Tuesday, December 29, 2015

How modern life distorts the way we speak English

How modern life distorts the way we speak English

When did all shop assistants start asking, "Are you all right there?" And can I blame Simon Cowell for the indiscriminate use of "passionate"?

The whirring ATM machine fails to produce the money I requested. Instead, the screen tells me, "SORRY, WE CAN'T GIVE YOU CASH RIGHT NOW."

What makes this message so terrifically annoying? There's so much to choose from. Is it the "right now", which wraps an admission of failure in a hip Americanism? Is it the airy vagueness? (If not "right now", might there be cash in a moment?) Is it the slightly reproving tone, as if the ATM machine were busy with much more important stuff than shovelling out tenners to me?

So many forms of words one encounters nowadays are subtly insulting and patronising in just that way. For instance, when you explain or describe something to someone, they are likely to answer, "Oh . . . OK." The "oh" expresses surprise and the "OK" signifies acquiescence despite the listener's better judgement. In other words: "You're obviously raving mad but I'll go along with it."

Whenever a new infuriating verbal tic comes along, I wonder who started it and how it reached so many people so quickly. Who was the first to say "I was like" rather than "I said", or "The thing is is . . .", or "ree-search" instead of "research", or "going forward" instead of "in the future"? How is it that suddenly anyone delivering any form of explanation begins with the word "so"? Who first thought of personalising impersonal moments by saying, "Bear with me" when routing your phone call, or "Just pop in your Pin for me" when you pay for something with a card?

When did all shop assistants start asking, "Are you all right there?" instead of "Can I help you?" and psephologists take to informing us incessantly at general elections that the result is "too close to call"? At what point did a briefing turn into "a heads-up" and people, rather than computers, start being "hard-wired" and having "default settings", as well as finding all kinds of intrusive extra ingredients in their DNA? ("Italy," I recently heard a TV chef declare, "is in my culinary DNA.")

Occasionally, such verbal eczema can be traced back to a definite source. The ubiquitous use of "guys", irrespective of gender, dates from the Friends TV show in the 1990s. "D'you know what?" as a conversational key change to candour and sincerity should be copyrighted to Simon Cowell. The indiscriminate use of "passionate" also must derive from Cowell's talent shows, as it is something every contestant must be. Now even Thames Water is "passionate" about water and sewerage.

Most annoying words and phrases don't even have the virtue of newness but, as T S Eliot said, are like old copper pennies, worn smooth with overuse. Sports commentators are the worst offenders, with an overheated vocabulary that calls every moderate-sized crowd "fantastic", every successful kick or shot "fabulous" and every mildly surprising result "incredible". The lexicon of sport is omnipresent, reflecting a nation that is serious about little else. Every significant person in any profession is "a player", every important decision "a game-changer" and everyone in need of improvement "needs to raise his [or her] game".

Politicians come next, though their need to hide behind words makes for a more varied metaphorical palette. How often have we heard a government minister declare that such and such a thing will never happen "on my watch", evoking a vision of some trusty skipper in oilskins, steering us safely through tempests? How often have ministries and agencies been called on to "step up to the plate", and MPs, caught out in lechery or dishonesty, pleaded hopefully that it's "time to draw a line under" their misbehaviour?

Today's news broadcasts consist almost entirely of clichés bolted together in blithe unconsciousness of the surreal mixed metaphors that can result: "After the bubble burst, a lifeboat operation was launched to shore up the system . . ." or, "Unless somebody's head is stuck on a pike, people will start to cry whitewash." These are genuine examples heard on the BBC, on which it's now more important for commentators to wave their hands around than use English with intelligence.

Broadcasters can at least plead the pressure and panic of live transmission. Not so print journalists, who with calm deliberation reach for ninth-hand coinages such as "a perfect storm", "fit for purpose" or "the usual suspects". The drama critic Kenneth Tynan wrote that he could never love anyone who didn't thrill to John Osborne's Look Back in Anger. I couldn't love anyone who began an article, like so many others, with Jane Austen's "It is a truth universally acknowledged . . ."

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The Novel’s Evil Tongue - The New York Times

The Novel's Evil Tongue

By CYNTHIA OZICKDEC. 16, 2015

Photo
Credit Hudson Christie

When the world was just new, Story came into being, and it came with the beguilements of gossip, and talebearing, and rumor.

Most pressingly, it came through truth-telling. After all, the garrulous serpent was no liar when he told Eve the secret of the Tree of the Knowledge of Good and Evil. Eat of it, he whispered, and "your eyes shall be opened, and ye shall be as God, knowing good and evil." Ever since Genesis, no story has been free of gossip, and how unreasonable it is that gossip has its mischief-making reputation. Had Eve not listened, had she been steadfast in the face of so unverifiable a proposition, what barrenness! Eden would still be what it was, a serene and tedious nullity, a place where nothing happens: two naked beings yawning in their idleness, innocent of what mutual nakedness might bring forth. No Cain and Abel, then no crime novels and Hitchcock thrillers. No Promised Land, then no Young Men From the Provinces setting out on aspiring journeys. No Joseph in Egypt, then no fraught chronicles of travail and redemption. In the absence of secrets revealed — in the absence also of rumor and repute and misunderstanding and misdirection — no Chaucer, no Boccaccio, no Boswell, no Jane Austen, no Maupassant, no Proust, no Henry James! The instant Eve took in that awakening morsel of serpentine gossip, Literature in all its variegated forms was born.

Scripture too teems with stories, including tales of envy, murder, adultery, idolatry, betrayal, lust, deceit. Yet its laws of conscience relentlessly deplore gossip, the very engine that engenders these narratives of flawed mortals. Everything essential to storytelling is explicitly forbidden: Keep your tongue from speaking evil, no bearing false witness, no going up and down as a talebearer among your people. The wily tongue itself is a culprit deserving imprisonment: There it is, caged by the teeth, confined by the lips, squirming like a serpent in its struggle to break free. Harmful speech has been compared in its moral injury to bloodshed, worship of false gods, incest and adultery; but what novelist can do without some version of these fundamentals of plot?

Gossip is the steady deliverer of secrets, the necessary divulger of who thinks this and who does that, the carrier of speculation and suspicion. The gossiper is often a grand imaginer and, like the novelist, an enemy of the anthill. The communitarian ants rush about with full deliberation, pursuing their tasks with admirable responsibility, efficiency, precision. Everything in their well-structured polity is open and predictable — every gesture, every pathway. They may perish by the hundreds (step on an anthill and precipitate a Vesuvius); the survivors continue as prescribed and do not mourn. And what a creaturely doom it is, not to know sorrow, or regret, or the meaning of death; to have no memory, or wonder, or inquisitiveness, never to go up and down as a talebearer, never to envy, never to be seduced, never to be mistaken or guilty or ashamed. To be destined to live without gossip is to forfeit the perilous cost of being born human — gossip at its root is nothing less than metaphysical, Promethean, hubristic. Or, to frame it otherwise: To choose to live without gossip is to scorn storytelling. And to scorn storytelling is to join the anthill, where there are no secrets to pry open.

Photo
Credit Hudson Christie

Why is it needful to penetrate the labyrinth of hidden things, to go up and down among your people as a detective spilling hypotheses? Not unlike the philosophers, the gossiper strives to fathom the difference between appearance and reality, and to expose the gap between the false and the genuine. Even something so private as rumination is a mode of gossip, whereby the newsmonger is on the lookout for motive and character: every prober her own Proust. And since gossip peers through the keyhole of unsuspecting humanity, how can Emma Woodhouse not be compelled to reflect on Mrs. Elton, the young vicar's newly arrived bride?

"She did not really like her. She would not be in a hurry to find fault, but she suspected that there was no elegance; ease, but not elegance. She was almost sure that for a young woman, a stranger, a bride, there was too much ease. Her person was rather good; her face not unpretty; but neither feature, nor air, nor voice, nor manner were elegant. Emma thought at least it would turn out so. . . . She had a quarter of an hour of the lady's conversation to herself, and could composedly attend to her; and the quarter of an hour quite convinced her that Mrs. Elton was a vain woman, extremely well satisfied with herself, and thinking much of her own importance; that she meant to shine and be very superior, but with manners which had been formed in a bad school, pert and familiar; that all her notions were drawn from one set of people, and one style of living; that if not foolish she was ignorant, and that her society would certainly do Mr. Elton no good."

We too do not like Mrs. Elton, nor are we intended to like her; but oh, what nasty pleasure we take in making her acquaintance! And must Jane Austen be admonished, by the strictures of biblical fiat, to keep her tongue from speaking acidly? Interior gossip of this kind, not yet spoken aloud or acted out, is certainly not the most cutting, though elsewhere Jane Austen can do better (by doing far worse).

