The international magazine for the Claremont Colleges
November 5, 2010 Volume 4
Extravaganza
The Literature Issue. [FRENCH] GERMINAL: A DOWN-TO-EARTH NOVEL by ALICE MIRLESSE
READING GERMAN POETRY by EDIE HARRIS
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HINDI LITERATURE by RACHIT KHAITAN
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10 [ITALIAN] A FREE MAN IN THE MIDDLE AGES by RODRIGO RANERO
[CHINESE] LEGENDARY YOUTH by WENDY QIAN 2 ― Extravaganza|2010
KOREAN LITERATURE by HAEYOUNG YOON
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7 RUSSIAN LITERATURE by IGOR TISCHENKO
I had told myself for a while that I wanted to immerse myself in the literature of a different language. But digesting the entirety of Faust isn’t an activity that I would willingly schedule into my Friday nights; and shorter and more immediately enticing reads like Kafka are convoluted enough in English, let alone in a language that I am shuffling through piles of flashcards to learn. So, I had been pondering about how I would do a little self-reflective brooding under the guise of language emersion (as is fitting for the liberal arts college vibe). Then it came to me: I could read poetry! While the actual effect I believed antiquated German poets would have on my life when I first started reading them was quite minimal, it took me only a couple of poems before I was forced to swallow my skepticism. German poetry waves a magic wand of luminescence over almost any normal activity, and really can influence your view of the world. The right poets are simple and pure. Two or three short paragraphs is all it takes to transform an unimportant, fleeting event into a moment of sheer and gentle beauty. I could tell you about Rilke’s poem about Madness or eerie zoo animals or solitude, or any of Brecht’s stories about homeland, nostalgia for a childhood, or lust and love, but you really have to read it for yourself before you believe me. Find a coffee shop or a shady tree (Note to Pitzer people: a cactus would suffice foryou), and read a little bit of poetry. It mutes out the all-too prevalent buzz and stress of schedules and homework and midterms, and makes language come alive in a way that we rarely ever encounter in the classroom.
Ich hatte mir selbst vor einer Weile gesagt, dass ich mich mit deutscher Literatur beschäftigen möchte. Aber Goethes Faust zu lesen ist nicht gerade eine Aktivität, die ich für einen Freitagabend plane. Mehrere kurze Reden von Kafka sind gut ins Englische übersetzt, ganz zu schweigen von den Vokabeln, die ich mit Hilfe meiner Lernkarten lerne. Dann fiel es mir ein: Ich könnte Gedichte lesen! Als ich sie zum ersten Mal gelesen hatte, dachte ich die eigentliche Wirkung, die die deutschen Gedichte auf mich haben würden, sei sehr klein. Aber nein, es brauchte nur ein paar Gedichte, um mir meine Skepsis zu nehmen. Die richtigen Dichter schreiben einfach aber wahr. Man braucht nur zwei oder drei kurze Abschnitte, um ein flüchtiges oder unwichtiges Ereignis zu einem Moment von reiner, liebenswürdiger Schönheit zu machen. Ich könnte dir etwas über ein Gedicht Rilkes erzählen, dass „Wahnsinn“ heißt, oder ich könnte dir etwas erzählen über unheimliche Tiere, Einsamkeit, Nostalgie für Kindheit... oder über jede von Brechts Leidensgeschichten über Heimat, Lust und Liebe…aber das musst du wirklich selber lesen, bevor du es mir glaubst. Finde ein Cafe oder schattigen Baum (Pitzer Studenten, ein Kaktus würde für euch auch passen) und lies ein paar Gedichte. Sie dämpfen die schlechten Teil des Studentenlebens—Hausaufgabe, lernen, Zeitpläne und Prüfungen—und macht die deutsche Sprache lebendiger als sie im Klassenraum je sein könnte.
READING GERMAN POETRY
BY EDIE HARRIS (PO ’13)
Ich liebe zu lesen.
Extravaganza|2010 ― 3
Littérature et culture: un Roman terre-à-terre – “Jamais une œuvre ne rendra beau l’immonde” semble être une idée prédominante ces jours-ci – et pourtant, Emile Zola, écrivain du 19ème siècle (époque remplie de révolution sociale et littéraire dans toute l’Europe), nous prouvera le contraire de nombreuses fois dans sa carrière. Opposé au style romantique, Zola utilise un style d’écriture très terre-àterre, donnant une impression de réalisme avec un maximum de détails. Cette approche à la littérature a créé le mouvement littéraire du Naturalisme, qui plus tard s’établira dans toute l’Europe avec des auteurs comme Honoré de Balzac, George Bernard Shaw en Angleterre et Hauptmann en Allemagne… Les écrivains naturalistes étaient influencés par la célèbre théorie de Charles Darwin, qui démontre que le caractère de chacun est déterminé à la fois par son environnement et par ses gènes. Passionné par les divers conflits sociaux de son temps, Emile Zola était souvent critiqué pour ses descriptions crues et pessimistes de la vie. Son roman le plus célèbre, Germinal, aborde un sujet très controversé dans les partis conservatiste et socialiste. Dans cette œuvre, Zola nous présente une réalité dure : celle de la vie des mineurs en France dans les années
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Germinal d’Emile Zola
1880. Ayant passé des années à observer et à rechercher les conditions de travail des ouvriers dans les mines de charbon, Zola réussi à nous en dépeindre le drame, tout en gardant un point de vue objectif et historiquement authentique. La qualité de la prose et l’intrigue de la narration en font un roman non seulement informatif mais surtout passionnant! L’histoire se déroule en un mois, au cours duquel le personnage principal, Étienne Lantier, essaie de se battre contre les injustices sociales en encourageant les ouvriers à se mettre en grève. Depuis, ses idées révolutionnaires ont inspirés bien des partis et ont nourri l’espoir des classes ouvrières d’enfin obtenir une considération légitime dans la société. Malgré ces efforts, la fermeture complète des mines de charbons en France ne se fera qu’en 1960, avec les premiers traités européens. Le roman a depuis été adapté deux fois au cinéma et dans de nombreuses pièces de théâtre, ce qui témoigne de sa popularité auprès des lecteurs. Malgré la nature tragique de ses romans, Zola arrive à nous en faire apprécier la valeur grâce à son style unique et son point de vue authentique sur des évènements qui ont formé la société française que nous connaissons aujourd’hui. Il a laissé un bel exemple aux prochains écrivains que les sujets les plus noirs sont peuvent être rendu esthétiques et qu’il est même possible de changer l’opinion publique grâce à un simple roman.
ulture through literature: A down-to-earth novel– GERMINAL BY ALICE MIRLESSE (CMC ’13)
“Never will a work of art turn the repulsive into something beautiful” seems to be a prevalent opinion these days – however Emile Zola, a 19th century French writer will prove this wrong many times during his career. Zola was one of the first authors to oppose the predominant romantic style and to use a very down-to-earth writing style: using many details to create a feeling of realism. This perspective on literature engendered the literary movement called Naturalism, which later spread over all of Europe, with authors such as Honoré de Balzac, George Bernard Shaw in England and Hauptmann in Germany. These writers were mainly influenced by Charles Darwin’s famous theory of evolution, and especially believed that human condition is inextricable, as it is inscribed in our genes and results from our direct environment. As he dwelled upon the various social conflicts of his time, Emile Zola was often criticized for his blunt and pessimistic descriptions of everyday life. His most famous novel, Germinal, takes on a very controversial subject (especially among the conservative and socialist parties in France). In this book, Zola presents us with a harsh reality: that of the miner’s life in the 1880s. Having spent years observing and researching the work conditions of the coal pits’ laborers, Zola succeeds in depicting their tragedy, while always keeping an objective stance and historically authentic facts. The quality of his writing style and the intrigue of his narration make this work not only informative but also enjoyable! The story is held over a month, where the principal character, Étienne Lantier, attempts to fight against social injustices by encouraging the workers to go on a strike. His revolutionary ideas have inspired many parties in France since and have provided food for thought to the working classes striving for a legitimate recognition of their rights in society. Despite these efforts, it is only in 1960 that the mines will start to shut down in France, following many other European examples. Since then, The novel has been adapted to the large screen twice and to theater plays many times, which shows its popularity amongst the readers. In spite of the tragic nature of this work, Zola makes us appreciate it trough the beauty his unique style and authentic point of view on events that have shaped the French society that we now know. He has left a marking example to future writers, showing that one can render the harshest realities aesthetical in a work of art and that it is even possible to change public opinion through writing.
J’ A I M E 4 ― Extravaganza|2010
LIRE
Hindi Literature BY RACHIT KHAITAN (CMC ’13) मेरा मानना है की हर भाषा का सबसे उचित प्रतिनिधित्व है उसका साहित्य| साहित्य-कला की रचनाएँ, लेखक के मन की सोच विचार के अलावा बहुत कुछ बताती है जैसे वाक्यों की संरचना से लेकर शब्दों के तरह तरह की उपयोग तक, तथा हर रचना के लिखे जाने के समय का समाज की स्थिति| किसी भी भाषा की पर्याप्त जानकारी केलिए उसकी साहित्य से परिचित होना आवश्यक है| हिन्दी भाषा की जड़ जिसे दुनिया के सबसे पुरानी भाषा मानी जाती है, संस्कृत, मैं है| सोलहवी शताब्दी मैं मुगलकालीन शासकों की परिचित भाषा, उत्तर भारतीय बोलचाल की भाषाओं तथा संस्कृत के संयोग से हिन्दी और उर्दू का एक साथ भारत मैं जन्म हुआ| इसी के साथ उभरे हिन्दी साहित्यकार| पहले-पहल तुलसीदास, मीराबाई, सूरदास, कबीर आदि साहित्यकारों की रचनाएँ भक्ति भावों से ओत प्रोत थीं| संस्कृत भाषा के सबसे मुख्य महाकाव्य, तुलसीदास की रामायण तथा वाल्मिकी की महाभारत, दुनिया के रोम रोम मैं प्रचलित है| कबीर और रहीम की रचनाएँ भगवान के निरगुन, निराकार स्वरूप को समझाकर हिंदू, मुसलमानों का भेदभाव दूर करने का प्रयत्न किया| हिन्दी साहित्य का एक अनोखा और मेरा प्रिय रूप है जो दुनिया भर मैं प्रचलित है: कबीर और रहीम के दोहे| केवल दो वाक्यों में, हर एक शब्द का उचित उपयोग से नैतिक मूल्यों तथा भगवान के प्रति भक्ति का प्रस्तुत करता है| कबीर के इस दोहे से मैं उदाहरण प्रस्तुत करना चाहता हूँ: It is my belief that the best representation of any language is its literature. The creations of literature are rather telling more than the author’s thoughts and feelings such as from the structure of sentences to the various usages of words and the state of society of the time when the piece of literature was written. For the sufficient familiarity with a language, it is essential to be privy of its literature.
"काल करे सो आज कर, आज करे सो अब, पल मैं प्रलय होएगी, बहुरि करेगा कब|”
Tomorrow’s work do today, today’s work now if the moment is lost, the work be done how
उन्नीस्वी शताब्दी मैं अँग्रेज़ों के राज्य मैं आए परिवर्तन से साहित्य मैं भी बदलाव आया| मुंशिप्रेमचंद का नाम इस समय मैं विख्यात है| उनकी रचनाओं मे अँग्रेज़िराज के प्रति एक विद्रोह है| समाज मैं जमींदारी प्रथा(जिसको अँग्रेज़ों ने किसानों के शोषण के लिए स्थापित किया था) से, आए समाज के परिवर्तन का जीता जागता चित्र प्रस्तुत किया है| गोदान, गबन, निर्मला, कर्मभूमि, रंगभूमि आदि उनके प्रसिद्ध उपन्यास हैं| उनकी रचनाएँ उस समय मैं फैली कुरीतियाँ, अंधविश्वास और मानवीय स्वाभाव को दिखाता है| आचार्य चतुरसेनशास्त्री के उपन्यास 'गोली' मैं उस समय मैं ऐयाशी मैं डूबे राजा-महराजाओं के बारे मैं बताया है| वैशाली की नगरवधू उनकी बहुमूल्य रचना हैं| मैईथलीशरण रास्ट्रवादी थे और उनकी रचनाएँ राष्ट्रीयता से ओतप्रोत हैं|
In the 19th century, the changes that came through the British rule in India brought about corresponding changes in Hindi literature. Munshi Premchand is one of the most famous writers of the period. His works portray a revolt towards the British rule. His works paint a vivid picture of the zamindari system (that the British has established for the management of farmers). Godan, gaban, nirmala, karmbhumi, rangbhumi etc are his very famous novels. His works illustrate the malediction, blind faith and the humane character of the times.
भारत देश ने अपनी ज़िंदगी मैं अलग अलग कालों मैं कई परिवर्तन देखी है; मुघलों के पहले से लेकर अँग्रेज़ राज तक तथा वर्तमान के आसमान को चीरती हुई विकास तक| इसी तरह बदलती समाज और व्यवस्था से हिन्दी भाषा के सात्साहित्यकारों के साहित्य मैं परिवर्तन आता रहा है|
The roots of the Hindi language lie in the ancient language of Sanskrit. In the 16th century, a combination of the languages known by the Mughal dynasty, the languages commonly spoken in North Indian regions such as and Sanskrit gave rise to Hindi as well as Urdu. With this, were born Hindi litterateurs. In the early days, the works of Tulsidas, Mirabai, Surdas, Kabir werer filled with devotion. Sanskrit’s prime epics, Tulsidas’s Ramayan and Valmiki’s Mahabharata are known in all corners of the world. The creations of Kabir and Rahim, by explaining the formless and property-less states of God tried to reduce the differences between Hindus and Muslims. There is one unique form of Hindi literature that is world renown and is also my favorite, the doha, by Kabir and Rahim. In two sentences, with the appropriate usage of every word, these dohas portray love, morality and devotion for God. I’d like to present an example of one such doha by Kabir:
Acharya Chatursenashastri’s novel Goli portrays the lives of the kings of the ‘princely states’ drowning in luxury, of the period. Maithlisharan was a nationalist and his works are replete with nationalism. Nagarvadhu is Vaishali’s prime work. India through its lifetime has seen numerous changes, from the times before the Mughals to the British Raj to the sky-scraping developing India. In the same way, in a changing society and circumstances, there have been significant changes in the literature of the litterateurs of the Hindi language.
मुझे पढ़ना अच्छा लगता है| Extravaganza|2010 ― 5
Korean Literature BY HAEYOUNG YOON (Scripps ’12)
한국문학은 긴 역사로부터 만들어졌습니다. 한국의 고전문학은 처 음 한자와 불교와 다른 사회적인 영향력이 컷습니다. 많은 유명 문 학들은 우정, 왕에 대한 자세와 사외적인 예의를 강조했습니다. 그 중에 가장 뛰어난 문학들은 실라와 고료에서부터 나온 시 작품들이 였습니다. 다른 작품들은 조선시대에서 만든 3줄 시들도 있습니다. 다른 작품들도 학업용 문학부터, 철학글문과, 궁시인들의 일기도 있 습니다. 한글의 시작으로 인해, 조선시대부터 많은 유명 작품들이 만들어졌 습니다. 다시, 문학의 주제는, 틀별히 17세기 사회의 위계질서에서 평등주위를 강요하는 작품들이 많아졌습니다. 19세기때는 서부 문화가 많은 영향을 줬습니다. 이중에 시들과 많 은 책작품들은 사회의 평등을 아주 많이 강요했습니다. 이중에 “판 소리” 라는 문학은 사회적인 비판을 통해 아주 많은 사랑을 받았습니 다. 이때부터 문학이라는 것을 통해 정치적 현식과 세상 풍조를 비판 하는 글들이 많이 나오기 시작했습니다. 일본의 침략과 전쟁을 통해서부터 다른 느낌의 문학들이 나오기 시 작했습니다. 이 시대의 내용들은 자유와 독립의 대한 글들이었습니 다. 최남선씨의 해(海)에게서 소년(少年) 시가 현대 문학의 시작이였 습니다. 그리고 이광수씨의 현대 소설의 시초였습니다. 독립 이후의 한국의 산업화와 현대화를 통해서 다른 많은 유명 문학 들이 태어났습니다. 그 이후론 한국 문학도 다 개 국어로 번역되어 해 외로 진출하였습니다.
나는 책읽는걸 좋아해 좋아해 6 ― Extravaganza|2010
Korean literature boasts a depth of literary traditions stemming from its long, dynamic history. Korea’s classical literature was written in altered forms of Chinese characters and was heavily under the influence of Shamanism, Buddhism, and Confucianism, and the consequent social norms, morals, and customs dominated literary themes. Most works stressed proper behaviors regarding filial piety, friendships, loyalty to the king, and respect for seniors. Some of these exemplary works were in the forms of poems, from the Shilla Kingdom’s hyangga to the Koryo dynasty’s hanshi and shijo, the latter of which was a short three-lined poem that survived into the Choson dynasty. Other strains of early literatures were composed of philosophic expositions, scholarly essays, and diaries of court ladies. The introduction of Korea’s authentic script Hangul during the Chosun era spurred a great outpouring of written literature together with the diversification in authorship from scholars and nobles to commoners. Moreover, the introduction of Sirhak, or practical learning, brought down the traditional themes that emphasized strict hierarchy in favor of the thematic shift to social equality. Hong Kil-ton Chon of the early 17th century, Korea’s first vernacular novel, well describes this thematic shift. The introduction of Western culture in the 19th century further reinforced the popular literature’s emphasis on social equality and justice. Aging bureaucracy and its inadequate response to social changes inspired a new form of literature called P’ansori, or the “one man opera,” which were satirical tales sung by travelling artists to an outdoor audience. The Japanese invasion and its annexation in the early 20th century also contributed to the unique development of Korean literature. The theme of freedom and independence dominated the literary scene, particularly those aiming against the authoritarian regimes. Ch’oe Nam-son’s inspiring poem “From the Sea to a Child” gave birth to modern poetry in Korea. Yi Kwang-su initiated a movement for modern novels through publishing various stories on the magazine Ch’ongch’un. Following the independence in the mid 19th century, Korea’s rapid industrialization saw a growing number of literary works focusing on the dehumanizing effects of industrialization and modernization. Some of the noted writers of the modern literature include Yi Mun-yol and Han Mu-suk, whose works have been translated into various foreign languages including English and French.
When comparing classical Russian literature of the times of Lev Tolstoy, Feodor Dostoyevsky, Ivan Turgenev, Anton Chekhov, Aleksandr Kuprin and other writers whose works have been incorporated into numerous university programs around the world, with contemporary Russian prose, it would be appropriate to agree with the opinion of Boris Akunin – a writer, who many consider to be the only romantic able to conquer the general writer abroad and within Russia since the times of the Soviet Union. In his interview by the British newspaper ‘The Times’, speaking on the new Russian middle class, Akunin claims, that it is energetic, very active and in need of everything a class needs, like ideology, ethics, aesthetics and, well, easy reading. Classical literature of the past responded to the demands of the readers of that era, in particular of the intelligentsia, which led a passive form of existence and devoted considerable efforts to existential musings as to the meaning of life, moral obligation to the ‘People’, humanity, nature, love and the relationship to those close to oneself. The works of Lev Tolstoy (‘War and Peace’, ‘Anna Karenina’ and the like) observe the minds of the protagonists who are in turn full of such inner tribulations and quests for the ‘Truth’. Feodor Dostoyevsky (‘Brothers Karamazov’, ‘Idiot’, ‘Crime and Punishment’ and others) has entered the history of world literature as a writer who possessed great insight into the psyche of human beings. His depictions of the inner struggles of his heroes reflected the contradictive political, social and spiritual contexts of 19th century Russia. His characters were usually presented as full of dramatic baggage and emotional pressure. Aleksandr Kuprin, in his own right, is renowned as a master of critical realism. His work ‘Confrontation’ describes the senseless, rude, mundane life of a provincial military garrison. The romantic works such as the ‘Garnet Bracelet’ or ‘Olesya’ tell of tragic love, which is inhibited by insurmountable barriers within society. All such paradigms of classical Russian prose were created in response to the needs of their respective times and target audiences. Contemporary Russian literature is starkly different from its predecessors. In that it is full of action that stimulates the imagination of the reader. Popular representatives of the modern generation of Russian writers are Sergei Lukyanenko and Boris Akunin. The works of Lukyanenko (who is considered to be one of the foremost writers of fantasy and science fiction) such as ‘Night Watch’ and ‘Day Watch’, are distinct in their brisk tempo of action, captivating storylines and moral standings as they relate to preservation of humanity in light of possessing great power. The works of Boris Akunin (his real name being Gregory Chkartachvili) found recognition in Russia and abroad as exemplary works of criminal fiction (novels like the ‘Turkish Gambit’, ‘Murder of the Leviathan’ and others which have been translated and published worldwide extensively). His heroes, such as Erast Fandorin, embody the qualities of a modern Russian hero- genius, gentleman, polyglot, kick-boxer and overall an inordinately lucky bloke! Perhaps, the reason for the appeal of such heroes lies in that they represent the hopes and aspirations of the average Russian reader, and that attaining stability and a place in the new Russia might enable them to become such an individual.
RUSSIAN LITERATURE BY IGOR TISCHENKO (CMC ’13)
Сравнивая классическую русскую литературу времен Льва Толстого, Федора Достоевского, Ивана Тургенева, Антона Чехова, Александра Куприна и других писателей, чьи работы вошли в программы многих университетов мира, с современной российской прозой, уместно сослаться на мнение Бориса Акунина – писателя, которого многие считают единственным романистом сумевшим завоевать массового читателя за рубежом и в России со времен развала Советского Союза. В его интервью британской газете “The Times”, говоря о новом среднем классе в России, Акунин утверждает, что это «энергичный и очень активный класс, которому нужно иметь все что полагается классу – идеологию, этику, эстетику и, конечно, популярную литературу». Классическая литература прошлого времени отвечала потребностям читателей той эпохи, в особенности интеллигенции, которая вела размеренный образ жизни и посвящала много сил душевным исканиям о смысле жизни, моральном долге перед Отечеством, гуманности, природе любви и отношению к ближним. Творения Льва Толстого («Война и Мир», «Анна Каренина» и др), проникают в души героев, полных таких исканий и сомнений. Федор Достоевский («Братья Карамазовы», «Идиот», «Преступление и Наказание» и др.), вошел в историю мировой литературы как великий знаток человеческой психологии. Его описания внутренней борьбы героев отражали противоречивый политический, социальный и духовный контекст России 19 века. Его герои, как правило, представлены в сценах, полных драматизма и эмоционального надлома. Александр Куприн, в свою очередь, известен как мастер критического реализма. Его повесть «Поединок» живописует бессмысленную, грубую повседневную жизнь провинциального военного гарнизона. Романтические повести «Гранатовый Браслет» и «Олеся» рассказывают о трагической любви, которой препятствуют социальные барьеры в обществе. Все эти образцы классической русской прозы отвечали требованиям своего времени и своего читателя. Современная русская литература совсем иного свойства. Она полна действия и возбуждает фантазию читателя. Яркими представителями нового поколения русских писателей являются Сергей Лукьяненко и Борис Акунин. Романы Лукьяненко (кого считают ведушим писаталем-фантастом), такие как «Ночной Дозор» и «Дневной Дозор», отличаются быстрым темпом развития событий, захватывающим сюжетом и моральной установкой на сохранение гуманности даже если ты обладаешь силой и могуществом. Книги Бориса Акунина (настоящее имя Григорий Чкарташвили) нашли признание в России и за рубежом как достойные образцы криминальной драмы (его романы «Турецкий Гамбит», «Убийство Левиафана» и другие переведены на английский язык и изданы за рубежом внушительными тиражами). Его герои, такие как Эраст Фандорин, олицетворяют черты кумира современного российского читателя – гений, джентльмен, полиглот, кик-боксер, и в целом, куда ни глянь, поразительно удачливый парень! Возможно, причина притягательности таких героев - это то, что они воплощают надежды рядового российского читателя на то,что становление и укрепление новой России поможет им стать похожими на таких героев.
я люблю читать Extravaganza|2010 ― 7
少年传奇 文／钱文迪
韩寒，1982年出生于上海。2000年，还未成年的韩寒出版了他的第一部小说——批判现实的《三 重门》。这本书刚一发行就销售一空。韩寒借着畅销书一举成名，而他的学业却不尽人意，连连挂 科以至于高二退学。面对如此窘境，他却傲气地撂下一句“七门功课红灯，照亮我的前程”，毅然 继续写作。 现在看来，当年质疑、抨击韩寒的人要食言了。2009年年末，韩寒成为各大杂志的年度人物、风 云人物。不过和十年前一样的是，他依旧是舆论争执的热点，有些人称他为当代文化界的奇葩，而 另一些时候韩寒却只是三教九流的饭后谈资。 如果韩寒仅仅是因辍学后年纪轻轻便成为出版畅销小说作家，他的人气也不会如此持久坚挺。他不 仅是作家，还是成功的赛车手和犀利的文化评论家。韩寒以自己点击量颇高的博客为平台，就各种 社会问题发表评论，有时还会直接向有关部门提出自己的建议。许多年轻读者力捧他言辞辛辣的博 文，而一些保守作家则认为他的言论过激，甚至将这些言论冠名为自我炒作的手段。这也是韩寒的 一大特点——敢说。无论是倚老卖老的批判还是唾液纷飞的论战，韩寒风雨无阻地抒发己见。有的 编辑甚至夸他“挽救了文人人格”。 不得不承认，中国的“文学荒”是当下的一大问题。就鲁迅文学奖评委以不符合规格的原因拒收《 他的国》，路金波发表看法认为“韩寒不需要文学奖，但文学需要韩寒”。不论那些伤痕文学的中 流砥柱和寻根文学的阁中闺秀多么不愿意看到自己曾经占领的市场被韩寒的小说一点点侵占，他们 针对韩寒个人的主观批判也难以左右《他的国》、《光荣日》和《一座城池》这几部标新立异的小 说窜红的命运。韩寒的成功没有在十八岁那年的夏天终结，他前进的脚步也不会因为备受争议而停 下。
韩寒小说中常用讽刺手法。他擅长用平淡的口气描述一些荒谬却现实 生活中处处可见以至于被大家认作理所当然的事情。比如《他的国》 的主人公感慨道，“和政府一打交道，果然说话都莫名奇妙的喜欢用 排比句了。”这种被当下文坛追捧的手法刻薄而诙谐。其实，这是前 人栽树，后人乘凉的文学传统。吴敬梓在《儒林外史》中揭露了各种 悖于人情、逆于常理的荒谬现象，描写官场之内、乡绅之间的世故人 情。前人评说：“慎勿读《儒林外史》，读竟乃觉日用酬酢之间，无 往而非《儒林外史》。”现代文学家鲁迅也写了不少与《儒林外史》 效果雷同的讽刺作品。他在寓言般的小说中塑造了一个个可怜又可恨 的代表性人物——犬儒麻木的阿Q、迂腐封建的孔乙己、凄苦不堪的闰 土等。钱钟书的长篇小说《围城》也和鲁迅、吴敬梓的作品有异曲同 工之妙。他在《围城》中不仅描绘了婚姻、事业和留学的无奈，还刻 画了方鸿渐、李梅婷、曹元朗等真实而可笑的知识分子，堪称时代之 肖像。 尖酸刻薄是中国文人的一大特点，可以说是拜荒诞社会所赐。韩寒与 前人们生活在不同的时代却有着与前人相同的哭笑不得的经历，以笔 墨揭露社会现实。他们刻画的人物形象如今在生活中历历在目、处处 可见，让人读罢不禁感慨名著中的描写时效之持久，人性劣根之大 同……
8 ― Extravaganza|2010
前 有 古 人
LEGENDARY
By Wendy Qian (CMC ’13) Han Han, born in 1982, Shanghai. In 2000, at the age of 17, Han Han published his first novel—Triple Door. This book had immediate commercial success and critical acclaim. Although Han Han became famous overnight, his grades were incredibly low. He eventually had to quit school in 11th grade. This did not dampen Han Han’s confidence at all as he continued writing with great ardor.
YOUTH
If Han Han was only famous for quitting school and becoming a best-selling novelist, his popularity would not have survived for an entire decade. He is not only an in-door writer; he is also a professional car racer and renowned current-events-commentator. He uses his blog to express his caustic yet truthful opinions on social issues and politics. Han Han’s blog on Sina enjoys the highest number of visits. These visits are mostly from young readers born in the 1980s; they are often categorized as “the 80s” in popular Chinese discourse. Unsurprisingly, some older and more conservative netizens attack him consistently because they find Han Han too controversial and outspoken. However, his attacks often ironically increase his popularity. Han Han is adored and praised precisely because he is outspoken, and in turn, his popularity protects his opinions from being entirely banned. An editor even uplifts Han Han as “the savior of (Chinese) writer ethos.” Indeed, China’s contemporary literature scene is scarce of talent. Prominent writers of “scar literature” and participants of the Roots literary movement may not like Han Han’s books (such as His Country, Glory Days and A Fortress) from hitting the charts and monopolizing the market, but they cannot stop them. Han Han’s success did not stop after the summer of 2000, and it will not stop in face of controversy.
The Scholars: Standing on the Shoulders of Giants Han Han’s novels often use satirical devices. His characters employ a detached tone when describing utterly absurd yet widely experienced events in China. For example, the protagonist in His Country sighs, “Alas, the more I interact with government officials, the more I like to use parallel structures……”This insinuates the flamboyant and superficial language of bureaucrats. Although satire is a popular device in contemporary literature, this is actually a Chinese literary tradition: contemporary writers, namely Han Han, are standing on the shoulders of giants. Wu Jingzi uncovered many contradictory and farcical behaviors of gentries and officials during the Qing dynasty through satire. Modern literary giant Lu Xun wrote short allegories that satirized a figure so successfully, the main character became a personality archetype in China. Qian Zhongshu’s long novel Fortress Besieged also satirizes marriage, work and the academia. While Qian pokes fun at ludicrous characters, the absurd yet pitiful character of a Chinese intellectual lasts as a icon. Caustic, satirical writing is a notable feature of Chinese writers, thanks to the absurd society they live in. Han Han and predecessors live in different times yet they share preposterous experiences and use their pen to uncover the true side of society. The characters they delineate are seen everywhere in real life. Readers who experience deja vu cannot help but exclaim the lasting humor and insight of writers.
我爱阅读 Extravaganza|2010 ― 9
Un Uomo Libero Nel Medioevo By Rodrigo Ranero (PO ’14)
Francesco Petrarca, l’uomo que poi sarebbe chiamato il “Padre dell’ Umanismo” nacque ad Arezzo, un paese alla Toscana nel 1304. Egli studiò legge, perche suo padre aveva questo desiderio, ma la sua passione era scrivere e leggere la Letteratura Latina. Il suo primo libro, Africa, fu acclamato per tutti in Europa. Il suo carisma lo aiutò a essere amato e conosciuto tra la gioventù fiorentina, diventando una figura di spicco durante il Medioevo tardivo. Petrarca, insegnante e poeta, sviluppò un modo di pensare che arrivò ad essere conosciuto come Umanesimo. Questa filosofia incoraggiava agli uomini a guardarsi a se stessi, invece di chiedere guida a Dio. Petrarca credeva nella riforma dell’educazione, proponendo che il curriculum Trivium istituito, che conteneva grammatica, retorica e dialettica, fosse cambiato. Attraverso la sua creazione di un nuovo curriculum di studi, Petrarca potette infondere alle masse con i suoi ideali umanistici. Lo studio di argomenti nuovi come la poesia (l’amore alla vita), la storia e la filosofia morale interessò alle nuove generazioni immensamente, perciò la sopravvivenza del lavoro di Petrarca può essere attribuita al suo rivoluzionario pensiero e a la sua influenza sui successivi artisti e pensatori. Tenendo conto del periodo in cui Petrarca propose le sue idee, un tempo in cui la Chiesa come istituzione dominava la vita in ogni modo, la sua opera appare ancora più importante e vitale.
