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Weilin YE
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Portfolio Sample translations submitted: 4
English to Chinese: Big Questions: Our Father, Where Art Thou?
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting
Source text - English
http://www.hoodedutilitarian.com/2011/09/big-questions-our-father-where-art-thou/

A review of Anders Nilsen’s Big Questions. Limited edition signed and numbered hardcover, 7.25 x 9.25, colour, 658 pages.

Synopsis: A group of finches begin to consider the form of their sustenance and the structure of their lives; both of these governed by men who take on the stature of gods. One is a worldly, hallucinating fighter pilot delivering mystery in the form of a bomb — impatient, anhedonic, and destructive. The other is an “idiot” who takes what he can from nature; giving and removing life with the mercurial judgement of deity. An old and a new testament. The birds begin to take sides in keeping with their intellectual dispositions. The former figure attracts a complex theology, the latter, almost simple faith, trust, and finally devotion. There is a war of the gods and a hopeful denouement. The birds end up where they started, finally settling the big question they began with. Or have they…





“Behold the fowls of the air: for they sow not, neither do they reap, nor gather into barns; yet your heavenly Father feedeth them. Are ye not much better than they?”

Matthew 6:26

Those looking for an encapsulation of the ingenuity and promise of the 90s small press — that calculated rawness, that sense of adventure, that palm-sized aesthetic object — could do worse than read Ron Rege Jr.’s Skibber Bee-Bye. Anders Nilsen’s collected Big Questions ,itself a product of the 90s, re-imagines this for the new millennium — that slow, hesitating shuffle away from Fort Thunder and its adherents into a world of hefty Smyth-sewn tomes heavy enough to kill a small animal. This world is more laid back, engineered, and formal; as thick and traditional in its narrative as Dash Shaw’s Bottomless Belly Button (a younger cousin of sorts), yet more sprightly and clever, and difficult to envision in any form except comics.

This new edition of Big Questions is easily digested in a single sitting and is the only sensible way to read Nilsen’s work. The individual issues suffer from a certain brevity and disconnect wrought through drawn out publication schedules, yet remain ultimately necessary for those interested in supporting independent comics artists and their publications. It is, perhaps, only in this collected edition that the inter-species relationships of Nilsen’s comic thicken and caramelize, only here that the pitched battles acquire any degree of emotional tension, only here that the scope of the entire work can be appreciated.

Nilsen describes the genesis of Big Questions some fourteen years ago in his afterword, recalling an artist’s workshop where a “very simple story…emerged [involving] a lost soldier in a barren landscape, a group of birds, and a plane crash”. He describes the process of learning how to draw comics over the course of this project, and that growth is clearly evident even within the first 100 pages of this collection. It is within these pages that we see ideas introduced and then discarded as they are found to be less useful (the somewhat clumsily drawn squirrels replaced by more vicious carrion eaters for instance); something we find not infrequently in comics which begin in a more freewheeling spirit before gaining concentration and more straightened purpose. Long dissertations give way to space and silence; static points of view are replaced by movement across panels and the use of the full expanse of the comics page; hesitating stippled backgrounds progress to detail and increasing complexity. All this mirroring Nilsen’s increasing confidence and conviction as a storyteller.

The “talking birds” come to Nilsen quite early and form the cornerstone of the early issues and chapters of Big Questions. The imagery seems at first to thrive on the curious irony of having birds consider impossible mysteries. The first of these (reiterated once again at the close of Nilsen’s comic) concerns nothing less than predestination and free-will.



[The first big question]



Crystallized ideas and inquiries are pressed on the reader through this act of reduction. Our own wants are seen in the light of specks of indistinguishable food; our destinies seen more clearly and simply in the threads of fate that envelop the humble life of birds.



[Food and Life according to the birds]

Nilsen’s comic is a fable and parable asking us to reflect on where we are. The simplicity with which these ornithological forms and the distilled elements of their lives putting into sharp focus our own frailties and needs. The forms are delineated with a few strokes of Nilsen’s pen and brush but their direction, posture, and deployment suggest compassion, anger, and depression.

“I kind of like the idea that they are, in a way, all the same bird, just reacting to different situations and contexts. The sameness of the birds was an accident in a way, but ultimately I decided to embrace it as part of the book’s content.”

Anders Nilsen in an interview with James Romberger

These quickly drawn shapes almost never suggest the identity of the speaker. This can only be determined through deduction, dialogue and setting; a device which instills that sense of allegory which is itself reinforced by the author’s use of emblematic marks and legend. All this slowly coalescing into a grand narrative of interweaving lines — planned, symmetrical, and increasing in complexity — suggesting forms like a star of Bethlehem or the “Ley lines” and fractals which cut through nature; the meandering flight of birds; the by-ways of fortune.



