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2025.12.28
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2025.12.26
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2025.12.25
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2025.12.18
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2025.10.30
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2025.10.28
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2025.10.26
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2025.10.23
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2025.10.20
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2025.9.16
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2025.9.12
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@Y2403–@—U˜f@i”g—–jSTEFAN ZEROMSKI’˜ Žüìl–ó@wV”Nx7Šª3† 1920.2.1
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2025.9.11
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@M1480–@–€æd––“I‰Æ‘°@i‰âjV. DANTSHENKO’˜ Žüìl–ó@wV”Nx7Šª2† 1920.1.1
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CÉSAR GUARDE-PAZgREIMAGINING FEMALE AUTHORITY IN SHAKESPEARE'S THE MERCHANT OF VENICE: PORTIA'S VOICE IN BAO TIANXIAO'S THE LAWKYERESSh
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2025.9.10
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2025.9.9
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@Y1878–@‰B›ZŒÎ@i“¿jŽz‘ï–Ö’˜ ”V盎–ó@w—¯”üŠw¶‹G•ñx3Šª3Šú 1916.9
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2025.9.8
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@Y1672–@ˆÙ—l“Il@FANNY KEMBLE JOHNSONì ”Œ–ó@w‰ð•ú—^‰ü‘¢x2Šª11† 1920.6.1
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2025.9.7
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2025.9.6
@Š¿–ó‚ÌŒ´ì‚ɂ‚¢‚Ä‚¨’m‚点‚µ‚Ü‚·B
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2025.9.5
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2025.9.4
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2025.9.3
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@Y1186–@ˆê•¶‘K@i‰âjŽz’ú–u™öŽ’˜ ŽOŠiŽüìlj–ó@w–¯•ñx21† ’†‘ŠJ‘‹IŒ³4606.6.10(1908.6.10)
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@@Frank Darrel was a young man of twenty-five, with a sufficiency of good looks, and a comfortable income of five hundred a year. Also by way of employing his spare time, he was a realistic novelist of a particularly new school, founded on the axiom that fact invariably poaches on the domain of fiction. He neither conceived nor adopted, but set down actual details of the life around him, with so rigid an adherence to the truth that his published works read like police reports re-written in decent English. In a word, he held the mirror up to nature, and presented the reflection, beautiful or ugly, to the criticism of the British public.
@@To preach thoroughly his gospel of art, as he conceived it, Darrel lived in London, that microcosm of life in all its phases, good, bad, and indifferent. Usually he worked in the morning, slept in the afternoon, amused himself in the evening, and devoted the night from twelve to five to exploring the deeps of the metropolitan ocean. In a disguise of decent poverty more threadbare than ragged, this enthusiast would exploit the dark corners of the Strand, penetrate into Whitechapel slums, and explore the least-known recesses of the City. On occasion he would view the West End and its civilised vices by gaslight, make expeditions into suburbs of known respectability, and, when weary of observing middle class virtue, would haunt less reputable districts in search of character and adventure. All his gleanings were then transmuted into vigorous prose, and figured, under picturesque titles, as novels of fact improved into fiction. This method of shifting the commonplace into romance was adopted by one Honore de Balzac, with a result known to all the intellectual world. Darrel, with less genius than persevering observation, was a disciple of that great man.iƒEƒFƒuƒTƒCƒg Project Gutenberg ŠŽûj
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2025.9.2
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2025.9.1
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@©’FARTHUR RANSOMEgSIX WEEKS IN RUSSIA IN 1919hLONDON: GEORGE ALLEN & UNWIN LTD. 1919
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2025.8.31
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@©’Fì•iŠŽû‚Ì’Ps–{‚ÍgTHE LUCK OF ROARING CAMP, AND OTHER SKETCHEShBOSTON: FIELDS, OSGOOD, & CO., 1870
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2025.8.27
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2025.8.26
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2025.8.25
