20201207 trans

Cao Runxin 曹润鑫

The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[ Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915). Zhou should (June, 1922).]

Chang Huiyue 常慧月

The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects.

However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.

Chen Han 陈涵

As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[ Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.] Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen).

In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters.

Chen Hui 陈惠

By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[ Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.] However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession. 在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。

写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 "屏风记忆 "的方式回忆爱人：闭上眼睛后，在 "雪白的屏风"上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，"屏风 "上显示的东西被口头化了，文字也被视觉化了。有了 "张 "和 "亩 "两个意思，"幕 "就可以变成 "屏"，在 "屏 "上投射出作者告白的婚房内部空间。--Liu Yi (talk) 10:37, 3 December 2020 (UTC)

Chen Jiangning 陈江宁

“In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[ Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ] Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper. 《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--Chen Jiangning (talk) 01:09, 4 December 2020 (UTC)

Chen Jiaxin 陈佳欣

At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.

This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema.

Chen Jingjing 陈静静

While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[ Ibid., 20-37.] In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[ Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).]

Chen Sha 陈莎

It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder.

The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ]

Chen Sunfu 谌孙福

Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[ Ibid., 48. ]

As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.

周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]

随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--Chen Sunfu (talk) 02:31, 3 December 2020 (UTC)

周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]

随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--Yao Cheng (talk) 08:24, 4 December 2020 (UTC)

Chen Yongxiang 陈永相

This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader.

Cheng Yusi 成于思

However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[ Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical.

Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.

然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。 周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--Cheng Yusi (talk) 09:12, 4 December 2020 (UTC)

Deng Jinxia 邓锦霞

Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.”

Ding Daifeng 丁代凤

Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.

Fang Jieling 方洁玲

Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.

Gan Fengyu 甘奉玉

According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.

Gao Mingzhu 高明珠

Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.”

Gong Yumian 龚钰冕

The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work.

Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.

Gu Dongfang 顾东方

A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.

Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded.

Guan Qinqing 管钦清

Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[ Habermas, 47.]

Gui Yizhi 桂一枝

As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.

Guo Lu 郭露

Eileen Chang and the Modern Essay

Nicole Huang

Abstract

In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.

张爱玲及现代小说

黄群兰

摘要

在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--Guo Lu (talk) 03:22, 3 December 2020 (UTC)

张爱玲及现代小说

黄群兰

摘要

在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--Xu Pengfei (talk) 09:50, 3 December 2020 (UTC)Xu Pengfei

Han Haiyang 韩海洋

Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.

Han Wanzhen 韩宛真

While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.

I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.

He Changqi 何长琦

The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure.

The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation.

Hu Baihui 胡百辉

My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.

本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--Hu Baihui (talk) 08:33, 4 December 2020 (UTC)

Hu Huifang 胡慧芳

In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[ See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977). The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]

张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--Hu Huifang (talk) 06:52, 4 December 2020 (UTC)

张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--Jiang Fengyi (talk) 10:26, 4 December 2020 (UTC)

Hu Jin 胡瑾

Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.

张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。

张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--Li LIli (talk) 10:09, 4 December 2020 (UTC)Li Lili

Ji Tiantian 纪甜甜

During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.

While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[ For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]

Jiang Fengyi 蒋凤仪

Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45. Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[ See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei. The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.] But the study of Chang’s essay writing is a different story.

张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--Jiang Fengyi (talk) 10:02, 4 December 2020 (UTC)

Jiang Hao 姜好

Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[ Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories. He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins). I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war. The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend. Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts. See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).] While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.

Jiang Qiwei 蒋淇玮

Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China. While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers. Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation. The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood.

Kang Haoyu 康浩宇

The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention. And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[ Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing. The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique. These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts. See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]

杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--Kang Haoyu (talk) 04:04, 4 December 2020 (UTC)

Kang Lingfeng 康灵凤

Most of the women writers in 1940s Shanghai experimented with essay writing. In fact, women produced a larger quantity of essays than any other literary genre. In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form. Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated. The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.

Kong Xianghui 孔祥慧

In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre. I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.

Kong Yanan 孔亚楠

The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure. The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.

在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--Kong Yanan (talk) 14:36, 4 December 2020 (UTC)

20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--Guo Lu (talk) 01:50, 5 December 2020 (UTC)

Lei Fangyuan 雷方圆

Essay and the aesthetics of liminality

How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay? While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:

Lei Kuangxi 雷旷溪

Alone I sit next to a candle, thinking about the past and the present. What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.

I was alone on the dusky balcony after Su Qing left. Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness. At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a full moon, rising crimson above the city. I thought to myself, “so this is what they mean by turbulent times.” In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.

Li Haiquan 李海泉

I pondered the fate of many people, including myself. I began to have a melancholy sense of what we call destiny. Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad. When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[ See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]

This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself. Here, history is visualized, flattened, and inevitably spatialized. The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play.

