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716:, the pigtail's presence or absence signified one's political leanings, becoming a focal point of contention. Keeping the pigtail was perceived as clinging to old ways while cutting it off represented a break from the past and an embrace of revolutionary ideals. This symbolism of hair and pigtails in the novel is a reflection of the deeper social and cultural dynamics at play during a period of intense ideological change in China, where the clash of traditional values and the pressure to modernize were palpable. Through these symbols, Lu Xun critiques the societal transformations and the impact of Western ideologies on Chinese national identity during the early 20th century.
506:(beard), Ah Q feels jealous of Wang and provokes him into a fight. Wang wins and leaves with satisfaction after giving Ah Q a shove to the wall. Later, Ah Q sees Mr. Qian's eldest son, whom Ah Q hates a lot. Ah Q insults him by calling him "Baldhead", and Mr. Qian's son beats him with a walking stick. Ah Q soon forgets everything that has just happened and goes to the alcohol shop. Soon after, when he sees a young nun on the streets, Ah Q claims all the bad luck that has just happened is because of her. Ah Q harasses the nun publicly and she leaves crying and cursing Ah Q. However, the other bystanders in the shop just laugh at her for amusement.
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and inevitably the problem arose whether Ah Q would become a revolutionary or not. To my mind, as long as there was no revolution in China, Ah Q would not turn revolutionary; but once there was one, he would. This was the only fate possible for my Ah Q, and I would not say that he has a dual personality. The first year of the
Republic has gone, never to return; but the next time there are reforms, I believe there will be revolutionaries like Ah Q. I only wish that, as people say, I had written about a period in the past, but I fear what I saw was not the past but the future—even as much as from twenty to thirty years from now."
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470:). In his life, he has experienced suppression from the people with higher social status, such as Mr. Chao. Meanwhile, he also suppresses the people who have similar social status as him, such as Young D. In the end, Ah Q is arrested by soldiers. When he is executed, he still uses his spirit of victory to mock the people who can draw a circle better than him when he cannot even write his name on the paper. This kind of spirit of victory stays with him even in his last minutes before his death after the execution.
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people in the nation who also use the same strategy as "Ah Q's Spirit of
Victory" to release the "pain" during the enslavement under feudal society in China. Meanwhile, Liu also points out that the motivation of Lu Xun to write the "True Story of Ah Q" was to help the people in the nation to be able to have feelings of pain when they are getting suppressed by the society feudalism, and also help them turn into "men" from the "slave" during the revolution of China from feudalism to the "New China".
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Esperanto. Remarkably, Lu Xun personally encountered several of these translations, actively participating in the proofreading process for some. Expanding upon Lu Xun's international reach, Peng
Xiaoling and Han Aili's article, "Ah Q: 70 years", found in Paul B. Foster's journal article, documents the novella's translation into over thirty languages, its adaptation into more than sixty reprints, dramatic renditions, a film, a ballet, and even its artistic expressions through cartoons and woodcuts.
982:). In it he argued that Lu Xun had belonged to a preceding historical era, the story was not a masterpiece and did not represent the current era. Davies argued that Qian knew he was unable to challenge Lu Xun on literary merits. Furthermore, Davies argues that "it was all the more important to recognize Lu Xun's works as bearing no relevance to the contemporary situation because they were capable of influencing the reader into misrecognizing social reality."
572:, embodies a complex interplay of individual flaws and societal critiques. Gloria Davies posits that Ah Q became a symbol for the backwardness perceived in Chinese society, providing a benchmark for the 1920s intellectuals to gauge the country's modernization. In his correspondence, Lu Xun reveals his intent for Ah Q to serve as a mirror for the reader and society, dissolving the distance between character and self, and facilitating introspection.
1073:. "When Lu Xun's prose fiction, The True Story of Ah Q was first published as a serial in the Beijing Morning News supplement in 1921, it was a tremendous success and readers throughout China were intrigued by the question of whether the portrayal of Ah Q was based on a real person. The disturbing realism of Lu Xun's story, according to Gao Yihan, led many people to suspect that the incidents related in the tale referred to them:"
741:) is used commonly as a term of mockery to describe someone who chooses not to face up to reality and deceives himself into believing he is successful, or has unjustified beliefs of superiority over others. It describes a narcissistic individual who rationalizes every single actual failure he faces as a psychological triumph ("spiritual victory"). A phrase meaning "relax for a bit" or "take it easy" (
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to self-satisfaction demonstrates a lack of emotional resilience. Ah Q's self-absorption, a dominant trait, manifests in his disregard for others' perceptions and societal norms, evident in his interactions with figures like Amah Wu. His behavior, often eccentric and offensive, underscores a profound disconnection from the evolving societal ethos.
