20201214 trans

Cao Runxin 曹润鑫

In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.

Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s. Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product. Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou. Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.

事实上，在延安出现的社会主义教育体系中，报道文学的研究与创作和组织并参演剧团演出一起，成为青年作家的主要“实习”方式之一。

事实上，在延安时，研究撰写报道文学和组织参演剧团演出，成为当时社会主义教育体系中青年作家的主要“实习”方式之一。--Zhumeimei (talk) 06:12, 14 December 2020 (UTC)

杨朔，刘白羽和秦牧当时都是二十来岁，所以他们在四十年代前的文学经验有限。对于刘白羽和杨朔而言，那段延安时光帮助他们定义了文学是如何由形成到产出的。秦牧却没有去过延安，他的整个战争时期都是在广东，广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧仍然是没有被这种文化环境所浸染的。--Cao Runxin (talk) 11:39, 13 December 2020 (UTC)

杨朔，刘白羽和秦牧当时都是二十来岁，在十九世纪四十年代前，他们还没有太多文学创作经验。因此对于刘白羽和杨朔而言，那段延安时光让他们明白文学从形成到完成是一个什么样的过程。然而，秦牧从没有去过延安，整个战争时期他都是在广东、广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧没有受到这种文化环境的熏陶。--Zhumeimei (talk) 06:21, 14 December 2020 (UTC)

Chang Huiyue 常慧月

Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[ See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing: Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ] This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment. It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young. To them the business of literature was that of constructing an unprecedented new vision.

社会主义或者说共产主义曾经处于主导地位（如抗日时期的延安，然后贯穿1949中国成立以来整个时期）批判散文写作（无论是小品文还是报告文学）可以说，它已经在战时经过多次实践，从文化官员的角度来说，它变得更加不可信。纪实文学需要成为公众庆祝和历史成就的文学工具【如：杨朔《钢铁的大军》（前进，钢铁的大军，1949），中华散文珍藏本，杨朔卷（北京：人民文学出版社，1998）25-33；《平常的人》（平常的人，1951）25-33；杨朔卷13-17，《戈壁滩上的春天》（戈壁滩上的春天，1953），阳朔卷29-33】。这恰好是丁玲的困境，参加延安协会，作为同一批人中受到良好训练的敏锐批评家。除了那些参加社会主义教育文化系统但是相对年轻的人，这是一次尴尬的转变。对他们来说，文学事业正在建造一个前所未有的新视野。--Chang Huiyue (talk) 12:37, 13 December 2020 (UTC)

Chen Han 陈涵

Writers’ changing roles changed literary prose

Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China. They were all in their late teens and early twenties at the outbreak of the war against Japan. Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions.

作者的角色变化改变了文学散文的面貌

我在此探讨的三位作家都出生于1913至1919年间，距清王朝灭亡和中华民国建立仅短短几年时间。抗日战争爆发时，三人都是十几岁到二十几岁。他们年龄相仿，有着相同的历史、文化氛围，但由于身在不同的地方，以不同的身份参加战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--Chen Han (talk) 13:09, 11 December 2020 (UTC)

作家角色的变化改变了散文的面貌

我在此探讨的三位作家都出生于1913至1919年之间，是清王朝覆灭和中华民国建立后的短短几年。抗日战争爆发时，三人都是十几岁到二十出头。他们年龄相仿，处于相同的历史和文化氛围下，但由于身在不同的地方，以不同的方式参与战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--Kang Lingfeng (talk) 10:55, 13 December 2020 (UTC)

Chen Hui 陈惠

Yang Shuo[ 1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou. Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s. That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.

Chen Jiangning 陈江宁

Liu Baiyu[ 1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing: Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism. Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas). Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School. 刘柏宇[1916-?, 源自. 刘玉赞，北京. 参见牛云清, 刘柏宇 平专（重庆：重庆出版社，1995).]抵达延安也很早，并很快就投入到了当地的文学活动中去。在他抵达数周后，尽管刘当时才22岁，毛泽东亲自派他带领一个五人护卫队，并陪同美国海军观察员埃文斯·卡森参观中国北部的游击地区（一个派遣各种类型“文化工作者”的共产党基地）。尽管开了一个充满前景的好头以及偶尔会与毛主席接触，刘出版的作品还是引起了某些批评家和政府工作人员的不满，因此，他在毛泽东讲话后成了延安正风运动的目标，并在中央党校进行了互相批评以及自我批评的过程。--Chen Jiangning (talk) 15:33, 13 December 2020 (UTC)

Chen Jiaxin 陈佳欣

Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58. This alienation is occasionally revealed in his sanwen works from that point on.

Qin Mu[ 1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27).

尽管这一痛苦过程的结果显然是“成功的”（刘在中国继续担任重要的文化行政职务），但这也使他脱离了文学界的某些因素，并导致他在1957年和58年的反右运动期间担任作家协会党委书记— 一个积极的威权主义角色。从那时起，这种疏离在他的散文作品中偶尔会有所体现。 秦牧[1919-199 ?，原件。林觉夫，b。新加坡，广东省澄海县。参见黄卓才，翁光裕和艾志平，秦木平专（广州：华城出版社，1989）.] 由于他没有与杨，刘分享延安经验，他又前进了一步。尽管他在抗日战争期间积极从事文学抗争，尽管他的传记作者坚称他最初计划最早在1938年去延安，但他从未去过那里（黄，翁和艾，1989，26-27 ）。 By Chen Jiaxin --Jessie Chen (talk) 08:23, 14 December 2020 (UTC)

Chen Jingjing 陈静静

Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938. He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers. But his experience during the war was not a community experience: Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.

因为他确实属于同龄人并且具有相同的基本倾向，他也确实和其他人一样和同一个组织如共产党，文协有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日及反抗国民党或美国的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。

因为他与别人年纪相仿， 基本倾向相同，也都与共产党，文协等组织有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日，反抗国民党或抗美的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。--Kang Haoyu (talk) 05:05, 13 December 2020 (UTC)

Chen Sha 陈莎

Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained. He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.

Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign. All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda.

因此，他有一种特别独立的特质，这一特质使得他在1949年后与作家协会的关系有些紧张。他在1957年的正风运动中遭到攻击，且直到1962年才加入共产党。

因此，1949年后，尤其是百花运动期间和百花运动之后，每一位作家在接触到写作时都会表现出不同程度的紧张。然而,他们都以散文为载体来表达自己,尽管有时这些文章似乎表面上是适度的或过度的宣传。

Chen Sunfu 谌孙福

Procedures and interests of socialist essays

The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.” All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s. But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.

社会散文的发展阶段和关注点

由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--Chen Sunfu (talk) 07:41, 9 December 2020 (UTC)

由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--Mo Ling (talk) 12:44, 9 December 2020 (UTC)Mo Ling

社会散文的发展和关注点

由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--Ji Tiantian (talk) 09:42, 10 December 2020 (UTC)

Chen Yongxiang 陈永相

Friction with leftist aesthetics

In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays. In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles. At particularly rhapsodic moments, socialist sanwen texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives. One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism.

与左派美学的摩擦

在20世纪50年代末和60年代初，“散文”一词更多地与“抒情性”(抒情)联系在一起，而非“说理性”(说理)。在实践中，这表现在冗长的描述性段落，经常使用第二人称直接称呼读者，以及修辞性的疑问句、祈使句和表达性助词。在狂热表达的时候，社会主义性散文呈现出一种赋式的修辞、句法上的排比，具象堆砌以及华丽的词藻。有人试着将这种语言丰富的尝试与朱自清和俞平伯等某些民国时期风格明显的散文家联系起来，但社会主义性散文在语言和情感显露方面更加丰富。 --Chen Yongxiang (talk) 12:31, 13 December 2020 (UTC)

Cheng Yusi 成于思

On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[ Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[ Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ] Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration. In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape.

从意象层面来看，人们对战争时期遗留下来的光，火及火把等意象十分着迷的现象仍然存在（在刘白羽1940年代后期的报道文学作品中尤为显著），不过到1950年代后兴趣点开始转向于花卉意象。（秦牧的散文作品以及杨朔的部分作品中充满花卉植物等意象，这些意象自成一体，同时具有象征之意）。最后，三位作家的共同策略是将远景或某种经验想象成为一副写生风景画，强调视觉的重要性及随之而来的欣喜和振奋之情。在某些情况下，这些充满视觉冲击的文章配有插图，而插图与充满视觉化风景的文章之间出奇地吻合。--Cheng Yusi (talk) 06:27, 14 December 2020 (UTC)

Deng Jinxia 邓锦霞

Yang Shuo

Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[ Taishan jiding, wr. 1959, from Haishi. Yang, 125-129.] features this kind of overt reference to landscape painting. The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements. The first is the traditional landscape painting motif: ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language. Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.” (Yang, 126)

杨朔

杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是这种对山水画的公开引用。 文字只是讲述了作者在著名的山东山峰上的登顶，但攀登的叙事结构与由三个要素组成的形象结构交织在一起。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种比喻性的描述性语言。然后杨写道：“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--Deng Jinxia (talk) 03:29, 13 December 2020 (UTC)

杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是大谈山水画的典范。 虽然文章只是讲述了作者登顶著名的泰山的过程，但攀登的叙事结构与由三个要素组成的比喻结构交相辉映。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种富有形象和描述性语言的巧妙构思。第二个要素：杨写道“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--Cheng Yusi (talk) 07:02, 14 December 2020 (UTC)

Ding Daifeng 丁代凤

This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them. The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.

The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim: the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism. Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.

这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。

文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--Ding Daifeng (talk) 13:37, 10 December 2020 (UTC)

山的两侧雕刻了著名游客的书法，这里参考了他们的书法，以及他们的传奇故事。第三层比喻，也是最后一层比喻，意不在于作者爬山，而是在于攀登高空。

文章一开始就介绍：游客想从泰山顶观赏日出，然而在整篇文章中，作者为了追求更高目标：将泰山游记重塑为对社会主义历史成就的颂扬，灵活使用修辞，有时会逗弄读者，让读者受挫。游客一旦穿过南天门，作者就能看到整个山东省的美景在他脚下，但是作者却把注意力放在宽阔的公社麦田（琥珀色的麦浪），麦田对面是一块块农田，还有从远处飘散的羽毛似的迷雾，这迷雾不是从飘出来的，而是从工厂里出来的。--Gan Fengyu (talk) 14:11, 11 December 2020 (UTC)

Fang Jieling 方洁玲

Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn. But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.

In his essay about Kunming’s camellias,[ ”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi. Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo). He then turns to his trip to Kunming after returning from travels abroad.

为了（第二天）能按时起来看日出，游客们很早就上床睡觉了，夜晚在靠近顶峰的地方，天气很是晴朗，但是在黎明时分，一夜之间水雾缭绕，天空乌云密布 。但作者前一天晚上对的社会主义/共产主义景观的顿悟，使平庸的游客对期望看到美丽日出的愿望黯然失色--他看到了地平线上的中国人/民族的“另一种”（形而上的）日出。

在他关于昆明的山茶花的文章中，[《茶花赋》写于1961年，摘自《东风第一枝》. 杨134-37] 杨朔开篇就写道与一位画家朋友讨论什么样的画能展示 "祖国"的面貌。 接着，他转而谈到从国外旅行回来后的昆明之行。--Fang Jieling (talk) 15:12, 13 December 2020 (UTC)

顶峰附近晚上的天气已经晴朗，为了第二天能够早起赶上日出，这时聚会早早就结束了。雨雾逗留一整夜，黎明时变得灰蒙蒙的。但是作者前一天傍晚的社会主义/共产主义景观顿悟掩盖了普通游客对美丽日出的渴望，他看到了“另一种”（抽象的）日出，即地平线上的中国人/民族的日出。

杨朔写关于昆明插茶花的散文时 [《茶花赋》出自《东风第一枝》杨朔134-37]，他先与一位艺术家朋友讨论哪种描绘可以展现“祖国”的面貌。之后，他谈论了从国外旅行回来后的昆明之行。--Chang Huiyue (talk) 15:36, 13 December 2020 (UTC)

Gan Fengyu 甘奉玉

Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper. His attention is drawn to one variety called ”Child’s Face” tongmian. As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms. A detailed description of the gardener himself provides the author with the key to the signified:

特别是作为一个北方人，他完全被这座城市周围，以及华亭寺内美丽的山茶花迷住了，在那里，景观设计师金志文护送着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。对园丁本人详尽描述也是作者了解其重要意义的关键。--Gan Fengyu (talk) 14:48, 11 December 2020 (UTC)

特别是作为一个北方人，他完全被遍布在这座城市周围，以及华亭寺内的美丽山茶花迷住了，这一路有该市景观设计师金志文陪同着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。园丁本人的详尽描述也是作者了解所指之物的关键。--Gao Mingzhu (talk) 11:58, 13 December 2020 (UTC)

Gao Mingzhu 高明珠

I fervently gazed at his hands, hands covered with mud-stained calluses. Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background: I could guess that he was a middle aged man who had been through a lot. If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer. But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives. This is how beauty is created. (Yang, 136)

我热切地注视着他的双手，那双手满是带泥的茧子。然后我看了看他的脸，他眼角的皱纹已经很深了。我没有必要再追问他的背景，因为我可以猜出他是一个饱受风霜的中年男人。如果他现在转身离开钻进人群里，他会很快消失在人海中，要再找到他就很难了——他就是这样一个十分普通的劳动者。但是正是这样普通的劳动者日复一日，年复一年的辛勤劳作，用身心浇灌花朵和树木，美化我们的生活。美就是这样被创造出来的。--Gao Mingzhu (talk) 14:02, 11 December 2020 (UTC)

我热切地注视着他的手，那双手布满了沾满泥土的老茧。 然后我看了看他的脸，他眼角的皱纹很深。不用问他的背景， 我可以猜到他是一个饱经沧桑的中年男人。 如果他从你身边晃晃悠悠地走到人群中，他就会立刻消失在人海中，再想找到他就很难了--他就是那种很普通的劳动者。 但就是这样一个人，月复一月，年复一年，耗费着身心，用他的全部心血培育着花草，美化着我们的生活。 美就是这样被创造出来的。--Liubo (talk) 06:59, 13 December 2020 (UTC)

Gong Yumian 龚钰冕

When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.

What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes: why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise? What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?

当作者观察到一群来观赏山茶花的小学生时，山茶花和孩童们之间的联系就建立了，“怎样画出祖国的面貌特色”这个谜题也就解开了——画童子面茶花。

在杨朔的抒情诗中，除了这些例子外，还有许多不协调之处，就是无论他的文章的象征意义多么明显，感情多么热烈，几乎总是在负面因素的带动下产生矛盾：为什么在“泰山最高峰”上颂扬社会主义进步，却要以壮观的日出为代价？普之仁“经历”了什么，使他的皱纹加深了？为什么这种痛苦与创造美感有关？--Gong Yumian (talk) 05:41, 14 December 2020 (UTC)

Gu Dongfang 顾东方

Liu Baiyu

Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature. Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s. But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s.

刘白羽在国内向三文的转型，来自于报告文学的方向。 刘白羽在30年代通过与巴金、张天翼、叶逸群等主要人物的关键联系，在文坛上建立了一定的小说家声誉。 但到了1949年，他的报告文学集《东北各地》、《光照沈阳》、《横切中原》、《火把在扬子江边发红》等，才是40年代末内战时期共产党作家最著名的作品。

刘白羽

刘白羽在国内向散文的转型，来自于报告文学的方向。 刘白羽在30年代通过与巴金、张天翼、叶逸群等主要人物的关键联系，在文坛上建立了一定的小说家声誉。 但到了1949年，他的报告文学集《东北各地》、《光照沈阳》、《横切中原》、《火把在扬子江边发红》等，才是40年代末内战时期共产党作家最著名的作品。--Si Yu (talk) 04:38, 14 December 2020 (UTC)

Guan Qinqing 管钦清

The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China. ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing: Wenhua yishu chubanshe, 1983) 5-11. ] Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:

20世纪50年代末的中国岁月静好，现世安稳；而彼时《灯火》的诞生则带我们重回马革裹尸的战场。《灯火》，以抗战时期到社会主义经济建设时期的不同发展阶段为背景，通过强有力的、入木三分的修辞手段，刻画了灯火的形象，将刘白羽最初想要透过灯火告诉我们的激进斗争意识很好地嵌入其中。[《灯火》（Lamplight),刘白羽，《红玛瑙集》（Red agate)(北京：文化艺术出版社，1983）5-11.]显而易见，刘白羽虽然在当时的文学界影响力颇大，但他仍与文学界的某些观点格格不入，特别是在对战场的污名化方面：--Guan Qinqing (talk) 01:49, 14 December 2020 (UTC)

20世纪50年代末的中国岁月静好，现世安稳；而彼时《灯火》的诞生则带我们重回战场。《灯火》以抗战时期到社会主义经济建设时期的不同阶段为背景，通过有力的、入木三分的修辞手段，刻画了灯火的形象，将刘白羽最初想要透过灯火告诉我们的激进斗争意识很好地嵌入其中。[《灯火》（Lamplight),刘白羽，《红玛瑙集》（Red agate)(北京：文化艺术出版社，1983）5-11.] 显而易见，刘白羽虽然在当时的文学界影响颇大，但仍与文学界的某些观点格格不入，特别是在战场的污名化方面：--Jiang Qiwei (talk) 05:40, 14 December 2020 (UTC)

Gui Yizhi 桂一枝

. . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible! They call this ”through the soldier’s eyes,” ”foxhole realism” Hai! This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off. What can you do? There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors. Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.” Perhaps there are those who would criticize me: how did I get from lamplight to this argument about war, aren’t I getting way off track? Actually, no. The lamplight I am talking about may be a small matter, but it really is a reality of life at war. Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)

...现如今，有些人对待战争话题上，无论对错，不分黑白，总把它们弄得血腥，黑暗又恐怖！他们称之为“通过士兵的眼睛”，“现实主义散兵坑”！这让我们那些腿上绑着绑腿，肩上扛着火药捧腹大笑。你可以做些什么？有勇敢的士兵为正义而战；有反革命的凶手；并且有懦弱的叛国贼。有不同种类的战士就应该有不同种的观点，还得要有不同种类的“现实主义散兵坑”。也许有些人会批评我：我怎么能从那些明亮的地方得出这些关于战争的言论，那我不是跑题了吗？其实上并没有。我在说的点也许是个小问题，但这确实映射出的是战争中实际生活。回到主题，在松花江寒冷的荒野上，穿越冬日的雪地，穿越夏日的急流，从光照下，我能够体会到某种温暖。--Gui Yizhi (talk) 15:30, 13 December 2020 (UTC)

Guo Lu 郭露

"The Brilliance of Spring,"[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen. Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”). At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized. ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.