At one point, an airplane (a bomber) casts a dark shape over a pastoral landscape — an outsized shadow of the birds and hence ourselves.







Much later we find a short journey into the underworld and Orphic myth.







When Nilsen recalls the places and settings of his tale in the final pages of his work, we find both symbols and a microcosm: an Arcadian field; a fallen tree; a bomb crater containing the shadows and bones of the fallen scavenged by crows and wild dogs; a snake’s burrow guarding the entrance to the underworld; a river which is both the Jordan and the Styx; and life in cold relief.







Religious themes punctuate the narrative consistently and continuously. The leader of a group of Messianic finches is called Zwingly (presumably after the reformer Zwingli), the proselytizing concerning the new religion is done by birds identified as evangelists. It is a mystery play with birds (Betty and Charlotte) standing in for the faithful-doubtful women kneeling at the foot of the cross or waiting faithfully at the empty tomb. There is an aged and kindly reptile guarding the gates to the underworld…







…and an erstwhile deity emerges like Wally Wood’s spaceman from the husk of a giant bird (a “miraculous visitation”) — a virgin birth; an Athena springing forth from the head of Zeus; a parthenogenetic celestial appearing before their eyes.



[“Jesus” by Wally Wood; “He Walked Among Us”]

A centerpiece of this exploration is the Lazarene miracle surrounding a finch called, Bayle. Raised from the dead even as he is killed by his faith — that ridiculous and dangerous longing to be held in the hand of an unknown force.



“It is a fearful thing to fall into the hands of the living God” (Hebrews 10:31).



There are other correspondences. The biblical narrative suggests that Jesus tarried for 2 days after receiving word of Lazarus’ illness (“This sickness will not end in death. No, it is for God’s glory so that God’s Son may be glorified through it.”) only then starting for Judea and Bethany. And so it is in Nilsen’s narrative, where death is almost an act of capriciousness and, more than this, devoid of compassion. Here, the author suggests that both life and death come from the same source, one so distant and unapproachable as to seem to emanate from an imbecile, monster, or saint.



Nilsen’s standalone illustrations often depict wastelands, roadside accidents, and dumps. Disemboweled bodies centered in image and yet anonymous in their deaths; touched by some unseen pastel hand or angel; a vision of our fickle lives.







[Illustration work by Anders Nilsen]



Of course, Bayles’ death (a drowning) is made doubly significant for being a baptism from which he rises like the Holy Spirit above his messiah’s brow.



[Piero della Francesca’s Baptism of Christ]



The ornitho-Christological theme is pressed to its limit: a feeding or, perhaps, a preaching to the birds by St. Francis occurs at one point; and a latter day Elijah is fed by the same winged beasts at journey’s end.



The doughnuts and crumbs upon which the finches feed become nothing less than the elements of the Eucharist, laced with the meat and blood of transubstantiation; a meal which is cursorily ridiculed as it has been through the ages.



Like Eurydice and her pomegranate seeds, the bread is tainted not only by innocence but war and regret. “You are what you eat, little bird.” proclaims a carrion crow,



Nilsen never answers the big question he begins with, only jabbing lightly at the fabric of existence. If there is an answer in his puzzle and construct, it is the answer provided by the lives which writhe and weave before us in his tale; now seen from a factual and atheistic distance. A world governed by intention, coincidence, accidents, and foolishness. We can see some similarities with the work of Kevin Huizenga in that artist’s own “sermon notes” comics, philosophical inquires, scientific discursions, and theological musings.



Plato’s Cave is for the birds

Neither is particularly dismissive but Nilsen is the true skeptic. He peppers his narrative with religious absurdities while occasionally leavening them with more kindly interpretation. His non-existent God is something which we feed and give life to, a concept which sometimes give us strength through blind chance and misplaced faith. As he states in his interview with Romberger:

“I think about that word, Asomatognosia, as a kind of metaphor for the religious impulse. I heard about the condition while listening to an interview with the neurologist Oliver Sacks. He described it as a condition where one loses one’s sense of ownership over a limb, usually an arm or hand…That sort of alienation from one’s own sense of control, our own agency, to me works as a kind of metaphor for the displacement of responsibility that a belief in the supernatural, or in god can sometimes entail. “

We can detect that appreciation for Sacks’ wry humor throughout this comic, not least in a skeletal evangelist reciting a Panglossian homily to a former friend.



“Everything will turn out right in the end…”



…and the triumph of worldly “faith” and enlightenment.



