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Utopia in Action by Hou Hanru

[ 2012-03-31 00:45:48 | 作者Author: OUNING ]
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Utopia in Action
Chinese Contemporary Art Facing Utopia

By Hou Hanru

Utopia & Contemporary Art, published by ARKEN and Hatje Cantz in connection with the Utopia project at ARKEN, 2012, ISBN 978-3-7757-3281-9.
More info about the book: http://www.e-flux.com/announcements/new-book-utopia-contemporary-art/

1.

Throughout the last century, the concept of Utopia, or more precisely, social projects engendered by the concept and vision of Utopia, has been a central reference, and to a considerable extent, a driving force, to prompt major changes in the Chinese history. Utopia as the ideal society, a perfect place for social commonwealth, justice and freedom that exists only in an imaginary world, or, a no place, has been so attractive to the revolutionary activists – politicians, intellectuals, students, entrepreneurs, workers, farmers and, or course, artists… – in their efforts to subvert ...

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[Traditional nuo theater performance.]

Bishan Harvestival

By Echo Zhao, Leap Magazine, Issue 11, October, 2011

One can almost imagine Bishan in its heyday. On the evening of August 26, 2011 the village’s daytime enthusiasm gushes towards the Yi County Cinema. It’s the kind of movie theater almost every small town has had, but Bishan’s has somehow managed to hang on to a 1980s or 90s feel. Above both the exits, in extremely serious-looking script, are the words “Emergency Exit.” Both the entrances are framed in brown wood, the left entrance for odd-numbered tickets, the right for even. On the white wall in between the entrances is a picture of Huangshan, the nearby “Yellow Mountain,” renowned for its scenery. Above it are the words “Thought Liberation, Conceptual Innovation.” Greenish-yellow lamplight floods the hall, which is full of men and women young and old chatting as they crack sunflower seeds. This “Harvestival” (a portmanteau of the words “harvest” and “festival”) has been heavily promoted, making it something of a not-to-be-missed event in the village. The woman sitting next to me mutters to her young son, “I would’ve brought your grandma if I’d known we don’t need tickets.” Her name is Yang Xuemei.

The hostess of tonight’s performance—which is called “Play It!”—is Han Yu, proprietress of a local guest house, the Pigsty Inn. On the bill are several different varieties of traditional opera from Anhui and Hubei provinces. Many of the actors were invited by Yi County from nearby Qimen and Wuyuan counties. A few of them are from Anhui provincial troupes. The sound inside the theater could be better; but, truth be told, most of the crowd isn’t there for the show. It is only a few of the older souls in the audience who seem to have come for that, sitting as if on their own beds, rubbing the arches of their feet, their faces a mirror of the actors up on stage: one moment ...

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Julia Lovell on Pathlight and Chutzpah

[ 2012-03-12 06:53:50 | 作者Author: OUNING ]
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The Key to China

Julia Lovell, Prospect Magazine, Issue 192, March 2012

Say what you like about Mao, he did make it remarkably easy to keep up with developments in Chinese fiction. Thanks to his proscriptions on creative freedom, fictional output fell precipitously during his reign. An average of eight, increasingly socialist realist novels were published each year between 1949 and 1966. That figure shrank further during the Cultural Revolution. Staying abreast of translations was simpler still: until the early 1980s, it was virtually impossible for a mainland Chinese writer to strike up an independent relationship with a western translator. Anglophone readers had to rely on translations of establishment authors published by Beijing’s Foreign Languages Press.

Those dull days are happily long gone. In the early 1980s, a new generation of novelists born in the 1950s emerged into the post-Mao thaw and transformed the imaginative landscapes of mainland writing. By around 1985, socialist realism no longer represented the mainstream. Wholesome epics featuring rosy-cheeked comrades and singing anvils had been sidelined by macabre, modernist tales of infant sociopaths, juvenile delinquents and Cultural Revolution cannibalism.

