Archive for ‘language’

Tuesday, June 19, 2012

French Architect “with Bo Xilai Ties” Arrested in Cambodia

French architect Patrick Henri Devillers has been arrested by Cambodian police, reportedly with the co-operation of Beijing, which is seeking his extradition. Also reportedly, Phnom Penh is in a process of deciding whether to send Devillers to France, or to follow a demand to extradite him to China. According to the BBC’s Chinese website, Devillers is a friend of Bo Xilai‘s family, and a business friend of Bo’s wife Gu Kailai. According to a Le Monde report, Devillers had first met the Bo family in Dalian, just as another foreign Bo/Gu contact, Neil Heywood had.

But their businesses were different, and not interlinked, Deviller was quoted in the Le Monde report, in May this year (i. e. weeks before his arrest).

“What we had in common is that we were married to Chinese women. We knew each other (…). What I can say about him is that he wasn’t in the bluff. He had a great mental nobility, in the English traditions of honor.”

“On avait en commun d’être mariés à des Chinoises. On se connaissait (…). Je peux dire de lui en tout cas qu’il n’était pas du tout dans l’esbroufe. Il avait une grande noblesse d’âme, dans les traditions anglaises de l’honneur.”

Devillers had first arrived in China in 1987, aged about 27, to learn Chinese, according to Le Monde. It was there that he met his wife who studied the classical zither [probably the guzheng – JR], and started a movie project about the Tian An Men movement in 1989, which ended with the massacre.

During the 1990s, much of his work involved working with the Dalian city government’s architecture and urban planning department.

The way Devillers comes across in the Le Monde article suggests that he took a great interest in China’s intellectual history, and particularly in Taoism.

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Related

» Oh, Rule of Law, April 11, 2012

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Updates/Related

» No Extradition without Evidence, Telegraph, June 20, 2012

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Thursday, May 24, 2012

Confucius Institute: State Department Directive “an Untimely End to Chinese Classes”

Main Link: Huanqiu Shibao, May 24, 2012, 03:29.

Translated off the reel, and posted right away. A link to the State-Department directive can be found under footnote 2. Links within blockquote added during translation.
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A notice issued by U.S. State Department officials on May 17, to all Confucius Institutes in America, has caused great controversy. The new notice requires existing Confucius Institutes to apply for American “certification”, to become part of regular courses, and bans Chinese teachers and volunteers to teach in middle and elementary schools. A Hanban responsible, on May 23, expressed “shock” to a Huanqiu Shibao reporter, as no consultations had preceded this notice. Insiders told this reporter that to date, American officials hadn’t explained to whom the Confucius Institutes should turn for certification. U.S. “Higher Education News”1) wrote on May 21 that the notice would disrupt Confucius Institute teaching activities. “People don’t undersstand the State Department’s sudden notice. Actually, Confucius Institutes have been on American campuses for almost ten years.” An insider told the Global Times reporter on May 23 that currently, Confucius Institutes were highly successful and influential in America, that many Americans learned Chinese, and that America was somewhat worried about this. In addition, it was election year in America, and political consideration could be behind the measures taken.
美国国务院官员签发的一项公告5月17日发往全美孔子学院,引起巨大争议。新公告规定现有孔子学院必须申请美国“认证”,成为正式课程的一部分,且禁止中方教师和志愿者在美国中小学的孔子学堂教学。国家汉办负责人23日向《环球时报》记者表示,对美方在事先没有任何协商的情况下发出这样的公告感到“震惊”。有知情者告诉《环球时报》记者,孔子学院不计学分,不授学位,不具认证的前提,美国官方迄今也从未说明孔子学院应该向谁认证。美国“高等教育新闻”网站21日载文称,国务院这一公告将打乱孔子学院的教学活动。“人们不明白美国国务院为何突然出台此项公告,毕竟,孔子学院在美国校园内已有近十年时间”。一名了解内幕的人士23日向《环球时报》记者介绍,目前孔子学院在美国搞得很成功,影响很大,美国学习汉语的人很多,美方对此有所担心。再加上今年又是美国的大选年,美国出台这些措施可能有政治方面的考量。

The notice was reportedly issued by Robin Lerner, the State Department Deputy Secretary in charge of Educatonal and Cultural Matters and private-sector exchange. The notice says that while Confucius Institutes may be beneficial to promoting cultural exchange, its activities “need to be in accordance with the standards of exchange, and respect the relevant law and regulations”. “Professors, researchers, short-term visiting scholars or institutes, as well as students, were not allowed to teach in primary schools2). […] The notice also says that “to ensure that the Confucius Institute education corresponds with and maintains suitable regulations and standards, the Institutes must apply for American certification”, “on initial examination, it isn’t clear if the Confucius Institutes will get American certification”. The State Department allows currently teaching Confucius Institute teachers with J-1 visa to continue teaching until the end of the school year in June, but won’t renew their visas. If they wish, they can return to China to apply for appropriate exchange project visas.
据悉,签发这一公告的是美国国务院负责教育和文化事务局私营部门交流的副助理秘书长罗宾•勒纳。公告称,尽管孔子学院可能有益于促进文化交流,但其所从事的活动“必须符合正确的交流规范,遵循相关法规”。“教授、研究学者、短期访问学者或学院、大学学生不允许在公立和私立小、中学教学,否则便与有关交流访问项目法规相违。 […..] ”公告还称,“为确保孔子学院的教育符合和保持适合的规定标准,孔子学院必须申请美国认证”,“美国国务院的初步审视并不清楚这些孔子学院是否得到美国认证”。美国务院允许目前持有J-1签证的孔子学院教师继续留至2012年6月本学年结束,但不会为他们续签签证。如果他们愿意,可回中国再申办一种合适的交流项目签证。

There are Confucius Institutes at 81 American universities. The notice has caused wide-spread shock, confusion, and incomprehension. Confucius Institutes in all places said that the notice was “surprising” or “unusual”, and there were discussions everywhere as to how to deal [with the situation]. Huanqiu Shibao has learned that J-1 visas are a kind of non-immigration visas, issued to foreigners who participate in “exchange and visitor programs approved by the State Department”. An official survey concerning J-1 visa holders was carried out early this year.
81所美国大学内设有孔子学院。这一公告已引起广泛的震惊、困惑和不解,各地孔子学院均表示此项公告“令人吃惊”、“很不寻常”,都在讨论如何应对。《环球时报》记者了解到,J-1签证是一种非移民签证,签发给来美国参加美国国务院批准的“交流访问者计划”的各类外籍人士。今年年初,美国官方曾对持有J-1签证人员情况进行过调查。

A lady who had taught for Confucius Institutes in America told Huanqiu Shibao on May 23 that teachers sent by China to teach abroad were mainly government-sponsored, or volunteers. They all held visitor J-1 visas. She had been a volunteer, and a visa had been rather easy to obtain.
一名曾在美国孔子学院授课的女士23日向《环球时报》记者介绍,中方派驻国外孔子学院的授课老师主要有公派教师和志愿者两种,他们所持的都是访问学者J-1签证。她当时就是作为志愿者授课的,获得签证比较容易。