Evolutionary biologists tell us that the history of ­gossip — of which their formulations are now inevitably a part — begins with primates grooming primates, where "grooming" means the practice of apes companionably picking unwelcome bits of foreign matter from one another's fur. Nothing will illustrate the plausibility of this predecessor thesis more than the exchange, bitter rather than obliging, that unfolds within the affluently appointed walls of Dr. Sloper's house in fashionable Washington Square. Mrs. Penniman, the doctor's sister, has been zealously promoting her unprepossessing niece's choice of suitor. "Allow me to say," the doctor rebukes her, "that it is extremely indiscreet of you to form secret alliances with young men; you don't know where they may lead you."

But Mrs. Penniman will persist. She retails what she thinks she knows. She slyly weaves tangles that cannot be undone. She is the incarnation of the primordial ­go-between: She is Pandarus, she is Iago, she turns up in Chaucer's pageant of schemers, and before that as the clever manipulator of the early French fabliaux, those bawdy comic tales in verse of thwarted lovers and their eager helpers. And while Emma as busybody is dangerously intelligent, Mrs. Penniman is self-importantly foolish:

" 'I don't know what you mean by an alliance,' said Mrs. Penniman. 'I take a great interest in Mr. Townsend; I won't conceal that. But that's all.'

" 'Under the circumstances, that is quite enough. What is the source of your interest in Mr. Townsend?'

" 'Why,' said Mrs. Penniman, musing, and then breaking into her smile, 'that he is so interesting!'

"The doctor felt that he had need of his patience. 'And what makes him interesting? His good looks?'

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" 'His misfortunes, Austin.'

" 'Ah, he has had misfortunes? That, of course, is always interesting. Are you at liberty to mention a few of Mr. Townsend's?'

" 'I don't know that he would like it,' said Mrs. Penniman. 'He has told me a great deal about himself — he has told me, in fact, his whole history. But I don't think I ought to repeat those things. He would tell them to you, I am sure, if he thought you would listen to him kindly. With kindness you may do anything with him.'

"The doctor gave a laugh. 'I shall request him very kindly, then, to leave Catherine alone.' "

There is a recognizable cruelty in Dr. Sloper's laugh; his laugh is that of the tongue that speaks evil. He is cruel to his silly sister, to his lovesick yearning daughter, to her opportunistic fortune-hunting suitor. It is the same species of cruelty Henry James uncovers in Gilbert Osmond, the sinister aesthete Isabel Archer weds; it is the anguish George Eliot imposes on Dorothea in her horribly mistaken marriage to the withered Casaubon. And all of it comes about through the novelist's transgressive devisings; these go where prudent moral restraint forbids.

Gossip at its inquisitive heart is heartless interrogation, and will sometimes push on to extremes: as in Oscar Mandel's "Otherwise Fables," where verity and piercing cynicism mingle; as in "In the Reign of Harad IV," Steven Millhauser's ingenious inquiry into ultimate miniaturization, the nature of the least particle of being; as in Chaim Grade's fiery "My Quarrel With Hersh Rasseyner," where two survivors of the German hell argue bitterly over God's faithfulness or faithlessness; as in Philip Roth's "American Pastoral," with its pricking of pride and its punishing fall; as in the unforgiving thunder of Dostoyevsky's Grand Inquisitor.

Under the influence of the evil tongue, 10,000 stories and novels, before and since, have insinuated themselves into our sin-seeking world. They proliferate in their scores of languages, out of continents leafy or arid, out of furious histories and agitated moral persuasions. They are made by go-betweens, by whisperers and tattletales, by ironists and miscreants, by jesters and mourners, and always by the fevered bearers of false witness.

Yet even Solomon's Proverbs, that ancient well of prudence, in one of its seemingly admonitory homilies, reveals — against its intent — a fierce intuition for the shattering force of storytelling: "The words of a gossip are like choice morsels; they go down to a man's innermost parts."

A man's innermost parts! A woman's innermost parts! Interpret this as you will, it all comes down to the self-conscious and vulnerable organ that humanity once dared (defiantly, subversively) to call Soul — where gossip longs to tread.

No gossip, no interiority. No interiority, the anthill.

Cynthia Ozick's most recent book is the novel "Foreign Bodies." Her new collection, "Critics, Monsters, Fanatics, and Other Literary ­Essays," will be published in July.

A version of this article appears in print on December 20, 2015, on page BR1 of the Sunday Book Review with the headline: The Novel's Evil Tongue. Order Reprints Today's PaperSubscribe

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Monday, December 28, 2015

How modern life distorts the way we speak English

How modern life distorts the way we speak English

When did all shop assistants start asking, "Are you all right there?" And can I blame Simon Cowell for the indiscriminate use of "passionate"?

The whirring ATM machine fails to produce the money I requested. Instead, the screen tells me, "SORRY, WE CAN'T GIVE YOU CASH RIGHT NOW."

What makes this message so terrifically annoying? There's so much to choose from. Is it the "right now", which wraps an admission of failure in a hip Americanism? Is it the airy vagueness? (If not "right now", might there be cash in a moment?) Is it the slightly reproving tone, as if the ATM machine were busy with much more important stuff than shovelling out tenners to me?

So many forms of words one encounters nowadays are subtly insulting and patronising in just that way. For instance, when you explain or describe something to someone, they are likely to answer, "Oh . . . OK." The "oh" expresses surprise and the "OK" signifies acquiescence despite the listener's better judgement. In other words: "You're obviously raving mad but I'll go along with it."

Whenever a new infuriating verbal tic comes along, I wonder who started it and how it reached so many people so quickly. Who was the first to say "I was like" rather than "I said", or "The thing is is . . .", or "ree-search" instead of "research", or "going forward" instead of "in the future"? How is it that suddenly anyone delivering any form of explanation begins with the word "so"? Who first thought of personalising impersonal moments by saying, "Bear with me" when routing your phone call, or "Just pop in your Pin for me" when you pay for something with a card?

When did all shop assistants start asking, "Are you all right there?" instead of "Can I help you?" and psephologists take to informing us incessantly at general elections that the result is "too close to call"? At what point did a briefing turn into "a heads-up" and people, rather than computers, start being "hard-wired" and having "default settings", as well as finding all kinds of intrusive extra ingredients in their DNA? ("Italy," I recently heard a TV chef declare, "is in my culinary DNA.")

Occasionally, such verbal eczema can be traced back to a definite source. The ubiquitous use of "guys", irrespective of gender, dates from the Friends TV show in the 1990s. "D'you know what?" as a conversational key change to candour and sincerity should be copyrighted to Simon Cowell. The indiscriminate use of "passionate" also must derive from Cowell's talent shows, as it is something every contestant must be. Now even Thames Water is "passionate" about water and sewerage.

Most annoying words and phrases don't even have the virtue of newness but, as T S Eliot said, are like old copper pennies, worn smooth with overuse. Sports commentators are the worst offenders, with an overheated vocabulary that calls every moderate-sized crowd "fantastic", every successful kick or shot "fabulous" and every mildly surprising result "incredible". The lexicon of sport is omnipresent, reflecting a nation that is serious about little else. Every significant person in any profession is "a player", every important decision "a game-changer" and everyone in need of improvement "needs to raise his [or her] game".

Politicians come next, though their need to hide behind words makes for a more varied metaphorical palette. How often have we heard a government minister declare that such and such a thing will never happen "on my watch", evoking a vision of some trusty skipper in oilskins, steering us safely through tempests? How often have ministries and agencies been called on to "step up to the plate", and MPs, caught out in lechery or dishonesty, pleaded hopefully that it's "time to draw a line under" their misbehaviour?

Today's news broadcasts consist almost entirely of clichés bolted together in blithe unconsciousness of the surreal mixed metaphors that can result: "After the bubble burst, a lifeboat operation was launched to shore up the system . . ." or, "Unless somebody's head is stuck on a pike, people will start to cry whitewash." These are genuine examples heard on the BBC, on which it's now more important for commentators to wave their hands around than use English with intelligence.

Broadcasters can at least plead the pressure and panic of live transmission. Not so print journalists, who with calm deliberation reach for ninth-hand coinages such as "a perfect storm", "fit for purpose" or "the usual suspects". The drama critic Kenneth Tynan wrote that he could never love anyone who didn't thrill to John Osborne's Look Back in Anger. I couldn't love anyone who began an article, like so many others, with Jane Austen's "It is a truth universally acknowledged . . ."

