20201221 trans - Revision history

Li Meng: /* Tang Yiran 汤伊然 */

2020-12-22T08:22:41Z

Tang Yiran 汤伊然

Li Meng: /* Li Meng 李梦 */

2020-12-22T08:08:43Z

Li Meng 李梦

Li Yu: /* Ma Juan 马娟 */

2020-12-21T15:58:39Z

Ma Juan 马娟

Li Yu: /* Li Yu 李玉 */

2020-12-21T15:46:36Z

Li Yu 李玉

Li Yu: /* Li Yu 李玉 */

2020-12-21T15:45:33Z

Li Yu 李玉

Mashuya: /* Meng Ying 孟莹 */

2020-12-21T13:20:44Z

Meng Ying 孟莹

Mashuya: /* Ma Shuya 马淑雅 */

2020-12-21T13:18:13Z

Ma Shuya 马淑雅

Majuan: /* Liu Bo 刘博 */

2020-12-21T08:59:30Z

Liu Bo 刘博

Wen Xiaoyi: /* Wen Xiaoyi 文晓艺 */

2020-12-21T08:50:28Z

Wen Xiaoyi 文晓艺

Majuan: /* Ma Juan 马娟 */

2020-12-21T08:48:04Z

Ma Juan 马娟

← Older revision		Revision as of 08:22, 22 December 2020
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	1994年，当读者对他的《灵魂史》的反馈升温成为媒体争论的焦点时，张远山又一次带着他的长篇巨制一跃进入公众的视野：“诗人，你为什么不愤怒？”这篇文章充满了对公众的蔑视，他们完全屈服于消费主义，疯狂地追求世俗享乐；然而，在他的口头抨击中，首当其冲的是知识分子的中流砥柱。张远山指责这些人“为了金钱利益和声誉而出卖自己”，新闻媒体“像蜜蜂一样为了小恩小惠和剩饭而蜂拥而至”，文化评论家则斥责他们“对任何诚实、有原则、直截了当的批评，都会痛苦地保持沉默”。--[[User:Tang Yiran1\|Tang Yiran1]] ([[User talk:Tang Yiran1\|talk]]) 23:57, 20 December 2020 (UTC)		1994年，当读者对他的《灵魂史》的反馈升温成为媒体争论的焦点时，张远山又一次带着他的长篇巨制一跃进入公众的视野：“诗人，你为什么不愤怒？”这篇文章充满了对公众的蔑视，他们完全屈服于消费主义，疯狂地追求世俗享乐；然而，在他的口头抨击中，首当其冲的是知识分子的中流砥柱。张远山指责这些人“为了金钱利益和声誉而出卖自己”，新闻媒体“像蜜蜂一样为了小恩小惠和剩饭而蜂拥而至”，文化评论家则斥责他们“对任何诚实、有原则、直截了当的批评，都会痛苦地保持沉默”。--[[User:Tang Yiran1\|Tang Yiran1]] ([[User talk:Tang Yiran1\|talk]]) 23:57, 20 December 2020 (UTC)
		+
		+	1994年，当读者对他的《灵魂史》的反馈升温成为媒体争论的焦点时，张远山又一跃进入公众的视野，带着他的长篇巨制：“诗人，你为什么不愤怒？”这篇文章充满了对公众的蔑视，他们完全屈服于消费主义，疯狂地追求世俗享乐；然而，在他的口头抨击中，首当其冲的是知识分子中的中流砥柱。张远山指责这些人“为了金钱利益和声誉而出卖自己”，新闻媒体“像蜜蜂一样为了小恩小惠和残羹冷炙簇拥着大人物”，文化评论家则斥责他们“对任何诚实、有原则、直截了当的批评，都会痛苦地保持沉默”。--[[User:Li Meng\|Li Meng]] ([[User talk:Li Meng\|talk]]) 08:22, 22 December 2020 (UTC)

	==Tao Ye 陶冶==		==Tao Ye 陶冶==

@@ Line 348: / Line 348: @@
 ==Li Meng 李梦==
 In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear).
 The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of  “history” of the village.
 ==Li Yongshan 李泳珊==
 Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').

