20201221 trans

Cao Runxin 曹润鑫

The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung).

Another more recent sample is the expression “setting the tone” [定調子] describes the degree of condemnation in a Cultural Revolution era Big Character poster. This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.

在言语艺术中辨别出的音调会反映出人民与国家关系的情绪，这一观点通过中国文艺哲学频繁出现，并且频繁进入现代政治的世界，关于中国现代民俗运动的工作将证明这一点。--Cao Runxin (talk) 12:20, 20 December 2020 (UTC)

Chang Huiyue 常慧月

The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu). In a parallel strategy, contemporary zawen are written in covert form, more like “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope. In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.

在过去的二十年中，“语调”这个词（特别是调）具有负面含义，至少部分是因为其在政治文学斗争中的作用。即使编辑赞同“新调”的重要性，也将两者拉开距离。（杨，朱）。在类似的策略中，当代杂文以一种隐蔽的形式创作的，比起“呸呸呸”类的文章，更像“东站”类的文章吗？ 这明显地揭示了演说式的情感修辞。与20世纪80年代后期相比，近些年的杂文隐退在其他类型文章中。这种在杂文历史的背景中是非常熟悉的一种策略；隐藏的必要性只会增加“无意识地”不和谐的语调，它会被控制，又咬又踢，反映事实。--Chang Huiyue (talk) 13:45, 20 December 2020 (UTC)

Chen Han 陈涵

When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose. When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax. In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.

杂文首次作为一种现代文体出现时，明确是为了不自主地表达随即反应的情感、感想。1918年，胡适发表了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，"什么"已经在标准形式中表达了"what"的意思。--Chen Han (talk) 08:30, 19 December 2020 (UTC)

当杂文最开始作为一种现代文体流行起来时，其明确的目的是为了无意识地表达随即反应的情感。1918年，胡适发行了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，"什么"已经在标准形式中表达了"what"的意思。--Mo Ling (talk) 10:54, 20 December 2020 (UTC)Mo Ling

Chen Hui 陈惠

Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark. The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday. This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays.

Chen Jiangning 陈江宁

Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices. Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence. 胡适在其阐述中强调说杂文这一角色是对生活本身的一种回应。像大多数的诗歌，而不是小说或戏剧那样，杂文本身就是先发者的声音，而非是各种声音的再现。但它不像诗歌那样，可能会需要想象一下大声读出来的场景，不断重复并推敲，才能充分发挥作用。杂文能够达到的理想效果只显现在报纸背面的那一瞬间，在任何人可以“在杂文里找到座位然后坐下来”或因为杂文而冒犯他人之前，伴随着读者神秘莫测的笑声、叹气声或是不屑地发出哼声，人们早就将其抛诸脑后了。

胡适的表述强调了杂文对“生活本身”的回应。 像大多数诗歌一样，但与大多数小说和戏剧不同的是，杂文本身就是第一人称的声音，而不是声音的代表。 然而，与诗歌不同的是，诗歌是在大声朗读，重复和品尝中才能充分发挥作用，而杂文则是在报纸的背面短暂地出现，并伴随着诗歌的出现。 在任何人都可以“找到自己的座位并坐在座位上”或冒犯他人之前，令人迷惑不解的笑声，叹息声或打喷嚏然后迅速被扔掉。--Zhangqi (talk) 05:57, 20 December 2020 (UTC)

Chen Jiaxin 陈佳欣

Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard. In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text. 通用类别不是杂文倾向于混合的唯一方面；它们的特征通常是音调，风格和声音的突然变化，从一连串的窃窃私语转变为优雅，古典的谈话。与胡适（1918）的杂文思想是对报纸其他页面文章的“回应”一样，杂文仍然是大多数报纸的特色，几乎总是以直接引用作者读过或听过的东西的形式包含“箔”。除了创建微观的社会对话外，在作者和“箔纸”两种声音之间进行的这种划分还使样式和声音产生了令人头晕目眩的冲突，使句法，语法以及思想不可能包含在一个文本中。--Jessie Chen (talk) 05:40, 21 December 2020 (UTC)

Chen Jingjing 陈静静

Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen. The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.

文章中的语调是一种讽刺性的表达手法；你如何通过印刷油墨来传达声音中所承载的一切?在本文中，我试图通过“铿锵的”作品来说明语调的隐喻，特别是邵燕祥的作品，他是一位诗人，退休后他将诗歌化为论战的杂文即他的杂文并因此闻名。在当代中国，杂文所处的独特而饱受困扰的社会和文化空间揭示了中文写作语调的体系，意识形态和意义。比其他文学体裁相比，杂文更依赖于用喜怒无常，固执己见的声音中蕴含的某种东西来传达其信息。--Chen Jingjing (talk) 10:23, 20 December 2020 (UTC)Chen Jingjing

文章中的语调是讽刺的手法；你如何传达纸上的笔墨所承载的声音。本文中我尝试通过“浑厚的”作品解释语调的修辞，尤其是邵燕祥的作品，他是一位公认的诗人，退休后，他将诗歌分解成辩论文章，即他的杂文而闻名。在当代中国，这种区分和杂文处于受到社会和文化围困的空间揭示了中国文章语调的技巧、思想和意义。比起其他文学类型，杂文更依赖于喜怒无常的朴实的声音和固执的声音来传达信息。--Chang Huiyue (talk) 14:04, 20 December 2020 (UTC)

Chen Sha 陈莎

While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.

虽然读者讨厌当下具有道德挑衅性和政治挑衅性的杂文，但作家们却将这些跨越时间和出版机构的杂文串联起来以构建大量互文性的对话。最终，他们甚至保存了这些杂文，并在这些令人眼花缭乱的典故、笑话和挖苦被人遗忘很久之后，将这些具有职业价值的杂文汇编成小册，送给朋友和仰慕者，作为他们自己的散漫画像。因此，鲁迅像“匕首和矛”一样的文风不仅是一种狡猾的政治武器，也是一种复杂的文化自我雕塑，而这一雕塑是通过有争议且刺耳的社会对话凿刻出来。--Chen Sha (talk) 01:28, 21 December 2020 (UTC)

虽然读者讨厌具有道德挑衅性和政治挑衅性的时代杂文，但作家们却将这些跨越时间和出版机构的杂文串联起来以构建大量互文性的对话。他们甚至会保存这些杂文，并在这些令人眼花缭乱的典故、笑话和挖苦被人遗忘很久之后，将这些具有职业价值的杂文汇编成小册，送给朋友和仰慕者，作为他们自己的散漫画像。因此，鲁迅像“匕首和矛”一样的文风不仅是一种狡猾的政治武器，也是一种复杂的文化自我雕塑，而这一雕塑通过有争议且刺耳的社会对话凿刻出来。--Deng Jinxia (talk) 06:46, 21 December 2020 (UTC)

Chen Sunfu 谌孙福

Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”

“Pei Pei Pei! ”?

A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. Have I gotten so insensitive? Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.” It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.

附录：两大文本的翻译：《呸呸呸！？》和《东站》

《呸呸呸！？》

文坛外的一个朋友让我帮他找些关于“呸呸呸”的文章看。我呆呆地望着他，一言不发。接着，他解释说他在报纸上看到某地领导人举行了一场宴会，宴会上绝不能出现“呸呸呸”这样的话。可显而易见，当时的宴会上到处都是“呸呸呸”的声音。

是我太迟钝了吗？我有点怀疑，又有点好奇，于是就想弄清楚这件事。结果确实是人们在哪都不能说“呸呸呸”。这绝不能成为一种过去常用来描述党派、国家和人们，并散布消极情绪的嘲弄、讥讽和鄙视性话语。就好像到处都能看到问题有多普遍，有多严重，并不限于某个特定的时间和某个特定的地方。--Chen Sunfu (talk) 13:35, 20 December 2020 (UTC)

Chen Yongxiang 陈永相

A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers. After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers. But getting all people to read the newspapers is the goal of all those who follow the newspaper profession. In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read. They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.

很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了阅读报纸的责任，这部分群众也是报纸的间接读者。--Chen Yongxiang (talk) 12:30, 19 December 2020 (UTC)

很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了朗读报纸的责任，这部分群众也是报纸的间接读者。--Lin Min (talk) 13:40, 19 December 2020 (UTC)

Cheng Yusi 成于思

The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place.

I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei. Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write about the party, the nation and the people” sorts of “pei pei pei” pieces.

读者拥有最大的权力对报纸进行批评，我想有多少读者发现了某个地区遍地都是“呸呸呸”的现象。

作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是遵循的一般传统作出的判断），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，，更不用说天津和河北附近。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--Cheng Yusi (talk) 14:52, 19 December 2020 (UTC)

作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是按照约定俗成的惯例），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，更不用说天津和河北一带。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--Xu Jing2 (talk) 13:44, 20 December 2020 (UTC)

读者手握对报纸的最大批判权。我很好奇到底有多少读者发现某地区遍地都是“呸呸呸”文章。

作为一名读者，我订阅了几种大型报纸（那时报纸规模不分大小，可我却依然保留着这一习惯）此外，别人也寄些报纸给我看。我既没有闲情也没有闲钱在北京买小报看，更别说在天津河北哪些地方了。即便如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--Chen Sunfu (talk) 13:50, 20 December 2020 (UTC)

Deng Jinxia 邓锦霞

I could only hand back to my friend a blank report. But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.

我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--Deng Jinxia (talk) 13:32, 16 December 2020 (UTC)

我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--Yao Cheng (talk) 13:40, 16 December 2020 (UTC)

我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 "呸呸呸"的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 "叭叭叭"的文章是什么样的。--Zheng Huajun (talk) 13:44, 16 December 2020 (UTC)

Ding Daifeng 丁代凤

This suggestion is sincere, not just the usual politeness. In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.

这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--Ding Daifeng (talk) 03:07, 17 December 2020 (UTC)

这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--Ouyang Ling (talk) 08:11, 17 December 2020 (UTC)

这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--Zeng Fangyuan (talk) 08:49, 17 December 2020 (UTC)

这个建议很真诚，不仅仅是出于礼貌客套。为了让文学艺术，报纸刊物和文学作品发挥更好的社会效果，也为了将时代特性与群众心灵结合起来，报纸编辑，读者，以及那些该领域的负责人应该直接表达自身观点，犯错误时，彼此应该互相纠正并弥补，这时谁也没必要客套了。--Gan Fengyu (talk) 06:17, 20 December 2020 (UTC)

Fang Jieling 方洁玲

After reading this speaker's comments, there is another matter that mystifies me. According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” In reading all these newspapers, this is the first time I have seen this “stabilize the peoples mind” proposition. If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable. As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.

看了这位发言者的评论，还有一件事让我感到疑惑。 按照这个说法，"从接下来的两年（指今明两年）的纪律和整改来看，会有更多的新挑战、新问题，文艺刊物应该对稳定人心、增强信心有所帮助，而不是消磨人民的意志"。 看了这么多报纸，我还是第一次看到这个 "稳定民心 "的命题。 如果说要稳定民心，那就必须从民心不稳的假设出发。 至于民心不稳的原因，又回到了这两年的 "纪律整顿和新挑战、新问题 "上。--Fang Jieling (talk) 04:07, 21 December 2020 (UTC)

Gan Fengyu 甘奉玉

I am confused again. These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”? If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”? Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made. This is my request for instruction.

我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。如果你“纪律和纠正”越多，脑子里的“诸多新挑战和新问题”也越多，那为什么所有人还要去“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我还特别搞不懂“稳定人们思想”到底具体指什么，我也看不到提了什么具体要求。这就是我的要求，需要得到指导。--Gan Fengyu (talk) 06:39, 20 December 2020 (UTC)

我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。人们总是认为如果“纪律和纠正”越多，“新挑战和新问题”也就越多，那为什么所有人还要去做“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我搞不懂“稳定人们的思想”具体指什么，我也看不到任何具体要求。所以，我需要指导。--Gao Mingzhu (talk) 11:47, 20 December 2020 (UTC)

Gao Mingzhu 高明珠

The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment. As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture. 1989.2.21. Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社

文学期刊《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应。写到这里，我突然想到这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字都没办法讲完。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--Gao Mingzhu (talk) 01:51, 20 December 2020 (UTC)

文学报《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应他们的请求。写到这里，我突然觉得，这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字是无法叙述完的。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--Fang Jieling (talk) 04:19, 21 December 2020 (UTC)

East Station

Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.

东站

在30年前的北京，如果你提到“东站”，大家都会知道你指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写道：“铁路工人俱乐部”。它俨然已是一件“过时的老物件”了，而它过去那些繁荣与光辉也不在了。--Gao Mingzhu (talk) 01:51, 20 December 2020 (UTC)

在30年前的北京，如果你提到“东站”，大家都会知道，指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写着：“铁路工人俱乐部”。它俨然已是一件“古物”了，早已没有了往日的繁华与辉煌。--Fang Jieling (talk) 04:19, 21 December 2020 (UTC)

Gong Yumian 龚钰冕

This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol. Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station.

This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch. It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome. It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?

曾经，这个火车站象征着热闹繁华，也象征着赶火车的紧迫，无论是在白天还是黑夜，火车站里都是人来人往，有来自不同国家的旅客来到这座古都，也有旅客离开。到过北京的外地人，也许没有在香山漫步过，甚至没有参观过故宫博物院，但没有人会不记得这个火车站。

这个火车站，和北京其他地方一样，经历了一切，见证了繁荣和衰败的循环。它既欢迎自愿来北京的旅客，也欢迎被迫来北京的旅客，它欢迎有权有势的人，也欢迎那些它不欢迎的人。它送走了第一次来旅行的快乐的人，也送走了那些离去时伤心欲绝的人；他们中有多少人离开了这里，再也没有回来过？--Gong Yumian (talk) 14:38, 20 December 2020 (UTC)

Gu Dongfang 顾东方

When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it. He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower. His senses would have been struck with awe at the deep and solemn beauty. Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol?