The flower pots arranged and rearranged making us more keenly aware of their fragrance and color; the investigations and queries handled broadly rather than in depth; removing mystery from life. Nilsen would be the first to admit this and does so in his interview with Matthias Wivel at the metabunker:

“Nilsen: No, I haven’t read a lot of philosophy…I’m just curious about the world. Most of what I read is non-fiction; not philosophy explicitly, but I’ve always been interested in those kinds of issues, the heart of the matter…So I don’t think I approach these issues with a lot of knowledge about what philosophers who dealt with them before me thought about them, I don’t have a strong grasp of the history of them, but they’re just interesting questions and I’m learning. Also, my grandfather, my mother’s father, was a Lutheran minister of a very universalist stripe, so I think that some of the issues that I’m interested in are theological and stem from that…

Wivel: Are you religious?

I’m not religious at all, but I’m interested in thinking about religious issues, the nature of the world, meaning, things like that.”



If there is a problem with Nilsen’s comic, it would be this marginal interest — not so strange and wonderful to behold as the belief bordering on insanity we find in films like Andrei Tarkovsky’s The Sacrifice, and yet not so supremely intellectual in its contempt as to engage the reader’s mind fully. What remains is the emotional and aesthetic core of the narrative: the gradual mastery of form and narrative; the heat of battle; the sweetness of conversation; the pain of parting; and that sadness spoken through animals. And, perhaps, this is just enough to make us believe.


Translation - Chinese
梗概:一群雀鸟开始思考他们的食物形态和生命结构;两者均由被它们奉若神明的人类所支配。一人是产生幻觉的战斗机驾驶员,他带来了炸弹之谜——不耐烦、失乐、极具毁灭性。另一人是个“白痴”,从自然中尽力获取一切所需;喜怒无常地做出神一般的裁决,生杀予夺。旧约和新约。鸟儿们开始凭借各自的知识结构选择阵营。前者引出复杂的神学探讨,后者引来的则几乎是纯粹的信仰、信任以及终极的奉献精神。一场神与神的战争,充满希望的结局。鸟儿们的故事终结于开始的地方,解决了最初的大问题,或者说是否真的解决了呢……


“你们看天空的飞鸟:它们不撒种,不收割,也不收进仓里,你们的天父尚且养活它们;难道你们不比它们更宝贵吗?”
马太福音6:26

想看封装了纯朴与希望的20世纪90年代小人书的人——那种经过计算的粗糙感,那番冒险情趣,那手掌大小的美学物件——可以做出比读Ron Rege Jr.的《Skibber Bee-Bye》更糟的选择。安德斯·尼尔森的《大问题》合集本身就是90年代产物,为新千年重现了这一风格——那种缓慢犹豫的拖沓步伐从Fort Thunder艺术社区及其拥护者们那里移开,转入厚重到足以杀死小动物的史密斯装订大部头。这个世界更加轻松随意、设计精巧且注重形式;叙事和Dash Shaw的《Bottomless Belly Button》一样厚重而传统(可以算是兄弟之作),却更加活泼机智,难以想象将之呈现于漫画外的任何形式。

《大问题》新版让人可以一口气轻松消化,这也是阅读尼尔森作品的唯一明智方法。单行本的问题是太短,冗长的出版计划使得故事不连贯,不过对于支持独立漫画艺术家及其出版物的爱好者们来说非常有必要。或许只有在合集里,尼尔森漫画中的种间关系才能变得浓重,只有在这里激战冲突才能体现出情绪张力,只有在这里整个作品的广度才能得到欣赏。

尼尔森在后记中说《大问题》约始于十四年前,他回忆起在一间艺术家工作室里“展开了一个很简单的故事,一名士兵迷失于一片荒地,身边是一群鸟和坠毁的飞机残骸”。他说他在这个项目的创作过程中逐步学会如何画漫画,并且在这个故事集的头100页中成长就已显而易见。翻过这么多页,我们见证一些想法萌生,随后因为对故事作用不大而被弃置(比如画得很拙的松鼠被食腐乌鸦所替代);当作者任由漫画以惯性创作展开,等待主旨自行突显,这样的情况便并不罕见。长篇大论让位于空白和沉默;静态视角被版面间的动态和整个漫画页面的调度所取代;犹豫的点画背景逐步细化,变得愈加复杂。所有这些都反映出尼尔森在讲故事上越来越有信心。

尼尔森很早就构想出“说话的小鸟”,这形成了《大问题》早期章节的基石。意象首先滋生于让鸟儿们思考不可能谜题的奇特讽刺。这些最初的谜题(在尼尔森的漫画结尾再次回归)完全是关于宿命和自由意志。


[最初的大问题]


