸 영화제에서 심사위원 대상을 수상했다. 외국인들에게 그의 소설은 '중국을 들여다보는 창'으로 통한다. 위화의 주요 작품은 미국, 프랑스, 독일, 이탈리아, 일본, 베트남 등 여러나라에서 번역 출간됐다.

1996년 출간된 장편소설 허삼관매혈기는 위화를 중국의 대표작가로 자리를 굳힐 수 있도록 한 작품이다. 허삼관 매혈기는 가족을 위해 피를 파는 한 남자의 고단한 삶을 특유의 풍자와 해학을 그려냈다. 3권의 장편소설인 가랑비 속의 외침, 인생, 허삼관매혈기를 통해 세계적인 작가로 발돋움 했으며, 2005년에 발표한 형제로 또 한 번 극찬을 받았다.

1980년대 초창기 작품은 폭력, 죽음 등 부정적인 이미지를 그려내는 실험적인 내용이 많았고 1990년대 이후 작품에는 삶에 대한 통찰과 포용하는 태도를 바탕으로 한 절제된 현실주의적 내용이 나타난다.

지난 22년 12월 15일에 교보문고와 대산문화재단이 함께 마련한 행사 '세계작가와의 대화'를 통해 내한 강연으로 한국에 방문했었다. 허삼관매혈기, 인생, 형제, 원청으로 작가의 시선을 통해 중국의 1900년대를 되짚었다.[2]

학력

수상

  • 1998년 이탈리아 그린차네 카보우르 문학상
  • 2004년 미국 반스 앤드 노블 신인작가상
  • 2004년 프랑스 문학예술 훈장
  • 2002년에는 중화인민공화국 소설가 최초로 제임스 조이스 기금을 받았다.

작품

  • 1983년 첫 번째 기숙사
  • 1997년 살아간다는 것
  • 1999년 허삼관 매혈기
  • 2000년 세상사는 연기와 같다
  • 2000년 내게는 이름이 없다
  • 2002년 재세우중호함
  • 2004년 가랑비 속의 외침
  • 2007년 형제1
  • 2007년 형제2
  • 2007년 형제3
  • 2007년 인생
  • 2008년 영혼의 식사
  • 2009년 무더운 여름
  • 2010년 4월 3일 사건
  • 2011년 여화 정선집
  • 2012년 사람의 목소리는 빛보다 멀리 간다
  • 2013년 제 7일
  • 2013년 재앙은 피할 수 없다
  • 2016년 우리는 거대한 차이 속에 살고 있다
  • 2018년 글쓰기의 감옥에서 발견한 것
  • 2019년 문학의 선율, 음악의 서술
  • 2022년 원청: 잃어버린 도시

같이 보기

  • 허삼관(위화의 1999년작 허삼관 매혈기를 원작으로 한 영화)
===

余華

出典: フリー百科事典『ウィキペディア（Wikipedia）』
余華
2005年にシンガポールで行われた作家の集会にて。
生誕1960年4月3日（66歳）[1]
中華人民共和国の旗 中国浙江省杭州市[2][1]
言語中国語
国籍中華人民共和国の旗 中国
ジャンル小説、エッセイ
代表作『活きる』
『兄弟』
主な受賞歴グリンザーネ・カヴール賞（1998年）
芸術文化勲章（フランス、2004年）
第1回中華図書特殊貢献賞（2005年）
テンプレートを表示
余華
職業：作家
各種表記
繁体字：余華
簡体字：余华
拼音：Yú Huá
和名表記：ユイ・ホア、よか
テンプレートを表示

余華（ユイ・ホア、Yu Hua、漢字日本語読み：よか[3]、1960年4月3日- ）は中華人民共和国の作家である。

経歴

幼少期から創作活動を行うようになるまで

1960年、浙江省杭州市に生まれた[1]。父親は浙江省防疫站の医師、母親は浙江医院の看護師であった[4]。1962年、父が外科医として同じ浙江省の小さな町・海塩県の病院に勤務することとなったため、一家は海塩に引っ越した。幼いころからホルマリンとアルコールの匂いは身近にあり、血にまみれて手術室から出てくる父親の姿を目にして育った[4]。また、夏は涼しい病院の霊安室を遊び場にしていたという。幼少期は文化大革命の時期(1966～1976年)と重なっており、社会の変動を経験した[5]。余華が6歳であった1966年に始まったこの文化大革命では大人の暴力的な闘争を目の当たりにしており、このような体験は後の創作に影響を与えている[6]。

1977年、文化大革命後に初めて行われた大学入学試験を受験したが、不合格となる。そのため、医療学校(衛生学校)へ入校した。1978年3月、海塩县武原鎮衛生院の歯科医として配属[7]。しかし、歯科医としての勤務は性に合わず、1983年より海塩県文化館で勤務し始める[1]。同年より文学創作を始め、文学雑誌『西湖』の1983年号に掲載された「第一宿舎」が処女作である[8]。

創作活動開始以降

いくつかの短篇を発表したのち、雑誌『北京大学』1987年第1期に掲載された『十八歳の旅立ち』(原題『十八歳出門遠行』)が出世作となった。この作品は、理不尽な世の中を初めて知った少年の姿を象徴的に描いており、この作品を生み出した背景にはフランツ・カフカの影響があった。その後は、中編小説を次々に発表[9]。夢と現実、常識と非常識、正気と狂気、さらには生と死の境界を超越して、人の世の不確実性を描くところに余華の持ち味が出ていた[10]。

余華はリアリズムを基調とする中国文学に反抗し、実験的な構成と文体による小説を書こうとした。手法的には外国文学の影響を受け、伝統的なリアリズムの枠組みを打ち壊した新しさと実験性があったため、同時的に登場した他の若手作家・蘇童、格非らとともに「先鋒派」と呼ばれた[11]。1991年、初の長編小説『雨に呼ぶ声』を発表。少年の断片をつなげた合わせた構成で、「先鋒派」時代の集大成とも言うべき幻想的な作品であった[12]。