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Wednesday, December 2, 2015

印象笔记:我为什么喜欢看闷片

我为什么喜欢看闷片

 不流 2015-09-06 23:54:06


今天,我想聊一聊闷片,以及我为什么喜欢看闷片。

我遇到的第一个问题:什么是闷片?"闷片"看上去是个名词,实际上更是一个偏正短语,要义在于这个形容词"闷",它表达了一种感受,其主体是观众。观众不同,闷点也不同,因此你所认为的闷,在我这里也许就是乐。嗯,闷片那么就是一个伪概念。比如,在我看来,大卫·芬奇的很多电影都是闷片,而大卫·林奇一点也不闷。

先说说许多人认为的"闷片",都闷在哪里?

第一,没什么台词,或者对白枯燥抽象、难以理解。比如贝拉·塔尔的《都灵之马》,大部分场景里,主角父女都不说话,只是在荒原里的破屋中,呆坐、睡觉、穿衣、吃土豆、提水、打马。


第二,没什么音乐,都是不好听的自然声。之前推荐过的米开朗基罗·弗兰马汀诺的《四次》便是,整部电影没有音乐,但一点儿也不遗漏风声、羊铃、咳嗽、狗吠这些琐碎的声响。


第三,人物很少。亚历山大·索科洛夫的《母与子》,自始至终只有一个将死的母亲和陪着她的儿子,两个人在屋子里、树丛下、草地上来来去去,只碰见远处滑过的火车,没有见过任何别人。


第四,动作迟缓,表情单一。罗伊·安德森是此类代表,以《寒枝雀静》为首的生活三部曲,让你觉得所有瑞典人都是迈不动脚的胖子、脸色苍白的面瘫,都在素洁单调的城市里浪费时间。


第五,空间简单,极少变化、没什么连续性。远古草原、空间站、月球基地、木星轨道,库布里克用这些距离极远的空间点,拼搭起《2001:太空漫游》这部史上极闷作品。


第六,情节匪夷所思、甚至没有可辨识的完整故事。奎氏兄弟的《本杰明学院》,几乎是一部影像版的意识流小说,看上去有许多人,也总在相互发生片段的事件,但想搞明白到底发生了什么,是不大可能的。


第七,镜头少而长,时间流逝缓慢,让人着急。米克洛斯·杨索的《红色赞美诗》整个就像一部操场纪录片,一大群人在缓慢少动的镜头里跑来跑去、喊来喊去、从近到远又从远到近。


台词和音乐(声音)、人物(关系)、动作(表演)、空间(场景)、镜头(画面)——这些都作为电影表达的语言。闷片的共同之处正在于:减少语言。减少或者说简化(形式上的)语言,也是在放大语言本身的细节和能力。

回到一个基本问题上,电影的根本素质是什么呢?是画面的运动,超过照片和绘画的静止状态,运动引入了时间这一维度。运动带来的直接幻觉就是速度,剪辑和快速剪辑,便是在速度上越来越强化运动性,好莱坞早已为此着迷了,观众也是。快速是一种狂欢状态,消停下来,回到现实,往往处于难免的虚无之中。快速是不现实的、虚假的,而现实的速度就是一秒钟接着一秒钟度过时间。


吃一颗土豆,咬下去、咀嚼、吞咽,就是需要几分钟的时间。你和一个人在街头走路,五百米,三分钟,沉默、没有什么话说,生活就是这样的。我在电脑前写这一段文字,一两个小时,几支烟,一口口抽,双腿换了好几个姿势,就是这样的。

闷片的简省,是一种理智的、诗意的恢复,它尊重现实的时间和速度。它考虑的问题是,电影当然是需要运动的,但不一定要多动。把运动降低到基本状态,慢,提供更多的同时性和真实性,复现生活的本来状态。

比如说,音乐其实是一种抒情的强权,它对情绪具有过强的引导性,它"教"你在此时感到紧张、"教"你在彼时感到悲伤,但你能否自己去感受到呢?电影作者自己是否对画面的感染力有足够的信心呢?一个人在泥泞的路上行走,鞋底在泥水中起落发出的吱嗒声,应该足够让你觉得沮丧了,这里不需要一段煽情的音乐,也不需要人物用台词诉说。


比如说,任何一个故事,在每一个人物的视角上,它并不是全景式的,它是片面的、个人的、主观的。很少的人,很少的动作,他更多的沉默、不动、出神,便更多地接近了内心真实的状态,我因此感受到的也是让我更信服的。长镜头,它用几分钟甚至几十分钟,来保持电影和观看的同步,你注视那人物足够久,你才能真实地感觉到他的状态。

我喜欢闷片的原因也在于,我对看电影有一定的要求。我不喜欢被动地被灌输信息,我所接受的务必是我理会并相信的。消遣当然存在,也必须,但当我去观看一部电影,想从中获得感受和信息的时候,我希望它能拥有一些入口,让我进入,不要太满、太严丝合缝,要有很多停顿、留白,这些地方,由我自己去填补,这样,这部电影便和我真正有互通。


如果一部电影,我一次并没有全盘理解,那么多好啊,我拥有了再看一次的动机。我相信,好的电影,和好的艺术一样,让人愿意反复体验。所以,对于在电影中获得一个完整、清晰、有始有终的故事,我并无需要。

在观看闷片的过程中,我也是在运动的,所以,我觉得闷片一点也不闷。
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Thursday, October 29, 2015