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self-claimed revolutionaries rob the houses of the locals and rich families, and Ah Q is never called to join them. When Ah Q approaches the landlord rebels to express that he wants to join the rebels, he is refused from joining the rebellion. Ah Q becomes bitter that he cannot share the robbed goods and the prestige they enjoy.
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that Lu Xun says the "Spirit of
Victory" that Ah Q uses in the story does not overcome the failure, but the feeling of "pain" that is brought by the failure, and the failure is not overcome at all. Therefore, Li believes that Lu Xun uses the biography of Ah Q to satire the foolish and weakness of the
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The narrative intricately reveals Ah Q's personality through his reactions to various challenges. Despite his predicaments, Ah Q's instinct is to escape through self-deception, a theme exemplified by his 'precious ability to forget' after conflicts. This tendency not to confront reality but to resort
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Ah Q does not come back to
Weizhuang until after the Moon Festival. The custom in Weizhuang is "that when there seem to be something unusual about anyone, he should be treated with respect rather than insolence." According to him, he had been a servant for a successful provincial candidate. Later on,
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also achieved considerable international influence. As reported by
Chinawriter, the translation of the novella began in 1925, indicating its early recognition abroad. During Lu Xun's lifetime, the work was translated into eight languages: Russian, English, French, Japanese, German, Czech, Korean, and
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The chapter also gives the readers more in-depth imagery on Ah Q's (unfortunate) physical appearance—specifically, the ringworm scar on his scalp that turns red when he is angry. This scar is a factor in him being ridiculed by the people around him. Ah Q's response differs based on his opponents. He
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stated his belief that Lu Xun had finished the story too quickly. In literary terms, he questioned why Ah Q would die in such a casual manner after the story had already determined that being a revolutionary was already not satisfactory. In response to Zheng, Lu Xun said "So week after week passed,
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Ah Q is intricately portrayed as an everyman, his character a canvas reflecting the psychological state and social dynamics of a China transitioning from feudalism to a new socio-political order. His 'spiritual victories' serve as a coping mechanism for personal and societal failures, an embodiment
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The narrator of the story states that he wishes to author a biography for the titular character, Ah Q. Ironically, the narrator then mentions that several difficulties of why writing about Ah Q is not easy: the title of this book, the surname of Ah Q, the true personal name of Ah Q and his place of
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the "Chinese themselves used the term to label those who are complacently ignorant, indolent, unhygienic, backward, slavish, and parochial". However, because this term is used to describe "negative human characteristics as "natural" components of the
Chinese national character, they are ironically
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After the Chao family is robbed, Ah Q is dragged into town in the middle of the night, being carried to a yamen where he is pushed into a room. Keeping with his happy-go-lucky nature, the narrator says "although Ah Q was feeling rather uneasy, he was by no means too depressed." In the end, Ah Q is
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After the Zhao family fiasco, Ah Q notices unusualness when walking through the streets of
Weizhuang. Women have become shy and take refuge indoors, while wine shops refuse service to him. What worries him is the fact that no household wants to hire him anymore, cutting Ah Q off from any source of
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Ah Q being slapped in the face by Mr. Zhao makes him famous for he has prospered for a long time, as some townsfolk speculate on whether he is truly related to the Zhao family. One day, Ah Q finds
Whiskers Wang, another tramp, and sits down next to him with no fear. Due to the lack of two Whiskers
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One day, the news of the Xinhai
Revolution comes. The landlord families become the revolutionaries to maintain their power. When Ah Q realizes that everyone fears the revolutionaries, he decides to be one of them and imagines exploiting rich families in town and ruling over the locals. A group of
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Mr. Zhao, who lives in the same place as Ah Q, is wealthy, authorized, and educated. In the story, Zhao is an absolute exploiter who always suppresses Ah Q and everyone who has a lower social status than him in the village. He hates the revolution against feudalism and feudal dominance in China
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a realism with sufficient power to undermine even their own adamant and much-vaunted belief in the imminent arrival of a Communist utopia; for not even the most foolhardy dogmatist could ignore the countless acts of political violence and betrayal taking place around him, borne variously of the
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In Chapter 2, the narrator elaborates further on Ah Q's character, place in society, and his daily routine. Ah Q's peers hold him in very low regard due to his insignificant background. With no family, no regular employment and eccentric character, Ah Q is often the laughing stock and victim of
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Ah Q's characterization provides a potent commentary on the cultural and political shifts of early 20th-century China. Through his protagonist, Lu Xun critiques the impact of Western ideologies and the challenge of shedding long-held traditions. Ah Q's struggles and denials reflect the tension
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After picking on a nun, Ah Q is victorious and feels as though he is flying right into the Tutelary God's Temple. The words from the nun weigh on his mind: "Ah Q, may you die son-less!" He realizes her insult has some merit and decides that he should take a wife. Ah Q rushes towards Mr. Zhao's
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Almost starving, Ah Q returns to the streets and comes across the Convent of Quiet Self-improvement, finding a field containing a patch of turnips. Ah Q decides to steal the turnips until a nun notices him and lets loose her black dog on him. Ah Q runs and is able to escape with some turnips.