1988年から1991年にかけて、北京師範大学と魯迅文学院が協力して設けた創作研究生班で文学を学んだ。在学中にいくつかの中短編集を発表し、若い作家を対象としたこの講習会では莫言らとの交流があった。また、ここで知り合った陳虹(空軍政治部文芸工作団所属)と1992年に結婚し、北京に居を構えた[13]。それを機に、1989年からは浙江省嘉興市文学芸術界聯合会の所属となっていたが、1993年に辞任し、創作に専念することにした。この間の主要な作品は、2冊の中短編小説集『十八歳の旅立ち』（作家出版、1989年）、『アクシデント』（原題『偶然事件』、花城出版社、1991年）としてまとめられている。また、「先鋒派」時代をしめくくる作品として、長編『雨に呼ぶ声』（原題『在細雨中呼喚』、『収穫』1991年六期）がある[14]。1992年に『活きる』、その続編ともいうべき『血を売る男』を発表。しかしその後は寡作になり、散文、隋筆、評論を中心に活動する時期が続いた[15]。2005年、約10年ぶりに『兄弟』を発表。2008年には初めて日本を訪れた[16]。

中国作家協力第九年度全国委員会委員を務めている[17]。

受賞・栄典

作品とその特徴

  • 作家を志した理由は、小学・中学生期に毛沢東選集と魯迅文集を読んだことだと述べている[18]。

長編小説

1991年に発表した『雨に呼ぶ声』は初の長編小説であった。翌1992年に発表した『活きる』がベストセラーとなり、チャン・イーモウ監督で映画化もされ話題となった。その次に姉妹編と言うべき小説となる『血を売る男』が発表された。

  • 『活きる』：一庶民の苛酷な運命を書きつつも、叙述は淡々として読みやすい。主人公は国共内戦、土地改革、大躍進、文革の時代を生き抜く。
  • 『血を売る男』：『活きる』の姉妹編と言うべき小説。製糸工場の労働者が人生の節目ごとに血を売って金を稼ぎ、結婚し子供を育てていく。

2005年に発表した『兄弟』では、文化大革命から開放経済までを描いた。悲惨な生活を描きながらも、作品の基調な決して暗くないため、庶民の圧倒的な支持を受け、この作品も上下巻合わせて100万部を超える売れ行きとなった[19]。

  • 『兄弟』：親の再婚によって義理の兄弟になった2人の男が進んだ対照的な人生を描く。前半と後半の2部作であり、前半はこの兄弟の少年時代の話で、文化大革命期を背景にしていることから、邦訳では「文革編」と名付けられた。地主出身という理由で父親は身柄を拘束され、母親は病気で入院してし、二人は飢えに苦しみながら生き延びる。結局、父親はリンチを受けて殺され、母親も夫を埋葬した後で息絶えて、兄弟は身寄りを失ってしまう。

『死者たちの七日間』は、そのエッセイ集が言及していた現代の中国社会の諸問題を反映している。

  • 『死者たちの七日間』：不慮の死に見舞われた主人公は、この世とあの世の間をさまよいながら、自身の生活の秘密、養父との深い絆、妻との出会いと別れを思い起こす。生死の境を超越した作品。

エッセイ集

  • 『ほんとうの中国人の話をしよう。』の邦訳刊行によって、日本において余華は小説家としてだけでなく、時事問題について積極的に発現する作家として認識されるようになった[16]。なお天安門事件に言及しているため、中国本土では未刊行。10個のキーワードを通して、半世紀にわたる中国の歩みと社会問題、中国人の国民性を語ったもの[20]。
  • 『中国では書けない中国の話』は、海外メディアのために書いたエッセイ集。2017年に全世界に先駆けて中国語版よりも早く日本で出版された。

『ほんとうの中国の話をしよう』の続編と言うことができ、全28篇のうちの17篇は「ニューヨーク・タイムズ」に掲載された。いずれも短文ながら、中国問題の現状分析は的確で、話題は、政治・経済・社会制度など、多方面に及んでいる[21]。

著書

邦訳書籍

  • 『活きる』飯塚容訳 角川書店 2002年(『活着』長江文芸出版社 1993年)
  • 『兄弟』泉京鹿訳 文藝春秋社 2008年 (『兄弟』上海文芸 2005年)
  • 『ほんとうの中国の話をしよう』飯塚容訳 河出書房新社 2012年
  • 『血を売る男』飯塚容訳 河出書房新社 2013年(『許三観売血記』上海文芸出版社 2004年)
  • 『死者たちの七日間』飯塚容訳 河出書房新社 2014年 (『第七天』新星出版社 2013年)
  • 『中国では書けない中国の話』飯塚容訳 河出書房新社 2017年
  • 『文城 夢幻の町』飯塚容訳 中央公論新社 2022年 (『文城』北京十月文芸出版社 2021年)

その他

  • 『雨に呼ぶ声』(『在細雨中呼喊』)

映像化

映画

脚注

  1.  余华简介 浙江師範大学余華研究中心 2023年3月22日閲覧。
  2.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、2018年6月25日、89頁。ISBN 9784120050930。
  3.  “余华”. 中日辞典 第3版. 2022年8月11日閲覧。
  4.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、89頁。ISBN 9784120050930。
  5.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、92頁。ISBN 9784120050930。
  6.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、110頁。ISBN 9784120050930。
  7.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、104頁。ISBN 9784120050930。
  8.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、145頁。ISBN 9784120050930。
  9.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、150頁。ISBN 9784120050930。
  10.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、151頁。ISBN 9784120050930。
  11.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、2018年6月25日、151頁。
  12.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、2018年6月25日、152頁。ISBN 9784120050930。
  13.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、2018年6月25日、153頁。ISBN 9784120050930。
  14.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、2018年6月25日、162頁。ISBN 9784120050930。
  15.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、162頁。ISBN 9784120050930。
  16.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、165頁。ISBN 9784120050930。
  17.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、89-93頁。ISBN 9784120050930。
  18.  余华做客暨大：80后压力空前 我对你们充满尊敬
  19.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、163頁。ISBN 9784120050930。
  20.  書評:ほんとうの中国の話をしよう［著］余華
  21.  飯塚容『作家たちの愚かしくも愛すべき中国―なぜ、彼らは世界に発信するのか？』中央公論新社、170頁。ISBN 9784120050930。

外部リンク

===

출처 : 무료 백과 사전 "Wikipedia (Wikipedia)"
여화
2005년에 싱가포르에서 행해진 작가의 집회에서.
탄생1960년 4월 3일 (66세) [ 1 ] 중국 절강성 항저우 시 [ 2 ] [ 1 ]
중화 인민 공화국의 국기
언어중국어
국적중화 인민 공화국의 국기 중국
장르소설 , 에세이
대표작『활동한다』
『형제』
주요 수상 경력그린자네 카불상 ( 1998년 )
예술문화훈장 ( 프랑스 , 2004년 )
제1회 중화도서 특수공헌상( 2005년 )
템플릿 보기
여화
직업:작가
각종 표기
번체 :여화
간체 :여우
늑대 소리 :Yú Huá
화명 표기:유이 호아, 요카
템플릿 보기

여화 ( 유이호아 , Yu Hua, 한자 일본어 읽기: 요카 [ 3 ] , 1960년 4월 3일-)는 중화인민공화국 의 작가이다.