The literary scene became even more diverse in the next decade. As the catchphrase of the market economy-oriented 1990s became wang qian kan (“look towards the future,” which, in Chinese, neatly punned on the word for “future” and “money”), many writers joined in the capitalist free-for-all. With the literary market threatened by rival distractions (comics, television, computer games) and the government phasing out lifetime salaries for state-sponsored writers, serious novelists began churning out tales of sex and sensation. While conventional print publishing has expanded over the past two decades (between 2009 and 2010 alone, according to the literary critic ...

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推荐日志Selected Content 《天南》文学双月刊第六期2月29日出版

[ 2012-02-25 00:46:54 | 作者Author: OUNING ]
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本期举革命(The Revolutions)为题。

在Special Space (特别策划) 里,许煜首先为我们搭建了一个思想暸望塔,他梳理了从巴黎公社到西班牙内战、从“国际情景主义者”到“五月风暴” 、从墨西哥萨帕塔民族解放军到西雅图反世贸直接行动、从“阿拉伯之春”到“占领华尔街”的历史脉络,探讨了左派理论、新安那其主义、公民抗争和另类全球化实践的关系。

接着塔哈尔·本·杰伦以小说的形式,追述了突尼斯“茉莉花革命”的起源;张洁平深入革命后的埃及,为我们提供了第一手的采访和报道;我们本期的合作伙伴、纽约的文学杂志n+1则为大家送上他们和Verso出版社一起整理的美国各地“占领”运动的现场实录,包括杂志创刊编辑基思∙葛森撰写的《洗衣日》和伊丽莎白∙甘波特、莎拉∙雷斯尼克、尼其尔∙萨瓦、伊莱∙施米特、阿斯特拉∙泰勒、森诺拉∙泰勒撰写的回忆文字。

从全球视野回到本地经验,我们有钟永丰对以文艺形式介入台湾农村社会运动以及麦巅在武汉所进行的青年自治实验活动的分享。

本期的图片故事是杰里米∙艾约斯在纽约拍摄的“占领华尔街”特辑 。

在Regular Space (自由组稿) 里,我们有三篇不同年龄的中国作家的小说:盛可以的短篇《没有炊烟的村庄》,徐小斌的最新长篇《水晶婚》的节选和刘庆邦的短篇《挑花儿的》。而在两篇书评里,陈传兴和刘铮均热情回应了本期的专题,分别评论了“隐形委员会”的《革命将至》和霍布斯鲍姆的《革命者》。

在Parasites (刊中刊)里,是上面提到的三篇中文小说的英译;而在Entrance (入口)和Exit (出口),则是女诗人宇向的诗作。

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封面漫画:子杰。

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杰里米·艾约斯摄影专辑《占领华尔街》。

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英文刊中刊Peregrine第六期。

导览

Entrance|入口
宇向《取义波兰》《康德在下》

Special Space|特别策划
The Revolutions|革命

Overview|论述
许煜《“一切坚固的东西都烟消云散了”》

Global|全球
塔哈尔·本·杰伦《火祭》
张洁平《革命之后》
基思∙葛森《洗衣日》
伊丽莎白·甘波特,莎拉·雷斯尼克,尼其尔·萨瓦,伊莱·施米特,阿斯特拉·泰勒,森诺拉·泰勒《占领日记 》

Local|本土
钟永丰《青春作伴好还乡》
麦巅《一个朋克的基础另类教育》

Imagery|影像
杰里米·艾约斯《占领华尔街》

Regular Space|自由组稿

Fiction|虚构
盛可以《没有炊烟的村庄》
徐小斌《水晶婚》
刘庆邦《挑花儿的》

Reading|深读
陈传兴《镜夜:隐形委员会<革命将至>》
刘铮《拒绝参与现状:霍布斯鲍姆<革命者>》

Parasite|刊中刊

Peregrine
An English Companion to Chutzpah Magazine, Issue 6

Sheng Keyi, A Village of Cold Hearths, translated by Brendan O’Kane
Xu Xiaobin, Crystal Wedding Anniversary, translated by Anna Holmwood
Liu Qingbang, The One Who Picks Flowers, translated by Lee Yew Leong