当20岁的沈从文从湖南凤凰绕道来到北京时，他可能走出车站，在车站前的广场站了一会儿。 他一定会看到，先是统一排列的建筑，还有正阳塔的彩雕大门,因为在那些年，前面还有一个空间。 他的感官会被这深邃而庄严的美感所震撼。 他是否会想到，康（有为）和梁（七巧）在踏上逃亡的列车时，在匆忙中连回望心爱的都城的翼宫屋顶的时间都没有，就陷入了不可自拔的陷阱深处？

Guan Qinqing 管钦清

That year in July the canons sounded at Lugou Bridge. When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it. When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road.

那年七月，卢沟桥炮火连天。据天津报纸报道，从天津前往北平的铁路刚恢复通车，搭载的便是四千名红军战士。火车一到达北平东站，他们便踏上了流亡之路。不知在这群人中，是否有人预料到，经历了这段“幸运营救”很久以后的1958年，他们其中还有一部分人将悄然离开北京，踏上一段未知的旅程？--Guan Qinqing (talk) 03:08, 21 December 2020 (UTC)

Gui Yizhi 桂一枝

Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness. The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain. At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”

Head hanging, walking upon the rain-wet road; this is someone who has far to travel. Every window is weeping; this is someone reminiscing in the rain.

最近，我读了刘濛的《雨天的回忆》，写于1958年4月的一个雨天，当时他和一群人一起被送去了北大荒。 雨中的月台，雨中的火车头； 他故作深沉的回忆道，这记忆也被雨水洗净了。 当时的刘濛还很年轻，但是许多和他一起踏上这段旅程的人都陷入了上了年纪的艰辛中，当然每个人都有自己的“早年”经历。

耷拉着头，走在被雨打湿的街道上；这是一位来自远方的旅人。 每扇窗户都在哭泣；回忆起在雨中的那个人。--Gui Yizhi (talk) 07:38, 21 December 2020 (UTC)

Guo Lu 郭露

And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time he composed a poem “How much of the people's blood was spilled for this honor. Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I don't know why, but this poem was not collected in any of his later collections.

The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”

而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗："为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。" --不知道为什么，这首诗在他后来的作品集里都没有收录。

北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 "人民交通警察"，它一直是一个不断变幻的舞台。--Guo Lu (talk) 03:23, 17 December 2020 (UTC)

1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。

从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”

Han Haiyang 韩海洋

But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten. Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it. This leftover architectural structure does not even rate a “district preservation unit” marker. This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique?

Today will also become history. And every inch of Beijing earth will provide proof of its history.

1989. 9. 13

Please don't cut or change this date. The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.

但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？

今天也依然会成为历史。北京的每一寸土地都可以为此证明。

1989.9.13

请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。

但因为几乎每个人都在那里或多或少地 "表演 "过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 "区级保护单位 "的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？

今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。

1989. 9. 13

请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 "三十多年前 "相吻合。--Han Wanzhen (talk) 07:34, 17 December 2020 (UTC)

Han Wanzhen 韩宛真

Nostalgia without Memory: Reading Zhang Wei’s Essays In the Context of Fable of September

Jie Lu

Abstract

In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.

没有记忆的怀恋：阅读张炜的散文集 以九月寓言为背景

吕杰

摘要

在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--Han Wanzhen (talk) 07:23, 17 December 2020 (UTC)

He Changqi 何长琦

Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.

乡愁表现了人类疏远或疏离的一种基本状态，随着当代中国现代化和全球化的进程加快，范围扩大，乡愁也因此加深。对希望保持传统的社会道德守护者或社会良知角色的知识精英和希望维持纯文学与通俗文学区别的文学家来说，这种怀旧情绪他们深有体会。正是这种道德绝对主义和文学精英主义遭到了文化和社会经济变化的破坏。张志强笔下的怀旧主义所揭示的，与其说是对现代化进程的抵触，不如说是未能对中国现代性复杂性做深入的理解。--He Changqi (talk) 07:31, 21 December 2020 (UTC)

Hu Baihui 胡百辉

At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [* Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]

在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--Hu Baihui (talk) 08:17, 18 December 2020 (UTC)

在二十一世纪之交的中国，随着现代化和全球化的全面推进，出现了一个有趣的现象，许多作家没有歌颂这个全球化的新时代，反而将目光转向过去。如梁晓声、张承志、张炜等作家，怀旧已成为他们的主流文学模式，通过这种文学模式他们既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨1995年出版的《反抗妥协丛书》（迪康头像书西）一书中的怀旧的道德和文学意蕴。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--Jiang Fengyi (talk) 02:54, 19 December 2020 (UTC)

Hu Huifang 胡慧芳

Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[ Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000. ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture.

而不是将张的作品在当代知识争论激进主义的大背景(激进知识/文化话语)和(新)保守主义(anti-radical),(关于当代知识辩论的主要理论话语在中国,看到徐本的“争夺记忆知识Self-Positing: 1990年代在中国的新的文化保守主义”在中国现代文学和文化,Vol.11(春天,1999)157 - 193;陈建华“叙事论争的本土与全球:90年代末中国的自由主义与新左派”，载于《亚太传播》第9卷113-129;李世涛主编《知识分子的地位》三卷，《时代文艺社》2000年出版。我将从他1992年出版的广受赞誉的小说《九月寓言》的文学背景来探讨这个问题。 《九月寓言》以一种神话化、本质化的方式展现了历史，并因此以理想化的农业存在的名义抹去了历史。实际上，“土”在张维的著述中是一个超越的、包罗万象的概念，代表着一种理想化的、未受工业化和现代化污染的纯净状态。在他的文章中，这片土地被转化为一种社会和文学隐喻，象征着道德纯洁和文学精英主义，而不是作者所认为的普遍道德颓废和文学混乱的当代背景。这一理想被认为是实现社会、道德和文学救赎的一种手段，被提升为一种批判社会现实和大众文化的绝对标准。--Hu Huifang (talk) 11:23, 18 December 2020 (UTC)

Hu Jin 胡瑾

My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.

然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--Hu Jin (talk) 06:05, 18 December 2020 (UTC)

然而，在我看来，张炜在他的散文中将“土地”具体化为一个先验隐喻，这只能说明作者对中国现代性的复杂性缺乏深刻的历史见解。他只是拒绝接受社会和文化的困境和矛盾作为永久固定的知识和文化景观。与此同时，张炜对消费主义和全球主义的直接批判也表明了他对现代化的矛盾心理。随着中国的后社会主义社会现实变得更加复杂和苛刻，文化形态更加多样化和无组织化，任何基于前现代社会关系和规范的明确的道德解决方案(假定一个先验领域的乌托邦愿景)都不再有效。也不足以解决现代化和全球化进程所带来的文化危机感。--Tang Bei (talk) 06:00, 21 December 2020 (UTC)

Ji Tiantian 纪甜甜

The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.

当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--Ji Tiantian (talk) 13:51, 16 December 2020 (UTC)

当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--Li Luyi (talk) 14:24, 16 December 2020 (UTC)

Jiang Fengyi 蒋凤仪

As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.

正如丛书主编在序言中所说，这部作品是专门写给那些当代 "文学英雄 "的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 "反抗文学 "的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--Jiang Fengyi (talk) 09:29, 18 December 2020 (UTC)

正如丛书主编在序言中所说，该作品是专门写给那些当代 "文学英雄 "的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。这些文学英雄之所以被认可，是因为他们敢于站出来，高举 "反抗文学 "的旗帜（萧 1995，二），抨击了当时的文学堕落和道德沦丧。--Li Haiquan (talk) 12:57, 20 December 2020 (UTC)

Jiang Hao 姜好

In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).

在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--Jiang Hao (talk) 12:19, 17 December 2020 (UTC)

通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--Jiang Qiwei (talk) 03:21, 18 December 2020 (UTC)

Jiang Qiwei 蒋淇玮

But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.

但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--Jiang Qiwei (talk) 03:09, 18 December 2020 (UTC)

但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--Yang Hairong (talk) 04:31, 18 December 2020 (UTC)

Kang Haoyu 康浩宇

Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [ Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays. His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[ Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics. ]

张炜主要以小说家闻名。他的主要小说包括《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》。【《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》均收录于《张炜文集》(上海:上海文艺出版社，1997)。]他还出版了许多散文集。他在《焦虑和愤怒的归途》中收集的作品包括散文、谈话和采访。这些文章没有用如此强烈的声音和直白的方式表达这种不妥协的立场。相反，张提出了以一个文学人格作为一种自我表现。他表现为一个理想化的个体，在各方面都体现了一个人和艺术家或作家的纯粹道德品质。这个理想化的人是一个战士，与时尚潮流和各种邪恶势力进行着孤独而英勇的斗争(肖 1995，6)。【《焦虑和愤怒的归途》既包括张炜的散文，也包括各种评论家的评论文章。在这篇论文中，我将使用这本文集的编辑萧夏林作为参考，为张炜和其他评论家的文章提供文本内引文。]--Kang Haoyu (talk) 04:09, 19 December 2020 (UTC)

Kang Lingfeng 康灵凤

As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”

作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--Kang Lingfeng (talk) 09:14, 17 December 2020 (UTC)

作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--Kong Xianghui (talk) 02:56, 18 December 2020 (UTC)

Kong Xianghui 孔祥慧

He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.

张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--Kong Xianghui (talk) 02:43, 18 December 2020 (UTC)

他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--Hu Baihui (talk) 08:22, 18 December 2020 (UTC)

Kong Yanan 孔亚楠

Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television).

接着，张炜的自我体现也是一种自我合法化形式，这种形式赋予他一种文学氛围和声明高尚的道德立场的合法性。从这个特权立场的立场出发，他继续诠释、再现、明确表达、定义以及评价了文学、社会和人类生活的本质、意义和标准。通过他全部的文章包括采访、会谈和讲座，我们可以发现，张炜就像一位有自我风格的专家，不断地给大学学生、年轻作家和讲座迷关于写什么、如何写以及怎样生活的问题提供建议。这些建议完全基于高雅文学和通俗文学之间鲜明的区别以及他对大众文学（以电视节目为代表）的毫不掩饰的批判。--Kong Yanan (talk) 05:40, 20 December 2020 (UTC)

Lei Fangyuan 雷方圆

In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism. 从广义上讲，我们可以看到他的自我表现是对中国知识分子在社会中扮演的传统角色的重要重申。要求权威声音是在知识和权力结构内维持知识分子精英阶层特权地位的基础。 因此，张的自我表象无非是试图根据对高级文学和通俗文学之间的明显区分来重新确立知识分子精英在文学和社会中的作用。在不断进行的知识/文化话语改革中，这场争夺文化优势和霸权的权力斗争在很大程度上定义了社会主义之后中国的社会文化条件。--Lei Fangyuan (talk) 01:37, 21 December 2020 (UTC)

Lei Kuangxi 雷旷溪

Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.

在张炜的文章中，最重要的部分可能是他对 "土地 "概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 "农村知识分子 "的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 "纯文学 "的社会功能和审美功能，对文化现实的各个方面进行批判。--Lei kuangxi (talk) 08:22, 18 December 2020 (UTC)Lei Kuangxi

在张炜的文章中，最重要的部分可能是他对 "土地 "概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 "农村知识分子 "的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。野地、山川、灌木、绿色的庄稼、海洋是自然的象征，而土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 "纯文学 "的社会功能和审美功能，对文化现实的各个方面进行批判。--Kang Haoyu (talk) 04:12, 19 December 2020 (UTC)

Li Haiquan 李海泉

Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.

张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--Li Haiquan (talk) 12:41, 16 December 2020 (UTC)

张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--Ji Tiantian (talk) 14:56, 16 December 2020 (UTC)

张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--Jiang Hao (talk) 12:21, 17 December 2020 (UTC)

张将通俗文学与低级、无文化品位的影视文化联系在一起，批评当前的中国文学批评过分受外国文学术语的影响。他的领域观甚至是一种道德标准，他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--Li Lingyue (talk) 05:28, 20 December 2020 (UTC)

Li Lili 李丽丽

But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence. 但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。"[城市]是一片被肆意改造的野地，我终将离开它"（萧1995，19）。后来他声称，一个真正的艺术家应该是 "土地的崇拜者"（萧1995，60）。在张先生看来，"土地 "的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--Li LIli (talk) 15:07, 16 December 2020 (UTC)Li Lili

但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。"[城市]是一片被肆意改造的野地，我终将离它而去"（萧1995，19）。后来他声称，一个真正的艺术家应该是 "土地的崇拜者"（萧1995，60）。在张先生看来，"土地 "精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--ZHOUYUJUAN (talk) 00:57, 17 December 2020 (UTC)

Li Lingyue 李凌月

The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September.

于是，这片土地指向了一个理想的超然境界，不受现代世界的污染。但只有在高度文学化、暗示性、情感化的语言和自然意象和类比中，土地的概念才显得非常抽象和不真实。作者自己问：“野地到底是什么？它在哪里存在？它真的包含了我想象中的纯真世界吗？”（肖1995，30）。事实上，作为一个无所不包、无所不在的隐喻，土地在他的散文中从来没有一次被清晰、客观地定义过。无论是表现为母亲形象的人格化、永恒存在的化身，还是各种理想品质和价值观的组合，张的“土地”缺乏作为道德和社会隐喻的实质性的力量。但是，如果我们要为这个概念找到一个本体论的锚定，只能在他著名的小说《九月寓言》中找到。

Li Liqin 李丽琴

In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.

阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--Li Liqin (talk) 14:41, 16 December 2020 (UTC)

在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--Guo Lu (talk) 03:26, 17 December 2020 (UTC)

Li Luyi 李璐伊

In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel Fable of September is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, Marginality. Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.