경력

어린 시절부터 창작 활동을 할 때까지

1960년 절강 성 항저우시 에서 태어났다 [ 1 ] . 아버지는 절강성 방역준의 의사, 어머니는 절강의원 간호사였다 [ 4 ] . 1962년, 아버지가 외과의사 로서 같은 절강성의 작은 마을· 해염현 의 병원에 근무하게 되었기 때문에, 일가는 해염으로 이사했다. 어렸을 때부터 포르말린과 알코올의 냄새는 가까이에 있었고, 피에 묻혀 수술실에서 나오는 아버지의 모습을 보며 자랐다 [ 4 ] . 또, 여름은 시원한 병원의 영안실을 놀이터로 하고 있었다고 한다. 어린 시절은 문화대혁명 의 시기(1966~1976년)와 겹쳐 사회의 변동을 경험했다 [ 5 ] . 여화가 6세였던 1966년에 시작된 이 문화대혁명에서는 어른의 폭력적인 투쟁을 목격하고 있으며, 이러한 체험은 나중의 창작에 영향을 주고 있다 [ 6 ] .

1977년 문화대혁명 이후 처음으로 행해진 대학 입학시험을 수험했지만 불합격이 되었다. 따라서 의료학교(위생학교)에 입학했다. 1978년 3월, 해염 임무원 진위생원의 치과의사 로서 배속 [ 7 ] . 그러나, 치과의사로서의 근무는 성에 맞지 않고, 1983년부터 해염현 문화관에서 근무하기 시작한다 [ 1 ] . 같은 해부터 문학창작을 시작해 문학잡지 '서호'의 1983년호에 게재된 '제일숙사'가 처녀작이다 [ 8 ] .

창작 활동 개시 이후

몇몇 단편을 발표한 뒤 잡지 '베이징대학' 1987년 제1기에 게재된 '18세의 여행'(원제 '18세 출문 원행')이 출세작이 되었다. 이 작품은 불합리한 세상을 처음으로 알게 된 소년의 모습을 상징적으로 그렸으며, 이 작품을 만들어낸 배경에는 프란츠 카프카 의 영향이 있었다. 그 후는, 중편 소설을 잇달아 발표 [ 9 ] . 꿈과 현실, 상식과 비상식, 정기와 광기, 심지어 삶과 죽음의 경계를 초월하여 사람의 세상의 불확실성을 그리는 곳에 여화의 맛이 나왔다 [ 10 ] .

여화는 리얼리즘 을 기조로 하는 중국문학 에 반항해 실험적인 구성과 문체에 의한 소설을 쓰려고 했다. 수법적으로는 외국문학의 영향을 받아 전통적인 리얼리즘의 틀을 파괴한 새로움과 실험성이 있었기 때문에 동시적으로 등장한 다른 젊은 작가· 소동 , 격비들 과 함께 '선봉파'로 불렸다 [ 11 ] . 1991년, 첫 장편 소설 「비에 부르는 소리」를 발표. 소년의 단편을 연결한 합한 구성으로, 「선봉파」시대의 집대성이라고도 말해야 할 환상적인 작품이었다 [ 12 ] .

1988년부터 1991년에 걸쳐 베이징 사범대학과 연 신문학원 이 협력하여 마련한 창작연구생반으로 문학을 배웠다. 재학 중에 몇 가지 중단편집을 발표했고, 젊은 작가를 대상으로 한 이 강습회에서는 망언들 과의 교류가 있었다. 또, 여기에서 알게 된 진홍(공군 정치부 문예 공작단 소속)과 1992년에 결혼해, 베이징 에 거주했다 [ 13 ] . 그것을 계기로, 1989년부터는 절강 성 가흥시 문학예술계련합회의 소속이 되었지만, 1993년에 사임하여 창작에 전념하기로 했다. 이 사이의 주요 작품은 2권의 중단편 소설집 '18세의 여행'(작가 출판, 1989년), '사고'(원제 '우연 사건', 하나조 출판사, 1991년)로 정리되어 있다. 또한 '선봉파' 시대를 쌓아 올리는 작품으로 장편 '비로 부르는 목소리'(원제 '재세우중호환', '수확' 1991년 6기)가 있다 [ 14 ] . 1992년에 「활동한다」, 그 속편이라고도 할 「피를 팔는 남자」를 발표. 그러나 그 후는 과작이 되어 산문, 수필, 평론을 중심으로 활동하는 시기가 계속되었다 [ 15 ] . 2005년, 약 10년만에 『형제』를 발표. 2008년에는 처음으로 일본을 방문했다 [ 16 ] .

중국 작가 협력 제9년도 전국위원회 위원을 맡고 있다 [ 17 ] .

수상·영전

작품과 그 특징

  • 작가를 뜻한 이유는, 초등학교·중학생기에 모택동 선집 과 연신 문집을 읽은 것이라고 말하고 있다 [ 18 ] .

장편 소설

1991년에 발표한 '비를 부르는 목소리'는 첫 장편 소설이었다. 다음 1992년에 발표한 ' 활동 '이 베스트셀러가 되어 장이모우 감독으로 영화화도 되어 화제가 되었다. 그 다음에 자매편이라고 할 소설이 되는 「피를 파는 남자」가 발표되었다.

  • 『활동한다』：일 서민의 가혹한 운명을 쓰면서도 서술은 담담하게 읽기 쉽다. 주인공은 국공내전 , 토지개혁, 대약진 , 문혁 의 시대를 살아간다.
  • 『피를 파는 남자』：『활동한다』의 자매편이라고 말해야 할 소설. 제사공장의 노동자가 인생의 고비마다 피를 팔아 돈을 벌어 결혼해 아이를 키워 간다.

2005년에 발표한 『형제』에서는 문화대혁명 부터 개방경제까지를 그렸다. 비참한 생활을 그리면서도 작품의 기조인 결코 어둡지 않기 때문에 서민의 압도적인 지지를 받아 이 작품도 상하권 맞추어 100만부를 넘는 판매가 되었다 [ 19 ] .