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@©’FFRIEDRICH NIETZSCHE ìATHOMAS COMMON ‰p–ógFIRST PART. XI. THE NEW IDOLhigTHUS SPAKE ZARATHUSTRA, A BOOK FOR ALL AND NONEhNEW YORK: THE MACMILLAN COMPANY: 1911j
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2025.8.22
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@©’FFRANCES BROWNgTHE STORY OF FAIRYFOOThigGRANNY'S WONDERFULL CHAIR, AND ITS TALES OF FAIRY TIMEShLONDON: GRIFFITH AND FARRAN, 1857j
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2025.8.21
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@©’FIVAN GERGIYEVITCH TURGENIEFF ìAHENRY GERSONI ‰p–ógMUMUhigMUMU AND THE DIARY OF A SUPERFLUOUS MANhNEW YORK: FUNK & WANGNALLS, 1884j
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THE SPIRIT OF BAMBATSE: A ROMANCE, NEW YORK: McKINLAY, STONE & MACKENZIE, 1906
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2025.8.3
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2025.8.2
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2025.8.1
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2025.7.31
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2025.7.30
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2025.7.29
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2025.7.28
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2025.7.27
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2025.7.26
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2025.7.25
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2025.7.24
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2025.7.23
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2025.7.22
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2025.7.21
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2025.7.20
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2025.7.19
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2025.7.18
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2025.7.17
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2025.7.1
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2025.7.15
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2025.7.14
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2025.7.13
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2025.7.12
@Š¿–ó‚ÌŒ´ì‚ɂ‚¢‚Ä‚¨’m‚点‚µ‚Ü‚·B
@Q1680–@‹¥ i’ZŒ€j@i‰âjŽÄè·•á’˜ ãÔ‹§iãÔÏ”Vj–ó@w‰ð•ú—^‰ü‘¢x2Šª12† 1920.6.15
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@©’FANTON TCHEKHOFF ìAHILMAR BAUKHAGE AND BARRETT H. CLARK ‰p–ógA MARRIAGE PROPOSAL: A COMEDY IN ONE ACThNER YORK: SAMUEL FRENCH, [1915]
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2025.7.11
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2025.7.10
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2025.7.9
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2025.7.8
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2025.7.7
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2025.7.6
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2025.6.16
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@©’FARTHUR CONAN DOYLEgTHE ADVENTURE OF THE NAVAL TREATYhigTHE STRAND MAGAZINEh1893.10-11jB’Ps–{gTHE MEMOIRS OF SHERLOCK HOLMEShLONDON: GEORGE NEWNES, LIMITED, 1894
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2025.6.15
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2025.6.14
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2025.6.13
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2025.6.12
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2025.6.11
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@M0198f–@æÌ‘“I“¶Žq L'ENFANT ESPION@i–@jALPHONSE DAUDET ‰©’‡‘h–ó@w”N’†‘x1Šª2Šú 1919.8.15
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2025.6.10
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@©’FVLADIMIR KOROLENKO ìAMARIAN FELL ‰p–ógMAKAR'S DREAMhigMAKAR'S DREAM, AND OTHER STORIEShNEW YORK: DUFFIELD AND COMPANY, 1916j

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@‚©‚Æ‚¢‚Á‚ĘDv‚Í‘S–Ê“I‚É’†“‡–ó‚ðŽg—p‚µ‚½‚Æ‚¢‚¤‚±‚Ƃɂ͂Ȃè‚Ü‚¹‚ñBu’“ñv‚Ƃ͕ʂ̌Ђłàu’ˆê Kava-j-ier –{¥ Kavaliervi2•Åj‚ƃhƒCƒcŒê‚ðˆø‚¢‚Ä‚¢‚Ü‚·B“Æ–ó‚ð’ê–{‚É‚µ‚Ä‚¢‚éB
@˜Dv‚͕ʖ{‚Ì M. ARTZIBASCHEW ìAANDRE VILLARD und N. NAGEL “Æ–ógGLÜCK K•ŸhigAUFRUHR UND ANDERE NOVELLEN ¬—‚Æ‚»‚Ì‘¼‚̬àhMUNCHEN; LEIPZIG : BEI GEORG MULLER, 1910 ŠŽûj‚ðŽg—p‚µ‚½‚Æ‚¢‚¤‹Lq‚ª‚ ‚è‚Ü‚·iMARK GAMSAjBuK•Ÿv‚ɂ‚¢‚Ä‚¢‚¤‚Æ‚»‚ê‚Í‚ ‚½‚Á‚Ä‚¢‚é‚Å‚µ‚傤B
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@•â‘«FuK•Ÿv‚̃ƒVƒAŒêŒ´ì‚Í „M„y„‡„p„y„| „@„‚„ˆ„„q„p„Š„u„rg„R„‰„p„ƒ„„„Ž„uhig„^„„„„t„h1910 ŠŽûjB
@ŽQl•¶Œ£F
@ZMARK GAMSAgTHE CHINESE TRANSLATION OF RUSSIAN LITERATURE: THREE STUDIEShLONDON, BOSTON: BRILL, 2008 “dŽš”Å
@u’F110 SeegeXingfufyizhe fujih, p.188. Lundberg, Lu Xun as a Translator, p.78 is mistaken in saying that gthe quotation is from Artsybashev's own preface to the German edition which Lu Xun readh. The
