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"The Three-Body Problem: “Silent Spring” (Excerpt, Chapters 1-3) CIXIN LIU" a "Tor.com"

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The Three-Body Problem: “Silent Spring” (Excerpt, Chapters 1-3)

CIXIN LIU
The Three-Body Problem Cixin Liu Silent Spring
Art by Stephan Martiniere

Set against the backdrop of China’s Cultural Revolution, a secret military project sends signals into space to establish contact with aliens. An alien civilization on the brink of destruction captures the signal and plans to invade Earth.
The Three-Body Problem is the first chance for English-speaking readers to experience this multiple award-winning phenomenon from China’s most beloved science fiction author, Cixin Liu. The English edition, available November 11th from Tor Books, was translated by Ken Liu. Learn more about Stephan Martinière’s cover art, and read Cixin Liu’s article about Chinese science fiction here on Tor.com.


“Silent Spring”
1
The Madness Years
China, 1967

The Red Union had been attacking the headquarters of the April Twenty-eighth Brigade for two days. Their red flags fluttered restlessly around the brigade building like flames yearning for firewood.
The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eighth Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.
But the commander was afraid of the dozen or so iron stoves inside the building, filled with explosives and connected to each other by electric detonators. He couldn’t see them, but he could feel their presence like iron sensing the pull of a nearby magnet. If a defender flipped the switch, revolutionaries and counter-revolutionaries alike would all die in one giant ball of fire.
And the young Red Guards of the April Twenty-eighth Brigade were indeed capable of such madness. Compared with the weathered men and women of the first generation of Red Guards, the new rebels were a pack of wolves on hot coals, crazier than crazy.
The slender figure of a beautiful young girl emerged at the top of the building, waving the giant red banner of the April Twenty-eighth Brigade. Her appearance was greeted immediately by a cacophony of gunshots. The weapons attacking her were a diverse mix: antiques such as American carbines, Czech-style machine guns, Japanese Type-38 rifles; newer weapons such as standard-issue People’s Liberation Army rifles and submachine guns, stolen from the PLA after the publication of the “August Editorial”*; and even a few Chinese dadao swords and spears. Together, they formed a condensed version of modern history.
Translator’s Note: This refers to the August 1967 editorial in Red Flag magazine (an important source of propaganda during the Cultural Revolution), which advocated for “pulling out the handful [of counter-revolutionaries] within the army.” Many read the editorial as tacitly encouraging Red Guards to attack military armories and seize weapons from the PLA, further inflaming the local civil wars waged by Red Guard factions.
Numerous members of the April Twenty-eighth Brigade had engaged in similar displays before. They’d stand on top of the building, wave a flag, shout slogans through megaphones, and scatter flyers at the attackers below. Every time, the courageous man or woman had been able to retreat safely from the hailstorm of bullets and earn glory for their valor.
The new girl clearly thought she’d be just as lucky. She waved the battle banner as though brandishing her burning youth, trusting that the enemy would be burnt to ashes in the revolutionary flames, imagining that an ideal world would be born tomorrow from the ardor and zeal coursing through her blood.… She was intoxicated by her brilliant, crimson dream until a bullet pierced her chest.
Her fifteen-year-old body was so soft that the bullet hardly slowed down as it passed through it and whistled in the air behind her. The young Red Guard tumbled down along with her flag, her light form descending even more slowly than the piece of red fabric, like a little bird unwilling to leave the sky.
The Red Union warriors shouted in joy. A few rushed to the foot of the building, tore away the battle banner of the April Twenty-eighth Brigade, and seized the slender, lifeless body. They raised their trophy overhead and flaunted it for a while before tossing it toward the top of the metal gate of the compound.
Most of the gate’s metal bars, capped with sharp tips, had been pulled down at the beginning of the factional civil wars to be used as spears, but two still remained. As their sharp tips caught the girl, life seemed to return momentarily to her body.
The Red Guards backed up some distance and began to use the impaled body for target practice. For her, the dense storm of bullets was now no different from a gentle rain, as she could no longer feel anything. From time to time, her vinelike arms jerked across her body softly, as though she were flicking off drops of rain.
And then half of her young head was blown away, and only a single, beautiful eye remained to stare at the blue sky of 1967. There was no pain in that gaze, only solidified devotion and yearning.
And yet, compared to some others, she was fortunate. At least she died in the throes of passionately sacrificing herself for an ideal.

Battles like this one raged across Beijing like a multitude of CPUs working in parallel, their combined output, the Cultural Revolution. A flood of madness drowned the city and seeped into every nook and cranny.
At the edge of the city, on the exercise grounds of Tsinghua University, a mass “struggle session” attended by thousands had been going on for nearly two hours. This was a public rally intended to humiliate and break down the enemies of the revolution through verbal and physical abuse until they confessed to their crimes before the crowd.
As the revolutionaries had splintered into numerous factions, opposing forces everywhere engaged in complex maneuvers and contests. Within the university, intense conflicts erupted between the Red Guards, the Cultural Revolution Working Group, the Workers’ Propaganda Team, and the Military Propaganda Team. And each faction divided into new rebel groups from time to time, each based on different backgrounds and agendas, leading to even more ruthless fighting.
But for this mass struggle session, the victims were the reactionary bourgeois academic authorities. These were the enemies of every faction, and they had no choice but to endure cruel attacks from every side.
Compared to other “Monsters and Demons,”* reactionary academic authorities were special: during the earliest struggle sessions, they had been both arrogant and stubborn. That was also the stage in which they had died in the largest numbers. Over a period of forty days, in Beijing alone, more than seventeen hundred victims of struggle sessions were beaten to death. Many others picked an easier path to avoid the madness: Lao She, Wu Han, Jian Bozan, Fu Lei, Zhao Jiuzhang, Yi Qun, Wen Jie, Hai Mo, and other once-respected intellectuals had all chosen to end their lives.**
* Translator’s Note: Originally a term from Buddhism, “Monsters and Demons” was used during the Cultural Revolution to refer to all the enemies of the revolution.
** Translator’s Note: These were some of the most famous intellectuals who committed suicide during the Cultural Revolution. Lao She: writer; Wu Han: historian; Jian Bozan: historian; Fu Lei: translator and critic; Zhao Jiuzhang: meteorologist and geophysicist; Yi Qun: writer; Wen Jie: poet; Hai Mo: screenwriter and novelist.
Those who survived that initial period gradually became numb as the ruthless struggle sessions continued. The protective mental shell helped them avoid total breakdown. They often seemed to be half asleep during the sessions and would only startle awake when someone screamed in their faces to make them mechanically recite their confessions, already repeated countless times.
Then, some of them entered a third stage. The constant, unceasing struggle sessions injected vivid political images into their consciousness like mercury, until their minds, erected upon knowledge and rationality, collapsed under the assault. They began to really believe that they were guilty, to see how they had harmed the great cause of the revolution. They cried, and their repentance was far deeper and more sincere than that of those Monsters and Demons who were not intellectuals.
For the Red Guards, heaping abuse upon victims in those two latter mental stages was utterly boring. Only those Monsters and Demons who were still in the initial stage could give their overstimulated brains the thrill they craved, like the red cape of the matador. But such desirable victims had grown scarce. In Tsinghua there was probably only one left. Because he was so rare, he was reserved for the very end of the struggle session.
Ye Zhetai had survived the Cultural Revolution so far, but he remained in the first mental stage. He refused to repent, to kill himself, or to become numb. When this physics professor walked onto the stage in front of the crowd, his expression clearly said: Let the cross I bear be even heavier.
The Red Guards did indeed have him carry a burden, but it wasn’t a cross. Other victims wore tall hats made from bamboo frames, but his was welded from thick steel bars. And the plaque he wore around his neck wasn’t wooden, like the others, but an iron door taken from a laboratory oven. His name was written on the door in striking black characters, and two red diagonals were drawn across them in a large X.
Twice the number of Red Guards used for other victims escorted Ye onto the stage: two men and four women. The two young men strode with confidence and purpose, the very image of mature Bolshevik youths. They were both fourth-year students* majoring in theoretical physics, and Ye was their professor. The women, really girls, were much younger, second-year students from the junior high school attached to the university.** Dressed in military uniforms and equipped with bandoliers, they exuded youthful vigor and surrounded Ye Zhetai like four green flames.
* Translator’s Note: Chinese colleges (and Tsinghua in particular) have a complicated history of shifting between four-year, five-year, and three-year systems up to the time of the Cultural Revolution. I’ve therefore avoided using American terms such as “freshman,” “sophomore,” “junior,” and “senior” to translate the classes of these students.
** Translator’s Note: In the Chinese education system, six years in primary school are typically followed by three years in junior high school and three years in high school. During the Cultural Revolution, this twelve-year system was shortened to a nineor ten-year system, depending on the province or municipality. In this case, the girl Red Guards are fourteen.
His appearance excited the crowd. The shouting of slogans, which had slackened a bit, now picked up with renewed force and drowned out everything else like a resurgent tide.
After waiting patiently for the noise to subside, one of the male Red Guards turned to the victim. “Ye Zhetai, you are an expert in mechanics. You should see how strong the great unified force you’re resisting is. To remain so stubborn will lead only to your death! Today, we will continue the agenda from the last time. There’s no need to waste words. Answer the following question without your typical deceit: Between the years of 1962 and 1965, did you not decide on your own to add relativity to the intro physics course?”
“Relativity is part of the fundamental theories of physics,” Ye answered. “How can a basic survey course not teach it?”
“You lie!” a female Red Guard by his side shouted. “Einstein is a reactionary academic authority. He would serve any master who dangled money in front of him. He even went to the American Imperialists and helped them build the atom bomb! To develop a revolutionary science, we must overthrow the black banner of capitalism represented by the theory of relativity!”
/.../

"¿Lidera realmente China la innovación a nivel mundial?" a "El Mundo"

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¿Lidera realmente China la innovación a nivel mundial?

  • China registró 600.000 en 2013 pero sólo el 5% están reconocidas internacionalmente 

  • El gobierno del gigante asiático aspira a registrar dos millones de invenciones en 2015 


Más de 600.000 patentes. China lidera de manera aplastante, al menos aparentemente, el mundo de la innovación con más de 600.000 patentes durante el 2013, según presenta entre sus principales conclusiones el informe, El Conciente de Innovación de China, elaborado por Thomson Reuters. 
Aparente Hegemonía. En apariencia, los números chinos resultan impresionantes. Según el informe de Reuters, este país ha pasado en tan sólo tres años de cifras ligeramente superiores al umbral de las 300.000 patentes, unas cifras que compartía con EEUU y Japón, a prácticamente duplicar su cantidad. De hecho, el estudio recoge también la hegemonía china en algunos sectores donde acumula más del 50% de las patentes registradas entre todos los países del mundo como ocurre con las actividades de las plantas de extracción de alcaloides, las actividades farmacéuticas generales y la polimerización o modificación química de polímeros. 
Claves. Sin embargo, el informe también se muestra escéptico sobre la veracidad de estos números y explica como los incentivos y subvenciones que vienen de la mano del gobierno de Pekín son en gran parte responsables de las cifras. «El crecimiento de la producción se debe a la 12 ª Plan Quinquenal y la Estrategia asociada chino Nacional de Patentes de Desarrollo», indica. De hecho, según las expectativas del ejecutivo, el aumento será aun mayor en 2015 alcanzando los 2 millones de patentes. Sin embargo, otros datos invitan a desconfiar de estos números. Por ejemplo, el de las patentes que cada país presenta internacionalmente. Un cómputo más transparente y riguroso que los procedimientos internos chinos y que sólo llego a registrar un 5% de las 600.000 patentes a nivel local.

