Xiao Qian

Xiao Qian

Xiao Qian (January 27, 1910 - February 11, 1999), formerly known as Xiao Bingqian and Xiao Bingqian. Mongolian people in Beijing eight banners. Modern Chinese journalists, writers and translators. He has studied in Beijing Furen University, Yanjing University and Cambridge University. He has served as director and consultant of the Chinese Writers Association, member of the National Committee of the Chinese people's Political Consultative Conference, and director of the Central Museum of literature and history.

From 1931 to 1935, Xiao Qian and American Edgar Snow compiled China bulletin, living China and other publications and literature collections. In 1935, he joined Ta Kung Pao as a reporter. In 1939, he was a lecturer in Oriental College, University of London, and a reporter of Ta Kung Pao in Britain. He was one of the Chinese war reporters in the European battlefield during World War II. He also interviewed and reported on the first UN General Assembly and the trial of Nazi war criminals.

After 1949, he mainly engaged in literary translation. In 1995, he published a Chinese journalist watching World War II, and his translation Ulysses won the third prize of the second foreign literature book.

Life of the characters

In 1910, as a posthumous son, Xiao Qian was born into a Mongolian family in a poor area of Beijing. His mother was a domestic helper and was allowed to go home only once a month. He was orphaned at the age of 13. With the support of his relatives and friends, Xiao Qian studied and worked in the school factory. He worked as an apprentice in the carpet room, did chores in the sheep's milk factory, and so on until he graduated from high school. In 1928, at the age of 18, Xiao Qian worked as a teacher in a middle school in southern China. One year later, he returned to Beijing with his savings from teaching as his tuition. He was admitted to Yanjing University, the most famous university at that time, and soon transferred to Furen University. He studied English literature first and then journalism. American journalist Edgar Snow once worked as his teacher. In 1935, after graduating from the Journalism Department of Yanjing University, Xiao Qian began his career as a journalist. He edited the supplement of literature and art in Ta Kung Pao in Tianjin, Shanghai and Hong Kong. 1939 was an important turning point in Xiao Qian's life. After much consideration, Xiao Qian went to England until the end of the war. In Britain, he first worked as a teacher, and then went to Cambridge University to study for a master's degree. In 1943, he gave up studying and got a press card with the army. He became a foreign correspondent of Ta Kung Pao and the only Chinese journalist in Europe during the Second World War. In war-torn Europe, he crossed the English Channel with the British Army several times, reached the battlefields of the occupied areas of the United States and France, and entered Rhine with the seventh army of the U.S. Army and Berlin, which had just been liberated. From the Potsdam meeting at which the heads of the Soviet Union, the United States and Britain discussed post-war issues, to the Nuremberg trial of Nazi war criminals, to the founding of the United Nations, he has covered all these important historical scenes. At the beginning of 1949, Xiao Qian stood at the crossroads of his life. The income of Hong Kong newspapermen was very high. His alma mater, the Chinese Department of Cambridge, UK, invited him as a teacher. Yang Gang, a classmate from Yanjing and deputy editor in chief of people's daily, advised him to return to China to serve. Professor gustar haloun of Cambridge made a special trip to Hong Kong to meet him. He not only paid for the travel expenses of his family, but also promised to work for life. But when Xiao Qian came back to China, he said, "I'm like a pigeon who loves home and runs back to my birthplace." In 1956, Xiao Qian worked as a special correspondent of people's daily. In 1957, Xiao Qian was wrongly classified as a "rightist" and then as a "foreign slave". Since 1958, Xiao Qian and his wife have been driven to the countryside to work. In June 1966, Xiao Qian entered the training class of the Ministry of culture in the western suburbs. In 1979, Xiao Qian was rehabilitated. In 1989, Xiao Qian was employed by the State Council as the director of the Central Research Institute of literature and history. He was also a member of the seventh and eighth Standing Committee of the National Committee of the Chinese people's Political Consultative Conference and a member of the ninth Standing Committee of the National Committee of the Chinese people's Political Consultative Conference. on February 11, 1999, he died in Beijing at the age of 89.

marriage and family

Before marrying Wen jieruo, Xiao Qian had three marriages and left a son. On April 30, 1954, Xiao Qian married Wen jieruo. They didn't have a wedding, so they went to the Civil Affairs Bureau to get the marriage certificate. This is Xiao Qian's fourth marriage. On January 30, 1955, Lizi, Xiao Qian's daughter, was born. On November 10, 1956, Xiao Qian's youngest son, Xiao Tong, was born.