Aufruhr collection containing the translation of gSchast'eh had no preface at all, nor didgHappinesshfigure in the
Revolutionsgeschichten volume.vp.148
@u’F178 The most obvious example is
Aufruhr und andere Novellen, trans. by André Villard and N. Nagel (Munich and Leipzig: Georg Müller, 1910). Five of the
Etiudy stories found their way into this German collection, a book that later served as Lu Xun's source for his translation of gGlückh as gXingfuh. Two earlier stories, also included in
Aufruhr, weregUzhash (which gave the collection its title) andgPodpraporshchik Gololobovh(Sub-Ensign Gololobov, 1902).vp.173
@ZM.(MIKHAIL) ARTSYBASHEV ìAPERCY PINKERTON ‰p–ógTALES OF THE REVOLUTIONh NEW YORK: B. W. HUEBSCH, 1917
@Z–쑺–M‹ßu˜Dv‚ƃAƒ‹ƒcƒBƒo[ƒVƒFƒt\\“ú–{‚É‚¨‚¯‚éƒAƒ‹ƒcƒBƒo[ƒVƒFƒtŽó—e‚Ƃ̔äŠr‚©‚çvV“c‘åìw’†‘Žv‘zŒ¤‹†˜_W\\‰¢•ÄŽv‘z‚æ‚è‚ÌÆŽËx—YŽRŠto”Å1986.2.5i˜DvŠ¿–óuK•Ÿv‰ð‘è‚̃Aƒ‹ƒcƒBƒo[ƒVƒFƒtŒo—ðЉî‚͸Œ–²w˜I‘Œ»‘ã‚ÌŽv’ª‹y•¶Šwx‚É‚æ‚éj
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2025.6.9
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@[仉Ø15-108]MARY ANN EVANS“I•M–¼
@©’FGEORGE ELIOTi–{–¼ MARY ANNE EVANSjgROMOLAhLEIPZIG: BERNHARD TAUCHNITZ, 1863
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2025.6.8
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2025.6.6
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@L1730–@˜F‰ÎŒõ— @i”üjMARGARET THOMSON’˜ àN‰ÆŸ«–ó@wV’ªx2Šª2† 1919.12.1
@gIN THE FIRELIGHTh¥”ü‘ˆÐŽzN‘åŠwˆêˆÊ—Šw¶˜ô“I
@©’FOSCAR JAMES CAMPBELL, JR. AND RICHARD ASHLEY RICE •ÒgA BOOK OF NARRATIVEShBOSTON:, NEW YORK:, CHICAGO: D. C. HEATH & CO., 1917 ŠŽû
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2025.6.5
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@©’FMRS. ALEC-TWEEDIEi–{–¼ ETHEL BRILLIANA TWEEDIEjgWOMEN AND SOLDIERSh LONDON: JOHN LANE, NEW YORK: JOHN LANE COMPANY, 1918BŠ¿–ó‚Í‚»‚Ì‘æ3Í A WOMAN OF FUKNACELAND : A STORY AND ITS SBQUBLB
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@©’FGUY DE MAUPASSANTgCLOCHETTEhigGIL BLASh1886.12.21jB‰p–óŽÒ•s‹LgBELLFLOWERhigTHE COMPLETE SHORT STORIES OF GUY DE MAUPASSANT: TEN VOLUMES IN ONEhNEW YORK: P. F. COLLIER & SON CRPORATION., 1903j‚Ù‚©
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@‡AS1247–@ޏ˜H”VŽ™ i¬àj@i–@jšF”Œ’˜ ‰½˜D”V–ó@w”N’†‘x2Šª6Šú 1920.12.15
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2025.4.29
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2025.4.27
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2025.4.26
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2025.4.25
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2025.4.24
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2025.4.23
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2025.4.22
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2025.4.21
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@‡@S. LEE ‰p–ógTHE LOST CASKETiޏ‚í‚ꂽ” jhNEW YORK: G. P. PUTNAM'S SONS, 1881
@‡A‰p–óŽÒ•s‹LgTHE SEVERED HANDiØ‚ç‚ꂽŽèjhLONDON: VlZETELLY & CO., 1886
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@She made three steps and raised a black curtain which masked a niche in the wall. Alice uttered a cry of horror and turned away her eyes. She had already raised this curtain and knew what it concealed.
@gIt was you, then ? " murmured Maxime.
@gHave you not guessed it ? " she asked, showing her left arm.
@He had not guessed it, or rather, he had not wished to guess, for the conversation he had just heard should have left him no doubt. He understood all now ; the sad history of the stranger contained no more miysteries for him.
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@‡AgTHE SEVERED HANDhp.225
@Madame Yalta stepped forward and raised a black curtain, which concealed a small niche in the wall of the boudoir. Alice uttered a cry of horror and averted her eyes. She had previously raised this curtain, and knew what it concealed ; she had raised it on the day she entered the boudoir to avoid a meeting with Maxime, who had called to see Madame Yalta. gYes, look," repeated the countess, in a voice that vibrated strangely ; glook at this severed hand !"
@gThen it was you ! " murmured Maxime.
@gHad you not discovered it ? " she asked,
extending her left arm, which was provided with an artificial hand. The conversation Maxime had just heard had left no room for doubt, and, besides, he recollected that he had never seen Madame Yalta ungloved. She had fenced in gloves, she had driven in gloves, and when she had received him reclining on a divan or in bed her hands had not been visible. He understood all now ; there was no more mystery.
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