十五日后．．．

这是我翻译的古典文献学的研究摘要，如同天书。

The Song dynasty had splendid culture and an enormous amount of books. In terms of the incomplete statistics of SongShi Yiwenzhi, works at that time approximate to 6,000 kinds, with another 800 kinds according to Bibliography of Qian Qing Tang edited by Huang Yuji in the Qing dynasty. In addition, having searching from more than 300 anthologies of the South Song, I have collected 1676 extinct works of the Song, among which there are 244 kinds of Jin Bu, 201 of Shi Bu, 288 of Zi Bu and 1003 of Ji Bu.
On the basis of the extinct works by Song people collected as far, the paper is divided into three parts.
The first part consists of five chapters. Chapter one gives a brief analysis of the attributes and large number of the extinct works by Song people that are extant in anthologies of the South Song dynasty. Chapter two focuses on the extinct works of Jin Bu, amending Jingyikao by Zhu Yizun, the Qing scholar, so as to highlight the value of extinct works in Jinbu. The studies on Tongjian by 22 South Song scholars，as the foci of chapter three, combined with 18 scholars collected in the bibliographies such as Junzhaidushuzhi, Zhizhaishulujieti, Songshiyiwenzhi, is divided into 7 categories to elaborate on the contents of these scholarship and claim that the studies of Tongjian had already taken shape in the South Song dynasty and, moreover, established a firm foundation for successors’ research.
Chapter four focuses upon 16 military books of the South Song dynasty, expands on military situations and characters of military books of that time, and discloses some context of the development of categories of military books of the day. Chapter five is centered on anthologies by Song people in South Song anthologies, discusses the editing of these anthologies by authors themselves and by others, manuscript-burning and presenting as well as other relevant cultural characters.
The second part examines 73 extinct works in Jin Bu, 53 extinct works in Shi Bu, 32 extinct works in Zi Bu and 106 extinct works in Ji Bu. Lives of authors, including their chronologies, native places and curriculum vita, come under examination first, followed by addressing writing, outline, publishing, circulation, and evaluation of those works, mistakes among which are corrected.
The last part complies 13 works in Jin Bu by Song people, among which are Liu Mishao’s Yi Gao, Wu Ruyu’s Zhun Zhai Ming Xiang, Wang Yan’s Shang Shu Xiao Zhuang, Chen Pengfei’s Shi Jie, Lin Zhiqi’s Zhou Li Jiang Yi, Chen Fuliang’s Zhou Li Shuo, Cai Yuanding’s Yan Yue Ben Yuan Bian Zheng, Xu Han’s Chun Qiu Ji Zhuan, Ni Si’s Da Xue Jie Bian and Zhong Yong Ji Yi, Guo Zhongxiao’s Zhong Yong Shuo, Guo Yong’s Zhong Yong Shuo, Cai Mo’s Lun Yu Ji Shu/. Restore the original versions as best as I can, I harbor the wish that this paper may be conducive to scholars’ further research into thoughts of Confucian Classics, for example, the studies of Zhong Yong by Guo Zhongxiao and Guo Yong, representatives of “Jianshan School”.