"ON THE TABLE. AI WEIWEI. PROGRAMA D'ACTIVITATS" a la "Virreina"

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ON THE TABLE. AI WEIWEI. PROGRAMA D'ACTIVITATS

Gener 2015

Recomanar
11.01.2015 - 01.02.2015
  • Ai Weiwei - One Recluse

LA VIRREINA
CENTRE
DE LA IMATGE

Palau de la Virreina
La Rambla, 99
08002 Barcelona
T 933 161 000
- See more at: http://lavirreina.bcn.cat/ca/activitats/table-ai-weiwei-programa-dactivitats-0#sthash.JWbWYzpl.CYXNyGuE.dpuf

"Las mejores apps para aprender chino en tu dispositivo móvil" per Oriol Rodríguez a "Chinalati"

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Las mejores apps para aprender chino en tu dispositivo móvil

Si estás buscando recursos para aprender chino mandarín, deberías pensar seriamente en instalar en tu teléfono móvil o tablet estas cinco aplicaciones que recomiendo a continuación: Pleco, Hanping, LINE Dict, Anki y Skritter 
Pleco
iOS - Android
Gratuito [con extensiones de pago]
Pleco es una aplicación sencilla de usar, gratuita e imprescindible para aprender chino.  Sirve como diccionario chino-inglés, lector de documentos y sistema de flashcards. Además permite la entrada de caracteres por escritura en la pantalla y con la cámara puede detectar caracteres (extensión de pago).
Principales características:
• Entrada de texto, escritura táctil o por voz:  puedes buscar palabras con el teclado del texto (caracteres, pinyin o ambos), hablando por el micrófono del dispositivo o escribiendo los caracteres usando toda la pantalla.
• Varios diccionarios integrados: La app actua como diccionario y combina dos diccionarios - CC-CEDICT y el diccionario de Pleco "PLC" - que entre ellos cubren 130.000 palabras en chino e incluyen 20.000 frases de ejemplos con Pinyin. La app dispone de actualizaciones de pago para incluir otros 18 diccionarios.
• Sistema de tarjetas flashcards: puedes crear cartas de cualquier entrada del diccionario con un solo toque, importar listas de palabras, utilizar técnicas avanzadas como SRS (repetición espaciada), y el estudio en una variedad de modos incluyendo rellenar los espacios en blanco y los ejercicios de tono. (versión simple gratuita / $ con todas las funciones)
• Audios con pronunciaciones: escuchar instantáneamente grabaciones de audio por nativos chinos de cada palabra principal del diccionario. Disponibles para más de 34.000 palabras. (de una sola sílaba libre gratis / $ múltiples de pago)
• Detector óptico de caracteres: opción de pago, pero que te permite buscar palabras chinas en el diccionario simplemente apuntando la cámara del dispositivo en ellos, o desplazándose alrededor de una imagen fija. ($)
• Diagramas con el orden de trazos: Opción de pago con animaciones que muestran cómo dibujar cada carácter chino; más de 20.000 caracteres están cubiertos.
• Lector de documentos: para abrir archivos de texto en idioma chino y buscar palabras desconocidas en el diccionario simplemente pulsando sobre ellas. (Opción de pago) Usted también puede buscar caracteres en las páginas web a través de "Compartir" y en otros documentos a través del portapapeles. (Gratis)
• Simplificado y Tradicional: admite caracteres tradicionales y simplificados (en las definiciones del diccionario, diagramas orden de los trazos, búsquedas, OCR, y la escritura), y acepta Zhuyin, así como Pinyin para las pronunciaciones.
• Cantonés: Dispone de opciones gratuitas y ampliaciones de pago.
• Libre de anuncios: que ni siquiera te dará la lata sobre la compra de complementos.
 
  

Hanping
Android
Gratuito [con versión Pro de pago por 3.95$]
Hanping es un diccionario offline chino/inglés disponible para Android esencial para cualquiera estudiante de chino.
La versión gratuita de Hanping ofrece un diccionario chino/inglés donde puedes buscar definiciones de palabras agregando pinyin, caracteres o las palabras en inglés para encontrar sus caracteres chinos. Luego las búsquedas realizadas puedes copiarlas y enviarlas a otras herramientas de traducción o de aprendizaje de chino. Para mayores funciones por 3.95 dólares es posible comprar la verstión Pro, que incluye audios de los caracteres o el reconocimiento de escritura a mano entre otras.
Hanping al igual que Pleco dispone de reconocimiento óptico que cuesta 7.95 dolares para realizar capturas de caracteres y obtener traducciones instantáneas.

LINE Dict 词典
Web - iOS - Android
Gratuito 
LINE Dict (antiguamente nciku) es una interesante diccionario Chino-Inglés al estilo de Hanping o Pleco para utilizar en su web o mediante nuestro smartphone Android o iPhone. LINE Dict nace de la adquisición por parte de LINE, una famosa app de comunicación, de la plataforma nciku, que durante muchos años fue uno de los diccionarios-web online favoritos de muchos estudiantes de chino.
Igual que los anteriormente mencionados, esta app también incorpora la entrada de caracteres, pinyin o inglés para realizar búsquedas rápidas y sencillas offline y para búsquedas con definiciones detalladas cuando estamos online. Este sólo funciona para chino simplificado.
Funciones principales:
• Contiene diccionario Collins (Las principales definiciones pueden ser dadas en modo offline).
• El diccionario dispone aproximadamente de 3,000,000 palabras cable.
• Dispone de funciones como el analizador de frases, introducción de caracteres de forma táctil, tarjetas con caracteres y demostraciones para conocer el orden de los trazos.
• Sonidos con la pronunciación de las palabras y  frases, además de dialogos, citas y proverbios del día.
Además, como punto a su favor, LINE Dict dispone de un blog con muchos consejos, diálogos, material de mandarín... 
 


Anki Mobile Flashcards
Web - iOS - Android
Gratuito
Anki se trata en un sistema de aprendizaje a base de tarjetas (flashcards) disponible para Windows, Linux y MacOS y dispositivos móviles Android y iOS (iPhone - iPad).
Con Anki puedes crear tus propios mazos de tarjetas o descarga mazos gratuitos pre-hechos para muchos idiomas y temas (incluyendo obviamente mazos de chino simplificado y tradicional).
Características principales:
• tarjetas con contenidos de texto, imágenes, sonidos...
• repaso espaciado (algoritmo de SuperMemo 2)
• integración de texto a voz
• más de 6.000 mazos prediseñados
• widget de progreso
• estadísticas detalladas
• sincronización con AnkiWeb
• + funciones adicionals
Por lo que Anki puede ser una opción gratuita para aprender chino en cualquier lugar, incluso esperando el autobus o para ir repasando tarjetas en momentos de aburrimiento. 
Luego, como alternativas a Anki, tenemos estas opciones interesantes como Memrise o Quizlet.
Web oficial: http://ankisrs.net/
 


Skritter
Web - iOS - Android
14.99$/mes - Gratis para probar durante una semana
Skritter es una forma muy rápida para aprender escritura china (simplificada o tradicional) o japonesa y se puede utilizar sin conexión. Está disponible desde web, dispositivos iOS (iPhone / iPad) y desde hace poco también para Android. La aplicación es de descarga gratuita y el servicio se puede probar de forma gratuita durante una semana. Una suscripción por un mes cuesta $14.99 dólares, y por ese precio te dan acceso tanto a la página web, como la aplicación. También hay planes más largos de suscripción disponibles que ofrecen una tasa mensual más baja.
Skritter, se basa en ir aprendiendo los caracteres chino escribiéndolos. Este nos guiará en la escritura de estos y en el orden de los trazos. También, mientras vamos escribiendo los caracteres, Skritter nos mostrará los radicales y la definición de cada carácter/palabra que estemos escribiendo, junto con un ejemplo de su uso. Este servicio te orienta en la escritura, dándote pistas para facilitarte que vayas avanzando. Además sigue un algoritmo que considera tus respuestas, para así mostrarte los caracteres que tienes más dificultad y aprenderlos. Por último, Skritter también ofrece funciones alternativas a la escritura, ya que incorpora opciones donde nos mostrará caracteres y nosotros tendremos que adivinar el tono, su pinyin o su definición.
Los que penséis usarlo en el ordenador, recomendaría que dispongan de una tableta gráfica con lápiz.  
 
  

"Bibliography" a "Hacking Chinese"

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Bibliography

On this page I collect articles I have written elsewhere, both in print and online. I also include projects that I have participated in or contributed to, but most things listed here are created or written by me alone. I have omitted some articles I don’t think is worth listing here, along with a myriad of small interviews and mentions.