Exit |出口
宇向《茶庵铺》

新疆参考书目

[ 2012-02-17 02:37:04 | 作者Author: OUNING ]
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为“刘小东在和田”艺术项目和《天南》文学双月刊2012年12月出版的新疆专题而整理的参考书目,希望专业人士多多指教,继续补充:

1. 历史
1-01. 徐黎丽主编,《突厥人变迁史研究》,民族出版社,2008
1-02. 杨圣敏著,《回纥史》,广西师范大学出版社,2008
1-03. 吴芳思(Frances Wood)著,《丝绸之路2000年》,山东画报出版社,2008
1-04. 斯文·赫定著、杨镰编者、江红译者,《丝绸之路》,新疆人民出版社,2010
1-05. 娜拉著,《清末民国时期新疆游牧社会研究》,社会科学文献出版社,2010
1-06. 储安平、浦熙修著,《新疆新观察》,新疆人民出版社,2010
1-07. 贡纳尔·雅林著、崔延虎和郭颖杰译,《重返喀什噶尔》,新疆人民出版社,2010
1-08. 凯瑟琳·马噶特尼和戴安娜·西普顿著、王卫平和崔延虎译,《外交官夫人的回忆》,新疆人民出版社,2010
1-09. 陈伍国、刘向辉著,《新疆往事》,当代中国出版社,2006
1-10. 凌愉、刘李红著,《新疆纪实》,新疆美术摄影出版社,2007
1-11. 唐立久、崔保新著,《掀起你的盖头来:发现新疆》,新疆人民出版社,2009
1-12. 陈慧生、陈超著,《民国新疆史》,新疆人民出版社,2007
1-13. 厉声主编,《中国新疆历史与现状》,新疆人民出版社,2003
1-14. 苗普生、田卫疆主编,《新疆史纲》,新疆人民出版社,2004
1-15. 杨建新编,《古西行记》选注,宁夏人民出版社,1987
1-16. 拉铁摩尔著,唐晓峰译,《中国的亚洲内陆边疆》,江苏人民出版社,2010
1-17. 巴菲尔德著,袁剑译,《危险的边疆:游牧帝国与中国》,江苏人民出版社,2011

2. 政治
2-01. 白振声、鲤渊信一编,《新疆现代政治社会史略》,中国社会科学出版社,1992
2-02. 新疆三区革命史编纂委员会编,《新疆三区革命史》,民族出版社,1998
2-03. 黄建华著,《国民党政府的新疆政策研究》,民族出版社,2003
2-04. 方英楷著,《历代治理新疆国策研究》,新疆人民出版社,2006
2-05. 蒋新卫著,《冷战后中亚地缘政治格局变迁与新疆安全和发展》,社会科学文献出版社,2009
2-06. 张大军著,《新疆风暴七十年》,台湾兰溪出版社有限公司,1980
2-07. 王力雄著,《我的西域,你的东土》,台湾大块文化,2007
2-08. 潘志平、王鸣野、石岚著,《“东突”的历史与现状》,民族出版社,2008
2-09. 王柯著,《东突厥斯坦独立运动:1930年代至1940年代》,香港中文大学出版社,2013

3. 族群
3-01. 李洁著,《新疆南疆地区汉族移民及民族关系研究》,民族出版社,2010
3-02. 丁宏、张国杰著,《百年中国穆斯林》,宁夏人民出版社,2002

4. 屯垦
4-01. 潘仁源著,《简明新疆屯垦史》, 新疆人民出版社,2009
4-02. 赵予征著,《丝绸之路屯垦研究》 新疆人民出版社,2010
4-03. 张安福著,《历代新疆屯垦管理制度发展研究》 中国农业出版社,2010
4-04. 张安福著,《清代以来新疆屯垦与国家安全研究》,中国农业出版社,2011

