20201207 trans - Revision history

Root: /* Yang Chenting 杨晨婷 */

2021-05-10T18:56:37Z

Yang Chenting 杨晨婷

Ishikami: /* Xie Ziyi 谢子熠 */

2020-12-21T05:54:46Z

Xie Ziyi 谢子熠

Zhangqi: /* Zhang Xueyi 张雪仪 */

2020-12-20T05:26:15Z

Zhang Xueyi 张雪仪

Ouyang Ling: /* Liu Yangnuo 刘洋诺 */

2020-12-13T14:45:46Z

Liu Yangnuo 刘洋诺

Shi Diwen: /* Shi Diwen 石迪文 */

2020-12-13T06:38:44Z

Shi Diwen 石迪文

Yang Yi: /* Yang Ziling 杨子泠 */

2020-12-09T05:54:46Z

Yang Ziling 杨子泠

Yang Yi: /* Yang Yi 杨逸 */

2020-12-09T05:44:50Z

Yang Yi 杨逸

Yi Huan: /* Yang Yue 杨悦 */

2020-12-07T11:34:53Z

Yang Yue 杨悦

Yi Huan: /* Yi Huan 易欢 */

2020-12-07T10:43:42Z

Yi Huan 易欢

Blank: /* Li Yu 李玉 */

2020-12-07T10:05:05Z

Li Yu 李玉

@@ Line 1,160: / Line 1,160: @@
 作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)
-[[File:Example.jpg]]==Yang Hairong 杨海容==
+[[File:Example.jpg]]
 “The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's.  Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative.  Fanon writes a sort of psychoanalytically fueled prose poem.  There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head,  what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..

← Older revision		Revision as of 05:54, 21 December 2020
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	Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.		Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.
		+
		+	取而代之的是，它试图在对中国论文的理论分析中进行案例研究，这超出了简单地引入“外国”理论的范围，从而提出了中国学者与其他反殖民民族主义学者之间对话的纲要。具体而言，它在文章“白人-上帝的骄傲的孩子！”中比较了朱自清对白人孩子的凝视的经历。类似于弗朗茨·法农（Frantz Fanon）在他的经典著作《黑皮肤，白面具》中记录的类似经历。它以种族凝视他人的主题为方法论寓言，力图展示如何使这两个文本彼此“凝视”，以一种在理论上具有启发性的方式互相交流，同时尊重当地差异。
		+
		+	--[[User:Ishikami\|Ishikami]] ([[User talk:Ishikami\|talk]]) 05:54, 21 December 2020 (UTC)

	==Xu Jia 徐佳==		==Xu Jia 徐佳==

← Older revision		Revision as of 05:26, 20 December 2020
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	朱自清最初的凝视显然带有种族主义色彩(虽然不是种族主义);他沾沾自喜地欣赏着这个男孩的高加索气质:“他那雪白的脸颊上满是红晕，长长的金色睫毛流露出一种平和优雅的气质。”--[[User:Zhang Xueyi\|Zhang Xueyi]] ([[User talk:Zhang Xueyi\|talk]]) 09:10, 5 December 2020 (UTC)		朱自清最初的凝视显然带有种族主义色彩(虽然不是种族主义);他沾沾自喜地欣赏着这个男孩的高加索气质:“他那雪白的脸颊上满是红晕，长长的金色睫毛流露出一种平和优雅的气质。”--[[User:Zhang Xueyi\|Zhang Xueyi]] ([[User talk:Zhang Xueyi\|talk]]) 09:10, 5 December 2020 (UTC)
		+
		+	此外，朱自清发起了这场令人不安的凝视的对话。朱自清的儿子和法侬的儿子一样是个模仿者，尽管他的模仿存在问题。正如霍米·巴巴所说，“监视的目光作为被训练者取代的凝视回归，观察者成为被观察的对象，‘部分表征重新表达了“身份”的整个概念，并将其与本质分离，’”[霍米·巴巴, 89。]但在这种情况下，模仿的目光是殖民者的目光，而这种目光的回归正是建立了种族界限。当然，朱自清认为这种模仿是殖民侵略的一个例子;只有这个男孩可能会想到，用霍米·巴巴的话说，这种盯着他看的眼神是他抵御种族主义侵犯隐私的防御机制。
		+
		+	朱自清最初的凝视显然带有种族主义色彩(虽然不是种族主义);他沾沾自喜地欣赏着这个男孩的高加索气质:“他那雪白的脸颊上满是红晕，长长的金色睫毛流露出一种平和优雅的气质。”