Li Lili 李丽丽

History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning. Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:

In this era, the old things are falling apart, while the new ones are still in formation. Before the high tide of the era arrives, all certainty is but an illusion. We feel that everything in our everyday life is out of order to a terrifying degree. An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted. In order to prove our own existence, we want to grasp onto something that is real, something fundamental. We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.

张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子： 在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--Li LIli (talk) 09:21, 4 December 2020 (UTC)Li Lili

Li Lingyue 李凌月

Looking back helps us regain more clarity and closeness than we might gazing far into the future. We then have a strange feeling about the reality that surrounds us. We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time. Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[ See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944. This translation is based on an earlier version by David Wang. See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]

回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--Li Lingyue (talk) 05:15, 3 December 2020 (UTC)

回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--Zhou Siqing (talk) 12:02, 3 December 2020 (UTC)

Li Liqin 李丽琴

Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings. The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space. Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events. The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:

Li Luyi 李璐伊

An individual can afford to wait, but an era is transient (cangcu). Things are being torn apart, and an even larger destruction is on its way. Someday our civilization, no matter how glorious, will become the past. I often use the word “desolation” (huangliang 荒涼) because there is a premonition of impending danger underlying my thought. At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself? Make yourself famous as early as possible! If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!

一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--Li Luyi (talk) 11:32, 3 December 2020 (UTC)

一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--Kang Haoyu (talk) 04:12, 4 December 2020 (UTC)

Li Meng 李梦

These short, choppy sentences deliver a sense of urgency. To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai. It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape. The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away. Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history. 这些简短、不连贯的句子给人一种紧迫感。选择通过写作来定位自己，与张爱玲对20世纪40年代上海特殊历史境遇的认识有关。这给人的感觉是，这个时代只是人类历史的一个过渡时刻，结束迫在眉睫，新的历史景观即将形成。因为迫切需要在瞬息万变的情况下“占据”一个空间并抓住某个转瞬即逝的时刻，所以必须成名。张爱玲的作品强调了一个非常私人的时刻，在这个时刻，任何个人的声音都可能被现代战争的猛烈冲击所粉碎，并最终被历史的废墟所吞没。--Li Meng (talk) 05:59, 5 December 2020 (UTC)

Li Yongshan 李泳珊

Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history. The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.

Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call the aesthetics of liminality. One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu. The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry. The essence of essay writing lies exactly in its lack of essence or its eccentricity. The modern essay is a genre that is itself transitional.

Li Yu 李玉

The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions. For instance, Chang’s essay entitled “Shuangsheng” (Duet) represents one of the most intrepid literary experiments undertaken during the period. The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing. In “Duet,” literary writing takes the form of a mini roundtable talk. At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language. The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:

Lin Min 林敏

Having seated ourselves, we started chatting about a variety of things in great detail. When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”

Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality. The fragmentary and all-inclusive qualities (san) of modern prose style (sanwen) had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.

Lin Xin 林鑫

For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s. The roundtable talk became an instrumental cultural genre in 1940s Shanghai. It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display. Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.

The structure of this essay also bears resemblance to that of a one-act play. The beginning passages can be viewed as stage descriptions. The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation.

Ling Zijin 凌子瑾

“Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay. The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward. At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal. Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments. The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.

Liu Bo 刘博

While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers) demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing. The title of the essay takes on double meanings: while ‘siyu’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life. The narrative voice in the essay whispers, murmurs, and gossips. Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes. The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present.

Liu Jinxingqi 刘金惺琦

The essay entitled “Tongyan wuji” (A Childish Discourse) presents another example of writing autobiography within the space of the modern essay. Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making. The following episode even makes a direct reference to cinema:

I stood in front of the mirror and watched my trembling face, with tears falling down in streams. My face looked like a close-up in a movie. I told myself, grinding my teeth: “I want revenge. One day I will take my revenge.”

Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them. The entire essay is put together by a series of long takes. Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments. Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure. The following passage from the same essay is a good example:

Liu Liu 刘柳

Japanese printed fabrics. Each bolt is a work of art. Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image. A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics. A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white. Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……

Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.

日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......

解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--Liu Liu (talk) 07:56, 3 December 2020 (UTC)

日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……

阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--Chen Sunfu (talk) 06:10, 4 December 2020 (UTC)

Liu Ou 刘欧

Essay and the making of a new prose language

Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language. In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella Lianhuantao (Linked Rings):

I adopted the language from traditional fiction on many occasions when writing the novella Chain of Rings. In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] Plum in a Golden Vase (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago. Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (shuangchong juli). ……

Liu Yangnuo 刘洋诺

To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language. By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language. For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as Plum in a Golden Vase and Dream of the Red Chamber.

Liu Yi 刘艺

What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period? The titles of both the essay collection Written on Water and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre. While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure. Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.