与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--Li Luyi (talk) 14:08, 16 December 2020 (UTC)

与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--Li Liqin (talk) 14:58, 16 December 2020 (UTC)

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. 一般而言,小说描绘的是一个前现代的小村庄被工业化所消灭的"历史"图景。 但这部小说真正关注的是某些值得纪念的事件和人们,这些事件是它存在30至40年的最后部分(尽管具体时间长短尚存疑问和不清楚)。 小说分为7部分,每部分集中讲述一个人物或一个家庭的故事。 这些故事是相互关联的,同时又掺杂着神话,传说,轶事以及神奇或奇异的事件,从而勾勒出村落的一种"历史"。--Li Meng (talk) 08:08, 22 December 2020 (UTC)

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). 然而,具有讽刺意味的是,在描述村庄的时间轮廓时,历史并不是太正确的术语。因为突出村庄生活的主要特征是“土地” /食物（更具体地说是地瓜） 与村庄在一起，并在村庄中使用某种讲故事的方式来回忆过去的苦难。 这些特征作为村庄存在的精要指标，不是暂时的运动，而是永恒的存在。 围绕这三个要素，村庄的生活艰苦，简单，不变且与原型亲密。 年轻人要用尽他们充沛而烦躁的精力的唯一方法是晚上在野外奔跑和嬉戏，已婚夫妇殴打妻子并做“托杯”（“ ba houguan”）。--Li Yongshan (talk) 15:42, 19 December 2020 (UTC)

讽刺的是，历史并不是一个描述村庄时间轮廓的正确术语，因为村庄生活突出的中心特征是“土地”/食物（更确切地说是番薯）、留在村子里的传统想法和一种村里常用的回忆过往苦难的特殊的讲故事的方式。就像村庄得以存在的典型标志，这些特征标志的是一个永恒的存在，而不是一个暂时的运动。以这三个要素为中心，村里的生活艰苦、简单、始终如一、并接近典型的村庄生活。夜里，在野外奔跑、玩耍成了年轻人将充沛且静不下来的精力耗尽的唯一的方法，而已经结婚的人则是通过殴打他们的妻子以及拔火罐来消耗其精力。--Kong Yanan (talk) 06:03, 20 December 2020 (UTC)

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.

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。--Li Yu (talk) 15:46, 21 December 2020 (UTC)

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.]

This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.”

正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对按时间叙事的否定。读者几乎不可能分辨出该村历史的实际时间表。即使是从三十年代到七十年代的时间跨度，以及叙述世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间安排的完整讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]

这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--Lin Min (talk) 13:35, 19 December 2020 (UTC)

正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对时间性的叙事否定。读者几乎无法了解到该村历史发展的实际进程。即使是从二十世纪三十年代到七十年代的时间跨度，以及所叙述的世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间线索布局的详尽讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]

这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--Cheng Yusi (talk) 01:19, 20 December 2020 (UTC)

Lin Xin 林鑫

The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends.

唯一的时间指标是雨季，抑或是冬季鹅毛大雪，或者是秋季田野里盛产红薯和豆子的时期。这些季节性标志比人类世界中的时间标志，比如年、月、日，更能在本质上表明变化。这些自然界的标志物的作用是使故事进一步远离真实的历史框架，而更接近于前现代的农业生存模式，仿佛人类的生活是由自然本身"定时"的。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即被消解为众多乡村传说中的一种。--Lin Xin (talk) 13:11, 18 December 2020 (UTC)

唯一的时间指标是雨季，或是下起鹅毛大雪的冬季，或田野里红薯和豆子丰收的秋季。这些季节性标志比人类世界中的时间顺序标志，更能在本质上表明变化。这些自然界的标志物使故事进一步远离真实的历史框架，而更加接近前现代的农业生存模式，仿佛人类的生活由自然本身“定时”。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即隐入为众多乡村传说中的一种。 --Chen Han (talk) 08:54, 19 December 2020 (UTC)

Ling Zijin 凌子瑾

For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is erased from the village’s background all together. The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).

如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。

小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--Ling Zijin (talk) 14:41, 16 December 2020 (UTC)

如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。

小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--Ding Daifeng (talk) 03:21, 17 December 2020 (UTC)

例如，“忆往昔”这一重要的村集体活动，由文革时期的政治话语，转变为凝聚村社、创造历史、创造传奇的叙事形式。从本质上说，人们把历史从村庄的背景中全部抹去。小说对历史背景的超脱也意味着对历史解释和意义范式的形而上否定，其特征是因果、进步、目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和所指出的，张的村庄以三种形式存在：现实中的、传说或神话中的以及口述故事中的。--Liubo (talk) 01:41, 21 December 2020 (UTC)

Liu Bo 刘博

However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death. A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s One Hundred Years of Solitude, these magical events are presented in a realistic mode on the same ontological level as other “real” events.

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。--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。--Majuan (talk) 08:59, 21 December 2020 (UTC)

Liu Jinxingqi 刘金惺琦

In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality.

The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses.

换句话说，魔法是每天都有的。 因此,本体论表示形式进一步否定了历史的时间性。 小说中缺少的历史时间也否定了历史解释。相反，神话和传说承担着历史解释的功能。神话中解释了这个小村庄的起源，这个神话是关于一群流浪者的，这些流浪者经过漫长的旅程已经精疲力尽了，他们停下来，然后定居在一块可以为他们提供食物的土地上。具有承载能力的猴子精神的故事成为对社会分层和剥削的神话解释，这进一步背离了历史语境。--Liu Jinxingqi (talk) 10:37, 20 December 2020 (UTC)

换句话说，魔法每天都有，而本体论表征层面的越轨，进一步否定了历史时间性。 小说中历史时间的缺失也否定了历史解释。相反，神话和传说承担了历史解释的功能。小村子的由来在一个神话中得到了解释，这个神话讲述了一群流浪汉经过长途跋涉后疲惫不堪，停了下来，在一块可以为他们提供食物的土地上定居下来。故事中具有承载能力的猴子精神成为社会分层和剥削的神话阐释，这进一步背离了历史和正面的论述。--Liu Yangnuo (talk) 12:42, 20 December 2020 (UTC)

Liu Liu 刘柳

These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations.

As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).

这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。

正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--Liu Liu (talk) 13:37, 16 December 2020 (UTC)

这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。 南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--Ling Zijin (talk) 14:43, 16 December 2020 (UTC)

Liu Ou 刘欧

If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.

Liu Yangnuo 刘洋诺

Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition. 通过讲故事，叙述者个人经历与神话、魔法混合在一起，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的叙述者讲述过去。因此，叙述者在讲述他自己的经历和别人的经历时，同样也在讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，从而保持传统。--Liu Yangnuo (talk) 12:34, 20 December 2020 (UTC)

通过讲故事，将叙述者的个人经历融合了神话、魔法，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的人讲述过去的经历。因此，叙述者在讲述自己的经历和别人讲述的经历时，反过来也成为那些听他讲故事的人的经历，讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，保持传统。--Gong Yumian (talk) 15:23, 20 December 2020 (UTC)

Liu Yi 刘艺

Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.

金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 "活生生的即时性 "的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--Liu Yi (talk) 14:37, 16 December 2020 (UTC) 金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 "活生生的即时性 "的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--Li LIli (talk) 15:24, 16 December 2020 (UTC)Li Lili

Liu Yiyu 刘怡瑜

And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation.

Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.

而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。

因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--Liu Yiyu (talk) 08:06, 18 December 2020 (UTC)

这种前现代的乡村生活只有通过讲故事的方式来进行叙述，因为与神话、传说、还有魔幻的事物混杂在一起的历史感和现实体验超越了我们现代化和理性表达模式下的正常感受。

因此，前现代主义以生活和讲述模式为特点，后现代主义方式拥有复杂叙事策略，这两者的结合也指向了讽刺，而只有通过讽刺才能通过风格化的手段重新呈现这个自然的前现代世界。这里张玮遇到了与著名道教代表人物庄子类似的悖论。尽管庄子怀疑语言，但是他也只能通过语言来想象一些又不能言表的道。--Liu Zhiwei (talk) 08:00, 20 December 2020 (UTC)

Liu Zhiwei 刘智伟

In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence.

换句话说，语言将人类和自然区别开来，而庄子也是通过语言想象了一些超验的东西。张玮前现代主义绝不是不可言表的。然而，它的“他者性”及其对现代世界的另类性，只能在我们的现代世界中被感知，并通过现代主义或后现代主义的复杂手段来表现。乌托邦文本中心存在着一种绝对的讽刺，即原始的或前现代的东西，它只在我们的现代文化条件下无法被想象和表现。尽管作者本人在反复批判后现代主义、否认后现代主义的必然影响时，仍没有意识到这一点。--Liu Zhiwei (talk) 01:46, 21 December 2020 (UTC)

换句话说，语言将人类和自然区别开来，而庄子也是通过语言想象了一些超验的东西。张炜的前现代主义绝不是不可言表的。然而，它的“他者性”及其对现代世界的另类性，只能在我们的现代世界中被感知，并通过现代主义或后现代主义的复杂手段来表现。乌托邦文本中心存在着一种绝对的讽刺，即原始的或前现代的东西，它无法在我们的现代文化条件下想象和表现。尽管作者本人在反复批判后现代主义、否认后现代主义的必然影响时，仍没有意识到这一点。--OUYANGJINGLAN (talk) 08:22, 21 December 2020 (UTC)OuYang Jinglan

Lou Cancan 娄灿灿

So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time.

因此，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所堕落的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--Lou Cancan (talk) 11:37, 19 December 2020 (UTC) 所以，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所降临的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--Mo Nan (talk) 11:37, 19 December 2020 (UTC)

Luo Weijia 罗维嘉

Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.

In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques.

Luo Yuqing 罗雨晴

It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events.

显而易见的是，这一原型村落的创作体现了作者对前现代过去的深切怀旧和对理想存在状态的乌托邦式追求。这个永恒的地方代表了作者试图从商业刺激性的怀旧到作为根本的中国根的农村的过去，重新定位中国当代的地理和文化怀旧。然而，在小村庄的表现中缺乏直接的时空参照，使得他的怀旧更接近于想象，或者更接近王大卫所说的想象怀旧（1993，107）。换言之，他对这个小村庄的怀旧表现缺乏真实的记忆。这一点在他精心设计的一种时间叙事结构、对神话传说和那些神奇事件的预言上表现得尤为明显。--Luo Yuqing (talk) 13:53, 19 December 2020 (UTC)

很明显，这个原型村的创建体现了作者对前现代历史的深刻怀旧和他对理想状态的空想。这个永恒的地方代表了作者试图重新定位中国当代地理和文化怀旧情怀，从商业刺激的怀旧情怀到农村作为中国人的根本根基。然而，在《小村庄》的呈现中缺乏直接的时空参考，使他的怀旧感更接近于想象，或者更接近于大卫·王所说的虚构怀旧（1993：107）。换句话说，他对小村庄的怀旧表现缺乏实际记忆。在他精心设计的时空叙事结构，对神话，传说和那些神奇事件的预言中，这尤其得到了证明。--Ou Rong (talk) 12:28, 20 December 2020 (UTC)Ou Rong

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).

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)。--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)--Li Yu (talk) 15:58, 21 December 2020 (UTC)

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.

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.

明显的不一致说明了怀旧的本质，即既是一种质朴的立场，又是一种感觉的结构。

然而，形式上的复杂性与原始存在之间的不一致是我们后现代主义中国文学和文化生产的一个标志。 在讨论第五代电影时，雷伊·周指出，原始主义常常与现代主义/后现代主义有关。按照周的定义，“原始激情”出现在“文化危机时刻”。 这是一个虚构的事实，是一种对在建设后发生的原始农村根源的感觉上的虚构（1995，22-23）。周的原始激情理论则是基于她对新中国电影的研究。--Mashuya (talk) 13:18, 21 December 2020 (UTC)Ma Shuya

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.

The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel.

Meng Ying 孟莹

There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.

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。--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。--Mashuya (talk) 13:20, 21 December 2020 (UTC)Ma Shuya

Mo Ling 莫玲

The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.

最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--Mo Ling (talk) 07:26, 17 December 2020 (UTC)Mo Ling

小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--Liu Yiyu (talk) 08:10, 18 December 2020 (UTC)

Mo Nan 莫南

The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109).

So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing. 张艺谋在再现中国乡村历史时所面临的道德困境，与寻根作家所面临的困境相似:在追寻“中国性”实质的同时，也发现了中国社会和文化传统中令人不悦一面。这种道德困境在小说的叙事中也有反映。奇幻事件在解构历史表象的现实主义范式的同时，也创造了一幅具有异域风情的乡村生活画面。正如王大卫指出的那样，怀旧的对象也很容易与异国情调联系在一起(1993,109)。 因此，如果我们在张大千的小说中找到某种物质来支持他超然而空洞的“土地”隐喻，那么这种“物质”仍然不够具有吸引力和吸引力。--Mo Nan (talk) 07:26, 17 December 2020 (UTC)Mo Nan

Nie Xiaolou 聂晓楼

A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.

原始的村庄生活也不过如此：它是基础的、本能的，以食物和性为中心。土地的意义与食物密切相关，事实上，村民们坚守在这片土地上的原因是这片土地可以生产出足够的食物来维持他们的群落。对年轻村民夜游野地的狂欢场面的描写得到了众多中国评论家的高度赞扬，然而在我看来，它代表的是一种无限的孤独或一种简单的快乐——这些人生活在一个极端封闭、贫穷的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--Nie Xiaolou (talk) 01:14, 21 December 2020 (UTC)Nie Xiaolou

原始的乡村生活仅此而已：它是基础的、本能的，以食物和性为中心。 土地的含义与食物息息相关；事实上，村民坚守这片土地的原因是它能生产出足够的食物来保护他们的。 狂欢节般的场面描绘了村里的年轻人在夜晚狂野地嬉戏，尽管许多中国评论家都赞不绝口，但在我看来，这并不代表无限的孤独或一种简单的喜悦，这些人生活在极其贫困、封闭的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--Lei Fangyuan (talk) 01:50, 21 December 2020 (UTC)

原始的村庄生活也不过如此：基础、本能，以食物和性为中心。土地的意义与食物密切相关，事实上，村民们坚守在这片土地上的原因是这片土地可以生产出足够的食物来维持群落的生活。对年轻村民夜游野地狂那狂欢场面的描写得到了众多中国评论家的高度赞扬，然而在我看来，它代表的是一种无限的孤独或一种简单的快乐——这些人生活在一个极端封闭、贫穷的世界里。这些年轻人长大成人后，这种生活方式很快造就了他们毒打老婆的行为，令人更觉悲哀了。--Meng Ying (talk) 07:56, 21 December 2020 (UTC)Meng Ying

Ou Rong 欧蓉

The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.