	==Zhang Yinliu 张银柳==		==Zhang Yinliu 张银柳==

← Older revision		Revision as of 14:45, 13 December 2020
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	将故事设定在一个遥远的时空，给与作家更多语言上选择的自由。张爱玲从传统文学中寻找独创性灵感和表达方式，可以说她重新定义了现代白话的文化和政治内涵。对五四文学非常了解的现代读者来说，张爱玲的语言风格借鉴了中国古典小说《金花瓶中的梅花》和《红楼梦》中措辞和叙事语气，向读者呈现了古香古色的韵味。--[[User:Liu Yangnuo\|Liu Yangnuo]] ([[User talk:Liu Yangnuo\|talk]]) 05:29, 7 December 2020 (UTC)		将故事设定在一个遥远的时空，给与作家更多语言上选择的自由。张爱玲从传统文学中寻找独创性灵感和表达方式，可以说她重新定义了现代白话的文化和政治内涵。对五四文学非常了解的现代读者来说，张爱玲的语言风格借鉴了中国古典小说《金花瓶中的梅花》和《红楼梦》中措辞和叙事语气，向读者呈现了古香古色的韵味。--[[User:Liu Yangnuo\|Liu Yangnuo]] ([[User talk:Liu Yangnuo\|talk]]) 05:29, 7 December 2020 (UTC)
		+
		+	将故事设定在一个遥远的时空，给与作家更多语言上选择的自由。张爱玲从传统文学中寻找独创性灵感和表达方式，从话语层面上重新定义了现代白话的文化和政治内涵。对五四文学非常了解的现代读者来说，张爱玲的语言风格借鉴了《金花瓶中的梅花》和《红楼梦》等中国古典小说中的措辞和叙事口吻，向读者呈现了古香古色的韵味。--[[User:Ouyang Ling\|Ouyang Ling]] ([[User talk:Ouyang Ling\|talk]]) 14:45, 13 December 2020 (UTC)Ouyang Ling

	==Liu Yi 刘艺==		==Liu Yi 刘艺==

@@ Line 716: / Line 716: @@
 Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world.  This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm.  And yet senses simply become more acute, and thoughts are given fresh new patterns.  Here, we are witnessing the formation a new metaphysics of the everyday:
 I like to listen to street sounds.  Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves.  But it is the sound of a trolley that I must hear in order to fall asleep.  On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley.  People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place.  The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys.  Like neatly paralleled currents of sounds, they continuously flow into our subconscious.
 ==Shi Haiyao 石海瑶==

← Older revision		Revision as of 05:54, 9 December 2020
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	拉康的理论很复杂，其研究朝着意想不到的方向发展，拉康也得出了不同的结论。但是所有这些都源于婴儿第一次照镜子，痴迷于自己在镜子中的模样。根据拉康的说法，6到18个月大的婴儿对于镜像都十分着迷，其重要性在于为能更快促进婴儿对主观性认知的发展成熟。用他的话说，镜子以“原始形式”“沉淀”了孩子的“自我概念，而后自我概念才在与其他事物的辩证认识中变的客观，而后语言才得以发展”。 --[[User:Yang Ziling\|Yang Ziling]] ([[User talk:Yang Ziling\|talk]]) 05:59, 7 December 2020 (UTC)		拉康的理论很复杂，其研究朝着意想不到的方向发展，拉康也得出了不同的结论。但是所有这些都源于婴儿第一次照镜子，痴迷于自己在镜子中的模样。根据拉康的说法，6到18个月大的婴儿对于镜像都十分着迷，其重要性在于为能更快促进婴儿对主观性认知的发展成熟。用他的话说，镜子以“原始形式”“沉淀”了孩子的“自我概念，而后自我概念才在与其他事物的辩证认识中变的客观，而后语言才得以发展”。 --[[User:Yang Ziling\|Yang Ziling]] ([[User talk:Yang Ziling\|talk]]) 05:59, 7 December 2020 (UTC)
		+
		+	拉康的理论很复杂的，它朝着意想不到的方向发展，得出了不同的结论。但所有的一切都来源于婴儿在镜子前，第一次迷恋于发现自己的那一刻。根据拉康的说法，这种批判性的迷恋可以从6个月持续到18个月，它最重要的是为婴儿提供了一条通向成熟主观性的临时捷径。用他的话说，镜子以“原始形式”“沉淀”了孩子的“自我概念，而后自我概念才在与其他事物的辩证认识中变的客观，而后语言才得以发展”。--[[User:Yang Yi\|Yang Yi]] ([[User talk:Yang Yi\|talk]]) 05:54, 9 December 2020 (UTC)

	==Yao Cheng 姚诚==		==Yao Cheng 姚诚==

@@ Line 1,214: / Line 1,214: @@
 ==Yang Yi 杨逸==
 In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder.  Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish.  He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative.  Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter.
 ==Yang Yue 杨悦==