Main works

work

translation

Literary style

News feature

The most important feature of Xiao Qian's reportage is the high unity of literariness and journalism, which is also the scientific definition of reportage. This requirement has been carried out in Xiao Qian's creation. He himself once said that "close-up is actually a news report written in literary style". Zhao Xiaqiu pointed out in his article that Xiao Qian's efforts strengthened the development of Chinese reportage Literary, she believes that Xiao Qian is not "authenticity" of the life of the throat of reportage, but in the creation of a dance on the drum as he said the artistic means and artistic charm. In the formation of his view on journalism, Xiao Qian was deeply influenced by his teacher Edgar Snow when he was studying in Yanjing University. He has his own unique understanding of the characteristics and performance methods of the news variety "feature". Xiao Qian believes that "close ups are actually news reports written in literary style.". In the article, he mentioned that he planned his life when he was young: through his career as a journalist, he could experience life extensively in order to achieve the ultimate goal of literary creation; and he thought that his expected goal was basically achieved. It can be seen that Xiao Qian consciously introduced some literary techniques into his news writing. Xiao Qian's life and social scenes displayed in his correspondence and close-up are rich and colorful, and there is always a shining main line running through them. The main line is that the author loves his motherland and sympathizes with the common people. He himself said in the preface of Life Interview: "although these words are related to different places and writing periods, what I have is only an attempt, that is, praising good and criticizing evil, shouting for the victims and attacking the darkness. This enterprise is in direct conflict with my other ambition, that is, how to make news articles a little permanent and worth reading after things change. " Due to the use of some literary techniques, Xiao Qian's correspondence and close-up are very full on the basis of authenticity. In his works, Xiao Qian often uses the technique of white line drawing, whether it is to describe people and scenery, or to describe situations and things, with only a few strokes, he can jump onto the paper. For example, the images of the victims in the picture of refugees in Luxi are composed of sketches of people with different ages and different moods. Xiao Qian pays great attention to the description of scenes and the revelation of details in his works. His news works usually have important themes, but the author is good at grasping typical events and describing them in detail, which can often achieve "one leaf knows the autumn". As one of the important writers of Beijing school, Xiao Qian's language has a distinct personality, which highlights his news works. The language in his works is based on Beijing dialect, which has been highly purified. His writing is simple and fluent, and his narration and features are concise and clean. We can see the influence of classical literature on his language style. In Xiao Qian's correspondence and close-up, narration is often combined with discussion and lyricism, so as to achieve the effect of highlighting the theme. Between the lines of Xiao Qian's news works, wit and humor flickered from time to time, which strengthened the personality of the article and also played a thought-provoking effect.

Fiction, prose

Xiao Qian's novels are autobiographical, and many of them reflect his childhood experience to a certain extent. Secondly, the theme of patriotism is also reflected in Xiao Qian's works. Some of his works also reflect Xiao Qian's criticism and sympathy for class relations. Xiao Qian was influenced by Christian culture since he was a child. In Xiao Qian's novels, he often focuses on detail description. Like other writers of Beijing school, Xiao Qian constantly seeks beauty in nature and childlike innocence. His writing is elegant, elegant and clear. He pays attention to the appropriateness and authenticity of the line drawing. The whole style of his works is melancholy and fresh. Xiao Qian was also very good at describing scenery and expressing emotion. Xiao Qian's prose in his later years is full of rich life experience, profound humanistic knowledge and strong emotional interest. His prose is full of the feeling of sincere narration and equal communication, and there is no discipline, publicity, deep affectation and intentional dazzle. In addition to the truth of the event, emotion is the internal factor that dominates the close-up of Xiao Qian's prose. On the basis of selected materials, Xiao Qian pays attention to the art of tailoring. Pay attention to the management of structure. When describing the characters, Xiao Qian abandoned the large amount of smearing. He liked to sketch, with a few strokes, light colors and light smears. The facial expression and posture of the characters stand out. When describing the scenery, it is often sublimated into an imagination. The literariness of Xiao Qian's prose features is also reflected in the language of the article. He seldom uses parallel sentences, but focuses on the appropriateness, lucidity and fluency of the language.

translate

In translating western literary works, Xiao Qian is used to redividing the paragraphs in the book, and the syntactic structure of the book has also been changed accordingly. In the translation of the biography of the great Jonathan wilder, Xiao Qian changed and re divided the syntax and structure of the original by referring to the color illustrated edition of Locke bookstore in London, England, aiming at the problem of long paragraphs and difficult translation, and showed the dialogues of the characters in the original through small paragraphs, which made the readers more comfortable and simple . For this aspect of improvement, Xiao Qian is in his work

Chinese PinYin : Xiao Qian