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Contents of this article
- 1. How big is Jiangsu, Zhejiang and Shanghai?
- 2. Major events since the 18th National Congress of the Communist Party of China
- 3. Why is the English name of Sun Yat-sen University Sun Yat-Sen University?
- 4. How to pronounce Cao Yu
How big is Jiangsu, Zhejiang and Shanghai?
Jiangsu and Zhejiang are already over 50 years old. But there are many people with the same name and surname in every place. They are in different places and born in different years. Therefore, the age of more than 50 people is only the age of one of the people named Jiang Zhehuan, and does not represent all of them.
Major events since the 18th National Congress of the Communist Party of China
On August 17, 1926, a figure who promoted the pigeon industry chain left a heavy mark on China's capital development. She was Nino Xi
As a simple woman engaged in agricultural development, she returned from studying in the UK It laid the foundation for China's development
Why is Sun Yat-sen University called Sun Yat-Sen University in English?
The English name of Sun Yat-sen University is named after Sun Yat-sen, the English name of Dr. Sun Yat-sen.
Sun Yat-sen (November 12, 1866 - March 12, 1925), famous for writing, also known as Rixin and Yixian, was named Emperor Xiang when he was young, and his pseudonym was Zhongshan Qiao. The English name is Sun Yat-sen.
Sun Yat-sen University is a comprehensive university founded by Dr. Sun Yat-sen with a tradition of running schools for more than 100 years. It is directly under the Ministry of Education and a key university under the National 211 Project and 985 Project.
New and old Sun Yat-sen University:
1. The school was formerly known as National Guangdong University. It was later renamed "National Sun Yat-sen University" and "National First Sun Yat-sen University" and then regained its former name. The great man pioneered, the mountains are high and the rivers are long. Sun Yat-sen University in Guangdong Province, which is at the forefront of China's reform and opening up, has pioneered the trend and broadcasting ideas.
2. The original Sun Yat-sen University was founded by Dr. Sun Yat-sen himself and is a comprehensive key university with a tradition of running schools for more than 100 years.
3. Today’s Sun Yat-sen University was formed by the merger of Sun Yat-sen University and Sun Yat-sen Medical University, which were separated after the adjustment of departments in 1952. All CUHK people are working hard to build the school into a world-class university!
Extended information:
Background of the establishment of the original Sun Yat-sen University:
1. After Sun Yat-sen passed away on March 12, 1925, Liao Zhongkai proposed to change the name of Guangdong University to Sun Yat-sen University, which was approved by the National Government in October. In the same year, a medical department was added. Later, the Guangdong Public Medical University, the National Guangdong Academy of Law, and the Engineering College of Guangdong Xingqin University were successively merged.
2. In March 1926, Guo Moruo became the dean of liberal arts, and Yu Dafu became the director of the English Literature Department.
3. On July 17, 1926, it was officially renamed "National Sun Yat-sen University" and became the highest university in Guangdong.
4. On August 17, 1926, the Nationalist Government ordered the school to be renamed National Sun Yat-sen University. After the National Guangdong University was renamed, many universities named "Zhongshan" appeared in China, such as Wuhan, Hangzhou, Nanjing, Shanghai, Lanzhou, Xi'an and other places.
5. In February 1928, in view of this, the Graduate School with Mr. Cai Yuanpei as its dean decided to retain the National Sun Yat-sen University in Guangzhou as a commemoration and change the names of other Sun Yat-sen universities to the places where they are located.
6. In January 1927, Lu Xun was hired from Xiamen University to the Chinese University of Science and Technology as director of the Department of Literature and dean of academic affairs. In August, it was renamed "National First Sun Yat-sen University".
7. In March 1928, it was renamed "National Sun Yat-sen University".
8. In 1931, the departments of liberal arts, law, science, agriculture, and medicine were renamed as colleges. Four departments were first established: Civil Engineering, Mechanical Engineering, Electrical Engineering, and Chemical Engineering. The school was tentatively located on Wenming Road. In the second year, it was moved to the new campus in Shipai (i.e., within the campus of South China University of Technology and South China Agricultural University).
Reference source: Baidu Encyclopedia - Sun Yixian
Reference source: Baidu Encyclopedia - Sun Yat-sen University
How to pronounce Cao Yu
Normal death.