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The story is centered around Ah Q, who always uses his idea of the spirit of victory to comfort himself after every failure. When he faces people who have a higher social status than him, he uses his spirit of victory by depreciating himself to release the pain that is caused by those people.
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The motifs of hair and pigtails are repeatedly invoked, yet the author deliberately avoids detailing their color or shape. Instead, these elements are endowed with symbolic significance, reflecting the collective traits of the time. Hair, in traditional Chinese culture influenced by
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executed with his cries of "Help, help!" never actually being said. Even before his death, he still preserves his self-absorbed and petty personality; he tries to make his execution more impressive by reciting verses from some Chinese operas, but fails to find the right words.
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The intricacies of Ah Q's name, including the adoption of the "Q" to signify the traditional pigtail, and "Ah", a common prefix, are laden with symbolic meaning. This name choice by Lu Xun not only anchors Ah Q in the specific historical milieu of the Qing dynasty and the
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between the allure of modernity and the comfort of the familiar, encapsulating the societal transformations of the time. His character becomes a narrative tool, shedding light on the multifaceted nature of change and the human tendencies that both resist and enable it.
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Ah Q has a literary metaphor of national character of his time. Ah Q became a recognizable symbol that expanded the intellectual discourse of national character into the popular consciousness. Originally, the name Ah Q represented a negative Chinese national character
343:, "crude fellow"), and so few people knew who wrote the novella. The first installment was published on December 4, 1921, and additional installments appeared weekly or fortnightly. The final installment was published on February 12, 1922. The story had nine chapters.
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has more abhorrence but less love, which also mentions that Lu Xun overuses satire to write Ah Q and writes less about the empathy of Ah Q to represent the people in China at that moment who were also suppressed by feudalism. Personally, Zhou Zuoren believes that
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The maid in Zhao's family has the same social status as Ah Q but is spoken dirty by Ah Q in the aspect of sex. However, she is also one of the exploiters of Ah Q, and she reports Ah Q to Zhao's family, making Ah Q pay for the reimbursement of his talking to her.
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income to support his livelihood. Shunned from regular employer's houses, Ah Q finds Young D, a weak beggar of lower status than Ah Q, has taken Ah Q's odd jobs. To the delight of onlookers, the enraged Ah Q rushes to fight Young D which ends in a tie.
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Young D is another person in the bottom of the social status. Like Ah Q, he also does not have a name. However, has a more classical characterization of the people with low social status who are being suppressed by the society of feudalism in China.
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712:-imposed hairstyle, became a staple of Chinese identity. With the advent of Western influence, the pigtail morphed into a symbol of derision, epitomizing the alleged backwardness of the Chinese people in the eyes of Westerners. In the tumult of the
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birth. The narrator speculates that Ah Q's surname might have been "Zhao", recounting a story of him being beaten by Mr. Zhao, a rich and famous senior villager, because he claimed that his surname was Zhao and thus is related to the Zhao family.
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of the self-deception and rationalization that Lu Xun saw as a hindrance to progress. Romain Rolland's recognition of Ah Q's character extends its significance beyond satire, identifying it as a universal human trait across cultural boundaries.