5. 人物
5-01. 杨增新著,《补过斋文牍》,文海出版社,1965
5-02. 蔡锦松著,《盛世才外传》,中共党史出版社,2005
5-03. 包尔汗著,《包尔汗回忆录:新疆五十年》,文史资料出版社, 1983
5-04. 赛福鼎·艾则孜著,《天山雄鹰》,中国文史出版社,1987
5-05. 丰收著,《王震与我们》,新疆人民出版社,2008

6. 和田
6-01. 马吉青,《中国和田玉记》,新疆美术摄影出版社,2011
6-02. 奥雷尔·斯坦因著、刘文锁译,《重返和田绿洲》,广西师范大学出版社,2000
6-03. 李万明著,《反贫困开发与可持续发展:新疆和田地区与哈巴河县的案例研究》,经济科学出版社,2008

7. 文学
7-01. 周涛著,《周涛诗年编》,解放军出版社,2005
7-02. 周涛著,《周涛散文》插图珍藏版,人民文学出版社,2005
7-03. 周涛著,《周涛散文-耕读卷》,新疆人民出版社,2009
7-04. 周涛著,《周涛散文-游牧卷》,新疆人民出版社,2009
7-05. 周涛著,《周涛散文》,浙江文艺出版社,2010
7-06. 刘亮程著,《一个人的村庄》,新疆人民出版社,1998
7-07. 刘亮程著,《正午田野》,云南人民出版社,2001
7-08. 刘亮程著,《站在黄沙梁边上》,山东文艺出版社,2002
...

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推荐日志Selected Content 农业故乡及其建设

[ 2012-02-15 21:51:28 | 作者Author: OUNING ]
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Bishan Harvestival, August 26-28, 2011, Bishan Village, Yixian, Anhui. Photograph by Andrew Long.

农业故乡及其建设
2011年6月12日在湖南大学的演讲

欧宁

今天我主要是和大家分享一下过去五年多我对农村、农业、农民问题的思考,同时还有一些在出版和乡村建设方面的构想和行动。其实我从小在广东农村出生长大,是个典型的农村孩子。我小时候非常憎恨农村,因为农村太穷,环境太糟,缺乏机会。所以我拼命读书,从农村考到县城,再从县城到市一级的中学,再考上大学,慢慢的离自己的家乡越来越远。等好不容易在城市里扎稳了根,找到了自己的位置,再加上随着年岁的增长,才开始意识到其实小时候憎恨的那种贫困,并非那么可憎,它反而可以理解成一种财富,是人生中一个很巨大的驱动力。所以当我用这样的目光去看我家乡的时候,家乡在我的脑中就完全变样了。我开始重新找回农村的价值,开始寻根的过程。

今天我演讲的题目叫《农业故乡及其建设》,为什么要用家乡、故乡来形容农业?因为在整个人类社会发展的过程中,现代化的过程也就是200多年的历史,在亚洲,很多国家在开始他们的现代化建设进程之前,都是农业国家,以农业为立国的根本。所以从社会发展的历史轨迹来看,农业社会就是我们今天身处的城市化过程中的一种乡愁。今天的农业,在大多数的地区都已经破产。我们在成长过程中所经历的那种乡居的生活也已经越来越少见了。所以,我就用故乡这样一个词来形容农业。

我是在城市里定居之后,才开始重新发现农村的价值的。2003年的时候,我开始做广州一个城中村——三元里的研究并拍摄一部关于它的纪录片。城中村是中国在城市化过程中很典型的一种现象,70年代末,广州提早改革开放,经济活动变得特别活跃,城市的空间不够,需要向外扩张,政府不断从郊区的农村征地来用作都市发展。大家知道,农村的土地分两种,一种是农地,一种是宅基地,农地主要是种粮食的,宅基地主要是农民盖房子自住的。广州政府在70年代末、80年代初征用郊区的农地,并没有把农民的户口转...