村庄的社会习俗，思维方式和传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量简单地消除了静态和周期性的存在形式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统农村地区更广泛的历史影响力和缺乏文化灵活性。许多批评家，包括作者本人在内，都认为土地的意思是代表某种精神。但是，除非位于某个地方，否则这种精神只能保持一种空洞的结构。--Ou Rong (talk) 12:25, 20 December 2020 (UTC)Ou Rong

村庄的社会习俗、思维方式及传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量很容易便消除了这种静态、周期性的生存方式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统乡村地区更为广泛的历史影响力以及缺失的文化灵活性。许多批评家，包括作者本人在内，都认为土地代表着某种精神。但是，倘若精神无处安置， 这种精神只是一种空洞的存在。--Nie Xiaolou (talk) 01:25, 21 December 2020 (UTC)Nie Xiaolou

Ouyang Jinglan 欧阳静兰

Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays.

Fable of September, as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.

然而，正是这种结构上的空虚，让张炜的散文充满了许多意义。

张炜的《九月寓言》和散文，体现了他对真理和道德的追求。这种道德基础不是建立在以城市中心为代表的科学知识和市场经济的理性建构的现代世界上的，而是基于简单的乡村生活。这种探索源于作者对现代文明某些方面的幻灭。在张炜看来，“现代工业文明代表了一种美的形式，然而这种形式容易伤害到另一种更根本、更永恒的美。理想主义者都希望这两种形式的美能够和谐地存在，不会有太大的冲突。

--OUYANGJINGLAN (talk) 08:19, 21 December 2020 (UTC)OuYang Jinglan

Ouyang Ling 欧阳玲

But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, Fable of September is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.

......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--Ouyang Ling (talk) 07:00, 17 December 2020 (UTC)

但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--Peng Dan (talk) 11:54, 17 December 2020 (UTC)

Peng Dan 彭丹

Nevertheless, Zhang’s use of the central concept of “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.

然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--Peng Dan (talk) 11:46, 17 December 2020 (UTC)

然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--Xu Mengdie (talk) 01:10, 18 December 2020 (UTC)Xu Mengdie

Peng Juan 彭娟

However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like Fable of September. But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world. 然而，对消费主义、全球主义和后现代主义的绝对排斥，未能认识到它们在当代中国社会重构中的力量和必然性。这些发展所造成的问题已经使得解决问题超越了道德论述的范畴。中国日益复杂和不断变化的社会和文化现实需要更加深刻和成熟的理解。最后，我认为，在今天的后冷战时代，社会主义与资本主义的对立，已经失去了其相关性和意义，对抗的思想范式必须被谈判的范式所取代。怀旧之情也许总是在吸引着我们，我们也许总是愿意沉浸在想象中的过去之旅中，讲一些像“九月寓言”这样的故事但作为一个批判的立场，它并没有装备我们有效地处理复杂的进程，文化改革发生在当代中国和世界。--Pengjuan (talk) 12:29, 20 December 2020 (UTC)penguan

Works Cited（不用翻）

Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)

Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968)

Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)

Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)

Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)

Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.

Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)

Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994)

Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)

Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a

Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105

Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)

Peng Ruihong 彭锐宏

Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's "Religious Sublime"

Xinmin Liu

Abstract

Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums. In this "war of words," no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi.

Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern. Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat. His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent.

“”破译民粹：围绕张承志“宗教崇高”的文化论战”

 刘新民

摘要

自1990年代中期以来，中国三文通过在期刊，富尔登报纸，系列丛书和论坛上对社会和文化问题的激烈争论而目睹了高涨。 在这场“口水战”中，没有哪个作家像张承志那样多产，挑衅和有问题。

张的文章对中国知识分子缺乏精神信仰，他们屈服于全球消费主义和后现代主义提出了严厉的批评。 在民粹主义热心的推动下，张赞赞扬中国穆斯林对宗教信仰的热爱，对物质富足的蔑视，并与他们生硬但未受污染的生境联系在一起。 他的民粹主义对宗教超越的态度与他认为今天的知识界的对立是模棱两可和矛盾的。

Peng Xiaoling 彭小玲

It wavers between subaltern politics and religious fundamentalism. It falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.

In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception. Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”

它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。

在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--Peng Xiaoling (talk) 11:51, 17 December 2020 (UTC)

它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。

在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--Xu Pengfei (talk) 14:45, 17 December 2020 (UTC)Xu Pengfei

Peng Yongliang 彭永亮

With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing. But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle. Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world. One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve.

随着战线的频繁重新划分和日益模糊，这一轮的文化论战呈现出狂野的搏击、毫无保留的摔跤和难以捉摸的影子拳击的特点。 但是，文章的形式忠实于它的论文（或者说，论断）角色，以适当的多情、不和谐而又自信的姿态迎接挑战。 因此，事实证明，它最能表达后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：近来，论文以其新奇的分支淹没了公共媒体：除了常见的文学和政治论文外，还出现了理财论文、休闲论文、摄影论文、网络论文等。但正是有了上世纪90年代的文化论战，读者才见证了论文形式最惊人的新奇、灵巧和魄力。 --Peng Yongliang (talk) 03:21, 21 December 2020 (UTC)

由于战线不断被重新划定，并变得越来越模糊，这一轮的文化论战呈现出一种狂野的猛击、毫无保留的摔跤和难以捉摸的太极拳的特点。但文章的形式忠实于它的论文（或者，也可以说是分析性的）的作用，这篇文章以其多变、不和谐和自信的姿态迎接了挑战。因此，它最能表现后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：最近，论文以其新奇的分支充斥着公共媒体：除了常见的文学和政治文章外，还出现了理财论文、休闲论文、摄影论文、网络随笔等等。但是，正是有了20世纪90年代的文化论战，读者才见证了论文最令人惊叹的新奇、灵巧和神韵式。--Zhang Xueyi (talk) 03:59, 21 December 2020 (UTC)

Peng Yuzhi 彭育志

One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze. To that end, we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive. At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar.

想要理解散文这一形式让作家们在“文字之战”中做到了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--Peng YuZhi (talk) 08:34, 19 December 2020 (UTC)

想要理解散文这一形式让作家们在“文字之战”中获得了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--Lou Cancan (talk) 11:44, 19 December 2020 (UTC)

Qi Kai 漆凯

Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed. At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing Xinling shi and pleaded to his readers in all earnest, “there will no longer be this “me” from now on. Please banish me from your memory. … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[ Zhang Chengzhi, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.] But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards?

称赞为一本书的作者一手救赎整个二十世纪中国写作,张风头正劲的顺风非常受欢迎的新陵史(历史的灵魂,1992)和似乎已经回到了公共论坛和他东拉西扯的浮力重新和他的“神圣”的使命感再次。乍一看，这似乎不是当年的张承志，他在完成《新灵诗》后，因精神上的崇高而狂喜，并真诚地向读者祈祷:“从今以后，不会再有这个‘我’了。”请把我从你的记忆中抹去。……我甚至连自己都感到惊讶，有了这本书，我竟然能让自己停下来。张承志:《灵魂史》(广州:花城初社1991)311。但是章子怡有没有退出公共论坛，在随后与读者进行的对话中抹掉自己的声音呢?--QiKai (talk) 11:20, 19 December 2020 (UTC)Qi Kai

张承志被一些人赞誉为一本书拯救了整个二十世纪的中国写作，他乘着《心灵史》（《灵魂史》，1992年）大受欢迎的顺风，似乎又回到了公共论坛，他的话语权又恢复了，他的 "神圣 "使命感又重新被唤醒。 乍一看，这似乎不是那个完成《心灵史》后被自己升华到的精神境界所折服，向读者诚恳恳地恳求："从今以后，不再有这个'我'了 "的张承志。请把我从你们的记忆中驱逐出去。......我甚至已经把自己吓了一跳，有了这本书，我可以让自己如此戛然而止。"[张承志，“心灵史”（广州：花城出版社，1991）311。但是，张承志在此后与读者的持续对话中，是否曾退出公共论坛，放逐自己的声音？--Peng Yongliang (talk) 03:25, 21 December 2020 (UTC)

Qu Miao 瞿淼

And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s?

Indeed, at the height of his unexpected fame in 1992,[ Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life. While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his Han Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[ This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).]

他是否意外地加入了那些逃避现实的知识分子的行列?面对20世纪90年代初的社会压迫和身份错位，他们自以为是地击退了退缩。

的确,在1992年他意想不到的名声的高度,(张承志再三声明在他所写的文章在这个时候,他自愿终止他的职业生涯作为一个职业作家的渴望被拥抱的穆斯林社区,他厌恶的作家和知识分子一般没有做什么面对猖獗的消费主义价值观。 张毫不犹豫地宣布，他的职业作家生涯已经结束，他将回到中国西北贫瘠的黄土地区的穆斯林社区，开始新的生活。 虽然是真的,他口头宣布放弃他的信仰与主流知识分子,他的领带,否则事实证明:他既继承遗产的对话的潜力他早期散文一样他据称摆脱“汉族”中国教育,也不否认他增长的知识环境,好像那些名片他象征性地厌恶地撕碎了。 (这一象征性的行为在他的一篇“立场陈述”文章《我撕名片的方法》中作了详细的辩护，发表在《无辅助的思想》(人类文艺出版社，1999)。)--Qu Miao (talk) 07:36, 21 December 2020 (UTC)

Quan Meixin 全美欣

Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the Jahriyya Muslims,[ A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity. While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary. Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive. Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones.

张先生不能抛弃他的写作形式，其通过写作蔑视官方历史的虚假神圣性并赞扬“贾赫里亚”穆斯林的纯正和廉洁行为。（中国穆斯林的一个教派，通常被认为是伊斯兰宗教的苏菲派的继承者。）在这中展现出非凡的话语权和重塑的种族身份帮助他重回舞台。 虽然他仍然作为一个孤独的战士追求精神朝圣，但他几乎无法在一个想象的避难所中维持知识分子的隐居。 尽管由于他的好斗和自我骄傲的语气常常使他的观点变得难以接受，但我们不一定非要因他不明智的姿态而推迟，这种姿态要比实质性的要夸张得多。 相反，我们受其敦促来超越他的论证模式，并发现不可避免的文化对话吸引他，使他重新回到话语战区的前线。--Quan Meixin (talk) 01:55, 21 December 2020 (UTC)

Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.

自1990年代中期以来，张发表的论文产生了极大的吸引力和影响力，他的批判观点故意模糊了个人承诺与公众良心之间的界限。--Quan Meixin (talk) 01:55, 21 December 2020 (UTC)

Sagara Seydou

Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center. In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in History of the Soul, was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics. Akin to the self/other-conscious tone of Martin Buber’s I and Thou, Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[ Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.” Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 & 2, 113-29. ]

很少有人相信简单的文化综合，他在公共辩论的交火中fire壮成长，并对知识分子主流人士造成严重破坏，他们的社会合法性已经与官员和意识形态中心进行了复杂的联络。从某种意义上说，构成他以前的自我的身份（即“我”）已经在公开抗议的边界上蓄势待发，该人在“灵魂历史”中灵活地讲述了一个被压迫者的隐藏历史。在官方历史和大众回忆录之间，在文化批评和认同政治的话语之间，还有个人的疑虑。类似于马丁•布伯（Martin Buber）的《我和你》 的自我/其他意识语气，张以“我”作为他的话语伴侣并肩地诉诸于“你”，不仅表示存在被主体间性暗示的对话性伴侣. ，但插入了引发“一致的知识逃避现实主义”的批判意识。[在这里，我引用戴金华的期刊文章“隐藏的叙事：1990年代的大众文化政治”这一短语。陈建华在《亚洲及太平洋通讯》第一卷中发表的“叙事竞赛中的本地和全球：自由主义和新左派在1990年代后期的中国”中对她的观点进行了严格的评估. 9号1和2，113-29. ]--Sagara Seydou 3 (talk) 08:20, 19 December 2020 (UTC)

Shi Diwen 石迪文

Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith. These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[ Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ] Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures. Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest?

Shi Haiyao 石海瑶

Zhang’s answer rebukes the latter. Long before the first public debate over such issues took place, his own self-authorization in writing History of the Soul brought the “impartial” search for historical truth under critical scrutiny. Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing Hui histories whose authority had been complicitous with the chauvinistic State ideology. He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control. In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.

张承志的回答斥责了后者。早在第一次公开讨论这些问题之前，他自己写《灵魂史》的自我授权就让 "公正 "的历史真相的探索受到了批判。他以自己的民族无意识为试验场，对那些权威与沙文主义国家意识形态同流合污的回族史写作中错误的固定标准进行了抨击。 他痛斥中国穆斯林学者史学的方法论现状，即为迎合其霸权控制的合法性，而对地方和民族记忆进行裁剪。 同样，他对按照经验主义标准收集和编辑历史文献的有效性提出质疑，责备其以学术客观性为名，完全屈从于实证主义的历史发展观。 --Shi Haiyao (talk) 02:20, 21 December 2020 (UTC)

Si Yu 司妤

He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of munafeles, Hui collaborators with Manchu and Han rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance. Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:

On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul. How can the kind of subject you’re studying still be the same historiography? If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the Huis.