What people find most incomprehensible is that American officialdom requires Confucius Institutes to carry out so-called “certification”. Huanqiu Shibao has learned that to date, the State Department has not said where Confucius Institutes should turn for certification. By comparison, nothing has been heard of German Goethe Institutes, French Institutes or other cultural exchange bodies in America having received American certification. People in charge at the first Confucius Institutes established in the U.S., University of Maryland Confucius Institute and George Mason University Confucius Institute, express confusion, and say that the “certification” issue is currently being discussed. The person in charge at the George Mason University Confucius Institute hopes that the notification came without political considerations. After all, Obama’s initiative to have 100,000 students study in China was about encouraging American students to study Chinese.
令人最为不解的是美国官方要求对孔子学院进行所谓“认证”。据《环球时报》记者了解,美国官方迄今从未说明孔子学院应该向谁认证。横向比较一下,从未听说德国的歌德学院、法国的法语联盟等在美文化交流机构须得到美国认证。在接受本报记者采访时,美国第一家孔子学院———马里兰大学孔子学院及乔治•梅森大学孔子学院负责人均表示,对这一公告感到困惑,校方均在就“认证”一事进行讨论与沟通。乔治•梅森大学孔子学院负责人说,希望国务院出台的公告没有政治方面的考虑,毕竟奥巴马推动美国10万学生赴华留学项目也是鼓励美国学生学习中文。

According to explanations by a Hanban person in charge, made to Huanqiu Shibao, Hanban has sent a letter to university presidents, to carry out negotiations. The letter says that Confucius Institutes in America were established at American requests, and run in cooperation with Hanban and Chinese institutions of higher education. The Chinese side fully respected the esteemed universities’ powers to make their own decisions (自主权)3), and there had never been special instructions concerning the teaching and cultural-exchange activities carried out by the Institutes. The central office provided help, such as support in that it sent volunteers, as requested by the American side. The letter also says that the Chinese side respects American governmental law and regulations, but that in this process, we do not wish to see that volunteer projects get disrupted, as this would lead to many quickly-developing Chinese-language classes coming to an untimely end, resulting in losses for the schools and students.
据国家汉办负责人23日向《环球时报》记者介绍,该机构已致信下设孔子课堂的美国大学校长,就此事进行交涉。信中表示,美国孔子学院是由美方自愿申请,并与汉办和中方高校合作举办的。中方充分尊重贵校的办学自主权,对孔子学院开设课程和开展文化交流活动及下设孔子课堂,从未有过专门指令。总部向孔子学院提供的包括派遣志愿者在内的所有帮助,均系美方所要求。信中还表示,中方尊重美国政府的法律和规定,但在此过程中,我们不愿意看到因此而造成中断志愿者项目的后果,否则将会导致很多学校蒸蒸日上的中文课程由于教师缺失而被迫夭折,致使这些学校和学生蒙受损失。

The person in charge also said that before volunteers head for America, they get an invitation from the American schools, in accordance with the Sino-American school agreements, and apply for and obtain a visa. From 2005 on, China had developed Chinese language education to help America, and had sent more than 2,100 teachers. The project had always worked smoothly. It had been believed that once teachers received an American invitation, the application would lead to a visa, and that there would be no problems. No consultations had preceded the State Department’s May-17 notice, and this was felt to be very sudden and surprising by those in charge at the Confucius Institutes.
这位负责人还表示,志愿者赴美前,是按照中美双方学校的协议,接受美方学校的邀请,申请并获准签证的。从2005年起,中方为帮助美国发展汉语教学,已派出2100多名教师,项目执行一直很顺利。原以为教师接受美方邀请,申请并获准了赴美签证,就不会产生问题。在事先没有任何协商的情况下,美国国务院5月17日发布公告,作为主管孔子学院的负责人,他感到很突然、很吃惊。

Many presidents [of universities with Confucius Institutes] were disgusted by the State Department notice, and had many objections, as they believed it interfered with their universities’ autonomy3). They currently contacted the State Department and negotiated. Huanqiu Shibao also learned that to address the doubts, a State-Department official was to be sent to Maryland University to have direct talks with people in charge at the university and the Confucius Institute.
美国多所设有孔子学院的大学校长对美国这一公告非常反感,很有意见,认为它干涉了学校的办学自主权,目前正与美国国务院进行联系和交涉。《环球时报》记者还了解到,面对质疑,美国国务院官员23日将赴马里兰大学,与马里兰大学校方、孔子学院负责人一起进行面对面的沟通与交流。

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Notes

1) This is my translation of 美国“高等教育新闻”网站 – the website’s real name may be different.

2) Quote:

Teaching positions in primary and secondary schools (K-12) are only authorized under the “Teacher” category set forth at 22 CFR 62.24. Teaching primary and secondary school students in public school systems or private schools is not permitted by professors, research scholars, short-term scholars, or college/university students.

(Guidance Directive 2012-06 Exchange Visitor Program – Confucius Institutes)

3) 自主权, which may be translated either as the right to make decisions of one’s own, or autonomy. The term for provincial or territorial autonomy in China, for places like Tibet, would be 自治区 (autonomous regions), and is therefore not exactly the same term.

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Related

» Three Eight-Hundreds, April 19, 2009

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Monday, May 21, 2012

Yang Rui and Soft Power

You probably can’t blog about soft power and ignore the weibo message Yang Rui (杨锐), a CCTV-9 presenter, reportedly wrote. But during this busy first half of the week, there are other things to do. Besides, while this is certainly relevant information to be processed, I’m wondering why the response from many foreigner is so heated. True – the message in question is – to put it carefully – running counter to anything like “soft power”, but to me, the only explanation for the angry foreign replies to it seems to be that they expected Yang to do better. I don’t even know Yang as a television personality. I can’t remember that I ever watched the channel. All I know is that CCTV-9 is state-owned, and broadcasts in English, mainly for a foreign audience.

Maybe what Yang wrote about Melissa Chan, the al-Jazeera correspondent who had to leave the country, is actually a semi-official answer to questions foreign-ministry spokesman Hong Lei had previously been asked – questions to which there hasn’t been a really telling answer. Yang’s would be a nasty and strange answer (and maybe that’s  why Hong wouldn’t want to provide it), but basically not a surprising one. The only remaining question for now would be if Yang wrote the message on his own behalf or on behalf of the CCP.

That’s all I can think of – and speculate about – at the moment, and how I should connect this to the topic of soft power, I don’t know yet. Maybe I’ll know on Thursday or Friday.

Wednesday, March 14, 2012

Ignorant, Incompetent and Shameless, Han Han as a Writer

By Huo Long

Huo Long is a translator and blogger in Beijing. Originally posted on his blog on March 12; reposted by permission.