  • 『형제』：부모의 재혼에 의해 의리의 형제가 된 2명의 남자가 진행된 대조적인 인생을 그린다. 전반과 후반의 2부작이며, 전반은 이 형제의 소년 시절의 이야기로, 문화대혁명기를 배경으로 하고 있기 때문에, 국역에서는 「문혁편」이라고 명명되었다. 지주 출신이라는 이유로 아버지는 신체를 구속받고 어머니는 병으로 입원하고 두 사람은 굶주림으로 고생하면서 살아남는다. 결국 아버지는 린치를 받고 죽이고 어머니도 남편을 매장한 뒤 숨이 막히고 형제는 몸을 잃게 된다.

'죽은 자들의 칠일간'은 그 에세이집이 언급했던 현대 중국 사회의 여러 문제를 반영하고 있다.

  • 『죽은 자들의 칠일간』 : 의심의 죽음에 휩쓸린 주인공은, 이 세상과 그 세상을 방황하면서, 자신의 생활의 비밀, 양부와의 깊은 유대, 아내와의 만남과 이별을 상기시킨다. 생사의 경계를 초월한 작품.

에세이집

  • 『진짜 중국인의 이야기를 하자. '의 국역간행에 의해 일본에서 여화는 소설가로서 뿐만 아니라 시사문제에 대해 적극적으로 발현하는 작가로서 인식되게 되었다 [ 16 ] . 또한 천안문 사건을 언급하고 있기 때문에 중국 본토에서는 미간행. 10개의 키워드를 통해 반세기에 걸친 중국의 행보와 사회 문제, 중국인의 국민성을 말한 것 [ 20 ] .
  • '중국에서는 쓸 수 없는 중국의 이야기'는 해외 미디어를 위해 쓴 에세이집. 2017년 전 세계에 앞서 중국어판보다 빨리 일본에서 출판됐다.

'진짜 중국 이야기를 하자'의 속편이라고 할 수 있으며, 총 28편 중 17편은 ' 뉴욕 타임즈 '에 게재됐다. 모두 단문이면서 중국 문제의 현황 분석은 정확하고 화제는 정치·경제·사회제도 등 다방면에 미치고 있다 [ 21 ] .

저서

일본어 서적

  • 『활동한다』이즈카 용역 서점 2002년(『활착』 나가에 문예 출판사 1993년)
  • 『형제』 이즈미 쿄카역 문예춘추사 2008년 (『형제』 상하이 문예 2005년)
  • 『진짜 중국 이야기를 하자』 이즈카 용역 하출 서방 신사 2012년
  • 『피를 팔는 남자』 이즈카 용역 가와데 서방 신사 2013년(『허산관 매혈기』 상하이 문예 출판사 2004년)
  • 『죽은 자들의 칠일간』 이즈카 용역 가와데 서방 신사 2014년
  • “중국에서는 쓸 수 없는 중국의 이야기” 이즈카 용역 가와데 서방 신사 2017년
  • 『분성 몽환의 마을』 이즈카 용역 중앙공론 신사 2022년

기타

  • 『비에 부르는 목소리』(『재세우중호환』)

영상화

영화

각주

  1.  余华简介 절강사범 대학 여화연구중심 2023년 3월 22일 열람.
  2.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 2018년 6월 25일, 89페이지. ISBN 9784120050930.
  3.  “ 여후 ”. 중일사전 제3판. 2022년 8월 11일 열람.
  4.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 89쪽. ISBN 9784120050930.
  5.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 92쪽. ISBN 9784120050930.
  6.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 110페이지. ISBN 9784120050930.
  7.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 104쪽. ISBN 9784120050930.
  8.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 145쪽. ISBN 9784120050930.
  9.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 150페이지. ISBN 9784120050930.
  10.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 151쪽. ISBN 9784120050930.
  11.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 2018년 6월 25일, 151쪽.
  12.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 2018년 6월 25일, 152페이지. ISBN 9784120050930.
  13.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 2018년 6월 25일, 153페이지. ISBN 9784120050930.
  14.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 2018년 6월 25일, 162페이지. ISBN 9784120050930.
  15.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙공론 신사, 162쪽. ISBN 9784120050930.
  16.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 165쪽. ISBN 9784120050930.
  17.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 89-93 페이지. ISBN 9784120050930.
  18.  余华做客暨大：80后压力空前 我对你们充满尊敬
  19.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 163쪽. ISBN 9784120050930.
  20.  서평 : 정말 중국 이야기를 하자 [저] 여화
  21.  이즈카 용 「작가들의 어리석고도 사랑해야 할 중국―왜, 그들은 세계에 발신하는 것인가? 』 중앙 공론 신사, 170페이지. ISBN 9784120050930.

외부 링크

===

Yu Hua

From Wikipedia, the free encyclopedia
For the rower, see Yu Hua (rower).
In this Chinese name, the family name is Yu.
Yu Hua
Yu Hua speaks at the 2023 Hong Kong Book Fair
Yu Hua speaks at the 2023 Hong Kong Book Fair
Native name
余华
Born3 April 1960 (age 66)
Hangzhou, Zhejiang, China
OccupationNovelist, essayist
LanguageChinese
NationalityChinese
Alma materLu Xun Literature School
Period1984 – present
GenreNovel, prose
Literary movementAvant-garde
Notable worksTo Live (1993)
Chronicle of a Blood Merchant (1995)
Brothers (2005–2006)
Cries in the Drizzle
Notable awards5th Zhuang Zhongwen Literary Prize
1992
James Joyce Award
2002
Ordre des Arts et des Lettres
2004
RelativesFather: Hua Zizhi (华自治)
Mother: Yu Peiwen (余佩文)

Yu Hua (simplified Chinese: 余华; traditional Chinese: 余華; pinyin: Yú Huá; born 3 April 1960) is a Chinese novelist, essayist, and short story writer. He is widely considered one of the greatest living authors in China.[1][2][3]

Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story "On the Road at Age Eighteen".[4] Yu Hua was regarded as a promising avant-garde or post-New Wave writer.[4] Many critics also regard him as a champion for Chinese meta-fictional or postmodernist writing. His novels To Live (1993) and Chronicle of a Blood Merchant (1995) were widely acclaimed.[5] Other works like Brothers (2005–06) received mixed reviews domestically, but positive reviews abroad.[6]

Yu Hua has written five novels, six collections of stories, and three collections of essays, which have collectively sold nine million copies[7] and have been translated into over 20 languages.[8]