专访北大英语系苏薇星:中国现代化的问题,英国文学都曾反思_翻书党_澎湃新闻-The Paper

专访北大英语系苏薇星:中国现代化的问题,英国文学都曾反思_翻书党_澎湃新闻-The Paper

北京大学。 本文图片均来自网络
苏薇星老师是极其低调的,在北大英语系任教八年,除了曾就燕京学堂一事公开撰文质疑之外,她几乎从不在大众媒体上露面。然而,一位熟悉她的老师告诉澎湃新闻记者,苏老师"是国内英国文学界最顶尖的老师,上课对学生的感化极深"。苏老师在北大开设的课程,有《英国文学史(二)》 《文学、自然与地方》《现代欧洲小说中的自我、危机与救赎》及《二十世纪美国诗歌》,都很受学生欢迎。听苏老师谈英国文学,仿佛重回大学课堂,有如沐春风之感。在她看来,今天的中国社会所面临的现代化的种种问题,英国文学都有深入的反思和检讨,身处当下这个时代的国人,或许能从中得到一定的启发和警示。
英国文学主要不是政治意义上的,而是文化意义上的,更多的指向一个文化共同体
澎湃新闻:苏老师,您长期从事英语文学的教学,您曾经提出,"英国文学"这个概念是值得反思的,能否请您详细谈谈?
苏薇星:"英国文学"这个概念大家已经习以为常了,既然您来采访,不妨借此机会略作反思。英文中说的English literature,指的是一种以英语为核心语言、以不列颠诸岛为核心区域的文学传统。这个概念本身并不强调国家或民族,但是汉语表达方式"英国文学"就容易与国家——尤其是现代意义上的"民族国家"(the nation state)——联系得过于紧密了。
举几个例子。当前的英国并非只有用英语写作的作家,也有作家用盖尔语或用威尔士语写作。莎士比亚的剧作并不总是使用英国的题材,弥尔顿的《失乐园》《复乐园》也不是民族史诗。这些作家都广泛使用了欧洲古典与现代的题材,以及犹太教、基督教的题材。另外,英语国家的大学里,英语文学专业学生常用的教材,也是北大英语系教材之一,是《诺顿英国文学选集》(The Norton Anthology of English Literature)。这部文选二十世纪这卷包括生活在英国原殖民地如印度和南非的作家。诗人谢默斯•希尼就深深植根于英语文学传统,也时常质疑狭隘的民族主义。有一次他不满意自己的诗作被收入《当代英国诗选》(Contemporary British Poetry),就写了首诙谐的诗《一封公开信》,诗里说:"我的护照是绿色的,/ 我们的酒杯从不举起,/ 以祝女王安康。"这里,他强调的是自己的爱尔兰身份。再比如说,苏格兰原来是一直独立的,十七世纪初才与英格兰统一,去年还就是否留在英国举行了公投。
举这些例子,我想说的是,主要产生于不列颠诸岛的英语文学这一卓越传统,是个复杂的现象,富有矛盾和张力,不宜简单看作民族文学或国别文学。我们所说的"英国文学"之所以能成为一个传统或整体,得益于一代又一代的作家与用英语写作的前辈的精神交流和对前辈的传承。
我相信,在最深的意义上,作家并不为某一国家写作,而是为他栖居的语言这个家园写作;也不为某个民族写作,而是为所有人的心灵来写作。接下来的交流中,我想,我还是会用"英国文学"这个概念,它没有什么大问题,眼下也没有其他更合适的选项。但我希望澄清的是,英国文学主要不是政治意义上的,而是文化意义上的,更多的指向一个文化共同体。
浪漫主义大诗人都在他们大部分诗作中以不同方式做着政治思考
《诺顿英国文学选集》。 澎湃新闻:就文化共同体这个角度而言,英国文学有哪些方面值得国人关注?我们知道,英国是欧洲也是整个世界现代化进程开始最早的国家,取得了很多成就,也出现了不少问题,像环境污染、城乡对立等。您可以谈谈英国文学是怎样反映这些问题的吗?
苏薇星:英国从工业革命到维多利亚时代,特别是十九世纪中后期,现代化过程的成果和问题都很显著。我倾向于用"过程"或"历程"这样的词,如果用"进程",那多半意味着进步,但是现代化究竟多大程度上算是进步,这是值得商榷的。
维多利亚时代之前,十八世纪末和浪漫主义时期的作家,如哥德史密斯、华兹华斯、约翰•克莱尔等作家已经反思了圈地运动、城市化对人的生活、尤其是内心生活所造成的损害。在维多利亚时代的极盛时期,有些英国人认为英国已经到达人类文明的巅峰。但是文学家和艺术家好像承载着比旁人更多、更深的忧思,往往注意到的是问题而不是成就。在思想家卡莱尔的笔下,繁荣社会实际上是一片荒原,丧失信仰的人在其中流浪。但是卡莱尔也觉得,这可以是基督接受考验、战胜诱惑的沙漠在现代的体现,人的精神升华依然是可能的。
狄更斯有一部小说题献给卡莱尔,就是中国读者比较熟悉的Hard Times,传统译法是"艰难时世",更准确的译法其实应该是"坚硬时代"。这部小说非常集中地反映了城市化、工业化、教育功利化、工具理性膨胀这一系列现代化趋势所产生的后果,比如,人与人的疏离,人与大地的疏离,人与上帝的隔绝。于是,人心就变得日益坚硬化或者说沙漠化了。
这些问题,除了狄更斯,在乔治•艾略特等小说家笔下,也得到了十分细致的描述和分析,也在思想家纽曼、穆勒、阿诺德、罗斯金的作品中得到了深入探讨。有些女诗人,如克里丝蒂娜•罗塞蒂、伊丽莎白•勃朗宁,对女性在现代社会中的身份、处境和志业,特别是女性如何实现精神升华、发挥自身潜在的创造性,都做了深刻思考。
维多利亚时代的作家对现代化历程的思考并没有随着维多利亚时代的结束而终结。这种思考,在某些二十世纪作家,如诗人和评论家 T.S.艾略特、剧作家和小说家贝克特的作品当中都有反映。艾略特的长诗《荒原》、贝克特的剧作《残局》在某种意义上预示了现代化历程可能带来的最凄凉的后果:人类对文明、对大地的毁灭,最终导致人类的自我毁灭。
澎湃新闻:关于英国文学,国人最熟悉的恐怕就是浪漫主义文学了,但往往将之等同于风花雪月,其实里面蕴含着很严肃的现实关怀和政治思考。
苏薇星:的确如此。最近正好在教英国文学史,我很快就会和学生们读到雪莱一篇著名的评论文章《为诗辩护》。这篇文章是接近两个世纪之前写的,不仅仅是形而上的、对诗的存在的辩护,诗人其实也非常关注英国乃至整个欧洲、甚至世界的状态,我可以引用其中一段文字:
"我们缺少生命的诗篇,我们的盘算超出了我们的思想,我们吃得太多,消化不了。一门门的知识使我们拓展对外部世界的掌控,但是由于缺乏诗性创造力,对上述知识的追求却使我们的内心世界相应萎缩。人类奴役了大自然,可自己仍是个奴隶。诗与金钱所体现的自我至上主义,是这个世界的神明与恶魔。"
这段摘录,比我自己总结得更好。可以看出,浪漫主义作家不仅是对当时的现实十分关怀,而且,他们的关怀超出了自己身处的那个时代。刚才我引用的那段话,就适用于今天消费主义、 "自拍"文化盛行的中国。
浪漫主义诗歌的确富有现实关怀和政治思考,当然,也有形而上的思考,对人的灵魂的深入探究。毫不夸张地说,几位浪漫主义大诗人,从威廉•布莱克、华兹华斯、柯勒律治到雪莱、拜伦,都在他们大部分诗作中以不同方式做着政治思考。浪漫主义最核心的政治思考可以说是围绕法国大革命的理想而进行的,具体来说,是针对法国大革命一直到滑铁卢战役的一系列事件。这些思考的意义并不局限于刚才说的那几十年,也包括日后欧洲乃至世界各地的社会变革。
华兹华斯和柯勒律治这两位比拜伦、雪莱、济慈早一代的浪漫主义诗人,法国大革命开始时,还是二十岁上下的青年人,对法国大革命的彻底改变世界、让人类从此免受苦难的理想怀有信念。但是大革命后来出现的一系列暴力和血腥的事件,又让他们费解和失望,认识到人类不应依赖外在的社会体制的变革。这些诗人逐渐意识到,真正的革命应当发生于人的内心,通过同情心与想象力这两种精神力量让灵魂得到新生。
澎湃新闻:前面您说到英国诗人、作家对英国现代化历程当中的问题有着诸多反思,伦敦沦为雾都其实就是非常典型的现代化问题的体现。这个问题,恰恰也是今天的中国人特别关注的。英国文学对此有什么反映吗?
苏薇星:"雾霾"这个问题,国人的确非常关心。英国文学对这个问题的反思和检讨是发人深省的。咱们不妨暂时区别对待"雾"和"霾",把"雾"界定为自然现象,把"霾"界定为人为现象。而且,我想先简单谈谈文学和地理、气侯的关系。
法国作家斯塔尔夫人是十九世纪初法国浪漫主义运动的积极推动者,她向法国文学界热情推介了德国和英国的浪漫气质的文学。她提到与和煦温暖的南方、也就是地中海沿岸相比,北方也就是英国、德国的严峻的气侯、多云的天空,让人的灵魂更丰富,也更善感,让人滋生强烈的向往。任何一个曾在不列颠诸岛居住或旅行的人都会注意到,这真的是个不折不扣的云霞雾霭之国。这种气候其实促成了一些杰出的诗人和艺术家。在华兹华斯、柯勒律治、雪莱等诗人笔下,至高的启示性经验常与朝阳、晚霞、彩虹、云天、以及山间的薄雾和雾里的月光相关。这是一方面。
另一方面,伴随着工业化的兴起,不仅是伦敦,英国其他一些城市都沦为"雾都"——或者说"霾都",这就引起了英国作家的担忧。维多利亚时代评论家约翰•罗斯金晚年曾详细描述过英国多地的霾,他断言说,不管是远在古希腊、罗马时期的荷马、维吉尔,还是近在十九世纪的华兹华斯、拜伦,谁都没有见过这么可怕的景象。如果英国的天气一向如他晚年所见,那么像他的《现代画家》这样的杰作根本不可能诞生,因为他的灵魂依赖于岛国的天光水色来滋养。其他艺术家又何尝不是这样呢?霾对健康的危害每个人都知道,也都很关心,而罗斯金却想提醒大家,在更深的层次上,霾对人的心灵的伤害可能更值得大家关注。常态化的阴霾,会不会让艺术家沦为濒危物种?
康拉德发表于1899年的《黑暗之心》是一部很有名的小说,拉开小说帷幕的,从某个角度来看,不妨说就是关于伦敦雾霾的沉思。小说开头,几位水手在泰晤士河口等待启程远航。从河口远眺海面,夕照下的远方明净安祥,但是位于河口的伦敦、这座当时世界之都的上空却黑云笼罩、阴霾不散。而此时一位叙述者却在为几个世纪以来向外传播文明的英国而感到自豪。这幅景象的反讽意义既含蓄又有力,仿佛在向自豪的英国人发问,伦敦这个文明之都带给世界各地的究竟是光明还是黑暗,文明还是野蛮,理想还是虚无。
小说序幕中好几次用"沉郁的阴霾"来指伦敦上空。几年前教《黑暗之心》的时候,我觉得还需要提醒一下学生,北京也时而出现沉郁的阴霾。这些年随着雾霾的常态化,已经无需再提醒了,但是小说序幕中对伦敦的描写、对帝国使命的沉思,还有标题"黑暗之心"本身,我觉得对当今中国来说,尤其耐人寻味。如果我们按照日常习惯,把雾霾看作外在环境,这就过于简单了,其实是一种自欺。《黑暗之心》这样的文学作品启发我们认识到,外在的雾霾又何尝不是我们内心的雾霾的写照。也许这片雾霾可以得到驱散,但首先得承认它的存在。
英国文学未必能给中国读者带来什么实际用处,但是任何一位读者想要深入认识自我,阅读这些作品都会有启发
《黑暗之心》。
澎湃新闻:从对现代化的反思和检讨这个角度出发,中国的读者,应该如何阅读英国文学呢?
苏薇星:中国在现代化历程中产生的后果和遇到的问题,与英国是颇为相似的。前面列举的某些作品探讨了工业化造成的环境污染,英国文学还对功利主义和实用主义,尤其是唯科学论、技术至上论提出质疑和批判,这些我觉得都可以起到警示和教育的作用。这是一个方面。
另外,我想强调一点,英国作家对现代化的质疑和批判,并不意味着否定整个现代化的历程。现代化的历程其实也是一个深刻的自我发现的过程。像布莱克、华兹华斯、雪莱这些诗人,一方面悲叹于工业化带来的机械、麻木、为体制所鼓励的自私,另一方面,又洞识了人的灵魂的无限性、同情心和想象力的无限性。这很有一点悖论色彩,对阅读英国文学的中国读者是有很大启发的,我们每个人内心大概也有丰富的潜能。
除了浪漫主义作家之外,现代主义作家如康拉德、乔伊斯、伍尔夫等人的作品,都对人性的复杂、神秘、虚妄做了很深入的探索。这些未必能给中国读者带来什么实际用处,但是任何一位读者想要深入认识自我,阅读这些作品都会有启发。
当今中国社会显然实用主义色彩是极其浓厚的,说到文学也好、艺术也罢,常常期待它们能提供一些办法。但在我看来,文学艺术带给我们的不是办法,而是启迪或启示。启发我们搁置实用性思维,回归对本质性问题的沉思。
约翰•克莱尔也是浪漫主义时期的一位作家,十九世纪上半叶,他的作品一度比同代人济慈的作品还要受欢迎。这是特别眷恋故乡的一位诗人。关于圈地运动对故乡面貌和生活的改变,自己被迫离开故园后的感受等等,他写了很多诗作,比如《高地》、《为告别我出生的农舍而作》。他所说的家乡,和一般理解的可能不一样。在他的诗歌里面,我们可以体会到,家园不仅让人栖身其中,还让人与大地乃至宇宙建立某种联系,感觉到一种宁静、广大的秩序,与前人保持精神上的联系。
有些诗歌的预见性是很惊人的。大约一个世纪前,叶芝写了一首很有名的诗,叫《第二次降临》,乍一看,是指耶稣基督再度降临,其实不然。叶芝预见到基督教文明的终结,和即将来临的血腥和野蛮的时代。叶芝这里还有别处的一些文字,恐怕不仅是指他当时身处的一战后的世界,也预言了二战以及此后的世界。
叶芝正是在二战前夕去世的,奥登写了一首悼念叶芝的名诗,其中一句很有争议:"诗歌无法让任何事情发生。"这句诗看似偏激,其实对实用主义思维盛行的国人有一定的参考价值。奥登觉得,历史很大程度上由人性之恶造就,然而他也相信,善是永恒的,善超越于历史而存在。
我们当然不一定同意这些作家、诗人在作品中发表的观点,但的确可以借此进一步思考,避免对历史的简单思维,比如盲目乐观。我觉得,英国文学和其他文学一样,给了我们一个与古人对话的机会,这是特别珍贵的。在古人引领下,我们可以追溯生命、创造力和文明的源泉,从中汲取新生的力量。
北大英语系的英国文学教学
澎湃新闻:
北大英语系如何进行英国文学教学,您能谈谈吗?
苏薇星:北大英语系注重阅读文学原典,不是概览或综论式的文学史。据我所知,中国高校尤其是以前,西方文学课程偏重于文学史的介绍,对文学作品本身重视不够。我们系尤其注重经典的阅读。意大利作家卡尔维诺在《什么是经典》一文中给了经典一系列描述,有一条是,一部经典作品要说的话永远说不完。另外,我们注意加强学生的英文写作,鼓励学生关注自己真诚的读书感受和个人心得。
我们尽可能开设高质量的文学课程。英国文学方面的本科课程,除了为期一年、以读原典为主的文学史课之外,还有英诗选读、莎士比亚与马洛戏剧选读、十八世纪文学、十九世纪小说等课程。研究生课程包括乔叟、弥尔顿、浪漫主义诗歌、浪漫主义小说、维多利亚诗歌、维多利亚思想家、现当代爱尔兰文学等。
在我个人看来,北大英语系并不期待也不希望把所有英语专业学生都培养成文学学者或者作家。根据我在系里这些年所看到的,有相当一部分同学阅读文学作品之后受到一种感召,愿意把文学当做志业,有不少同学正在英美学府的文学系深造,也有几位同学爱上戏剧,目前正在美国学习表演艺术,这些都让我和同事们十分欣慰。但我们一个最基本的目标,还是让学生通过阅读优秀的文学作品,发现人的内在生命的深邃和丰富。
我个人觉得,潜心学习一门语言文学,假如愈发热爱它,浸润在它的世界里,这门语言就有可能转化成"内语"或是"心语",学生从中感受到一次新生命的开端,比以往生活更深刻的生命的开端。
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Wednesday, October 28, 2015