In the opening passage of the essay “Tan nüren” (Talking about Women), collected in Written on Water, in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:

那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集写在水面上和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。

张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 "女人 "的描述。--Liu Yi (talk) 10:36, 3 December 2020 (UTC)

那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。

张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 "女人 "的描述。--Liu Yiyu (talk) 09:06, 4 December 2020 (UTC)Liu Yiyu

Liu Yiyu 刘怡瑜

Westerners refer to sinister and cruel (yinxian kebo) women as ‘cats.’ I ran across a pamphlet recently, written in English, entitled Cats, which does nothing else except condemn women. It is not that what is said in it has never been expressed by other people. Interesting remarks (juanyu) concerning women are scattered everywhere and it is just not easy to collect them all together. But here this pamphlet is really a compilation (ji qi dacheng) [of what has been said about women].

Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential. Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged. After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view? 西方人把阴险刻薄的女人称为 "猫"。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 "真实 "作者又在多大程度上内化了这种 "他者 "的男性观？--Liu Yiyu (talk) 08:54, 4 December 2020 (UTC)Liu Yiyu

西方人把阴险刻薄的女人称为 "猫"。我最近看到一本英文小册子是用英语写的，标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把这些言论收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 "真实 "作者又在多大程度上内化了这种 "他者 "的男性观？--Qu Miao (talk) 03:28, 5 December 2020 (UTC)

Liu Zhiwei 刘智伟

And to what extent is Chang’s translation ‘faithful’ to the original text? The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition. The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay. One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique. Within these quotes, the message is complicated, and presented in several levels. Some of the quotes are reminiscent of an archetypal ‘male’ voice:

Lou Cancan 娄灿灿

This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period. David Wang argues that the fictional world presented in the short stories in Romances points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist. See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo (Heteroglossia: Chinese Fiction of 1930s and 1980s).

这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--Lou Cancan (talk) 13:11, 4 December 2020 (UTC)

这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--Luo Weijia (talk) 14:01, 4 December 2020 (UTC)

虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--Kong Yanan (talk) 14:59, 4 December 2020 (UTC)

Luo Weijia 罗维嘉

“The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete. This is predictable. We just cannot be over-critical of them [women].”

“If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.”

“The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”

The expected readers of the pamphlet Cats are married middle-class men. According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.” Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.

“女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。” “如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。” “女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！” 短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--Luo Weijia (talk) 13:50, 4 December 2020 (UTC)

Luo Yuqing 罗雨晴

Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image. For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.

Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences. However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages. Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic. The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’ This ‘look’ is interwoven with a sense of irony. This is even more explicit in some of her other quotes:

Ma Juan 马娟

“A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar. We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” “Generally speaking, women do not need the variety of stimulants in their lives that men do. Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.”

Ma Shuya 马淑雅

These quotes should be understood as mainly Eileen Chang’s own rendition. Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule. If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques. The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.

Ma Zhixing 马智星

Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form. Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording. A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects? Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language.

Meng Ying 孟莹

Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.

Mo Ling 莫玲

In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details. In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.” Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.” Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.” See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her Woman and Chinese Modernity: The Politics of Reading Between West and East (Minnesota and Oxford: University of Minnesota Press, 1991) 85.

Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.

在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 女性与中国现代性：中西方的阅读政治性的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。

周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--Mo Ling (talk) 02:53, 5 December 2020 (UTC)Mo Ling

Nie Xiaolou 聂晓楼

However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials. This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details. Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.

Ou Rong 欧蓉

The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing. According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.” Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.” She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.” Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.” See Stimpson, ”The Somagrams of Gertrude Stein,” in The Female Body in Western Culture: Contemporary Perspectives, edited by Susan Rubin Suleiman.

在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--Ou Rong (talk) 11:10, 3 December 2020 (UTC)Ou Rong

在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--Xiao yining (talk) 12:02, 3 December 2020 (UTC)Xiao Yining

Ouyang Jinglan 欧阳静兰

Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.” Kristeva refers to this as ”a strategy of disintegration.” This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.” See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in Signs (Autumn, 1981).

Ouyang Ling 欧阳玲

Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.

那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--Ouyang Ling (talk) 03:40, 3 December 2020 (UTC)Ouyang Ling

Peng Dan 彭丹

In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact. The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda. While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged. It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’ Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.

Peng Juan 彭娟

Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication. The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space. By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.

Essay and the Invention of Life in Wartime

In the preface to her 1988 collection entitled Xuji (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life: 张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--Pengjuan (talk) 11:48, 3 December 2020 (UTC)pengjuan

张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。

散文和战时的生活发现

在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--Peng Xiaoling (talk) 07:37, 4 December 2020 (UTC)

Peng Ruihong 彭锐宏

For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people. Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives?

These sentiments could not have been expressed back in the 1940s. The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers.

Peng Xiaoling 彭小玲

As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves. And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making. Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.