"春光灿烂"（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 "百花齐放"）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 "春光灿烂 "一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--Guo Lu (talk) 08:01, 9 December 2020 (UTC)

"春天的辉煌"，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 "百花"）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 "春光灿烂 "一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--Liu Yi (talk) 09:23, 9 December 2020 (UTC)

Han Haiyang 韩海洋

The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground. Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!”

这篇文章以视觉化形式开始，黎明时分，建筑工地上有一个帅气但是衣服破烂的建筑工人在天安门，伴随着作者其他场景的记忆，当他就在“那里，那个位置！”其中就一个很重要的回忆是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有些记忆是关于人民解放军回北京，和毛泽东宣布中国人民共和国成立大典的开幕式，但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--Han Haiyang (talk) 13:18, 11 December 2020 (UTC)

这篇文章以视觉化形式呈现，黎明时分，天安门广场的建筑工地上有长相帅气但是衣服褴褛的工人，作者还想起其他场景，当他就在“那里，那个位置！” 其中就一个很重要的一段记忆就是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有人民解放军回北京和毛泽东宣布中国人民共和国成立大典的开幕式的记忆。但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--Liu Yangnuo (talk) 01:51, 14 December 2020 (UTC)

Han Wanzhen 韩宛真

Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC. As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency: the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints. There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.

刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--Han Wanzhen (talk) 10:52, 11 December 2020 (UTC)

He Changqi 何长琦

Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party. In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[ ”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ] On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.

尽管渴望通过真实的体验来密切联系群众，但作家更多的是通过共产党的组织活动和联系来接触工农兵。 读刘白羽在上个世纪五六十年代创作的文章中，你可以感觉到他为了使自身的经历（努力使其真实感最大化）和他所描述的人物发挥最大作用所做的努力是不太协调的。(《写在太阳初升的时候》，Hong manao ji 34-52 [写于1959年？]) 在主体层面上，由于他所写的（模范）工人等都是模范和领袖，已经是（体现）地方共产党行政机关的一部分，他们也在努力给人以正确的印象，把自己的经验和思想正确地表达出来，按照人们所期望的方式去做。--He Changqi (talk) 15:26, 13 December 2020 (UTC)

Hu Baihui 胡百辉

Qin Mu

Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[ Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art). By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself. The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei. Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei. However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.] Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.

秦牧的情况可能与其他人有所区别，因为他在内战期间确立了自己的讽刺专栏作家的地位，当然讽刺一般都要在1949年以后才开始。[有趣的是，秦牧在1950年代及以后继续写杂文，1960年出版了一本很受欢迎的诗集，名为《逸海市北》（艺术之海收集贝壳）。此时的秦杂文不是好斗的，而是本质上的说明文，是对艺术创作原则的反思，在某种程度上，秦对杂文体裁进行了重新定义。三文集《华城》与《逸海市北》大致同一时间出版，作者认为《华城集》比《逸海市北》中的“说明文”作品“更抒情”。与《华城》的散文相比，形式上的差异（亦海市北比《华城》短得多）以及《沂海市北》几乎完全没有比喻或描写的语言。不管现在如何界定扎文和三文之间的区别有多困难，秦穆在自己的文学实践中似乎有一个清晰的想法。]幸运的是，他习惯于取笑美国人和20世纪50年代仍然是安全和政治正确目标的国民党，但他必须找到积极的一面写的东西也要写，考虑到他的背景并且与共产党交好，这对他来说一定是一个艰难的过渡，比那些在延安等根据地已经与党联系多年的人来说，难度更大。--Hu Baihui (talk) 07:46, 13 December 2020 (UTC)

Hu Huifang 胡慧芳

In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions. Part of the visualization involves (like Liu Baiyu) aerial views. As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:

秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。 --Hu Huifang (talk) 03:57, 9 December 2020 (UTC)

在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--Zhou Siqing (talk) 04:11, 9 December 2020 (UTC)

秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--WuQiong (talk) 14:47, 9 December 2020 (UTC)

Hu Jin 胡瑾

Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it. The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet. The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard. Wow! A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[ Qin Mu, Hua cheng (Guangzhou: Zuojia chubanshe, 1961) 17-18.]

一次，透过飞机窗外，我凝视着珠江三角洲：天空清澈见底，我低头一看，不禁大声欢呼起来，因为珠江三角洲看起来壮观无比，简直无可言喻。河流和湖泊交织着在阳光下闪烁，而大地看起来像一块深绿色的天鹅绒。道路看起来笔直的像是用刀子划的一样，而田野看起来像棋盘一样整齐。哇！十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹发生在地下。--Hu Jin (talk) 12:51, 11 December 2020 (UTC)

有一次，我透过飞机的窗户凝视着珠江三角洲;天上一片清澈，我低头一看，不禁欢呼起来，因为珠江三角洲是如此的壮丽，无法用语言来形容。河流和湖泊交织在阳光下闪闪发光，而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀划过一样，田野整齐得像棋盘一样。哇!十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹就发生在这片土地下。--Yang Yue (talk) 08:45, 12 December 2020 (UTC)

有一次，我透过飞机窗凝视珠江三角洲：天空万里无云、湛蓝如许。低头一看，我不禁欢呼起来！珠江三角洲实在太壮观了，简直妙不可言！河流和湖泊星罗棋布，在阳光下熠熠生辉；而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀刻画出来一般；田野块块分明，与棋盘别无二致。哇!十万年前，人们仰望天空寻找神明和奇迹，但今天真正的奇迹正发生在这片土地上。--Guan Qinqing (talk) 02:03, 14 December 2020 (UTC)

Ji Tiantian 纪甜甜

Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that impression) like Liu Baiyu’s ”right here on this spot” refrain. In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[ Qin, 21-31.] In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.

在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--Ji Tiantian (talk) 09:22, 10 December 2020 (UTC)

在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--Jiang Fengyi (talk) 09:42, 11 December 2020 (UTC)

Jiang Fengyi 蒋凤仪

This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)

Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin). Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [ Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.] But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen. And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.

这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。("一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后"。30)

秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 "写什么？"这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--Jiang Fengyi (talk) 09:29, 11 December 2020 (UTC)

Jiang Hao 姜好

Qin Mu’s ”Xing xia” (Under the Stars, 1958)[ Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity. The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.

秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--Jiang Hao (talk) 03:33, 10 December 2020 (UTC)

秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--Yao Cheng (talk) 09:24, 10 December 2020 (UTC)

Jiang Qiwei 蒋淇玮

Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation. Many or most of his essays give an exhilarating sense of vastness.

But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context. Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history. He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.

通过阅读这篇文章，我们不难发现秦牧的大受欢迎不是因为他显而易见的马克思列宁主义，而是其影响广泛的、永不过时的、普遍适用的以及几乎包罗万象的视野和深思。秦牧的许多或大部分文章都有种令人兴奋的广博感。 政治语境下，这篇文章如杨朔的《山水沉思录》一样，在重构的情况下才于苏联太空探索的早年间写就。在秦牧看来，这一领域中苏联的成功与美国的失败是历史的清晰指示。他以几乎过火的言辞声明，资本主义在太空探索以及一般科学的失败意味着资本主义世界观无法摆脱过时的信念，而社会主义则是容易且自然地与科学成果和进步结合在一起的。--Jiang Qiwei (talk) 04:51, 14 December 2020 (UTC)

Kang Haoyu 康浩宇

Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962. It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.

秦牧经常在教育论文中这样尖锐地抨击历史唯物主义和马列主义(知识小品文)，或海外华人史或战国哲学家的宇宙理论，认为这是一个不协调的，颠倒的反映。秦牧作为中国社会主义中正统的局外人，在反右运动中遭到刘白宇这样的文学官员迫害，直到1962年才被共产党接纳。他试图以一个包罗万象的视角，用抒情的方式表达对战后马克思主义主导地位的辩驳。--Kang Haoyu (talk) 04:59, 13 December 2020 (UTC)

秦牧在这样的教育论文（知识小品）中，经常尖锐地抨击历史唯物主义和马列主义，或是关于华侨历史或战国哲人的宇宙理论，认为这些是不协调的。秦牧作为中国社会主义文学正统派的局外人，在反右运动中受到刘白羽等文学官员的迫害，直到1962年才被共产党接纳。正是在他试图在一场关于战后马列主义至高无上的历史化论战中，包含一种能够涵盖人类历史和自然历史以及最遥远的空间的雄心勃勃的目光，秦牧抒情诗的不协调性才得以体现。--Hu Baihui (talk) 07:52, 13 December 2020 (UTC)

Kang Lingfeng 康灵凤

Conclusion

The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world. These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training. They helped write the socialist world into existence.

结论

"真实"世界是否与作者们描述和叙述的世界相符，这个问题是无意义的；通过观察或者想象这个世界，他们帮助创造了社会主义世界。这些作者不盲目地服从命令，按照上级和其他的作者提供的公式写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。作者们所写的是训练之后的结果，是训练的逻辑和有机的延伸。他们帮助建立了社会主义世界。

"真实"世界是否与作者们描述和叙述的世界相符，这个问题是没有意义的；通过向他们一样去观察或者想象这个世界，他们就帮助创造了社会主义世界，这些作者不盲目地服从命令，按照上级和其他的作者提供的模板进行写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。他们帮助建立了社会主义世界，他们帮助把社会主义世界写成了现实。--Fang Jieling (talk) 15:26, 13 December 2020 (UTC)

Kong Xianghui 孔祥慧

Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[ Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 1989) 38-43.] Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind. But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision. What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.

斯拉沃伊·齐泽克对帕斯卡的解释是，信仰实际上可以从刻意通过仪式和对信徒的模仿中产生，齐泽克进一步指出，任何社会中的“现实”都是由它特有的意识形态幻想产生的，这暗示了对社会主义散文的类似解释。[斯拉瓦伊·齐泽克，《崇高的意识形态》(伦敦:Verso, 1989) 38-43]他认为，通过信仰的仪式活动，个体已经在没有意识到的情况下相信了它，而这种信仰对于意识的控制只是时间问题。但是在意识形态的幻想中，社会现实代表在边缘和阴影中暗示着这种幻想的不可能性。我所说的杨烁、刘白羽和秦木作品中的“不协调”，是指那些几乎无意识的玷污了原始视觉的暗示。--Kong Xianghui (talk) 15:35, 13 December 2020 (UTC)

Kong Yanan 孔亚楠

Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims. Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan. Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.

中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是中国的社会主义文学是从苏联引进的一个真空的封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--Kong Yanan (talk) 12:59, 12 December 2020 (UTC)

中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是就像至于一个真空环境之下一样，中国的社会主义文学是从苏联引进的一个自我封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--Kong Xianghui (talk) 15:40, 13 December 2020 (UTC)

Lei Fangyuan 雷方圆

Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place [ This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]

Alexandra R. Wagner

Abstract Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.

““作为建构的传统和对现代身份的寻求：对中国现代地方杂文中传统姿态的解读”” [本文是民国时期（1912-1949）中国地方散文《风景中的自我》的扩展版。在2000年8月25日至27日于德国阿彻恩举行的“中国现代文学论文：定义20世纪的自我”会议上发表。亚历山大·瓦格纳（Alexandra R.Wagner）

摘要 朱自清的“桨声与灯影中的秦淮河”（桨声与灯影里的的秦淮河，1923年），郁达夫的“钓台春日”（钓台的春昼，1932），以及方令儒的“琅琊山” （琅琊山游记，1936年）是三篇中国现代散文，其中，地点和记忆是主要的文本和概念元素，通过这些文本和概念，作者进行了身份认同和对意义的寻求。审视这些“地方散文”，一方面侧重于地点与个人记忆以及文化记忆之间的动态关系，另一方面，挑战现代游记或风景散文的主流观点，认为它们要么是对风景的抒情，要么是个人经验和思想的背景，要么是地点信息的来源。--Lei Fangyuan (talk) 08:13, 13 December 2020 (UTC)

Lei Kuangxi 雷旷溪

The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration.

Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.

这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。

审视朱、余、方三家文章中的 "传统姿态"，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--Lei kuangxi (talk) 05:41, 9 December 2020 (UTC)Lei Kuangxi

这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。

对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--Yuan SHiqi (talk) 07:19, 9 December 2020 (UTC)

Li Haiquan 李海泉

As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.

作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--Li Haiquan (talk) 01:57, 10 December 2020 (UTC)

作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 "作为一种态度的标志而做出的行为"。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--Jiang Hao (talk) 03:36, 10 December 2020 (UTC)

作为文化记忆的体现，这些活动不仅仅是简单的具体行动； 它们是姿态，即“态度表征的行为”。 这些传统姿态暗示了前现代文本与现代文本之间的亲和力，但与此同时，论文也不断质疑这种明显亲和力的重要性和后果。 首先，作者与居住在风景中的人们相遇，然后是通过在论文中引入不完美和不完整的元素，其次是通过论文的自我参照。--Li Lingyue (talk) 12:01, 11 December 2020 (UTC)

最为文化记忆的体现形式，这种活动不单单是具体的行动，它们更是一种姿态，也就是“用以表征态度的行为”。这些传统的姿态表明了前现代文本和现代文本之间的密切联系；然而，与此同时，这些文章也在不断地质疑这种表面联系的影响和结果。这种质疑，首先是通过作者与居住在当地的本地人的邂逅；其次是在全文中体现出一些不完美和不完整的因素；最后是通过文章的自我参照这三个步骤来实现的。--Han Wanzhen (talk) 12:19, 11 December 2020 (UTC)

Li Lili 李丽丽

Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive. 采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 "互动"。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--Li LIli (talk) 04:38, 11 December 2020 (UTC)Li Lili

采用传统的姿态思考地方和过去，可以看作是将作者置于特权以及确定的地位的一种尝试，为其提供一种根据其周围环境，但又脱离其环境然而，给自己定义的权威性的方式。然而，和居住在这些地方的人相遇，使得作者和这些地方有了“互动”。地方除了作为感知和思考的物体，还成为了感知和思考主体的一部分。地点和观察者分离、提供观察者给自己下定义的背景、衡量时代的变化，这些想法都具有欺骗性。--Kong Yanan (talk) 13:40, 12 December 2020 (UTC)

Li Lingyue 李凌月

In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.

In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.

此外，不完美和不完整的因素扰乱了这些文章的叙述，因此同样质疑传统姿态在寻找稳定的自我定义时的可靠性。文本的自我参照方面也引起了对文章的结构性的关注，从而质疑了文本具有单一、准确（因而具有权威性）的解释和意义的观点。 总而言之，对这些散文中传统姿态的“讽刺”解读，预示了传统的概念作为现代性话语的一个重要组成部分，现代性最终需要从这一部分演变而来。--Li Lingyue (talk) 11:57, 11 December 2020 (UTC)

此外，不完美和不完整的因素扰乱了这些文章的叙述，从而同样质疑传统姿态在寻求稳定的自我定义方面的可靠性。文本的自我参照性也引起了人们对文章建构性的关注，从而对文本具有单一的、准确的（因为也是权威的）解释和意义的观点提出了质疑。

总之，对于这些地方性文章中传统姿态的“讽刺”解读，凸显了传统概念是参与传统与现代文本所需的重要部分和建构，而现代文本最终也是在这个基础上发展起来的。--Wu Yilu (talk) 09:14, 12 December 2020 (UTC)

Li Liqin 李丽琴

Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (Qinhuaihe), Yu Dafu’s “Spring Day on Diaotai” (Diaotai), and Fang Lingru’s “Travel Notes from Langya Mountain” (Langyashan), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds. By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.

In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites.

Zhu Ziqing’s Jiangsheng dengyingli de Qinhuaihe, written in 1923, was first published in the January 25, 1924 issue of Dongfang zazhi (Eastern Miscellany, founded in 1904). （文献无需翻译）

Yu Dafu’s Diaotai de chunzhou, written in August 1932, first appeared in the inaugural issue of the journal Lunyu (Analects), on September 16, 1932.

Fang Lingru’s Langyashan youji was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）

In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）

朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。

在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。

Zhu Ziqing’s Jiangsheng dengyingli de Qinhuaihe, written in 1923, was first published in the January 25, 1924 issue of Dongfang zazhi (Eastern Miscellany, founded in 1904). （文献无需翻译）

Yu Dafu’s Diaotai de chunzhou, written in August 1932, first appeared in the inaugural issue of the journal Lunyu (Analects), on September 16, 1932.

Fang Lingru’s Langyashan youji was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）

In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--Li Liqin (talk) 11:26, 8 December 2020 (UTC)

朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。

在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。 --Xiao yining (talk) 04:52, 9 December 2020 (UTC)Xiao Yining

朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--Lin Min (talk) 11:53, 10 December 2020 (UTC)

朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台的春昼》（钓台）、方令儒的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--Lei Fangyuan (talk) 08:10, 13 December 2020 (UTC)

Li Luyi 李璐伊

For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (huaigu), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings.