An Economist Turns Sleuth - The Chronicle of Higher Education

A Harvard Economist. A Coup Plot. A Career Forever Changed.

By Marc Parry October 16, 2015
Dani Rodrik, an influential economist at Harvard, took on the role of sleuth and political activist when his father-in-law, a retired general in Turkey, was accused of leading a plot to overthrow the government there.
t began with unexpected news from home. In January 2010, Dani Rodrik and Pinar Dogan, married Turkish economists at Harvard University, got word of a dramatic story hitting newsstands in Istanbul. There had been a plot to topple the government. It involved terrorism. And its ringleader was a retired general named Cetin Dogan — Pinar's father. Within weeks the general would be in jail. And his case would upend Rodrik's life, turning the prominent economist into a criminal sleuth and political crusader.

Political skullduggery is not Rodrik's specialty. The low-key scholar has spent his life studying what works in economic reform. Over his 35-year career, Rodrik has developed a reputation as an iconoclast whose work challenges received wisdom about development and globalization. Much of his thinking is distilled in The Globalization Paradox: Democracy and the Future of the World Economy (W.W. Norton), a 2011 book that mines 300 years of evidence to make the case for a healthier globalization that allows countries ample leeway to set their destinies.

"There's hardly anyone whose new papers I would rather read than his," says Tyler Cowen, a professor of economics at George Mason University and co-founder of the blog Marginal Revolution.

The story breaking in Turkey that day presented a puzzle unlike anything Rodrik had faced in those papers. Taraf, a feisty upstart newspaper with an avid following among the country's liberal intellectuals, had begun to publish what purported to be secret military documents from 2002-3. These revealed an operation, code-named Sledgehammer, to destabilize and overthrow the newly elected government of the Islamist-rooted Justice and Development Party. The plot, though never carried out, was packed with grisly details: Mosques were to be bombed, a jet downed, journalists arrested. It was also consistent with Turkey's long history of military coups.

When Rodrik and his wife spoke with Cetin Dogan, though, the general told them he'd never heard of Sledgehammer. They believed him. But that only deepened the mystery. Were the coup plans genuine? Had Dogan's name somehow been added to them? Rodrik and Pinar Dogan began to investigate the coup documents, which eventually became the centerpiece of a landmark court case that targeted hundreds of military officers. Many called it Turkey's "trial of the century." The two economists called it a fraud.

As a social scientist, Rodrik had always believed in the power of evidence to change people's minds. His Sledgehammer investigation revealed the coup plans to be forgeries. The evidence was clearer than anything he had ever encountered in economics. But it didn't matter. People clung to the story regardless.

To his bafflement, Rodrik found himself in a battle with Turkey's intellectual establishment: fellow liberals, many of whom he was friendly with, who shared his hopes for a more democratic country. Critics accused him of supporting militarism, of disgracing Harvard's reputation, of manipulating the facts to save his father-in-law. Once a favorite son, the Turkish economist with the highest global profile, he was forced to avoid his homeland for fear of detention.

It's a personal ordeal that still wakes Rodrik up at night. But it has also become more: the springboard for a new way of studying politics.

ani Rodrik sat down to tell that story in April in his bright, roomy office at Princeton, N.J.'s Institute for Advanced Study, which he and Pinar Dogan joined in 2013. Rodrik's writing can be shrill, but in person his vaguely foreign voice rarely rises. He is a tall, graceful man with gray hair, a slight smile, and a modest demeanor — generally. This morning he can't help mentioning that his Twitter profile, open on his desktop computer, has just hit 50,000 followers. He is describing that social-media audience — about 40 percent of it comes from Turkey — when four quick knocks at the door announce the arrival of Dogan, who works nearby in a much smaller space that is decorated with Radiohead album art. "I told Dani that I want to have a tent over here," she jokes. "Just give up my office."