清晰明确的想法和质疑透过这样的简化手法让读者陷入深思。这些无法辨认的点状食物就是我们自身欲望的化身;我们的命运在卑微鸟生的故事线里被演绎得简单通透。


[鸟儿们眼中的食物和生活]

尼尔森的漫画是一种寓言,邀请我们思考自身处境。这些简单的鸟类形象以及从它们各自鸟生中精炼出的元素犀利地道出我们的弱点和需要。尼尔森用钢笔和画刷,寥寥数笔勾勒出这些形象,同时透过这些形象的的走向、姿态和布局展示出怜悯、愤怒和抑郁。

“有个想法让我很中意,就是它们从某种意义上说是同一只鸟,只是根据不同情境和背景做出反应。鸟儿们的同一性从某种意义上说是个意外,但最终我还是决定拥抱它,接纳它作为书中内容的一部分。”安德斯·尼尔森在与漫画家詹姆斯·容伯格(James Romberger)的一次对谈中表示。

这些速写的形象几乎从不显露说话者的身份,只能通过演绎、对话和背景进行判断;这种手法里灌输了讽喻,讽喻本身靠着作者对于象征标志和说明文字的使用得到强化。这些全都慢慢融入交错的叙事主线——经过设计、对称且愈加复杂——让人联想到伯利恒之星或“灵线”(Ley lines)之类的形状以及从自然中切过的断层分形;鸟儿们蜿蜒曲折的飞行线;命运的轨迹。



有一处,一架飞机(轰炸机)在一片田园风光之上投下暗影——可以看作是鸟儿们也是我们自己放大的阴影。



在很后面我们又看到一小段地下之旅,堪比俄耳浦斯神话。



当尼尔森在漫画的最后几页里重现故事中的地点及背景,我们看到了一些符号以及一个微观世界:一片阿卡狄亚式的田园;一棵倒下的树;一个炸弹坑里,尸体被乌鸦和野狗吃完腐肉的遗骨和一些阴影;守卫地下世界入口的蛇洞;一条河,既是约旦河也是冥界之河斯提克斯;冷漠地形之中的生命迹象。



宗教主题持续而不间断地注入叙事。一支救世雀鸟团的首领名叫Zwingly,或许这名字取自改革者茨温利(Zwingli),劝诱其他雀鸟改信新宗教的这帮雀鸟可看做是福音传播者。一些雀鸟(Betty和Charlotte)的桥段有如圣经历史剧,既笃信又心存疑虑的妇人们跪在十字架之下或虔诚地等在空墓之前。一只衰老而友善的爬虫类守卫着通往地下的入口……



……还有往昔之神如漫画家瓦力·伍德(Wally Wood)笔下的宇航员一般从巨鸟之中破壳而出(一场“奇迹般的圣母往见”)——如同处女生子;如同雅典娜从宙斯脑袋里蹦出来;单性生殖诞下的天神近在眼前。


[瓦力·伍德笔下的“耶稣”,“他与我们同行”,将Jerome Kraft带到外星球上的飞船被小行星撞毁,两千年之后的4903年人们登上这颗外星球,发现当地人的项链和建筑上都有奇怪的形状,当地人解释这个形状是拉伸酷刑架,身为“Kraftians”的信徒都会佩戴,而建筑则是祭拜场所,用以纪念他们宗教的神,他曾因帮助穷人而被权贵施以酷刑,之后显灵,制造过很多奇迹。]

这场爆炸中的重头戏是围绕着一只名叫Bayle的雀鸟的拉撒路奇迹。尽管因信仰被杀却死而复生——荒诞而危险地渴望被未知力量握进手心。


[“落在永生神的手里,真是可怕的!”(希伯来书 10:31)。]

还有其他典故。圣经故事里讲过耶稣收到拉撒路生病的消息后耽搁了两天(“这病不至于死,乃是为神的荣耀,叫神的儿子因此得荣耀。”)然后才启程去犹太和伯大尼。因此在尼尔森的故事中,死亡几乎是一种任性的行为,更有甚者,不涉及任何怜悯。在这里,作者指出生与死都同根同源,这一源头遥远而不可接近,就好像出自一个傻瓜、怪物或圣人之手。

尼尔森的单页插画经常描绘荒地、路边事故和垃圾。开膛破肚、肠子外流的尸体放在画面中心位置,却死得默默无闻;被无人觉察的淡彩之手或天使触摸;我们无常生命的一种解读。


[安德斯·尼尔森漫画《狗和水》法语版封面,Acte Sud出版社,2005年]

[安德斯·尼尔森插画作品]