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On November 20th 2011, the editor and deputy editor of Granta John Freeman and Ellah Allfrey participated in a talk with the chief editor of Chutzpah! Ou Ning at One Way Street Library in Beijing to discuss the “life and death of literary journals.” Here is a transcript taken from Alice Xin Liu's notes:

John Freeman: Granta was established more than 100 years ago by students at Cambridge. Then American Fulbright scholars restarted it.

Magazines are like blank canvases; without it artists can’t do anything.

Giving writers a space depends on who is available at the time and our ability to find them. Granta’s mission is to find the right writers. We’ve published Czech, Latin American and French writers amongst others, including Kundera, Llosa, Márquez.

The magazine changed much in the three decades since the relaunch by Americans. Its first editor Bill Buford was fat, sweaty and insane. But brilliant. He was never on time and had sloppy issues.

Ian Jack, its second editor liked reporting more than fiction, his focus end of the colonial era, it became once again a very British magazine. Now it’s a very different writing world now than the one Bill and Jack lived in. It is now a polyphonic multicultural world, English has a farther reach than it did before. There are more global citizens. Literature has become very exciting, syntax from other places will be imported into English.

All the things making it exciting time for literature, but also difficult for publishing in the West in English. Fast growth and use of internet; migrancy in populations (other countries, culture), spread of capital markets. Capital markets don’t value what is important, bookstores are closing down, the internet making print models hard to sustain. We have to reinvent what the magazine is, means having websites, Facebook, Twitter and digital downloads. Also, making the magazine as beautiful as possible as an object.

Ou Ning: When I said I was going to start a ...

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An Arrow

[ 2012-02-10 17:11:05 | 作者Author: OUNING ]
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[ Wang Wei, "I Won’t Make Any Trouble for You", 2009, Arrow Factory, Beijing. ]

An Arrow

Ou Ning

Published in 3 Years Arrow Factory 2008-2011, Sternberg Press, 2011, Berlin.

From the ancient, tree-lined Guozijian Street, I turned down into an alley to find a “scar” in Beijing’s urban structure. The “scar” I am referring to here is a medical term but is not intended to give any negative associations. Arriving at 38 Jianchang Hutong, I noticed slight deviation from the pinned position on Googlemaps, owing to the fact that the place is so small as to be out of range for the capacity of Google’s global positioning technology. The storefront at 38 Jianchang Hutong occupies approximately fifteen square meters, and sits adjacent to a shop selling pancake bread and noodles—one of its most identifiable reference points. Since 2008, it has been transformed into a contemporary art space. It resembles an arrow that ...

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推荐日志Selected Content 代谢派建筑的回归

[ 2012-01-20 22:19:09 | 作者Author: OUNING ]
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[“代谢派未来都市展:战后和今日日本重建的梦想与愿景”,2011年9月17日-2012年1月15日,森美术馆,东京。背景为菊竹清训设计的生态都市。]

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[库哈斯和奥布里斯特,《日本计划:代谢派访谈》,2011, Taschen出版社,慕尼黑。]

代谢派建筑的回归

欧宁

2011年9月17日,“代谢派未来都市展:战后和今日日本重建的梦想与愿景”(Metabolism, The City of The Future: Dreams and Vision of Reconstruction in Postwar and Present-Day Japan)在东京森美术馆开幕,这是首个关于日本代谢派建筑和城市设计的大型回顾展;10月28日,库哈斯(Rem Koolhaas)和奥布里斯特(Hans Ulrich Obrist)的《日本计划:代谢派访谈》(Project Japan: Metabolism Talks)一书由Taschen出版社出版,这一口述历史计划自2005年就着手进行了。为什么要在此时此刻重提日本代谢派?