← Older revision		Revision as of 15:58, 21 December 2020
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	此外，正如标题所示，整部小说的作者意图是作为一个寓言，而不是历史，尽管它是以历史的模式写的。村庄的神话起源，它缺乏时间观念，以及它突然而灾难性的结局都指向对历史进程的否定。复杂的叙述结构背叛了这个神话般的过去的想象和奇异的构造。因此，张伟笔下的小村庄与其说是一个怀旧的历史对象，不如说是一个想象与乌托邦话语融合的地形/文本场所。换句话说，作为一种文学建构，这个幻影村与其说来自于对已经失去的东西的实际渴望，不如说是来自于对从未存在过的东西的渴望(Wang 1993,130)。--[[User:Majuan\|Majuan]] ([[User talk:Majuan\|talk]]) 08:48, 21 December 2020 (UTC)		此外，正如标题所示，整部小说的作者意图是作为一个寓言，而不是历史，尽管它是以历史的模式写的。村庄的神话起源，它缺乏时间观念，以及它突然而灾难性的结局都指向对历史进程的否定。复杂的叙述结构背叛了这个神话般的过去的想象和奇异的构造。因此，张伟笔下的小村庄与其说是一个怀旧的历史对象，不如说是一个想象与乌托邦话语融合的地形/文本场所。换句话说，作为一种文学建构，这个幻影村与其说来自于对已经失去的东西的实际渴望，不如说是来自于对从未存在过的东西的渴望(Wang 1993,130)。--[[User:Majuan\|Majuan]] ([[User talk:Majuan\|talk]]) 08:48, 21 December 2020 (UTC)
		+
		+	此外，正如标题所示，作者对整部小说的意图是让其作为一个寓言，而不是历史，尽管它是以历史的模式写的。村庄的神话起源，它缺乏时间观念，以及它突然而灾难性的结局都指向对历史进程的否定。复杂的叙述结构背叛了这个神话般的过去的想象和奇异的构造。因此，张炜笔下的小村庄与其说是一个怀旧的历史对象，不如说是一个想象与乌托邦话语融合的地形/文本场所。换句话说，作为一种文学建构，这个幻影村与其说来自于对已经失去的东西的实际渴望，不如说是来自于对从未存在过的东西的渴望。(Wang 1993,130)--[[User:Li Yu\|Li Yu]] ([[User talk:Li Yu\|talk]]) 15:58, 21 December 2020 (UTC)

	==Ma Shuya 马淑雅==		==Ma Shuya 马淑雅==

@@ Line 359: / Line 359: @@
 The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices.
-因此，张炜在这部小说中所要表现的是一种纯净、朴素、接近原始、不受现代文明污染的生活。但他也代表了一种永恒的存在感，这种存在感在我们现代时代可能早已消失。这部小说无疑富有想象力，引人入胜。然而，作为读者，我的这种迷恋感很大程度上来自于小说的文学再现模式，而非张炜小说世界里的真实描写。半是真实，半是神话，半是传说，这个故事既神秘又真实。它是坦率与狡诈、原始主义与矫揉造作、主题简单与形式复杂的综合。换句话说，为了表现一种前现代的土地生存——张炜对纯粹存在的乌托邦式想象——他运用了相当复杂的现代主义/后现代主义文学手法。
+因此，张炜在这部小说中所要表现的是一种纯净、朴素、接近原始、不受现代文明污染的生活。但他也代表了一种永恒的存在感，这种存在感在我们现代时代可能早已消失。这部小说无疑富有想象力，引人入胜。然而，作为读者，我的这种迷恋感很大程度上来自于小说的文学再现模式，而非张炜小说世界里的真实描写。半是真实，半是神话，半是传说，这个故事既神秘又真实。它是坦率与狡诈、原始主义与矫揉造作、主题简单与形式复杂的综合。换句话说，为了表现一种前现代的土地生存——张炜对纯粹存在的乌托邦式想象——他运用了相当复杂的现代主义/后现代主义文学手法。--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 15:46, 21 December 2020 (UTC)
 ==Lin Min 林敏==

@@ Line 357: / Line 357: @@
 ==Li Yu 李玉==
 Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age.
 The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices.
 ==Lin Min 林敏==
 Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history.  Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [	For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.]

← Older revision		Revision as of 13:20, 21 December 2020
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	在那里，他几乎与外界隔绝，希望这种远离现代城市的放逐能让他的精神更接近土地和自然，从而重新感受中国人民的活力，重新发现中国文化的历史根源/乡土根源。正如所有评论家所认同的那样，这部小说对远古世界的再现成功地表现出了一种原始的天真和简单，一种涌动着生命力量和生命力的感觉——这是一种理想的存在形式。然而，在对过去进行去历史化的过程中，为了重新想象乡村那纯真和内涵丰富的黄金时代，作者别无选择，只能简单地在叙事种演绎其历史必然性。--[[User:Meng Ying\|Meng Ying]] ([[User talk:Meng Ying\|talk]]) 07:53, 21 December 2020 (UTC)Meng Ying		在那里，他几乎与外界隔绝，希望这种远离现代城市的放逐能让他的精神更接近土地和自然，从而重新感受中国人民的活力，重新发现中国文化的历史根源/乡土根源。正如所有评论家所认同的那样，这部小说对远古世界的再现成功地表现出了一种原始的天真和简单，一种涌动着生命力量和生命力的感觉——这是一种理想的存在形式。然而，在对过去进行去历史化的过程中，为了重新想象乡村那纯真和内涵丰富的黄金时代，作者别无选择，只能简单地在叙事种演绎其历史必然性。--[[User:Meng Ying\|Meng Ying]] ([[User talk:Meng Ying\|talk]]) 07:53, 21 December 2020 (UTC)Meng Ying
		+
		+	在那里，他几乎与外界隔绝，希望这种远离现代城市的放逐能让他的精神更为接近土地和自然，从而重新感受中国人民的活力，重新发现中国文化的历史根源/乡土根源。正如所有评论家所认同的那样，这部小说对远古世界的再现成功地表现出了一种原始的天真和简朴，一种涌动着生命力和动物天性的感觉——这是一种理想的存在形式。然而，在对过去进行去历史化的过程中，为了重新想象乡村那纯真和内涵丰富的黄金时代，作者别无选择，只能简单地在叙事种演绎其历史必然性。--[[User:Mashuya\|Mashuya]] ([[User talk:Mashuya\|talk]]) 13:20, 21 December 2020 (UTC)Ma Shuya