← Older revision		Revision as of 11:34, 7 December 2020
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	尽管如此，这个白人孩子确实扮演了一个重要的角色，因为他实际上是Fanon自己恼怒的叙述声音的怪诞衬托，这是对种族、发展心理学叙述的重写。特别是雅克·拉康著名的“镜像舞台”理论，显然是其主要灵感来源。尽管法农在本章中从未明确提及拉康或“镜子舞台”，但这样的提及在黑皮肤、白面具中比比皆是——毫无疑问，法农非常了解这个范式。他的叙述结构与拉康的解释平行，甚至可以说《黑人的事实》是对《镜子舞台》的讽刺重写。--[[User:Yang Yue\|Yang Yue]] ([[User talk:Yang Yue\|talk]]) 07:49, 5 December 2020 (UTC)		尽管如此，这个白人孩子确实扮演了一个重要的角色，因为他实际上是Fanon自己恼怒的叙述声音的怪诞衬托，这是对种族、发展心理学叙述的重写。特别是雅克·拉康著名的“镜像舞台”理论，显然是其主要灵感来源。尽管法农在本章中从未明确提及拉康或“镜子舞台”，但这样的提及在黑皮肤、白面具中比比皆是——毫无疑问，法农非常了解这个范式。他的叙述结构与拉康的解释平行，甚至可以说《黑人的事实》是对《镜子舞台》的讽刺重写。--[[User:Yang Yue\|Yang Yue]] ([[User talk:Yang Yue\|talk]]) 07:49, 5 December 2020 (UTC)
		+
		+	尽管如此，这个白人小孩确实扮演了一个重要的角色，因为他实际上，作为一种怪诞的外包装，是法农发泄愤怒之声的叙述者。这是对种族、发展心理学叙述的重写。尤其雅克·拉康著名的“镜像阶段”理论，显然是其主要灵感来源。尽管法农在本章中从未明确提及拉康或“镜像阶段”，但在《黑皮肤，白面具》中这样的言论比比皆是——毫无疑问，法农非常了解这个理论。他的叙述结构与拉康的解释平行，甚至可以说《黑人的事实》是镜像阶段理论的讽刺性重写。--[[User:Yi Huan\|Yi Huan]] ([[User talk:Yi Huan\|talk]]) 11:34, 7 December 2020 (UTC)

	==Yang Ziling 杨子泠==		==Yang Ziling 杨子泠==

@@ Line 1,254: / Line 1,254: @@
 Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.”   For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,”  he is created by the White reality.
 That relation is an average of many different species of dominance.  But perhaps more than any other, it is the dominance of an adult over a child.  Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.”
 ==Yi Zichu 义子楚==

← Older revision		Revision as of 10:05, 7 December 2020
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	张爱玲在挑战文学传统的属类时用了许多文本策略来进一步加强现代散文的阈值特征。举例来说，张爱玲一篇名叫《双生》(双重奏)的散文即代表了这个时期最大胆的文学实验之一。圆桌谈话是当时流行文化中最突出的类别，且它的影响遍布文学写作的整个领域。在“双重奏”中，文学写作以迷你圆桌谈话的形式展开。在散文的一开头，就像当时期刊记录的绝大多数圆桌谈话一样，环境和气氛的描写都煞费苦心。谈话发生在一个咖啡店，在这里，张爱玲作为叙述者，与莫萌(其他地方被称之为严莹)，她的女伴，一起沉浸在咖啡馆的氛围中，边吃边谈论几乎任何事情。--[[User:Li Yu\|Li Yu]] ([[User talk:Li Yu\|talk]]) 09:37, 7 December 2020 (UTC)		张爱玲在挑战文学传统的属类时用了许多文本策略来进一步加强现代散文的阈值特征。举例来说，张爱玲一篇名叫《双生》(双重奏)的散文即代表了这个时期最大胆的文学实验之一。圆桌谈话是当时流行文化中最突出的类别，且它的影响遍布文学写作的整个领域。在“双重奏”中，文学写作以迷你圆桌谈话的形式展开。在散文的一开头，就像当时期刊记录的绝大多数圆桌谈话一样，环境和气氛的描写都煞费苦心。谈话发生在一个咖啡店，在这里，张爱玲作为叙述者，与莫萌(其他地方被称之为严莹)，她的女伴，一起沉浸在咖啡馆的氛围中，边吃边谈论几乎任何事情。--[[User:Li Yu\|Li Yu]] ([[User talk:Li Yu\|talk]]) 09:37, 7 December 2020 (UTC)
		+	张爱玲在挑战文学传统的属类时用了许多文本策略来进一步加强现代散文的阈值特征。举例来说，张爱玲一篇名叫《双生》(双重奏)的散文就代表了这个时期最大胆的文学尝试之一。圆桌谈话是当时流行文化中最突出的一类，它的影响遍布文学写作的整个领域。在“双重奏”中，文学写作以迷你圆桌谈话的形式展开。在散文的一开头，就像当时期刊记录的绝大多数圆桌谈话一样，环境和气氛的描写都煞费苦心。谈话发生在一个咖啡店，在这里，张爱玲作为叙述者，与莫萌(其他地方被称之为严莹)，她的女伴，一起沉浸在咖啡馆的氛围中，边吃边谈论几乎任何事情。--[[User:Blank\|Blank]] ([[User talk:Blank\|talk]]) 10:05, 7 December 2020 (UTC)

	==Lin Min 林敏==		==Lin Min 林敏==