如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--Peng Xiaoling (talk) 08:13, 4 December 2020 (UTC) 如前所述,一个社会对女性知识分子的推动,最重要的力量莫过于女性作家本身。 而在所有文学体裁中,正是现代散文成为女作家自我提升和神话创作中最有力的表现形式。 "散文"为一种没有结构的生活贡献了具体的形式,换句话说,张爱玲、苏青等女性作家用现代散文的形式,构建了一个可以理解、想象和幻想的宇宙。 对日常生活经验的详细描述,即对物质世界文化意义的表述,不仅体现了动态的内心生活,而且表现了一种孕育中的新的社会认同。 在这一章中,我将着重介绍张爱玲散文写作中概念化的生活的两个方面：一方面是作为都市景观中有限场所的现代公寓的空间,另一方面是将时尚作为物质意识的重要形态的论述。--Li Meng (talk) 06:20, 5 December 2020 (UTC)

Peng Yongliang 彭永亮

Passage from apartment to street

In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life), Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:

I would ride the wind, returning up there, but fear those marble domes and jade galleries the place so high, the cold is unbearable ……

On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder. Ever since the price of coal soared , radiators in apartments have become purely decorative. The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (Jiu quan) down below. It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper. Even if we do not provoke it, the God of thunder still makes its power felt at any moment.

Peng Yuzhi 彭育志

Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs. Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai. At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound. That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud. But I dare not complain anymore; the unemployed can easily fly into a rage.

What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war. War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style. Chang’s depiction of the texture of an apartment life then can be read as a parable of war.

Qi Kai 漆凯

This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong). Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces. The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime. The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.

Qu Miao 瞿淼

See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning. Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time. See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan. Published in The Miscellany Monthly 12. 2 (November, 1943). Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan. In The Miscellany Monthly 15. 5 (August, 1945).

Originally published in Heaven and Earth Monthly 3 (December, 1943).

These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).

第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。 原刊于《天地月刊》第3期(1943年12月)。 这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--Qu Miao (talk) 03:24, 5 December 2020 (UTC)

Quan Meixin 全美欣

This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment. In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing. City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public. In Chang’s writing, the space of an apartment is presented as such a transitional site. It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary. But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture.

Sagara Seydou

For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai. Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:

I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears. The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid.

Shi Diwen 石迪文

Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world. This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm. And yet senses simply become more acute, and thoughts are given fresh new patterns. Here, we are witnessing the formation a new metaphysics of the everyday:

I like to listen to street sounds. Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves. But it is the sound of a trolley that I must hear in order to fall asleep. On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley. People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place. The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys. Like neatly paralleled currents of sounds, they continuously flow into our subconscious.

Shi Haiyao 石海瑶

For Eileen Chang, an apartment is truly the center of urban life. Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions. Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime. If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space, the modern apartment is another important site on the mental map of a city under siege. The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created. Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.

Si Yu 司妤

Many feminist scholars have suggested the importance of studying spatial constructions. They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories. The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience. See, for instance, Jessica Benjamin, ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in Feminist Studies/Critical Studies, edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).

For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in Haishang wentan (March, 1994). Also see a photographic history in Tang Zhenchang, ed., Jindai Shanghai fanhua lu (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)

In ”Interesting Moments in Apartment Life.”

Ibid.

See Nicole Huang, Written In the Ruins.

Song Jianru 宋建茹

In Chang’s vision, this spatial experience is also gendered. The image of an apartment dweller is gendered, and often female. “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified. Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning. Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights).

In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）

Su Lin 苏琳

In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to. Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market. Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city. Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.

Tan Xingyue 谭星越

Life in apartment is then presented with many layers in Chang’s essay writing. In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets. On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:

Designing shop windows is a fascinating job, since there is motionless drama in each display. ……… [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays.

Tan Xinjie 谭鑫洁

Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats. I did not wear western suits, had no need of a hat, and did not want to buy one. And yet I still looked at them with admiring eyes……

This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.” At the present time within the essay, a different layer of images are highlighted. We see various street corners scattered in less prestigious neighborhoods of the metropolis. Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:

”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）

Tan Yuanyuan 谭媛媛

There are many scenes on the streets that are worth another glance. At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack. The rickshaw man is squatting down on the ground, trying to light up an oil lamp. It is getting dark, and the lamp by the woman’s feet slowly brightens.

Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre. The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.

街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。

在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。

大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。

在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--Mo Ling (talk) 03:12, 5 December 2020 (UTC)Mo Ling

Tang Bei 汤蓓

And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past. Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space. Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.

Tang Ming 唐铭

To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life. The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city. The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory. Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.

进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。

张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--Hu Baihui (talk) 08:38, 4 December 2020 (UTC)

Tang Yiran 汤伊然

– Fashion talk – To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life. Chang’s discussions of fashion demonstrate her fascination with an inner vision. By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.

In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings. Her writing is known for its meticulous attention to details, particularly clothes.

Tao Ye 陶冶

For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters), through the clothes of female servants, a portrait of this old-style family is introduced. Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying. Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.

It is in Chang’s essay writing that a discourse of fashion is passionately elaborated. Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes), in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.