很久没更新了。忙什么？

Overseas Travel and China Imagination
From the perspective of overseas travelling experience, modern Chinese travelogues, as the foci of this study, come under multi-level investigations, in which rich literary and cultural information will be decoded in light of western literary theories such as imagology of comparative literature, cultural studies, and post-colonialism. The internal relationship between overseas travelling experience and the genesis, transition of modern Chinese literature will emerge on the basis of profound understanding of travelogues, by so doing, we glimpse how the overseas travelling experience affects modern Chinese literary features as well the inception of creative motifs and, by what means, overseas travelling experience interferes in the self-imagination of modern China.
Chapter one elaborates on how modern travelogues underwent the transition from pragmatic to aesthetic. The transition could not be achieved without the change of the two aspects, “travel” and “log”. The limit of overseas travelers’ personal knowledge and the bondage of cultural mentality in the late Qing, the prevalence of idea of “travelling for the sake of something”, the utilitarianism of keeping travelogues, the narrative of traditional literature, all the above made it hard for pre-modern overseas travelogues aesthetic. After the “May Fourth”, the idea of “travelling” change a lot, emerging a large number of cultivated travelers. At the same time, the establishment of modern literary conception and the liberation of literary tools provided congenial soil for the literarilization and modernization of overseas travelogues. Only by the conscious “elegant article” practice of modern writers did overseas travelogues realized the aesthetic integration of “travelling” and “logging”.
Chapter two addresses the modern fate of classical overseas travelling poems, which highlights the interaction and gap between overseas travelling experience and classical literary styles in modern literature. Nostalgia for the homeland and the past looming and towering in the knowledge of modern scholars who were immersed in classical culture, melding with the identity of the traditional literati, promoted their adoption of classical poems to relieve nostalgia. Melding Chinese tones with exotic landscape in travelling poems revitalizes the “archaic haunting” in writing of exotic scenery and provides us with successful paradigms in the aspect of setting new materials in old rhythms, however, the paradox of “old styles” and “new materials” in trans-cultural writings sets out the obvious gap between language and experience as classical poems depict overseas travelling experience. The failure of the exploration——“ setting new materials in old rhythms”—— carried out by Wu Mi revealed that old forms cannot meet the need of narrative necessary to the expression of modern overseas travelling experience, and foretold that a literary transition was ahead.
Chapter three emphasizes on the internal relationship between overseas humiliating experience and the genesis of the motif “national character”. For modern overseas travelers, the most impressive overseas experience is the humiliation resulted from their national identity. The demonized image of China impressed on them aroused their national consciousness, which generated their cultural mentality either repulsive or identified. Repulsion gave rise to the resentment of travelers. Out of the instinct resistance and evasion, Chinese writers released their pent-up humiliation and resentment in their literary imagination by way of uglifying and feminizing the Western images or self-deception. Identifying with the Western Chinese images led to their reflection on the national character. One the one hand, overseas humiliation, supplied foreign cultural resources for criticizing modern Chinese national character; and on the other hand, the hidden cultural tyranny behind the Chinese image constructed by Western modernity discourse made it impossible for Chinese “self-portrait” to steer clear of the gaze of the Other, which results in being caught in the cultural trap of “self-orientalization”. Therefore, self-reflection and self-criticism should be included in the criticism of national character.
Chapter four explores the significant influence on nation-state imagination of China through travelling experience in Russia and Soviet. Travelogues on Russia and Soviet, and travelling experience in there as well, provided modern Chinese political utopian imagination with knowledge resources and spiritual dynamics. Soviet Union rather than Europe, American and Japan became the mirror of Chinese self-imagination after “May Fourth”. Chinese travelers in Soviet Union came across a “utopia” which was growing into reality, so they told their compatriots a “Soviet Union Utopia” in travelogues, which, in turn, in virtue of its special stylistic preponderance, affected Chinese social and collective imagination about Soviet Union. “Soviet Union Utopia” dominated Chinese nation-state imagination in the fist half of the 20th century. In addition, according to their own experience, the minority of Chinese travelers exposed dark sides of Soviet Union to reflect on and inquire into the “Soviet Union Utopia”. To some extent these travelogues interrogated and demystified “Soviet Union Utopia”, however, when the whole nation was full of enthusiastic followers of Soviet Union and Utopian frenzy, these heterogeneous travelogues had no way to shake the followers’ belief and, in a more and more left-winged social, political and cultural context, they were doomed to be obscured.

狗嘴不吐象牙之姿色與才華
狗子說過一段話，大意是碰到美女作家，話題直奔對方的私生活；碰到實力派女作家，只談業務，一到話不投機，爭得面紅耳赤，過後都為自己的勢力臉紅；碰到普通女作家，跟男作家聊天一樣，沒有感覺。
人人天生一根色骨頭，見到漂亮人物就增生。
當代中國有沒有美女作家？大概大陸只有寥寥幾位，張潔是其中一位，但用美女作家稱呼張潔是對她的貶低，張是歲月的積澱，詩書的薰陶。臺灣的成英姝，香港的深雪，她們的中西合璧豈是衛慧之流能望其項背。
作家冠以美女已叫人反感，葛某人要放在狗子手裏，還不玩殘他。

狗嘴不吐象牙——之裝B
這年頭流行“裝B”這個詞，“沒事莫裝B，裝B遭雷劈”，其實還有個詞跟裝B一個意思——裝精，並附送一句歇後語——“日B戴套子——裝精”。不管裝B還是裝精，其中的意思只可意會，不能言傳，它和“裝傻”“裝孫子”還有點區別，比“裝傻”“裝孫子”更惡劣。如果非要用裝B或裝精設想一個情景，大概就是“鬥地主的時候，上家張三出了一對牌，下家李四盯著手裏的牌做沉思狀，過好久才說不要，等到洗牌的時候，張三和王二麻子發現李四根本就打不起張三的那對牌，於是張三和王二麻子心裏不約而同的罵一句——真他媽裝B/裝精。”
裝B是生活的策略嗎？不裝B不革命嗎？革命就是裝B嗎？是一個等級的裝B，PK掉另一個等級的裝B?