Background

Yu was born in Hangzhou, Zhejiang, on 3 April 1960.[9] Yu Hua's parents worked as doctors, so his family lived in a hospital compound across from the mortuary. His childhood proximity to death shaped his later works. He practiced dentistry for five years before turning to fiction writing in 1983 because he didn't like "looking into people's mouths the whole day."[10] For Yu Hua, the Cultural Revolution took place from the ages of seven to seventeen.[6] It is for this reason that many of his works include the violence and chaos that were prevalent at the time. In his own words, "a calm, orderly society cannot produce such great works,"[6] which is why one of the distinctive characteristics of his work is his penchant for detailed descriptions of brutal violence.[11]

Yu Hua is interested in the interplay of diverse meaning constructions, particularly between imagination and reality.[11] Yu Hua's personal life is deeply reflected in his writing as a direct influence from the socio-economic challenges throughout his youth. There are many elements in Yu Hua's writings that could have been influenced by his life. He is considered to belong to the "generation of the 60s," which refers to writers that spend their whole childhood and teenage years during the Cultural Revolution.[12] He was born in Hangzhou, but he spent his formative years in the Wuyuan Township in Haiyan, a small town that has been thought to be fairly monotonous, but much of Yu Hua's writing uses it as the setting behind his characters. Yu Hua has stated that writing makes him feel like he is going back to Haiyan; thus, many of Yu Hua's writing uses Haiyan as a story setting. After failing to enter the university, Yu Hua took a one-year program to become a dentist. He was a dentist for 6 years but then started writing more seriously when he grew bored of that lifestyle.[13]

Yu Hua has stated that his writing has been heavily influenced by both Franz Kafka and Yasunari Kawabata, among others. He stated that by reading Kawabata's work, he understood that the point of writing was to show human feelings.[14] However, there is also a deep connection that Yu Hua has with his country and its history. His writing reflects that. In an interview with The New Yorker, he stated that, "My writing is always changing, because my country is always changing, and this inevitably affects my views and feelings about things."[15]

Yu Hua at the 2005 Singapore Writers Festival

Yu Hua's personal life was heavily influenced by the changes that China has gone through, which is perhaps why many of his early texts often portray the world as cold and ruthless, marked by graphic descriptions of physical violence and bodily mutilation.[4] He stated in an interview that he grew up in a time when China went through many different changes in a relatively short period of time. He said, "I grew up during the Cultural Revolution. Then came Reform and Opening and the economy's explosive takeoff in the 90s, and then came the fantastic wildness of the new century and our worldview and our value system were both turned upside down." He has also said that childhood experiences will impact the life of a writer.[16]

In recent years, Yu Hua has dedicated many of his works about China itself, both aimed at China and East Asia, and then also the Western world. He also writes a monthly column for The New York Times in which he describes issues about China. Many of his writings have been known for their violence, but he is also known for some of his more intimate style. For example, he stated in an interview that the book "To Live" addresses "the cruelty and violence of the Cultural Revolution," but that he also has "milder stories" like "The Boy in Twilight."[15] One of the key aspects of his writing is in dealing with the absurd. In an interview, he stated that "I am a realistic writer, and if my stories are often absurd, that's simply because they are a projection of absurd realities." As China has changed, he has started writing about the absurdities that come with it. In answering the criticisms that his writing is too violent, he responds that he is reflecting what he sees in reality, stating that "violence has long existed in my subconscious."[16]

Writing style, themes and avant-garde

Themes

Heavily inspired and affected by the Cultural Revolution,[6] the theme of modern Chinese history is prevalent in Yu Hua's writing. Yu Hua's work is very traditional, with psychologized storylines that investigate and illustrate the challenges of cultural disintegration and identity loss[4] and his stories are often set in small towns during historical periods that he experienced including China under Chairman Mao's rule,[17][18] the Civil War and Cultural Revolution,[19][8] and post Mao capitalist China.[8] Childhood is also a theme which appears often in his stories, but does not consequently lighten the subject matter. Yu Hua is known for his brutal descriptions of violence, cruelty and death[6] as well as themes surrounding "the plight of China's underclasses" as seen in Chronicle of a Blood Merchant.[20] When he began focusing on more chaotic themes in Brothers, Yu Hua admitted his belief that despite his past modeling after Kafka's novels, "the essential nature of writing was to free yourself. If the great masters can unfetter themselves, why can't we?"[6] In this same work, he prides himself on his simultaneous expression of tragedy and comedy.[6] Yu Hua also frequently engages in diverse attitudes of aesthetic modernity in his works, earning him the reputation of being a catalyst.[4]

Style

Yu Hua has been influenced by magic realism and also incorporates pre-modern Chinese fiction elements into his work. He is known to use dark humour and strange modes of perception and description in his writing.[21] The linguistic humour of Yu Hua's novels is gray humour in extreme contrast, a kind of zero-degree emotional narration, and this humour often receives a surprisingly effective expression. He creates humour mainly through the context, the situation, the context of the times, and the national cultural tradition.[22] He has been influenced by music, with a particular interest in classical, and the narrative structure of music; in fact, Chronicle of a Blood Merchant uses techniques borrowed from Yue opera's style.[23] He constantly draws from musical works when he composes his novels, using the characteristics of musical language to enrich his writing, thus making his fictional language full of musical rhythms, which is closely related to Yu Hua's musical literacy and musical hobbies. He also gained inspiration for his literary creation from musical pieces. For example, repetition of words is a narrative style Yu Hua favours. It is an important method for him to portray his characters' character traits and psychological changes, achieving a focused and concise language expression through the clever use of repetitive language techniques.[22]

Yu Hua's work has been successful at constructing mysterious and rich literary universes in both fiction and non-fiction. As Yu Hua has said, "Inevitably the novel involves China's history, but I don't intend to present history. My responsibility and interest as a writer lie in creating real people in my work, real Chinese people."[23]

In the beginning of his career, he was not successful at gaining traction with readers due to the complexity of his work. He aimed to demonstrate the dark side of human psychology and society in a non-traditional way. He changed his style after he started to gain traction in the writing world and adjusted his work away from over-complexity due to readers finding his work difficult to understand. After his adjustments, he focused on injecting the right amount of modern ideologies into his work, which is primarily constructed on the narration of "realistic societies".[24]

Avant-garde

Yu Hua is a contemporary avant-garde writer formally introduced to the literary world with the publication of "On the Road at Eighteen". This short story takes pains to highlight what the narrator sees, thinks and feels in moments of confusion and cruelty. It describes the feeling that the world has shredded its own integrity, and thus unveils a broken traditional view of reality based on surrealism.[25]