It’s been more than a month since I started following the rivalry between Fang Zhouzi (方舟子, real name: Fang Shimin, 方是民) and Han Han (韩寒). Fang graduated from Michigan State University with a Doctor’s degree in biochemistry. He is a scholar and a popular science writer and is better known for devotion of his spare time to exposing academic and scientific fraudulence in China. Han was a high school dropout. He is widely extolled as a once teenage literary genius, a popular novel writer, an accomplished car racer, and, most recently, an advocate of freedom and democracy. Fang accuses Han of being a fake writer and having most, if not all, of his works ghostwritten.

I wrote a Chinese blog post titled Closing of Han Han’s Ghostwriting-Gate that didn’t pack much punch. In the post, I tried to produce a point-by-point analysis of too many contradictions and inconsistencies found in Han Han. He has long ago demonstrated writing talent as a teenager (as shown in his early award-winning compositions) and a sought-after writer of bestsellers. However, in his video interviews, he showed a surprising ignorance of literary writing, traditions, and even his own works. It later occurred to me that the message of the post I wanted to get across could be as simple as one sentence:

Everyone should rely on their sound logics, common sense and life experience to make sure they are not enchanted or fooled.

And of course, as I later figured out, this message had been intended for people in their right mind, not those who are muddle-headed. For the latter, they won’t listen to anything they are told.

Couples of days later, I made another attempt in vain to create a powerful post. Suffering this “blogger’s block” not uncommon to me, I turned to read other Han Han-bashing articles. Their writers presented their well-thought-out, insightful, and evidence-rich arguments so eloquently and amazingly.

Looking at People through a Glass (杯中窥人) by Han Han at the age of 14 and Three Important Things (三重门) at 17 are already far beyond my current writing capabilities. As if it were not enough, after reading some student composition books on offer in a supermarket, I found that even today’s ten-year-olds write better than me.

I have no intention to complete that unfinished post. So I decide to paste its fragments here for the entertainment of my blog readers:

Is now Han Han dead as a writer?

Answer in Han Han’s casual writing style he used in a Sina Weibo private message to one of his supporters (It’s hard enough for me to mimic Han Han’s untrained and uneducated writing style in Chinese. So I decided to give up trying to do so in English. I’ll just write in normal English, at least as I define it):

Though he as a writer is already stone dead, Han Han as human being is still alive and thrives. His father, Han Renjun (韩仁均) who used to write in the pen name of Han Han before his son was born, is hale and hearty. They are now secretively planning their doomed strategies with which to strike back at Fang Zhouzi and his supporters.

Han Han is a character I cannot possibly fathom. Casting my eye to the rest of the country, I can find no one like him, so divided in personality. This only makes him seem even more mysterious to me.

For that matter, I’m almost as good as Han Han. I taught myself to translate from scratch. Also a drop-out from an occupational school where accounting was taught, I’d just finished junior elementary school. While at the accounting school, I joined a nationally accredited, but not nationally appreciated and often discriminated part-time self-study program (自学考试), and later earned a diploma of English. It is roughly equivalent to a two-year college degree. My ten years of hard work in Beijing paid off. I now have a happy family living in an apartment we call our own. When asked about how she thought of my looks, my wife would say “You’re so very handsome, honey”. About my height, she would say “You must not be taller. If taller, you’d be a perfect man I’m not worthy enough to have you as a husband!” Not being completely convinced, I brought the questions to my son. He simply answered, “en!”, “en!”, “en!”, with which he meant he approved very much of how good I look and how tall I stand. Well, both my wife and son speak so highly of me. So, I have no other choice than to believe their words! … Oh, sorry, I forgot to mention that my son was just one-year and three-month-old this February. [Note: With this almost disgusting narcissism also found in Han Han’s book Just Drift Like This (就这么漂来漂去), I’d wanted to quip in later paragraphs: “Some supporters of Han Han are like men or women who are head over heels in love with him and they won’t be able to see his true self; others are like one-year and three-month-old innocent babies who only know it’s fun to stir their fresh pee with dirt and know nothing of what’s bad or good for them.”]

A man called Mai Tian (麦田, or apparently Wheat Field) wrote a blog post entitled Man-made Han Han (人造韩寒). In the post, he accused him of being a fake writer and a product of only commercial packaging, and having his award-winning compositions and bestsellers ghostwritten. Angered by this accusation, Han Han offered CNY 20,000,000 and the future loyalties from his books as a reward to anyone who can prove a line or even a single word was done by people other than Han Han himself. He made clear his seriousness about this offer by writing out all the 7 zeros in the award amount. He was even willing to die before his daughter grew up if any of his works had been ghostwritten, according to one of his blog post which was later edited to exclude this oath. However, in an interview with Hunan Satellite TV that followed hot on the heels of his prize offer, Han Han, who dressed himself like a trend-setting actor with a scarf around his neck and wore a charming smile, said calmly: “The award I offered was a joke. [I didn’t have any better idea than that offer. I wanted to show how angry I was about being accused of having my works ghostwritten]. I cannot possibly prove I don’t have a team [to ghostwrite for me].” (“我又没有办法证明我没有团队,所以才开玩笑的,拿出了这个悬赏。“)

Han Han’s inability of keeping his promise did not stop there. The award caught the attention of Fang Zhouzi. He then read through Han’s early, recent and new books, as well as a biography “My Son Han Han” (我的儿子韩寒) by the older Mr. Han, and watched absorbedly Han’s video interviews. By doing so, he did find clues that made him believe some of Han’s articles and books were ghostwritten. He then posted his findings and textual analyses on his Sina blog. However, Han Han again found this infuriating. He accused Fang of “libeling” and brought his grievance to a court in the Putuo District, Shanghai against Fang and another man named Liu Mingze (刘明泽). No one seemed to know who this faceless Mr. Liu was – Mai Tian is not surnamed LIU. It later turned out that Han Han’s “extra-luxury” lawyers’ team sued that poor Shanghai-based Mr. Liu because they wanted the court to have jurisdiction over the case. To achieve that end, one defendant had to be domiciled in Shanghai. His lawyers’ team makes being an innocent onlooker a very dangerous thing: Just because Liu was in Shanghai, of all the people against Han Han in the controversy, he was chosen to be a privileged defendant in a libel case doomed to be so high-profile. [Han later dropped the case against Liu.]

This can be likened to an imagined challenge invitation in the colonial days of Shanghai. Han Han, who was a much acclaimed and self-styled kungfu master, invites Fang Zhouzi, a taiji boxer who questions Han’s worthiness as a kungfu fighter, to a contest in which Han wanted to show his power. Then the much anticipated duel started with a fanfare. In the first round, Fang soon confirmed his suspicion by finding Han’s lack of strong kick power. Without meeting any effective resistance, Fang casually took advantage of one of Han’s many weaknesses and swept Han off his feet. Han hit head-first against the ground and suffered a bleeding head. The referee whistled and the first round ended. Han complained to his father, “Dad, we provoked the wrong man. He’s not to be intimidated. I’d thought he’d back down. I cannot possibly defeat him!” The older Mr. Han had a better idea, “Sweet. Don’t panic. If you cannot win him in the duel, just don’t go back to it. We can report him to the Shanghai International Police and accuse him of physically assaulting you in the duel!”

