“界”、“面”、“界面”和“界面效应”是四个可以分开理解的概念。“界”和“面”在日常生活和哲学层面非常普遍。“界”有边界的意思，边界是众多信息汇聚的地方，是一种“和而不同”的理论意识。“面”是有限性和相对性，因此每一个领域才获得了其自身的规定性。
每日归档: 2018-11-02
14 篇
Earlier this year, Gayatri Spivak signed my copy of Breast Stories (1997), one of her English translations of Mahasweta Devi, with the inscription: ‘To the Horseman of the Sixties’. This made me time-travel back to 1966 and my first visit to the US. I was a postgraduate student at the University of Leeds and in the middle of my third novel, A Grain of Wheat (1967), but here I was, a regional guest of honour from Africa, at PEN International. The playwright Arthur Miller was president and the theme of the conference was the writer as an independent spirit. The idea was to bridge the cold war divide, and writers from the Eastern bloc were allowed into the country despite their communist connections. The large contingent of Latin American writers included Carlos Fuentes, Pablo Neruda and Mario Vargas Llosa. - 今年早些时候，Gayatri Spivak在我的《乳房故事》（1997）上签了字：“献给六十年代的骑士”。这使我的时间旅行回到1966和我第一次访问美国。我是利兹大学的研究生，在我的第三部小说《一粒小麦》（1967）的中途，但在这里，我是来自非洲的PEN国际的荣誉嘉宾。剧作家阿瑟·米勒是总统，会议的主题是作家作为一个独立的精神。这个想法是为了弥合冷战的分歧，尽管东欧作家与共产党有联系，但他们还是被允许进入这个国家。拉丁美洲作家队伍包括卡洛斯·富恩特斯、巴勃罗·聂鲁达和马里奥·巴尔加斯·略萨。
On 16 February , Black Panther was released in the US to a tidal wave of excitement, especially in the African American community – and why not, given its unapologetic blackness, its undeniable coolness and its overall excellence. Featuring great acting, sumptuous costumes, luscious landscapes, action, intrigue, CGI etc., Black Panther had something for everyone – including, as it turns out, people in the art world. Fifteen minutes into the movie, after a few crucial plot points are pinned down, we see an establishing shot: a gleaming white Richard Meier building with a gaudy ‘Museum of Great Britain’ sign on the front. This is the High Museum of Art in Atlanta, Georgia, standing in as a fictionalized version of the British Museum, we suppose. The next shot is that of a person we will come to know as Killmonger, his back facing us, looking at a vitrine filled with African artifacts. He has apparently requested that the curator in charge of the installation – a soignée white woman who saunters in with a coffee cup and a falsely modest hesitation in her voice – be summoned so he can ask some sly questions: - 2月16日，“黑豹”号在美国被放行，掀起了一阵兴奋的浪潮，特别是在非洲裔美国人社区——鉴于它无可辩解的黑暗、不可否认的冷静和它的整体优秀，为什么不放行？黑豹以出色的表演、华丽的服装、美妙的风景、动作、阴谋、CGI等为特色，每个人都有自己的东西，包括艺术界的人。电影开始15分钟，在确定了几个关键的情节要点后，我们看到了一幅建立镜头：一幢闪闪发光的白色理查德·梅尔建筑，前面有一个华丽的“大不列颠博物馆”标志。这是格鲁吉亚亚特兰大的高等艺术博物馆，我们认为它是大英博物馆的一个虚构的版本。下一个镜头是我们将要认识的杀戮贩子，他背对着我们，看着装满非洲人工制品的玻璃瓶。显然，他已经要求召集负责这个装置的馆长——一个带着咖啡杯和假装谦虚的犹豫声闲逛的白人老妇人——来，这样他可以问一些狡猾的问题：
In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. - 在亚洲和非西方世界的后殖民研究中，比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域，这一问题转化为：中国有史诗吗？印度或日本有这部小说吗？韩国有科幻小说吗？这些调查反映了早期欧洲人的观点，即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远，但他们比较论断的长期影响仍然存在。
Researchers have compiled an illustrated resource that throws light on overlooked female artists from the 15th to 19th centuries - 研究人员已经编纂了一个图示的资源，从第十五到第十九个世纪吸引了被忽视的女性艺术家。
In the summer of 1990, the Canadian government deployed the largest number of troops since the Korean War. Tanks and guns and jackbooted soldiers arrived not overseas but in the small Quebecois town of Oka to enforce the construction of an additional nine holes on a local golf course. The extension of the leisure class’ grass playground would mean further destruction of The Pines, a traditional burial ground of the nearby Mohawk communities of Kanehsatàke and Kahnawake. In response to this threat, approximately 30 Mohawk men erected a barricade to block entrance into The Pines. After confrontation with local police, this blockade swelled. Canadian media and official record called it the Oka Crisis; for the Mohawks, it was the Oka Uprising. This, too, is how it is remembered by the hundreds of Native peoples throughout North America who followed the blockade on television, or travelled to join in arms, or learned about it years later, as I did from a future elder. As the artist Rebecca Belmore has said: ‘All Native people were affected by that summer.’ Like the shooting down of General George Custer during the Battle of the Little Bighorn in 1876, it is one of our beloved victories. - 1990夏季，加拿大政府自朝鲜战争以来部署了最多的军队。坦克、枪支和轻便马靴的士兵没有到达海外，而是到达了魁北克小镇奥卡，在当地的高尔夫球场上建造了另外九个洞。休閒阶层的草地游乐场的扩展将意味着松树园的进一步破坏，松树园是邻近的莫霍克社区Kanehsatàke和Kahnawake的传统墓地。为了应对这一威胁，大约30名莫霍克人竖起路障阻止松树进入。在与当地警察发生冲突后，封锁加强了。加拿大媒体和官方记录称这是OKA危机；对于莫霍克人来说，这是奥卡起义。这也是北美各地数百个土著民族如何记住的，他们跟随电视上的封锁，或前往参加武装，或多年后了解它，就像我从未来的长辈那里做的那样。正如艺术家丽贝卡·贝尔莫尔（Rebecca Belmore）所说：“所有原住民都受到那个夏天的影响。”就像1876年在小巨角战役中乔治·卡斯特将军被击毙一样，这是我们最爱的胜利之一。
When will we start taking seriously Eve Tuck and K. Wayne Yang’s proposal, in Decolonization Is Not a Metaphor (2012), that d ecolonization is far too often subsumed into the directives of other projects ? How do we move beyond the symbol to the thing itself? Catherine E. Walsh writes of the danger of the term’s ‘increasing rhetorical use’ and ‘adjectival lightness’, its commodification ‘as the property of a group of individuals […] as a new canon of sorts, both of which erase and shroud decoloniality’s terrain of political project, praxis and struggle’. 1 - 我们什么时候才能开始认真对待夏娃·塔克和K·韦恩·杨在《非殖民化不是隐喻》（2012）一书中的提议，即d非殖民化常常被纳入其他项目的指导方针？我们如何超越符号到事物本身？凯瑟琳·E·沃尔什（Catherine E.Walsh）写道，术语“日益增长的修辞用法”和“形容词轻盈”的危险，其商品化是“一群人的财产”[…]作为一种新的典范，它们都抹去和遮蔽了非殖民主义政治项目、惯例的地域。就是斗争。一