纯学术写作，你可能没兴趣读。

Phantasm of Conception and Hidden Tyranny: the “Revolutionary Discourse” in Modern Chinese Literature
The narration of “revolution”, as well as the means of it, in modern Chinese literature brings forth the distinctive “revolutionary discourse” with profound effect, which influences the production methods, existence mechanism, basic structures and aesthetic values of modern Chinese literature. New paradigm of research and new theoretical analyses will come into being as we delve into modern Chinese literature from the perspective of revolutionary discourse. This paper, with the foci of the production and reproduction of revolutionary discourse, represents the competition of modern Chinese multiple revolutionary discourse and at the same time, transforms the imaginary connection, which is formed by imaginary depiction as the basic relationship between revolution and literature, into realistic connection, therefore, the deeper interaction between revolution and literature will truly come into effect.
The revolutionary discourse in modern Chinese literature is a structure that is constructed, while it is a structure that has the capability of constructing. The production procedure of revolutionary discourse is also re-production of new social beliefs, social relations, standards of value and styles of aesthetic. New subject of revolutionary history emerges during this procedure. Depending on the “inevitability of history”, revolutionary discourse conjures various phantasms by means of aestheticization. In the name of legitimacy, these formidable phantasms compel individuals to submit themselves to the overriding “collective”. The aesthetic phantasm based on the rules of logic deprives the real progress of history, denying casualism by inevitability, using logic to replace history. Through making political authority’s expropriating, controlling and enslaving individuals moral, ethic, and aesthetic, revolutionary discourse naturalizes the power relations so that the individual is unaware of this deep-layer enslavement, which in effect becomes the “hidden tyranny”.
This paper is organized in terms of the production methods, producers and products of revolutionary discourse. Chapter one elaborates on the methods of production, replication and propagation of revolutionary discourse. Chapter two probes into the complicated relationships between the producers of revolutionary discourse and political authority. Chapter three, four and five explore the revolutionary religion, ethic and aesthetic reproduced by revolutionary discourse, and reveal the hidden power and interests.
By means of various “capitalization”, the production, replication and propagation of the revolutionary discourse in modern Chinese literature takes effect relying on modern media. The capitalization of revolutionary discourse embodies the inevitable paradoxes of literary production between political demands and economic temptation, making it possible for modern literature to resist the control and encroaching of political authority, while dissolving its literariness. Only by means of modern production of capitalism can the revolutionary discourse which resists capitalist modernity come into circulation. Zhang Ziping and his fellows carried out their literary practice by taking revolutionary discourse as economic capital; while, writers such as Zhou Yuying contested for social capital by resorting to revolutionary discourse. Neither of them can make revolutionary discourse adhere to the dual characters of literature and politics; on the contrary, both of two can only bring degeneration to revolutionary discourse, which will result in being forsaken by modern literature.
Usually, political authority excludes dissidents in accordance with the differentiation between orthodoxy and unorthodoxy, and has the producers of revolutionary discourse in power, so as to absorb revolutionary discourse into its expectation and pre-designed trail, resulting in making revolutionary discourse becoming the tool for reproduction of political authority and ideology. With his revolutionary discourse production of an extremely strong personality, Jiang Guangci made his choices among literary pursuits, business interests and political demands, making his best to make three of them compatible, only to end in failure. In a tragic end, he was deprived of the legitimacy of his discourse by both GMD and the Communist party. Women writers, like Ding Ling, devoted themselves to revolution in pursuit of self-independence, turning from love discourse to revolutionary discourse, only to be labeled “de-femalization”. Their discourse approached male discourse constantly, converging into the surge of revolutionary discourse. Not only did women lose their own gender attribute, but also lost their discourse of expressing themselves.
One important role of revolutionary discourse is to reproduce revolutionary beliefs, which realizes the monolith of social spiritual orders and provides new orders of authority with unexhaustable self-sacrifice power. The establishment and indoctrination of revolutionary beliefs come true in virtue of religious forms. Through differentiating the sacred from the worldly, revolutionary discourse sets forth the great power of rescuing individual’s spirit. By the evocation of the divine, the individual converts to revolution with thorough commitment. Revolutionary rituals were implanted and propagated by dint of “adult” rituals, position-reversion rituals and ceremony rituals and so on.
Revolutionary ethics contain the ethic of revolutionary organization and the ethic of members of the organization. Revolutionary discourse, making use of the resources of civilian ethics, highlights the righteousness of revolution in marked contrast to disappearance of justice, invalidation of law and injustice of violence. The intense androcentric male-cult is manifest in the love ethic of revolution exhibits, “class” of which takes charge of “love”, “love” expelled by “power”, women rule by men. This love ethic is void of any gender implications, nothing more than an inane metaphor of “revolution”. Kinship in revolutionary ethics focuses on “Oedipus”, with an attempt to reshape the ties between children and parents and reconstruct revolutionary families. However, it eradicates human nature and humanitarian connotations inherent in kinship, so it can be nothing but a utopia of kinship.
Beginning with the close relation between aesthetics and ideology, revolutionary aesthetics is of distinctive aesthetic principles and character, advocates the logical representation of “reality”, and reveals “the inevitability of history”. This aesthetic principle is helpful for revolutionary realism to evade and expel the actual “reality” in the name of conceptual “reality”, therefore reduces “reality” to “dark” and “bright” and breaks up the art’s dependence on reality.
It means the collapse of aesthetic spirit of realism, leading revolutionary “realism” towards counter-realism. Modernity and counter-modernity coexist in the aesthetic character of revolutionary aesthetics. Revolutionary aesthetics pursues wild, coarse, sublime and vigorous power, turbulence and struggle as its aesthetic attributes, different from the harmony and serenity of Chinese classical aesthetics. In the pursuit and practice of the sublime, revolutionary aesthetics promotes the modern transition of Chinese aesthetics, however, at the same time, its increasingly coarse and paranoid character leads it into the abyss of counter-modernity. Owing to the extreme exaggeration and exclusion, the sublime it pursues degenerates into “fake sublime”.