….

Some people cannot figure out why Han Han would want to bring the case to a Chinese court. “Hadn’t he criticized the Chinese court system as a mockery of justice?” “That’s exactly the reason why he wanted his case tried there.”

If you’re not interested at all in the argument over these seemingly trivialities, or just don’t like the way in which Fang Zhouzi seems so intent to do injustice to an innocent man.

Think twice. Is this that trivial or simple?

An ignorant and incompetent writer, Han Han has gone so far as to be admired as a talented adolescent, a bestseller writer, an advocate of democracy and freedom, a social and government critic, and a public intellectual (公知, yet another stigmatized Chinese term after 小姐, Miss, young lady, which now often means a prostitute; and 同志, comrade, which now can mean gay men.). His ascent reflects the distorted values of the present-day Chinese society, in which fake, attractively packaged and effectively promoted, sells well as the real McCoy to the unsuspecting consumer.

The ongoing rivalry between the two sides is very much like the elections on Taiwan. Almost half of its voters support the Democratic Progress Party (DPP), as corrupt and deceitful as it use to be, simply because they don’t want the Kuomintang in power. The problem for Han Han now is: Can he also reinvent himself like the DPP has done and prove his worthiness?

The Chinese people always admire the Germans for their strictness and rigorousness in their work, the Japanese for their great attention to details in their manufacturing, and the Americans for their love of freedom and democracy in their politics. However, when it comes to the crunch, some of the Chinese refuse to do what their role models have done. In a split personality, they only drift along in their work, are not ashamed of the jobs they’ve botched up, or take sides in disputes only by judging what’s good for them, instead of what’s right or wrong.

Essentially a contradictory, impossible presence, Han Han can only be true if he meets two criteria: a) he’s a genius; and b) he’s an average man. However, these two are mutually exclusive. If one is true, then the other is false, or vice versa.

For example, in the Three Important Things he supposedly began writing as a 16-year-old and finished a year later, the books and people he cited and made reference to include, according to an incomplete list compiled by an unidentified source:

-Books:

Guanzuibian (管锥编), a study journal in which QIAN Zhongshu annotated ancient Chinese books; Huainanzi (淮南子), a collection of Taoist writing in the Western Han Dynasty (206 B.C. – 25 A.D.); Shangshu (尚书), a collection of imperial archives before China’s first unified Qin Dynasty (221 B.C.-206 B.C.); Wanli Yehuobian (万历野获编), a compilation in the Ming Dynasty (1368-1644); 康河里的诗灵, Google yields no immediately relevant or definite search findings in the first few pages; 《西学与晚清思想的裂变》, Google yields no immediately relevant or definite search findings in the first few pages; Quintus Horatius Flaccus (贺拉斯), a Roman poet and critic (65 B.C. – 8 B.C.); 流浪的人生, Google yields no immediately relevant or definite search findings in the first few pages; Eight Travel Records of Yongzhou (永州八记), including The Travel Record of the Little Stone Lake (至小丘西小石潭记), written by LIU Zongyuan (柳宗元, 773 – 819); The Analects of Confucius (论语), a Confucius classic; The School of Huitong Says So (会通派如是说), by WU Mi (吴宓, 1894-1978); From Chaos to Order (从混浊到有序), Google yields no immediately relevant or definite search findings in the first few pages; Formal Logics (形式逻辑学), Google yields no immediately relevant or definite search findings in the first few pages; Stories of Searching for Gods and Spirits (搜神记), attributed to GAN Bao (干宝, Eastern Jin (317-420)) but mostly modified in later generations; Everlasting Regret (长恨歌), a love poem about Tang Emperor Xuanzong and Imperial Concubine Yang by BAI Juyi (白居易, 772 – 846); 本 • 琼森与德拉蒙德的谈话录, Google yields no immediately relevant or definite search findings in the first few pages; 心理结构及其心灵状态, Google yields no immediately relevant or definite search findings in the first few pages; On the Death of David Hume (论大卫•休谟的死), David Hume (1711-1776), a British philosopher, historian and economist; Madame Bovary (包法利夫人), by Gustave Flaubert ( French writer, 1821 – 1880); A Chronicle of Zuo (左传), a Confucius classic during China’s Warring States (403 BC – 221 BC); 铁轨边的风, Google yields no immediately relevant or definite search findings in the first few pages; 教学园地, Google yields no immediately relevant or definite search findings in the first few pages; Flowers in the Mirror (镜花缘), a novel written by LI Ruzhen (李汝珍, 1763-1830); 佳人, Google yields no immediately relevant or definite search findings in the first few pages; 美女赋, Google yields no immediately relevant or definite search findings in the first few pages; 江南的水, Google yields no immediately relevant or definite search findings in the first few pages; Guangyang Zaji (广阳杂记), by LIU Xianting (刘献廷, 1648 – 1695); Being Digital (数字化生存), by Nicholas Negroponte (1943 – ) in 1995; Xianqing Ouji (闲情偶寄), by LI Yu (李渔, 1611 – 1680); Chushibiao (出师表) by ZHUGE Liang (诸葛亮, 181 – 234); Three Character Classic (三字经), a traditional Chinese primer book; 李敖快意恩仇录 by LEE Ao (李敖, 1935-), a mainland-born Taiwanese writer; Shehualu (舌华录), a collection of witty remarks by CAO Chen (曹臣) in the Ming Dynasty (1368-1644); Romance of the Western Chamber (西厢记) by WANG Shifu (王实甫, ca. 1260 – 1336); Chinese Literature History (中国文学史), Google yields no immediately relevant or definite search findings in the first few pages; A Dream in Red Mansions (红楼梦) written in the Qing Dynasty (1616-1911); All Men Are Brothers (水浒传) by SHI Naian (施耐庵, 1296-1371); Four Generations Under One Roof (四世同堂) by Lao She (老舍, 1899 -1966); Shiji (史记) by SIMA Qian (司马迁, ca. 145 BC – 90 BC); Zhanguoce (战国策) by LIU Xiang (ca. 77 BC – 6 BC); Master Sun’s Art of War (孙子兵法) by SUN Wu (孙武, birth and death dates unknown, a contemporary of Confucius); Shuowen Jiezi (说文解字) by XU Shen (许慎, ca. 58 – 147); The Metamorphoses (变形记) by Roman poet Ovid (43 BC – AD 17/18); A Biography of Chinese Writers (中国作家传), Google yields no immediately relevant or definite search findings in the first few pages; Mencius (孟子), a Confucius classic by Mencius (372 BC – 289 BC); Journey to the West (西游记) by WU Chengen (吴承恩, 1501 – 1582); Liaozhai Zhiyi (聊斋志异) by PU Songling (蒲松龄, 1640 – 1715); Boule de Suif (羊脂球) by French writer Guy de Maupassant (1850 – 1893); QIAN Zhongshu Who Has Walked Out of the Magic Mirror (走出魔镜的钱钟书), a biography of Qian by WANG Yinfeng (王吟凤) in 1999; The Carnal Prayer Mat (肉蒲团) by LI Yu (李渔, 1611 – 1680); and Liezi (列子), a Taoist classic.