In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ironic understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity.

Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译）

FFor a concise explication of this poetic convention, see Hans H. Frankel, The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）

例如，这三篇文章都包含了凝视过去的诗学传统的元素（怀古），常常表达对逝去的时光和地方的遗憾。在一幅经久不衰的风景画中，展现人类生命的无常，暗示着作者对现在和未来的不确定性，暗示着他希望在现有的环境中找到一个更永恒的地点。

传统的姿态与诗歌的传统有明显的亲近感，它似乎给了作者一定程度的权威性和确定性来观察和解释周围的环境，从而确定自己在其中的定位和角色。然而，通过对朱自清、郁达夫和方灵如的文章中这些姿态的反讽地理解和解读，揭示了传统观念构筑现代性话语所不可或缺的。--Li Luyi (talk) 05:50, 13 December 2020 (UTC)

Li Meng 李梦

Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge.

Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.” The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In The Responsibility of Forms, Roland Barthes describes “gesture” in art as

“Gesture.” Def.2. Oxford American Dictionary. New York: Avon Books, 1980. （文献无需翻译）

The Oxford English Dictionary defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. The Oxford English Dictionary. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译） 现代文本从对已确立的意义和价值的质疑和重新评估演变而来，而不仅仅是对被认为是传统观念、习俗和理想的排斥。一旦剥夺了传统的绝对权利，接受了解释和重建，现代性就会出现。

一般来说，“手势”指的是“为了传达某人的意图或态度的行动。旅行者的活动不仅仅是有明显目的的行动，比如到达某个地点或参观某个地点。罗兰·巴特关于书写中的手势和作为手势的书写的概念暗示了地点散文中意义的多样性，并最终证明了地点散文作为写作文本的观点。在《形式的责任》一书中，罗兰·巴特将艺术中的“姿态”描述为一种行为的多余。--Li Meng (talk) 15:12, 13 December 2020 (UTC)

Li Yongshan 李泳珊

[s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything.

Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification.

Barthes, Roland. “[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）

According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译）

[t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译） 类似于一种行为的盈余。动作是及物性的，它只寻求刺激一个对象，一个结果;手势是一种不确定的、无穷无尽的原因、脉动、懒惰的总和，它以一种气氛围绕着动作[…]。因此，让我们把寻求产生信息的信息和寻求产生智力的符号，与无需寻求产生任何东西而产生其余一切(“剩余”)的手势区分开来。 穿越山脉和湖泊是有具体目标的活动。这些作为“姿态”或“剩余行动”的活动，在朱、于、方的文章中，最终是一种态度的标志，通过提供可能性而不是界定意义和意义，来不断地质疑和改变意义。

根据Roland Barthes的说法，每一篇文章最终都是手势的产物，讨论了美国画家Cy Twombly (b. 1928)的作品，Roland Barthes进一步谈到了手势的作用:

艺术家[…]就身份而言，他是一个手势的“操作者”:他试图产生一种效果，但同时又不寻求这种效果;他所产生的效果他并没有义务去寻求;它们是颠倒的，无意的影响，反过来影响到他，并因此引起某些修改，偏差，线条和笔划的缓和。因此，手势废除了因果、动机和目标、表情和说服之间的区别(Barthes 160)。--Li Yongshan (talk) 05:46, 14 December 2020 (UTC)

Li Yu 李玉

Zhu Ziqing’s Qinhuaihe describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier.

朱自清的《秦淮河》描述了一个夏天的晚上，他和朋友俞平伯在秦淮河上的一次愉快的旅行。歌女和她们的乐师在游船上为乘客提供服务，上演河上流行的娱乐节目。朱和俞试图享受由自然风光、历史、灯笼灯、船声和音乐的结合所产生的氛围。尽管和其他船只混在一起，船上的乘客很高兴地请求歌女的服务，但他们仍然是被动的旁观者。朱的叙述在他和俞直接接触歌女的过程中达到了高潮，歌女们向他们招揽生意。这次遭遇让朱感到难堪和困惑，使他的旅行变成了一次令人不安的经历。朱和于都拒绝了歌女们的恳求，与歌女接触后不久，他们回到了码头。--Li Yu (talk) 11:10, 14 December 2020 (UTC)

Lin Min 林敏

Yu Dafu’s Diaotai describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.

郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--Lin Min (talk) 11:51, 10 December 2020 (UTC)

郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--Ding Daifeng (talk) 13:50, 10 December 2020 (UTC)

Lin Xin 林鑫

Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous An Account of the Pavilion of the Drunken Old Man (Zuiweng ting ji). The group decides to stay overnight at the Temple of Cultivation (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.

在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--Lin Xin (talk) 06:36, 10 December 2020 (UTC)

在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--Liu Yiyu (talk) 09:48, 10 December 2020 (UTC)Liu Yiyu

Ling Zijin 凌子瑾

All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively. 这三篇文章都试图在穿越不同的风景时采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和后果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素中的一个。--Ling Zijin (talk) 11:47, 13 December 2020 (UTC)

这三篇文章在穿越不同情景时，都试图采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和结果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的描述的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素。--Meng Ying (talk) 03:21, 14 December 2020 (UTC)Meng Ying

Liu Bo 刘博

Encounters with People in Zhu Ziqing’s Qinhuaihe

Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point. Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s Qinhuaihe. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.

It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)

朱自清的《秦淮河》中的相遇

与居住在风景中的人的相遇有两个效果。首先，这中相遇迫使作者与场景互动。这样他就不能通过从对自己有利的视角来划分自己的位置和身份。 朱自清、郁达夫二人与歌女的相遇，是朱自清《秦淮河》中最核心的人际交往。起初，歌女们在江上的出现，似乎并没有让朱自清感到不快或不安。然而，他通过与歌女们的船保持一定的距离来维持这种乐观的看法。这种距离使他能够以一种传统的姿态在江上穿行，以独立的视角来欣赏和思考江上的风景和历史。

需要指出的是，旅行者与风景的明确区分，并不意味着旅行者与周围环境的脱离。相反，它指向的是明确的位置和角色的划分，这对于从两个不同的环境中形成一个稳定的统一整体是必要的。--Liubo (talk) 06:51, 13 December 2020 (UTC)

'“朱自清的《秦淮河》的相遇”

遇到有人居住的景观有两个影响。首先，这些遭遇迫使作者与景观互动。对于他来说，通过从自治的有利位置考虑地点来划分自己的位置和身份变得不可能。朱和俞与歌星女孩的相遇是朱的《秦淮河》中人类的主要相遇。最初，歌星女孩在河上的存在似乎并没有使朱朱感到不悦或不安。但是，他通过与歌手的船保持一定距离来保持这种乐观的感觉。距离使他能够采取传统的穿越河流的姿势，从一个独立的角度来欣赏和思考河流的风景和历史。

重要的是要指出，旅行者与风景之间的明显区别并不意味着旅行者与周围环境脱节。相反，它指出了从两个截然不同的单元形成一个稳定的统一整体所需的职位和角色的明确划分。--Ou Rong (talk) 08:05, 13 December 2020 (UTC)Ou Rong

Liu Jinxingqi 刘金惺琦

The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will. Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals.

朱自清与歌星女孩的相遇是在其他路人的围观下，这使得气氛紧张起来，他的行为也变得不安。 通过减少作家和被观察者之间的安全距离（到目前为止，包括歌手在内），相遇迫使朱自清在他的世界中发挥了积极作用。 歌手们走出了画面，而朱自清成为了其中的一部分，这是违背了他的意愿的。 然而，具有讽刺意味的是，随后的互动却暴露了作者与居住在画面中的人们之间不可逾越的鸿沟。朱自清与歌星女孩的对峙加强了距离感，误解和疏离感，这些都根植于现代知识分子所遇到的困境中。--Liu Jinxingqi (talk) 15:00, 13 December 2020 (UTC)

在其他路人的围观下朱自清与歌星女孩相遇了，这使得气氛紧张，他也变得不安。通过减少作家和被观察者之间的安全距离（到目前为止，包括歌手在内），相遇迫使朱自清在他的世界中发挥了积极作用。 歌手们走出了画面，而朱自清成为了其中的一部分，这是违背他的意愿的。 然而，讽刺的是，随后的互动却暴露了作者与居住在画面中的人们之间不可逾越的鸿沟。朱自清与歌星女孩的对峙强化了源自现代知识分子困境的距离感，误解和疏离感。--Yang Yi (talk) 17:10, 13 December 2020 (UTC)

Liu Liu 刘柳

Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups.

The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.

朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。

文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--Liu Liu (talk) 07:30, 9 December 2020 (UTC)

朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，

文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--Guo Lu (talk) 08:05, 9 December 2020 (UTC)

朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，也十分地尴尬。

文本通过对外部空间和氛围的描写，转向对朱自清的内心思想的自我剖析，具有显著的现代特征。朱自清的先进思想抑制了他的欲望，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--Liu Jinxingqi (talk) 15:09, 13 December 2020 (UTC)

Liu Ou 刘欧

The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.

Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.

这一遭遇使朱自清很快打消了采用传统姿态的想法，在秦淮河上他的内心并没有得到安宁，而是充满困惑和冲突。朱自清在此地体验到的紧张感，来自他试图在周围的环境中坚持自己的身份，但这种尝试是徒劳的，于是他也不可能融入秦淮河的夜景中。

只有当朱自清的内心冲突有所缓和时，他和俞平伯才怡然自若。在回去的路上，他们经过一只载妓的板船，妓女在船上唱着清歌。--Liu Ou (talk) 04:22, 14 December 2020 (UTC)

这一遭遇使朱自清很快打消了采用传统姿态的想法，在秦淮河上他的内心并没有得到安宁，而是充满困惑和冲突。朱自清在此地感受到的紧张，来自他试图在周围的环境中坚持自己的身份，但这种尝试是徒劳的，因此他也不可能融入秦淮河的夜景中。

只有当朱自清的内心冲突有所缓和时，他和俞平伯才怡然自若。在回去的路上，他们经过一只载妓的板船，妓女在船上唱着清歌。--Luo Weijia (talk) 05:54, 14 December 2020 (UTC)

Liu Yangnuo 刘洋诺

The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment.

歌者坐在没有灯光的船头，只对自己唱歌。这个意外的插曲，对朱棣来说，至少有一种短暂的满足。然而，他的满足感只持续了一瞬间，很快他就和余先生回到了繁华的游乐区。其实朱和宇并没有真正遇到那个孤独的歌手。也有可能歌手根本没有注意到他们。但这短暂的一瞬间最接近传统的姿态。只要他们保持一定的距离，传递这个姿态的意义似乎是可能的。然而最终由于朱先生没有保持好这一姿态，他没能延长这个瞬间。--Liu Yangnuo (talk) 09:49, 13 December 2020 (UTC)

歌妓坐在没有灯光的船头，独自唱着歌。对朱自清来说，这个意外的插曲暂时弥补了之前的遗憾，然而，这种满足感只持续了一瞬间，很快他就和俞平伯回到了繁华的闹市。其实二人并没有真的遇到那个孤独的歌妓，也有可能歌妓根本没有注意到他们，但这短暂的一瞬间最接近传统的语言姿势。只要他们保持一定的距离，这个姿态的意义似乎就有可能被传达出来，然而最终由于朱自清没有维持这一姿态，所以没能延长这个瞬间。--Ouyang Ling (talk) 15:12, 13 December 2020 (UTC)

Liu Yi 刘艺

He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.” Zhu is left in a no-man’s-land between private desire and modern awareness.

Incompletion and Ambiguity in Yu Dafu’s Diaotai

Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.

他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，"仿佛黑暗张开了巨口，要把他们的船吞掉"。 朱先生在私欲与现代意识之间陷入了无人区。

郁达夫的钓鱼台的不完整与模糊

不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--Liu Yi (talk) 09:20, 9 December 2020 (UTC)

他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，"如黑暗张着巨口，要将我们的船吞了下去"。 朱先生在私欲与现代意识之间陷入了无人区。

郁达夫《钓台的春昼》的不完整性与模糊性

不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--Zhang Yu (talk) 04:55, 10 December 2020 (UTC)

Liu Yiyu 刘怡瑜

Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.

The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.

郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。

在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--Liu Yiyu (talk) 09:19, 10 December 2020 (UTC)Liu Yiyu

出现在郁达夫道路上的障碍，再加上他在一些地方感到的不安，都打破了他之前想要的姿态。他此行的意义依然模糊不清。

在到达钓鱼台的前一天傍晚，为了参观一座道观，郁达夫出发去爬桐君山。一下了渡船，在一条崎岖漆黑的山路上，他被一块松动的石头绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也破坏了采用传统姿态可能产生的任何影响。--Deng Jinxia (talk) 03:38, 13 December 2020 (UTC)

路上的崎岖加上内心的不安，使得郁达夫上山的一路都走得不平稳。他此行的意义也模糊不清。

在到达钓台的前一天傍晚，郁达夫启程桐君山参观一座道观。一下渡船，山路崎岖漆黑，他被一块乱石绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候选择去爬山似乎不可理喻，而正常的行走也几乎不可能了。--Liu Ou (talk) 04:22, 14 December 2020 (UTC)

Liu Zhiwei 刘智伟

The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,” but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.

渡船人递给他一包火柴帮他找路。一开始，郁正“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。辽阔的天空和小镇的广阔景色似乎增加了郁采用传统方式思考地方和过去的机会。然而，当他走近庙宇时，四周低矮的墙壁中一扇明显锁着的门阻碍了他的前进。在不知所措地踱来踱去后，他最终尝试开门，而门惊喜地被打开了。更具有讽刺意味的是郁的行程延误，不是因为一扇紧锁的大门，而是因为他的犹豫不决。--Liu Zhiwei (talk) 09:29, 13 December 2020 (UTC)

船夫递给他一盒火柴帮助他找到路。起初，于是“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。广阔的天空和广阔的视野延伸到远处的城镇，似乎增加了俞正声采用传统的姿态，思考地点和过去的机会。然而，当他接近寺庙时，围绕寺庙的矮墙中一个明显被锁住的门阻碍了他的前进。他踱来踱去，不知如何是好，最后他试了试大门，结果门开了。具有讽刺意味的是，于的行程被推迟，甚至几乎被缩短，不是因为一扇锁着的门，而是因为他的优柔寡断和犹豫。--Ling Zijin (talk) 11:50, 13 December 2020 (UTC)

Lou Cancan 娄灿灿

Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.

虽然他发现寺庙的门夜晚确实是紧紧关着的，但此时他还是很满足于坐在与门相邻的城墙上，从那里他可以俯瞰河流，欣赏风景。他凝视着天上的星星、云朵和月亮，以及下面在风中轻轻摇曳的船只的灯光。最后，郁达夫的位置让他能够从一个更高的、独立的有利位置思考过去。同郡山无与伦比的风景激发了郁达夫对东汉(公元25-220年)隐士严子陵和东晋(317-420年)戴波和戴勇的生活的思考，他们把这里作为自己的家。--Lou Cancan (talk) 13:53, 13 December 2020 (UTC)

Luo Weijia 罗维嘉

Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.

郁达夫完全理解并尊重他们隐居的决定，并预示着自己的隐居生活即将开始。镇上守夜的钟声把将他唤醒。他吓了一跳，背对着船跑去。他的遐想戛然而止，突然急着要回到船上，与这段文字中反映出来的气氛和情感形成了鲜明的对比。传统的手势突然终止了。就像钟声将他惊动一般，这个突然结束的夜景让读者大吃一惊。--Luo Weijia (talk) 05:49, 14 December 2020 (UTC)

Luo Yuqing 罗雨晴

On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai.

In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.

在去钓鱼台的船上，赏风景赏累了，他睡着了，梦见和几个老朋友在河边的客栈里聚会。文中并没有明确表示郁达夫是在做梦，只有当船夫在接近钓鱼台的时候把他叫醒，这才变得完全清楚。--

在他的梦里，朋友们聊天，嬉戏，但这一切都结束后，气氛变得不愉快和尴尬起来。梦的中心是一首郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，哀叹国家的混乱状态，表达知识分子对政府的不满。--Luo Yuqing (talk) 02:48, 13 December 2020 (UTC)

在去钓鱼台的船上，郁达夫疲于赏景，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓鱼台叫醒他时，一切才水落石出。 在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦的中心出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。 --Liu Zhiwei (talk) 09:42, 13 December 2020 (UTC)

在去钓台的船上，郁达夫赏景后觉得疲倦，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓台叫醒他时，一切才水落石出。

在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦中出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。--Liu Ou (talk) 04:27, 14 December 2020 (UTC)

Ma Juan 马娟

One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.

在这首诗中，一个突出的传统形象是这个忠诚的官员，他假装疯狂（佯狂）地说出了未被注意的真理。这里，一个众所众知的传统手势被嵌入到文本中的文本中。然而，在做这个手势之前，他这一次再次被叫醒于的船夫终止了。

Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)

很明显，于对他周围的看法改变了。在入睡之前，他看见连绵的青山环绕清澈的河流，沙洲上百花盛开，总之就是一幅祥和的如画风景。然而，当船接近钓台时，周围的山水画已经不知不觉间改变了。

Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)

Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.

Yu Dafu, 206(文献无需翻译)--Majuan (talk) 10:44, 13 December 2020 (UTC)--Liu Ou (talk) 04:30, 14 December 2020 (UTC)

Ma Shuya 马淑雅

The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.” The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction” enveloping the boat. The sun is gone, and only a soughing wind comes and goes.

The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.