In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）

In Past and Present Bi-weekly 34 (December, 1943). Originally written in English and published in the English language journal XXth Century.（注释）

Wang Meiling 王美玲

In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:

Men have more freedom in their life than women do. Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing].

Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:

Clothes seem trivial and not worth mentioning. Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.” But for women, it is much easier to cherish their clothes than their husbands.

From ”A Chronicle of Changing Clothes.”

Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities. See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）

Wang Xuan 王轩

There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves. The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”

Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).

Narrative Fiction.” For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche. This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）

For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in Jindai Zhongguo funüshi yanjiu (Studies of Women’s History of Modern China) 4 (August, 1996). Also see her dissertation entitled Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949 (New York University, 1997).（注释）

Wang Yu 王煜

But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses. “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!” The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune! The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.

这篇文章《换衣纪事》不仅仅只是梳理出隐藏在时尚话语中的性别范畴。张爱玲写道：“我们无法想象过去几代人的世界，如此闲散，如此安静，如此井井有条，在清朝满洲统治的三百年里，竟连这样一个叫女装的东西都没有！副词“竟”，暗含着一种震惊：三百年来女人连时尚未曾有，怎么会有人能忍受这样的不幸！对女装的强调似乎是现代与过时世界的一个里程碑。--Wang Yu (talk) 06:01, 5 December 2020 (UTC)

Wang Yuan 王源

From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.

Chang’s account then turns history into a stage presentation. Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes. Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion.

Wei Honglang 韦洪朗

History is turned into a fictional narrative. More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space. Through a personification of clothes, Chang has created an animation effect in her world of changing fashion. Clothes replace human voices; clothes become language itself.

In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture. By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage.

Wei Yafei 魏亚菲

A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history. The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.

In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life. He views fashion as a signifier of modernity and a theatricalization of social transformations. For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban.

Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）

Wen Sixing 文偲荇

Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes. Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:

The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.

西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质: 都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--Wensixing (talk) 09:10, 3 December 2020 (UTC)

Wen Xiaoyi 文晓艺

Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded. Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli.

Wu Kai 吴恺

To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence.

Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision. But Chang has gone well beyond Simmel. She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm.

See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）

Wu Qi 吴琪

The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time. More importantly, Chang’s fashion stories can also be read as parables of war. Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege. In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.

Wu Qiong 吴琼

In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time: In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking. “What am I going to do? I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese. She had a different wardrobe for every social occasion. From a dance party on a yacht to a formal dinner, she was always sufficiently equipped. But she never imagined that there would be a war.

张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--WuQiong (talk) 15:21, 3 December 2020 (UTC)

张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意： 在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--Xu Mengdie (talk) 02:33, 4 December 2020 (UTC)Xu Mengdie

Wu Xiang 邬香

She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above. When it was time to flee we all went our separate ways. I saw her again when the war was over. She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man.

她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。

Indeed our different responses to the war are reflected in our choice of clothes. Take Suleika for example. A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.

事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--Wu Xiang (talk) 13:51, 4 December 2020 (UTC)

事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--Fancy (talk) 00:35, 5 December 2020 (UTC)

Wu Yilu 吴一露

Like most girls who had a convent education, she was naive to an embarrassing degree. She chose to major in medicine, which means that she had to learn to dissect human bodies. But did the corpses have clothes on or not? The question bothered her, so she was asking people about it. This had become quite a joke around our school.

A bomb landed next to our dorm, so the warden had to convince us to flee down the hill. Even in such emergency, Suleika did not forget to pack up her most lavish clothes. Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.

她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。

一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--Wu Yilu (talk) 13:23, 4 December 2020 (UTC)

像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。

一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--Xu Jing2 (talk) 13:56, 4 December 2020 (UTC)

Wu Zijia 吴子佳

Suleika then joined the defense force, working as a substitute nurse for the Red Cross. She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity). What a waste, but for her it was all worth it. This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. ……

Here, Chang’s war stories are interwoven with talks of fashion.

“Stories from the Ashes,” in Heaven and Earth Monthly 5 (February, 1944).

Xiao Shuangling 肖双玲

Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.

The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:

……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home. Fish scraps and pale green corn husks litter the ground.

时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。

《更衣记》这篇文章的结尾也包含了一个寓言:

......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--Xiao Shuangling (talk) 02:50, 5 December 2020 (UTC)Xiao Shuangling

Xiao Ting 肖婷

A child dashes over on his bike just to show off. He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while. At that split second, everyone on the street watches him with an indefinable admiration. Perhaps in this life that moment of letting go is the very loveliest?

This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life. It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.

Translated by Andrew F. Jones.（注释）

一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 "放手 "的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--Xiao Ting (talk) 01:55, 5 December 2020 (UTC)Xiao Ting

一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的?

这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 "放手 "的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--Xiao Shuangling (talk) 02:59, 5 December 2020 (UTC)Xiao Shuangling

Xiao Xi 肖茜

Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.