2014
These articles were all published on About.com through my role as Mandarin expert writer there:
  1.  Learning intonation in Mandarin Chinese: Tips and tricks for learning intonation in a tonal language
  2.  One Chinese character, multiple pronunciations: How to learn the pronunciation of tricky Chinese characters
  3.  How to spell and pronounce Tai Chi / Taiji: One pronunciation, many spellings
  4.  Learning Mandarin? Start here! Suggestions on how to get started learning Chinese
  5.  Pronouncing the first tone in Mandarin Chinese: The basics plus some common mistakes
  6.  Four great dictionaries to help you learn Mandarin Chinese: All the dictionaries you need, both for mobile and computer
  7.  Learning Chinese with Zdic.net: Why Zdic.net is a great dictionary for learning Chinese
  8.  Common Mandarin learner errors, part 1: Staying in the classroom
  9.  Common Mandarin learner errors: part 2: Aiming for 100%
These three articles deal with Chinese characters that look almost the same and differ only in the slope or length of one single stroke. The first article contains a short quiz and the two following articles contain explanations of all the characters in the quiz. Beginners probably needn’t worry too much, but if you care about correct handwriting, you should know about these characters.
Various articles about Mandarin on About.comNovember, 2014 – About.com
These articles were all published on About.com through my role as Mandarin expert writer there:
  1.  The neutral tone in Mandarin Chinese: How to pronounce the neutral tone in different contexts
  2. Four main types of Chinese characters: Learning characters by understanding them
  3. Pictographs – Chinese characters as pictures
  4. Chinese character type: Simple ideograms
  5. Chinese character type: Combined ideograms
  6. Chinese character type: Semantic-phonetic compounds
  7.  Zi – “child” – Chinese character profile: A closer look at the character Zi (“child”), its meanings and usages
  8.  How to pronounce Beijing, capital of China: Some quick and dirty tips and an in-depth explanation
  9.  How to choose the right Mandarin Chinese course: What to look for when choosing language courses
Tending your vocabulary garden
November, 2014 – Skritter
In this article, I use the analogy of tending a garden to explain what a healthy attitude towards vocabulary should look like. In short, it involves being active, regarding the words you learn and have learnt as an organism that keeps growing, but which also needs tending and trimming. More isn’t always merrier and what words you learn certainly matter more that how many you know sometimes.
Various articles about Mandarin on About.comOctober, 2014 – About.com
These articles were all published on About.com through my role as Mandarin expert writer there:
  1. Asking for directions in Mandarin Chinese: Finding your way in Mandarin
  2.  Learning Mandarin Chinese through immersion: Changing your environment to improve your learning
  3.  Music Mandarin: Eason Chan – “Ten Years”: Learn Mandarin by listening to music and studying the lyrics
  4.  Mandarin multitasking with “yibian… yibian…”: A sentence pattern to express simultaneous activities
  5.  Tone changes of the character “yi” (one): How the tone changes in different contexts, with examples
  6.  Tone changes of the character “bu” (not, no): How the tone changes in different contexts, with examples
  7.  Yi – “one” – Chinese character profile: A closer look at the character Yi (“one”), its meanings and usages
  8.  How the rule of three can help you learn Chinese better: Learning more by avoiding perfectionism
  9.  Youdao – An excellent free online Chinese dictionary: How and why to use Youdao to learn Chinese
What should you do when you forget a word?
October, 2014 – Skritter
We all forget words when learning a language, but what should you do when you forget a word? Ignore it? Take decisive action? There are numerous things you can and should do when you forget a word when using spaced repetition software, and in this article I discuss some of them. I also mention some things you should avoid doing when forgetting a word.
How to Speak Chinese Well: 5 Simple Tips for Extraordinary FluencyOctober, 2014 – FluentULearning to speak Chinese requires a lot of practice, but it does matter how you practice and there are some tricks you can use to learn more and faster. The title of this post obviously isn’t chosen by me, but I still think the article’s main arguments are well worth sharing.
Various articles about Mandarin on About.comSeptember, 2014 – About.com
These articles were all published on About.com through my role as Mandarin expert writer there:
  1. Learning Mandarin through music and lyrics: Why music should be part of your study plan
  2. Music Mandarin: Cui Jian – “I have nothing”: Learn Mandarin by listening to music and studying the lyrics
  3. Music Mandarin: Matzka – “Tears for my Love”: Learn Mandarin by listening to music and studying the lyrics
  4. Fraud-proof Chinese numerals: The banker’s way of writing Chinese numbers
  5. Chengyu – Chinese idiomatic expressions: What chengyu are and how to learn them
  6. Classical Chinese: What it is and how it relates to modern Mandarin
  7. Chinese festivals: An introduction to the festivals you should know about
  8. Shang – “up” – Chinese character profile: A closer look at the character Shang (“up”), its meanings and usages
  9. Xia – “down” – Chinese character profile: A closer look at the character Xia; (“down”), its meanings and usages
Shapeshifting characters: Alternate forms of radicals
September, 2014 – Skritter
Some Chinese characters change their appearance depending on which character it appears in. A few of the characters have very different forms as radicals and when they appear as individual characters. This is confusing for beginners and this article is meant to address that problem. Did you know that 心, 忄 and ⺗ are actually different versions of the same character?
How to tackle a large review queue
September, 2014 – SkritterI usually advice students to use some kind of spaced repetition program, but since Chinese isn’t the only thing in our lives, we all accumulate review queues sometimes. In this article, I talk about how to tackle these without giving up or burning oneself out. I have fought down queues of several thousand characters more than once, I know what I’m talking about.
Various articles about Mandarin on About.comAugust, 2014 – About.comThese articles were all published on About.com through my role as Mandarin expert writer there:
  1. Qixi Festival – Chinese Valentine’s Day – The story of the Weaver Maid and the Cowherd
  2. Improving your Chinese with podcasts – Three podcasts to increase your listening ability
  3. How to learn Chinese characters efficiently – Learning and remembering words
  4. How tone pairs can improve your Mandarin pronunciation – Mastering tones and tone changes in Chinese
  5. Improving reading ability in Chinese – Two reading strategies for language learners
  6. How to speak Mandarin fluently – Short-term and long-term strategies for increasing fluency
  7. English loanwords in Mandarin – Making sense of words borrowed into Chinese
  8. How to learn to understand spoken Chinese – Overcoming common problems with listening ability
  9. Learning to hear the different sounds in Mandarin – Distinguishing between Chinese sounds and tones
Using mnemonics to learn Chinese and Japanese, part 1Using mnemonics to learn Chinese and Japanese, part 2
August, 2014 – Skritter
These articles are a basic introduction of why and how to use mnemonics to learn Chinese and Japanese. They are meant for students have little or now prior knowledge of memory techniques and want to know what all the fuzz is about and how to get in on it.
Learning with Native Mandarin Chinese Audio: A No-Nonsense GuideAugust, 2014 – FluentU
It’s necessary to spend quite a bit of time listening to learner-oriented audio, but at some point you need to turn to real, native audio. In this article, I discuss this step in general as well as some steps you can take to make it easier and/or more enjoyable.
9 Bold Strategies to Improve Your Conversational ChineseAugust, 2014 – FluentU
In this article, I go through nine strategies (which may or may not be bold) for how to improve your conversational Chinese, mostly while you’re in the conversation. In other words, these are things you should pay attention to while you practice speaking Chinese.
A Complete Guide to Learning Chinese with the News
August, 2014 – FluentU
In this article, I talk about learning Chinese through the news and I discuss various strategies to use when trying to understand news both in spoken and written form. I also bring up benefits of using news articles and broadcasts as learning material for advanced learners.
Various articles about Mandarin on About.comJuly, 2014 – About.comThese articles were all published on About.com through my role as Mandarin expert writer there:
  1. The three DE particles in Mandarin: 的, 地 and 得 – How to tell them apart and use them correctly
  2. The third tone in Mandarin Chinese – Avoiding common problems and getting it right.
  3. Essential classroom Mandarin Chinese -Learning Chinese in Chinese.
  4. How to pronounce Xi Jinping, president of China – Some quick and dirty tips and an in-depth explanation.
  5. How to pronounce “thank you” in Chinese – How to pronounce 谢谢 (謝謝) ”xièxie” in Chinese without sounding like a tourist.
  6. Situational Mandarin: At the airport – Words and phrases useful when going to the airport.
  7. Learn how to pronounce Chinese names – Dealing with strange letters, tones and the problem of forgetting
  8. Vocabulary for using a computer in Chinese – Vocabulary for using a computer in Chinese.
  9. How and why you should switch your computer to Chinese – Switching your computer to Chinese is an effective way for learners to immerse themselves in Chinese and improve reading ability in a natural and meaningful way.
Improve your character writing by enabling raw squigs
July, 2014 – Skritter
Raw squigs is a function in Skritter which gives less support while writing characters and therefore closes the distance between writing characters in Skritter and in the real world. In this article I discuss why you should use raw squigs in Skritter and how the function works in general.
How to Keep Learning a Language when You No Longer Have toJune, 2014 - Smart Language Learner
An expert panel article about motivation after you reach your initial goal of being able to communicate in the language. I think the answer is heavily dependent on why you started learning the language in the first place. If your goal is to reach a near-native ability, you should be able to keep yourself busy for decades.
Interview with Olle Linge, Hacking Chinese’s founder
June, 2014 – Sapore di Cina
This is an in-depth interview with me where I don’t talk a lot about language learning, but rather about Hacking Chinese, teaching Chinese as a second language and life in Taipei. The interview has also been translated into Spanish and Italian, take your pick!
Skritter’s New Team Member: Olle LingeApril, 2014 -SkritterI joined the Skritter team around this time and this is the first official post where I introduce myself and what I do (including Hacking Chinese). It’s a basic introduction with information about study background, current projects and what I’ve been up to until this point in general.
How Skritter Helped Me Stop Worrying and Love Writing CharactersMay, 2014 -SkritterI have tried various methods of learning Chinese characters and this article provides an overview with the ultimate goal of explaining why I think a program like Skritter is by far the most efficient way of learning Chinese characters. I also write about an experiment I conducted where I only used Skritter to maintain handwriting ability.
How Should I Learn Foreign Grammar? 20 Experts Show You HowApril, 2014 - Smart Language Learner
This is an expert panel article with twenty different takes on how to learn grammar. My reply is somewhat lengthy, making me think that I should probably expand it to a proper article here on Hacking Chinese. If you’re curious about my general approach to grammar, this is a good place to start. There are of course also other interesting replies here as well.
Improving Foreign Language Pronunciation: Audio interview on Language is CultureMarch, 2014 – Language is CultureThis is a 70-minute interview with me done by David Mansaray of Language is Culture. In the interview, we talk mainly about learning how to pronounce a foreign language as an adult. I share some of my own knowledge, thoughts and opinions and there’s probably something for everyone in this interview. Listen to it directly or download it to your phone for later listening! You can read my thoughts about the interview here.
An Easier Way to Learn Chinese: Comprehensible Input
February, 2014 – FluentU

My third freelance article written for the FluentU Chinese language learning blog. This time I talk about comprehensible input, scaffolding and offer some concrete guidelines for how to make immersion in Chinese a lot easier by making incomprehensible input more comprehensible.
Olle Linge on learning Chinese (radio interview)
January, 2014 – ICRT
In this radio interview that was aired on the Taiwanese radio station ICRT I talk a little bit about Hacking Chinese and learning Chinese. The interview is relatively short, but this is the first time I appear in mainstream media talking about learning Chinese. The interview can be listened to on ICRT’s website.
How to Learn Chinese Faster: Capacity Management
January, 2014 – FluentU
This is the second article I’ve written for FluentU and it’s focused on the topic of capacity management. The main ideas here are not limited to language learning, actually, but is part of the much bigger approach I have to doing almost anything. The key concept discussed here is your current capacity for learning and how you should structure your learning around this, neither overextending nor under performing.

2013
Chinese Listening Practice: Why and How to Get Started
December, 2013 – FluentU
This article focuses on listening ability and is fairly comprehensive. I have written about most of this before on Hacking Chinese, but this is a better overview than anything else I’ve written previously. The article deals with why listening practise is important, as well as concrete suggestions for how you can improve your listening ability in Chinese.
38 Language-Learning Experts’ Favorite Methods for Learning Vocabulary
October, 2013 - Smart Language Learner
I made a small contribution to this article containing lots of interesting ideas on vocabulary acquisition. I think the question is too big and the format too narrow, but I still tried to describe my approach to learning words in a foreign language. A more interesting debate would probably follow if a specific scenario was chosen so that answers were more comparable. Perhaps something for an upcoming article!

2012
Chinese Language Learner Interview Series – Olle Linge
June, 2012 – FluentFlixThis is an interview where I answer some questions about studying Chinese. Among other things, I talk about some of my favourite topics, such as attitude and motivation. There are also a few more personal questions about my own studying, including a few funny and/or embarrassing mistakes I’ve made.
Defining Language Hacking: Lessons Learned From Hacking Chinese
March, 2012 – The Mezzofanti Guild
This is my first official guest post, discussing both my own background and my approach to language hacking. This article contains quite a lot that I haven’t published anywhere else yet, so check it out.
12 Prolific Language Learning Bloggers You Should Follow
February, 2012 – 
The Mezzofanti Guild
This post introduces twelve language learning bloggers Donovan thinks are worth following, and I’m one of them! Be sure to check out the other website’s as well (including The Mezzofanti Guild).
How to Hack Chinese with Olle of Hacking Chinse
January, 2012 – Lingomi.com
This is a short interview focusing on some personal questions and some related more to learning Chinese in general. I also had the opportunity to talk to Steven over Skype, but the interview here is text-only.

2011
Review: Benny Lewis – The Language Hacking Guide
July, 2011 – Interesting Times Magazine (issue 7, free download)
This is my review of The Language Hacking Guide by Benny Lewis. I’m quite positive to his book in general and think that he has a lot to teach about how to learn languages, mostly related to attitude. He has since tried to learn Mandarin, see my thoughts about that project here: Can you become fluent in Chinese in three months?

"Els millors restaurants xinesos " segons "Time Out"

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Els millors restaurants xinesos 

On menjar a Barcelona la cuina del gegant asiàtic amb garanties


¿Farts de patir la síndrome del restaurant xinès? ¿El glutamat us fa venir mal de cap? La cuina xinesa és un patrimoni mil·lenari que, durant una mala època, a casa nostra es va convertir en un parc temàtic. De fet, dir menjar xinès és com dir menjar africà, perquè és una àrea immensa i de cuines molt diferenciades. A Barcelona mana la cuina cantonesa i de la Xangai, i si segui el nostre consell, l'autenticitat i bona digestió estan garantides.