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However, when he faces people who have a similar or lower social status than him, he uses his spirit of victory by using violence on those people to show his "strength", which shows his personality of bullying the weak and fearing the strong (
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that are pronounced "Quei", the narrator claims he does not know which character he should use, and therefore shortens it to "Q". The deliberate use of a Latin letter instead of a Chinese character is a reference to the concepts of the
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did not bring about genuine reform to the countryside, and through the artistic portrayal of the impoverished hired hand Ah Q from the rural areas, it reflects the flawed roots of human nature, such as cowardice, the
827:), who won the Best Actor "Silver Sail Award" at the Locarno Film Festival in Switzerland. This accolade made him the first Hong Kong actor to receive an award at an international film festival at the age of 25.
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Edited by Kevin Nadolny (Capturing Chinese Publications, 2010) – includes short summaries to Lu Xun's stories, the Chinese text in simplified characters, pinyin, and definitions for difficult vocabulary.
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has both praise and criticism, praising the rationality and the use of satire to write the story, while criticizing the lack of passion and love that can be demonstrated as empathy to Ah Q in the story.
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usually physically or verbally retaliates against the weak, but resorts to denial or self-belittlement against those better than him, and achieves some small emotional satisfaction through his actions.
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was first published, the story became very popular. Many Chinese people wondered if Ah Q was based on a real person, partly because at the time few people knew the true identity of the book's author.
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Both the novella form and the low social station of the protagonist were new in Chinese literature. But the story consisted of nine serial episodic chapters (an old Chinese method for long folklore
923:"bore a dangerous resemblance to Ah Q's fate in front of the firing squad." Davies further explained that "t is perhaps also not too far-fetched to suggest that the Marxist dogmatists perceived in
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is a rational writing work, and therefore it does not contain much passion and love of the story during Lu Xun's writing. However, Zhou Zuoren still believes that his evaluation of Lu Xun's
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Foster, Paul B. (2001). "The Ironic Inflation of Chinese National Character: Lu Xun's International Reputation, Romain Rolland's Critique of 'The True Story of Ah Q,' and the Nobel Prize".
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McDougall, Bonnie S. (February 1988). "Leo Ou-Fan Lee (ed.): Lu Xun and his legacy, xix, 324 pp. Berkeley, Los Angeles and London: University of California Press, ]1985[. £30.95".
861:, was released in 1981. This film was created to commemorate the 100th anniversary of Lu Xun's birth and stands as the first Chinese film to compete in the main competition of the
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Gloria Davies, the author of "The Problematic Modernity of Ah Q", said that many Marxist critics criticized "Ah Q" because the betrayal of the Communists after the 1927
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1916:
779:), a derogatory term for China's ruling elite and their families, from the character Mr. Zhao, entered contemporary Chinese language. Originally appeared in a
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itself was his reply to Zheng. During the debates on revolutionary literature in 1928 and 1929, Lu Xun decided not to comment on the criticisms of the story.
453:, the author's brother, in the article " The True Story of Ah Q" (阿Q正传; "Ā Q Zhèngzhuàn") said that the work was, as paraphrased by Paul B. Foster, author of
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In Chapter One, the author ironically claims that he could not recall nor verify Ah Q's correct name, thus giving the character symbolic anonymity. "Ah" (
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maidservant, Amah Wu, and shouts "Sleep with me!" The bailiff finds out about his attack on Mr. Zhao's maidservant and makes Ah Q agree to five terms.
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using third-person narration perspective, first published as a serial between December 4, 1921 and February 12, 1922. It was later placed in his first
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1956:
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ruthlessness, ambition, cynicism, fear and ignorance, in all, the darker side of the human condition that Lu Xun had portrayed so vividly in
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believed that the purpose of literature was to transform the minds of and enlighten fellow Chinese. He followed the concept of "Wén Yǐ Zài
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Tingjie, Dai (2021). "周作人对《阿Q正传》的一个批评性观点评析" [A Critical Review of Zhou Zuoren's One Critical View of 'The True Story of Ah Q'].
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said that some individuals believed that Ah Q was based on their own lives. In the 1920s the most common critical sentiment argued that
751:) has also surfaced, further showing how Ah Q's traits of evasion of reality and self-consolation have permeated contemporary language.
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bullying by the townsfolk. However, Ah Q has a high opinion of himself and looks down on others regardless of their income or status.
