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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
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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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@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
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@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
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@©’FGEORGE ELIOTi–{–¼ MARY ANNE EVANSjgROMOLAhLEIPZIG: BERNHARD TAUCHNITZ, 1863
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@©’FLYEOF N. TOLSTOЇìANATHAN HASKELL DOLE ‰p–ógLUCERNE: FROM THE RECOLLECTIONS OF PRINCE D. NEKHLIUDOFF"igCOMPLETE WORKShVOL.7, NEW YORK: SAN FRANCISCO: THE WHEELER PUBLISHNG CO., [1898-1900]
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@©’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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@©’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‚©
@‡AM0643–@–v—p“I”ü i•¶åY¬àj@”œ”‘ŽO’˜ ‘ò–¯m–ón@¤–±w•w—ŽGŽx6Šª3† 1920.3
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@©’FGUY DE MAUPASSANT ìA‰p–óŽÒ•s‹LgUSELESS BEAUTYhigTHE COMPLETE SHORT STORIES OF GUY DE MAUPASSANT: TEN VOLUMES IN ONEhNEW YORK: P. F. COLLIER & SON CRPORATION., 1903j‚Ù‚©
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@©’FGUY DE MAUPASSANTgAU BOIShigLE HORLAhPARIS: PAUL OLLENDORFF, 1887j
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@DOSTOJEVSKIJ
@©’FFYODOR DOSTOYEVSKY ìACONSTANCE GARNETT ‰p–ógA CHRISTMAS TREE AND WEDDINGhigWHITE NIGHTS, AND OTHER STORIESh NEW YORK: THE MACMILLAN COMPANY, 1918j
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@ŽüìlŠ¿–ó‚Ì’ê–{‚Í W. H. D.(WILLIAM HENRY DENHAM) ROUSE ‰p–óigTALES FROM THE ISLES OF GREECE: BEING SKETCHES OF MODERN GREEK PEASANT LIFE TRANSLATED FROM THE GREEK OF ARGYRIS EPHTALIOTIShLONDON: J. M. DENT & COMPANY, 1897j‚Å‚·BŠ¿–󂻂ꂼ‚ê‚ɉp–ó‘è–¼‚ðŽ¦‚µ‚Ü‚·B
@‡@Y0383–@—gf“z›[•œ‹w“IŒÌŽ–@iVŠóäcjARGYRIS EPHTALIOTIS’˜ Žüìl–ó@wV”Nx5Šª3† 1918.9.15
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@©’F³‚µ‚¢Š¿–ó‘è–¼‚Íu—g“zf›[•œ‹w“IŒÌŽ–vgAUNT YANNOULAh
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@©’FgSECRET LOVEh
@‡DT0923–@“¯–½@VŠóäcå\•v’B—˜ˆ¢’úŽzEPHTALIOTIS Žüìl–ó@wˆæŠO¬àWxãŠCEŒQ‰v‘ŽÐ1921^1924
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@‡ES0946g–@_•ƒŠ›t—…•RŽz@Šóäcå\•v’B—˜ˆ¢’úŽv’˜ Žüìl–ó@w“Œ•ûŽGŽx18Šª17† 1921.9.10
@©’FgPAPPA SOPHRONIOSh
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@‡@T0987–@“¶ŽqLIN”VŠïÖ@i‰âjSOLOGUB’˜ Žüìl–ó@wV”Nx4Šª3† 1918.3.15
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@©’FFEDOR SOLOGUBgSLAYERS OF INNOCENT BABEShiSTEPHEN GRAHAM •ÒgTHE SWEET-SCENTED NAME, AND OTHER FAIRY TALES, FABLES AND STORIEShNEW YORK: G.P. PUTNAM'S SONS, 1915j
@‡AT0806–@“SŒ—@i‰âjF. SOLOGUB’˜ Žüìl–ó@wV”Nx6Šª1† 1919.1.15
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@©’FFEODOR SOLOGUB ìAJOHN COURNOS ‰p–ógTHE HOOPhigTHE OLD HOUSE AND OTHER TALEShNEW YORK: ALFRED KNOPF, 1916j
@‡BL0529–@˜V“û•ê@i‰âj–í—¢’¿“ß’˜ Žüìl–ó@wV’ªx2Šª5† 1920.9.1
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@©’FE.(ELIZAVETA) MILITSINA ìABEATRIX L. TOLLEMACHE ‰p–ógTHE OLD NURSEhigTHE VILLAGE PRIEST : AND OTHER STORIES FROM THE RUSSIAN OF MILITSINA & SALTIKOVhLONDON : T. FISHER UNWIN, LTD. 1918j
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@ANATOLE FRANCE’˜
@©’FANATOLE FRANCEgCONTE POUR COMMENCER GAIEMENT L'ANNÉEhigOPINIONS SOCIALEShVOL.1, PARIS: SOCIÉTÉ NOUVELLE DE LIBRAIRIE ET D'ÉDITION, 1902j
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@TOLSTOI’˜
@©’FCOUNT LEV N. TOLSTÓY ìALEO WIENER ‰p–ógLABOURER EMELYÁN AND THE EMPTY DRUMhigTHE COMPLETE WORKS OF COUNT TOLSTOYhBOSTON: DANA ESTES & COMPANY, 1904j
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@©’Fã‹L‰p–ó‚ðgAN INCIDENTh‚Æ‚·‚é‚̂͌ë‚èB³‚µ‚‚Í V. GARSHIN ìAE. L. VOYNICH ‰p–ógAN OCCURRENCEhigSTORIES FROM GARSHINhLONDON: T. FISHER UNWIN, 1893jB‚È‚º‚È‚ç W. M. GARSHIN ìAROWLAND SMITH ‰p–ógAN INCIDENThigTHE SIGNAL AND OTHER STORIEShLONDON: DUCKWORTH & CO., 1912j‚ÍŽüìlŠ¿–ó‚ÆŠ§”N‚ª“K‡‚µ‚È‚¢‚©‚ç‚Å‚·B
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@THOMAS BABINGTON MACAULAY ìAHERBERT COURTHOPE BOWEN •ÒgLORD CLIVEhLONDON: LONGMANS, GREEN AND CO., 1886
@‚ ‚é‚¢‚Í THOMAS BABINGTON MACAULAYgLORD CLIVE: AN ESSAYhNEW YORK: CHARLES E. MERRILL CO., 1889
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2025.4.14
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2025.4.13
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2025.4.12
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2025.4.11
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2025.4.10
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2025.4.9
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2025.4.8
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2025.4.6
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2025.4.5
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2025.4.2
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2025.4.1
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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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@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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