河流越来越窄，山也越来越近，“好像没有前进的路了。” 高耸的山脉营造出一种压抑的孤独气氛，甚至船桨的声音都令人沮丧：回声过了很久才能听到，更加渲染了“古老的寂静”，将“灭绝的寂静”笼罩在船上。 太阳落山了，只有风阵阵吹过。

周围环境变得阴郁，于的期待变成了恐惧。 相比于他在铜军山上的遐想，于现在认为钓鱼台是荒凉而阴沉的，怪异地回响着他诗歌中的混乱无序、动荡不安。 他描述了杂草上乱乱的石头。--Mashuya (talk) 07:43, 14 December 2020 (UTC)Ma Shuya

河水变窄，山峦移动得非常近，“仿佛前方没有路可走”，巍峨的山峦营造出一种压抑的孤独气氛，甚至连船桨的声音都显得灰心丧气；过了很久才听得见回声，更加渲染了“古老的寂静，"。“灭绝的寂静”笼罩着船。太阳不见了，只有一阵刺耳的风来来去去。 周围环境变得阴郁。余秋雨的期待变成了忧虑。与他在桐君山上的遐想相比，余秋雨现在认为钓台是荒凉和阴郁的，诡异地呼应了他诗中所唤起的混乱和骚动。他描述了杂草丛生的破旧石头建筑。--OUYANGJINGLAN (talk) 08:22, 14 December 2020 (UTC)OuYang Jinglan

Ma Zhixing 马智星

Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.” Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.

On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”

Meng Ying 孟莹

However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.” Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. 然而，他身临钓台，亲看其景，却感叹与明信片上所见差别极大，周围更加荒芜杂乱，仅此而已。但此情此景实际上更说明了东方民族堕落的冷落之美。讽刺地是，余秋雨对明信片和实景的对比只是更加强调了景色色彩的相似性而已。他观的这个地方，本身就自带现今危难的印记。把他对景色的描述和代表国家稳定秩序的瑞士联系在一起只是徒增国家衰弱混乱的印象罢了。--Meng Ying (talk) 03:14, 14 December 2020 (UTC)Meng Ying

然而，他身临钓台，亲看其景，却感叹与明信片上所见差别极大，周围更加荒芜杂乱，仅此而已。但此情此景实际上更说明了东方民族没落的荒凉之美。讽刺地是，余秋雨对明信片和实景的对比只是更加强调了景色色彩的相似性而已。他观的这个地方，本身就自带现今危难的印记。把他对景色的描述和代表国家稳定秩序的瑞士联系在一起只是徒增国家衰弱混乱的印象罢了。--Mashuya (talk) 07:45, 14 December 2020 (UTC)Ma Shuya

Mo Ling 莫玲

Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture.

After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.

这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。

在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--Mo Ling (talk) 12:32, 9 December 2020 (UTC)Mo Ling

虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。

在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--Lin Xin (talk) 07:05, 10 December 2020 (UTC)

Mo Nan 莫南

Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.

最初，郁达夫题诗的行为表明他同情并认同夏灵凤。然而，由于郁达夫的确反对夏灵凤的理想和动机，在夏灵凤的诗歌旁题诗的行为只会强调这种行为的模糊性。他将自己的诗歌和其他劣质诗歌一样题在清朝忠臣的诗歌旁边，这样一种行为表明他甘愿掩盖自己的政治立场，无意中质疑了其行为的意义。将传统诗歌作为许多诗中的一首题在墙上一个隐晦的角落里是无效的，而且题诗这一行为也将失去其意义。在郁达夫所处的时代和场所，他的位置与角色仍然模棱两可，难以界定。具有讽刺意味的是，虽然郁达夫的文章将这首诗及其上下文从朦胧中拯救出来，但它也暴露了他行为的模糊性。--Mo Nan (talk) 16:07, 14 December 2020 (UTC)Mo Nan

Nie Xiaolou 聂晓楼

Self-referential strategy in Fang Lingru’s Langyashan

By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.

Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. There is nothing more I can add to this piece (my emphasis).”

Fang Lingru, “Langyashan youji,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.

方令孺《琅琊山游记》中的自我指称策略 自我指称策略通过凸显文本的建构性对文本明确、权威的意义提出了质疑。该策略指出，文本意义的多元性进一步证实了它们在谈判视角、立场和身份上的重要性。方令孺在对其两天旅行的叙述结尾处写道：“琅琊山上仍有许多名胜古迹；如果命中注定，我还会再来一次。我没有什么可以补充的了(我的重点)。” 方令孺,《琅琊山游记》, 编著，马忠林，杨国璋, 王钟华, 北京:中国旅游出版社, 1982:148.--Nie Xiaolou (talk) 02:39, 14 December 2020 (UTC)Nie Xiaolou

Ou Rong 欧蓉

Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home.

When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.”

然而，在返回南京之前，她继续推荐该伙人在滁州一家饭店享用过的特殊菜肴和美酒。然后，在她叙述的这个平淡而滑稽的附录中再加上了两段，描述了她回家后的情绪。

当我回到家时，已经是晚上十点了，细雨蒙蒙。临走时，老和尚尚宽把三只杜鹃花春天的小树枝绑在了我的人力车上，我刚回家时就把它们种了下来。现在，树枝已经长出嫩芽了。到明年这个时候，它们将会开花。 XX将其命名为“菩提上宽”。--Ou Rong (talk) 08:02, 13 December 2020 (UTC)Ou Rong

然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的特别菜肴和美酒。她的叙述非常乏味且跟着一个虎头蛇尾的附录。之后，这段叙述之后又加了两端来描写她回家后的感受。 当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”--Majuan (talk) 11:06, 13 December 2020 (UTC)

然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的一种特别的菜肴和葡萄酒。对她的叙述进行这种乏味且虎头蛇尾的补充之后，她又加了两段来描写她回家后的感受。 当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”----Nie Xiaolou (talk) 02:46, 14 December 2020 (UTC)Nie Xiaolou

Ouyang Jinglan 欧阳静兰

I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets.

It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.

最近我一直感到非常疲倦，但是回想那次去山上的旅行，我可以说那是完美的，没有后悔。

在文本末尾声明没什么可说的，这是陈词滥调。方令孺附加描述的餐厅和美食推荐说明她渴望讲述旅行中的每一个细节。然而，将她的叙述扩展了两段，她实际上反驳了她自己的主张，即所有值得说的话都说了出来。这种矛盾和她表面上结束文章的实事求是的风格与结尾段落的私密语气和个人内容之间的反差突出了写作和构建文本的行为。--OUYANGJINGLAN (talk) 08:04, 14 December 2020 (UTC)OuYang Jinglan

Ouyang Ling 欧阳玲

The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.

文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--Ouyang Ling (talk) 08:49, 10 December 2020 (UTC)Ouyang Ling

在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--Peng Xiaoling (talk) 04:54, 11 December 2020 (UTC)

Peng Dan 彭丹

The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. 方令孺的文章的最后两段完成了个人反思的框架，其中包含了她对旅行的冷静叙述。个人记忆是有意义体验的最终轨迹，也是文章背后的创作力量。尽管断言与此相反，在表述一种经历时，穷尽的事实和细节并不会使文本结束。她的最后一句话表明，与人类相遇密切相关的旅行记忆是她满足的来源，而不是模仿传统手势，似乎承诺了一个权威的地点和时间的再现。--Peng Dan (talk) 07:44, 14 December 2020 (UTC)

Peng Juan 彭娟

Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.

Conclusion The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits. Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.

Conclusion

The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits. 她的记忆和文章如同植物一般，充满活力且不断变化着。她宣布文本的结束，为相同文本的延续所破坏。方舟子论文中的提到的自我参照策略最终肯定了可能性和潜能，而非完整性和终结性。最终的结论就是，在朱、余、方的散文中采用的传统诗歌节奏并没有消除作者的不确定性和矛盾心理。在每篇文章中，不同的因素素质疑这些姿态的可靠性和意义，突出了作家的经验和地位在其所参观过地方的模糊性。--Pengjuan (talk) 08:01, 13 December 2020 (UTC)pengjuan

她的记忆和文字就像植物一样，生生不息，不断变化。宣告她的文本结束的手势被同样的文本的继续削弱了。方文章中的自我参照策略最终肯定了可能性和潜在性，而不是完整性和终结性。 在朱、于和方的文章中尝试采用既定的诗性姿态，并没有消除作者在一个不断变化的环境中导航、重新定义和断言自己角色时的不确定性和矛盾心理。在每一篇文章中，各种因素都质疑这些手势的可靠性和重要性，突出了作者在他所访问的地方的经历和位置的模糊性。她的记忆和文字就像植物一样，生生不息，不断变化。宣告她的文本结束的手势被同样的文本的继续削弱了。方文章中的自我参照策略最终肯定了可能性和潜在性，而不是完整性和终结性。 结论 在朱、于和方的文章中采用既定的诗性姿态的尝试，并没有消除作者在一个不断变化的环境中航行、重新定义和断言自己(或她)角色时的不确定性和矛盾心理。在每一篇文章中，各种因素都质疑这些手势的可靠性和重要性，突出了作者在他所访问的地方的经历和位置的模糊性。--Peng Dan (talk) 07:49, 14 December 2020 (UTC)

Peng Ruihong 彭锐宏

Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the construction of traditions to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication.

Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）

传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。

与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--Peng Ruihong (talk) 07:02, 10 December 2020 (UTC)

Peng Xiaoling 彭小玲

Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them.

By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.

朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。

通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--Peng Xiaoling (talk) 04:53, 11 December 2020 (UTC)

朱自清、郁达夫和方令孺等人在现代散文中的传统姿态非但没有确认作家作为时间、地点的中间人和译者的权威，反而凸显了他们在时间和地点中不稳定的角色和地位。试图采用传统姿态最终揭示作家姿态的方式称之为建构，这种建构并不能为理解和再现境以及作家在其中的地位和角色提供一种无可争议的方式。

五四知识分子和作家通过对文化和文学传统的解构，试图在保守的过去和进步的现在与未来之间建立一种赋予现代文本权威的实用二分法。--Chen Han (talk) 14:03, 11 December 2020 (UTC)

Peng Yongliang 彭永亮

As the above readings show however, modern texts inevitably comprise a discourse on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a negotiation between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.

Peng Yuzhi 彭育志

From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature

Wang Ban

Abstract

As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative. This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode. For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.

从历史叙事到散文世界: 当代中国文学的散文模式

王班

摘要

散文作为一种体裁在当代中国被视作历史意识和叙事走向衰弱的象征。当将其与先前建立的文学典范—现实主义模式的中文小说对比时，这一点尤为明显。数十年来，革命现实主义的小说都是意识形态的工具和媒介，它为提供连贯的对于过去，现在和未来的时间观念而服务。--Peng YuZhi (talk) 11:41, 11 December 2020 (UTC)

从历史叙事到散文世界:中国当代文学的散文化模式

王班

摘要

散文作为一种文学体裁，在当代中国被视为是一种历史意识和叙事意识衰落的表现。与之前确立的文学范式——现实主义模式下的中国小说相比，这一点表现得最为明显。几十年来，革命现实主义小说一直作为一种意识形态工具和媒介，提供了关于过去、现在和未来的连贯的时间感知。--Li Luyi (talk) 06:00, 13 December 2020 (UTC)

从历史性叙事到散文世界：中国当代文学的散文模式

王班

摘要

散文是一种文学体裁，中国当代的散文可以被视为历史性意识和叙事的衰落象征。与之前已建立的文学范式对比可明显得出这个结果：现实主义模式下的中国小说。许多年来，小说中革命性的现实主义是作为对过去，现在和未来提供连贯短暂的感知力的意识形态的结构和中介而服务的。--Wu Qi (talk) 10:00, 13 December 2020 (UTC)

Qi Kai 漆凯

The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions. Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality. The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.

卢卡奇(Georg Lukacs)对现实主义小说的中心假设是史诗，他将史诗的形式解释为一种投射的理想，这种理想可以通过叙述社会和历史行为而实现。无须多想，革命史诗是理想与现实的艰苦而最终胜利的和谐统一。近几十年来随笔的兴起是文学创作的一个缩影，从理想与生活史诗般的连贯，到感官或感官愉悦的分散和支离破碎，以及对形象或轶事的纯粹欣赏。--QiKai (talk) 11:22, 19 December 2020 (UTC)Qi Kai

Qu Miao 瞿淼

The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture. It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters. This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture. Then through an analysis of Wang Anyi's novella The Story of Our Uncle (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction.

这篇文章摆脱了历史意识，对消费文化的到来做出了热情而轻松的回应。 它旨在满足城市消费者的适度需求，因为他们的敏感性正变得“散文化”，平淡无奇，历史悠久，每天都在忙于处理最私密和琐碎的事情。 本文回顾了张爱玲的论文思想，并试图追溯现代论文与城市消费文化兴起之间的联系。 然后，通过分析王安忆的中篇小说《叔叔的故事》，我展示了王的摸索，探索性论文/小说如何戏剧性地从历史意识退缩到我所说的感觉的文章结构。--Qu Miao (talk) 07:17, 14 December 2020 (UTC)

Quan Meixin 全美欣

The main character Uncle's career illustrates the waning of historical consciousness. This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China.

The Essay and the Novel

The essay as a cultural form can be grasped in its relation to the novel. In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s. The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.

主人公叔叔的事业说明了历史意识的减弱。 本文力求指出，散文的矛盾之处在于其摆脱了宏大叙事的束缚，并且对中国崛起的消费文化中历史意识的衰落做出了贡献。

散文与小说

散文作为一种文化形式，可以与小说联系起来。 在20世纪的中国，可能直到1980年代中期为止，史诗般的现实主义小说一直是文学的主要形式和重要的意识形态工具。中国现实主义小说可以用乔治·卢卡奇（GeorgLukács）的方式解释为史诗。--Quan Meixin (talk) 03:25, 14 December 2020 (UTC)

Sagara Seydou

Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence. The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality. It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny. In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse.

Shi Diwen 石迪文

It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history. For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process. Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms.

Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history. So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive. See Qi Shuyu, 103-104.（文献无需翻译）

诚然，在20世纪80年代，人们对自主个体的主体性产生了浓厚的兴趣，但小说中的人物角色远不是出于利己主义的欲望，而是仍然被视为历史的主体。新时期小说中新觉醒的现代自我的形象与社会主义现代化的社会历史进程携手前行，个人充当了这一进程的代理人。因此,詹姆逊的国家概念的寓言——个人的命运讲述一个更大的集体命运——在中国大受好评的批评,使平等轻松地应用于毛泽东时代的现实主义小说,以及那些鼓吹改革。 批评家们注意到，在20世纪80年代的思想解放运动中，主体与客体、个体与历史统一的黑格尔-马克思主义版本衍生出了基本的文学模式和历史意识。因此，所维护的自我并不是一个脱离社会过程的集体的自主的自我，而是被现代化进程的要求同化和塑造的自我。可见 Qi Shuyu, 103-104.--Shi Diwen (talk) 06:46, 13 December 2020 (UTC)

Shi Haiyao 石海瑶

If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism. As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one. In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56).

如果这部小说的观点在当代中国听起来不合时宜，我们可以通过引用革命理想和社会现实、理论和实践的统一来证明其合理性，这是马克思主义乌托邦遗产中的一个突出宗旨。作为这种统一性的文学对应物，中国现实主义小说呈现出一种神话和史诗结构，在这种结构中，梦想和历史、个人和集体成为一体。 在卢卡斯看来，史诗是缩略的小说，因为后者是一种脱胎于前者的直接的、没有问题的理想与现实的统一的形式(56)。--Shi Haiyao (talk) 13:41, 13 December 2020 (UTC)

如果这部小说的观点在当代中国听上去不合时宜，那么我们可以参照争取革命理想与社会现实、理论与实践的统一来证明其正确性，这是马克思主义乌托邦遗产中一个突出的信条。作为这种统一性的文学对应物，中国现实主义小说呈现出一种梦想与历史、个人与集体合一的神话史诗结构。在卢卡斯看来，史诗与小说紧密相连，因为后者是一种剥离了前者直接的、毫无问题的理想与现实统一的形式（56）。--Zhou Luoping (talk) 14:01, 13 December 2020 (UTC)

如果这部小说的观点在当代中国听上去不合时宜，那么我们可以参照马克思主义乌托邦遗产中一个突出的信条，即争取革命理想与社会现实、理论与实践的统一。作为这种统一性的文学对应物，中国现实主义小说呈现出一种梦幻与历史、个人与集体合一的神话史诗结构。在卢卡奇，史诗与小说紧密相连，因为后者脱离了前者直接而毫无疑问的理想与现实的统一（56）。--Wang Meiling (talk) 03:49, 14 December 2020 (UTC)

Si Yu 司妤

In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality. But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level.

The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West. The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume.

换句话说，西方现实主义传统小说因受到时间的侵扰而困扰，这种侵扰导致自我与集体、梦境与现实之间的史诗性、时间性和谐出现裂痕。但是卢卡斯仍然坚持小说也是一种史诗，因为小说试图对时间差造成的断裂进行修复，因此有潜在可能达到更高层次的史诗地位。

在中国小说里，理想和现实的差距被最小化，中国小说看起来似乎比西方的现实小说更加具有史诗性质。革命现实主义小说更接近于诗，同时巨大的抒情性为标志，正如查尔斯·劳夫林在本卷文章“不协调的抒情诗”中提到的社会主义散文那样。--Si Yu (talk) 14:48, 12 December 2020 (UTC)

Song Jianru 宋建茹

It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other. The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort. It was ideological, educational, edifying, its grand narrative projecting material praxis. It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.