他特别针对著名的回族史学家杨怀忠，他对回族与满汉统治者合作的穆纳菲尔斯的调查，在张先生看来，已经内化了权力知识联盟的统治密码。尽管张先生对此评价优良，研究也很广泛，但他斥责杨先生的冷漠立场。

一方面，你试图批判性地反思你自己和你的传统，另一方面，你又想把对人类灵魂的压抑和侵犯公之于众。你所研究的那种课题，怎么可能还是同样的历史学？如果说杨振宁还没有摆脱虚伪的民族匿名感，那么，面对历史上对胡人的不公正待遇，张先生也不会让自己轻松。--Si Yu (talk) 04:57, 21 December 2020 (UTC)

Song Jianru 宋建茹

At the Jinji Bao, a historical site of many quelled Hui uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian. He confesses in a 1996 essay entitled “Odes to Waves”:

在19世纪多次镇压回族起义的遗址金积堡，他不由得斥责自己身为专业的历史学者却没有为历史错误报仇。他在1996年发表的一篇名为《海浪颂》的文章中坦言道。

It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal. It so happened that I was born of Hui parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a nietie, to make good the pledge of being dedicated to the people I took rather casually years ago.

碰巧我有幸成为一名经过全面训练的历史学家，但一丝不苟地检查了每一处官方记载都没能提供任何反驳。碰巧我是“回族”出身，虽然我试图绕过这一点，但无法逃脱这个历史遗址——笼罩在金积堡的冬季薄雾一波又一波地敲打着我，迫使我作出承诺，宣布“nietie”，以履行我多年前随意作出要奉献给人民的承诺。

Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings. Zhang’s critical comments appear in The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）

杨怀忠， 也叫杨·默罕默德·乌斯拉尔，是一名知名的回族史学者，对18世纪哲合忍耶穆斯林起义做了重要的研究。张先生在《英雄的野性之路》评论道。--Song Jianru (talk) 06:33, 21 December 2020 (UTC)

Su Lin 苏琳

This is not an occasional outburst of emotions for the sake of letting off his own guilt. This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research. Unlike the New Scholars’ chase of “disinterest” and neutrality, Zhang opts valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence. One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings. 这并不是为了发泄自己的负罪感而偶尔爆发的情感。多年的学术研究、田野工作和研究，使自己的民族记忆和情感同理心不那么淡薄，这是一种真诚的自责。与新学者对“无兴趣”和中立的追求不同，张勇敢地选择了种族主义和社会激进主义的方向:推倒“客观”历史竖起的柱子，穿透政治和宗教恐惧的墙壁，揭开被掩埋的种族压迫和暴力的真相。有人可能会质疑张对历史学术的看法过于情绪化和偏颇，从而冒着将史学贬低为个人疑虑的风险。--Su Lin (talk) 05:46, 21 December 2020 (UTC)

Tan Xingyue 谭星越

But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted.

No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms. He puts forward an ethnographical approach consisted of a person’s affective propensities (qinggan), ethnic lineage (xuetong) and a “prefigured destiny” (qianding). These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics. He then probes the illusion of professionalism in the form of an “originary question” (yuanchu zhiwen).

但在文化多元化和民族认同的时代，恰恰是情感和个人因素使我们的民族意识得以保持，并敦促我们不要把权力和知识的界限视为理所当然。

毋庸置疑，张加入了90年代中期关于 "终极关怀 "的讨论，但他是以自己的方式进行的。他提出了一种由一个人的情感倾向、民族血统和乾定命运组成的民族学方法。这些因素相互联系和相互作用，以各种方式使人置身于文化对话的关系中。然后，他以 "原初之问 "的形式来探究专业主义的假象。--Tan Xingyue (talk) 03:56, 19 December 2020 (UTC)

但是在文化多元化和民族认同的时代，正是情感和个人因素使我们的民族意识保持鲜活，并敦促我们不要将权力和知识的界限视为理所当然。

毫无疑问，张加入了1990年代中期关于“终极关怀”的辩论，但他是按照自己的意愿这样做的。 他提出了一种民族学方法，包括一个人的情感倾向（“情感”），种族血统（“血统”）和“乾定的命运”（“乾定”）。 这些以各种方式相互联系和相互影响，使个人陷入与文化对话之网。 然后，他以“原初之问”（“原初之问”）的形式探讨了专业主义的假想。--Quan Meixin (talk) 01:39, 21 December 2020 (UTC)

Tan Xinjie 谭鑫洁

He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?” To him what accounts for his ultimate humanist concern is his Hui ethnicity. Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided. It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.” It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness.

A sinicized Islamic term for “taking a devotional vow.” It is also known as Juyi in Chinese. Zhang 1999a, 37. Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译） 他问道:“当没有任何科学或意识形态来保护你逃避终极责任时，面对自己灵魂时你如何解释?”对他来说，对他来说，回族是他终极人文关怀的原因。迈克尔·菲舍尔(Michael Fischer)认为，种族“……是一种动态的东西，往往无法被压制或避免。”即使是没有意识地教育，它也可能是有效的;制度化的教学很容易造成沙文主义、无结果和肤浅的东西。因此，正是“类我”的知觉和心理奠定了一个人的种族/文化条件的基础，并反过来影响一个人的历史意识。 一个中国化的伊斯兰术语，意为“虔诚的誓言”。它在中文中也被称为“Juyi”。--Tan Xinjie (talk) 12:49, 20 December 2020 (UTC)

Tan Yuanyuan 谭媛媛

Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality. Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.”

What about his image of a lone moral crusader? A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the Jahriyya Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,” due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive Jahriyya community.

作为一个 "他者 "的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。"... 摒弃传统史学的全部实证主义包袱" "寻找你个人灵魂的复杂直觉能力" 。

他的一个孤独的道德十字军形象呢？ 张先生对贾里雅穆斯林的 "纯洁性 "和 "真实性 "可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 "最自得其乐 "的人，"这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的贾里雅群体。--Tan Yuanyuan (talk) 13:38, 16 December 2020 (UTC)

作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”

那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--Yang chenting (talk) 03:08, 17 December 2020 (UTC)Yang Chenting

Tang Bei 汤蓓

Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age? Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness. As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.” Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary.

在一个道德混乱的年代，这难道不会使他成为一个孤独的追求道德完美的人吗？张的忠告似乎与王小明对于自我导向的道德正义的定义完全吻合。作为20世纪80年代知识分子直接参与政治的一种选择，王强调了终极关怀的个人品质，认为: “(1)你只能从个人经验中寻找终极价值; (2)你找到的是你自己对终极价值的解释，而不是终极价值本身。”张似乎和那些孤独的寻找者一样，重视自我激励，追求缺失的道德美德，尽管这种追求具有超越性和远见性。--Tang Bei (talk) 05:38, 21 December 2020 (UTC)

Tang Ming 唐铭

But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic. What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.

Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing New Riches or the consumerist mass.

但他作品的一个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。

张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。 --Tang Ming (talk) 01:53, 21 December 2020 (UTC)Tang Ming

但他的作品某个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。

张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。--Si Yu (talk) 05:03, 21 December 2020 (UTC)

Tang Yiran 汤伊然

When readers’ feedback to his History of the Soul heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?” The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught. Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.”

Zhang 1994a, 125. Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan. Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13. For a fine critique of this shift of intellectual paradigm, see also Xu Ben. Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）

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”。--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”。--Li Meng (talk) 08:22, 22 December 2020 (UTC)

Tao Ye 陶冶

For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals. They were also exacerbated by his unmatched tribute to the Jahriyya Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China. All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”

Wang Meiling 王美玲

This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.

Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.

这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。

这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--Wang Meiling (talk) 14:46, 16 December 2020 (UTC)

This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.

这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。

Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.

事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--Xiao yining (talk) 16:09, 16 December 2020 (UTC)Xiao Yining

Wang Xuan 王轩

Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power. In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.

Zhang Chengzhi and Zhang Wei initiated a heated round of bizhan (pen-combats) in the Literary Supplement of Wenhui Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture. This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994. Zhang Chengzhi, “Poets, Why aren’t you indignant?” in Wenhui Bao (Shanghai) (August 7, 1994). For further detail of this dispute, read Geremie Barmé, In the Red: On Contemporary Chinese Culture (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）

相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--Wang Xuan (talk) 02:32, 18 December 2020 (UTC)Wang Xuan

相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--Xiao Shuangling (talk) 08:23, 17 December 2020 (UTC)Xiao Shuangling

Wang Yu 王煜

In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China. He writes:

The populace in this nation have little power or scarce hope. But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor. The broad masses want nothing more than being fed and clothed. But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful. Otherwise, their plight would be unthinkable.

事实上，张现在用一种不那么讽刺但更坚定的措辞来论证:为什么鲁迅独行而无情的社会文化改革在90年代的中国越来越流行。他写道：

这个国家的人民没有什么力量，也没有什么希望。但他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦绝望时，“知识阶层”就成了继政客和金钱之后的又一个残酷的压迫者。广大群众只想吃穿。但他们需要知识分子不断地对社会精英和权贵进行基本的、持续的批评。否则，他们的困境将是无法想象的。--Wang Yu (talk) 04:52, 19 December 2020 (UTC)

事实上，张炜现在用不那么讽刺但坚定的措辞来论证为什么鲁迅这种孤僻但无情的社会文化变革在90年代的中国长久不衰。他写道：

这个国家的人民是积弱且缺乏希望的。然而他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦和绝望时，“知识阶层”便成了金钱和政客之后的又一残酷压迫者。广大百姓想要的只不过是吃得饱，穿的暖。但他们需要知识分子对社会精英和权贵保持基本、持续的批判。否则，他们的困境时无法想象的。--Wang Yuan (talk) 05:39, 19 December 2020 (UTC)

Wang Yuan 王源

We, as readers of Lu Xun’s zawen, are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later. We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun.

One is tempted to ask: is Zhang grandstanding? I think not. However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.

作为鲁迅的读者，我们当然会被超过五十年后在张先生文章里发现那难以置信地熟悉的遣词、语气和坚定不移的想法而打动。我们也会惊讶，当把他放在同一位置和伟大的鲁迅进行比较，做出社会评论时，他是多么的坦率和不受影响。

有人也许想问：张炜是在哗众取宠吗？我认为不是。然而，对于他来势汹汹的攻势的原因却值得探讨：讽刺的是，这些原因是由中共意识形态形态者用来谴责“自由主义资产阶级价值观”入侵的二元思维框架产生的。但是这种思维框架也被海内外许多张炜的批评者们所复制。--Wang Yuan (talk) 05:19, 19 December 2020 (UTC)

Wei Honglang 韦洪朗

Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option. One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience. Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order. Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.

这种奇特搭配基于同样的文化逻辑，他们认为对当前中国知识分子混乱、无能现状的批判是由以下两种因素中的一个引发的。一种是落后的由党领导的议程设置，通过在消费主义风气盛行时传达其话语以发挥社会主义意识形态遗产的权威。又或者他/她受到了一股不同的政治力量的驱使下开始的新一轮政治颠覆的影响，这股势力同时向以西方(主要是美国)为中心的全球秩序敞开大门。主张的两种立场的批判者们都不约而同地，以一种“非此即彼”的思维方式，看待其在当今政治文化中所扮演的角色。--Wei Honglang (talk) 14:07, 20 December 2020 (UTC)

基于同样的文化逻辑，他们认为，对当代中国知识分子混乱和无能现状的批评是由以下两种因素中的一个引发的。一种是在倒退的政党领导的议程的指导下，通过在消费主义风气盛行时传达其话语以发挥社会主义意识形态遗产的权威。或者他/她受到持不同政见的政治力量的驱使，开始新一轮的政治颠覆，这股势力同时向以西方(主要是美国)为中心的全球秩序敞开大门。站在这两种立场的批评者都不约而同地，以一种“非此即彼”的思维方式，看待其在当今政治文化中所扮演的角色。--Yang Yi (talk) 08:28, 21 December 2020 (UTC)

Wei Yafei 魏亚菲

But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal. His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods. His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay.

Take the case of Zhang’s attitude towards “the people.” Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.

Wen Sixing 文偲荇

The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with. While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (dazhong), Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today. He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.

其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--Wensixing (talk) 13:50, 16 December 2020 (UTC)

其结果是，"人民 "等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（大中）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。 他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--Liu Yi (talk) 14:39, 16 December 2020 (UTC)

Wen Xiaoyi 文晓艺

For that matter, he is also adamant with the Po-Mo culturalists whose extreme kowtowing to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly Han Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.

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。--Wen Xiaoyi (talk) 08:50, 21 December 2020 (UTC)

Wu Kai 吴恺

Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating. The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it. It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice. While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.

For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）

与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。

关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--Wu Kai (talk) 10:47, 18 December 2020 (UTC)

Wu Qi 吴琪

To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.” And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.”

Discussion of this chapter: The xiaopin wen between xianshi sanwen and zawen

King-Fai Tam

I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre.

Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）

他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”

本章讨论：实现散文和杂文中的小品文

谭景辉

首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--Wu Qi (talk) 02:28, 18 December 2020 (UTC)

谭景辉

首先，我想对本章贡献原始资料的人表示感谢，这些论文研究深刻、表达清楚，不仅仅为着手研究散文提供了多个角度，还对散文体裁辩论本质拥有相同兴趣。--Wu Yilu (talk) 06:36, 20 December 2020 (UTC)

Wu Qiong 吴琼

Together, they constitute an eye-opener for me, given my interest in xiaopin wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation. If the xiaopin wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change. In that sense, xiaopin wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying. Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.