-People:

Oscar Wilde; Martin Heidegger; Auguste François Xavier Comte; Franz Kafka; Gregor Samsa; Zhu Tao-sheng (竺道生), a Chinese Buddhist thinker; LI Liangping (栗良平), a modern Chinese writer; Émile Zola; Guy de Maupassant; Gustave Flaubert; ZHANG Junou (张俊欧), not found in Google search; ZHU Guangqian (朱光潜), a modern Chinese scholar; Denis Diderot; Ortega; van der Sar; Socrates; Athena; DAI Wangshu (戴望舒, a modern Chinese poet); Takashi Kashiwabara (柏原崇), a Japanese actor; Yosuke Eguchi (江口洋介), a Japanese actress; TANG Yin (唐寅, also known as 唐伯虎 in Chinese), an ancient Chinese painter; CAO Juren (曹聚仁), a modern Chinese writer; LI Yu (李渔), an ancient Chinese writer; DU Mu (杜牧), an ancient Chinese poet; LU Xun (鲁迅), a modern Chinese writer; CAO Zhi (曹植), an ancient Chinese figure; DU Fu (杜甫), an ancient Chinese poet; Laotze (老子), the founder of Taoism; QIAN Zhongshu (钱钟书), a modern Chinese scholar and writer; WU Mi (吴宓), a modern Chinese scholar; George Yeh (叶公超), a modern Chinese diplomat; LEE Ao (李敖), a modern Chinese writer on Taiwan; Hu Shih (胡适), a modern Chinese scholar and liberal; Han Feizi (韩非子), an ancient Chinese thinker; HsunTzu (荀子), an ancient Chinese thinker; Zhuangzi (庄子), an ancient Chinese thinker; Xu Zhimo (徐志摩), a modern Chinese writer; LIU Yong (柳永), an ancient Chinese poet; Mao Zedong (毛泽东), a modern Chinese politician; SONG Yu (宋玉), an ancient Chinese poet; HAN Yu (韩愈), an ancient Chinese poet; LIU Zongyuan (柳宗元), an ancient Chinese writer; LIU Yong (刘墉), a Taiwanese writer; Mozi (墨子), an ancient Chinese thinker; LIN Huiyin (林徽因), a modern Chinese writer; CHEN Yanque (陈寅格), a modern Chinese scholar; Paul-Marie Veriaine; Li Yu (李煜), an ancient Chinese poet and emperor; Friedrich Wilhelm Nietzsch; GUO Moruo (郭沫若), a modern Chinese writer and politician; Benito Mussolini; Arthur Schopenhauer; Filippo Tommaso Marinetti; Napoleon; Hitler; Madame Curie; James Watt; Thomas Edison; ZHANG Haidi (张海迪), a modern Chinese writer; Confucius; LIANG Shiqiu (梁实秋), a Chinese writer on Taiwan; LIU Yazi (柳亚子), a modern Chinese poet; Montesquieu; ZEN Guofan (曾国藩), a late Qing Dynasty (1616-1911) politician; LI Baichuan (李百川), an ancient Chinese writer; Kong Xiangxi (孔祥熙), a modern Chinese politician; Empress Dowager Cixi (慈禧太后), a late Qing Dynasty ruler; XIAO Fuxing (肖复兴), a modern Chinese writer; Nikita Khrushchev; William Shakespeare; JIANG Qing (江青), Mao Zedong’s wife and Chinese politician; Romain Rolland; SU Shi (苏东坡), an ancient Chinese poet; YANG Wanli (杨万里), an ancient Chinese poet; and SHAO Jiaxuan (邵稼轩), an ancient Chinese man.

He managed to write this complex long novel with only slips of the pen the needed correction. At such a young age, he could make references to the books and the people and integrate their elements in the creation of the novel. His manuscripts are as clean as transcripts, as shown in a photo of his “manuscripts” he posted in his blog trying to convince the public he was indeed the creator of the novel.

Han is no doubt a genius as it comes to writing. However, to the great surprise of the least literarily minded, such a well-read genius admitted repeatedly and strongly in an interview with Hong Kong-based Phoenix TV that he has never read A Dream in Red Mansions (红楼梦). However, in his novel Three Important Things, he made reference to the Chinese novel classic in at least three brilliantly written paragraphs. In the novel, he has also demonstrated great knowledge of and familiarity with things and witty talks even in his father’s generation. Moreover, in the interview, he said to the effect that “There is no such a thing as a classic book; it’s only an average book that has later become classics after much reading by generations of people who had nothing better to read”.

Furthermore, he couldn’t even distinguish between an embassy and a consulate. In a blog post about Wang Lijun (王立军), Han referred to the U.S. consulate as the “US Embassy in Chengdu[, Sichuan province]”.

Additionally, he committed a laughable anachronism in a TV interview. He accused Fang Zhouzi’s tactics of “being like those of Yao Wenyuan (姚文元)” (1931-2005), who, according to Han, locked up his comrades in dark rooms in the Yan’an Rectification Movement (延安整风, 1942-1944, a purge that reportedly claimed the lives of 10,000 Communists).

It’s hard to believe that the Han Han featured in the video interviews is truly the one who has personally written all his award-winning student compositions and early books.

According to Han Han, a “little notebook” helped him write the intelligent and almost pedant books as a very young high school dropout. But he claimed that he later lost such capabilities. In the notebook he kept all the quotes and references he used in his book. This makes me wonder whether the booklet was a synthetic steroid, Viagra, or the helping hand of God: Why couldn’t Han Han perform the functions as a skilled writer in the absence of a compilation of mysterious notes?