在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--XiaoXi (talk) 09:42, 4 December 2020 (UTC)Xiao Xi

在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--Wu Yilu (talk) 13:28, 4 December 2020 (UTC)

Xiao Yining 肖伊宁

Perspectives on Ideology in the Essay

Zhu Ziqing, Frantz Fanon, and the Fierce White Children

Daniel A. Fried

Abstract

All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay. And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.

“论文中的意识形态观点”

“朱自清，弗朗茨·法农，和凶猛的白人孩子”

“丹尼尔A.弗里德”

“概要”

所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文. --Xiao yining (talk) 11:25, 3 December 2020 (UTC)Xiao Yining

Xie Fan 解帆

This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models. Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself. While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.

This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays.

Xie Ziyi 谢子熠

Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical Black Skin, White Masks. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.

Xu Jia 徐佳

While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.

Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories. The same could be said of all genres of the period, but the essay has a special claim on postcolonialism. All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs.

Xu Jing 许晶

Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature. For example, Rey Chow in her 1993 Writing Diaspora produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism. Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies.

Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）

当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--Xu Jing2 (talk) 13:57, 4 December 2020 (UTC)

当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。 Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--Xiao Ting (talk) 02:15, 5 December 2020 (UTC)Xiao Ting

Xu Jing 许静

We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus? One could dive into polemics, but a decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.” We need more nuanced approaches. In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach. The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament.

Xu Mengdie 徐梦蝶

One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves. The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood. The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized. 弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--Xu Mengdie (talk) 02:06, 4 December 2020 (UTC)Xu Mengdie

Xu Pengfei 许鹏飞

If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived. Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.

如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--Xu Pengfei (talk) 09:39, 3 December 2020 (UTC)Xu Pengfei

如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--Yang chenting (talk) 06:29, 4 December 2020 (UTC)Yang Chenting

Yang Chenting 杨晨婷

As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical Black Skin, White Masks), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!” Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis. And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience. Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.

作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--Yang chenting (talk) 08:35, 3 December 2020 (UTC)Yang Chenting

作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--Li Luyi (talk) 12:12, 3 December 2020 (UTC)

==Yang Hairong 杨海容==

“The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's. Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, self-analysis, for the chapter is cast in the form of a first-person narrative. Fanon writes a sort of psychoanalytically fueled prose poem. There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head, what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..

Not necesssarily Fanon's. In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity." Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16. The wording here suggests a fictional narrator. Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）

“黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。

不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--Yang Hairong (talk) 02:01, 5 December 2020 (UTC)

Yang Hui 阳慧

Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:

“Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.

“Look, a Negro!” It was true. It amused me.

“Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.

“Mama, see the Negro! I'm frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.

这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：

“看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。

“看，一个黑人！”是真的。我很开心。

“看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。

“妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--YangHui (talk) 08:18, 3 December 2020 (UTC)

这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:

“看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。

“看,一个黑人!”这是真的。这太好笑了。

“看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。

“妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--Wensixing (talk) 09:14, 3 December 2020 (UTC)

这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音： “看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。 “看，一个黑人！”这是真的。它逗乐了我。 “看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。 “妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--Zhao Xi (talk) 11:41, 3 December 2020 (UTC)

Yang Yi 杨逸

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

Yang Yue 杨悦

Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology. In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration. Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well. And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”

Yang Ziling 杨子泠

Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions. But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time. The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity. In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.”

==Yao Cheng 姚诚==--Wu Xiang (talk) 14:04, 4 December 2020 (UTC)

In contrast, Fanon only reaches his version of the mirror stage after passing through objectification and restoration to subjectivity. His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above. But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:

The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (un relief de stature) that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.

相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：

事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--Yao Cheng (talk) 08:17, 4 December 2020 (UTC)

相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：

实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--Wu Xiang (talk) 14:04, 4 December 2020 (UTC)

Yao Jia 姚佳

Fanon's mirror is of course the White. In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that perversion of his Self that he is allowed to know himself. And, moreover, that inversion is fixed in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye. No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image. Does Fanon feel a universal, rational soul animating himself? Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity? It does not matter. The mirror is impervious and flat. His image is fixed.

Yi Huan 易欢

Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the Innenwelt and the Umwelt.” For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,” he is created by the White reality.

That relation is an average of many different species of dominance. But perhaps more than any other, it is the dominance of an adult over a child. Listen again to the voices which fix Fanon: “Understand, my dear boy, color prejudice is something I find entirely foreign.”

Yi Zichu 义子楚

“Gently, in the tone that one uses with a child, they introduced me to the existence of a certain view that was held by certain people.” “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our children-to the innocent, the ingenuous, the spontaneous. We will turn to you as to the childhood of the world.” (italics mine) The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté. He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his I, but the mirror always gives him back his infant inverse. He cannot realize himself, he can never leave the mirror stage, he is fixed.