鉴于我对 "小品 "文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 "小品 "文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，xiaopinwen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--WuQiong (talk) 13:21, 16 December 2020 (UTC)

这些作品加在一起，让我大开眼界，让我对 "小品 "文和其他类似的抒情作品产生了兴趣，。 如果说 "小品 "文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--Blank (talk) 13:47, 16 December 2020 (UTC)

鉴于我对 "小品 "文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 "小品 "文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--Wensixing (talk) 13:53, 16 December 2020 (UTC)

鉴于我对 "小品 "文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 "小品 "文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--Wang Meiling (talk) 14:53, 16 December 2020 (UTC)

Wu Xiang 邬香

Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond xiaopin wen. The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of zawen is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as pizhan (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.

然而，本章所作的四个贡献指出，在小品文之外散文研究还有一个更广阔的世界。正如玛丽·斯科金所说，这篇文章可能给人不好的感觉，回忆时像一把长矛和匕首，其中一段“扎文”更可能引起同样不愉快的反应，而不是让问题得到解决。我们有充分的理由称这种交流为“笔战”。（用笔作战）正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，这篇文章也是散文家有意识地塑造自己形象的成果。--Wu Xiang (talk) 14:22, 18 December 2020 (UTC)

然而，本章所作的四个贡献指出，在小品文之外散文研究还拥有一个更广阔的世界。正如玛丽·斯科金所说，散文也可以尖锐凌厉，让人联想到长矛和匕首的形象，其中“扎文”更可能引起尖锐的反应，而不是使问题得到解决。我们有充分的理由将这种交锋称为“笔战”。正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，散文家也是会有意识地将散文作为塑造自己形象的场所。--Tan Xingyue (talk) 04:17, 19 December 2020 (UTC)

Wu Yilu 吴一露

Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position. Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it. As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.

虽然一篇文章与论文确实存在区别，其简洁性使其不具备解决问题的深度，但是如张伟和张承志一类的作者产出颇丰，详尽探索一篇篇文章中不同深浅的问题，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者可以通过文章来讲述或复述一个故事，提出一个命题，对其进行修饰或否定。因此，它取代了小说，抓住了20世纪90年代中国城市消费主义思潮。--Wu Yilu (talk) 05:57, 20 December 2020 (UTC)

尽管一篇论文的确与论文有所不同，因为篇幅简洁，无法充分解决一个问题，但张炜和张承志等作者却可以求助于大量论文，详尽地探讨了不同层次的论文，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者用它来讲述和叙述一个故事，提出一个命题并加以修改或否认。 因此，它取代了小说，成为最能体现90年代中国城市消费主义思潮。--Liu Jinxingqi (talk) 10:37, 20 December 2020 (UTC)

Wu Zijia 吴子佳

Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ? In my study of the essay, I have often been confronted with this question. In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again.

然而，如果一种文学体裁可以有如此多的形态和形式，我们是否仍然有理由把这些形态和形式看作一个统一的实体，用同样的方法来分析和研究?我在研究这篇文章时经常遇到这个问题。在新英格兰去年10月举办的亚洲研究协会会议上，我针对亚历山德拉•瓦格纳的吴漠汀和新民刘演示提出了一个疑问:我们怎样运用丰富的手段来研究文章，就像研究风智,瞿秋白、和一群其他作家的作品?现在，对这一章节里的四篇文章，我想再问一遍同样的问题。--Wu Zijia (talk) 14:46, 20 December 2020 (UTC)Wu Zijia

Xiao Shuangling 肖双玲

I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not. At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal. Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition. Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.

我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--Xiao Shuangling (talk) 08:19, 17 December 2020 (UTC)Xiao Shuangling

我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--Xiao Ting (talk) 08:59, 17 December 2020 (UTC)Xiao Ting

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Xiao Ting 肖婷

Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is. Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.” For the zawen she is examining, Mary Scoggin suggests that zawen spits in the face of a “discourse of beauty” that serves to mute criticism in the name of social and rhetorical graciousness, an attitude that essentially forbids zawen writers to say anything if they cannot think of something nice to say.

然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物："革命现实主义 "的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--Xiao Ting (talk) 08:49, 17 December 2020 (UTC)Xiao Ting

然而，在中国，即使把范围缩小到20世纪最后20年，也不能彻底弄清散文的论极是什么。王班认为，当代中国散文的论极应该定义成启蒙运动和马克思主义的心学史范式及其文学对等物："革命现实主义 "的小说。玛丽-斯科金在研究杂文以后认为，杂文对 唾弃“美的篇章”，通过直白、朴实的语言来噎住批评，而这种态度实质上是防止“杂文”作家在想不出好话时再说些什么别的。--XieFan (talk) 12:23, 18 December 2020 (UTC)

Xiao Xi 肖茜

Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by. Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban. Wang Ban attributes the “metafictional” signs in Wang Anyi’s Shushu di gushi to the intrusion of the essayist sensibilities. In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist. 《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--XiaoXi (talk) 13:49, 16 December 2020 (UTC)Xiao Xi

张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--Yuan Tianyi (talk) 02:30, 17 December 2020 (UTC)

Xiao Yining 肖伊宁

Even if one were to maintain that Jiuyue yuyan, like Shushu di gushi, is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out. What is one to make of this discrepancy between Wang Anyi and Zhang Wei? What does it say about the two writers? And what do they have to say, if anything, about the essay and the novel?

即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？

即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都受散文家的情感影响，但我们还是要思考为什么张炜的散文的论断比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？

In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.

在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--Xiao yining (talk) 15:56, 16 December 2020 (UTC)Xiao Yining

在20世纪末的文化论战中，我们的撰稿人也从用不同的方法审视了散文家为自己建构的自我形象。--Wu Xiang (talk) 14:29, 18 December 2020 (UTC)

Xie Fan 解帆

Gone, apparently, is the supercilious pose of the xianshi essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.” Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide. Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture.

这显然是散文家高傲的姿势,套用鲁迅翻译Kuriyagawa Hakuson的一句话,“冬天坐在火炉旁的摇椅上或夏天穿上浴袍跟好朋友喝茶聊天不会让人头疼。相反，正如我们的撰稿人所说，散文集作者想让我们头疼。”即使他们有不同程度的隐逸或妥协，但他们总是在之后的论战中重新焕发活力。我记得这样的例子，张维反复声称要在山里找到一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐蚀影响。--XieFan (talk) 12:15, 18 December 2020 (UTC)

显然，“闲适”散文家那种傲慢的姿态已经消失了，套用鲁迅对厨川白村的著名翻译，"冬天坐在炉子边的摇椅上，或者夏天穿上浴袍，和好朋友喝茶闲聊，谈的都是一些不使人头痛的事情"。相反，正如我们的撰稿人所说，头痛正是要由我们的散文家提供。即使他们也会不同程度地影响到隐忍或妥协，但他们后来总是以新的活力重新回到论战中来。我想到的就是这样的例子，比如张炜反复声称要在山里找一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐化影响。--Lin Xin (talk) 13:37, 18 December 2020 (UTC)

Xie Ziyi 谢子熠

Similarly, the zawen writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard. Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda. In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest. To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities.

同样，“ zawen”作家与公开的庄严语调保持距离，其唯一目的是使他们的握柄更易于胃口，声音更易听见。 张成志暂时退出宗教隔离是另一个例子，因为在短暂的独占统治之后，他以更坚定的信念和更广泛的议程再次进入公共领域。 根据王朋的讨论，王安忆的案子可能不那么清楚。 可以肯定的是，她似乎已经很好地适应了商品化的新的消费主义社会。 然而，很明显，她对杂文作家情感的运用是认真的。

--Ishikami (talk) 05:53, 21 December 2020 (UTC)

Xu Jia 徐佳

In fact, to the extent that Shushu di gushi has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use. The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.

The 20th Century Chinese Essay - Characteristics, Actors, and Trends

Martin Woesler

Abstract

In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly sanwen 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.

其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。

20世纪中国论文--特点、角色及其趋势

Martin Woesler

摘要

本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。"Essay"，中文为散文，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--Xu Jia (talk) 02:57, 18 December 2020 (UTC)Xu Jia

Xu Jing 许晶

I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.

In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.

In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century?

我将会介绍我提出的假设，即中国和西方的散文都属于同一种国际体裁，并尝试通过展示两者在形式和内容上的跨文化相似点来证明这一假说。但是，我也会列举中国散文的一些特殊的本土特色。

在第二部分，我尝试讲述散文在1980年代的复现开始阶段的事情。1995年前，国际学术界开始运用常见的语言学方法来探索单篇散文和散文集，并撰写了中国散文的历史。之后，我将展示政治性散文和非政治性散文的主题发展。

在第三部分，我将提出我的问题，即谁是20世纪中国散文的代表人物？--Xu Jing2 (talk) 13:33, 20 December 2020 (UTC)

Xu Jing 许静

I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the zawen. Analysis reveals that he still remains the most-read essayist, not because of his zawen, but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.

我介绍一下鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以仍然是作品传阅最广的作家，不是因为他的杂文，而是因为他的回忆文和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。"故乡的野菜"（周作人1925年）、"听听那冷雨"（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。 --Xu Jing (talk) 09:50, 20 December 2020 (UTC)

我将介绍鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以一直是读者最多的散文家，不是因为他的杂文，而是因为他的回忆录和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。"故乡的野菜"（周作人1925年）、"听听那冷雨"（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。--Tan Xinjie (talk) 12:58, 20 December 2020 (UTC)

Xu Mengdie 徐梦蝶

In the fourth section, I will name contemporary trends in essay writing. After the Cultural

Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world.

The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.

在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。

当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--Xu Mengdie (talk) 00:57, 18 December 2020 (UTC)Xu Mengdie

第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。

当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--Zhang Yu (talk) 03:40, 18 December 2020 (UTC)

Xu Pengfei 许鹏飞

In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, China can say no! – Possibilities for politics and emotions in the period after the cold war (see China can say no!).

在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)China can say no! – Possibilities for politics and emotions in the period after the cold war (see China can say no!).--Xu Pengfei (talk) 14:35, 17 December 2020 (UTC)Xu Pengfei

在中国，我们能看到人们通过论文这一媒介，又有了讨论社会政治问题的兴致，就如同上世纪二三十年代那样。日常生活成为文学主题时，我们就会意识到它的平淡无味，就像在散文中表现的那样，散文通常描写的就是日常生活。中国社会的去意识形态化，让人们重新发现自民国时期，特别是1923至1928年以来的非政治性散文。20世纪90年代，80年代用散文进行政治批评的文化已经消失了，唯一留下来的政治痕迹是爱国主义，例如在1996年出版的专论《中国可以说不!-冷战后政治和情感的可能性》中传达的那样(见《中国可以说不！》)。--Xu Jia (talk) 13:34, 20 December 2020 (UTC)Xu Jia

Yang Chenting 杨晨婷

1. CHARACTERISTICS

1.1 Defining the essay as a non-fictional subjective representation in a free form

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics shige (lyrics) and xiqu (drama). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “wu yunwen” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground. In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.

1. 特征

1.1将本文定义为一种非虚构的主观自由表现形式

与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--Yang chenting (talk) 03:05, 17 December 2020 (UTC)Yang Chenting

1. 特征

1.1 将散文定义为一种非虚构的主观自由表现形式

和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--Peng Xiaoling (talk) 12:14, 17 December 2020 (UTC)

Yang Hairong 杨海容

The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.

“Essay,” Chinese mostly sanwen 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Free-dom in form and content is essential for the essay.

该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--Yang Hairong (talk) 04:29, 18 December 2020 (UTC)

“Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--Yang Hairong (talk) 04:29, 18 December 2020 (UTC)

Yang Hui 阳慧

Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.

Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.

不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。

地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--YangHui (talk) 08:45, 18 December 2020 (UTC)

对于文章的国际体裁存在不同的观点：体裁主要是文学的分类，通过对文学进行专门的学术研究，能够更容易地对比相似的文本。另一方面，在太多小实体中进行更小的分类，在解释学的发现中质询了这种细分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，即使它在国际上得到认可，这仍是一个及时的问题。--Zeng Liang (talk) 01:20, 20 December 2020 (UTC)

Yang Yi 杨逸

All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay.

所有这些类型都被视为国际类型。我所假设的中西杂文在形式和内容上的跨文化互通性也许可以证明这一点。

21世纪，世界在共同发展，文化的现代化程度是决定文化发展的主要因素。正如我们今天在报纸上看到的，中国杂文采用了西方杂文的形式和内容，并针对与西方杂文相媲美的目标群体。--Yang Yi (talk) 08:21, 21 December 2020 (UTC)

Yang Yue 杨悦

This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of duanpian xiaoshuo with short stories is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

The choice of the term “sanwen” instead of “suibi” (familiar essay) or “xiaopin wen” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, sanwen turned out to be the common expression, xiaopin was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）

这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的"短篇小说"的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。

当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--Yang Yue (talk) 02:16, 17 December 2020 (UTC)

这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和"短篇小说"的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。

当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--Yu Ni (talk) 03:27, 18 December 2020 (UTC)

Yang Ziling 杨子泠

Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.

周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--Yang Ziling (talk) 01:44, 17 December 2020 (UTC)

周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--Yang Yue (talk) 02:23, 17 December 2020 (UTC)

Yao Cheng 姚诚

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term sanwen possesses in Chinese: wú yùnwén“non-rhythmic prose,” which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with sanwen in the narrower meaning “short literary essay pieces”.