What else Han Han said in video interviews:

As shown by these revealing video interviews, Han’s actually an “honest” man who often speaks his mind unwittingly. It must be his father or someone else who chose for Han a path that leads to his today’s fame and fortune he doesn’t deserve.

http://player.ku6.com/refer/EWDbjFLp98Z1yxVM/v.swf

In the above Sina interview, he showed his unfamiliarity with a book he wrote recently. He reacted with surprise, saying (12’26”) that he “didn’t weep”, when answering a question the hostess asked for the audience, “In your book you wept because of a loss you suffered in racing… Have you ever wept because of a racing loss?”

http://www.tudou.com/v/r7SHKhe0cT8/&resourceId=0_05_05_17/v.swf

In a interview with Netease in 2005, Han Han personally confirmed that a paragraph conspicuously advertised in the book covers and chapter introduction of Just Drift Like This (就这么漂来漂去) was not written by him. When asked about what he thought of the paragraph, a quite surprised Han said (16′ 12″), “[…] I didn’t know where my editor got the words and put them there. It’s not written by me. It’s totally not written by me. They are particularly not my words. […]” Han last month argued in a separate interview that he “did write those words”, but he “did not agree with them”.

http://www.tudou.com/v/kbJPWiBydvA/&resourceId=0_05_05_17/v.swf

In the video, in his broken, hesitating, off-topic, and sometimes rambling language, he said to the effect that,

“I don’t love writing at all. Neither do I like being called a writer. I write only because I have to. To me, writing is a job I have to do and is something that brings me the money I need.”

My comment: Writing is what makes Han Han. And yet he doesn’t like it. He only talks about writing like a high school dropout who can’t seem to understand why he’s now a writer.

“How well a writer writes depends on what books he or she has read in the past.”

My comment: In other interviews, he said that reading books by others is not necessary for the writers and they can always rely on information they get on their own and then builds it into his books.

“All books are created equal. There is no such a thing as one being better than the other in terms of the thought they can provoke. The priority of a book is not the message, big or small, its writer wants to convey, but the feelings it can arouse in the reader.”

My comment: Bill Gates and Steve Jobs had been outstanding students when they decided to leave school. However, Han Han was mighty different. He was virtually kicked out of high school because of his extremely poor academic performance (seven subjects failed, including Chinese). His words can be translated as follows: Though I was kicked out of high school because of poor school scores, I’m as good as or better than those who have attended college or university because I’m now nonetheless just as rich, famous, and successful.

As I see it, the essence, or the message, of a book is more important than its other aspects. Great books can be read by generations of thinking readers who are willing to read them several times. Han’s ideal books are for people who prefer sensual pleasures and don’t want to use their brain too much while reading.

“I don’t like the pretentious or affected way of writing. Writers should be themselves and write directly what they actually feel and think.”

My comment: He says so simply because he doesn’t know how to write like a real writer. To him, putting words on paper itself is writer’s writing. If this was the case, an illiterate person could dictate a long epic.

“My books are not perfect. There are lots of loopholes I intentionally left there to be found.”

My comment: This is very true indeed. His biggest loophole is that some of this books published under his name were not written by him.

“I don’t know what Confucianism is. I don’t know what it or other traditional Chinese isms are about. I’ve even never read A Dream in Red Mansions (红楼梦). I don’t know who is who in the novel.”

My comment: He knows nothing about them. So his ghostwriters helped him incorporate those isms and classics into the works published under his name.

“I spend thousands of yuan each month in buying newspapers and read them.”

My comment: Calculated at 2,000 yuan, 2 yuan per copy of newspaper, and 12 pages per copy, that would be 12,000 pages. Then, he would have no time for writing, racing or womanizing.

“I like the books by writers active after the May 4th, 1919 Movement because of their particular attention to writing elegant and charming Chinese.”

My comment: The period leading to and several decades after May 4th, 1919 Movement was a transition of written Chinese from Classic to Vernacular. It’s a period of experiments and nothing was perfect. Though the new ideas introduced in the early Vernacular Chinese from abroad were transforming, the language itself was anything but elegant or charming.

“If I don’t like a writer, I won’t like his works.”

My comment: So Han can refuse to eat the egg simply because he doesn’t like the hen.

“I don’t know the intention with which I write my books.”

My comment: Because it’s not he who wrote them and he has never carefully read them.

“As a writer, I don’t need to read novels by others. What I need is information. I have my own brain and I know what novel I want to write. I don’t need to read novels by others to get some inspirations about how I can better write my novels.”

My comment: As a genius, he never needs to learn from others. And yet as an average boy, he must read books by others so that he can write.

____________

Note

Please comment on the original post
JR

____________

Thursday, February 23, 2012

Central Committee of the Chinese Communist Party Decision Concerning Deepening Cultural Structural Reform

One day after I had posted the sixth installment of my “Decision” translation (see headline of this post), a complete (as far as I can see) translation went online at China Copyright and Media, a blog run by a sworn translator of the Chinese language at the Courts of Hasselt and Leuven  (the Netherlands).

I’m feeling no temptation to continue my own series of translation (there would have been another quarter of the document to be translated here), but I think it has been a good training, as far as the nomenclature is concerned – to lighten things up, I translated some older cultural.-soft-power documents along the way, and knowing the way the CCP refers to these issues has been useful.

You may either enjoy comparing the two translations now, and make me aware of contradictions between them, or you may simply use the translation there as a source of information. I’m not going to compare all of my translation to date with Rogier Creemers‘, (the China Copyright and Media blogger), but I’ll probably do so when making use of certain paragraphs of the central committee document in new contexts.

My (incomplete) translation series, from October to February:

1 – “Culture” Document published »
2 – Part 2 »
3 – Part 3 »
4 – Part 4 »
5 – Part 5 »
6 – Correct Guidance of Public Opinion »
7 – Beautiful Melodies »
8 – Online Guidance of Public Opinion »
9 – Arranging the Classical Records »
10 – Linking Cultural Industries to Nat. Economy »
11 – Go Global, and no Porn »

Sunday, February 12, 2012

17th Central Committee’s “Culture Document” – 11: Go Global, and no Porn!

« Previous leg of this translation: part 10, Linking the Cultural Industries to the National Economy

The following is a translation of the fifth chapter of the CCP Central Committee’s “cultural document”. For more background concerning the document, see that previous post.

Main Link: http://gb.cri.cn/27824/2011/10/26/2625s3413678_3.htm

7) Deepen Reform and Opening Further, Accelerate and Establish Systems which are Conducive to the Prosperous Development of Culture

七、进一步深化改革开放,加快构建有利于文化繁荣发展的体制机制

Culture guides the mood of our times, and is the area most in need of innovation. We must firmly grasp the correct direction, accelerate the promotion of cultural mechanisms, built sound leadership by party committees, administrative management, industrial self-regulation, social supervision, enterprises, institutions and units (danwei) which operate in accordance with the law, based on cultural management systems and vigorous cultural production systems, bring positive market factors in to play in the process of cultural resource allocation, make culture get past [old] patterns, and add strong dynamic force to prosperous cultural development.