和革命现实主义和乌托邦主义一样，慷慨激昂的抒情小说中一方面最大化地弥合了历史上帝国主义入侵时期苦难和贫穷之间的差距，另一方面，实现共产主义最终理想，实现理想与现实、理论与实践的史诗般的和谐。这种模式的小说应该远不止我们在寒冬飘雪的夜晚舒舒服服地蜷缩在沙发上阅读的文本。而是意识形态的、教育性的、启迪式的宏大叙事题材实践。这种小说旨在促使你上街或到贫穷的村庄，和其他人们组织起来创造历史。--Song Jianru (talk) 15:59, 13 December 2020 (UTC)

小说中的抒情繁荣被等同于革命唯心主义和乌托邦主义时，似乎就显得格格不入，其一方面最大化地弥合了历史上帝国主义入侵时期导致的苦难和贫穷；另一方面，实现了共产主义最终理想，实现了理想与现实、理论与实践的史诗般的和谐。这种模式下的小说不是我们在寒冬飘雪的夜晚，舒服蜷缩在沙发上看的那类小说。而是意识形态的、教育性的、启发性的，其宏大的叙事投射了物质实践。 它的目的是鼓励您走上街头或走进贫困的村庄，并与其他同伴一起创造历史。--Quan Meixin (talk) 03:40, 14 December 2020 (UTC)

Su Lin 苏琳

The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species. This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels. My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility. I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.

散文在当代中国的兴起，标志着史诗模式下的小说已经面临濒危。这不仅仅是体裁的问题，我也不是在建议读者们蜂拥去写散文而放弃小说。我的观点是，小说作为一种想象社会生活和记录时间体验的媒介，正在让位于散文，或者更普遍地，让位于感性的散文结构。为了使散文成为一种规范的文本形式，以及其他文学体裁中体现“散文学”质量和“散文学”结构的话语性瞬间，我运用了散文论的思想。--Su Lin (talk) 17:50, 13 December 2020 (UTC)

散文在当代中国的兴起，意味着史诗类型小说的下坡。这不仅是题材问题，我也不是说建议读者们一股脑地去阅读散文作品而将小说抛诸脑后。我的意思是，小说作为一种想象社会生活和记录时间体验的媒介，正在让位于散文，更笼统地说就是在让位于感性的散文式结构。为了使散文成为一种规范的文本形式，以及其他文学体裁中体现“散文学”质量和“散文学”结构的话语性瞬间，我运用了散文论的思想。--Wang Yu (talk) 04:00, 14 December 2020 (UTC)

Tan Xingyue 谭星越

One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer. This is one reason why it is instructive to contract the essayistic with the novel. The essay deals with a prosaic and mundane world. In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness. In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap. My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.

关键的一点是，这种情感结构与城市居民和消费者的日常情感相符。这就是为什么说把散文家和小说联系起来是有益的。散文处理的是一个平淡且平凡的世界。在海登怀特对黑格尔的诗歌和散文的区分的重述中，他指出，"在散文性语句发展的世界里，经验已经被原子化，它的理想性和即刻领会的重要性被剥夺，它的丰富性和生命力丧失"（87）。这个由碎片化经验构成的散文性世界对于中国小说来说就像卢卡斯小说对于史诗的意义一样：从原始的单一性中堕落。在当代中国，无论是小说还是诗歌，似乎都不是弥合这一差距的手段。本文旨在考察散文家在小说中的地位，以及与历史相关的情感。--Tan Xingyue (talk) 07:39, 13 December 2020 (UTC)

Tan Xinjie 谭鑫洁

The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay. For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality. This view, though historical, can lead to two contradictory conclusions. In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization. As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether. On this account the novel would be a casualty of the Spirit’s historical movement and self-realization. For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art. In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state. 我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得有疑问和过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。 在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--Tan Xinjie (talk) 11:35, 13 December 2020 (UTC) 我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得困难重重且过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--Xu Jia (talk) 13:57, 13 December 2020 (UTC)Xu Jia

Tan Yuanyuan 谭媛媛

The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art. As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).

Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis. Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint. In modern times the novel is still alive as the impulse of art is still pressing. The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream. On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.

普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--Tan Yuanyuan (talk) 06:46, 9 December 2020 (UTC)

对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17） 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--Chen Sunfu (talk) 07:59, 9 December 2020 (UTC)

Tang Bei 汤蓓

Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection. Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay. In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state. But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable. Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology. In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.

它的现代讽刺性就在于此，在梦想完美世界的同时，又深知完美的不可能。有趣的是，卢卡奇对小说的反讽性、自省性的洞察，让我们得以一窥这篇文章的状况。在中国现实主义小说中，可以肯定的是，从世俗现实中涌现出来的共产主义乌托邦的历史总体性是灵感的光辉象征，表面上与黑格尔的精神在国家中的实现有着的相似之处。但对共产主义乌托邦的最终胜利和全面解放社会的实现的信念，却被小说话语假定为规律性的、预设性的，因而具有现实性和必然性。因此，小说、史诗模式的小说的衰落，可以理解为宏大的马克思主义的历史叙事的衰落。相比之下，散文的兴起则预示着一种更为支离破碎、彼此分离和私人化的表意实践形式，这种形式正在一个堕落的现实世界的裂缝和缝隙中涌现。--Tang Bei (talk) 04:49, 14 December 2020 (UTC)

Tang Ming 唐铭

The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life. The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade. To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum. Literature, as a historical vision and ideological apparatus, is hanging in the balance.

脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。 --Tang Ming (talk) 04:46, 10 December 2020 (UTC)Tang Ming 失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 "失控 "一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。 文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--Li LIli (talk) 04:59, 11 December 2020 (UTC)Li Lili

Tang Yiran 汤伊然

Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry. This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China. But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.

For a tracing of the historical linkage we may turn to the earlier period in modern literary history. Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture. Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.

像许多其他文化领域一样，它已经商品化并进入市场，在大众传媒和娱乐业被包装成一个又一个项目。这种变化的社会语境对于理解散文作为当代中国的一种文学形式和文化表达媒介至关重要。但是，商品文化与散文，或者说散文写作和感受的方式之间的这种联系，并不是最近十年出现的一种全新现象。

为了追溯这一历史联系，我们可以追溯到现代文学史的早期。张爱玲的散文及其对散文形式的反思，是散文与大众文化联姻的成功范例。黄妮可在这本书中的论文着眼于这段婚姻的某些方面，这在张爱玲的文章中有所体现。--Tang Yiran1 (talk) 06:24, 14 December 2020 (UTC)

Tao Ye 陶冶

This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang. An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work. Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture. Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.

Eileen Chang and the Essay in the Urban Setting

The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work. Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.

This view of Hegel's on art is evoked by Lukács in his preface to The Theory of the Novel, 11-23. 这种结合在当代作家王安忆的作品中有了新的表现，王安忆在一个更新的城市语境中写作，在很多方面与蒋介石相似。分析张爱玲对这篇文章的思考，有助于我们理解王的作品。张爱玲的观点使这篇文章在城市和消费文化中形成了清晰的轮廓。王安忆的散文，尤其是小说中的散文时刻，标志着这一以消费为导向的文体在新的历史条件下的回归。 《张爱玲与都市背景下的散文》 故事和散文作家张爱玲被认为是王安忆作品的来源之一。尽管张爱玲的小说以上海和香港为背景，融合了传统和现代主义风格，但她的作品形成了鲜明对比，是中国现代文学中“五四”启蒙和革命宏大叙事的一剂解药。 卢卡奇在《小说理论》的序言11-23中唤起了黑格尔对艺术的这种观点。--Tao Ye (talk) 06:53, 14 December 2020 (UTC)Tao Ye

Wang Meiling 王美玲

Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life. The intriguing depiction of the narrow romance and personality of the petty urbanites, xiaoshimin, is her forte and attraction. The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays. While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature.

Eileen Chang's essay collection Floating Words (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture. In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child.

她的故事津津乐道于无关紧要的小事、小躁动、小琐事、小焦虑，描写都市人生活中的随机事件。对都市小资的狭隘浪漫和个性小资的描写耐人寻味，是她的强项和魅力所在。散文式描写在狭窄拥挤的城市环境中的生活，不仅是她小说的特点，也构成了她散文的主要主题。她的散文在对应和照应她的小说的同时，她对散文写作的思考也起到了凸显中国现代文学中散文主义审美品质的作用。 张爱玲的散文集《流言》（有时译为《写在沃尔特上》）是中国城市文化中出现的散文的一个引人注目的例子。 在散文集的开篇《童言无忌》一文中，她仿佛在散文中随意畅聊、异想天开、任性地宣泄压抑的感情，像一个无拘无束的孩子。--Wang Meiling (talk) 03:22, 14 December 2020 (UTC)

Wang Xuan 王轩

Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography. The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7). The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations. Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture. Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life. They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.

她说，像她这样的作家，与惊天动地、划时代的历史事件没有多大关系，应该通过写一本流行的自传，放弃从自我描绘中获得永生的梦想。对一个作家来说，满足和拯救是写“关于自己的事情的点点滴滴”。如常所说，自我关注的问题包括金钱、衣着、饮食、重要人物及其怪异的下体，以及家庭关系。在这篇第一篇文章的几页里，我们有各种各样的主题，表达了人们对消费习惯、在城市中的生存、在日益分化的城市文化中的个人和社会关系的兴趣。纵观这篇论文集的目录，我们很难将这些文章的重点分类，只说它们是在写观点，在城市生活中玩弄感知。他们触及任何在脑海中闪过的东西，经过视线的东西，吸引感官的东西，任何在城市环境中的陈规的或常规的场景或行为。--Wang Xuan (talk) 05:42, 14 December 2020 (UTC)Wang Xuan

她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--Xiao Shuangling (talk) 07:37, 10 December 2020 (UTC)Xiao Shuangling

她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--Blank (talk) 05:17, 11 December 2020 (UTC)

Wang Yu 王煜

There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs.

While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do. If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes. The nature of the essay seems to lie in its irrelevance to history as a literary principle:

为了展现他们的随意和杂乱，有很多关于公寓生活，打架斗殴，私密话语的碎片，对于艺术，服饰变换，女性，雨天，雨伞，甚至上楼这种日常动作的浅谈。

当然这些文章不可能被归入一个大概范畴，从而抽象为一个统一的原则，但张爱玲在这本迷人的散文集之外，指出了宏大的历史性叙事，从而为这篇文章不能做的事情提供了一个有用的参考点。如果不明白某篇文章是什么，张会说明这篇文章不是什么。她认为这篇文章是对历史话语的回避和拒绝，是对世俗和支离破碎的城市场景的全身心地投入。这篇文章的本质似乎在于它与作为文学原则的历史无关：--Wang Yu (talk) 06:00, 13 December 2020 (UTC)

为了让人感受到它们的随意性和杂乱感，有关于公寓生活，打架斗殴，私密话语等碎片化场景，有关于艺术、换衣服、女人、雨、雨伞等浅薄印象，甚至有关于上楼的这种日常动作，都被记录下了。

虽然肯定不可能把这些文章归入一个大类，抽象出一个统一的原则，但张爱玲却把这本充满魅力的文章集指向了宏大的历史叙事之外，从而为散文拒绝做的事情提供了一个有益的参考点。如果不清楚散文是什么，张爱玲就说明它不是什么。她看到了散文对历史话语的抽离和拒绝，看到了散文对平凡而零碎的城市场景的全盘吸收。散文的本质似乎在于，作为一种文学原则，它与历史无关。--Tan Xingyue (talk) 07:56, 13 December 2020 (UTC)

Wang Yuan 王源

I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions. But privately I hope they would say more things that are irrelevant. Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion. But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness. Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes. (41)

As a fiction writer Chang does not believe in artistic perfection. She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims. In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)

我没有书写历史的欲望，我也没有资格去评价历史学家们的看法。但就个人而言，我更希望他们能多说些无关紧要的东西。现实本身不是系统的，它就像七八个同时响起的话匣子，喋喋不休，让人产生困惑。但这不可理喻的声音和喧嚣会时不时会出现片刻的启发，心酸而明亮，让我们能听到曲子并理解它一点，最后只能被浓重的黑暗吞噬。画家，作家和作曲家关联着这些偶然的破碎的发现，并创造了艺术整体。（41）

作为小说家，张爱玲并不相信艺术的完美。正如她重复申明的那样，在小说中她创造出“不完美”，有瑕疵的人物。在她的散文中，书写不相关的事是很重要的。因为正如她所说，所有生活的魅力都发现于那些不相关之事中。（42）

Wei Honglang 韦洪朗

Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium. The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art. Formalistically the essay is random, self-contradictory, expressive, and therapeutic. Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (zawen). Despite its similarly disjoint, personal, and casual form, the zawen à la Lu Xun is polemic, militant, acid, socially and political engaged. It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant. This engaged character puts the zawen in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.

张爱玲对散文的思考反映了中国现代性的某些方面，这为理解作为日益突出的文化媒介的散文形式提供了一个语境。对她来说，这篇散文是一种与历史导向和充满政治色彩的文学、目的论的历史叙事和不朽的艺术作品相对立的写作实践。从形式上来说，这篇散文是任意性的、自相矛盾的但又富有表现力和治疗性。张爱玲的文章是对鲁迅杂文的彻底背离。尽管鲁迅笔下的“杂文”体现出类似的不连贯性、个人化和随意的形式，但它是论战性的、激进的、尖刻的、社会的和政治的。鲁迅的文章捕捉到的是渺小而短暂的事物，但其目光越过它们，投向其背后体现的文化性和历史性。这个引人入胜的特点将“杂文”与五四文学的说教传统紧密联系在一起，旨在提高读者的意识，试图将他们从传统和习俗的沉睡中唤醒。--Wei Honglang (talk) 08:00, 13 December 2020 (UTC)

张爱玲对散文的思考反应了中国现代性的某些方面，而这为理解散文形式作为一种日益凸显的文化媒介提供了一种语境。散文于她来说是一种反对历史导向和政治色彩文学，目的论历史叙述以及鸿篇巨制的写作实践。形式上来看，散文是随意、自相矛盾、富有表达力以及治愈的。张爱玲的散文是对鲁迅杂文的彻底背离。尽管张的散文也呈现出不连贯，个人化以及形式随意等特点，相较之下鲁迅的杂文是善辩、有攻击性、尖酸并且是社会和政治性的。它抓住微小，短暂之物，但其目光却越过它们，投向文化和历史的高度。这一引人入胜的特点将杂文和五四文学的说教传统紧密联系起来，旨在唤起读者的意识，或将他们从传统习俗的半梦半醒中惊醒过来。--Wang Yuan (talk) 08:59, 14 December 2020 (UTC)

Wei Yafei 魏亚菲

The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles. This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity.

Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”

In his recent book Shanghai Modern Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in. See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.

消费者心态，城市文化以及职业性养家糊口的新角色：作家的兴起，突显了娱乐，魅力，品味，表演，魅力和诱惑力的价值，这些都是城市文化所固有的价值，并且它们对于 娱乐，印象和景象有着不错的需求。 在张爱玲昙花一现之后的几十年中，这种新兴的社会历史背景被占主导地位的政治意识形态和历史叙事所掩盖和边缘化。

加州大学伯克利分校的安德鲁·琼斯（Andrew Jones）正在将张爱玲的论文集翻译成英文，并使用了“在水上的书写”一词。

在他最近的著作《上海现代》中，leo教授怀有钦佩地追溯了张爱玲的著作以及她所沉浸的商业城市文化。请参见《张爱玲：堕落的浪漫》 267-303章。--Weiyafei (talk) 14:51, 13 December 2020 (UTC)Weiyafei

Wen Sixing 文偲荇

In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance. I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.

Telling a Story Where There is no Story to Tell

Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature. The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future. One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.

20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。 “在没有故事可讲的地方讲故事” 王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--Wensixing (talk) 04:00, 9 December 2020 (UTC)

---

在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。 “在没有故事可讲的地方讲故事” 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--Yuan Tianyi (talk) 07:12, 9 December 2020 (UTC)

在20世纪90年代，在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感再现了。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。 “在没有故事可讲的地方讲故事” 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--Weiyafei (talk) 14:53, 13 December 2020 (UTC)Weiyafei

Wen Xiaoyi 文晓艺

For Wang Anyi this poverty of stories is directly linked to the urban setting. The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd. This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode. In it Wang sets up a contrast between the village community and urban social organization. The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories. As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face. Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy. 对王安忆来说，这种贫乏的故事与城市环境直接相关。她的一篇文学论文的题目是《城市无故事》，突显了在这座城市模糊的氛围和匿名的城市人群中，共享的、可传达的叙事已经消失。本文从社会学的角度，阐述了社会学的转型导致了小说叙事向非小说叙事、小说叙事向散文叙事模式的转型。在此基础上，王安忆对比了乡村社区与城市社会组织。紧密联系的农村社区，如村庄和小城镇，是共享故事的温床。社会关系主要是指家庭关系、亲属关系或宗族关系，人们之间的交流更为亲密，主要都是面对面的。在一个预先设定的轨迹中，在一个有着公认的工作、权力和等级社会网络中，人们讲诉着他们的生活故事。--Wen Xiaoyi (talk) 08:24, 14 December 2020 (UTC)

Wu Kai 吴恺

The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms. Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity. In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories.

This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller. The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller. Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.

这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。

关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--Wu Kai (talk) 10:54, 11 December 2020 (UTC)

Wu Qi 吴琪

More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure. It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history. Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources.. Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people. There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story.

更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施，现在它已显得陈旧不堪。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度，在这里，独立的个体变得微不足道，疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，他们必须依靠自己的天赋和资源。因为来自不同的地方，他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--Wu Qi (talk) 09:45, 13 December 2020 (UTC)

更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度：在这里，独立的个体变得微不足道；疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，这些人必须依靠自己的天赋和资源。来自不同的地方的他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--Wang Xuan (talk) 05:48, 14 December 2020 (UTC)Wang Xuan

Wu Qiong 吴琼

This is what Wang means by saying there is lack of stories in the city. The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.

