Category: China

“The Young Companion” and modern China

First published the same year Hugo Gernsback came out with his legendary science fiction magazine, Amazing Stories, in 1926, The Young Companion《良友》catered to the tastes of young middle class people, but it was also a force for social change. This fascinating article (in Big5) talks about 《良友》the “natural breast movement” 「天乳運動」 among young women in the…

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Chinese SF authors and the Anti-Spiritual Pollution Campaign (ASPC)

Both Ye Yonglie (葉永烈) and Zheng Wenguang (鄭文光) were “struggled” during the ASPC of the 1980s. Zheng was a Vietnamese astronomer and emigre SF author of “Pacific Ocean Man” 《太平洋人》 and Mirror Image of the Earth 《地球的鏡像》– the latter of which is about aliens who have developed an interest in the Cultural Revolution. Meanwhile Ye was…

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Chen Qiufan: “Science Fiction is the Height of Realism”

Holy cows, in this interview  the author exactly affirms what I claim in my paper…Excerpt: “陈楸帆:科幻是最大的现实主义” 2015-09-10 鈦媒體 陳楸帆屬於前者,他在自我剖析時說:「雖然我創作資歷尚淺,但是通過有意識的回顧,在自覺與不自覺間,我發現在創作里確實貫穿著這樣的一個母題/主題/意象:異化。」他所稱的異化包括了生物上的變形、疾病或變異;心理學上的疏離扭曲、分裂;社會體系/人際結構上的隔離、對立、變遷。比較鮮明的作品包括:《墳》(2004)、《麗江的魚兒們》(2006)、《深瞳》(2006)、《遞歸之人》(2007)、《第七願望》(2007)、《雙擊》(2009)、《鼠年》(2009)、《喪屍》(2009)、《開竅》(2011)等。這些都是通過技術變革作為其誘因或結果出現,屬於比較明顯的「異化」母題。 「事實上這也是我對科幻小說這個文類鍾情的原因,可以從一個極端真實的語境出發,通過可理解的/邏輯自洽的條件外延及思想實驗,將文本中的情節/人物推向一個極端超現實的境地,從而帶來一種驚異感及陌生化效果。」在陳楸帆看來,當代(或近未來)中國這個大背景下,本身就是一片異化的最佳試驗田,即使遭遇發表坎坷,他也執著地堅持思考、體驗、和書寫中國科幻故事的緣由。 Another interview with Chen: “何平访谈陈楸帆 :它是面向未来的一种文学”

Chen Qiufan and Stan Lee

As i’m tweaking my paper for the fast approaching ACCL conference in Changsha I’ve run across a lot of interesting things on Chen Qiufan (陈楸帆, whose work I’m writing about), with perhaps the most intriguing being this (uncredited) image of the author posing in shades with the legendary Stan Lee.

Su Shi (蘇軾, 1037–1101), Song Dynasty (960–1279) Handscroll, ink on paper, 34.2 x 199.5 cm, National Palace Museum, Taipei In terms of semi-cursive script, the size of the characters here ranges considerably. Su Shi once said of his own calligraphy that it is “everything from short to long, plump to bony (短長肥脊各有態).” Here, the size…

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Ssu-ma Kuang

髙梧谷口險阻之要宜先守之而奪其水彼既窮渇可 以坐制如以為逺伊吾闗亦可拒也度此二阨雖有子 房之䇿無所施矣熈弗聽美水令犍為張統謂熙曰今 闗中大亂京師存亡不可知吕光之來其志難測將軍 何以拒之熙曰憂之未知所出統曰光智略過人今擁 思歸之士乘戰勝之氣其鋒未易當也將軍世受大恩 忠誠夙著立勲王室宜在今日行唐公洛上之從弟勇 冠一時為將軍計莫若奉為盟主以收衆望推忠義以 帥羣豪則光雖至不敢有異心也資其精鋭東兼毛興 連王統楊璧合四州之衆掃𠒋逆寧王室此桓文之舉 也熈又弗聽殺洛于西海光聞楊翰之謀懼不敢進在 –司馬光, <資治通鑑>