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。

进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--Yao Cheng (talk) 13:46, 16 December 2020 (UTC) 在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--XiaoXi (talk) 13:53, 16 December 2020 (UTC)Xiao Xi

Yao Jia 姚佳

1.2 I will describe the beginnings of the discovery of the essay.

Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

1.2我将介绍发现散文的开端 从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。

20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 "瓦格纳 1996年）。--Yao Jia (talk) 07:53, 17 December 2020 (UTC)

1.2我将介绍散文是如何开始发现的 尽管从1979年开始，散文作品有所增多，但对这一现象的理论反思却用了十年的时间才首次出现。又过了十年，国际汉学界才开始意识到散文现象。

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这些反思首先聚焦于鲁迅等单一作者的散文作品上。另外，90年代的两次散文论坛也没有显示出朝国际学术研究发展的动向。直到1995年以后，国际学术界才开始使用普遍的文献方法来探讨单一散文家（关于梁漱溟[梁锡华]库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或团体散文家的散文（关于新月派 "瓦格纳1996年）。--Yuan Yuchen (talk) 08:48, 19 December 2020 (UTC)

Yi Huan 易欢

Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (The Columbia Anthology of Modern Chinese Literature 1995, see Lau/Goldblatt, Modern Chinese Literary Thought 1996, see Denton).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones. In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. 直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。 中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--Yi Huan (talk) 15:44, 17 December 2020 (UTC)

直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。 中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--Yao Jia (talk) 03:13, 18 December 2020 (UTC)

Yi Zichu 义子楚

If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a desideratum to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.

You Yuting 游雨婷

In the years to come, a new Bonn History of Chinese Literature will grant the essay its proper place with two to three volumes only dedicated to the biji, youji and other essays.

1.3 20th Century Development and Hindrances

The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.

在未来，新的《波恩中国文学史》将给这篇文章一个合适的位置，它将有两到三卷专供《比集》、《酉集》和其他文章的专供。 “1.3 20世纪的发展与阻碍” 政论散文的专题发展经历了一个从1907年启蒙教育散文到20世纪30年代日政散文的转变，再到20世纪40年代的抗日宣传和20世纪50、60年代的思想宣传。在20世纪80 - 90年代，日常兴趣政治的讨论比20 - 30年代要少。在20世纪80年代所有类型包括诗歌和散文为意识形态服务，被评论家用于反对关于共产主义的叙述或毛泽东主义的艺术理解。--You Yuting (talk) 13:39, 18 December 2020 (UTC)

Yu Ni 余妮

Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.

I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.

而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。 我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--Yu Ni (talk) 03:17, 18 December 2020 (UTC)

划词翻译 20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。

我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--YangHui (talk) 08:50, 18 December 2020 (UTC)

Yuan Shiqi 袁诗琦

This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--Yuan SHiqi (talk) 01:22, 17 December 2020 (UTC)

Yuan Tianyi 袁天翼

In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas. To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature. To trick the censors, one must find indirect ways of expression. In an exhibition of Tendency Quarterly, 16 banned Chinese magazines were displayed. Most of the magazines choose the poem as their favorite form to express political thoughts. After having been banned, some magazines went abroad and now are published in exile. The internet has added a number of underground magazines, which are available also inside mainland China. In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.

在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--Yuan Tianyi (talk) 02:23, 17 December 2020 (UTC)

Yuan Yuchen 袁雨晨

The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (My Own Garden 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.

非政治性散文在话题上的发展开始于1917年，当时朱自清（见朱自清1928年《说梦》）和周作人（1923年《自己的园地》、1924年《苍蝇》、1936年《在马桶上读书》）谈论的是日常话题，到1927年尾声，政治性散文成为主流，30年代末，非政治性散文在抗日运动中彻底淘汰。直到20世纪70年代，生活步入常态化，这一时期长期不受关注的日常事物反而成为了人们感兴趣的话题，非政治性散文由此得以恢复。同样在90年代，也由于人们对政治问题不怎么感兴趣，加上在大众消费主义的新世界中需要全新的定位，非政治性散文蓬勃发展起来。--Yuan Yuchen (talk) 08:39, 19 December 2020 (UTC)

Zeng Fangyuan 曾芳缘

2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong

Who were the major players in the Chinese essayism of the 20th century?

Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.

One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the zawen. In his own, broad understanding of zawen, it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to zawen for the rest of his life, leaving behind a legacy of more than 700 essays.

2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中

20世纪中国散文的主要参与者是谁？

这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。

人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即杂文。在他自己对杂文的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写杂文的作家，留下了700多篇文章。--Zeng Fangyuan (talk) 08:02, 17 December 2020 (UTC)

2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中

20世纪中国散文的主要人物有哪些?

这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。

人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——杂文。在他广义理解中，杂文包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--Kang Lingfeng (talk) 10:30, 17 December 2020 (UTC)

Zeng Liang 曾良

During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his zawen, but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from Wild Grass, in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature.

在他的一生中，他以尖锐的攻击力成为最著名的散文作家。但是他的这些散文仅仅是处于日常的政治兴趣，在今天很少有人阅读。分析表明，到20世纪末，他的作品仍然是阅读得最多的。直到本世纪末，保留下来的并非是他的杂文，而是以下的回忆录和抒情散文：《野草》中的一篇抒情散文《秋夜》（鲁迅 1925），在《藤野先生》（鲁迅 1926）中，鲁迅仍然记得他的日语老师，在《风筝》（鲁迅 1925）中，鲁迅记得他曾经是如何伤害他的弟弟的，在《从百草园到三味书屋》（鲁迅 1926）中，鲁迅叙述了他的童年经历和经典文学。--Zeng Liang (talk) 01:02, 20 December 2020 (UTC)

在他的一生中，凭借尖锐的抨击，他成为最著名的作家。但他的文章都是与时政相关，在今天很少有人读了。分析表明，直到20世纪末，他的作品依旧最受欢迎。二十世纪末阅读量排行榜前十的不是他的《杂文》，而是以下回忆录和抒情随笔:《秋夜》(鲁迅1925)--一篇《野草》中的抒情随笔、《藤野先生》(鲁迅1926)--他还记着自己的日本老师、《风筝》(鲁迅1925)中--他记得他曾经怎样伤害过弟弟的感情、《从百株园到三味书房》(鲁迅1926)--这篇也同样以古典文学的方式叙述了其童年经历。--Wei Honglang (talk) 14:23, 20 December 2020 (UTC)

Zeng Xinyuan 曾心媛

The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in atmospherical nebulous the “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).

其它最频繁出版的散文多写于民国或当代：首先是《背影》（朱自清1928）。因为这整部作品，朱自清曾短暂地名列鲁迅之后。人们可由此及其它散文看出中华人民共和国对散文畅销书的评判标准：在《背影》中，孝是推动故事发展的因素，在朱自清另一部散文《荷塘月色》中，气氛朦胧，排比反复，这种风格在西方读者看来也许是有些矫揉造作的。在《桨声灯影里的秦淮河》里（朱自清1924），作者描绘了一副优美风光，再现传统风俗。怀乡情绪则是《故乡的野菜》（周作人1925）中极具辨识度的感情色彩。--Zeng Xinyuan (talk) 02:56, 21 December 2020 (UTC)

Zeng Yanhu 曾雁湖

Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife.

Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.

Therefore one can state, that unpolitical, moving essays form the top.

For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).

余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。

决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。

因此，我们可以说，非政治性的、感人的文章占据了榜首。

有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--Fancy (talk) 03:35, 18 December 2020 (UTC)

余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。

决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。

因此，我们可以说，非政治性的、感人的文章囊获了榜首。

有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--You Yuting (talk) 13:41, 18 December 2020 (UTC)

Zhang Hu 张虎

The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).

Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).

大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。

从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--Blank (talk) 13:43, 16 December 2020 (UTC)

大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。

从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--Fancy (talk) 07:38, 18 December 2020 (UTC) 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--Zhang Peiwen (talk) 08:58, 18 December 2020 (UTC) 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--Zhang Peiwen (talk) 08:58, 18 December 2020 (UTC)

Zhang Hui 张慧

Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections Letter to the Children (Bing Xin 1931), and Letter to the Children, vol. 2 containing texts since 1958, were followed by Letter to the Children, vol. 3 with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.

A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in Eastern Miscellany), an English translation by Hu Shiguang can be found in Chinese Literature 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.

王萌幽默地处理了这一问题（王萌1980），冰心试图通过在"文化大革命"后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。

朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--Zhang Hui (talk) 02:22, 17 December 2020 (UTC)

王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。

1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于东方杂记），胡世光的英译本见中国文学1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--Zhao Xiaoyan (talk) 03:07, 17 December 2020 (UTC)

Zhang Ling 张玲

Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between a, the differences between the description and interpretation of the falling leaves and b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.

王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--Zhang Ling (talk) 02:11, 18 December 2020 (UTC)

王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，在落叶寓言中阐述生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，也十分有趣。--Zeng Xinyuan (talk) 03:15, 21 December 2020 (UTC)

Zhang Peiwen 张佩闻

3.Trends

3.1 The essay as a snapshot of contemporary thoughts

What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.

The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth. 3.潮流与趋势 “中国当代散文写作的现状如何?” 它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。 “文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。 但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。 这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--Zhang Peiwen (talk) 08:52, 18 December 2020 (UTC)

3.趋势 3.1作为当代思想的快照的散文 中国当代散文创作的现状如何？它的定位应与后现代主义、后殖民主义、解构主义等现代理论方法、视角和术语保持适当的联系。

“文革”后散文产量的增加，这可以用散文的能力来解释，因为它具有内在的历史真理诉求，比其他文体更真实地表达个人经历。但散文并不是客观真实的保证，同时它也是主观的，散文作者有意识地调整自己的形象。这就把报道的真相限制在主观上，并承担着故意“修正”真相的风险。--Zhou Luoping (talk) 06:55, 19 December 2020 (UTC)

==Zhang Qi 张琪==--Zhangqi (talk) 05:53, 20 December 2020 (UTC)

The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

共和时代的个人主义建立在站在历史转折点上的共同感觉的基础上，并朝着共同目标发展，例如创建新文学和新中国社会。 在1980年代，尤其是1990年代，个人主义要求对个人消费需求的满足进行批判性思考，并试图赋予个人取向，散文学家呼吁道德美德（“ Serene” Wang Meng 1992，“首先用自己的东西制造自己的东西）。 好方法”（王萌，1994年）。 这些论文主要发表在报纸和杂志上，在瞬息万变，匿名，疏远和消费导向的大众文化社会中被人们广泛阅读。

Zhang Weihong 张维虹

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).

3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

-The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);

20世纪80，90年代的其他杂文则是一种新的主观主义，以摆脱当代矛盾为目标，而是通过创造一个积极的世界（贾平凹1984年的《山西戏曲》)或消极的世界（司宇1995年的《噩梦》)来迎合观众的感受。

3.2作为社会，个性，社会政治讨论，去意识形态化，日常的亵渎和平庸的轻快节奏的性质的文章的体裁

从这篇文章中，我们可以看到当代的“文学思潮”，这也是90年代这一体裁数量增加的原因:

--当下中国社会节奏急促的本质，以及它对转移性和短小文本的要求:...]我们生活在一个博览会的时代

Zhang Xueyi 张雪仪

-The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands;

-A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

-The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

-The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.

- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接； - 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。 - 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。 - 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。

- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；

-通过这篇文章唤起人们对讨论社会政治问题的关注，如20世纪20年代或30年代的情况。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。

中国社会的去意识形态化。今天，不是政府要求的肯定性文本站在最前面，而是非政治性的文章，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治论文是批评文章。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。--Zhou Shuyao (talk) 06:31, 19 December 2020 (UTC)

Zhang Yinliu 张银柳

-Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”).

-In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.

-关于散文集的编辑：对于中华人民共和国，台湾和香港最常被选的散文，道德和审美标准似乎已成为基础。 这表明论文选集的编辑越来越独立于政府或意识形态的障碍，而且出版社的商业化也越来越着眼于客户（前身为“读者”）。

-在1990年代后半期，主叙述者本人似乎迷失于个人的主观性以及日常的亵渎和平庸，以及越来越正式化但基本上空虚的城市生活。 时间浪费了价值，因为越来越多的日常活动充满了机械和自闭症的行为。 --Zhang Yinliu (talk) 03:20, 21 December 2020 (UTC)

Zhang Yu 张瑜

In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph China can say no! – Possibilities for politics and emotions in the period after the cold war (see China can say no!).

The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; Ying'er, Gu Cheng 1993) and New Borderlessness since 1995, cannot be proven in the essaywriting.

20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。

从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--Zhang Yu (talk) 14:18, 17 December 2020 (UTC) 到20世纪90年代，80年代政治批评的散文文化已经式微，唯一留下的政治产物就是爱国主义。……我们之所以没有在后现代小说意义上找到后现代主义论文的原因在于散文的直接性：散文是一种作者与读者之间对话的体裁，而不是一种引起不同解读的艺术体，也不是依赖于独一无二的形式或内容，甚至是为使本身变得独特而引用前现代主义特征的艺术对象。……--Li Yongshan (talk) 16:04, 19 December 2020 (UTC)

Zhang Yujie 张毓婕

-Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984).

1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.

2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.

老舍，茅盾和沈从文作品中呈现的虚构现实主义也被证明有助于理解某些文章，例如文章《小狗包弟》（巴金，1981）中，作者不再像以前那样叙述事实，（如《萧山回忆录》，巴金，1984b）。两者都是对过去的回忆，也就是王在沈从文作品中提出的虚构的真相（David Wang，1992），它有助于阅读《昆明的雨》（王增琪[1984]）和《山西歌剧》（贾平瓦（1984）。--Zhang Yuxing (talk) 12:03, 20 December 2020 (UTC)

另外，王德威在老舍、茅盾和沈从文身上看到的虚构现实主义，也证明了对一些文章的理解是有帮助的。例如，在《小狗包弟》（巴金1981）一文中，作者变成了一个叙述者，用寓言式而不是像以前那样用描述性的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984b）。类似的还有想象的怀旧概念，如王家卫所说的沈从文作品中的虚构真相（王家卫1992），对《昆明的雨》（汪曾祺[1984]）以及《山西戏曲》（贾平凹1984）的阅读都有帮助。--Zhang Yuxing (talk) 12:03, 20 December 2020 (UTC)

1辛庄台小说新状态小说，由韩东，鲁羊，朱文，林白，陈梁，张梅代表。

2后殖民主义思维（Williams等，1994）虽然被视为社会政治话语的一部分，却出现在文章中，特别是在1990年代批评性和政治性较弱但提倡爱国主义的论文中。卡夫卡主义可以帮助我们理解《梦m》（Si Yu 1995）一文，在那篇文章中作者是一位解构主义者，而主人公甚至被迫自杀。--Zhang Yujie (talk) 10:08, 20 December 2020 (UTC)

Zhang Yuxing 张宇星

-The Schwarcz' concept of personal grief expressed in a metaphorical discourse helps us to understand how Ba Jin was able to overcome the truth of being he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi (Schwarcz 1996).