Though Rodrik and Dogan share a discipline, in background, personality, and research focus the two are not much alike. Rodrik, 58, hails from Turkey's small Jewish community, the son of a self-made pen manufacturer who managed to send his son to Harvard. Dogan, 42, grew up moving among Italy, London, and southeastern Turkey, the migratory life of a military daughter. Rodrik is reserved. Dogan is animated. Rodrik is a public figure whose accessible books, columns, and blog posts speak to policy issues debated around the globe. Dogan is a more narrowly focused researcher who specializes in industrial organization, competition policy, and regulation.

By the time Rodrik got to know Dogan's father in 2004, the four-star general had already retired from the military, as the economist recalls in a long personal essay about Sledgehammer. Rodrik expected an authoritarian character; he found a soft-spoken man who doted on his daughter. But there was no chance he could win the general over to his political views. Cetin Dogan, like many Turks of an older generation, viewed the military as an essential backstop against Turkey's sliding into an Islamic state. Rodrik, like other liberals, wanted to see the military's role diminished.

Until the late 1990s, Turkey's intensely secular military had dominated politics in the mostly Muslim nation. It clashed with Islamist-rooted political movements like the Justice and Development Party of Recep Tayyip Erdogan, the leading figure in Turkish politics since he become prime minister in 2003 and president in 2014. The military also repeatedly stepped in to oust governments. General Dogan himself had played an important role in what is known as the "postmodern coup" of 1997, as Rodrik describes in his essay. The military, he writes, had "tightened the screws" on Erdogan's Islamist forerunner, Necmettin Erbakan. "There had been a purge of suspected Islamists in the bureaucracy and universities," Rodrik writes. Erbakan eventually had to resign.

"A lot of people hate my father-in-law in Turkey," Rodrik says, "because they associate him with a hardline view that has done much damage to the deepening of democracy."

Cetin Dogan, a retired general in the Turkish military, was accused of leading a plot to overthrow the government.
But was he the murderous putschist depicted in the Sledgehammer plans? Soon after the coup story broke, Rodrik and Pinar Dogan began to spot odd inconsistencies. The first glaring anachronism concerned a well-known nationalist youth organization that had been named as a Sledgehammer collaborator in the core coup document, dated December 2002. The group turned out not to have been founded until 2006. For Rodrik and Dogan, that suggested a way forward. They weren't military experts. But they could search for further inconsistencies. "If they made one mistake," Dogan told her husband, "they must have made more."

Many more. Working in the evenings, in their house near Harvard Square, Dogan Googled through the coup documents like an undergraduate paper she suspected of plagiarism. "Dani!" she would shout. "You have to come and see!" Hospitals, military units, companies — Dogan and Rodrik identified dozens of instances in which the documents listed entities by names they had acquired only years later. For example, a pharmaceutical company, Yeni Ilac, had been renamed Yeni Recordati after an Italian firm took it over in 2008. Yet the new name appeared in a coup document that was supposed to have been most recently saved and burned onto a CD in 2003.

Rodrik and Dogan reported each inconsistency on a blog about the case. It all added up to a clear conclusion: "Operation Sledgehammer is a fiction," they wrote in September 2010. "Its authors are not the defendants in the case but unknown malfeasants who fabricated the documents sometime after 2008."

Rodrik and Dogan had discovered the underbelly of Erdogan's Turkey. The prime minister had established a reputation as a moderate Muslim democratizer. But Sledgehammer reflected a growing crackdown on dissent. It marked the second in a series of major trials that were rooted in an alliance of convenience between the prime minister and followers of Turkey's most famous Islamic preacher, Fethullah Gulen. In exchange for their support, Erdogan let the Gulenists "establish a substantial presence in the police and the judiciary, which was then used to target their shared enemies, opponents and rivals," according to a report on the case by Gareth Jenkins, an Istanbul-based political analyst associated with the School of Advanced International Studies at the Johns Hopkins University. The targets ranged from "hardline secularists to military personnel, charity workers, journalists, lawyers, trade union officials, opposition politicians, Turkish nationalists and Kurdish nationalists," Jenkins writes. Thousands would be charged and jailed. Many more were "intimidated into silence."

Even before Sledgehammer, the Turkish justice system had never worked all that well. Everyone knew that politics had tainted cases in the past. But "what we were seeing was something that was many, many times worse, and that had actually not taken place before," Rodrik says, emotion edging into his voice. "Which was that these prosecutors were actually literally members of a criminal gang —"

"Yes," Dogan says.

"— that were running these cases knowing full well that in fact the evidence was bogus," Rodrik says.

What was unfolding in Turkey, he came to understand, wasn't the popular story of democratic reform. It was something else: the "reconstitution of a new kind of authoritarianism."

etermined to press their case, Rodrik and Dogan flew to Turkey — and into the headwinds of a competing narrative. It was December 2010. Cetin Dogan's trial was beginning on the grounds of a prison complex near Istanbul. The case accused nearly 200 officers of plotting to topple the government in 2003. Outside the courthouse, bearded and headscarf-wearing demonstrators carried signs with Cetin Dogan's image. "Break the Junta's Sledgehammer," their banner said. It was in this atmosphere that Rodrik and Pinar Dogan began to attack the case in a book and a series of appearances on Turkey's leading TV news programs.

The reaction, Rodrik later wrote, was "a mix of denial, deception, and fear." Most vexing was the response from his would-be friends in the intelligentsia. These liberals saw the Sledgehammer trial as a sign of democratic progress. Finally the military would be removed from politics and its leaders forced to confront their crimes. But presented with Rodrik and Dogan's research, the intellectuals mostly ignored it. They refused to re-evaluate their beliefs. When leading columnists were invited to a forum about the couple's findings, just three showed up. People declined to see them. Their emails went unanswered.

The couple also became the target of personal attacks. Military officers had fooled Rodrik, opponents would say. Love had blinded him. Opportunism had driven him to scheme for a job as finance minister once the military seized power. In the Islamist press, articles smeared Rodrik's Judaism. His religion was used to tar Cetin Dogan, because the general let his daughter marry a Jew. It also fed accusations that Rodrik was working his Zionist connections to turn the world against Turkey.

More ominously, one newspaper close to the government published the name of Rodrik and Dogan's then-3-year-old son as well as information from the boy's identity card. But even that threat didn't stir the liberal intellectuals. "People that Dani had considered friends, it wasn't just that they attacked him over his findings on the case itself," says Jenkins, the political analyst. "They remained silent in the face of this quite disgraceful campaign against him and his wife. It must have been very devastating personally."

Still, Rodrik and Dogan felt that their arguments were gaining traction. Their blog traffic soared. But just around that time, prosecutors made a new discovery: a fresh trove of evidence that flung Rodrik and Dogan back on their heels.

f Rodrik were to be found wrong here, the economist would be forever tainted with the accusation that he had allowed family loyalty to overcome professional objectivity. Yet, great as the risk was, it was also, to some extent, familiar territory. Rodrik had devoted much of his academic career to puncturing overhyped narratives. In some cases, the professional consensus eventually swung closer to his positions. The question was whether he could pull that off again with Sledgehammer.

The fact that Rodrik came from Turkey, a relatively underdeveloped country, had a lot to do with his choice of profession. Early on, one basic question preoccupied him: Why are some nations poor and others rich? He flirted with both political science and economics, but decided the latter offered the more powerful tools.

Trade liberalization (removing barriers to free trade) was the subject where Rodrik first distinguished himself as a maverick. In the 1980s, two major questions confronted economists and policy makers. One was what to make of the remarkable growth of Taiwan, Hong Kong, Singapore, and South Korea. The other was how to promote growth in Latin America and Africa. The conventional wisdom on those issues came to be known as the Washington Consensus, as Rodrik recalls in an unpublished intellectual autobiography. The Washington Consensus diagnosed East Asia's success and prescribed a series of reforms to other developing regions — reforms that emphasized liberalization, deregulation, privatization, and price stabilization.

Rodrik was dubious. He argued that East Asia should be viewed "not as an experiment in economic liberalism, but as a judicious combination of markets and state interventions." The extraordinary growth of South Korea and Taiwan hinged on the significant steps that those countries' governments had taken to "stimulate and coordinate private investment." But it was uncertain how much of that playbook applied to the weaker states of Africa and Latin America. "The East Asian experience suggested that one of the standard narratives in economics, pitting state against market, may have gotten it backwards," he wrote. "In fact, markets required a strong state."

In the 1990s, Rodrik shifted his attention to carving up another sacred cow of economics: financial globalization. The term refers to the free flow of capital around the world — countries opening up to investors from abroad, banks borrowing freely across borders. The idea was that financial globalization would be a boon for developing countries because they could access international capital markets, borrow, and then invest more domestically. The problem, as Rodrik saw it, was that liberating capital flows carried great risks even as the evidence did not indicate a strong stimulus on growth. "He stood out as one of the voices that questioned orthodoxy before it became fashionable to do that," says Joseph E. Stiglitz, a fellow skeptic on the subject who was chief economist at the World Bank at the time and now teaches at Columbia University.

Dani Rodrik and his wife, Pinar, found themselves embroiled in Turkish politics and, to his surprise, in battle with many of their fellow intellectuals there.
Something similar happened with what may be Rodrik's most famous idea, a simple but far-reaching theory that frames the trade-offs of globalization. The theory holds that democratic politics, national sovereignty, and hyperglobalization are "mutually incompatible." At most, you can have two of the three. If you want to deepen globalization, he argues, you need to give up some sovereignty or some democracy. This idea, known as the "political trilemma of the world economy," failed to generate much interest when Rodrik initially proposed it in 2001. A decade later, though, the theory re-emerged with the struggles of Europe, which had tried to build a unified market while leaving political control vested in the national entities that it comprised.

"The trilemma is now completely mainstream, especially after the whole eurozone crisis," says Cowen, the George Mason economist. "Countries can't just do what they want, and they feel this pain very badly. That's another area where he's very much been vindicated."

s the Sledgehammer case progressed in December 2010, Rodrik's prospects for vindication plummeted. That month, Turkish prosecutors searched a naval base. They produced crucial new evidence they said had been stashed under the floorboards of the intelligence unit. Here were copies of the original Sledgehammer plans, plus more documents implicating others in the conspiracy. The discovery enabled authorities to expand their dragnet. It also supplied fresh ammunition to the case's supporters. Taraf had based its reporting on a suitcase full of CDs and tapes obtained from an anonymous source. But this new material turned up at a military base. It had to be genuine, proponents argued. Whatever claims Rodrik and Dogan had made, they were now invalid.

The two economists knew that their opponents had "moles within the military," as Rodrik puts it. The trove given to Taraf had included genuine materials like recordings from a military seminar — sometimes embarrassing tapes that showed the top brass's low regard for the Islamists. "If the culprits were able to remove such material from within a military compound," Rodrik and Dogan reasoned, "wouldn't they have also been able to plant some fabricated files in a storage area on a naval base?" So the couple kept digging.

It was an obscure officer and software engineer that finally led them to the smoking gun. On March 29, 2012, Abdurrahman Basbug stood to defend himself in the Sledgehammer trial. Basbug's technical talk generated little notice then, Rodrik writes in his Sledgehammer essay. But the officer's research revealed something crucial: The putsch documents had been created using Microsoft Office 2007, software that did not exist at the time the coup was said to have been planned. Rodrik and Dogan passed Basbug's analysis to a Boston-area forensic consultant they had hired to examine the digital evidence. He confirmed that the documents could not have been produced in 2002-3. Jenkins, who has studied the Sledgehammer documents, says Rodrik and Dogan "proved beyond a shadow of a doubt that the case was fabricated."

But it didn't matter. The judges couldn't have cared less.

And, outside the courtroom, it wasn't just the Turkish intellectuals who continued to frustrate Rodrik. Foreign observers, too, viewed Turkish politics through "rose-tinted glasses," he writes. He singles out the pronouncements of Steven A. Cook, a Turkey expert at the Council on Foreign Relations, who said Erdogan's Justice and Development Party "has done everything that it can" to forge "a more democratic, open country."

That was in May 2012. Four months later, the Turkish court convicted 331 Sledgehammer defendants of planning to overthrow the government. Cetin Dogan got a 20-year sentence.

The turning point of the case was unrelated to Rodrik's evidence. In December 2013, with their mutual enemies enfeebled, the Islamist alliance between Erdogan and the Gulen movement collapsed. Gulen supporters in the police and judiciary tried to arrest nearly 100 "close associates" of the Justice and Development Party leadership on corruption charges, according to Jenkins's report. In response, Erdogan removed the prosecutors behind the corruption investigations, Jenkins writes, and set in motion a "purge" of suspected Gulenists in the criminal-justice system. Erdogan also disassociated himself from Sledgehammer, the case that had helped him defang Turkey's once-mighty generals.

Most people would interpret what happened next as a victory for Rodrik and Dogan. In 2014 the Turkish constitutional court, finding that the defendants' rights had been violated, ordered a retrial in the Sledgehammer case. Cetin Dogan was released from jail. When The Economist wrote up the news, its article began, "That long-awaited 'we told you so' moment arrived on June 18 for Dani Rodrik … and his wife Pinar Dogan." The retrial resulted in the acquittal, on March 31, of all the defendants.

"We won," says Pinar Dogan.

Rodrik sees it differently.

"We would have won," he says, "if we had convinced people earlier."

"Oh, come on," she says.

"I'm very disappointed," he says.

"How could this have happened?" Rodrik asks later, after his wife has left. "How could such a massive undermining of the rule of law have taken place in the name of building the rule of law for so many years," all while "people were looking and applauding? That's the massive paradox that I'm trying to understand."

odrik and Dogan returned to Harvard in the summer. Their Sledgehammer battles have quieted. If you hear about Rodrik this fall, it's more likely to be in connection with his new book, Economics Rules (Norton), a study of his discipline's successes and failures that makes no mention of coups, trials, or forgeries. The Turkish odyssey remains alive for Rodrik, though. The policy course that he taught recently. The papers he writes. The diagrams he sketches in blue marker on his whiteboard. All are shaped by it.

"I'm desperately trying to intellectualize my experience in some way," Rodrik says.

The case has rekindled his interest in what makes real democracy possible. When do democracies generate not just electoral majorities but also protection of rights for minorities, equality before the law — the kinds of things that were missing in the Sledgehammer affair?

By some measures, democracy has never been healthier. Electoral democracies account for more than 60 percent of the world's nations, up from roughly 40 percent in the late 1980s. In practice, though, most of those democracies "fail to provide equal protection under the law," according to a recent essay that Rodrik published with another economist, Sharun Mukand. To understand why, they examine three kinds of rights. Political rights rest on the strength of numbers. Property rights have the wealth of elites behind them. But civil rights typically benefit a relatively powerless minority, who lack wealth or numbers. For that reason, "a truly functioning liberal democracy that provides civil rights is going to be a very, very rare phenomenon," Rodrik says. The question isn't why democracies slide into illiberalism. That's what you should expect. The interesting question — and one of the key puzzles that his new work tries to solve — is why some democracies manage to remain liberal. What makes the emergence of civil rights possible in societies where, on the face of it, those rights don't have a strong constituency?

Rodrik's new scholarship also tackles a second, related puzzle: one about narratives. His foray into Turkish politics pushed him to reconsider a deeply established tradition in economics, one that views policy outcomes in terms of vested interests. These are the powerful groups, like companies or trade unions, that advance their agendas through the political sphere. Rodrik realized there was something missing from scholars' models of political and economic life: ideas.

Take the liberal intellectuals in Turkey. Their interests and Rodrik's were the same: a more democratic country. But they bought into a different narrative, he says, one that made them "tools" of the government. They legitimized Sledgehammer for middle-class Turks and the West. It's not an outcome that vested interests can explain.

"My argument here is not to deny that there are organized groups that have disproportionate power in the policy-making process," Rodrik says, "but to make the argument that the manner in which these groups define what is in fact in their interest depends on all sorts of things having to do with their ideas, with the stories they've constructed, and with how they view their own identity."

This may not seem all that novel, and you can play out the same logic through countless examples. In business, firms might believe that their interests are best served by blocking competitors from a market. Or they might believe that the health of their industry depends on innovation (think Silicon Valley). Or consider inequality. Until recently the harms of inequality didn't play a major role in American economic discourse. A different narrative, about efficiency, incentives, and entrepreneurship, overwhelmed that one. But now inequality has emerged as a prominent and politically consequential story.

The real mystery that intrigues Rodrik is the timing. When can ideas make a difference in shaping perceptions? And when are interests so strongly entrenched that ideas become secondary?

