The book of memoirs of Lu Xun “Dawn blossoms plucked at dusk” (1928) traditionally has been considered by the Russian and foreign researchers as the most important source of biographic material about the writer. However, due to its seemingly fragmentary nature and inconsistency it not always corresponds to the autobiography as a literary genre. The purpose of this paper is to show and prove that ten parts of the collection represent not fragments of memoirs, but the integral and interconnected text corresponding to contemporary conceptions (even ambiguous) of an autobiography genre. The book has been examined at the levels of plot, composition and narration. Basing on cross-disciplinary approach to the material, authors of the paper conclude that Lu Xun managed to create the writing where the narrative discourse of the autobiography, connecting to an artistic mode of lyrical prose, creates a special type of unity of fiction and documentary. The “Dawn blossoms plucked at dusk”, written earlier than autobiographies of Guo Moro (1928), Li Ji (1930), Hu Shi (1933), not only designated a pathway for the development of this genre in China, but also mainly predetermined interest to it both in the first, and in the second half of the twentieth century.
传统上，鲁迅回忆录“黄昏时分采花”（1928年）被俄国和外国研究人员认为是关于作家的传记资料的最重要来源。但是，由于其看似零碎的性质和前后矛盾，它并不总是与自传作为一种文学体裁相对应。本文的目的是证明并证明该收藏集的十个部分不是回忆录的片段，而是与自传体裁的当代概念（甚至是模棱两可）相对应的完整且相互联系的文本。这本书在情节，构图和旁白方面得到了检验。基于对材料的跨学科研究，论文的作者得出结论认为，鲁迅设法创作了自传的叙事话语，并与抒情散文的艺术模式相联系，创造了一种特殊的小说和纪录片统一形式的作品。 。郭沫若（1928），李Li（1930），胡适（1933）的自传体写得更早的《黎明时分的曙光》，不仅为这一类型在中国的发展指明了道路，而且主要是预先确定的在20世纪上半叶和后半叶都对它感兴趣。