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1457:"Lu Xun and Evolution. By James R. Pusey. Albany: State University of New York, 1998. xix, 249 pp. $ 65.50 (cloth); $ 21.95 (paper)"
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1295:"Chang on Foster, 'Ah Q Archaeology: Lu Xun, Ah Q, Ah Q Progeny and the National Character Discourse in Twentieth-Century China'"
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Weizong Huang, Martin (October 1990). "The Inescapable Predicament: The Narrator and His Discourse in "The True Story of Ah Q"".
576:'s comparison of Ah Q to Oblomov highlights the character's role as a cultural exemplar, reflecting the zeitgeist of his nation.
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everyone wants to get their hands on Ah Q's silk shirts only to find out that he has run out of them and had been a petty thief.
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Bin, Liu (2021). "痛感的消失与恢复——以《阿Q正传》为中心" [The Disappearance and Recovery of Pain-Centering on the True Story of Ah Q].
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592:'s explanation of its representation of the Qing dynasty pigtail further illuminate the depth of Ah Q's symbolic stature.
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Luo, Jing. (2004). "Over a Cup of Tea: An Introduction to Chinese Life and Culture". University Press of America.
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675:). A negative example, it served as a warning to urge Chinese to change for the "better". After the publication of
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represented a "crystallization of Chinese qualities" of his time and that it was not necessarily a satirical work.
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316:) in 1923 and is the longest story in the collection. The piece is generally held to be a masterpiece of modern
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since it would break the social order that he wants and affect his social status as the "top" person in China.
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Ah Q Archaeology: Lu Xun, Ah Q, Ah Q Progeny, and the National Character Discourse in Twentieth Century China
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Ah Q Archaeology: Lu Xun, Ah Q, Ah Q Progeny and the National Character Discourse in Twentieth Century China
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Ah Q Archaeology: Lu Xun, Ah Q, Ah Q Progeny and the National Character Discourse in Twentieth Century China
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Chou, Eva Shan (December 2002). "Learning to Read Lu Xun, 1918–1923: The Emergence of a Readership".
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The story of Ah Q weaves together nationalism, modern Chinese literature and modern Chinese history.
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1004:, Lu Xun's biological brother, one of the authors of modern literature in China, says that Lu Xun's
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Zhang, Lixin. "Discuss the Image of Ah-Q in ’The True Story of Ah Q’". (in simplified Chinese)
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International Comedy Film Festival in Switzerland, Best Leading Actor at the 6th Popular Movie
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588:. Japanese scholar Matsuoaka Toshihiro's inquiry into the significance of the letter "Q" and
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In 1976, the Hong Kong television network TVB broadcast a five-episode TV drama series of
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but also connects him to the broader themes of tradition versus modernity, central to the
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accepting and reinforcing certain stereotypical images of the Chinese of the time."
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In 1981, the Central Experimental Dialect Theater in China released the stage play
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supplement as a serial. Originally Lu Xun wrote the story under the name "Ba Ren" (
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1200:吕周聚."《阿Q正传》的符号化意象及其象征意蕴." 东方论坛 .03(2022):61-69. doi:CNKI:SUN:DFLT.0.2022-03-004.
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http://terms.naver.com/entry.nhn?docId=70044&cid=43667&categoryId=43667
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1104:[What is Ah Q's 'career'? ——Also talk about how to understand Lu Xun].
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prefix for names. "Q" is short for "Quei", which would today be romanized in
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One of the reprints after 1923 with the author and English title on the cover
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From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China
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A leftist critic, Qian Xingcun, wrote an essay "The Dead Era Of Ah Q" (
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The Historical Background of The True Story of Ah Q: Lu Xun and Japan
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Naver Encyclopedia of Current Affairs and Common Sense (in Korean)
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Chapter 7: The Revolution and Chapter 8: Barred From the Revolution
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which included the performance of the story from words to drama.
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in France, with director Cen Fan receiving a nomination for the
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Davies, Gloria (1991). "The Problematic Modernity of Ah Q".
1149:王晓冬. 《阿Q正传》与中国现代“中篇小说”文体概念的形成. 中国现代文学研究丛刊, 2011(10):15-28.
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https://www.marxists.org/archive/lu-xun/1922/12/03.htm
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Bulletin of the School of Oriental and African Studies
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1614:阿Q正傳 / The True Story of Ah Q (simplified characters)
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501:Chapter 3: A Further Account of Ah Q's Victories
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1082:Tambling, Jeremy. "Lu Xun: The True Story."