Died on December 13, 1996. ////////////// Edit this paragraph Introduction Cao Yu (1910-1996), an outstanding modern Chinese dramatist, is the author of "Thunderstorm", "Sunrise", " Famous works such as "The Wilderness" and "Peking Man". Cao Yu's ancestral home is Qianjiang, Hubei. He was born in Tianjin on August 21, the second year of Xuantong in the Qing Dynasty (September 24, 1910). His original name was Wan Jiabao and his courtesy name was Xiaoshi. When he was studying in Tsinghua University, he was nicknamed "Little Baby". "Cao Yu" was the pen name he first used when he published his novel in 1926 (the prefix "Cao" of the traditional Chinese character for "Wan" in his surname is homophonic to "Cao"). Cao Yu is "an audience member of civilized drama, an amateur actor who loves American drama, and a playwright under the influence of left-wing drama" (Sun Qingsheng: "On Cao Yu", Peking University Press, 1986). This sentence roughly summarizes Cao Yu's dramatic life. Cao Yu's wife Li Yuru is a famous Peking Opera actor. Edit the life of the author of this paragraph Cao Yu, an outstanding modern Chinese dramatist. His original name was Wan Jiabao, and his ancestral home was Qianjiang, Hubei Province. Born in Tianjin into a declining feudal bureaucratic family. While studying at Nankai Middle School in Tianjin, he participated in drama activities and played the leading role in plays such as Ibsen's "A Doll's House". In 1929, he was admitted to the Foreign Languages Department of Tsinghua University and studied extensively from ancient Greek tragedies to Shakespeare's plays and the plays of Chekhov, Ibsen and O'Neill.
On the eve of his graduation from college in 1933, Cao Yu created the four-act drama "Thunderstorm", which was published publicly the following year and quickly aroused a strong response. It was not only Cao Yu's debut work, but also his first work. famous and representative works. In 1936 and 1937, Cao Yu published his important plays "Sunrise" and "The Wilderness" respectively. Cao Yu's important play during the Anti-Japanese War was "Peking Man". After the founding of the People's Republic of China, Cao Yu wrote mainly scripts such as "The Sword of Courage" and "Wang Zhaojun".
"Thunderstorm" unfolds the intricate conflicts between the Zhou and Lu families for 30 years in one day (from morning to midnight) and in two scenes (Zhou family and Lu family). It shows the rigorous and exquisite dramatic structure skills of the work. The play repeatedly describes the chirping of cicadas, the noise of frogs, and the sultry heat before and after the thunderstorm. Its purpose is not only to exaggerate the "sultry" atmosphere of the bitter summer, but also to hint at the emotions, psychology, and personality of the characters.
What is even more commendable is the language of the play: First of all, "Thunderstorm" is written in a highly personalized language - from its lines, the audience (readers) can hear (See) the age, gender, status, personality, and psychology of each character; secondly, the language of "Thunderstorm" has a strong lyrical flavor - its language comes from the heart of the characters and has a strong emotional color. The lines in some situations (such as the lines in the third act in which Zhou Chong talks to Sifeng about his future ideals) are themselves lyric poems without lines. "Thunderstorm" fully demonstrates the charm of the "speaking art" of drama with its dynamic and exquisite language. It has appeared in many forms on thousands of stages, and has been performed and interpreted affectionately by different people, pushing Chinese drama to the most sensational peak period in history.
In 1931, when the September 18th Incident broke out, students at Tsinghua University organized an anti-Japanese propaganda team to carry out anti-Japanese propaganda. Cao Yu served as the propaganda team leader. Early in the morning on October 12 of this year, he and his classmates from the propaganda team took a train to Baoding for propaganda. On the train, they met a burly man named Zhao, a worker at the Changxindian Iron Works. He was full of praise for the students' anti-Japanese actions, saying: The Japanese occupation of our three eastern provinces is like cutting a piece of flesh off our country. Mother loves her son and feels sad. Whoever cuts off our mother's flesh, we will fight with him! Cao Yu admired the patriotism of this worker brother from the bottom of his heart. He thought of the drama "Thunderstorm" he was composing, and the image of a character with a distinctive personality gradually became clear in his mind.
Cao Yu led the anti-Japanese propaganda team of Tsinghua University to carry out anti-Japanese propaganda at Baoding Yude Middle School and performed dramas such as "The Moon Rises". This drama, which depicts the people on the Songhua River in Northeast China protecting the anti-Japanese armed forces as they cross the river, has been warmly welcomed by teachers and students. There is an iron factory near Yude Middle School. Cao Yu had a discussion with the workers in the factory. The simple images and vivid language of the workers merged with the worker named Zhao whom Cao Yu met in the car to become Lu in "Thunderstorm". sea. For many days and nights, in the Western Reading Room of the Tsinghua University Library and by the river in the Tsinghua Garden, Cao Yu was so fascinated by the creation of "Thunderstorm". After pondering over the idea several times and spending six months concentrating on writing, Cao Yu finally completed the initial creation of "Thunderstorm". This play is set in Chinese society around 1925 and depicts the tragedy of a bourgeois family with strong feudal overtones. It was August 1933. Cao Yu was about to graduate from Tsinghua University and was hired to teach at Baoding Yude Middle School.
