本书收集鲁迅先生的画作、书法、篆刻、书籍封面、装帧设计、徽标设计以及收藏的碑帖、版画、古钱币、邮品等380余件，充分地展示了鲁迅艺术世界的广博和艺术修养的深厚。其中有不少作品是首次面世。它填补了鲁学界对鲁迅艺术领域研究的空白，是一项创举。

《文学复古与文学革命:木山英雄中国现代文学思想论集》选收了20余篇论文。即《实力与文章的关系－－周氏兄弟与散文的发展》、《周作人－－思想与文章》、《庄周韩非的毒》等。

Are languages incommensurate? If so, how do people establish and maintain hypothetical equivalences between words and their meanings? What does it mean to translate one culture into the language of another on the basis of commonly conceived equivalences?This study -- bridging contemporary theory Chinese history, comparative literature, and culture studies -- analyzes the historical interactions among China, japan. and the West in terms of "translingual practice." By this term, the author refers to the process by which new words, meanings, discourses, and modes of representation arose, circulated, and acquired legitimacy in early modern China as it contacted/collided with European/Japanese languages and literatures. In reexamining the rise of modern Chinese literature in this context, the book asks three central questions: How did "modernity" and "the West" become legitimized in May Fourth literary discourse? What happened to native agency in this complex process of legitimation? How did the Chinese national culture imagine and interpret its own moment of unfolding?After the first chapter, which deals with the theoretical issues, ensuing chapters treat particular instances of translingual practice such as national character, individualism, stylistic innovations, first-person narration, and canon formation. The author reexamines the works of Lu Xun, Lao She, Shi Zhicun, Ding Ling, Xiao Hong, and others in this light, and concludes by probing the unprecedented conditions under which Chinese writers and critics moved from confidence in the absolute centrality of their civilization to rethinking Chinese literature and culture as one among many national literatures and cultures.Inshort, what does it mean to be Zhongguo ren (men and women of the Middle Kingdom) in terms of what is not of the Middle Kingdom?An appendix lists and classifies over 1,800 loanwords and neologisms introduced into modern Chinese before 1950, the largest annotated collection to be found a

本书遴选了作者写于上个世纪四十到六十年代的数篇代表作品（包括名文《鲁迅》、《近代的超克》等），昭示了在那个动荡不安的历史时期，竹内好的思想方式与知识立场形成与发展，及其一贯的、与众不同的思想物质。
本书是日本鲁迅研究的扛鼎之作，对鲁迅的研究达到前所未有的形而上高度与深度，“回心说”的提出首开以“忏悔”和宗教感切入鲁迅研究之先河，对日本与中国的近代历程亦有十分透彻的洞见。

本书主要从一个日本学者的视角考察鲁迅前半生及革命文学论争时期的文学活动，并通过文献研究给出作者的思考。作者是鲁迅研究的著名学者，该书集作者大半生的学术研究成果。希望该书可为国内学界的鲁迅研究提供新的研究视角以及更多文献资料。

"周树人在仙台医专退学后，回到东京开始从事“文艺运动”。本书“讲述他在此期间学到了什么，怎样学的，又产生了怎样的主张”。作者呈献的处在学习成长过程当中的“鲁迅”，与后来人们所熟悉的“高大全”自然有很大的不同。从这个“鲁迅”身上可以知道，“国民精神之发扬，与世界识见之广博有所属”（《摩罗诗力说》），并非面向旷野的空疏的呼唤，而是一个正在求学的青年自身精神建构的有机组成部分。
的确，这是个优秀的青年。他在成千上万同往日本的留学生当中，可谓阅人之所未阅，集人之所未集，并且道人之所未道，他首先在自身当中确立起了中国亘古未有的关于“诗”与“人”的理念，其广博与峭拔，或许通过书中所呈现的那个置身于历史现场的周树人才更容易体味到。"