20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing

Martin Woesler

The narrative established by literary histories and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.

施瓦茨的个人悲伤概念以隐喻话语的方式表达，有助于我们理解巴金是如何克服他所熟知的存在的真相，而只是通过对他的狗，宝迪，进行隐喻达到一个更有说服力的虚构的真相'"（施瓦茨，1996）。

20世纪中国散文--散文家巴金、周作人、朱自清的文体调查与新见解

吴漠汀

文学史和选本建立的叙事，对20世纪的中国文学进行了歪曲的描绘。文章的体裁几乎被忽略了。在我的论文中将证明，如果我们考虑到他们的一些散文作品，三位作家的形象将如何变化。在此，我选择了批判性政治文章的例子。与小说或诗歌相比，散文更能让我们了解一个作者，因为在这种文体中，我们遇到的是没有格律限制的作者本人。--Zhang Yuxing (talk) 11:58, 20 December 2020 (UTC)

Zhao Xi 赵茜

In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the "League of Left-Wing Writers".

1927年，当作家们受到上海国民党左派屠杀的威胁时，整整一代的作家找到了共产主义意识形态的共同基础，1930年，在“左翼作家联盟”的成立中正式表达。--Zhao Xi (talk) 15:46, 20 December 2020 (UTC)

Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- "a genre of self-reflection". Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.

许多作家不得不定义并经常重新定义他们的立场和自我理解，以回应不断变化的政治环境，往往埋葬自己的理想，从“需要”的社会这个更大的视角，它也声称作者是其产品之一。在政治化的环境中寻找职位的斗争最好在散文中记录-“自我反省的类型”。此外，就其本质而言，散文克服了形式和内容的界限。因此，没有政治思想的散文比小说多。一些散文家甚至更进一步， 解构了左派意识形态的大师叙事， 就像我今天要谈论的三位作家一样。--Zhao Xi (talk) 15:46, 20 December 2020 (UTC)

Zhao Xiaoyan 赵晓燕

Zhou Zuoren

The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius "degenerated" and later became a national "traitor". Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.

周作人

中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--Zhao Xiaoyan (talk) 02:23, 17 December 2020 (UTC)

周作人

民国官方文学史对周作人的主要叙述是，一个老练的五四天才 "堕落 "了，后来成了民族 "汉奸"。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--Zhang Hui (talk) 02:52, 17 December 2020 (UTC)

Zheng Huajun 郑华君

The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his "degeneration" and opposition against the patriotic campaign. Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller for which he had been critizised as "paralyzing" . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to zhengjing 正經­ (serious, intentional essays), and xiánshì 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945). Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots.

3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]

4 ("Mai tang 卖糖" 1924).

5 (Lu Xun 1934, Zhu Zhaoluo 1943).

人民共和国官方的评价是，在1938年，由于他自身的 "堕落 "和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 "麻痹"。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--Zheng Huajun (talk) 13:35, 16 December 2020 (UTC)

人民共和国官方的评价是，在1938年，由于他自身的 "堕落 "和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 "麻痹"。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--Tan Yuanyuan (talk) 13:43, 16 December 2020 (UTC)

Zhou Luoping 周罗平

So the first correction of the narrative is, that his literature was not effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" , literature should make the society more humane.

The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series Random Thoughts.

因此，对叙事的第一个纠正是，他的文学不是在质上受社会政治环境的影响，而是在内容上。还有一个关于周作人的第二个故事，说他是一个不关心政治的作家。事实上，他想把他对政治声明的无欲理解为一种政治声明本身。对他来说，文学不是革命的手段，而是反抗的手段。在现代化社会中，他倡导妇女解放，要求“把儿童作为一个完整的主体，有自己的外在和内在的生命”，“使儿童成为儿童文学的本质”，文学要使社会更加人性化。 第二个例子，读了他的一些文章，我们就可以重新发现这个作者是巴金：他以他在20世纪30年代和40年代写作的具有无政府主义和共产主义背景的实用文章而闻名，因为他在文革期间机会主义的自我批评、自我审查和对作家圈的指责。在“文化大革命”后，当他声称自己是在压力下做这一切的时候，他似乎成了一个正直的人。然后，他把自己的散文归于“文化大革命”的创伤中，例如在自责的系列随笔《随想》中。--Zhou Luoping (talk) 06:50, 19 December 2020 (UTC)

Zhou Shiqing 周诗卿

Since they were seldom reprinted, two of Ba Jin’s critical essays "Independent Thoughts" and "Writers’ Courage and Sense of Duty", dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.

"Independant Thoughts" dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.

Zhou Shuyao 周书尧

"Writers’ Courage and Sense of Duty", a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.

"The Small Dog Baodi" as a metaphorical discourse on Ba Jin's personal grief

Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.

1962年初在上海第二届文艺代表大会上的一篇演讲《作家的勇气与责任感》后来有七个引人注目的部分被删减。在这部小说中，巴金对自己和他的同僚进行了严格的评判：在不同的文学运动中，他们会适时地追随政治要求，因此他们是叛徒。巴金批评的第二个对象是审查员和批评家，他们比作家拥有更多的权力，没有合法性。巴金对毛泽东延安文艺讲话的解读是：作家应该自己承担责任。

《小狗包弟》作为一种隐喻讲述了巴金的个人悲痛

巴金虽然与冰心一起被视为共和文学的代表人物之一，但其散文作品更重要的部分似乎在于1949年以后。自1979以来从香港出版，他大声反对，并试图帮助缓解与“文化大革命”有关的创伤。--Zhou Shuyao (talk) 06:24, 19 December 2020 (UTC)

Zhou Siqing 周思庆

One of this essays is the story-like "Small Dog Baodi". Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:

这篇随笔中有一篇是像故事一样的《小狗宝蒂》。这封信写于1980年，作者回忆起他的狗，这只狗是20年前他从一个瑞典人那里收到的，过了一段时间他就爱上了它。当“红色大革命”流行时，狗处于危险之中。巴金详细描述了这只动物的命运和他自己的辞职，当他得知他不能保护狗。为了把他从痛苦的死亡中拯救出来，他最终在1966年把狗送去做医学实验。“文化大革命”后，他重新回到他的花园，痛苦地回忆起妻子在这里和狗玩耍的情景。我想提出六点解释:--Zhou Siqing (talk) 00:36, 19 December 2020 (UTC)

这随笔集中，有一篇故事《小狗包弟》。这篇文章写于1980年，作者怀念他的狗，这只狗是作者二十年前从一个瑞典人手中收到的，过了一段时间作者就爱上了它。当'红卫兵'肆虐的时候，这只狗的处境危险。巴金详细描述了小狗包弟的命运和自己得知无法保护狗时的无可奈何。为了让小狗包弟免于折磨而死，巴金终于在1966年将这只狗送去做医学实验。'文革'后巴金重游自家花园，他痛苦地回忆起妻子在这里与狗玩耍的情景。对这篇文章，我想提出六点解读：--Zhu Xu (talk) 06:55, 19 December 2020 (UTC)

Zhou Yiwen 周艺文

1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, "if they did this with an innocent dog, what did they do with men, whom they considered guilty?" Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?

狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--Zhou Yiwen (talk) 13:53, 16 December 2020 (UTC)

狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--Yang Ziling (talk) 01:52, 17 December 2020 (UTC)

狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者会想，“如果他们对一只“无辜”的狗都能如此，那么他们对那些他们认为“有罪”的“人”又会怎样呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--Zhang Yujie (talk) 11:25, 20 December 2020 (UTC)

狗是个比喻。一开始，巴金似乎在说狗的命运只与主人有关。但很快，我们就明白了，巴金实际上向读者表达了“文化大革命”的残酷性。读者想知道，“如果他们用一只“无辜”的狗都做这些，那他们对那些认为“有罪”的人呢？当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--Zhao Xi (talk) 15:52, 20 December 2020 (UTC)

Zhou Yuanqu 周园曲

6 (Zhou 1929:180-181).

6 （周 1929:180-181）

7 (Zhou 1923).

7 （周 1923）

8 (The Family in 1951)

8 （《家》1952）

9 (1982 Yi pian xuwen).

9 （1982 一篇叙文）

10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his "Random Thoughts" into the soul of Ba Jin..

10 （随想录）1980年代的论文更具自传性，涉及当今社会的文学和问题。 由于本文的性质，我们可以通过他的“随机思想”来了解巴金的内心世界。

11 (Random Thoughts 1978-86, see Ba Jin 1988).

11（随想录 1978-86， 见 巴金 1988）

2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay "In Memoriam Xiāo Shān", which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him.

2，巴金通过狗表达了失去妻子的痛苦。 在论文结尾之前，Ba Jin痛苦地回忆起他的妻子，他在那十年中病倒了去世。 在早些时候出现在该系列中的文章“在纪念下山中”中，他承认对她的死感到内severe，这使他陷入了梦中。 他声称，他们因他而拒绝了她的治疗。--Zhou Yuanqu (talk) 03:52, 21 December 2020 (UTC)

Zhou Yujuan 周玉娟

3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.

本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--ZHOUYUJUAN (talk) 00:50, 17 December 2020 (UTC)

这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--Yuan SHiqi (talk) 01:29, 17 December 2020 (UTC)

Zhu Meimei 祝美梅

4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - Ba Jin's essays stand out of these, because of their relentlessness and confessing character.

4，用这种方式处理“文化大革命”的重要性。 如果将这篇文章与1979年的其他文章进行比较，那它和其他跟风批判“文化大革命”的文章无异。 但是，也有像冰心这样的作家为了制造作品连贯的假象，她在文化大革命不久就使用了与以前相似的书名，以此否认“文化大革命”。 王蒙以幽默的方式应对“文化大革命”-“巴金”的文章因无情和坦白独树一帜。--Zhumeimei (talk) 04:24, 21 December 2020 (UTC)

4、这种方式对于“文革”的意义。如果把这篇文章与1979年的其他文章作比较，一个共同趋势就是都对“文化大革命”进行了批判。但也有像冰心这样的作家否认“文化大革命”的存在——在它结束后不久，她采用和以前相似的标题来制造作品连贯的假象。王蒙以一种幽默的方式来描写 “文化大革命”——由于巴金的散文无情又直白，从他们的作品中脱颖而出。--Zhu Suyao (talk) 08:22, 21 December 2020 (UTC)

Zhu Suyao 朱素瑶

5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist "I expect from literature [...] that it tells the truth.". In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In "The Small Dog Baodi" he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before . He is longing for a fictional truth, instead of the truth of being in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.

5，修辞手段的运用。巴金假装是一个简单的记实小说作家。“我期待文学[…]能说出真相”。事实上他以真实的直白和控诉而著称，有时他的文学风格被人批判说太过直白和自然（出自香港学生们的谴责）。他在《小狗包弟》中使用像动画这种构成和修辞手法的文学手段来引起读者的共鸣。《小狗包弟》寓言式地展现了文化大革命时期的不公和残忍。在文中，巴金不是像以前那样去直接把真相描述出来，而是变成一个叙述者去富有寓意地讲述记忆中的文化大革命的真相。他渴望一个虚构的真相，而不是描绘托马斯·阿奎奈的感受的真相。王德威发现老舍、茅盾、沈从文的虚构现实主义助于理解这篇文章。--Zhu Suyao (talk) 07:43, 21 December 2020 (UTC)

Zhu Xu 朱旭

6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out

"To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, "the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart." [...] She also mentions that "[...] absence of talk -- or, rather modest use of metaphorical discourse -- serve us better in the presence of massive grief."

6.巴金的个人悲痛，在狗的隐喻中比他直接指责的文章更有说服力。

正如薇拉·施娃茨（Vera Schwarcz）（1996）所指出的那样"过多地谈论悲痛就是钝化它的锋芒。这种行为甚至可能让我们对最开始引发关于讨论痛苦的呐喊充耳不闻。冷酷、斤斤计较的智慧无法把握悲伤的粗糙轮廓。[...]为了保持个人苦难在公共生活中的意义，我们需要一种更间接的方法；一种接受并且实际上滋生模棱两可的方法。用辛西娅·奥齐克（Cynthia Ozick）的话说，这就是隐喻的分立范畴，"相互作用，普遍化的力量，使得我们能够想象陌生人的心。"[...]她还提到，"[....]保持沉默--或者说适度使用“隐喻性话语”--在巨大的悲痛面前更有利于我们"。--Zhu Xu (talk) 07:05, 19 December 2020 (UTC)

Zou Xinyu 邹鑫雨

To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the "uneducated" writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of fictional truth and is able to transmit his personal grief even more persuadingly in a metaphorical discourse throught the metaphor of the dog Baodi.

综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--Zou Xinyu2 (talk) 06:47, 18 December 2020 (UTC)Zou Xinyu

综上所述，巴金并不是一个试图使自己的文学符合共产主义意识形态的自我审查者。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要一有机会，他就会在不危及自己的情况下畅所欲言。他也不再像他引导我们相信的那样，以“没有受过教育的”作家的形象出现。然而，他实现了“虚构真实”的高度流变，通过狗宝弟的隐喻，在“隐喻话语”中更有说服力地表达了个人的悲伤。 --Zhou Siqing (talk) 00:41, 19 December 2020 (UTC)