Among avant-garde novelists, Yu Hua is often noted for combining elements of the absurd with depictions of violence to explore questions related to humanism. His writing is characterized by a precise and restrained style. Rather than presenting an idealized vision of happiness, his work frequently examines the contrast between outward appearances of ordinary life and more complex inner experiences. In doing so, his novels depart from some traditional narrative approaches and aesthetic conventions, contributing to developments in contemporary Chinese literature.[25]

Yu Hua has deepened the rational reflection of human beings on the situation of their lives in the form of novels, which has caused a lot of shock and attention in the literary world and among the readers. Therefore, he has become the representative of the avant-garde novels in China. In the late 1980s, Yu Hua was regarded as one of the most promising avant-garde or post-trendy writers, and many critics considered him perhaps the best example of Chinese yuan novels or post-modern writing. In the late 1990s, he plowed through a series of short stories, novellas and novels in which his style seemed to shift slightly toward the traditional "psychoanalytic" narrative.[25]

Yu Hua's novels in this period make a deep and detailed analysis of human evil and violence, instinct and desire, tradition and history. It mainly reveals the evil of human nature and a series of cruel, violent and bloody events caused by the evil of human nature. "1986", "One Kind of Reality", "The Inevitable" and other early works are his almost brutal indifference tone of the real and detailed fictional violence, blood and death, so as to show the human nature of violence, desire and the desire of the impulse. Yu Hua is to remove the modification of this kind of human nature, for the reader to open a pry human blood dripping window, to let the reader understand this is not in the meaning of the vacancy.[clarification needed][26]

Works

Note: titles have been translated into English from the original Mandarin Chinese.

Short story collections

Originally published in literary journals, these stories were subsequently anthologized in different collections in both Taiwan and mainland China.[27] The most complete collection of his stories to date is I Don't Have My Own Name (2017), including 21 stories. It features his most notable short stories such as "Leaving Home at Eighteen", "Classical Love", "World Like Mist", "The Past and the Punishments", "1986", "Blood and Plum Blossoms", "The Death of a Landlord",[28] and "Boy in the Twilight" along with 13 other works.[29] Other anthologies with these works include The April 3rd Incident (2018), translated by Allan H. Barr; The Past and the Punishments (1996), translated by Andrew F. Jones; Boy in the Twilight (2014), translated by Allan H. Barr; On the Road at Eighteen (1991); Summer Typhoon (1993); Shudder (1995); and the three volumes of Yu Hua's Collected Works (1994), among others.[27]

Novels

  • Cries in the Drizzle (1992): In Yu Hua's first published novel, which is a first-person reminiscence of the protagonist Sun Guanglin in China under the reign of Mao.[18] As a black sheep in society and his own family, he observes the consequences of Communist rule from a unique perspective of a resentful teenager. Readers are given a chance to revisit the meanings of family, friendship, marriage, fate, sex and birth through a child's perspective.[30] The formatting and style of Yu Hua's first published level can be described as a "serpentine, episodic collection of anecdotes forming a kind of Maoist-era kinderscenen."[31]
  • To Live (1993): An exaggerated realist fiction depicts the protagonist Xu Fugui has been constantly suffering in his life. Yu Hua's breakthrough novel follows the transformation of a landlord's spoiled son witnessing the brutality and hardships of the Civil War and Cultural Revolution.[32] The body of the book is formatted by the main character, Fugui, recounting his story to an unnamed narrator in the 1980s, while the story itself takes place between the Second-Sino Japanese War until the death of his last remaining relative. In order of appearance, his relatives are his parents, his wife Jiazhen, daughter Fengxia, son Youqing, son-in-law Erxi, and his only grandchild Kugen who is the last to die. Over the events of the book that follows the historical timeline of China under rule of Mao Zedong and the Cultural Revolution, which lead to the many deaths in Fu Gui's family as they experience poverty, illness, and the malpractice of medicine. The novel was originally banned in China due to its exaggerated realism writing style but was later named one of that nation's most influential books.[19]
  • Chronicle of a Blood Merchant (1995) follows a struggling cart-pusher and portrays the hardships of life under the leadership of Mao's China.[17] Xu Sanguan, the cart-pusher, partakes in the illicit act of selling his blood to support his dysfunctional family during a period of famine from the Cultural Revolution. As the story develops, Xu Sanguan must put aside his bitterness towards his wife Xu Yulan and the illegitimate son she gave birth to, Yile, under the guise that he was Xu Sanguan's child. The title Chronicle of a Blood Merchant refers to China's Plasma Economy that took place in the years that Yu Hua was writing his sophomore novel.[33]
  • Brothers (2005): Described as "an epic and wildly unhinged black comedy of modern Chinese society running amok",[8] Brothers consists of two volumes following the childhood of two step-brothers during the Cultural Revolution and life in post-Mao, capitalist China.[8] Baldy Li is the protagonist, a town scoundrel that evolves into the nation's top entrepreneur. His rags to riches story opposes that of his step-brother Song Gang, who although is known for being so similar to his chivalrous and smart father, gets hit by the brunt of the Cultural Revolution and suffers as a wandering man who partakes in unlicensed cosmetic surgery practices in South China. These cosmetic surgeries eventually influence Baldy Li's newly established beauty pageant, that only virgins can participate in. Over the many decades of the novel, Baldy Li begins an affair with Song Gang's wife, Lin Hong, who he has admired for years. Later, the brothers are united to resolve their differences. The book was inspired by Yu Hua's trip to the United States in 2003, during which he observed China prepare for hosting the Miss World competition from afar.[8]
  • The Seventh Day (2015): Yu Hua's most recent novel takes the deceased as the protagonist and depicts what the deceased saw and heard within seven days after death. Yu Hua portrays an absurd and desperate real world and an afterlife opposite to it.[34] The protagonist Yang Fei died at the age of forty-one without adequate money for a burial plot, is left to aimlessly roam the afterworld as a ghost. Over the course of seven days, he encounters the souls of friends, family and acquaintances who died before him.[35] Through the narrative and experience of the deceased, the novel exposes the cruel and corrupt realities, such as men disguised in females in prostitution, violent demolition, post-disaster concealment of the death toll, the hospital disposes of dead babies as medical wastes, etc. While other facets of human rights that are encroached during Yang Fei's exploration of limbo are police brutality, the violence of the sex industry, suicide, and the forced evictions of those suffering from poverty by the government.[34] Yu Hua "got the idea that death is not the end of life but just a turning point" from living close to a mortuary as a child. The Seventh Day serves as a criticism to the class disparity in China, a disparity that is so severe it continues to exist even in the afterlife, as a result of government corruption and a "country's headlong affair with consumerism".[36] Other facets of human rights that are encroached during Yang Fei's exploration of limbo are police brutality, the violence of the sex industry, suicide, and the forced evictions of those suffering from poverty by the government.