Vuit xinesos de veritat 

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Chen Ji
Chen Ji ©XavierGonzález/ElPeriódico

Chen Ji

  • 1/4
Des de ja fa un temps, el Chen Ji és conegut com el xinès-xinès de Barcelona. És a dir, un restaurant autèntic sense els habituals ornaments a base de llums vermells, dracs ni plafons lluminosos amb cascades. El local és del més normal que us podeu imaginar, molt senzill i pràctic. Els seus horaris, extensos. Des de les 9 del matí fins a ben bé mitjanit hom hi pot anar a fer un bol de fideus, una sopa o tastar el menú de self-service per uns 5 €. La carta és immnesa Heu esmorzat mai a base de dumplings al vapor com fan ells?
  1. Alí Bei, 65, Eixample, 08013 
INFORMACIÓ
2

Olla de Sichuan

  • 2/4
  • Recomanat
El restaurant de Wan Li i la seva mare s'omple cada nit de xinesos residents a Barcelona que troben a faltar el 'huo guo', una mena de fondue xinesa (foto), típica de les regions muntanyoses de Sichuan i del Yunnan, d'on prové la família Li. El menjador sol estar ple de parelles i grups de joves amb tupés engominats gaudint d'una vetllada davant d'una olla de brou bullent i picant. Amb l'ajuda dels bastonet hi introdueixen els ingredients crus: bolets, fideus d'arròs, gambes, tofu, calamars, fulles d'enciam, trocets de vedella... Com més barregeu, millor.
  1. Aragó, 224, Eixample Esquerre, 08011 
INFORMACIÓ
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Out of China

  • 2/4
  • Recomanat
Un xinès amb esperit jove pels qui troben poc 'cool' els xinesos, aquest era el reclam d'Out of China quan van obrir, l'any 2002. Ara podem parlar d'ell com a el xinès pioner a obrir aquesta cuina mil·lenària al producte català, com per exemple el ravioli d'ànec i foie a la planxa. I segueix essent tot un senyor restaurant a preus ajustats.
  1. Muntaner, 100, Eixample Esquerre, 08036 
INFORMACIÓ
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Río Azul

  • 2/4
  • Recomanat
Un dels primers xinesos a Barcelona. Excel·lent ànec i un llamàntol òptim. Es pot demanar amb temps el refinadíssim banquet imperial per un mínim de vuit persones. El servei és amabilíssim, i hi podem demanar plats que són poc comuns de trobar a Barcelona, com per exemple el preuat i rar marisc,  'abalon' (mol·lusc també conegut com a orella de mar) amb salsa d'ostres.
  1. Balmes, 92, Eixample Esquerre 
INFORMACIÓ
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Shanghai
Shanghai

Shanghai

  • 3/4
  • Recomanat
Les fotografies del xef Josep Maria Kao amb Pep Guardiola i altres famosos decoren l'entrada del Shanghai, un dels millors restaurants de cuina xinesa de la ciutat. Kao ha estat capaç de fusionar la delicadesa de la cuina heretada dels seu pares amb la qualitat de la matèria primera local. Ell mateix s'encarrega d'anar a comprar a la Boqueria: rossinyols, espinacs, gambes de Palamós o un lluç per fer al vapor. La carta varia segons la temporada. 'Tai gui le'!
  1. Bisbe Sivilla, 48, Sarrià-Sant Gervasi, 08022 
INFORMACIÓ
6

Shangai 1930

  • 2/4
  • Recomanat
Gran equipament amb espais que mereixen la visita. També val la pena deixar-s'hi caure per tastar la seva aleta de tauró autèntica i pels més agosarats, una mica de medusa.
  1. Buenos Aires, 11-13, Eixample Esquerre 
INFORMACIÓ
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restaurant wok and boicritica restauranttime out18 de setembre 2011 barcelona
restaurant wok and boicritica restauranttime out18 de setembre 2011 barcelonaivan gimenez

Wok & Bol

  • 4/5
  • 2/4
  • Recomanat
Wok & Bol, un dels restaurants més emblemàtics de l’Eixample, des dels anys 90, on no només es troba tot com estava, fins i tot millor, sinó que un es pot retrobar amb vells amics i coneguts. Perquè, si bé la seva cuina és rigorosament xinesa, l’ambient és mundà, cosmopolita sense els amaneraments d’alguns llocs dels que es diu que “estan de moda”. Són Marta Batlle i el seu marit Chiang Yi Chung, artista, pintor i xef d’una cuina molt centrada en la qualitat dels productes.
N’hi ha prou de tastar els seus plats, en gran part els mateixos que serveixen altres restaurants que es diuen xinesos rigorosos: una amanida de medusa molt saborosa, el jiao-tze de carn o el vegetal, els wun tun de llagostí o la verdura del temps que Chiang Yi tria amb molta cura. La tempura de gambes i la vedella saté competeixen amb una de les grans especialitats de la casa: l’ànec. Un ànec molt saborós, poc gras, preparat de diferents maneres, des del tradicional a l’estil pequinès fins al cruixent, saborosíssim.
  1. Diputació, 294, Eixample Dret, 08009 
INFORMACIÓ
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Mito
Mito

Mito

  • 4/5
  • 2/4
  • Recomanat
El seu mèrit és doble: el de ser un local petit on tot és casolà –aires de bar restaurant polit, on ve de gust esmorzar– i haver sabut destacar en una zona farcida de grans restaurants asiàtics, com el Yamadori o el Hanoi II, just a la cantonada. La carta que la jove Fei Fei Sun posa a disposició del comensal és una domesticació dels gustos feréstecs de Xangai –lloc d’origen de la seva família– i alhora una modernització dels plats ancestrals, amb parades puntuals ben fetes en cuines del sud-est asiàtic. Com hauria de ser un xinès modern, vaja.

"Interview with Yu Hua" a "Goodreads"

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Interview with Yu Hua

January, 2015

Yu HuaYu Hua rose to international fame in 1994, when the release of To Live, a Zhang Yimou film adapted from his novel of the same name, led the Chinese government to ban the Oscar-nominated director from filmmaking for two years. It gave Yu a notoriety that he has put to good use, writing sharp but generous observations of the absurdities of life in a modern Communist country in his collection of essays, China in Ten Words, his columns for the New York Times, and novels like the exuberant Brothers.

The human capacity for goodness is at the center of his latest work, The Seventh Day. In this slim-but-weighty novel, the recently dead Yang Fei wanders the Land of the Unburied, searching out mysteries from his own past and also meeting his fellow undead, who tell him their stories of love and sacrifice in the rubble of the living city.

The Beijing-based author talks to Goodreads (via translator Allan H. Barr) about realism in the face of absurdity, growing up across the street from a mortuary, and searching for reading material during the Cultural Revolution. 

Goodreads: You once said, "My writing is always changing because my country is always changing." How does The Seventh Day reflect that change? Do you feel that this book is a reflection of China as it is right now?

Yu Hua: It was certainly my intention that The Seventh Day reflect China as it is today. Brothers was a story about China from the Cultural Revolution up to the present. But when it was finished, I felt I had still more to say on the topic, and so later I wrote China in Ten Words. After that, I wanted to take a break from the Cultural Revolution and write a book like The Seventh Day, a short but meaty novel that would focus on the absurd realities of China during the last 20 years. I hit upon the idea of a Land of the Unburied, a place that tends to conjure up images of dread but which in The Seventh Day is a place of beauty—a little like a utopia, but not one, a little bit like China's legendary Peach Blossom Spring, but not quite that, either. From the land of the dead we can look at the real world of China today, its ugliness all the more apparent from the beauty of that vantage point. Although the book has only 224 pages, it is, I think, an ambitious work.

GR: It is always more difficult to be ambitious in scope than in size! Meanwhile China has, of course, changed a great deal since you published your first book. Which changes have you been most eager to document? Why? And how have those changes been reflected in your writing?  

YH: I am a realistic writer, and if my stories are often absurd, that's simply because they are a projection of absurd realities. I will turn 55 this coming year, and when I look back, I realize I've always been living amid absurdities. The Cultural Revolution was absurd, and today's China seems even more so. If you are constantly living in absurdity, you can easily lose your awareness of it. During the Cultural Revolution, you saw portraits of Mao Zedong everywhere, even in toilets, but nobody thought it at all strange to see Mao on the wall of a toilet. It's just the same now: We're all so used to the absurdities of life in China today that we don't give them a second thought. Chinese society is constantly changing in absurd ways, and as a realistic writer, I need to keep constantly alert to such changes. If you visit China as a tourist and check into a hotel, chances are you will see a "No Smoking" sign on the coffee table—and next to it an ashtray. That's what I want to write about—the ashtray next to the "No Smoking" sign.

GR: Your last book, Brothers, has a scene in which one of the main characters, Baldy Li, is famous in his small town for peeping at women's bare bottoms in a public toilet—especially since his father slipped and drowned in a cesspool doing exactly that. And then in this book Yang Fei's mother accidentally delivers him in the toilet aboard a moving train. Is this a sly callback? 

YH: The thought didn't occur to me when I was writing The Seventh Day, but now that you make the connection, I do feel there is a subtle echo there. Writing is a process of endless discovery, and reading is just such a process, too—and an even more expansive one, for different readers will make different discoveries as they read the same book. This reminds me that a question in China's college entrance examination a few years ago involved a story of mine called "On the Road at Eighteen," which has become prescribed reading in Chinese high schools. Many students gave the wrong answer, apparently, to the detriment of their overall score. When I found online the favored interpretation of this story, I have to admit that the analysis was brilliant, but if I were to face that same question on a test, I would give a "wrong" answer, too.

GR: You grew up across the street from a mortuary. How did you think about death as a child? Did you think it was a permanent condition? A step into an eternal afterlife? 

YH: My parents were doctors, and we lived in a hospital compound, right opposite the mortuary. As I was growing up, there were countless nights and early mornings when I was woken by the weeping of people mourning their loved ones. Death was stationed so close to me, you could say that I was its neighbor. I could not see the dead as they lay in the mortuary, and for me death was simply a little room, a concrete slab, a place that was spotlessly clean from which would emerge the lilting song of people in grief. Summers were very hot, and we had no air-conditioning, so sometimes I would take a nap in the empty mortuary that I found so cool and refreshing. To me when I was small, the mortuary was a mysterious rest stop, a rest stop on the journey from one world to another.

GR: How did that view shape the world of The Seventh Day

YH: Stories are so often about people who live and then die, but The Seventh Day moves in the opposite direction, from death to life. I think this is closely linked to my childhood experiences: Through my acquaintance with the mortuary, I got the idea that death is not the end of life but just a turning point. One stage in life arrives at this little rest stop so tired and worn that it falls asleep, and then another stage of life begins.

GR: Tell us a little bit about the genesis of this book. Did you start with the idea of the afterlife or with the idea of telling stories of "the casualties of today's China," ordinary people whose deaths are the byproducts of current issues and problems? 

YH: I spent several years thinking about this project. Then one day the following idea came to me: When a man dies, the funeral home calls him on the phone and urges him to hurry to his cremation, for he's late. That's when I knew I had a story. In China there's traditionally a notion of the "first seven": the first seven days of death, when the soul of the deceased roams restlessly around the places most familiar to him in life, and so in my scheme the dead begin to roam restlessly, too; and then the Land of the Unburied became part of the picture, the place where a host of people forsaken by an unequal society come when they die. Because they can't afford a grave, they end up in this lovely spot, where all are equal in death. So then I began to write. That's my writing practice: If I have the beginning worked out, and then can think of some section in the middle, and can imagine the ending as well, then I can write the whole thing. It's a bit like firing a gun: If you have three dots lined up, you can press the trigger.

GR: Your protagonist, Yang Fei, roams the afterlife with all of the unburied dead, the ones who do not have a burial plot. He says, "In the other world no one would wear a black armband on our behalf—we were all grieving for ourselves." From reading this book it seems as if sometimes your view is that we are doomed to solitude, and other times it seems as if there are connections to be made everywhere if we just look. What are your thoughts on this? 

YH: Yang Fei is a lonely soul, and the others in the Land of the Unburied are also solitary figures abandoned by the world. When they come together in one place, they see their own plight in the experiences of others, and when misfortune becomes a shared destiny, loners no longer are loners and the unfortunate are no longer unfortunate. There's an adage in Chinese: "Fellow sufferers sympathize with each other," and that emotional connection enables them to move all at once from being complete strangers to becoming intimate friends.

GR: Yang Fei's relationship with his father was so moving! I don't want to give too much of the plot away, but I think we can say that his father finds him by the side of the railroad tracks and brings him up, sacrificing his own potential advancement and happiness for Yang Fei's. 

YH: When I wrote about the bond between Yang Fei and his father, I found myself reduced to tears, partly because I found their relationship moving, partly because, with the real world as cruel as it is, the bonds that do exist between people are all the more precious. In The Seventh Day I wanted to write about human goodness: Though characters may have cut short their own lives in one way or another, they still make their way forward into the present, never forfeiting their capacity for love and sacrifice. That's true of Yang Fei and his father, Mouse Girl and her boyfriend, and all the others who find themselves in the Land of the Unburied.