	==Mo Ling 莫玲==		==Mo Ling 莫玲==

@@ Line 482: / Line 482: @@
 Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact,  fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.
 ==Ma Zhixing 马智星==
 However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present.

← Older revision		Revision as of 08:59, 21 December 2020
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	然而，缺乏一个明确的时间框架，只会模糊和超越现实，神话，传说，魔术和故事之间的本体论界限。小说中充满了神奇的、神话的、超自然的人物和事件：牛干的尸体在他真正死亡前被风干了一段时间。一个叫金友的人可以从他的乳房里挤出牛奶。另一个人的眼球跳出来，变成了青蛙，消失在草丛中。龙然的母亲并没有因为喝农药而死，相反，她的头发变黑了，皮肤变软了。就像加西亚马尔克斯的《百年孤独》一样，这些神奇的事件在本体论的层面上以现实主义的方式呈现，就像其他“真实”事件一样。--[[User:Liubo\|Liubo]] ([[User talk:Liubo\|talk]]) 01:36, 21 December 2020 (UTC)		然而，缺乏一个明确的时间框架，只会模糊和超越现实，神话，传说，魔术和故事之间的本体论界限。小说中充满了神奇的、神话的、超自然的人物和事件：牛干的尸体在他真正死亡前被风干了一段时间。一个叫金友的人可以从他的乳房里挤出牛奶。另一个人的眼球跳出来，变成了青蛙，消失在草丛中。龙然的母亲并没有因为喝农药而死，相反，她的头发变黑了，皮肤变软了。就像加西亚马尔克斯的《百年孤独》一样，这些神奇的事件在本体论的层面上以现实主义的方式呈现，就像其他“真实”事件一样。--[[User:Liubo\|Liubo]] ([[User talk:Liubo\|talk]]) 01:36, 21 December 2020 (UTC)
		+
		+	然而，没有明确的时间框架，只会模糊和超越现实、神话、传说、魔法和故事叙述之间的本体论界限。小说中充满了神奇、神话和超自然的人物和事件:牛根的身体在他真正死亡之前被风吹了一段时间。一个叫金游的人能从乳房里挤出奶来。另一个人的眼球跳出来，变成一只青蛙，消失在草丛中。龙然的母亲喝农药之后却没有死亡;相反，她的头发变得更黑了，皮肤也变的更柔软了。与马尔克斯的《百年孤独》的相似之处在于这些神奇的事件在与其他“真实”事件相同的本体论水平上以现实的方式呈现。--[[User:Majuan\|Majuan]] ([[User talk:Majuan\|talk]]) 08:59, 21 December 2020 (UTC)

	==Liu Jinxingqi 刘金惺琦==		==Liu Jinxingqi 刘金惺琦==

← Older revision		Revision as of 08:50, 21 December 2020
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	Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies. Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.		Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies. Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.
		+
		+	就这一点而言，他还坚定地认为普通文化主义者通过一种奇怪的扭曲方式对市场文化及其大众消费者的极端“卑躬屈膝” ，由此变成推动由“汉族”构成的力量，以便在新一轮的东西方对抗中重新获得一种非常具有种族中心主义色彩的自我授权模式。
		+
		+	尽管张对“人民”的看法与新左派的看法非常接近，但他并没有把他们当作复制品来传达。相反，作为一个移动的但至关重要的批评立场，他提取了他们与欺骗性的“大众文化”斗争的关键效果，并将其植入他的边境侵犯策略中。--[[User:Wen Xiaoyi\|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi\|talk]]) 08:50, 21 December 2020 (UTC)

	==Wu Kai 吴恺==		==Wu Kai 吴恺==

@@ Line 472: / Line 472: @@
 ==Ma Juan 马娟==
 Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130).
 ==Ma Shuya 马淑雅==
 The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling.