All of us Chinese cannot wait any longer. Every day of delay will bring great suffering, disaster, revenge, social suici···
In recent years, the trend of world cultural diversification has increased significantly, and the effect of my country's cultural "going out" has also continued to increase.
The "New Century Chinese Contemporary Writers and Works Overseas Communication Database" project jointly launched by the Chinese Culture Translation and Research Network (CCTSS) and the Chinese Writers Association's "Selected Novels" magazine has attracted much attention. This project showcases the elegance of Chinese writers to the world by displaying thousands of "writer business cards". There is a wealth of value in this novel approach.
With the advancement of globalization, cultural exchanges between various countries have become increasingly frequent.
The world is full of desire for knowledge of Chinese culture, and literature, as a key medium for cultural inheritance, provides an excellent entry point.
China has a profound literary heritage and there are many outstanding writers in the contemporary era.
In the context of frequent exchanges and integration of global cultures, our country is increasing its cultural export, which will help enhance our cultural soft power.
Confucius Institutes have been established in many countries around the world, prompting many foreign friends to start learning Chinese and deeply experience the charm of Chinese culture.
This has laid a certain audience base for the output of literary works.
At the same time, advances in technology have made information transfer faster. This also provides favorable conditions for the widespread circulation of literary works.
In cultural exchanges, some Western cultures are also constantly impacting the Chinese cultural market.
The spread of Chinese culture to the world is an inevitable need for two-way communication. Doing so will help the world better understand the real Chinese culture. It is not just a display of kung fu or food, but a cultural system with profound connotations and diversification.
This project selected 100 outstanding contemporary Chinese writers.
This project translates the writers' profiles, masterpieces, and short videos showing their style into ten languages, and compiles them into a thousand business cards of Chinese writers for promotion to the world.
These writers span multiple literary fields such as poetry and novels, and each has their own unique style and creative insights.
It is unprecedented to promote on such a large scale and in such a format.
This will not only show the richness of the Chinese writer group, but also allow foreign readers to choose the works they want to read based on their own interests, thereby comprehensively understanding the creative style of Chinese literature.
Translation between different languages is critical.
Readers from some minority language countries may have had difficulty accessing the works of contemporary Chinese writers before. By translating “writer business cards” into multiple languages, we are able to spread Chinese culture to a wider area. In this way, more people will have the opportunity to appreciate the unique charm of Chinese literature. It's like throwing a pebble into water, the ripples spread layer by layer, and the scope of influence gradually expands.
Ouyang Jianghe is one of the outstanding poets who was recommended to build a "writer's business card".
He frequently goes abroad for academic exchanges and visits, and has visited more than 20 well-known universities and several literary institutions in the United States, Germany, the United Kingdom and other countries.
He has poetry collections such as "Through the Glass of Words" and "Who Goes and Who Stays".
Ouyang Jianghe's poetry creation has distinctive characteristics.
He is proficient in Chinese, uses vocabulary skillfully, and greatly enriches the expressive ability of Chinese through careful matching.
His poems often have strong dramatic conflicts, making them like thick allegorical worlds.
His work "Glass Factory" is full of speculation, explores the issue of alienation, and touches on the power interaction between "observation" and "observed".
He uses the transparency of glass as the basis and bridge between observing and being observed, and deeply explores the monitoring function in the operation of power. This kind of thinking is not limited to the working class, but also contains more complex and in-depth insights.
The work "Across the Square at Evening" has profound connotations.
The word "evening" in the name symbolizes the passage of time and death, while the word "passing through" reveals people's position in the institutional environment and their indifferent attitude towards politics. "Plaza" covers all aspects of public life.
I did not leave in the car with everyone, nor did I fall down like a few people. I chose to criticize in grief.
The inspiration for the poet's writing comes from Xu Bing's large-scale installation art "Phoenix".
There is a dialogue and symbiosis between the two.
Based on artworks, the poet painted a panoramic picture of the globalized post-industrial era, and deeply thought about the living conditions of mankind in this era.
This poem explores the possibility of an individual spirit remaining unique in a homogeneous world.
The launch of these business cards of Chinese writers is of great significance.
On the one hand, it allows the world to have a more comprehensive, objective and fair understanding of outstanding Chinese writers and works.
In the past, the outside world did not know much about Chinese literary works, but now, through the works of many writers, we can appreciate a variety of literary styles.
On the other hand, this is also the “last mile” for Chinese culture to go global.
The foundation of cultural communication lies in the content of high-quality works. These works are like keys, unlocking many doors for cultural exchanges.
On the stage of international cultural exchanges, the emergence of Chinese literary works can also prompt other countries to reflect on their own literature and achieve mutual learning and reference.
Cultural exchanges are not one-way. Only when there are exchanges can we promote the development of literature and culture.
The current project is just the beginning, and there is still a lot of room for expansion in the future.
The number of writers can be further increased to cover more types of literary styles.
At the same time, we will continue to improve the quality of translation to ensure the accurate transmission of cultural connotations.
As the times progress, we can work with more international cultural groups to promote, and we are no longer limited to existing channels.
In addition, various events such as international literary festivals can be organized. Through these activities, Chinese writers and foreign readers can communicate face to face, increasing communication opportunities.
Chinese writers should not only receive attention for their works on the international stage, but they themselves should also be able to express themselves more loudly.
Do you think that if Chinese culture goes global, which literary style will be more popular in the eyes of overseas readers?