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1086:Hong Kong University Press, HKU, 2007., p.
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694:The real trouble will come with the "Wake"
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26:"A Q" redirects here. For other uses, see
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1383:Modern Chinese Literature Research Series
987:Modern Chinese Literature Research Series
881:International Film Festival in Portugal.
811:International recognition and adaptations
783:article, the term subsequently became an
596:Psychological and societal representation
1649:Capturing Chinese The Real Story of Ah Q
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841:The Mainland Chinese film adaptation of
660:Ah Q as a negative symbol of Chineseness
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1597:https://www.gutenberg.org/ebooks/24042
975:Gémìng Wénxué Lùnzhēng Zīliào Xuǎnbiān
532:Chapter 6: From Restoration to Decline
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1917:Novels first published in serial form
1643:Selected Stories, Lu Hsun (1918–1926)
1575:"A Translation of Lu Xun's '阿 Q 正 传'"
1265:. Lexington Books. pp. 179–199.
1125:Modern Chinese Literature and Culture
430:as "Guì". However, as there are many
7:
932:." Lu Xun's last response regarding
519:Chapter 5: The Problem of Livelihood
1824:What happens after Nora leaves home
791:, with numerous variations such as
1806:A Brief History of Chinese Fiction
1573:Stebbins, Hallie (25 April 2014).
564:Symbolism and historical relevance
14:
1942:Chinese novels adapted into films
1102:"何谓阿Q的"行状"？——兼谈如何读懂鲁迅--文史--中国作家网"
877:, and the Jury Prize at the 12th
731:, the term the "Ah Q mentality" (
614:Cultural and political commentary
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1609:The True Story of Ah Q (English)
510:Chapter 4: The Tragedies of Love
1455:Dikötter, Frank (August 1999).
411:, "literature as a vehicle for
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1927:Novels set in the Qing dynasty
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1957:Chinese Republican era novels
1579:Comparative Humanities Review
1529:. Stanford University Press.
972:, No. 3. It was reprinted in
21:The True Story of Ah Q (film)
19:For the film adaptation, see
1461:The Journal of Asian Studies
761:Zhao family (Internet slang)
720:References in modern culture
559:Protagonist character traits
1788:Selected Stories of Lu Hsun
1631:public domain audiobook at
1084:Madmen and Other Survivors.
815:In 1958, Hong Kong adapted
803:(Zhao's spiritual members,
550:Chapter 9: The Grand Finale
1978:
1589:Preface of "Call to Arms"
1293:Chang, Yu (October 2007).
1173:10.1177/009770049001600403
1112:]. chinawriter.com.cn.
758:
25:
18:
1558:10.1017/S0041977X00020723
1432:10.1017/S000944390200061X
1100:侯桂新 (22 September 2022).
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787:widely used by dissident
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568:Ah Q, the protagonist of
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1952:Chinese satirical novels
1770:The New Year's Sacrifice
1595:Wandering of Pang Huang
1506:Foster, Paul B. (2006).
1261:Foster, Paul B. (2006).
369:spiritual victory method
150:Traditional Chinese
1110:Lu Xun Research Monthly
677:The True Story of Ah Q,
479:Chapter 1: Introduction
164:Simplified Chinese
34:The True Story of Ah Q
1842:The True Story of Ah Q
1762:The True Story of Ah Q
1628:The True Story of Ah Q
1525:Larson, Wendy (2008).
1015:The True Story of Ah Q
1011:The True Story of Ah Q
1006:The True Story of Ah Q
998:
930:The True Story of Ah Q
925:The True Story of Ah Q
875:Hundred Flowers Awards
843:The True Story of Ah Q
832:The True Story of Ah Q
819:into a film, starring
817:The True Story of Ah Q
696:
570:The True Story of Ah Q
360:The True Story of Ah Q
348:The True Story of Ah Q
287:The True Story of Ah Q
139:The True Story of Ah Q
126:The True Story of Ah Q
996:
691:
655:Cultural significance
1719:Stories and novellas
1656:Siqule de A Q shidai
1645:at www.coldbacon.com
946:Sǐqùle de Ā Q Shídài
863:Cannes Film Festival
847:Shanghai Film Studio
623:Secondary characters
337:Beijing Morning News
1510:. Lexington Books.
1420:The China Quarterly
921:Northern Expedition
908:was a masterpiece.