From the Historical to the Essayistic: the Fall of the Intellectual

Wang Anyi's The Story of Our Uncle illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole. From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture. Something fundamental had drastically shaken the basic fabrics of Chinese society.

这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。

从历史主义到文章主义：知识分子的堕落。

王安忆的舅舅的故事说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--WuQiong (talk) 12:26, 9 December 2020 (UTC)

王安忆的叔叔的故事表明了文学的形式由历史导向和意识形态导向往散文导向的过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、充盈着投资、消费主义和流行文化的崭新世界。 一些根本性的东西已经极大地动摇了中国社会的基本架构。--Zeng Fangyuan (talk) 06:53, 12 December 2020 (UTC)

Wu Xiang 邬香

The Story of Our Uncle registered a very sensitive aspect of the epoch-making changes in China. Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history. Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization. From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic. This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.

《我们叔叔的故事》反映了中国划时代变化的一个非常敏感的方面。与其把这部中篇小说解读为文学文本，不如把它看作是一部追溯文学和社会历史变迁的文献。这部中篇小说以小说家的职业生涯为主线，描绘了在意识形态和政治逐渐让位于市场、经济发展和消费主义的时代，文学的价值和功能发生了质的转变，所有这些均为响应现代化的号召。从一个作家跌宕起伏的人生经历中，我们可以看到小说作为一种文化形式是如何失势的，文学情感是如何转向散文主义的。这种常见的转变让我们看到了20世纪90年代的基本社会变革。

Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In The Story of Our Uncle, one finds the essayistic prevailing over narrative.

评论家们已经发现了王安忆散文创作的本质，这一特点在科幻小说中表现突出。在《我们叔叔的故事》中人们发现散文的比重多余叙事。--Wu Xiang (talk) 14:47, 12 December 2020 (UTC)

《叔叔的故事》记录了中国划时代变化的一个非常敏感的方面。与其将这部中篇小说解读为一个文学文本，不如将其视为一部追溯文学和社会历史变迁的文献。这部中篇小说以一个小说家的职业生涯为主线，描绘了在意识形态和政治让位于市场、经济发展和消费主义的现代化背景之下，文学的价值和功能发生了质的变化。从一个作家经历的沧桑巨变中，我们可以看到小说作为一种文化形式是如何失去地位的，文学感召力又是如何向散文主义转变的。这种普遍性的转变让我们看到20世纪90年代社会的根本性变化。 评论家们注意到了王安忆在创作的作品，尤其是她的小说中存在散文性。在《叔叔的故事》中，人们发现散文的成分多于叙事的成分。--Yuan Yuchen (talk) 02:43, 13 December 2020 (UTC)

Wu Yilu 吴一露

The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself. In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle. One would be disappointed to expect an engaging action or dramatic story. Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one. The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise. He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood.

这篇文章读起来更像是一篇散文——散漫、随意、有条理、絮絮叨叨、喋喋不休——而不是直接的叙述，这一点作者也承认。在这篇叙述-散文中，一位年轻作者代表他这一代人试图对一位他们称之为叔叔的老作家进行传记性评价。如果有人以为这会是一个引人入胜的行动或者一个戏剧性的故事，那么他就要失望了。尽管文本保留了小说的外在明显特征，但是它是一个由不同体彩杂糅成的混合体，集文学、艺术批判、八卦、猜测、历史、哲学、轶事和故事于一体。叙述者认为，这篇小说是一篇具有双重意义的散文，既有文本形式，又有充满游戏趣味和探索性的文学练习。他开篇就宣称，这个故事是各种元素糅合而成的大杂烩，无法区分真假。--Wu Yilu (talk) 08:48, 12 December 2020 (UTC)

Wu Zijia 吴子佳

“Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181). The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market. Writers, the narrator says, are people who spend their time making up stories. One day “we started circulating his (Uncle's) maxims.” To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. The Story of Our Uncle is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.

“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--Wu Zijia (talk) 08:54, 11 December 2020 (UTC)Wu Zijia

“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始流传他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的创作原则、随机的幻想和商品的形式为前提的。--Wu Xiang (talk) 14:53, 12 December 2020 (UTC)

Xiao Shuangling 肖双玲

In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form. In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context. Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification. The essay is envisaged as an enfant terrible or a serious playboy seeking the utopia space of the pleasure principle. Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal. It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments. Its supposed form is actually formlessness. Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.

从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--Xiao Shuangling (talk) 07:35, 10 December 2020 (UTC)Xiao Shuangling

从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--Xu Mengdie (talk) 12:19, 10 December 2020 (UTC)Xu Mengdie

Xiao Ting 肖婷

While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition. In the Chinese literary convention the essay is not so clearly defined against something so established. Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism.

The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket. Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:

虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。

本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 "区别于论著。--Xiao Ting (talk) 02:00, 11 December 2020 (UTC)Xiao Ting

虽然阿多诺的评论是恰当的，符合张爱玲和王安忆对散文的思考，但阿多诺的哲学框架是不同的：散文反对西方哲学传统高高在上的概念暴政。 在中国的文学传统中，散文并没有如此明确地定义反对既定的东西。我试图用本文论证，散文被认为是目的论历史的启蒙运动和马克思主义范式及其文学对应物：革命现实主义小说。 本文是一次试图打破概念和话语束缚的文学探索。 阿多诺引用了马克斯·本塞的话说，“这篇文章有别于一部专著：--Tan Xinjie (talk) 12:52, 13 December 2020 (UTC)

Xiao Xi 肖茜

The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing. (17)

The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay. The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16). This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).

See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.

Adorno, 3-23. 散文式写作的人是在实验中创作的人，他把客体转过来，质疑它，感受它，检验它，思考它，他从不同的角度攻击它，把他在脑海中看到的东西组合起来把客体在写作过程中创造的条件下允许人们看到的东西用文字表达出来。(17) 放弃宏大的、完整的愿景，选择不完整的、琐碎的、实验性的，是这篇文章的组成部分。德语单词Versuch，尝试或文章，阿多诺写道，是“思想命中靶心的乌托邦愿景与意识到自身的错误和临时特性相结合的地方”。这“表明……一些关于形式的东西，一些需要更加认真对待的东西因为它不是系统地发生的而是作为一种意图的特征去探索它的方式。 参见吴亮和王安忆《现实与小说的对话》，载于《王安忆:现实与小说》(季实余序购)325页。

阿多诺,3-23。--XiaoXi (talk) 09:23, 13 December 2020 (UTC)Xiao Xi

Xiao Yining 肖伊宁

An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella. As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle. These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing. As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche. But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.

探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。 --Xiao yining (talk) 04:28, 9 December 2020 (UTC)Xiao Yining

一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--YangHui (talk) 12:00, 9 December 2020 (UTC)

Xie Fan 解帆

One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky. Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man. One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life. Like thousands of other writers, Uncle was persecuted and exiled because of his writing. But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact. In the first telling, his persecution is a political story, indicting the tyranny of the political system. Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.

比如，人们可以利用陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、被白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个在小村庄中艰难求生的人。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事经过叔叔的叙述后，被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。其次，这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--XieFan (talk) 11:15, 11 December 2020 (UTC) 比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔去流亡地的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，他会和一位睿智的老人一起思考生命和命运的意义。人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，沦为一个被困在狭小乡村生活中的求生之物。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事在叔父们在事后的复述后又被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度的暴政。第二，这是一个存在主义的故事，暗示着命运的神秘和讽刺。第三，这是一个预言性的故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--XiaoXi (talk) 09:26, 13 December 2020 (UTC)Xiao Xi

Xie Ziyi 谢子熠

This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources. This is by no means a literary embellishment for pure rhetorical variety or pleasure. The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight. The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old. This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it. This divergence is the key to understanding the essay and the essayistic.

进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。 --Ishikami (talk) 11:03, 11 December 2020 (UTC)

这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--Wu Kai (talk) 11:06, 11 December 2020 (UTC)

这旨在用各种类型的叙事模式和审美资源探索叔叔的生活。这绝不是纯粹为了变换修辞或者获得乐趣而进行的文学修饰，而是叙述着理解叔叔生活的困难。困难不是普通的代沟，反映了年轻人和老年人的不同历史经历和记忆。这种差异不仅将作家群分裂开来，而且也导致了共性实践与传达共性实践的美学的分歧。这种分歧是理解散文和散文论的关键。--XieFan (talk) 11:27, 11 December 2020 (UTC)

Xu Jia 徐佳

The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative. The Uncle is intensely committed to writing literature as praxis for social change. His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers. It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue). It is the voice of the farsighted and the vanguard in China's modernization drive. Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history. Literature is simply one vehicle that carries this historical mission.

老一辈人亲身经历过政治迫害和历史创伤，有着较强的历史意识和目的性叙述能力。叔叔致力于以文学写作推动社会变革。他在 "文革 "后一跃成为领军作家，说明葛兰西所说的 "有机 "知识分子的地位依然稳固，甚至是蒸蒸日上。他创作的小说大受欢迎，这表明一部文学作品可以引起巨大的轰动，是批判制度缺陷，提高读者社会意识、政治意识的有效媒介。他的小说重扬了 "五四 "新文学的遗风，重新受洗为新时期文学。它是有远见之人的发声，是中国现代化进程中的先锋。叔叔那一代四十多岁的作家，在这段叙述时间里，尽管经历了种种创伤和苦难，但他们仍然坚信社会历史进程的有机整体性和人民引导历史进程的能力。文学只是承载这一历史使命的载体。--Xu Jia (talk) 13:46, 13 December 2020 (UTC)Xu Jia

老一辈人亲身经历过政治迫害和历史创伤，有着较强的历史意识和目的性叙述能力。叔叔致力于文学写作以推动社会变革。"文革 "后，他在一跃成为领军作家，说明葛兰西所说的 "有机 "知识分子的地位依然稳固，甚至是蒸蒸日上。他创作的小说大受欢迎，这表明一部文学作品可以引起巨大的轰动，它是批判制度缺陷，提高读者社会意识、政治意识的有效媒介。叔叔的小说重扬了 "五四 "新文学的遗风，重新受洗为新时期文学。它是有远见之人的传声筒，是中国现代化进程中的先锋。叔叔那一代四十多岁的作家，在这段叙述时间里，尽管经历了种种创伤和苦难，但他们仍然坚信社会历史进程的有机整体性和人民引导历史进程的能力。文学只是承载这一历史使命的载体。--Xu Jing2 (talk) 17:43, 13 December 2020 (UTC)

Xu Jing 许晶

The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel. The Uncle's general outlook on the world is epic in the Lukácsian sense. The young narrator captures this Weltanschauung very accurately:

The political life of the past few decades has filled up his personal experience and life. This enables Uncle to keep his worldview firmly anchored to reality and politics. The state and government encompass the whole world for him and form the vast backdrop for human activity. Patterns of people's behavior and conduct are but representatives of social life. The concept of culture sounds very abstract and empty to him. For him art should also perform real and political functions. (214-215)

叔叔所体现的历史意识是为了在史诗般的写作方式中找到其对应的形式：写实小说。 在卢卡奇的意味上，叔叔对世界的总体观是史诗般的。这位年轻的叙述者非常准确地捕捉到了这个世界观：

叔叔过去几十年个人经历和生活被政治所充斥，这使他能够将自己世界观牢牢地依托于现实和政治。 国家和政府围绕着他的全世界，并构成了人类活动的广阔背景，人们的行为方式只是社会生活的代表。对他来说，文化的概念听起来很抽象，十分空洞的，甚至认为艺术还应该发挥现实和政治作用。（214-215）--Xu Jing2 (talk) 17:39, 13 December 2020 (UTC)

Xu Jing 许静

The young generation, in contrast, is not so firmly grounded. Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms. Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission. Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes. Art has become an artful, artsy activity, floating free of socio-historical grounding. Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories. All this also leads to the enhancement of a writer's charisma and even sexual appeal. Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.

相比之下，年轻一代的基础就没有那么牢固。他们成长于主流意识形态衰落的时期，在各种外来意识形态和新式主义的风中飘荡。他们是新兴市场的动物，是虚无主义知识时尚的玩家，他们在生产文学的同时，并没有承担任何社会历史使命。文学只是一种玩味的、审美的游戏，没有任何责任和沉重的目的。艺术已经成为一种艺术性的、艺术性的活动，没有社会历史基础的浮动。文学活动对他们来说，更具体地说，就是参加笔会，追求热点时尚，创新新鲜的形式和口味，标榜新的理论，编造轰轰烈烈、有市场的故事。这一切也会使作家的魅力甚至性魅力得到提升。事实上，对年轻一代来说，把文学看成是具有历史意义或社会意义的，已经是老掉牙了，文学变得越来越有魅力，越来越商业化。--Xu Jing (talk) 15:32, 14 December 2020 (UTC)

Xu Mengdie 徐梦蝶

The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer. The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media. As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up. His new position as a glamorous writer allows him to become a globetrotter. At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties. Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue. 叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--Xu Mengdie (talk) 11:37, 10 December 2020 (UTC)Xu Mengdie

《叔叔的故事》寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。《叔叔的故事》早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，《叔叔的故事》也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--Yang Hairong (talk) 12:00, 13 December 2020 (UTC)

Xu Pengfei 许鹏飞

Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical. The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity. He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques. He becomes more and more detached from the grave political issues of the day. His new outlook is derived from a purely aesthetic principle.

在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--Xu Pengfei (talk) 05:35, 9 December 2020 (UTC)Xu Pengfei

在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--Tan Yuanyuan (talk) 06:50, 9 December 2020 (UTC)

在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--Li Haiquan (talk) 02:21, 10 December 2020 (UTC)

不断扩张的都市化，全球化，顾客为导向的市场，一种新的写作理念应运而生，它以牺牲史诗性，社会性和历史性为代价，追求炫耀性、趣味性、和散文性。年轻的叙述者恰好观察到，文叔再生了，他进入了一个新的生活，进入到一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和 不合时宜的叙述技巧，玩笑般的对待严重的社会问题。他与当今严重的的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--Han Haiyang (talk) 13:36, 11 December 2020 (UTC)

Yang Chenting 杨晨婷

Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments. His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation. Real human relations are “only a literary conceit.” (227), he echoes the younger generation. Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.” Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225). Parallel with this essayistic quality is the Uncle's changed life style. His is more taken with things he would have considered vulgar, low, or quotidian;

生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--Yang chenting (talk) 08:11, 11 December 2020 (UTC)Yang Chenting

在他的环球旅行中，历史的物质被清空，而充满了零碎的、漫无边际的印象，关于叔叔的生活和写作都逐渐变成个人的、无关的、不连续的片段。他的作品开始呈现出散文式的品质，接近纯粹的影像或拟像，越来越接近年轻一代的作品。真正的人际关系“只是一种文学幻想”。(227)，他回应了年轻一代。在美学的庇护下，“叔叔不再激动或感动，对痛苦免疫。”悲剧的痛苦现在只是一个文学类别，“意识到这一点是叔叔成为一个纯粹作家的标志”(225)。与这种随笔风格相对应的是叔叔生活方式的改变。他更喜欢那些他认为庸俗、低俗或司空见惯的事情;--Lou Cancan (talk) 14:02, 13 December 2020 (UTC)

Yang Hairong 杨海容

he becomes more listless and yuppish. He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles. In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.

The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance. The problem with this change, as the novella's ending suggests, is that it is self-deceptive. Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son. His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments.

他变得更加无精打采而又热情洋溢。他对女性以及性爱和征服产生了浓厚的兴趣。他沉迷于庸俗和琐碎的追求，对金钱和艳丽的异国情调的收藏品狂喜不已。简而言之，他从史诗般的小说家和有机知识分子的形象变成了中产阶级专业作家，他的偏爱形式是随笔，其生活方式具有自我满足的“随笔”性质。--Yang Hairong (talk) 11:56, 13 December 2020 (UTC)

《叔叔》的转变反映了文学从一种历史根基的媒介退缩到一种轻松、有趣的娱乐和戏剧表演的形式。正如中篇小说的结尾所暗示的那样，这种变化的问题在于它是自欺欺人的。尽管《叔叔》蓄意创造了一个美丽的茧，但由于被压抑者的归还，他的杀手之子最终还是入侵了历史。他的儿子体现了《叔叔》创造中所有的痛苦记忆和可耻的经历，不适合他小说中的史诗般的治疗方式，而对他空灵、透气、杂文主义的实验则表现出压抑。--Yang Hairong (talk) 11:56, 13 December 2020 (UTC)

Yang Hui 阳慧

The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm. Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form. If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse. It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.

儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--YangHui (talk) 11:59, 9 December 2020 (UTC)

儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--Li Liqin (talk) 15:02, 9 December 2020 (UTC)

Yang Yi 杨逸

It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process. Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions. China’s social reality does not square so nicely with the essayistic playfulness one may wish. Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed.

它是一种对以前的被控制意识形态的生活的解放，它现在变得更私人，更脱节和碎片化，更远离极权主义的社会和政治进程。然而，历史并不是像年轻的叙述者或叔叔自己在追赶时尚时想象的那样可操控的。中国的社会现实与人们所希望的散文式的嬉闹并不那么吻合。因此，散文作为一种文化形式，处于一种从历史的负担中解脱出来与可能回归压迫状态之间的张力之中。--Yang Yi (talk) 17:01, 13 December 2020 (UTC)

它的出现显示出对以前意识形态受控生活的解放，现在的生活现在更私人，更脱节和碎片化，更加脱离了极权社会和政治进程。 然而，正如年轻的叙述者或叔叔本人在赶上时尚潮流时所预见的那样，历史并没有变得任人摆布。 中国的社会现实与人们可能希望的散文式嬉闹不太吻合。 因此，散文作为一种文化形式，陷入了从历史负担的抽身出来与可能回归压迫状态的紧张境地。--Yang Ziling (talk) 14:50, 16 December 2020 (UTC)

Yang Yue 杨悦

Mulish Essays: the Genre of Zawen in Contemporary China

Mary Scoggin

Abstract

Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen. The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices.