On a less abstract level, Sledgehammer changed another aspect of Rodrik's thinking. He no longer trusts much of what he reads in the newspaper. The professor had long been skeptical of economics stories. He now feels similarly wary about coverage of political developments in foreign countries. The reason: If you hadn't known the reality in Turkey, he says, it was simple to accept the usual liberal explanations of what was happening.

"It's very easy to read these stories, and they resonate with your own worldview as a liberal," Rodrik says. "And you're likely to believe it. I wouldn't say that it turned me into a conservative. But it made me much more skeptical and much more cautious about what one might say is the standard Northeastern-Ivy League-elite-liberal-establishment narrative about how the world works. It's made me extremely skeptical of what I read in The New York Times, and The New York Times's take on what's happening in different countries. In a way, I should have known."

Marc Parry is a senior reporter who writes about ideas, focusing on research in the humanities and social sciences. Email him at marc.parry@chronicle.com, or follow him on Twitter @marcparry.

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Wednesday, September 30, 2015

英文电子书阅读法

英文电子书阅读法

2015-07-12 BetterRead

作者:王烁

关注BetterRead,有理有趣有用的英文读物推荐


读英文电子书12年,各种书都读过,各种工具都用过,欲善其事,先利其器,所有心得,一文打尽。


为什么读英文书?


我这里所谈,仅限于英文电子书,中文电子书世界还有许多选择,在此不涉及。


许多朋友问我英文书怎么读。我说就是找到你的兴趣点,然后就读起来。如果已过大学六级,有好的电子阅读工具,方便的英文词典,就能读起来。但凡资讯、图书,只要是感兴趣的,优先读英文版,哪怕眼前就有中译本。不要吝啬起步之时要付出的一些努力,越读会越有收获。


资讯的全球化,在互联网出现之后就开始了。全世界任何地方发生的新闻,全世界任何其他地方都可以同步了解;图书阅读的全球化,则要到10年之后,也就是amazon推出kindle阅读器之后才开始,自那以后,全世界任何地方出的新书,全世界任何其他地方都可以同步阅读,极大地解放了读书人,不用等图书慢慢到岸,价格也大幅下降。一个有能力读英文书的人,如果还要等中译本,耗掉中间的数个月乃至数年的时间,实在是辜负了这个时代。


为什么读电子书?


纸书太重,字号太小,又不可调,做摘录得靠手抄,也不可能随身带着七八十本纸书,在高清电子墨水阅读器出现后,读纸书已无必要,嗜好油墨香味者除外。


用什么读?


我从2003年开始用电子设备读书,最早用Sony的SJ33、TH55读,然后用Palm公司的Treo650读,都是前iPhone时代的史前名器。iPhone时代开始之后,用过苹果的iPhone、iPad、iPad mini,amazon的kindle DXG、kindle paperwhite。


史前时代已过,当前电子阅读器的选择,其实只有两类,一类是能用来作电子书阅读的多功能电子设备,如iPad;一类是单一电子书阅读器,如kindle。前者功能强大,软件丰富,iPad上的电子书阅读app,有苹果自己的iBook,采用通用的epub电子书格式;也有amazon的kindle阅读软件,采用其自有的mobi电子书格式。既可从苹果商店和amazon书库里购买下载,也可以将自有的电子书导入。如果阅读量不太大,用iPad读电子书是一个不错的选择


但是,如果阅读量较大,iPad长时期阅读相当伤眼,只能选择那些采用电子墨水技术的阅读器,其中kindle阅读器是首选。电子墨水有千般不好,只有黑白两色,速度偏慢、翻页迟滞,功能单一,但有一个杀手功能就胜出:它不伤眼,目前最新一代kindle paperwhite的显示精度提升到视网膜级,赶上了iPad,超印刷品的精细显示效果,使它完全能够替代纸书。


kindle采用amazon自有系统,另外一些电子墨水阅读器厂商采用通用的安卓系统,其中kobo系列的硬件水平可与kindle比肩,可惜书库是个软肋。


从哪里找书?


庞大书库是amazon无可比拟的优势,目前已有近百万种电子书。所有新书以及许多老书都有了kindle版,一键下载,方便至极。大多数电子书定价是9.99美元,相当于60多元人民币,以中国标准来看尚不便宜但也不算很贵,对能够且有兴趣读英文书的人来说,不是大的负担。


许多朋友在amazon网站购书据说有这样那样的问题,以我的经验,注册一个美国亚马逊网站账户,挂上国内的双币卡,买电子书从来没遇到过问题。



公版网络书库,以Project Gutenberg(www.gutenberg.org)为最,顾名思义,古登堡计划上承古登堡发明西方印刷术的伟业,是目前最大的公共版权网络书库,里面有数十万种已成为公共财富的各语种图书,英文最多,西方经典应有尽有,每本均有详尽的各种电子书格式提供下载,方便各种阅读设备,功德无量。祝它长命百岁!


各种电子书格式怎么读?


最主流的两家,苹果iBook用的是epub,amazon用mobi格式,近年又衍生出azw3版权加密格式。对正版图书读者来说,这些都不用在意。无论哪种格式,在阅读软件中功能都差不多,能放大缩小字号,改变字体,自动重排,设置阅读背景,加载词典。好用够用了。


移动设备上电子阅读的难题,是读PDF电子书。


PDF是最常用电子文档格式之一,迄今仍有大量的专业文档只有PDF格式,特别是各种教材、论文。PDF的好处是跨平台、格式保真,坏处是不能根据阅读器的屏幕自动重排,手机屏幕太小,读来字号太小,几无实用价值;至少要iPad这样大小的设备上才能读得舒服。


在iPad上读PDF,强烈推荐神软goodreader,可加挂云中书库,可裁边,可加批注,可作摘录,读完后可将批注摘录生成读书笔记,直接发到笔记软件evernote中保存,读书与知识管理一气呵成。


在kindle上读PDF,amazon出过9.7寸的大屏kindle DXG,这款阅读器推出的时候主要面对教育市场,原因正在此。不过,这款设备太重,太大,兼已停产多年,要找不易,amazon上偶有打折清仓。有兴趣者可留意。


现在kindle电子阅读器主打6寸设备,旗舰级的kindle voyage和大众级的paperwhite都如是。在这些设备上直接读PDF文件是一种折磨。amazon提供了一个折衷办法,可通过send to kindle软件将PDF文件发到阅读器,勾选"convert"转换选项,自动转为标准电子书格式,文字版PDF文件转换的效果尚可接受,可惜不适用于扫瞄版的PDF文件。



在kindle上读扫瞄版PDF文件,只有一个办法,好在这个办法还很不错,如果你愿意破解kindle设备的话。推荐一款开源软件koreader,可以与amazon原生系统无缝切换,实现PDF的自动重排,效果惊人,并加入字典、私人云中书库、与evernote自动同步书摘等功能,大大提升kindle设备价值,成为一部真正的全能阅读器。Github上可找到这款软件(https://github.com/koreader/koreader)。


不过,amazon不断升级kindle设备的固件,最新固件特重加密,很长时间也无法破解,破解社区一片哀鸣。我手上的paperwhite一代机用的早期固件,装有koreader,始终不敢退役,也不敢去买最新的kindle设备。amazon何苦难为我们读书人呢?何不干脆收购koreader并整合到原生系统当中?


眼下,不愿/不能破解kindle,又想用电子墨水设备舒服地读PDF,钱够多也是有办法的。Sony近来推出一款13寸的电子墨水阅读器DPTS1,专门用于读PDF,加手写识别。大屏解决了一切问题,还非常轻便。一个接近完美的解决方案,配上了一个劳斯莱斯般的价格。几经降价之后,最新的价格仍是799美元。有钱的建议去买,没钱的看图解个馋吧。



怎么管理电子书?


如果电子书较多,推荐用calibre管理,跨平台,多功能,能制作电子书,也能在多种电子书格式中转换。如果你从amazon购买了含版权加密功能的电子书,也能用它解开加密,加入书库。最重要的,它还能根据作者和书名,自动从各大信息源抓取图书信息和评级,极为方便。



用什么词典?


读英文书必须要词典,囫囵吞枣不是办法。kindle原带各语种的经典词典,已是不错的选择。不过我另有建议,如果你读书广博,涉及专业书籍,最好选一个辞条最多的。网络上有许多自制的这类词典,好则未必,胜在选择较多,我就选了一个辞条最多的,导入kindle即可。如求甚解,推荐微软必应网络词典(http://cn.bing.com/dict)。与更知名的各类牛津剑桥美国传统词典不同,必应抓取真实使用的句子和释义,可以学到活的语言。当然,正因如此,有的例子用得好,有的例子用得不好,你得有能力辩别。


欲善其事,先利其器,希望能帮到你,进入英文电子书的世界。
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