A Free Man in the Middle Ages
Francesco Petrarca, the man that would be later called the “Father of Humanism” was born in Arezzo, a town in Tuscany in 1304. He studied law, since his father had this wish, but his passion was writing and readng Latin Literature. His first book, Africa, was acclaimed by everyone in Europe. His charisma helped him to be loved and known amidst the Florentine youth, therefore becoming a figure of consequence during the late Medieval Ages. Petrarca, a teacher and poet, developed a way of thinking that would later be known as Humanism. This philosophy encouraged men to look to themselves instead of asking God for guidance. Petrarca believed in an educational reform, proposing that the established Trivium curriculum, which contained grammar, rhetoric and dialectic, be changed. Through his creation of a new curriculum of study, Petrarca was able to infuse the masses with his humanistic ideals. The study of new topics like poetry (the love for life), history and moral philosophy appealed immensely to the new generations. Therefore the survival of Petrarca’s work can be attributed to his revolutionary way of thinking and his influence on subsequent artists and thinkers. Taking into account the period in which Petrarca proposed his ideas, a time in which the Church as an institution dominated life in every way, his work appears even more important and vital.
Due celebri citazioni di Petrarca dicono così... Two famous quotes from Petrarca go like this... “La verità abita nell’interiorità dell’uomo.”
“Truth inhabits the interior of men.”
“La vita fugge et non s’arresta una hora, Et la morte vien dietro a gran giornate,
“Life flees and does not stop for a single hour, And death comes after great days,
et le cose presenti et le passate mi dànno guerra, et le future anchora...”
And things present and past, Wage war against me, and the future still…”
Cosa ci vuole dire Petrarca? La prima citazione ci dice che l’uomo non deve aspettare la morte, credendo che la prossima vita sarà la sua opportunità per essere libero; questa vita è significante, anche se l’uomo soffre continuamente. La seconda vuole dire che la verità propia è la piu importante di tutte; l’uomo che si rende conto di questo potrà liberarsi delle sue catene.
Io amo leggere 10 ― Extravaganza|2010
What is Petrarca trying to tell us? The first quote tells us that men shouldn’t wait for death, believing that the next life will be his opportunity to be free; this life is significant, even if men suffer continuously. The second one says that one’s own truth is the most important of all; a man who realizes this can be freed from his chains.
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Letter From the President
EDITORIAL BOARD
PRESIDENT Rachit Khaitan (CMC ’13) EDITOR-IN-CHIEF Shengwei Sun (SC ’12) MANAGING EDITOR Ophelia Ma (PO ’13) DESIGN EDITOR Iris Jong (PO ’12)
Congratulations on getting your hands on your semesterly dose of international flavor at our very own, very special and very internationally diverse Claremont Colleges. In this issue, built off the hands of an Editorial and Managerial Board fresh off the board, we delve into what we thought what was the one of the most significant representatives of any language: its literature.
CHIEF OF PRODUCTION Alan Hu (CMC ’13)
Our editors, all the way from China, Russia, France, Thailand and India to name a few have brought forth what they think about indigenous literature, more specifically the evolution of it through the sands of time. My sincere appreciation goes out to all the international editors for sharing with us their exotic perspectives and most importantly to the board for putting it all together into a heady cocktail of international spirit.
CHINESE Wendy Qian (CMC ’13)
We at the Extravaganza value the diversity of our readers as much as that of our content, as we endeavor to bring the world to your doorstep. -Rachit Khaitan
LANGUAGE EDITORS
FRENCH Alice Mirlesse (CMC ’13) GERMAN Edie Harris (PO ’13) HINDI Rachit Khaitan (CMC ’13)
If you’re familiar with a foreign language and enjoy writing, why not be a writer for Extravaganza? Don’t worry if you’re not completely fluent--our goal is to get people to enjoy writing in different languages outside of the classroom and share their talent with the community of the Claremont Colleges! Are you a fluent in a language other than English? Be a language
editor for Extravaganza!
Email extravaganza.5c@gmail.com for more information.
ITALIAN Rodrigo Ranero (PO ’14) KOREAN Haeyoung Yoon (SC ’12) RUSSIAN Igor Tischenko (CMC ’13)
Read Extravaganza online in color! Visit http://iplace.claremont.edu/main/news.php Extravaganza|2010 ― 11
Extravaganza