GR: Whom do you count as literary influences? The Seventh Day had echoes of Borgesand Calvino, and also, in a way, of Ingmar Bergman films. 

YH: I admire Borgesand Calvino, and Bergman, too. There are so many authors who have influenced me, like KawabataKafkaFaulkner—the list could go on and on till it's the size of an army. Some influences I am already conscious of, and others I may realize in the future, while still others I may go through life quite oblivious of, though they may guide my writing in mysterious ways. As I put it once, the influence of one author on another is like the influence of sunlight on a tree: The tree is affected by the light, no question, but the key thing is that it grows in accordance with its own nature, not with the sun's.

GR: When readers and writers face censorship, satires and veiled critiques of the political system become all the more delicious. I know that there was some worry that The Seventh Day wouldn't be allowed to be published in China, but as an American reader, it's hard to see what could be offensive in the book. Why do you think some feared it would be censored, and what does it mean that it wasn't? 

YH: Some Chinese readers of The Seventh Day were surprised that it could be published, and I think it is the critical tone of the book that caused that reaction. When I had just finished writing the book, I, too, thought it possible it might run into difficulties. Some publishing houses in China did decline to take it on, but China has a lot of publishers, and one of them had the courage to publish it. Now over a year has passed since the book's release in China, and it has not been banned. I feel I've been lucky, but beyond that I don't know what more to say.

GR: Most writers begin as readers. You came of age during the Cultural Revolution. How did you get access to reading materials? What did you read? 

YH: As he writes, an author wears two hats: that of a writer and that of a reader. His investment as a writer enables the story to move forward, and his investment as a reader controls the direction and proportions of the narrative. In China the Cultural Revolution was an era without books, for practically all literary works were regarded as "poisonous weeds" and either banned or destroyed. A very few books circulated surreptitiously among the populace, but typically with ten or more pages missing at the beginning and the end, and all the books I read during that period were headless and tailless things. I could live with not knowing how a story began, but I found it unbearable to not know how it ended. So I had no choice but to think up endings for myself, and that proved a blessing in disguise, training my imagination from a tender age.

GR: In the '80s, you were employed by the Cultural Bureau—what does a state-sponsored writer do? 

YH: In 1983, when I started work in the local cultural center, we had to publish a literary digest every year—that was the sum total of my responsibilities. Two colleagues collaborated with me on the editorial work. A year later the magazine folded for lack of funds, and I no longer had any specific task to perform, so then it was simply a matter of staying at home and writing when I felt like it. In those days China had just begun to embark on economic reforms, and it was still an era of everyone eating from the same pot: Some jobs were intense and exhausting and others were relaxing and comfortable, but everyone was paid exactly the same. My job at the cultural center did not involve doing any real work. Things have changed now, though: When I was back in my hometown this last summer, I learned that people employed at the cultural center now have to clock in on schedule.

GR: Goodreads member Steve asks, "So many people want to know more about China these days, and there is a huge and expanding reading list of nonfiction books about China available today. What do you think foreigners can learn about China by reading fiction that they would not necessarily pick up from nonfiction?" 

YH: I'm very pleased to see your question. I hope that there will be more and more books about China available to American readers. By reading nonfiction books about China you can gain a direct understanding of some aspects of China's history and Chinese realities. Fiction may touch only indirectly on China's history and Chinese realities, but through it you can come to appreciate the emotional dimensions of Chinese life, and that's very important, too. Reading some fiction and some nonfiction is probably a good way to proceed.

GR: Goodreads member Jo writes, "After reading China in Ten Words nearly two years ago, I went and bought a book of the complete fiction of Lu Xun. As a Westerner, I hadn't heard of Lu Xun before and was intrigued by his significance to Yu Hua and to the Cultural Revolution period. How significant is Lu Xun for you? Are you influenced by his style?" 

YHLu Xun's style is piercing: Whether he's writing about society or about human nature, he always gets to the heart of the matter. I hope that my writing is as incisive as Lu Xun's, but I would like to think that my stories are touching as well, and that is a quality Lu Xun's stories tend to lack. I am not saying that is a weakness, for every writer has his own style, and Lu Xun's is so cold and cutting that it does not need much emotion. My writing often works in both directions, and when I write about something cruel, I need to write of something heartwarming at the same time, otherwise I can't go on. Lu Xun wrote about the reality of his era, and what I want to write about is the reality of mine. Lu Xun's greatness lies in the fact that the reality he described still sheds light on China's current realities: In this sense what Lu Xun wrote about is not just the reality of his era, but also the reality of ours. In recent years Lu Xun's works have gradually been removed from Chinese school textbooks, and the official explanation is that they aren't suitable reading for the grade-school pupils of China today. There's some substance to that claim, because Lu Xun is indeed more appropriate for readers with considerable experience of life. At the same time Lu Xun's works are likely to trigger discontent with China's current realities.

GR: Goodreads member Iamjane asks, "It seems like there is a definite generational gap in Chinese literature: those of your generation who are lauded for drawing attention to recent history and reviving the 'return to the roots' movement, and the younger generation who switch between writing fast-paced modern novels and blogging. What is your opinion of modern Chinese literature?" 

YH: Chinese literature today is extremely varied, with all kinds of styles, and I relish that diversity. I'm not really qualified to evaluate work by the younger generation, but there's one point I'd like to make, and that is: No matter what kind of work it is, whether it is focused on society or on the individual, I like to see writing that touches the heart and doesn't just focus on physical gratification. To explore people's emotional secrets is more appealing to me than to measure their bodily secretions.

GR: Do you have any writing rituals? A breakfast you always eat? An exercise you do? A pen you must have on hand? 

YH: I observe very little discipline in my life, with no set breakfast and no steady commitment to any exercise program. Once I began using a computer in 1993, I stopped carrying a pen. 

"Les meves emocions" una exposició d'artistes xiensos inaugurada el 9 de gener a la Biblioetca de la Sagrada Família. Publicat per Sandra Grau a "Estudis de l'Àsia Oriental" de la UOC

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Exposició: “Les meves emocions”

Expo mis emocionesAvui, a les 18:30h s'inaugura a Barcelona l'exposició “Les meves emocions”.
L'Associació de Joves Artistes Xinesos promou la difusió de la creació artística dels joves artistes. En aquesta exposició, la segona que organitzen, presenten 40 obres – fotografia, oli, aquarel·la, carbonet, escultures – de set artistes sota el títol “Les meves Emocions”. Els artistes que participen en l'exposició són: Zhou Chenguang, Ding Wanming, Yang Lirong, Lyla Han, Xu Chang, Li Beier i Ye Zhangliang.
L'exposició, d'entrada lliure, tindrà lloc a la Biblioteca de la Sagrada Família (segona planta) durant tot el mes de gener.
De moment això és tot. Pròximament més,…

La Xina es consolida com a soci comercial del Port de Barcelona el 2014. A "Digital BCN"

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El transport de mercaderies del port de Barcelona augmenta un 10%

Un total d’1.734.734 contenidors de mercaderies (TEU) s’han manipulat en el recinte portuari entre els mesos de gener i novembre del 2014. El transport de mercaderies ferroviàries creix un 21% respecte al mateix període de l’any anterior.
Són les dades provisionals de què es disposa quan falta el balanç del mes de desembre. En els gairebé 2 milions de contenidors transportats, el creixement s’ha notat més en les importacions (un 12%) que en les exportacions (un 6%).
La Xina continua sent el principal soci comercial del port de Barcelona. Les exportacions cap al país asiàtic han augmentat durant els primers 11 mesos de l’any un 31%, i les importacions, un 17%. Aquest gran volum de moviments fa que el 40% dels contenidors que es manipulen a Barcelona vagin a la Xina o en provinguin.
Els altres mercats que també han pujat de manera significativa pel que fa a les exportacions són Corea del Sud (37%), el Japó (16%), els Estats Units (15%) i Mèxic (12%). Si ens fixem en les importacions, en canvi, on més s’ha notat l’augment és en les mercaderies procedents de Corea del Sud (146%), Mèxic (63%), Bangladesh (37%) i Turquia (18%).
El transport ferroviari al port també creix
El tràfic de mercaderies que arriba al port o en surt en tren ha crescut un 21% de gener a novembre. S’han manipulat un total de 175.483 contenidors (TEU). Això vol dir que el 12% del total de contenidors que es mouen al port de Barcelona ho fa per via ferroviària.
La es consolida com a soci comercial del Port de el 2014. Més informació:

"65 fotos que inspiran un viaje a China" a "Viajes"

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65 fotos que inspiran un viaje a China

Escrito por: Matías Callone 
En la siguiente selección de imágenes notarán que los sitios reflejados muestran una China tradicional, natural, llena de paisajes deslumbrantes, construcciones curiosas, etnias y culturas que conforman sus propios micromundos dentro de un país que no es un mundo, pero lo parece.
Imagen de Brunner Emmanuel (via Wikimedia)
Vale aclarar, China es un país sometido a cambios profundos, y donde muchas veces las puertas de entrada (especialmente aeropuertos) están situadas en ciudades vertiginosas, aceleradas, y en una expansión constante en tamaño y altura (de sus rascacielos). Éste es un intento por destacar los rincones que resisten a tales cambios, un reflejo de lo que se podría decir es la esencia China (o sus sitios esenciales), sus construcciones milenarias, lugares sagrados, y paisajes únicos. Una colección de razones para inspirarse a viajar a éste inmenso e inabarcable país:
china-pueblo
Vera & Jean-Cristophe (En Fenghuang)

K Chen (en las terrazas de Yunnan)

John Philip (en Parque Nacional Tianmen)
jcdcv (En Longsheng)
gill_penney (En Lijiang)

Kudumomo (en Golden Kanas, China)
Chi King (En Hong Kong)
tangtang (en las terrazas de Yunnan)

Thomas Fishler (en el bosque de piedra de Shilin)
cangyan-china



Seba Della y Sole Bossio (en Tagong, un pueblo tibetano)
Banalities En un pueblo con más de 100 puentes, Xitang
Ken Marshall En un pueblo con más de 100 puentes, Xitang
Banalities En un pueblo con más de 100 puentes, Xitang
/.../ http://viajes.101lugaresincreibles.com/2013/11/65-fotos-que-inspiran-un-viaje-a-china/ 

"Asiadémica" , revista universitària d'estudis sobre Àsia Oriental

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#05

Per aquest cinqué número vam rebre nombroses propostes d'estudiants i investigadors de dins i de fora d'Espanya, i després de sotmetre-les al just estrenat procés de peer-review exercit pels membres del comité científic de la revista, publiquem aquelles que l'han superat satisfactòriament. En aquest número ens trobem amb papers sobre antropologia, història, història política, història de l'art i un article en el que s'avalua la presència dels estudis coreans a Latinoamèrica. Comptem també amb un bell pròleg que reflexiona sobre l'activitat investigadora com a acte d'amor, redactat pel doctor Manel Ollé, professor titular de la Universitat Pompeu Fabra de Barcelona i membre del comité abans esmentat.



 







Artículos individuales


Editorial

Prólogo - Dr. Manel Ollé

Hibridación cultural y el discurso sobre China en el siglo XVII.
El caso de Diego de Pantoja - Salvador Medina

Los estudios coreanos en América Latina - Dr. Samuel F. Velarde

Without an end in sight: Competition between the People’s Republic of China
and the Soviet Union during the Vietnam War and its implications for the
wider relationship - Johan van de Ven

La evolución de la puerta en la arquitectura civil y sus códigos en la
idiosincrasia de la China imperial - Javier Ruiz

"Chine: Zhou Youguang, père de l'écriture latinisée du chinois fête ses 109 ans" a "le point.fr"

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Chine: Zhou Youguang, père de l'écriture latinisée du chinois fête ses 109 ans

Zhou Youguang, "père du pinyin", le 11 janvier 2015 à Pékin
Zhou Youguang, "père du pinyin", le 11 janvier 2015 à Pékin © AFP - Wang Zhao
Né sous le dernier empereur de Chine, le "père du pinyin", l'écriture latinisée du chinois, quasiment universelle aujourd'hui, fête ses 109 ans mardi. Mais Zhou Youguang, critique déclaré et censuré du régime communiste, reste convaincu que l'avenir de la Chine passe par la démocratie.
"Après 30 ans de réformes économiques, la Chine doit encore prendre le chemin de la démocratie", assure à l'AFP le linguiste et dissident sans doute le plus âgé de la terre, le visage à peine ridé sous une poignée de cheveux blancs clairsemés.
"C'est la seule voie. J'en ai toujours été convaincu", dit-il.
Zhou est connu comme le "père du pinyin", un système de transcription dans l'alphabet latin des caractères chinois, introduit dans les années 1950 en république populaire et utilisé désormais par des centaines de millions de personnes en Chine et dans le monde pour apprendre cette langue dépourvue d'alphabet.
Dans son appartement exigu de Pékin, bourré de livres écornés, dont les siens --quelques dizaines-- l'homme reste modeste: "Je n'ai pas de sentiment de fierté. Je ne crois pas avoir accompli grand chose", dit-il, s'exprimant avec lucidité et un peu de difficulté.
Son anniversaire ? "Aucune importance", évacue-t-il.
Né en 1906 dans une famille aristocratique, Zhou a connu les dernières années de la dynastie des Qing (1644-1911) avant son renversement et les bouleversements révolutionnaires.
Etudiant à Shanghai puis au Japon, il se réfugie ensuite avec sa femme et ses deux enfants à Chongqing (sud-ouest) pendant l'invasion japonaise avant de travailler dans la banque à Wall Street après 1945. Il rencontrera deux fois Albert Einstein à Princeton chez des amis.
A la victoire de Mao en 1949, il rentre en Chine: "A l'époque, ils (les communistes) se présentaient comme des démocrates", écrira-t-il plus tard.
Il enseigne l'économie et devient un conseiller de Chou En-lai, numéro deux du régime.
- 'Les pessimistes ont tendance à mourir' -
En 1955, le Premier ministre confie à ce linguiste amateur, qui pratique un peu l'espéranto, la co-présidence du comité chargé de réformer la langue chinoise et de combattre l'illettrisme.
Il s'appuiera sur un système élaboré en Union soviétique pour transcrire avec les lettres de l'alphabet latin les sons de la langue chinoise, le "pinyin" --littéralement "assemblement des sons"-- passage obligé de tous les étudiants en chinois aujourd'hui. Quatre accents graphiques différencient les quatre tons du chinois.
Zhou Youguang, "père du pinyin", le 11 janvier 2015 à son domicile à Pékin © Wang Zhao AFP
Le développement du pinyin jouera un rôle-clé dans la diffusion de l'apprentissage du mandarin, maîtrisé aujourd'hui par plus de 90% de la population, contre environ 20% dans les années 50.
Officialisé à Pékin en 1958, le pinyin a peu à peu supplanté le Wade-Giles, système de transcription mis au point par deux diplomates britanniques au 19è siècle, ou la romanisation du chinois adoptée par l'Ecole française d'Extrême-Orient (EFEO).
"Un caractère chinois, vous ne pouvez pas le prononcer juste en le regardant. Le pinyin a donc été utile pour l'enseignement", raconte Luo Weidong, professeur à l'Université des langues de Pékin. 
Le pinyin s'est en outre avéré essentiel à l'interface entre le mandarin et l'informatique.
Pour autant, l'apport considérable de Zhou ne l'a aucunement protégé de la fureur maoïste: intellectuel, et donc cible privilégiée, il passera deux ans en camp de travail, dormant à même la terre durant la révolution culturelle (1966-76).
"Quand êtes dans l'adversité, vous avez intérêt à être optimiste. Les pessimistes ont tendance à mourir", écrira-t-il à propos de ses compagnons de goulag.
"En toute honnêteté, je n'ai rien à dire de bon sur Mao Tsé-toung", dira-t-il, jugeant que les 20 années entre 1960 et 1980 ont "perdues".
Il lui préfère celles des années de réformes économiques de Deng Xiaoping, mais à ses yeux, "que les Chinois deviennent riches n'est pas important. Le progrès humain, en définitive, c'est le progrès vers la démocratie", dit-il.
Retraité à 85 ans, Zhou a rédigé des dizaines d'ouvrages où il défend l'idée que les réformes économiques ne sont rien sans changement politique.
Ses références favorites --il continue à dévorer les livres entre deux siestes-- restent Confucius et Socrate.
Depuis la vague d'arrestations d'intellectuels --certains âgés de 81 ou 71 ans-- déclenchée par le président Xi Jinping, ses ouvrages sont scrutés de plus près par la censure. Elle vient d'exiger des coupes sombres dans son dernier, à paraître le mois prochain, où il évoque notamment l'immense famine sous Mao et ses dizaines de millions de morts.

Le problème n'est pas l'actuel président, dit-il, "c'est le système: nous n'avons pas de liberté de parole en Chine".

"Hija del sueño chino" per Zigor Aldama a "El País"

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CUATRO HISTORIAS: CHINA

Hija del sueño chino

La pequeña Minitou, Jiang Siqi, fue concebida en Liyang en 2011. Su vida ha sido cara y fácil junto a una familia que representa el auge de una nueva clase acomodada en la China del siglo XXI

Se dice que los bebés llegan con un pan bajo el brazo, pero Jiang Siqi hizo todo lo contrario: nació con una multa en la mano. China castiga así a quienes se saltan la política de natalidad que restringe a uno el número de descendientes, y Minitou —pequeña alubia, la llaman— era la segunda de los Jiang. “Con el cambio de la legislación que permite tener dos hijos a los matrimonios en los que uno de los padres es hijo único —él en este caso—, ahora no tendríamos que haber pagado nada”, se lamenta su madre, Hu Yen. Pero la pequeña Jiang vino al mundo el 28 de agosto de 2012, antes de que el Partido Comunista diese el visto bueno a una reforma que pretende mitigar el peligro que acarrea el rápido envejecimiento de la población más nutrida del planeta.
“Éramos conscientes del importante costo que iba a tener para nosotros saltarnos la norma, pero no queríamos que nuestra primera hija, Jiang Enqi (cinco años), creciese sin hermanos”. Los abuelos, además, reconocen que animaron a Hu a quedarse embarazada de nuevo porque albergaban la esperanza de que a la segunda llegase un varón. Pero la madre se negó a hacer las pruebas para determinar el sexo del feto, una práctica que, a pesar de que China la ilegalizó para prevenir el infanticidio, se puede llevar a cabo fácilmente en centros privados. Así, nacen 111 niños por cada 100 niñas y el peculiar desequilibrio de género se perpetúa. “A nosotros no nos importaba el sexo, pero entre los mayores sí que ha resultado una pequeña decepción. Incluso me piden que vaya a por el tercero, pero con dos basta”, se ríe la madre.
El de Hu no fue un parto complicado, pero los médicos que la asistieron en una pequeña clínica pública de la localidad de Liyang, situada en la provincia oriental de Jiangsu, le practicaron la cesárea. Otra vez. En torno al 80% de los bebés que nacen en la ciudad lo hacen por este método, que los centros utilizan a menudo porque proporciona mayor beneficio económico que un parto natural. Pero en el caso de Hu la decisión no tuvo nada que ver con la avaricia. “Lo pedí yo porque tengo terror al dolor”, justifica la madre, que, gracias a sus contactos, consiguió que fuese un doctor del principal hospital de la ciudad, el Renmin Yiyuan, quien supervisara su parto.
La política del hijo único ha condicionado a generaciones de chinos
“Hay grandes diferencias en la calidad del personal sanitario de China, así que hay que hacer todo lo posible para conseguir un buen médico”. Eso requiere conocer a la gente adecuada y sacar de paseo la cartera. En total, el nacimiento de Jiang Siqi les costó a los Jiang 2.800 yuanes (360 euros) que pagaron a la clínica y 500 yuanes (65 euros) de una "gratificación personal" para el médico. Si a eso se le suma la sanción, cuyo importe se calcula en base a los ingresos de la familia y que los Jiang prefieren no detallar, el nacimiento de Minitou no ha resultado nada barato. Ni siquiera para un matrimonio que pertenece a la nueva clase acomodada del gigante asiático y que tiene éxito con los negocios que ha puesto en marcha: él, Jiang Zhigao, nacido en 1977, es directivo en una empresa que produce suplementos nutricionales derivados de la miel; y Hu, ocho años menor, es propietaria de una tienda de productos medicinales chinos especializada en diabéticos.

"Generación Mei Ming. Miradas desde la adolescencia" del director David Gómez Rollán a "Documentos TV"

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Documentos TV - Generación Mei-Ming


Estreno en televisión del documental "Generación Mei Ming. Miradas desde la adolescencia" del director David Gómez Rollán
El documental Las habitaciones de la muerte, emitido por Documentos TV en octubre de 1995, propició un boom de adopciones chinas en nuestro país. 20 años después, la mayoría de ellas son adolescentes y viven una etapa compleja llena de interrogantes sobre sus orígenes, adopción e identidad. El lunes 12 de enero estrenamos Generación Mei-Ming: miradas desde la adolescencia, un documental que cuenta la historia de seis de esas chicas chinas-españolas con edades comprendidas entre los doce y los diecisiete años, en sus relaciones con sus familias de adopción y con el entorno en el que viven.
El documental cuenta la historia de seis chicas chinas-españolas adoptadas con edades comprendidas entre los doce y los diecisiete años, en sus relaciones con sus familias de adopción y con el entorno en el que viven.
“De China tengo los rasgos y no tengo el idioma. De España tengo el idioma pero no tengo los rasgos. Así que soy rara en los dos países”, afirma Marina, una joven sevillana china de diecisiete años, que ha sabido sacar lo mejor de las dos culturas y sentirse cómoda tanto en su país de origen como en el que la acogió.
Sin embargo, ese no es el sentimiento de la mayoría de las 18.000 niñas chinas adoptadas, que han ido llegando a nuestro país desde hace ahora veinte años. La implantación de la ley del único hijo en China, disparó el número de niñas abandonadas en orfanatos. 'Documentos TV' se hizo eco de esta dura realidad en 1995 con la emisión del documental 'Las habitaciones de la muerte', lo que propició un boom de adopciones chinas a finales de los noventa. En pocos años, España se convirtió en el segundo país del mundo con mayor índice de menores chinas entre nuestras familias.
Conocidas por la “Generación Mei-Ming” o generación sin nombre, muchas de ellas son ahora adolescentes y se debaten en esta compleja etapa, entre sus sentimientos de abandono e incomprensión por parte de sus padres biológicos y los desafíos que se les presentan en el mundo occidental donde viven.
“No quiero ser china, quiero ser española, no quiero ser diferente. Quiero ser como todas las demás”, afirma Estela, de doce años y que se ha encontrado con problemas de racismo en su instituto, donde es la única niña china.
El documental muestra a corazón abierto los sentimientos de los protagonistas y un pedazo de la vida, después de la adopción. 
Contenido disponible hasta el 27 de enero de 2015.

"Les 10 plus grandes histoires d'amour chinoises" a "Chine informations"

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Les 10 plus grandes histoires d'amour chinoises

© Chine Informations - La Rédaction
histoires d'amour chinoises
La Chine a de grandes histoires d'amour, issues de la réalité, de contes et légendes, ou d'œuvres de fiction, parfois rapporté à travers les siècles, de génération en génération, et d'autres fois plus contemporaines. L'amour est un sujet récurrent pour les poètes et les auteurs chinois. Tout comme Roméo et Juliette ou encore Tristan et Iseult, les histoires d'amour chinoises sont souvent compliquées, tantôt dramatique, tantôt comique.

Les contes et légendes.

1. « Les amants papillons » 梁祝 est une légende inspirée de faits réels. Elle est vieille de plus de 1600 ans. Les personnages de Liang Shanbo et Zhu Yingtai possèdent d'importantes similitudes avec ceux de l'œuvre de Shaskepeare « Roméo et Juliette ».  Liang meurt de chagrin à la fin et Zhu décide de le suivre dans sa mort.
2. La légende du « Bouvier et la Tisserande » 牛郎织女 raconte une histoire d'amour entre un mortel, Niulang et la fille d'une déesse, Zhinhu.  Transformés en astres célestes par la déesse, les deux amants ne peuvent se retrouver qu'une fois par an lors du 7ème jour du 7ème mois lunaire.
3. La « Légende du Serpent Blanc » 白蛇传 est une histoire d'amour entre un esprit de serpent (Bai Suzhen) incarnée dans le corps d'une femme et d'un jeune homme (Xu Xian). Ayant découvert la supercherie, un moine du nom de Fahai décide de capturer Bai. 20 ans passèrent jusqu'à ce que le fils de Bai et Xu viennent implorer la piété du moine et réussit à le faire libérer.
4. La légende de « Meng Jiangnu »  孟姜女 a été retranscrite dans les manuels scolaires. Le jour de son mariage, Fan Xiliang quitte déjà sa femme pour aller faire ses corvées à la construction de la Grande Muraille de Chine sur ordre de l'empereur Meng. Sa femme, Meng Jiang Nu, désespérée, le rejoignit aux prix de mille souffrances. Elle découvrit à son arrivée, que Fan était mort ensevelit depuis 3 jours.  Elle pleura tellement au point que le ciel, dit-on, s'obscurcit.
5. La légende de « Chang'e Benyue » 嫦娥奔月 raconte un archer adroit appelé Hou Yi qui était marié à la belle Chang'e. Il voulait vivre éternellement avec elle mais Hou Yi fut tué par un homme jaloux. Chang'e but alors l'élixir de l'éternité et s'envola pour la Lune pour devenir une déesse.

Les poèmes, chansons et œuvres littéraires.

6. « L'Histoire du pavillon d'Occident  »  西厢记 raconte l'histoire d'amour secrète entre un jeune savant pauvre, Zhang Sheng et la fille d'un ministre, Cui Yingying.  Leur histoire d'amour se termine bien puisqu'ils se marièrent malgré les réticences de la mère de Cui. Ce roman qui date de la dynastie des Yuan a fortement inspiré des lecteurs contemporains.
7. Le « Chant des regrets éternels » 长恨歌 est un poème lyrique triste qui raconte l'histoire d'amour entre l'empereur Xuanzong et sa concubine Yang Yuhuan. Pour sauver la vie de l'homme qu'elle aime, Yang se donna la mort.
8. Le « Rêve dans le Pavillon Rouge » 红楼梦 est un grand classique de la littérature chinoise. Elle raconte l'histoire tragique de Baoyu et de sa cousine Daiyu. Leur amour est pur mais ils ne peuvent se marier car ils sont parents. Daiyu meurt de chagrin et Baoyu devient bonze.
9. « Feng Huang Qiu » 凤求凰 est une chanson populaire chinoise dont le sujet principal est l'amour. Sima Xiangru, est un  poète de la dynastie Han. Il est tombé amoureux de Zhuo Wenjun, une veuve. L'union est impossible et leur relation n'aboutit pas.

Une vraie histoire d'amour.

10. Parmi nos contemporains, l'histoire de Liu Guojiang et de Xu Chaoqing est de loin la plus touchante. L'histoire a tellement émue par sa simplicité et son intensité qu'elle a remporté le concours des « dix plus belles histoires d'amour de Chine », organisé par le magazine Chinese Women.
Face à leur famille respective qui désapprouvait leur union (parce que Xu était veuve et mère de famille et qu'elle était beaucoup plus âgée), les deux amoureux décidèrent s'enfuir pour aller vivre dans une grotte reculée située dans le comté de Jiangyin, dans la province de Chongqing. Mais la grotte était dans une zone inaccessible. Liu a donc taillé à la main plus de 6000 marches pour permettre à son épouse de gravir la montagne où ils vécurent pendant plus d'un demi-siècle.
La Rédaction
http://www.chine-informations.com/actualite/les-plus-grandes-histoires-amour-chinoises_68730.html

"Learn to read Chinese… with ease?" a "Hacking Chinese"

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The best way of handling most things you don’t agree with on the internet is to simply ignore them, an approach that is much healthier than giving in and trying to correct every wrong and straighten every question mark you see. Considering how much dubious material there is on the internet (and elsewhere) about learning Chinese, I would surely die without this strategy.
Learn to read Chinese… with ease!
duty_calls
Image source: http://xkcd.com/386/
This is what I tried to do with ShaoLan’s Learn to read Chinese… with ease? and similar discussions about learning Chinese characters, but since I still receive recommendations to watch her TED talk (mostly from people who don’t study Chinese) and questions about the content (mostly from people who do study Chinese), I think it’s time to write a little bit about learning to read Chinese.
I’m not going to bash either ShaoLan’s TED talk or her product (which I haven’t seen); this has already been done by others. Instead, I’m going to address some questions related to the content of her talk. I’m also going to expand on my answers and discuss how some of the difficulties with learning to read Chinese can be overcome. Please note that even though I use ShaoLan as an example here, what i say ought to apply to a lot of other people and products as well.
First, let’s have a look at her TED talk, which is only six minutes long:
Learn to read Chinese… with ease?
In general, I think being encouraging and optimistic about language learning is good, even if some difficult and depressing facts are ignored or brushed over. This is especially true for Chinese, which has earned a reputation for being impossible to learn, which is evidently not true. Even though I think the claim that learning to read Chinese is easy while learning to speak is hard, is exactly opposite to most people’s experience, I’m not going to dwell on speaking Chinese now.
Instead, I want to address an issue which is common in lots of product introductions and advertisements (not just the above TED talk), namely that of numbers relating to reading ability in Chinese. The claims are different in different sources, but these are from ShaoLan’s talk:
  1. A Chinese scholar knows 20000 characters
  2. 1000 characters will make you literate
  3. 200 characters to read menus, basic web pages and newspaper headlines
  4. Chinese characters are pictures
I’ll address these one by one. In some cases, there are no exact answers, but I’ll try to provide different points of view here, as well as my own opinion.
Chinese has a bazillion characters
For some reason, it’s quite popular to first scare students and say that there are 20000 or 50000 characters, making Chinese sound impossible. Most Chinese scholars certainly don’t know 20000 characters. That’s a ridiculously high number and the only ones who will stand a chance of reaching that are people who spends serious time focusing only on learning as many characters as possible. Divide the number by three and you get closer to the number of characters educated Chinese people actually know.
You don’t need that many characters to read Chinese
The next step is to make the amount of character you actually need to learn sound really low. It sounds much better to go from 20000 to 1000 than from 6000 to 3000, doesn’t it?. There are different numbers, but I think 2000 is the most common one, but ShaoLan chose 1000. Whatever the number is, it’s usually followed by a percentage telling you how much you can understand of Chinese text knowing that many characters. In the case of 1000 characters, it’s 40% in the video.
The problem is that any such comparison is completely meaningless. In Chinese, meaning is conveyed using words and most words consist of two characters. Thus, knowing a certain amount of characters isn’t directly related to reading ability at all. For instance, if you know that 明 means “bright” and 天 means “sky” you will have no idea that 明天 means “tomorrow”. This is not apparent from the constituent parts of the word.
Furthermore, even if you did know all words that could be created with all the characters you know, it still wouldn’t tell us much about your reading comprehension. The problem is that if you know the most common 1000 characters, you’re bound to know a lot of common pronouns, nouns, verbs and particles. However, these are rarely the key vocabulary in a sentence. Knowing 50% of the words in a sentence does not give you 50% reading ability. It might actually get you 0% reading ability in some cases and perhaps even more than 50% in others. Unless you’re reading fiction where there’s a lot of fancy adjectives and adverbs, I think not knowing key components in a sentence tends to reduce reading comprehension a lot more than the percentage of characters you know implies.
Apart from this, there’s also grammar, word order and a lot of other things to learn which aren’t related to the number of characters you know either. To sum things up, learning a certain amount of characters will have little direct effect on reading ability (although the indirect effects can be substantial).
200 characters to read newspaper headlines?
This claim is somewhat unique for ShaoLan, I think, and I have no idea where she got this from. In my experience, headlines are often the trickiest part of a newspaper article. When I took a course in newspaper reading in 2009, we usually saved the title until after we read the article because it only made sense for us when we already knew the story. 200 characters won’t take you close to understanding newspaper headlines, 2000 probably won’t either.
The same is true for menus, but in a different way. The problem (at least for me) with menus in Chinese is that there are so many characters that are only used for food. I don’t really care that much and haven’t bothered to learn all these characters, so I find menus confusing even though I can write about 5000 characters. Approaching a menu with the 200 most common characters will probably only give you hints for a small part of the menu and will most likely only tell you if it’s rice, noodles or soup. If you’re lucky, you might be able to deduce what animal has died to provide your meal.
It would be interesting to take a few menus and see how many of the characters on them fall within the 1000 most common characters. If you have a menu and some spare time, feel free to contribute! Let’s use this list for frequency data. If you want to know more about roughly what you need, you can start with this article over at Sinosplice.
Chinese characters aren’t pictures
I’m sorry to say this, but Chinese characters aren’t pictures. Yes, there is a (very) small percentage of characters that originally directly represented objects in the physical world, such as 日 “sun” and 月 “moon”, but these characters make up a small fraction of characters in use today. I have a several books that teach Chinese characters through pictures and the problem with all of them is that they are mostly cherry-picking easy characters that make good pictures.
You can probably learn a few hundred characters this way, but the problem is that the characters you learn this way are not going to be the most frequently used characters. For instance, while it’s true that 囚 means “prisoner”, this character doesn’t appear in the most commonly used 2500 characters and will help little to increase your reading ability. The same is true for 姦, which is actually a traditional character (simplified as 奸).
This reminds me of something else. If you’re learning Chinese, you should choose to learn either traditional or simplified characters and stick to one set until you know it relatively well (it doesn’t really matter which you choose). You can learn both sets later and it’s not very hard, but choosing one or the other on a character-by-character basis because one might be easier to recognise than the other is not a good idea (for instance, ShaoLan uses traditional 姦 but simplified 从).
Learning to read Chinese is not easy
This should come as no surprise to anyone who has learnt to read Chinese. Still, the point with this article isn’t to discourage you and say that Chinese is impossible to learn either, but I do think a that a measure of realism is needed. Learning a hundred pictographs and combinations of such isn’t all that hard and there’s nothing really new with that method.
But what about the rest? What about the remaining 3000 characters you need to approach actually literacy? Here are a few things you can do to boost your character learning and make learning Chinese possible, although it will still take a lot of time:
Conclusion
Learning to read Chinese is not impossible, but it’s not easy either. Exactly how difficult it is depends on a lot of factors, some of which are beyond your control, but ShaoLan definitely has a point when she argues that learning Chinese needn’t be as hard as people think. Personally, I don’t like the way she does it, it looks way too much like someone trying to sell a product regardless of the truthfulness of the sales pitch.
Moreover, cherry-picking examples to prove your point isn’t very good, although I have made myself guilty of that as well. Still, if this makes people just a little bit more optimistic about learning Chinese, making them start learning the language or keep on studying even if it feels impossible at times, I’m not really complaining.

"20 reasons to hate Baidu " a "Marketing Chinese"

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20 reasons to hate Baidu 

20 reasons to hate Baidu

20 reasons to hate Baidu


Baidu is the world’s leading search engine in mandarin, and it was recently ranked number 4 on the “BrandZ Top 50 Most Valuable Chinese Brands 2013 Report”
Baidu is the essential platform for everybody who wants to reach its 600 million internet users, or the 420 million smartphone users.
Although the market is now witnessing more competitors, with a new company called Qihoo, which took 10% market share since august 2012 (according to Qihoo).

Baidu :
–          Is the leader search engine in China
–          Gets 80% revenues of search engines in China
–          Represents 40% of total advertising spending in China
–          Represents 6 billion searches every day, more than any search engine in a national market
–          Has 100 million users of the mobile app “Baidu search”
–          Is the 5th world’s most visited website

WHY IS BAIDU HATED?


1. PRIORITY TO CHINESE WEBSITES

Baidu discriminates foreign websites, hosted in foreign countries. This means that most results come from Chinese sources.
Moreover it censors some sensible results for the Chinese government.

2. BAIDU IS COMPLICIT IN THE CENSORSHIP

Baidu works with the Chinese government in order to censor a maximum of websites and special requests. It also gives data to the Chinese government about internet users.

3. BAIDU MIXES NATURAL RESULTS AND PAID RESULTS

Baidu is smart, and mixes natural and paid results on competitive requests. There is a small « 推广 » which indicates advertising while it’s so small that very few people will notice that.
baidu

4. BAIDU ONLY BRINGS FORWARD HIS OWN PLATFORMS

If we analyze the majority of the traffic’s results, we see that Baidu’s websites take the first page’s results:  Baike (the Wikipedia) and Baidu Zhidao (Q&A), Baidu News, Baidu Jingan (experience), and now Baidu shopping. A study had shown that 23% of Baidu’s traffic was redirected to these websites, monopolizing the results.
résultat-monopolisé-par-Baidu

5. BAIDU PUNISHES HIS COMPETITORS

For example Taobao and Tmall totally disappeared from the results since Baidu launched its own Baidu shopping.
See this example with the keyword “mobile phone” :
baidu-Shopping

6. A RANDOM TRUST RANK

Baidu evaluates the websites manually and often randomly. It is difficult to know how Baidu rates the websites. Many Chinese SEOers talk about a possible corruption of the rating managers, or fake results if you launch an advertising campaign via Baidu.

7. THE BAIDU BRANDZONE MAKE THE BRANDS PAY

Brands already appear first on their keyword, and Baidu developed a special available zone for these brands, which you need to pay. Of course the results are better, most users looking for a brand being more likely to buy products or stay on the website.
When you do marketing for a brand, you are then stuck: all the other brands and the competitors pay this service, so you don’t have a choice and thus you have to pay too.
Another fact important is that there is no fixed price, no pricing list: the richer and more famous you are, the more you pay.
Baidu-Brandzone

8. ADVERTISING ON BRAND’S NAME IS AUTHORIZED

Most companied advertise on their competitor’s name.
For example local companies do Pay Per Click on the “LV” keyword:
baidu-LV

The first shop offers LV bags at very low prices: 1960 Yuan instead of 10 000 Yuan.
It is hard to know if they’re fake or not ;)
LV88bags

The second shop offers bags from other brands, Gucci for example in the case the customers are undecided.
 68ag1

It is not unusual that even big foreign brands advertise on their competitor’s names.
For example for the “Dior” keywords, we also see ads for Guerlain, which is not very fair play!
baidu-dior

One reason for that is that usually SEM campaigns of big brands are managed by Chinese companies, who don’t act like luxury brands should act.
With this kind of methods, Baidu forces brands to buy Baidu Brandzone (very expensive), and to pay SEM campaigns on their name, in order to stop the competitors from buying their keywords. This makes the prices get higher, and generates revenue for Baidu.
Baidu was by the way punished by the government, which published in the press the abuses of Baidu who let rogue marketers advertise.

"Proteger la cavidad" per Luis Roncero

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Proteger la cavidad


Entre las múltiples pruebas personales que hay que pasar para comenzar el proceso de refinado del elixir se encuentra la etapa inicial de proteger, guardar, concentrarse en la unidad, la cavidad, el centro. Así es como se describe en muchos textos la práctica meditativa en la que el objetivo es la concentración de la atención en una parte determinada del cuerpo (en ocasiones, fuera de él) para apagar el resto de pensamientos y poder entrar en el espacio informe, incoloro, etéreo. Los taoístas emplean distintas expresiones para referirse a esta práctica, pero siempre tienen el sinograma shou 守 como primera parte del compuesto.
Dandao enero 2015-proteger la cavidad
Literalmente significa «proteger», «salvaguardar», y se empleaba con en un contexto de defensa, tanto personal como de una fortaleza, asentamiento o similar. Los taoístas lo utilizan como metáfora de un lugar que hay que proteger de invasiones externas. Los pensamientos distraen a la mente de su labor principal, que sería la de velar por la seguridad de la parte del cuerpo que haya que proteger. Por tanto, se emplea el término shou con el objetivo de crear una imagen mental en el practicante de responsabilidad, de concentrar la atención por completo para poder adentrarse en una nueva dimensión, como diría el esoterismo occidental.
Uno de los compuestos más conocidos durante la meditación es shouqiao 守竅 (proteger la cavidad). Aparece en numerosos textos definido de diferentes maneras. Por ahora, sólo necesitamos saber lo siguiente:
玄關一竅,無方無所,無形無象
La cavidad única de la barrera misteriosa carece de extensión y de posición; no tiene forma ni imagen.
Esta definición está extraída del comentario titulado Wuzhen zhizhi 悟真直指 (Indicaciones directas sobre el Despertar a la realidad) del Wuzhen pian 悟真篇 (Despertar a la realidad), que ya comentamos en una entrada anterior. Lo importante de esta definición es que no define nada. Podríamos decir que está tratando de definir con lo material, el texto, un concepto inmaterial, que no se puede describir ya que no existen términos precisos para hablar de lo informe, incoloro, de la vacuidad.
Dandao enero 2015-proteger la cavidad 2

Luis Roncero

Nací y crecí en Madrid. A los 23 años me trasladé a Estados Unidos, donde estudié un Máster en pensamiento antiguo chino en UCLA. A su término seguí mi andadura académica en Taiwán, donde realicé un Máster en Negocios Internacionales en la Universidad Nacional de Taiwán (NTU). Tras doctorarme en la Universidad Autónoma de Madrid con una tesis sobre la tradición esotérica taoísta, continué mis investigaciones sobre la alquimia interior taoísta. En la actualidad dedico la mayor parte de mi tiempo a estudiar la pragmática y la traducción entre el chino y el español, trabajo que compagino con la docencia en la NTU

"Los Jino: la última minoría étnica de China" per Alberto Lebrón a "China Capital"

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Los Jino: la última minoría étnica de China


Capital China se desplaza hasta Xishuangbanna, una región fronteriza con Birmania, en nuestro afán por descubrir una de las muchas realidades del gigante asiático ¦
China constituye, seguramente, una de las realidades socio-económicas más complejas del mundo. Para empezar, en estas tierras es posible encontrar la mayor y menor densidad de población del planeta al mismo tiempo. Y aquí, en este inmenso país, conviven más de veinte minorías étnicas diferentes. Todos conocemos los conflictos en las regiones estratégicas de Xinjiang y Tíbetdonde, siendo periodista, resulta imposible acceder libremente para contrastar la realidad social que allí se vive. En Xinjiang, donde tuvimos ocasión de grabar hace ahora cinco años, existe una fractura social evidente entre los chinos han y la población uigur-musulmana. Y el terrorismo, además, continúa emergiendo como una lacra que sólo podemos condenar con todas nuestras fuerzas.
La china rural es, todavía, una asignatura pendiente. Las enormes diferencias campo-ciudad, entre una población total cercana a los mil cuatrocientos millones de habitantes que se divide hoy al cincuenta por ciento, siguen preocupando en Pekín. Aquí hay peticionarios afectados por injusticias como las expropiaciones de tierras sin una compensación económica adecuada.Blogueros y encarcelados por denunciarlo. Pero es innegable que el desarrollo económico y social, primero en las ciudades, sigue avanzando imparable desde los años 80.
“China está por encima del Partido Comunista -me suele decir un buen amigo aquí- y solamente seguiremos sacrificando nuestras libertades si nuestros hijos viven mejor que nosotros”. Es una opción, no seré yo quien entre a valorarla, pero este pensamiento rige mayoritariamente entre la gente que he podido conocer aquí. Sin embargo, también hay quien se muestra abiertamente contrario al gobierno, aunque las condiciones necesarias para una revuelta social solamente podrían darse en caso de crisis económica aguda. Los tristes acontecimientos del Tiannanmen, en 1989, coincidieron exactamente con la inflación más elevada registrada durante una valiente reforma que Deng Xiaoping había decidido iniciar diez años antes. Y Pekín, lógicamente, tiene muy presente todo esto desde la crisis del 2008.
China está a años luz del solar que era en 1949. China rompió con el maoísmo, de raíz, hace ahora tres décadas. China, pese a los innumerables problemas que todavía quedan por resolver, está en condiciones de completar su desarrollo económico. Y, en definitiva, de completarlo también socialmente. En “Cultura & Lifestyle” vamos a mantener vivo el debate, sin filtros, encantados de aprender también con vuestras opiniones. Os dejamos, por tanto, con una foto más de China… desde las montañas Jinoshan.

"De cosechar maíz a recoger basura: las paradojas del desarrollo urbano en la China campesina" a "Historias de China"

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De cosechar maíz a recoger basura: las paradojas del desarrollo urbano en la China campesina

trabajador-reciclaje-2
Entre el año 1990 y el año 2012, China dobló el volumen de su población urbana, y por primera vez en su historia, las personas residentes en zonas rurales pasaron a ser minoría, todo un hito para un país con una historia marcadamente agrícola.
Pero a pesar de que las ciudades chinas crecen de forma más vertical que en Europa o América, la proliferación de los bloques de viviendas implica la apropiación de una gran cantidad de terreno explotado por los campesinos que habitan en los márgenes de lo urbano.
chabola-changchun-5
Generalmente, tanto el gobierno como las empresas interesadas en dichos terrenos suelen compensar a los campesinos con una suma de dinero o con una vivienda a su nombre en uno de los edificios levantados. No obstante, debido a que la propiedad de la tierra sigue en manos del estado, y a cargo de unos gobernantes poco comprometidos por sus derechos, no es extraño que los agricultores y ganaderos salgan perjudicados a la hora de negociar la cesión de sus tierras.
girasol-seco-changchun-1
chabola-changchun-7
Al fin y al cabo, una granja incluye tanto el hogar como la fuente de recursos necesarios para la supervivencia, y entregarlos a cambio de un apartamento en un bloque de viviendas, por muy moderno que sea, no resulta una opción ventajosa para personas carentes de formación ajena al mundo rural.
Además, el hecho de una familia se niegue a vender su granja no significa que pueda seguir manteniendo su estilo de vida, ya que gran parte de la rentabilidad y el sentido de su actividades productivas están estrechamente ligadas a las de sus vecinos. Es decir, no es lo mismo cultivar y criar animales como parte de una comunidad de granjeros acostumbrados al intercambio de productos, que hacerlo en medio de un entorno urbano que funciona a base de supermercados y tarjetas de crédito.
chabola-china-2
chabola-changchun-1
chabola-changchun-2
Esto es algo que ya han comprobado de sobra los habitantes de este pequeño barrio de Changchun, quienes han pasado de cosechar cereales, verduras y hortalizas, a recoger la basura y las sobras de la sociedad del consumo, dando lugar a una especie de burbuja sociológica que refleja muchas de las paradojas y contradicciones del desarrollo económico.
chabola-changchun-3
puerta-chabola-1
zapato-basurero-1
El barrio se encuentra a apenas 200 metros de un supermercado Walmart y a medio kilómetro de la Universidad de Jilin, aunque ambos son lugares de acceso prácticamente vetado para sus habitantes. Sin embargo, tal y como ocurre en muchos otros suburbios abandonados a la misma suerte, el compromiso y la responsabilidad hacia el futuro de la siguiente generación explica que estos antiguos campesinos perseveren cuando otros se darían por vencidos.
casa-gallinas-changchun-1
abuelo-chico-china-2
trabajador-reciclaje-1
abuelos-reciclaje-china-1
Las empresas de reciclado ofrecen una humilde remuneración por cada kilo de basura recogido, y tanto padres como abuelos recorren las calles armados con sus sacos, con sus carros, y con la esperanza de que algún día sus hijos o sus nietos puedan gozar de una vida digna, o del respeto que disfrutaron cuando ser campesino era la norma general.
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