2011年3月11日,日本关东地区发生了9.0级地震,这是日本有观测纪录以来最大规模的地震,它引起的海啸、火灾和核泄露导致很多城市遭受毁灭性的破坏。此情此景把日本拉回1945年广岛原子大弹爆炸的历史记忆。正是因为二战的破坏,日本才把灾难变成机遇,在战后致力于经济复苏和城市重建,这也是代谢派建筑师们崛起的历史背景。在311地震之后,日本举国上下沉浸在悲痛之中,不论是普罗大众还是知识分子,都在热议灾后重建的话题,致力于寻找危机转化的机会,籍此重振日本的经济和民生。而把目光投向战后重建的相似历史经验,也就非常容易理解了。

另一方面,代谢派建筑师们过去在日本各地建成的作品近年来相继被拆的命运,也促使森美术馆尽快组织这个展览。2007年春天,座落在东京银座的中银胶囊大楼传出要拆的消息(1):那里的住户不堪忍受它的老化,而美国的对冲基金已经购买了它的产权,要在此兴建一幢更高的新建筑。这幢峻工于1972年的建筑是代谢派的核心人物黑川纪章的代表作品,它由预制的“胶囊”舱体组成,每个“胶囊”都是一个独立的住宅单元,可快速安装和拆卸,是全世界第一个建成的可移动的建筑,满足当时那些居无定所的白领的需要。黑川纪章为保护自己的作品心力交瘁,随后在十月辞世。此前一年,他在大阪的索尼大楼刚被拆掉。面临相同命运的还有代谢派另一重要建筑师菊竹清训的宫崎県都城市民会馆(1966年建成)、大阪世博会塔(1970年建成)和东京Sofitel酒店(1994年建成)。在六、七十年代名盛一时的代谢派建筑已陷入了现实利益的泥沼。

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[黑川纪章, 中银胶囊大楼, 东京, 1972年。]

uploads/201201/20_223752_604__sk1970_05_185_188_a002_w140h111.jpg

[菊竹清训,大阪世博会塔,大阪,1970年。]

而对于建筑师库哈斯来说,他惯于跳出欧洲和西方的局限来关注其它国家和地区的历史发展和最新动向,他一直相信未来在亚洲,而日本代谢派是第一个非西方的前卫建筑运动,他们的思想和实践吸引他,“他们有的虽然活着,但已经很老了,再不和他们做访谈就来不及了。”(2) 他和奥布里斯特在1994年做“移动中的城市”这个巡回展时就已经开始关注亚洲城市,1996年至1997年,他前往中国,带领哈佛大学设计研究院的学生在珠三角地区开展调研,出版了《大跃进》(Great Leap Forward)一书;2003年,在纽约世贸遗址重建和北京中央电视台新大楼设计之间,他选择了后者,他对日本代谢派的兴趣焦点与此同出一辙:代谢派在六十年代与日本政府强而有力的合作关系被他看成发达国家建筑史上的最后时刻,此后建筑师便只能听命于自由市场;而他选择中国,也是看重与公共部门合作的潜力。亚洲城市化方兴未艾,这个地区的思想和实践,即使在今天,对他来说,仍然是兴趣不减。当然,他做《日本计划:代谢派访谈》还有更私人的原因:他再不想老是谈论自己,《小,中,大,超大》(S,M,L,XL)一书已经是一个了断,他要做些别的。

森美术馆的展览以线性历史叙事...

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推荐日志Selected Content 《天南》文学双月刊第五期12月25日出版

[ 2011-12-19 22:39:37 | 作者Author: OUNING ]
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本期以离散之味(The Diaspora)为主题。

在Entrance (入口)这里,我们特别推荐美国华裔诗人李立扬的诗作《总有一朵玫瑰》和《杜鹃花在证人席上》,它们第一次被译成中文发表。作为一个因政治原因而离散的家族的后代,他道尽了世界之苦和亲情之暖,正好作为这期Special Space (特别策划)的引子。

接着我们有哈金的《养老计划》和《耻辱》,李翊云的《逃避之道》,郭小橹的《想像库页岛》和黎紫书的《烟花季节》。前四篇小说都是用英文写成的,后一篇用中文写成。它们都被我们归纳在一个“大离散”的概念下,写出了海外华人在异乡的故事。