While at Yude Middle School, he made the final improvements to this script. Yude Middle School is a complete middle school founded by Chen Youyun, a member of the alliance, in November 1907 on the basis of the former Zhili Negong Temple Public Higher Elementary School. In 1917, it added technical preparatory classes such as the work-study program in France, and in 1931, it added advanced general subjects. There are a total of about 20 classes in the high school and junior high school with more than 1,000 students. The school requires science teachers to teach in English so that students can graduate with a college preparatory level, so English classes are quite important. Cao Yu was hired as an English teacher by Yude Middle School, teaching students Lin Yutang's Enlightened English Reader, English Classics, and Model English Essays. Before he went to teach at Yude Middle School, he sent the script of "Thunderstorm" to the "Literary Quarterly". "Thunderstorm" took him nearly five years of hard work to conceive and half a year of writing, and he changed the draft five times. After writing it, he handed the script to his classmate and friend Jin Yi in Nankai Middle School. Jin Yi and Ba Jin were jointly responsible for the writing work of "Literary Quarterly". The chief editor of "Literary Quarterly" was Zheng Zhenduo. Jin Yiren is very upright. He felt that Cao Yu was his good friend, so he was too embarrassed to recommend the script of "Thunderstorm" to the editor-in-chief. The manuscript was always kept in the drawer of his desk. During this period, Cao Yu had been teaching devotedly at Yude Middle School, but he could not let go of his beloved drama creation. So, half a year later, he was admitted to Tsinghua University with excellent results to continue his studies. Until he left Yude Middle School, his "Thunderstorm" still fell into disuse.
One day in July 1934, Jin Yi and Ba Jin were discussing the manuscript preparation work of "Literary Quarterly". Ba Jin said: We should pay attention to the newcomers in the literary world, and the manuscript layout should be wider. In order to give Ba Jin Cao Yu's "Thunderstorm". Ba Jin finished reading it that night and was deeply moved. He recommended the script to editor Zheng Zhenduo and published it in the third issue of "Literary Quarterly" that year. Soon after, a new play performance by Chinese classmates was performed in Tokyo, Japan. The Japanese translation of "Thunderstorm" was released by the Tokyo Kanda Hitotsubashi Educational Center and became a best-seller. Lu Xun was very excited after reading the Japanese translation of the script of "Thunderstorm". He told the visiting American reporter Snow that the best dramatists in China include Guo Moruo, Tian Han, Hong Shen and a new left-wing dramatist, Cao Yu. After watching the performance of "Thunderstorm" in Tokyo, Guo Moruo personally wrote the preface for the Japanese translation of "Thunderstorm" and said that "Thunderstorm" is indeed a rare and excellent masterpiece. Cao Yu thus rose from an unknown young man to a superstar in the Chinese theater world.
Cao Yu’s history as a civilized theater audience began in the arms of his mother (stepmother).
Cao Yu’s father, Wan Dezun, studied in the Tokyo Military Academy in Japan in the late Qing Dynasty, where he was a classmate with Yan Xishan. He returned to China in early 1909 and served as Li Yuanhong’s secretary before the Revolution of 1911 (1916). After the founding of the Republic of China, he was awarded With the rank of lieutenant general, he once served as the garrison envoy of Xuanhua Prefecture and the governor of Chahar. The mother, Xue, was born in a merchant family and died of puerperal fever three days after giving birth to Jiabao. Cao Yu once said: "I lost my mother when I was a child, and I feel very lonely and lonely mentally." Xue's sister, Xue Yongnan, became Jiabao's stepmother. She always regarded Jiabao as her own flesh and blood and never gave birth to a child. Cao Yu's stepmother likes to go to the theater. He has watched many Beijing operas, local operas and civilized operas with his stepmother since he was a child.