拗口的文章：当代中国“杂文”的体裁

玛丽·斯高格

文章中的语气是一种讽刺的修辞手法;你怎么能通过印刷的油墨来引导声音中所携带的东西呢?本文通过邵云翔的《诗文》来说明这种修辞手法。邵云翔是一位官方诗人，他退休后以将诗歌化为论战体的杂文而闻名。在当代中国，“杂文”独特而又备受围攻的社会文化空间，揭示了“调”在汉语写作中的机制、意识形态和意义。与其他文学体裁相比，“杂文”更依赖于泥土般的喧嚣、忧郁、固执的声音来传达它的信息。像大多数诗歌一样，但又不像大多数小说和戏剧，“杂文”本身是第一人称的声音，而不是声音的代表。--Yang Yue (talk) 08:36, 12 December 2020 (UTC)

Yang Ziling 杨子泠

Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations.

诗歌至少需要大声朗读，重复和品尝才能真正达到效果，而与诗歌不同的是，杂文在报纸的背面短暂地露面，读者边看边发出神秘笑声，叹息声或鼻息声，还没等读者找到座位坐下，就迅速将其扔掉。读者对道德和政治上具有挑衅性的“当下杂文”又爱又恨，而作者跨越式的书写杂文，并通过出版机构来建立大量互文性的对话。--Yang Ziling (talk) 17:10, 13 December 2020 (UTC)

Yao Cheng 姚诚

Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.

In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as zawen hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.

杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。

在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --Yao Cheng (talk) 09:24, 10 December 2020 (UTC)

最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着"杂文"。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 "匕首和长矛 "流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。 在当代中国散文的教科书和手册中，"杂文"[字面意思是 "杂文"，以下简称杂文]被作为一种极具 "中国性"的文章体裁，呈现在普遍的文学分类的全球视野中。--Yao Jia (talk) 06:19, 11 December 2020 (UTC)

最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。 在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--Yang chenting (talk) 08:16, 11 December 2020 (UTC)Yang Chenting

Yao Jia 姚佳

Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification. Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage. Compare the comments of a recent critic of zawen:

In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.

鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 "tsa-wen "这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对杂文的评论：

在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--Yao Jia (talk) 01:56, 11 December 2020 (UTC)

鲁迅一开始就反对这一文体。他曾讽刺道，即使翻遍了标准的百科全书，也无法在任何权威的外国分类中都找到 "tsa-wen "这一文体。 鲁迅的讽刺既含有对这一文体的蔑视，也带着一丝不安，他认为中国当时的环境让这一文体在世界舞台上变得奇特而不雅。 比较一位批评家对杂文最近的评论：

在中国，有一“怪象”一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--Xiao Ting (talk) 08:07, 12 December 2020 (UTC)Xiao Ting

Yi Huan 易欢

As for this thing called modern Chinese zawen, because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject... the American writer Pearl Buck said something like: 'this thing called zawen is too peculiar, you really cannot understand it.' That is why only Chinese people themselves can evaluate this phenomenon called zawen. (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted]) In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical zawen-esque playfulness of style. He continues his commentary; 至于称这一文体为现代中国“杂文”， 是因为其浓烈的中国特性。西方人理解起来，确实困难。因此杂文研究对他们来说也很难。美国作家赛珍珠曾说过：“这一文体称为“杂文”， 太过独特，这真的太难以理解了。这就是为什么只有中国人自己能评析“杂文”这一事物。（张华笔下的严修[除注释之外，其他所有部分为奚慕里翻译]） 在这篇文章中，作为一个赫赫有名的作家与评论家，严修以一种相对直率的方式,明晰地表达出鲁迅蔑视以外国权威标准对散文体裁分名别类。然而严修也保留了类似“杂文”式，典型的轻松趣味风格。他进一步进行他的评述：--Yi Huan (talk) 01:05, 14 December 2020 (UTC)

Yi Zichu 义子楚

But we do not need to worry about this long period of neglect in which foreigners do not recognize zawen. Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving. But Chinese people all understand them easily. If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost. The historical reasons and significance for the creation and propagation of zawen in China are worth serious research and theorizing (ibid.).

Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability. 但是，我们不必担心长期以来外国人不承认杂文。虽然外国人来研究研究中国的杂文会大打折扣，因为他们无法研究其中的任何内容，尽管他们也研究自己的破产和饥饿。但杂文对中国人来说都很容易理解。 如果外国人不能保持对中国读者的长期欣赏和理解，这种事情便会不复存在。在中国创造和传播杂文的历史原因和意义值得认真研究和理论化（同上）。 虽然没有了破产的风险，但我真的建议去研究和论证这种有趣论文类型的文化，因为它具有所有假定的不可理解性。 --Yi Zichu (talk) 02:26, 12 December 2020 (UTC)

但我们不必担心这种外国人长期不承认杂文的情况。即使一个外国人产生了其研究杂文的心思，恐怕他们自己研究得身无分文，饿死也研究不出来什么。但中国人都很容易理解他们。如果他们不能保持中国读者对他们的欣赏和理解，这种做法就会失传。杂文在中国产生和传播的历史原因和意义，是值得认真研究和理论化的（同上）。--Cao Runxin (talk) 11:48, 13 December 2020 (UTC)

虽然长期以来，外国人都不承认中国杂文，但我们也不必为此忧心忡忡。即使一个外国人突发奇想地要研究杂文，恐怕研究到身无分文，饥肠辘辘，他/她也研究不出什么东西，而我们中国人理解起杂文却很轻松。但如果中国读者不能理解或一直赏析杂文的话，那么其也将不复存在了。杂文在中国产生和传播的历史原因与意义就很值得认真地研究并理论化。（同上）。 杂文晦涩难懂，但也是富于趣味的一种散文体裁。因此在免于破产的风险下，我真的建议大家勇敢地研究并对这一文化形成理论。--Yi Huan (talk) 01:55, 14 December 2020 (UTC)

You Yuting 游雨婷

One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles. Mules kick, spit and bray with distinctive exuberance. Zawen are often considered an awkward combination of “part-poetry, part politics” (Lin). Cross-bred traits extend the qualities of a mule; zawen are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance.

So how does an essay kick, spit and bray? In Chinese theoretical discussion of zawen the metaphor moves from kinetics to sound; zawen's kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely.

从教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻暗示了一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的弹性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。

那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--You Yuting (talk) 14:44, 11 December 2020 (UTC)

教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻表明了它的一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的耐性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。

那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--Yu Ni (talk) 08:49, 13 December 2020 (UTC)

Yu Ni 余妮

Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001). I have posited the idea that approaches to writing zawen fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure. Overt zawen are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience. Covert zawen are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of zawen through intertextuality and other tricks.

Below, I examine the mechanics of zawen tone through contrasting these two style of zawen issuing from a single pen, that of poet and noted zawen writer Shao Yanxiang.

在其他地方，我通过已发表的文学编辑之间关于语气的争论记录（见Scoggin 2001）来考察“语气”的功能。我认为，杂文的写作方法可以分为两种相互依存的策略，一种是显性的，另一种是隐性的，两者都是政治策略和诗学策略的完美结合。公开的杂文相对大胆和明显的粗鲁语气，反映出对一个宽容的观众的信心。隐性扎文有时很难识别，伪装或隐藏在其他文体中，但仍然通过互文性和其他技巧利用扎文的独特音调。 下面，我通过对比诗人、著名杂文作家邵燕祥这两种杂文的风格，来探讨杂文声调的形成机制。--Yu Ni (talk) 08:34, 13 December 2020 (UTC)

Yuan Shiqi 袁诗琦

The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China. I argue here that unifying the two zawen is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray. The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of zawen as a genre in Chinese literature and society. Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt zawen “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.

下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--Yuan SHiqi (talk) 07:09, 9 December 2020 (UTC)

下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--Xu Pengfei (talk) 11:34, 9 December 2020 (UTC)Xu Pengfei

Yuan Tianyi 袁天翼

Both types of zawen should be read “ethnographically,” in concrete social and historical circumstances. After covering some of the primary textual elements of zawen, I will demonstrate the significance of more subtle contextual gestures of zawen, which must be read out of the process of submitting and publishing zawen. Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.

杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--Yuan Tianyi (talk) 07:05, 9 December 2020 (UTC)

Yuan Yuchen 袁雨晨

An Demonstrative Sample – “'Pei Pei Pei!'?” A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181) So begins an essay entitled “呸呸呸!”? composed in February of 1989. I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample zawen.

一个“呸呸呸！”的示例 一个文学圈外的朋友让我给他找来一些呸呸呸的文章来读一读，我只好面无表情地看着他，无话可说。他就解释说，他在报纸上看到某省领导在一次宴会上宣布，各地不应再说“呸！呸！呸！”了，所以很明显到处都在说呸！呸！呸！。(邵1993，181) 1989年2月创作的一篇题为《呸呸呸！》的文章是由此开始的。关于发表时的情形，我将在不久后再谈，但首先我会通过这篇有代表性的杂文样本来解释语气的特例。--Yuan Yuchen (talk) 02:26, 13 December 2020 (UTC)

Zeng Fangyuan 曾芳缘

A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32). Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates. A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!”

像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的心情和情绪，不仅表达了虚拟语气或宣告语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦的词汇项（单词中的含义）的语义中，用以表达命令，讽刺，威胁，悲伤，讽刺的情感（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。一个类似的英语例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--Zeng Fangyuan (talk) 06:07, 12 December 2020 (UTC) 像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的语气和情感，不仅表达了虚拟语气或感叹语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦、命令、讽刺、威胁、伤感、反讽的词汇项（单词中的含义）的语义中（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。英语中一个类似的例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--Zeng Liang (talk) 09:39, 12 December 2020 (UTC)

Zeng Liang 曾良

In the case of this title, modal functions are reinforced by several formal tropes. Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks. In the case of “Pei pei pei!”?, the zawen's own voice is not the primary expression of the tone of disgust. The quotation marks invoke disgust only to distance it, while the question mark further challenges it. The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all.

就此标题而言，几个正式比喻加强了情态功能。注意引号将”呸！呸！呸！“以及由一个感叹号和一个问句组成的复杂标点分离开来。在”呸呸呸“的例子中，厌恶的语气并不主要是由”杂文“本身表达出来的，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--Zeng Liang (talk) 09:32, 12 December 2020 (UTC)

就此标题而言，几个正式比喻加强了情态功能。注意重复“呸！呸！呸！”以及由一个感叹号和一个问句组成的复杂标点分离开来。在“呸呸呸”这一例子中，厌恶的语气并不主要由“杂文”本身表达，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--Zhang Yuxing (talk) 10:20, 12 December 2020 (UTC)

Zeng Xinyuan 曾心媛

“Pei pei pei!”? performs a transparent metadiscursive comment upon zawen, in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal Shikan, and devoted his post official career to writing zawen. Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness.

“呸呸呸！”是一种显而易见对杂文的不着边际的评价，这种情况下支持课外的流派是下层知识分子，例如邵燕心，他本身是怀着悲痛的心从中国核心诗歌期刊《诗刊》辞职，并全身心将写杂文作为其正式职业。在看到某不知名的省级干部“呸呸呸”的不满评价，同时也感受到自己对这种令人大失所望的事所担负的责任，邵写下他所发现的，这位省级干部的确对党、民族以及人民写有挖苦、讽刺、非难的文章，就像“到处都在呸呸呸”一样，他进一步发出警告，这样的言论正传播一种绝望沮丧的氛围。--Zeng Xinyuan (talk) 02:54, 14 December 2020 (UTC)

Zeng Yanhu 曾雁湖

In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow zawen-writing social critics.

The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels. The first level is located in the words themselves, including the use of “pei” I have described above. This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.

在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。

“呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。--Fancy (talk) 09:34, 12 December 2020 (UTC)

在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。

“呸呸呸”的语气是尖锐的讽刺，以递进的方式传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员所误解。--You Yuting (talk) 14:46, 11 December 2020 (UTC)

Zhang Hu 张虎

Other examples of this level of tone in “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of “discipline and rectification,” which Shao has skillfully turned into a counter charge.

A second level of irony requires contextual knowledge on the part of the reader. This includes assumptions that would be obvious to most readers.

“呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。

第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--Blank (talk) 05:03, 11 December 2020 (UTC)

“呸呸呸！”中这种音调水平的其他示例吗？其中包括”愚蠢”的态度，邵燕翔宣称当他在“到处”寻找呸呸呸的时候，却在哪儿也找不见它了，以及从完全不知名的“省领导的”的讲话中，他指出了那些重复的使用，包括邵伟反驳的主要指控“嘲弄，嘲讽和轻蔑”，以及领导人对“纪律和整顿”的主张，邵伟已巧妙地将其反驳。

第二层次的反讽需要需要该部分读者的语境知识。这包括了对于大多数读者来说都显而易见的假设。--Fancy (talk) 13:06, 12 December 2020 (UTC)

Zhang Hui 张慧

For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature. References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone.

A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream Literature Journal essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.

例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。

第三个层次，我称之为 "索引性反讽"，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流文学报散文专栏 "文学与百姓生活"）和邵自己的写作人设等即时语境信息。--Zhang Hui (talk) 09:13, 9 December 2020 (UTC)

比如，邵燕祥声称，他从来没有听说过 "文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 "的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 "全民办报（出版）"的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。

第三层次，我称之为 "索引性反讽"，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流文学报散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--Zhao Xiaoyan (talk) 09:17, 9 December 2020 (UTC)

Zhang Ling 张玲

Zawen often make extensive use of this third, intimately contextualized level. In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing zawen that would certainly qualify.

In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity. Complaint, combat and disgust are just the beginning of the range of contentious moods that zawen represent. Zawen accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly. Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of zawen's mission in the singular feature of tone.

“杂文”常常广泛运用第三层次，即与语境化紧密联系的层次。在这种情况下，邵燕祥声称他找不到“呸呸呸”的文章，但许多读者都知道，他本人以写“杂文”而闻名，这肯定是符合条件的。

“呸呸呸!”? 邵燕祥故意找人指责他，然后用尖酸刻薄之语加以反驳。抱怨、战斗和厌恶只是“杂文”所代表的一系列有争议情绪的开始。“杂文”是指责、报复、针锋相对、咆哮的；但正如我稍后将演示的那样，它们也可以相当巧妙地呻吟和叹息。不管怎样，他们常常把这一切穿插在诡辩和间接的文字游戏中，这一点——除了在其他语言艺术流派中常见的迂回曲折的智力谜团之外——承载着“杂文”的使命，即声调的独特特征。--Zhang Ling (talk) 03:01, 12 December 2020 (UTC)

Zhang Peiwen 张佩闻

As a zawen writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the zawen mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts. In this and other zawen, Shao defends the contemporary Chinese genre of zawen as genre of protest and complaint. He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of zawen. 作为一个“杂文”作家，对于来自“省领导”的批评，像邵彦翔这样的知识分子已经习惯面对。他对领导做出的解释让人们把写杂文和我们可以在不同环境中找到的其他任务联系起来;例如，他还解释了斯皮罗·阿格纽(Spiro Agnew)为什么要谴责美国公共演讲中著名的”喋喋不休的消极主义者，并说明了这种悲哀在跨文化上，在这个源自圣经的术语的典当中的广泛性。在这篇杂文和他其他的作品中，邵表示当代中国的杂文是用来表达抗议和不满的文体。他借用了批评家的侮辱言论来区分无意识的情感伤害和有意的争吵，这既是他自己的理想，也是“杂文”应该表现的。--Zhang Peiwen (talk) 15:08, 11 December 2020 (UTC)”

作为一名“杂文”作家，“省领导”的抱怨正是像邵燕祥这样的知识分子习惯面对的那种指责。他对领导做出的解释让人们把写杂文和我们在不同环境中可以找到的许多其他任务联系起来；例如，他还回答了斯皮罗·阿格纽（Spiro Agnew）在美国公共话语中对“消极主义的喋喋不休”出名的谴责，并展示了"耶利米德"的跨文化广度，这一术语在源于圣经文本的关于旅行的字词中显而易见。 在《杂文》和其他杂文中，邵燕祥为当代中国的杂文流派做辩护，认为杂文是抗议和抱怨的流派。他借用批评家的侮辱来区分思想上的情感打击和精心策划的争吵，这既是他自己的理想， 也是 “杂文” 流派的标准使命。--Zhao Xi (talk) 09:05, 12 December 2020 (UTC)

Zhang Qi 张琪

A Restrained Sample – “East Station”

I have outlined how one essay demonstrates the function of zawen in a particularly transparent way, but some of the best and most effective zawen are covert operations. On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” zawen, also by Shao Yanxiang. “East Station” was submitted for a national zawen competition in a southern evening newspaper in 1994. It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition. At first glance there is very little to mark it as a zawen at all, not to mention a seditious zawen.

受约束的样本–“东站”

我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--Zhangqi (talk) 05:47, 10 December 2020 (UTC)

Zhang Weihong 张维虹

It is a rather lyrical survey of historical images centering upon refugees, migrants, political and literary figures on their passages to and from Beijing. It does, however, contain a few of the indications of first level irony that traditionally mark a zawen, such as a “quotation” placed for its jarring effect, as in the opening passage below.

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

此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。 三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。

Zhang Xueyi 张雪仪

The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation. Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;

And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time, he composed a poem “How much of the people's blood was spilled for this honor.

沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若； 1949年3月，当郭沫若和他的民主党人齐聚北京时，他们受到了隆重的欢迎，他们流下的泪水是喜悦的。当时，他写了一首诗“为了这个荣誉，人民的洒了多少鲜血。--Zhang Xueyi (talk) 13:02, 13 December 2020 (UTC)

沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，它悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若； 1949年3月，当郭沫若和他的民主党人齐聚北京时，他们因受到隆重的欢迎而流下泪水，这是喜悦的泪水。当时，他写了一首诗“为了这个荣誉，人民洒了多少鲜血。--Zhangqi (talk) 05:29, 20 December 2020 (UTC)

Zhang Yinliu 张银柳

Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I do not know why, but this poem was not collected in any of his later collections.

In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.” Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people. The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of zawen.

想到这一点，眼泪就掉了，开心的笑声无法表达出来。” -我不知道为什么，但是这首诗在他后来的任何收藏中都没有。

在引述的“幸运的救援”一词中，邵衍祥对唐复安禄山叛乱期间杜甫的逃亡的暗示与之相似但更为深刻的脉络。 邵军在这篇文章中的总体结构是一个反复出现的周期性寓言，它与日本人，国民党和共产主义者在最后一个人的严厉谴责中并驾齐驱，因为只有一支侵略军干扰了普通中国人民的生活。 人民交警也在这个周期中取代了他们的位置，愚蠢地提醒我们，我们仍然处在“杂文”领域。--Zhang Yinliu (talk) 05:37, 14 December 2020 (UTC)

Zhang Yu 张瑜

Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a zawen, but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of zawen's identity. This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above. One crucial feature that makes “East Station” a zawen is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for zawen in a provincial evening newspaper. The editors did not reject the piece as “non-zawen,” on the contrary, they complained that it contained too much of the requisite zawen pique. In order to understand this, we must again go beyond the actual words of the piece.

仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--Zhang Yu (talk) 14:49, 9 December 2020 (UTC)

Zhang Yujie 张毓婕

In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the zawen competition to which “East Station” was submitted, the editor mused about the publication that wasn't. She said;

Actually Shao Yanxiang submitted two manuscripts, but I had to return one. (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to. The original is still here, I wonder if you will understand? It requires some background...At the time it was the head editor that rejected the manuscript. He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one.

在那个深夜，总编辑与包括我在内的两位客人喝了啤酒，我们还讨论了杂文竞赛，有本参赛的书叫“东站”。想到那本未出版的书。 编辑陷入了深思，她说：

实际上邵炎祥上交了两份手稿，但我必须退回一份。 （她接着走到抽屉边）是的，我想把这份还给他，但我还是不忍心。 原稿还在这里，我想知道你们是否会明白？ 这需要对当时的背景有一些了解...当时是首席编辑拒绝了手稿。 他也感到难受，但无疑这本书不能被印刷出来，因为到时候肯定会引起麻烦……他是你们的朋友，但是我真的对此感到不舒服。--Zhang Yujie (talk) 07:44, 13 December 2020 (UTC)

Zhang Yuxing 张宇星

Because this essay was just written so well. He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes)

She continued to discuss the essays that were just too “that way” (neige le) as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added. The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture. It was just manuscripts, why should they look at those? They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)

因为这篇作文实在是写得太好了。他只是写了东站，但是他用北京东站来谈他对一切的看法。(史可法场记)

她继续谈论参赛的散文，认为文章太"那样"了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，主编的两位客人突然评论道：“他们干什么！”但她平静地拒绝将这次警察访问解释为一种险恶姿态的外貌。 这只是手稿， 他们为什么要看那些？他们说他们只是在读书， 有两个， 我真的不清楚， 我想他们也喜欢读吧。（同上）--Zhang Yuxing (talk) 10:17, 12 December 2020 (UTC)

因为这篇文章写得太好了。他只是写了东站，但他用北京东站谈他对一切的看法。(史可法场记) 她继续谈论参赛的散文，认为文章太"那样"（奈格乐）了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，总编辑的两位客人突然说道，“他们在干什么！？”但她仍然保持着平静的样子，拒绝把这次警方的访问解释为一种邪恶的姿态。 这只是手稿，他们为什么要看那些？他们说他们只是在看书，有两个，我真的不知道，我想他们也喜欢看吧。（同上）--Zhou Shuyao (talk) 11:14, 13 December 2020 (UTC)

Zhao Xi 赵茜

When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me. She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter.

In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.” Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date.

当她终于找到手稿时（藏在窥探警察找不到的地方），她决定把它给我。她说，她曾打电话给邵燕祥，告诉他，他们不能打印。即使他说，他理解，她仍然不愿意再次提请他注意的问题，把文章给他，现在似乎为时已晚。由于我也认识他，显然很敬佩他，把手稿给我作为研究材料，在她看来是整个事情最合适的结果。--Zhao Xi (talk) 08:34, 12 December 2020 (UTC)

在原稿上签着“东站”，按照习俗，与日期“1989年9月13日”一起在底部。虽然1994年它提交给了该报，但用一份私人便条向编辑们草草写了字，但邵补充说：“请不要剪掉或更改此日期。”--Zhao Xi (talk) 08:34, 12 December 2020 (UTC)

终于她找到了手稿，并且决定把它给我。她说，她曾打电话给邵燕祥，告诉他，这本书不能印刷出版。邵燕祥说他理解，但她还是不愿意把手稿还给他，以免让他再次想起这件事，但现在似乎为时已晚。由于我也和他熟识，并且显然很敬佩他，把手稿给我当做研究材料，在她看来是最好的选择。--Zhang Yujie (talk) 07:51, 13 December 2020 (UTC)

Zhao Xiaoyan 赵晓燕

The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.” The emphasis upon these dates forces a new consideration of the essay as a whole. Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989. The date heightens the threat of Shao's concluding two sentences; “Today will also become history. And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels. For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable zawen.

新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合"。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 "叛乱 "。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。" 这张潦草的纸条将30年、1989年、"今天 "和不顾一切的 "寸土寸金 "联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--Zhao Xiaoyan (talk) 09:15, 9 December 2020 (UTC)

新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--Zhang Hui (talk) 09:18, 9 December 2020 (UTC)

Zheng Huajun 郑华君

A Larger Trend: Revealing Ugly Truth through Troubled Tones

It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful zawen. I have not illustrated “ugly” zawen here, but they do exist, and in profusion. Many zawen are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike. And yet, like the larger category of essays in Chinese literature, zawen remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing zawen. In contemporary history the “mule” genre of zawen has also played a significant political role far beyond its humble posture (see Scoggin 1997).

一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。 那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 "丑陋 "的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，"骡子 "文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--Zheng Huajun (talk) 08:57, 10 December 2020 (UTC)

一个更大的趋势：用混乱的声音揭示丑陋的真相 这几乎是一个定义的问题，那么，不和谐的、麻烦的音调是特点，即使是最美丽的杂文也如此。我在这里没有说明“丑陋的”杂文，但它们确确实实存在，而且数量繁多。许多杂文充斥着一种说教、迂腐的语气，这对中国和外国读者来说有时是相当令人讨厌的。然而，与中国文学中较大的一类散文一样，杂文仍然是中国报纸文学副刊的主要内容，许多著名作家在后来的职业生涯中都转向写杂文。在当代历史上，“骡子”类型的杂文也发挥了重要的政治作用，远远超出了其谦卑的姿态（see Scoggin 1997）。--Zhang Xueyi (talk) 13:13, 13 December 2020 (UTC)

那么，几乎是一个定义问题，不和谐、令人不安的音调是特征，即使是最美丽的扎文也是如此。我在这里没有说明“丑陋”的扎文，但它们确实存在，而且大量存在。许多杂文充斥着一种说教的、迂腐的语气，有时会让中国和非华裔读者相当反感。然而，就像中国文学中更大的散文类别一样，扎文仍然是中国报纸文学副刊上广受欢迎的主打作品，许多知名作家在职业生涯的后期转向写作扎文。在当代历史上，扎文的“骡子”体裁也发挥了重要的政治作用，远远超出了其卑微的姿态(见1997年的斯科金)。--QiKai (talk) 11:25, 19 December 2020 (UTC)Qi Kai

Zhou Luoping 周罗平

What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership? The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history. To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.

Zawen as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen. With few exceptions, zawen has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.)

这种类型吸引了杰出的作家，并引起了中国读者的极大关注？我认为答案在于中国文学史的机械性假设。要审视这一问题，我们需要抛开特定的杂文，从当代中国批评家的全球化视角审视中国文学。 “杂文”作为一个范畴，给汉语和非汉语的分类都带来了问题，但中西方对“杂文”的处理有着明显的分歧。“杂文”是近年来国外华文文学研究中一个被忽视的课题，但也有少数例外（阿奇恩中国现代文学随笔会议是一个罕见的例外，有几篇论文专门讨论了扎文）。--Zhou Luoping (talk) 13:48, 13 December 2020 (UTC)

Zhou Shiqing 周诗卿

While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally. Zawen can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture. My research on zawen showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997). 尽管杂文现状问题本身不是很重要，但是在更大层面上，即站在研究中国文学与文化的角度上看，克服掉研究这种特别类型的困难还是有很大意义的。“杂文”可以突显中国写作的一些独特特征，这些特征潜在于中国文学与文化中的其他更为体面的类型里面。在我对于“杂文”的研究里，展现了很多可证实杂文作为中国人性格发展结果的例子，比如说，喜爱口头表达的简洁，较比现代社会，以前的文人墨客被看得更重，以及一些中国独有的“反常”现象，比如明显关注细节的政治暴政或者对于过于直白的口头表现的集体厌恶。--Zhou Shiqing (talk) 08:51, 13 December 2020 (UTC)Zhou Shiqing

Zhou Shuyao 周书尧

Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of Chinese culture.

Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[ For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000. Earlier views in American sinology tie "bad literature" directly to the effects of political tyranny. ] Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature.

这些对中国例外论的主张也许有些夸大其词。但我认为，在我所说的语调中心使命的推动下，这一体裁产生了一些明显的张力和做法，它们成为了国际上对中国文化其他方面研究的绊脚石。 在中国文学研究的这些障碍中，最主要的是我所说的“糟糕文学”抱怨。[最近对这一投诉的肯定，见胡志德1990，麦独,1997，林克，2000，美国汉学早期的观点将“糟糕文学”与政治暴政直接联系在一起。]总结几条截然不同的论据，我们的建议是，尽管中国文学的所有希望都是一种自然诗意的语言，有着丰富、受人尊敬和保存完好的传统，具有汉字和语言结构的独特视觉和语法优势，而且还具有专门的文学作品“军队”，用现代汉语比喻制度中有组织、有支持的作家，中国现代文学未能产生真正伟大的文学作品。--Zhou Shuyao (talk) 11:01, 13 December 2020 (UTC)

Zhou Siqing 周思庆

Obviously this generalization is subject to objection at many, if not all of its points. I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance. Complaints frequently accrue over the following literary practices;

1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print

2)Adhering to one or another “politically correct line”

3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets

4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate

显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加; 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫” 2)坚持自己的“政治正确路线” 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--Zhou Siqing (talk) 04:00, 9 December 2020 (UTC)

显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加; 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫” 2)坚持自己的“政治正确路线” 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--Wensixing (talk) 04:03, 9 December 2020 (UTC)

Zhou Yiwen 周艺文

Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics. Fair, true or not, this sort of summary criticism of the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of zawen, and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the zawen genre most purely. I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.

有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在" 杂文"中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--Zhou Yiwen (talk) 08:08, 10 December 2020 (UTC)

Zhou Yuanqu 周园曲

These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize. Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.” Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices.

这种坏文学不仅仅只是暴政或者夸张修辞之下的残缺产物，也不只是一种业余文学的表达或者一种挣扎着现代化的文化的表现。取而代之的是，它们被认为是近乎非自愿的标记，不是美感，而是我们必须呼吁缺少一个更好的词“真相”，这是通过对缺点和问题的严格审查而发现的，再次是由于缺乏 更好的词是“文化”。 在当代中国理论体系中或多或少采用了高度现代意识形态的文化，反对报纸社论和文学短篇小说以及现代写作实践的其他典型流派的中性现代性。--Zhou Yuanqu (talk) 04:42, 14 December 2020 (UTC)

这些“低沉”的语调并不仅仅是专制或夸张造成的缺陷或错误，也不仅仅是一种业余文学的表达或者一种文化试图现代化的表现。相反，他们被认为几乎是无意识的标记，不是关于美，而是我们将不得不呼吁的，缺少一个更好的词——“真相”，这是通过对缺点和问题的批判性研究揭示的，这些问题似乎源于，同样缺乏一个更好的词——“文化”。 在当代中国理论体系中或多或少采用了高度现代意识形态的文化，反对报纸社论和文学短篇小说以及现代写作实践的其他典型流派的中性现代性。 --Li Meng (talk) 05:18, 14 December 2020 (UTC)

Zhou Yujuan 周玉娟

Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.

Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way. Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.

文化不是普遍的，而是特殊又独特的，中国文化对中国过去大多数流派的实用文学产生了强大的反常影响。

在更广泛的中国文化语境中考察语气揭示了一些特定的社会交换的方式，必须以具有中国特色的格调横切，参照语和普通词语（中性，现代）词语应该承担的角色必须与具有特色的汉语语调相交汇以便与真理的权威沟通。显然，这无视以独特的中国方式所必需的礼貌和爱面子的社会要求。因此，从中国人的角度来看:对“不良文学”的抱怨可能不仅仅是失败的反映，而是一种抗议的表达，一种情感化的的比喻，一种用顽强的韧性来揭示令人不快事实的骡踢。--ZHOUYUJUAN (talk) 02:51, 13 December 2020 (UTC) ……而中国文化对以往在中国文学中应用过的体裁有这颠覆性的影响。 考察语气在更广泛的中国文化语境中揭示了一些特殊的方式，为了与真理的权威进行交流，社会交换、引用和其他一些应使用朴实的（中性的、现代的）词语的普通的义务中，必须与典型的汉语语调相交。--Li Yongshan (talk) 06:01, 14 December 2020 (UTC)

Zhu Meimei 祝美梅

Zawen provide frequent commentary on precisely this issue. Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen. In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see Suiganlu) Lan Ling demonstrates the difficulty of establishing truth through his own experience:

It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (fandong), in fact, I am actionary (zhengdong).” They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?” … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.” After several decades this conclusion was overturned and rectified, so now what I had said became the truth. (Lan, 85).

杂文正是在这个问题上经常进行评论。 蓝翎是 "新调 "杂文理论的主要反对者，通过写杂文 "丑陋的真相 "，提出了富有争议评论。 在一篇文章中，他问道，为什么当一个 "正直而受人尊敬的老作家 "宣布他现在打算说/写 "真理 "时，人们会如此大惊小怪，(他指的是巴金，见随感录)，蓝翎以自己的经验证明了确立真理的困难。

那是几十年前，他们 "斗争 "我，说我是 "反动派"。我回答说："我根本不是反动的，事实上，我是行动的"。 他们说："你又在狡辩了，你在撒谎，谁听说过'行动派'这种东西？" ......但如果我说的是假话，那当然就意味着他们说的是真的，这样我的政治标签就完成了。"反动派" 几十年后，这个结论被推翻和纠正了，所以现在我说的话成了真理。 （兰，85）。--Zhumeimei (talk) 05:52, 14 December 2020 (UTC)

杂文就这一问题经常发表评论。兰陵是“新腔调”杂文理论的主要反对者，他通过杂文对《丑恶的真相》的写作提出了极具挑衅性的评论。在一篇文章中，当一位“正直而受人尊敬的老作家”宣布他现在要说/写“真相”时，为什么会如此大惊小怪（他指巴金，见《随感录》），兰陵通过自己的经历展示了建立真相的困难： 几十年前，他们“斗争”我，说我是“反动派”，我回答说：“我根本不是反动的，其实我是行动派。”他们说，“你这是诡辩，你在撒谎，谁听说过'行动派'这种东西？“……但是，如果我说的是假的，那当然意味着他们所说的是真的，因此我的政治标签也就完成了：“反动派”。几十年后，这个结论被推翻和纠正，所以现在我过去所说的成了事实。（兰，85）--Zhu Suyao (talk) 08:45, 14 December 2020 (UTC)

Zhu Suyao 朱素瑶

The irony and false fatalism of this zawen is characteristic of its style. In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85) Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.” But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary? Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired zawen. It is the moody, but honest, kick of the mule.

这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--Zhu Suyao (talk) 14:25, 9 December 2020 (UTC)

这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，"无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧"。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 "劣质文学 "的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--Zheng Huajun (talk) 09:09, 10 December 2020 (UTC)

Zhu Xu 朱旭

Tone in Historical Context

As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately diao, yin, yun) ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of zawen. Tone plays a role in a tremendous range of social events that surround and comprise writing. It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry.

历史背景下的音调

为了证明这是情态修辞启发了扎文这一体裁的产生，我在这篇文章的结尾简要介绍了音调在历史中的表现。音调的概念（也是人们讨论的“调”，“音”，“韵”）最终源于音乐中的文字，这很关键，而且这也经常是中文潜台词的一部分。即使它作为一个隐喻，在应用于中文书写时，它必须消除声音的声学品质，但语气仍与声音中或类似声音的事物保持联系，强调客观，口头，非正式和情感方面的品质，而这并不是声音的一部分。理性的阐释过程，这就是杂文的“诗”。音调在围绕和组成写作的众多社交活动中发挥着作用。它出现在音乐人物中，成为最有影响力的文学和诗歌理论中的中心隐喻。--Zhu Xu (talk) 10:32, 13 December 2020 (UTC)

Zou Xinyu 邹鑫雨

For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening. Music figures centrally in the Confucian Great Preface to the Book of Odes:

The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced. The tones of an age of turmoil are bitter and full of anger; its government is perverse. The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).

例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。

情感显现在声音里，当这些声音有了图式，就叫 "音"。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。