Essays

  • China in Ten Words (2011): In a collection of ten essays, titled after a word he has deemed representative of the culture and politics of modern China, Yu Hua describes a "morally compromised nation,"[37] contrasting the Cultural Revolution events with post-Mao China's rapid developments and even discussing the origins of current events and the 1989 pro-democracy protest; Yu Hua did not publish the Chinese version of the essays novel in China.[38] The ten words are "People", "Leader", "Reading", "Writing", "Lu Xun", "Revolution", "Disparity", "Grassroots", "Copycat", and "Bamboozle". Using these words, Yu Hua conducts a recollection of historical and cultural events that have made China what it is today, intermixed with autobiographical accounts of growing up during the Cultural Revolution. Each essay explains why the titular term is particular in order to further understand a controversial China. Yu Hua states that this work is "to bring together observation, analysis, and personal anecdote"[39] for a critique of contemporary China.

Political views

Cultural Revolution

Most of Yu Hua's novels are centred around the Cultural Revolution, either as the setting, a contextual reference, or as a literary device. Yu Hua was born in 1960, and his childhood memories are the Cultural Revolution. Yu Hua said, "My novel creation is closely related to childhood and juveniles."[40] Yu Hua's description of the Cultural Revolution is indifferent, no matter whether it is describing violence or death. For example, the novel To Live uses an objective narrative style to describe the suffering of the Cultural Revolution. In Brothers, Yu Hua directly talks about what happened to a family during the Cultural Revolution. In these books, we can understand the harm of the Cultural Revolution to human nature and clearly understand the mistakes made during the Cultural Revolution.

Reception

Yu Hua is regarded as one of the greatest living Chinese writers.[3] The University of California, Irvine, professor of History, Jeffrey Wasserstrom, wrote, "When people ask me to suggest a novel dealing with the rise and rule of China's Communist Party, I point them toward To Live, which is available in a lively translation by Michael Berry and presents pivotal stages of revolutionary history from the perspective of everyman characters, or Chronicle of a Blood Merchant, which has similar virtues and a slightly larger quotient of humor".[5]

Awards

Yu Hua received the Grinzane Cavour Prize as his first award in 1998 for his novel To Live.[2] Four years later, Yu Hua became the first Chinese writer to receive the James Joyce Award (2002).[41] Originally published in 1993, To Live was then published in English in 2003[2] and earned him the Ordre des Arts et des Lettres of France in 2004.[42] That same year, Yu Hua was awarded the Barnes & Noble Discovery Great New Writers Award (2004)[2] and in 2005, took home the Special Book Award of China.[42] Since then, he has also won the Prix Courrier International (2008)[42] for his novel Brothers[43] which was also shortlisted for the Man Asian Literary Prize[41] and won the Best Foreign Language Works Award of the 2022 Yasnaya Polyana Literary Award.[44]

TV and film adaptations

Four of Yu Hua's works have screen adaptations. To Live (1994) was directed by the highly esteemed Zhang Yimou, with Yu Hua himself participating in screenwriting.[45] Though the screenplay was greatly altered it was still banned upon initial release. However, To Live swept awards at the 1994 Cannes Film Festival. There are some notable changes within the narrative. One stark difference is Fugui's career being in shadow puppetry rather than farming. Another great contrast is the death of Youqing being from a car accident involving himself and the Magistrate Chunsheng. The same novel was adapted by Zhu Zheng as a television drama in 2003, named after the protagonist "Fu Gui". The movie and novel emphasize two ways of "living" through exposing harsh realities underneath the facade of life and pondering the significance of existing.[46] The television adaptation followed the tragedies in the original storyline more closely, avoiding the casting of big names in order to effectively portray the simplicity of civilian life in revolution era China. Each have their own virtues, but the public seems to prefer the movie. In 2015, Chronicles of a Blood Merchant was adapted into a Korean language film,[47] both directed by and starring actor Ha Jung-woo. A film adaptation of Yu Hua's Mistakes by the River directed by Wei Shujun, Only the River Flows, was released in 2023.[48]