文化引领时代风气之先,是最需要创新的领域。必须牢牢把握正确方向,加快推进文化体制改革,建立健全党委领导、政府管理、行业自律、社会监督、企事业单位依法运营的文化管理体制和富有活力的文化产品生产经营机制,发挥市场在文化资源配置中的积极作用,创新文化走出去模式,为文化繁荣发展提供强大动力。

a) Deepen reform of state-owned cultural units. By focusing on establishing a system of modern enterprise, accelerate and promote the reform of operational cultural units, and foster mainframes in conformity with the market. Specify the cultural units’ characters and functions scientifically, distinguish between them, classify them, take a progressive approach, open them gradually, promote normal state-owned cultural ensembles and troupes, press products which are not about current affairs or politics, [ownership transformation of news websites (?) – 新闻网站转企改制], expand the fruits of publication, distribution, and the film industry’s reform, accelerate their transformation into companies and public limited companies, perfect corporate governance structures in line with modern enterprise system requirements, and reflecting the cultural enterprises’ characteristic assets and operations and management organization. Innovate the investment and financial systems, support state-owned cultural companies’ as they face the capital markets, and support them in attracting social capital, and in carrying out joint-stock transformation. Keep the attributes of public benefit in mind, strengthen the service functions, increase vital development, comprehensively promote cultural units’ human resources and income allocation, social insurance systems’ reform, clear service specifications and the strengthening of performance evaluation in mind. Innovate public cultural service facilities’ operational mechanisms, attract personalities who represent society, professionals, and apply grassroots participation and management. Promote the progressive perfection of party publications’, radio, and television management and operational mechanisms. Promote the application of entrepreneurial management at the units, such as normal current-affairs publishing houses, non-profit publishing houses, ensembles and troupes who represent national characteristics and the country’s artistic level, enhance exposure to the markets, and the ability to serve the masses.

(一)深化国有文化单位改革。以建立现代企业制度为重点,加快推进经营性文化单位改革,培育合格市场主体。科学界定文化单位性质和功能,区别对待、分类指导,循序渐进、逐步推开,推进一般国有文艺院团、非时政类报刊社、新闻网站转企改制,拓展出版、发行、影视企业改革成果,加快公司制股份制改造,完善法人治理结构,形成符合现代企业制度要求、体现文化企业特点的资产组织形式和经营管理模式。创新投融资体制,支持国有文化企业面向资本市场融资,支持其吸引社会资本进行股份制改造。着眼于突出公益属性、强化服务功能、增强发展活力,全面推进文化事业单位人事、收入分配、社会保障制度改革,明确服务规范,加强绩效评估考核。创新公共文化服务设施运行机制,吸纳有代表性的社会人士、专业人士、基层群众参与管理。推动党报党刊、电台电视台进一步完善管理和运行机制。推动一般时政类报刊社、公益性出版社、代表民族特色和国家水准的文艺院团等事业单位实行企业化管理,增强面向市场、面向群众提供服务能力。

b) A sound, modern culture market system. To promote cultural products and key elements floating reasonably all over the country, an orderly, modern market system for unified and open competition must be built. The focus must be on the development of books and other publications, digital audio and video products, performing arts and entertainment, television series, cartoons, animation, and [computer] games, and similar markets, for the further perfection of a comprehensive international Chinese platform on fairs and exhibitions, etc. Develop chain operation, commodity circulation and distribution, e-commerce and other modern organizations and forms, accelerate the building of large-scale distribution enterprises and logistical bases for cultural products, build distributional networks for cultural products that understand urban and rural needs, with the big cities as the centers, with small- and medium-sized cities complementing them. Accelerate the development of property rights [or ownership rights], copyright, and key markets like those for technology and information, carefully manage major exchange [markets] for cultural property rights, norms, and transactions of cultural assets and artistic works. Strengthen the trade’s organizational building, and build sound intermediary structures.

(二)健全现代文化市场体系。促进文化产品和要素在全国范围内合理流动,必须构建统一开放竞争有序的现代文化市场体系。要重点发展图书报刊、电子音像制品、演出娱乐、影视剧、动漫游戏等产品市场,进一步完善中国国际文化产业博览交易会等综合交易平台。发展连锁经营、物流配送、电子商务等现代流通组织和流通形式,加快建设大型文化流通企业和文化产品物流基地,构建以大城市为中心、中小城市相配套、贯通城乡的文化产品流通网络。加快培育产权、版权、技术、信息等要素市场,办好重点文化产权交易所,规范文化资产和艺术品交易。加强行业组织建设,健全中介机构。

c) Innovate the cultural management system. Deepen reform of administrative and management systems, accelerate the transformation of government functions, strengthen the functions of policy adjustment, market supervision, social management, and public service, promote the separation of politics and enterprise, separation of politics and business, and provide a reasonable order to the relationship between government and cultural enterprises and units, through control and adjustment. Perfect personnel management, operational management, asset management and lead it into the direction of a combined management system of state-owned cultural assets [or – not sure about the correct translation here – a state-owned management system]. Build a sound and comprehensive administrative and law-enforcement structure for the culture market, and promote a sub-provincial and sub-city administration and responsibility mainstay. Accelerate cultural legislation, define and perfect the laws and regulations concerning the protection of public cultural services, the rejuvenation of the cultural industries, cultural market management, and increase the legal level of cultural construction. Adhere to the management and organizational system, implement principles of who is responsible, and who is in charge, strictly apply policies of cultural capital, cultural enterprise, access and non-access to the cultural product markets, comprehensively apply legal, administrative, economic and technological means to increase management efficiency. Deepen the implementation of “Brush pornography away, and crack down on illegal publications”, perfect cultural market management, firmly remove decadent cultural garbage which poisons the peoples’ minds, conscientiously build a market order which ensures national cultural safety.

(三)创新文化管理体制。深化文化行政管理体制改革,加快政府职能转变,强化政策调节、市场监管、社会管理、公共服务职能,推动政企分开、政事分开,理顺政府和文化企事业单位关系。完善管人管事管资产管导向相结合的国有文化资产管理体制。健全文化市场综合行政执法机构,推动副省级以下城市完善综合文化行政责任主体。加快文化立法,制定和完善公共文化服务保障、文化产业振兴、文化市场管理等方面法律法规,提高文化建设法制化水平。坚持主管主办制度,落实谁主管谁负责和属地管理原则,严格执行文化资本、文化企业、文化产品市场准入和退出政策,综合运用法律、行政、经济、科技等手段提高管理效能。深入开展“扫黄打非”,完善文化市场管理,坚决扫除毒害人们心灵的腐朽文化垃圾,切实营造确保国家文化安全的市场秩序。

d) Perfect security system policies policy guarantee mechanisms. Ensure that growth in public financing of cultural construction exceeds normal growth in public finance revenues, increase the share of cultural expenses in public spending. Expand the range of public financing, perfect financial input methods, strengthen fund management, increase the efficiency of funding used, and ensure cultural service systems’ construction and operation. Implement and improve cultural economic policies, support societal organizations, organizations, donations to and start-ups of non-profit cultural activities, guide non-profit organizations to provide public cultural products and services. [] Establish a national cultural development fund, expand the scale of related cultural funds and special funds, increase the share of all kinds of lottery-generated means for the funding of non-profit undertakings. Continue the use of coherent policies on the reform of the cultural system, and support the transformation of state-owned cultural units for another five years.