605:Behavioral analysis
586:May Fourth Movement
437:May Fourth movement
415:(moral message)").
252:aa3 Q zing3 zyun6*2
61:Original title
35:
28:AQ (disambiguation)
1398:Literary Education
999:
886:True Story of Ah Q
845:, produced by the
838:in the lead role.
697:
432:Chinese characters
422:) in Chinese is a
322:vernacular Chinese
318:Chinese literature
77:Vernacular Chinese
1858:
1857:
1755:Storm in a Teacup
1748:The Story of Hair
1727:Diary of a Madman
1536:978-0-8047-6982-2
1517:978-0-7391-1168-0
1341:Davies, p. 59–60.
1272:978-0-7391-1168-0
1028:Fuyuhiko Kitagawa
714:Xinhai Revolution
582:Xinhai Revolution
474:Chapter summaries
364:Xinhai Revolution
362:portrays how the
283:
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187:Standard Mandarin
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93:Publication place
1969:
1932:Chinese novellas
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1947:Works by Lu Xun
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375:Novella form
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304:Call to Arms
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1962:1922 novels
1922:1921 novels
1834:Adaptations
1798:Non-fiction
1780:Collections
1353:Davies, p.
1314:Foster, p.
1212:Foster, p.
1069:Davies, p.
1002:Zhou Zuoren
955: [
952:Sun Monthly
859:Yan Shunkai
767:Zhao Family
755:Zhao family
672:guómín xìng
590:Zhou Zuoren
451:Zhou Zuoren
302:collection
300:short story
294:written by
121:Translation
113:at Chinese
1911:Categories
980:革命文学论争资料选编
867:Palme d'Or
776:Zhàojiārén
748:Ā Q yí xià
727:In modern
424:diminutive
208:Wade–Giles
115:Wikisource
1765:(1921-22)
1734:Kong Yiji
1710:Works by
1566:162607027
1499:230414916
1491:162185950
1448:229525230
1440:145100271
1234:: 57–76.
1181:220736493
1033:New Youth
902:Gao Yihan
892:Reception
836:Kong Ngai
821:Guan Shan
765:The term
1816:Speeches
1772:" (1924)
1757:" (1920)
1750:" (1920)
1743:" (1919)
1741:Medicine
1736:" (1919)
1729:" (1918)
1633:LibriVox
1495:ProQuest
1444:ProQuest
1404:: 23–25.
1137:41490846
1022:See also
941:死去了的阿Q时代
911:In 1926
789:netizens
628:Mr. Zhao
387:Metaphor
246:Jyutping
73:Language
1863:Portals
1483:2659144
855:Cen Fan
684:Pigtail
646:Young D
637:Amah Wu
574:Mao Dun
443:Mao Dun
292:novella
1889:Novels
1712:Lu Xun
1564:
1533:
1514:
1497:
1489:
1481:
1446:
1438:
1269:
1248:495053
1246:
1179:
1135:
1106:鲁迅研究月刊
1054:
799:) and
781:WeChat
710:Manchu
392:Lu Xun
296:Lu Xun
109:'阿Q正傳'
66:'阿Q正傳'
55:Lu Xun
51:Author
1901:1920s
1877:China
1562:S2CID
1487:S2CID
1479:JSTOR
1436:S2CID
1385:: 18.
1244:JSTOR
1177:S2CID
1133:JSTOR
1108:[
1039:Notes
959:]
896:When
871:Vevey
797:China
381:章回體形式
355:Theme
330:China
313:Nàhǎn
96:China
1585:(1).
1531:ISBN
1512:ISBN
1267:ISBN
1052:ISBN
964:太阳月刊
934:Ah Q
906:Ah Q
898:Ah Q
743:阿Q一下
733:阿Q精神
468:欺软怕硬
447:Ah Q
170:阿Q正传
156:阿Q正傳
88:1921
1554:doi
1469:doi
1428:doi
1424:172
1316:199
1236:doi
1214:179
1169:doi
807:).
771:赵家人
667:国民性
413:Tao
398:" (
396:Dào
328:in
260:IPA
222:IPA
1913::
1658:"
1581:.
1577:.
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1548:.
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1362:^
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1163:.
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1127:.
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1062:^
966:;
957:zh
943:;
801:精赵
793:赵国
773:;
745:;
735:;
669:;
341:巴人
332:.
310:;
308:吶喊
1865::
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