Works in translation

References

  1.  Peng Dingning (彭叮咛) (2022). 余华：将悲伤送给读者的“喜剧人” [Yu Hua: A "Comedian" Who Gives Sorrow to Readers]. Culture and History Vision (in Chinese). 632. Yuhua District, Changsha, Hunan: Integrated Media Center of the Hunan Provincial Committee of the Chinese People's Political Consultative Conference: 64–65. ISSN 1672-8653.
  2.  "Yu Hua". Contemporary Authors Online. 2016. Retrieved 20 March 2018.
  3.  Li, Hua (2013). "Entrapment and Enclosure: The Poetics of Space and Time in Yu Hua's Two Short Stories". Rocky Mountain Review. 67 (2): 106–123. ISSN 1948-2825. JSTOR 23609982.
  4.  Anne Wedell-Wedellsborg, “One Kind of Chinese Reality: Reading Yu Hua. ”Chinese Literature: Essays, Articles, Reviews, Vol. 18 (Dec., 1996), pp. 129–143.
  5.  Wasserstrom, Jeffrey (21 August 2015). "The Odd Couple: On Political Dissent and the Remarkable Similarities Between Mark Twain and Yu Hua". LA Review of Books. Retrieved 6 August 2020. "By the time I began to read him, he had two late 20th-century novels under his belt that had each earned critical raves. The first of these, To Live, was made into an acclaimed film directed by Zhang Yimou, while the second, Chronicle of a Blood Merchant, was hailed by many as one of the best novels published in China in the 1990s."
  6.  Qinghua, Zhang; Benbiao, Yao (2011). "On Brothers and Chaotic Aesthetics: An Interview with Yu Hua". Chinese Literature Today. 1 (2): 80–85. doi:10.1080/21514399.2011.11833938. S2CID 194818301.
  7.  陈凯茵. "余华《活着》十年销量近600万 获作家出版社超级畅销奖-新华网". m.xinhuanet.com. Archived from the original on 17 November 2023. Retrieved 17 November 2023.
  8.  Yu, Hua (2010). Brothers (1 ed.). Anchor Books. ISBN 978-0-307-38606-9.
  9.  Johnson, Ian (11 October 2012). "An Honest Writer Survives in China". The New York Review of Books. Archived from the original on 2 April 2015. Retrieved 12 March 2015.
  10.  Yu, Hua (30 August 2003). "Interview with Yu Hua". University of Iowa International Writing Program (Interview). Interviewed by Michael Standaert. Archived from the original on 2 April 2015. Retrieved 15 November 2011.
  11.  Zhao, Yiheng (Summer 1991). "Yu Hua: Fiction as Subversion". World Literature Today. 65 (1): 415–420. JSTOR 40147343.
  12.  Leung, Laifong. Contemporary Chinese Fiction Writers. New York: Routledge (2017) 283.
  13.  Leung, Laifong. Contemporary Chinese Fiction Writers. New York: Routledge (2017) 284.
  14.  Turturici, Armando. “The Writer Yu Hua: His Life and Most Important Works.” (01/04/2019) https://www.saporedicina.com/english/yu-hua-books/ Archived 2019-11-05 at the Wayback Machine
  15.  Treisman, Deborah. “The Week in Fiction: Yu Hua.” The New Yorker (08/18/2013) https://www.newyorker.com/books/page-turner/this-week-in-fiction-yu-hua Archived 2017-06-01 at the Wayback Machine
  16.  Zhang, Xiaoran. “Stranger than Fiction: A Q & A with Yu Hua.” China File (02/21/2014) http://www.chinafile.com/stranger-than-fiction Archived 2015-02-24 at the Wayback Machine
  17.  Yu, Hua (9 November 2004). Chronicle of a Blood Merchant. Knopf Doubleday Publishing Group. ISBN 1400031850.
  18.  Yu, Hua (2007). Cries in the Drizzle. Anchor Books. ISBN 978-0307279996.
  19.  Yu, Hua (2003). Berry, Michael (ed.). To Live. Google Books: Random House Digital, Inc. p. 117. ISBN 1-4000-3186-9.
  20.  "Yu Hua". Paper Republic.
  21.  Moen, M. O. (1993). Blurring the lines : postmodernism and the use of tradition in the works of Yu Hua.
  22.  "先锋作家余华小说的语言艺术分析--《芒种》2013年19期". www.cnki.com.cn. Archived from the original on 6 December 2021. Retrieved 6 December 2021.
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  24.  "论余华小说创作特点". ent.sina.com.cn. Archived from the original on 22 March 2018. Retrieved 21 March 2018.
  25.  Guo, Yuan (2004). "On the vanguard of yu hua". Journal of Xingtai University. 03: 41–43.
  26.  Wang, Xiao xia (2009). "ook from the "xu through selling blood, yu hua the change of writing style". Era Literature (Second Half). 12: 11–12.
  27.  Yu, Hua (1996). The Past and the Punishments. University of Hawai'i Press. Archived from the original on 24 March 2018. Retrieved 22 March 2018.
  28.  王, 志艳. "迄今收入余华短篇篇目最全的小说集出版". 中华读书报. Archived from the original on 22 March 2018. Retrieved 22 March 2018.
  29.  "Kirkus Review". Kirkus. Pantheon. Archived from the original on 22 March 2018. Retrieved 22 March 2018.
  30.  Li, Hua (1 March 2012). "Doing things right with Communist Party language: An analysis of Yu Hua's exploitation of Mao-era rhetoric". China Information. 26 (1): 87–104. doi:10.1177/0920203X11432536. ISSN 0920-203X. S2CID 145613438.
  31.  Cries in the Drizzle by Yu Hua, Allan H. Barr | Kirkus Reviews. Archived from the original on 5 November 2019. Retrieved 5 November 2019.
  32.  Hua, Yu (1993). To Live. Toronto: Anchor Books. ISBN 1-4000-3186-9.
  33.  Jones, Andrew F. Afterword. Chronicle of a Blood Merchant, by Yu Hua, 1995, 1st ed., Anchor Books, 2004, pp. 261.
  34.  Huang, Yiju (1 June 2016). "Ghosts and their contemporary return: the case of Yu Hua's The Seventh Day". Neohelicon. 43 (1): 59–71. doi:10.1007/s11059-016-0330-4. ISSN 1588-2810. S2CID 163335788.
  35.  Yu, Hua (2016). The Seventh Day (reprint ed.). Knopf Doubleday Publishing Group. ISBN 978-0804172059.
  36.  Kalfus, Ken (20 March 2015). "'The Seventh Day,' by Yu Hua". The New York Times. ISSN 0362-4331. Archived from the original on 5 November 2019. Retrieved 5 November 2019.
  37.  Mishan, Ligaya (10 November 2011). "China as Paper Republic". New York Times. Archived from the original on 1 December 2018.
  38.  Wu, Yenna (2012). "China Through Yu Hua's Prism". American Journal of Chinese Studies. 19 (1): 55–62. ISSN 2166-0042. JSTOR 44288977.
  39.  Hua, Yu (2012). China in Ten Words. Toronto: Anchor Books. pp. x. ISBN 978-0-307-73979-7.
  40.  ""An Analysis of the "Cultural Revolution Memory" in Yu Hua's Works". Wenku Baidu. Archived from the original on 5 November 2019.
  41.  "Yu Hua: Brothers, 2008 Shortlist". Man Asian Literary Prize. 2011. Archived from the original on 13 October 2012. Retrieved 19 June 2009.
  42.  "Yu Hua". The New York Times. 2014. Archived from the original on 18 March 2015. Retrieved 12 March 2015.
  43.  Bao, Xinjing (11 November 2003). "Prix courrier international. Yu Hua lauréat 2008 avec "Brothers"". Courrier International. Archived from the original on 20 March 2018. Retrieved 20 March 2018.
  44.  "余华长篇小说《兄弟》 在俄罗斯得奖". Lianhe Zaobao (in Chinese). 26 September 2022.
  45.  "【转载】活着影评二则". Archived from the original on 22 March 2018. Retrieved 21 March 2018.
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  47.  "许三观.韩语中字". YouTube. Archived from the original on 1 April 2020. Retrieved 21 March 2018.
  48.  "Only the River Flows - Rotten Tomatoes". www.rottentomatoes.com.

Further reading

  • Chinese Writers on Writing featuring Yu Hua. Ed. Arthur Sze. (Trinity University Press, 2010).
  • "How My Books Have Roamed the World", in Specimen: The Babel Review of Translations (Chinese 2016, English 2017)
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