在非虚构文体方面,我们有李立扬获得美国图书奖的回忆录《带翼的种子》的节译,他在1990年首次回到中国和印尼寻访家世后写作了此书,里面有写到他外曾祖父袁世凯的家庭生活;还有谭恩美的《母语》,谈到她的写作受到了母亲洋泾滨英语的影响;还有虹影,她的《故土、他乡与女性意识》从阅读的角度,为我们耙梳了海外华人女性的文学史。


在“大离散”的概念下,我们也关注“流亡”的体验和论述。于是我们有爱德华·萨义德的《关于流亡的省思》以及卡瓦菲斯关于流亡的九首诗作,后者象征性地被放在Exit (出口)。

本期的图片故事是张碔的《在纽约》,他拍摄了纽约唐人街的人生百态。

在Regular Space (自由组稿) 的部分,我们有两位四川作家的小说:颜歌的最新长篇《戴月行的一家》的首章《爸爸没有死》和罗伟章的《战时之恋》;还有两篇书评:刘铮评克里斯托弗·希钦斯的《有待商榷》和菲戈评冈仓天心的《茶之书·“粹”的构造》 。

本期有两本Parasites (刊中刊), 一本是新的Crossover,收入张永和和王澍为2011成都双年展国际设计展进行的“越界”创作:他们分别根据自己的想象,设计了弗兰·欧布莱恩和博尔赫斯小说中的建筑空间;另一本是持续出版的Peregrine,针对现在部分年轻读者已经能直接阅读英文, 我们除了颜歌的小说英译,还附上了哈金、郭小橹和李立扬的英文原作。他们的英文到底如何?读者可自行判断!

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封面图片:两位唐人街的社区领袖在纽约规模最大、历史最久的华人团体中华公所(CCBA)会议室内。张碔摄于2007年。

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Peregrine, An English Companion to Chutzpah Magazine, Issue 5.

Guide|导览

Entrance|入口

李立杨《总有一朵玫瑰》《杜鹃花在证人席上》(诗二首)

Special Space|特别策划
The Diaspora|离散之味

Strangers|异乡人

哈金《养老计划》
哈金《耻辱》
李翊云《逃避之道》
郭小橹《想象库页岛》
黎紫书《烟花季节》

Remembrance & Writings|记忆与书写

李立杨《带翼的种子》
谭恩美《母语》
虹影《故土、他乡与女性意识》

Imagery|影像

张碔《在纽约》

Thinking|论述

爱德华·萨义德《跨越边界:关于流亡的省思》

Regular Space|自由组稿

Fiction|虚构

颜歌《爸爸没有死》
罗伟章《战时之恋》

Reading |深读

刘铮《岂是俗儒可以梦见:希钦斯<有待商榷>》
菲戈《美的战争:冈仓天心<茶之书·“粹”的构造>》

Parasites |刊中刊

Crossover
2011成都双年展国际设计展“文学中的建筑”项目

张永和《第三警察局》
王澍《反转的巴别图书馆》

Peregrine
An English Companion to Chutzpah Magazine, Issue 5.

Yan Ge, Dad’s Not Dead, Translated by Nicky Harman
Ha Jin, A Pension Plan
Guo Xiaolu, A Soul in Sakhalin
Li-Young Lee, The Winged Seed

Exit |出口

卡瓦菲斯《流亡者》(诗九首)

Bishan Witness - A Documentary by Andrew Long

[ 2011-11-14 21:19:50 | 作者Author: OUNING ]


01 到碧山去 Destination Bishan



02 開幕儀式 Opening Ceremony



03 出地方祭 Harvest Ceremony



04 詩歌補習 Poetry Lecture



05 城鄉話療 Cross Dialogue



06 好戲連臺 Play Hard



07 營造秀里 Xiuli Reborn



08 露天電影 Open Cinema