(四)完善政策保障机制。保证公共财政对文化建设投入的增长幅度高于财政经常性收入增长幅度,提高文化支出占财政支出比例。扩大公共财政覆盖范围,完善投入方式,加强资金管理,提高资金使用效益,保障公共文化服务体系建设和运行。落实和完善文化经济政策,支持社会组织、机构、个人捐赠和兴办公益性文化事业,引导文化非营利机构提供公共文化产品和服务。加大财政、税收、金融、用地等方面对文化产业的政策扶持力度,鼓励文化企业和社会资本对接,对文化内容创意生产、非物质文化遗产项目经营实行税收优惠。设立国家文化发展基金,扩大有关文化基金和专项资金规模,提高各级彩票公益金用于文化事业比重。继续执行文化体制改革配套政策,对转企改制国有文化单位扶持政策执行期限再延长五年。

e) Promote the Chinese culture’s process of going global. Carry out foreign cultural exchange on multiple channels, in multiple forms, and on multiple levels, broaden participation in the global dialog of civilizations, promote learning from each other, strengthen the inspiration that comes from Chinese culture, and Chinese culture’s influence, for the joint safeguarding of cultural diversity. Innovate ways and means of propaganda abroad, strengthen [the right to speak ones opinion – or the right to dominate others through words: 增强国际话语权], react appropriately to foreign concerns, enhance the international community’s basic understanding of our country, its values, its path of development, understanding for and knowledge of its domestic and foreign policies, and let them discover the our country’s civilizational, democratic, open, and progressive image. Implement the project of our culture going global, improve and support the policies and implementation of cultural products and services going global, support major media organizations in setting up overseas branches, foster a number of external cultural enterprises and intermediary organizations which are globally competitive, improve dubbing, recommendation and introduction, advisory and similar support mechanisms, and gain access to international cultural markets. Strengthen Chinese overseas cultural centers and Confucius Institutes, encourage academia and artistic organization which reflect our country’s level to play a constructive role within relevant international organizations, and organize the translation of outstanding artistic works and cultural quality products. Build mechanisms for cultural exchange, combine governmental exchanges and non-governmental exchanges, bring into play the role of non-governmental cultural enterprise, cultural non-profit organizations in international cultural exchanges, and support overseas Chinese in actively launching sino-foreign cultural exchanges. Establish cultural exchange mechanisms for young foreigners, and establish an award for contributions to the international dissemination of Chinese culture.

(五)推动中华文化走向世界。开展多渠道多形式多层次对外文化交流,广泛参与世界文明对话,促进文化相互借鉴,增强中华文化在世界上的感召力和影响力,共同维护文化多样性。创新对外宣传方式方法,增强国际话语权,妥善回应外部关切,增进国际社会对我国基本国情、价值观念、发展道路、内外政策的了解和认识,展现我国文明、民主、开放、进步的形象。实施文化走出去工程,完善支持文化产品和服务走出去政策措施,支持重点主流媒体在海外设立分支机构,培育一批具有国际竞争力的外向型文化企业和中介机构,完善译制、推介、咨询等方面扶持机制,开拓国际文化市场。加强海外中国文化中心和孔子学院建设,鼓励代表国家水平的各类学术团体、艺术机构在相应国际组织中发挥建设性作用,组织对外翻译优秀学术成果和文化精品。构建人文交流机制,把政府交流和民间交流结合起来,发挥非公有制文化企业、文化非营利机构在对外文化交流中的作用,支持海外侨胞积极开展中外人文交流。建立面向外国青年的文化交流机制,设立中华文化国际传播贡献奖和国际性文化奖项。

f) Actively absorb and learn from outstanding foreign cultural achievements. Adhere to the principles of self-dependance, self-regardness, to learning from every experience that helps to strengthen the building of our country’s socialist construction, from all positive achievements that can enrich our people’s cultural life, from everything that is conducive to our country’s cultural activities, and to its cultural management concepts and mechanisms. Strengthen our country’s intellectual fields, its talents, and its acquisition of technology. Attract foreign investment into fields and enterprises that are designed for this by rules and regulations, and guarantee the investors’ lawful rights and interests.Encourage cultural units to enter cooperation projects with powerful foreign cultural institutions, learn from advanced production technolgies, and from advanced management experience. Encourage foreign-invested enterprises to carry out cultural-technological research and development, and develop outsourcing. Develop international cooperation in the protection of intellectual property rights.

(六)积极吸收借鉴国外优秀文化成果。坚持以我为主、为我所用,学习借鉴一切有利于加强我国社会主义文化建设的有益经验、一切有利于丰富我国人民文化生活的积极成果、一切有利于发展我国文化事业和文化产业的经营管理理念和机制。加强文化领域智力、人才、技术引进工作。吸收外资进入法律法规许可的文化产业领域,保障投资者合法权益。鼓励文化单位同国外有实力的文化机构进行项目合作,学习先进制作技术和管理经验。鼓励外资企业在华进行文化科技研发,发展服务外包。开展知识产权保护国际合作。

To be continued.

Saturday, February 11, 2012

17th Central Committee’s “Culture Document” – 11: Go Global, and no Porn!

[This was posted on Sunday, but appears as a Saturday post. This mess, and that mess, are somehow linked to each other, mefeels – JR]

Thursday, February 9, 2012

Condemnation in its Strongest Terms: Does it Pay to Enrich your Word Power?

Stupid, nasty, awful, racist, appalling, misleading, tasteless, off-base, doubly-offensive, ugly, disgraceful*), repellent, anti-Chinese.

word power

Fill me in

You will find all these descriptions across this commenting thread on the Peking Duck. They refer to a Superbowl Ad approved by a certain Peter Hoekstra, a Republican from Michigan, former member of the House of Representatives, now running for the U.S. Senate.

Maybe some day, I’ll sit down and try to find out if language can rather do without nouns, or with adjectives. For now, I believe, much of political debate can easily do without nouns, but not without adjectives. You simply link to the issue in question – here, the ad video by Hoekstra and company, and blast it with adjectives.

A handy effect of this approach is its handiness in choosing or rejecting your interlocutors. All you need to say is something like “if you can’t see that, I think there’s no use that we keep talking”. (This won’t work in every case, but it usually will.) But it’s no political game-changer. It probably won’t  change much about the numbers of people supporting either side in a debate.

Neither the ad itself, nor comdemnation of it, are helpful.

Hoekstra endorsed the ad’s message. Those who disagree with him – and there are good reasons to disagree – should refute it.

Word power is important, but without good arguments, it won’t make a great difference.

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Note

*) The blog host reacting to a comment which in turn – and also in the strongest terms – opposed the condemnation of the superbowl ad as racist.

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Related

“Democratic hate machine ignores the point”, toddfein, Febr 6, 2012

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