You Yuting 游雨婷

The white child is thus a point of entry into the subsurface struggle of the text. The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[ Fanon, 114.] The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[ Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White. But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape. One might even profitably read this mirroring as a form of mimicry.

Yu Ni 余妮

In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized. Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[ Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.] However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[ Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.] Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations.

Yuan Shiqi 袁诗琦

The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact being assaulted by the boy's unwitting mimicry of his weakness.

The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.” And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms. Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.

“White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”

男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。 因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。 “白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--Yuan SHiqi (talk) 03:05, 4 December 2020 (UTC)

Yuan Tianyi 袁天翼

In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages. The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers. Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone. On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers. In response, British troops arrested a hundred of those assembled. News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release. At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.

1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--Yuan Tianyi (talk) 13:50, 3 December 2020 (UTC)

Yuan Yuchen 袁雨晨

Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.

The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley. After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son. Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun. He admits that he loves to stare at young children, and that he stared therefore at the white child.

各行各业的抗议行动在全国范围内一触即发，包括了几个文学的抗议行动，其中就有朱自清的两部作品，其一是创作于6月10日的诗篇《血歌》，表现了火山爆发式的强烈情感，九天后，朱自清又写下另一篇文章《白种人——上帝的骄子》。 虽然这篇文章从未明确指出“五卅”惨案，但朱自清在上海的一路电车上的亲见亲闻刚好记述和解释了这次事件的情况。朱上电车之后，走进头等座里，和两个白种人并排而坐，他猜想那两人是一对父子。小男孩看上去十一二岁的样子，他惊羡于小男孩的可爱容貌，解释说自己多么想要跟这个男孩亲近，因为这让他想起了自己初中时的一个叫做刘君的玩伴，也是一个害羞的小男孩。他承认自己喜欢凝视小孩子，所以才会对这个白人小孩多看了几眼。--Yuan Yuchen (talk) 03:39, 5 December 2020 (UTC)

Zeng Fangyuan 曾芳缘

Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu. The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look! You are worthy of looking at me!” Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged. He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories. Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.” Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.

与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--Zeng Fangyuan (talk) 03:33, 4 December 2020 (UTC)

和大多数的孩子不同，白人小孩起初没有注意到朱的目光，当感觉到有人在看他后，他和父亲正要下电车，接着小孩向朱回了恶狠狠的目光。朱从他的怒视中读到：“咄！黄种人，黄种的支那人，你——你看吧！你也配看我！”朱从中感觉遭到了人身攻击，首先是张皇失措，而后他的爱国热枕喷涌而出。他解释说自己盼望的是国籍优先的普遍主义，可是眼看这个孩子小小年纪就已被社会所同化，接受了种族主义，他便开始怀疑普遍主义是否还有实现的可能。然而，他对孩子展现出来的男性力量表示赞赏，“这正说明了白人之所以为白人”。最后，他陷入了民族主义和普遍主义的矛盾之中，直到结尾，文章也未给出解决的方案。--Yuan Yuchen (talk) 03:50, 5 December 2020 (UTC)

Zeng Liang 曾良

Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of personal identity. This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity. Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other. And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.” But the incident does not fit the mirror-stage model as transmitted by Fanon.

Zeng Xinyuan 曾心媛

There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself. Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response. After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!” He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:

That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”! I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...

Zeng Yanhu 曾雁湖

But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face. This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[ Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]

Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his theoretical realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut. The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history. And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.

但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】

尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。 正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--Fancy (talk) 15:36, 3 December 2020 (UTC)

但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】

尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--Zhou Shuyao (talk) 03:42, 4 December 2020 (UTC)

Zhang Hu 张虎

One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing. Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity. Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task. Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities. Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity. There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.”

Zhang Hui 张慧

On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.

Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature. But the standard history does happen to match the particulars of these two authors' educational trajectories. The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride.

And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.

相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。

在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。

然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--Zhang Hui (talk) 10:54, 3 December 2020 (UTC)

相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。 到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--Zhao Xiaoyan (talk) 11:19, 3 December 2020 (UTC)

Zhang Ling 张玲

Normally, Zhu Ziqing is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text. Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?

If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma. The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare. The key to this portal is that that stare, as it happened empirically, was complete unto itself.

Zhang Peiwen 张佩闻

It was an act, an aggressive act, unaccompanied by words. When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes. But yet the language admits its paternity: not the child, but Zhu himself. Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears. Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.

Zhang Qi 张琪

This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say. No doubt, the child was acting racistly. But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated. He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better. For Zhu's stare was not the first the boy had received. Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible.

Zhang Weihong 张维虹

Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority. The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming. This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.

Zhang Xueyi 张雪仪

Moreover, it is Zhu who initiated this discomforting dialogue of stares. Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic. As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of identity and alienates it from essence,”[ Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries. Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.

And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[ Zhu, 43.]

Zhang Yinliu 张银柳

Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun. Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression. Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy. Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.

Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes. It is not therefore simple. Consider the bizarreness hidden in his self-justification:

当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。

很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--Zhang Yinliu (talk) 13:14, 4 December 2020 (UTC)

Zhang Yu 张瑜

I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy. Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him! I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!

我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--Zhang Yu (talk) 09:22, 3 December 2020 (UTC)

我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--Tan Yuanyuan (talk) 14:06, 3 December 2020 (UTC)

Zhang Yujie 张毓婕

Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women. I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice. Therefore I was very bold. This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![ Zhu, 43.]

Sexuality! is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality.

Zhang Yuxing 张宇星

Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.” And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world. Zhu's relationship with children is therefore predicated by his dominance of them. He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[ The evidence for Zhu's child-fetish is strongly corroborated by his other work. Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse. ]

Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated. Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved.

Zhao Xi 赵茜

He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child. When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring. Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.

Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which life in France causes him.

他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--Zhao Xi (talk) 11:16, 3 December 2020 (UTC)

他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--WuQiong (talk) 15:43, 3 December 2020 (UTC)

Zhao Xiaoyan 赵晓燕

If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley. Zhu's white boy is visually even more of a mirror image to him than Fanon's was. The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination. Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan. He cannot wander between psychological theory and personal experience in the same fashion Fanon did. 如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--Zhao Xiaoyan (talk) 09:29, 3 December 2020 (UTC)

如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--Zhang Hui (talk) 10:57, 3 December 2020 (UTC)

But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology. This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions. 但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--Zhao Xiaoyan (talk) 09:29, 3 December 2020 (UTC)

但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--Zhang Hui (talk) 10:57, 3 December 2020 (UTC)

不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--Yuan Tianyi (talk) 13:53, 3 December 2020 (UTC)

Zheng Huajun 郑华君

But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun. And Zhu's fascination with children and childhood in other essays should be an indication that something is up. Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power. It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.

What makes Zhu feel nationalistic pride? It is not the boy's reaction, but his race.

但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。

是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。 --Zheng Huajun (talk) 11:43, 3 December 2020 (UTC)

但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。

是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--Yuan SHiqi (talk) 03:19, 4 December 2020 (UTC)

Zhou Luoping 周罗平

Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so. Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting. The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident. To Zhu's mind, it was not the child's whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination. He essentializes the incident: force is what makes whites white. A gaze on a bus becomes an allegory for the sweep of modern history.

Zhou Shiqing 周诗卿

On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre. Is it really a defense mechanism against the revelations of his own psychology? Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai? Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925? I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road. But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (Xiaoshuo yuebao and Wenxue zhoukan), none but his strays so far from the event of the massacre itself in order to support the national cause. It is legitimate to ask why.

Zhou Shuyao 周书尧

The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion. Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production. They are invisible to us, as informed readers, but only on our first readings. The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!” The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.

因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--Zhou Shuyao (talk) 03:16, 4 December 2020 (UTC)

Zhou Siqing 周思庆

This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon. His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it. It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant. Yet Black Skin, White Masks is filled with partial autobiographies. One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better. Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience. Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.

这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--Zhou Siqing (talk) 11:54, 3 December 2020 (UTC)

Zhou Yiwen 周艺文

The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique. Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions. Tension is healthy. If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.

The great frustration of the work of comparison is its inability to aspire to totalisms. However conscious we are of the danger of such aspirations, they are magnetic and insinuating.

这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。

比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--Zhou Yiwen (talk) 07:00, 3 December 2020 (UTC)

Zhou Yuanqu 周园曲

The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the most appropriate. The comparison of individual works requires resignation to pettiness. Any other permutation of works will produce different, perhaps contradictory, lessons. For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it. Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably. The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.

从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--Zhou Yuanqu (talk) 09:02, 4 December 2020 (UTC)

从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--Lou Cancan (talk) 13:22, 4 December 2020 (UTC)

Zhou Yujuan 周玉娟

Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture Charles A. Laughlin

Abstract

The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature.

Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party. Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue. Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period. Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures.

Zhu Meimei 祝美梅

Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay: Liu Baiyu, Qin Mu and Yang Shuo. Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment. Socialist sanwen differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes. But traces of the conspicuous individuality of Republican period sanwen lived on in the essayists of the 1950s and 60s. This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.

Zhu Suyao 朱素瑶

When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose. Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda. Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd. The problem is, as I was aware at the time, there are prominent authors in the PRC – Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen).

Zhu Xu 朱旭

At that time, I dismissed this phenomenon in the usual way: these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.

But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the xiaopin wen popular the 1930s, while there was already in baogao wenxue a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society. To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of sanwen as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the sanwen form in the PRC to something inherent about sanwen and Chinese literary modernity.

Zou Xinyu 邹鑫雨

My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the sanwen under Chinese socialism.

Socialist sanwen emerged from Communist base area writing practice

Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party. Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders. Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[ The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]

我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。

社会主义散文是从共产主义根据地写作实践中产生的

延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。