Cao Yu is an amateur actor who loves American dramas, but his history as an amateur actor began long before the emergence of "American dramas". In 1915, 5-year-old Cao Yu was tutored by his cousin Liu Qike. He read poems and memorized scriptures, and began to act and write plays with his classmates, but he never attended a formal elementary school. In 1920, he ended his private school studies and entered the "Chinese-English Translation Institute" of Tianjin Bank to learn English, and began to be exposed to the works of foreign writers such as Shakespeare. "Love of American Drama" as a movement appeared after 1921.
In 1922, he entered the second grade of Nankai Middle School, where he was a classmate of Jin Yi (Zhang Fangxu) and became lifelong friends. In 1923, he became interested in new literary works, especially "The Scream" by Lu Xun and "The Goddess" by Guo Moruo. However, he admitted that "I didn't understand "Diary of a Madman" at the time", but "The Goddess" made his blood "boil". stand up. In 1925, 15-year-old Cao Yu officially joined the Nankai Middle School Literary Society and Nankai New Theater Troupe (one of the earlier theater troupes in my country's drama industry, founded in 1909 by Yan Fansun and Zhang Boling, the founders of Nankai School, of which Zhou Enlai was a member). activist) and began his acting career.
In 1926, he began to serialize the novel "Where Are You Sober Tonight" in the supplement "Xuanbei" of Tianjin "Yongbao", using the pen name "Cao Yu" for the first time. Later, he successively published many poems, essays, and Maupassant's translated novels in newspapers such as Nankai Weekly and National News Weekly. His poems "On the tip of April, I bid farewell to a beautiful pedestrian" and "Southern Wind Song" are influenced by Guo Moruo's "Goddess". In 1927, he also participated in the rehearsal of plays by Ding Xilin, Tian Han and Ibsen.
Cao Yu was a writer under the influence of the left-wing drama movement. Although it was after 1934, in 1928, after Cao Yu served as the drama editor of "Nankai Fortnight", he started "Thunderstorm" conception. His father wanted him to become a doctor, but he applied to Union Medical College twice and was not admitted. In the summer of the same year, after Cao Yu graduated from Nankai Middle School with honors, he was promoted to the Department of Political Science of Nankai University without taking the examination. However, he was not interested in political economics courses. In the summer of 1930, he made a special trip to Beijing to apply for Tsinghua University. In September, Cao Yu transferred to Tsinghua University with eight classmates and entered the second year of the Department of Western Literature. He extensively studied Western literature, especially drama literature. After school, he often went to see Peking Opera with Ba Jin and Jin Yi. At the end of the year, he became the editor of "Tsinghua Weekly" together with Qian Zhongshu and others.
In 1933, the 23-year-old Cao Yu began writing the script "Thunderstorm" and his graduation thesis "On Ibsen" which took five years to conceive. Cao Yu took the Tsinghua University exam to study in the United States but was not admitted. After graduation, he went to Baoding Mingde Middle School as an English teacher. At the end of the year, he fell ill and returned to Beijing. After recovering, he returned to the Tsinghua Research Institute to specialize in drama research. In January 1934, "Literary Quarterly" edited by Zheng Zhenduo and edited by Ba Jin and Jin Yi was founded. After Ba Jin saw "Thunderstorm" at Jin Yi's place, he advocated publishing it immediately. In July, "Thunderstorm" was published in the "Literary Quarterly" No. Volume 3, Issue 1. At that time, it did not attract the attention of the Chinese people, but it attracted praise from Chinese students in Japan. In 1935, it was translated into Japanese by Xing Zhenduo, a Chinese student at Tokyo Imperial University of Commerce, and premiered on April 27 at the Kanda Ichibashi Lecture Hall in Tokyo by the Chinese Drama Club, a theater troupe of students studying in Japan. After watching it, Guo Moruo immediately wrote an article "About Cao Yu's "Thunderstorm"" 〉》, highly praised. On August 17, it was performed for the first time in China (also the third performance of the play) at the Gusong Theater Troupe of Tianjin Municipal Normal School. It immediately caused a sensation. The famous Beijing dramatist and critic Liu Xiwei (Li Jianwu) published "Thunderstorm" One article said: This is "a touching play, a long drama of great nature".
In September 1934, she was invited to Tianjin to teach at Hebei Women’s Normal College. In May 1936, with the encouragement and urging of Ba Jin and others, he began to write "Sunrise". He taught female teacher students during the day and devoted himself to writing at night. From June to September, he began to publish "Sunrise" in issues 1-4 of "Wen Ji Monthly" Serialized on. In 1936, before Cao Yu had written his second work "Sunrise", "Thunderstorm" was published as a single volume by Shanghai Cultural Life Publishing House, chaired by Ba Jin, as "Collection of Cao Yu's Dramas" (the first type). Therefore, "Sunrise" is not only Ba Jin's expectation, but also arouses widespread attention in the literary world. After the publication of "Sunrise", hosted by Xiao Qian, the supplement of Tianjin's "Ta Kung Pao Literature and Art" invited almost everyone from various factions in the literary world at that time, including Mao Dun, Ba Jin, Ye Shengtao, Shen Congwen, Jin Yi, Li Guangtian, Zhu Guangqian, Yang Gang , Huang Mei and "China expert" Xie Dick, director of the Western Literature Department of Yenching University, etc., held two group discussions, which was unprecedentedly grand. This is the first time in the history of Chinese drama and even in the history of modern Chinese literature that the entire critic circle has mobilized so quickly and mobilized so much for a script. In August 1936, at the invitation of Yu Shangyuan, the principal of the National Drama School, he went to Nanjing to teach, teaching courses such as "Drama", "Western Drama" and "Modern Drama and Drama Criticism". In November, he directed the drama "Golding" in Nanjing. From April to August 1937, "The Wilderness" was serialized in Issues 2-5 of Volume 1 of "Wen Cong" edited by Jin Yi.
At the beginning of 1938, he moved to Chongqing with the drama school. In October, he collaborated with Song Zhi to adapt "General Mobilization" (the original play was "General Mobilization" collectively created by Song Zhi, Chen Huangmei, Luo Feng, and Shu Qun). It was premiered that month and caused a sensation in Chongqing. In the spring of 1939, he moved to Jiang'an with the school. During the summer vacation, I created "Transformation". At the end of the summer, I went to Kunming to direct "The Wilderness" and "Black Letter 28" (i.e. "National Mobilization"). In early winter, he led teachers and students from the drama school to Chongqing to perform "Metamorphosis". After watching it, Chiang Kai-shek ordered a ban on the performance. In the autumn of 1940, he began to compose "Peking Man" and performed it the following year. In early 1942, he resigned from his teaching position at the drama school. In the summer, he went to Tangjiatuo, Chongqing to create and adapt Ba Jin's "Home". In August 1943, in preparation for the creation of the historical drama "Li Bai and Du Fu", he traveled to the northwest with his friends. After returning to Chongqing, he used his reflections from the trip to create "The Bridge", which expresses the contradiction between national capitalists and bureaucratic capitalists in the rear area. In 1946, he and Lao She received an invitation from the U.S. State Department to give lectures in the United States via Shanghai, and met the famous German playwright Brecht twice. He returned to Shanghai in 1947 and later joined Shanghai Wenhua Film Company as a director. He wrote the movie script "Sunny Day" and directed it himself. At the end of 1948, he arrived in Hong Kong. In early 1949, he went to Peiping via Yantai under the arrangement of the underground party of the Communist Party of China.
Participated in the first Literary Congress in July 1949. In 1950, he was appointed deputy director of the Central Academy of Drama. In 1951, he compiled the "Selected Works of Cao Yu" by himself and made extensive revisions to "Thunderstorm", "Sunrise" and "Peking Man". In the same year, he served as an editorial board member of "Scripts" and "People's Literature". In June 1952, the Beijing People's Art Theater (a national theater specializing in dramas) was established and he served as director. In the same year, he collected materials for the script "Bright Sky" with the theme of the ideological reform of an intellectual. He began writing in 1954. In 1956, he won the first prize for script, director and performance at the "First National Drama Observation and Performance". Joined the Communist Party of China in April 1956. In 1960, he collaborated with Mei Qian and Su Zhi to create the historical drama "Lying on Firewood and Tasting Guts" (later renamed "The Sword of Courage"), and consulted Shen Congwen on several historical issues in the play. Shen Congwen wrote back a long letter detailing various aspects of Wuyue society during the Warring States Period. status, and later proposed revisions to it. In August 1962, he began to create "Wang Zhaojun" while on vacation in Beidaihe. During the Cultural Revolution, he was successively beaten and worked in the Beijing People's Art Troupe and as a guard in the dormitory. In 1973, Premier Zhou Enlai personally inquired and was assigned to work in the Beijing Repertory Theater. Participated in the Fourth National People's Congress in 1975. In 1978, the Beijing Repertory Theater restored its original name to "Beijing People's Art Theatre" and he was appointed director again. In August of the same year, he went to Xinjiang to write "Wang Zhaojun" and completed the first draft, which was published in the 11th issue of "People's Literature" that year. Died on December 13, 1996.
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