当然,Bayle的死(溺水) 还有第二层意义,这意味着一次洗礼,它如圣灵一般升空,飞到弥赛亚的眉毛之上。


[皮耶罗·德拉·弗朗切斯卡的基督洗礼]


鸟类学与基督论交汇的主题被推到了极致:一度出现了圣方济各给鸟儿们喂食或者说传教的剧情;后来在旅程结束时以利亚也接受了同样一群飞禽的喂食。



雀鸟们吃的甜甜圈和面包屑完全变成圣餐的要素,还掺杂了圣餐的血肉变体;和多年以来一样被随意嘲弄的一顿饭。

就像珀耳塞福涅和害她离不开冥界的石榴籽,面包上不仅沾染天真,也沾染了战争和悔恨。“小鸟啊,你吃什么,你就是什么。”一只食腐乌鸦如是说。

尼尔森从不回答他自己一开始提出的大问题,只是旁敲侧击存在的构成。如果在他的谜题和构造中存在一个答案,那也是通过他故事里在我们眼前晃来晃去的角色之口点出;现在透过一段无神论式的真实距离呈现出来。一个由意图、巧合、意外和愚蠢支配的世界。我们可以看出与凯文·休岑加(Kevin Huizenga)漫画作品的异曲同工之妙,那种“布道辞”漫画,哲学疑问、科学漫谈和神学冥想。

[鸟儿们的柏拉图洞穴之喻:如果自小活在封闭空间,看不到背后透进的光,而只能看到背后的光在自己眼前立面上投下的阴影,那么会认为影子才是唯一的真实]


没有哪一点显得特别轻蔑,而尼尔森是真正的怀疑论者。他用宗教荒诞性装点叙事,偶尔通过更加友善的阐释令这些荒诞升华。故事里不存在的神就是我们供养并赋予生命的某种事物,一个不时能透过抓瞎的机遇和错付的信念给我们带来力量的理念。正如他在与荣伯格对谈中所说:

“我想到‘自体感觉缺乏’(Asomatognosia)一词,用来比喻宗教冲动。听神经学家奥利佛·萨克斯(Oliver Sacks)访谈时我了解到这个疾病。他将该症状描述为某人对自己的肢体感觉缺失,通常是一支胳膊或一只手……那种失去自身机体控制力的异化感,对我来说就是一个人在相信超自然力或神明的情况下有时会产生的责任转移。”

我们可以看出,尼尔森对萨克斯的揶揄式幽默的欣赏之情贯穿整部漫画,特别有一段,只剩骸骨的福音传播者向生前的朋友诵读过分乐观的说教。

[“最后一切都能好起来……”]

……并且俗世“信仰”和启蒙必胜。

花盆反复变换摆法会让我们注意到花香和色泽;探究和质疑在广度而非深度上展开;将谜题从生活中抽离。尼尔森会首当其冲承认这一点,在艺术史学家马蒂亚斯·威孚(Matthias Wivel)的博客“metabunker”上可以看到尼尔森在与他的对谈里如是说:

“尼尔森:不,我没读过很多哲学书……我只是对世界感到好奇。我读的主要是纪实散文;不会专门去读哲学,但我一直对那些话题很感兴趣,事物的核心……所以我在对这些问题的艺术处理中并未加入很多有关前人哲学家看法的知识点,我不怎么了解哲学史,但是这些问题本身很有趣,所以我正在学习。再者,我的外公是个信奉普救说的路德教牧师,所以我认为我感兴趣的一些神学问题可能来自那里……

威孚:你信宗教吗?

完全不信,但我对于思考宗教问题很感兴趣,世界的本质、意义,诸如此类。”

如果尼尔森的漫画里存在问题,那将在于这一边缘化的兴趣点——不像塔可夫斯基的《牺牲》在论及疯狂时显得那么怪异而精彩,也没有极度知识分子化,因为这部作品并不打算绕得读者头昏脑涨。有的只是故事中的情感与美学核心:形式与叙事的逐步掌控、热烈的冲突、甜蜜的对话、离别的痛苦以及借动物们之口道出的悲伤。或许,这样足以令我们信服。
English to Chinese: Chinese Choices
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting
Source text - English
http://www.hoodedutilitarian.com/2014/08/chinese-choices/

Li Kunwu and Philippe Ôtié’s A Chinese Life is the kind of book I would normally resist reading; the chief reason being it’s overly familiar subject matter.

For a period during the 80-90s, it seemed almost impossible to escape the Cultural Revolution Industry. These were the scar dramas which followed in the footsteps of the scar literature; the subject de jour once Deng Xiaoping pronounced that period between 1966 to 1976 as being “ten years of catastrophe” (shinian haojie). As far as the Western sphere is concerned, one should not underestimate the effect the commercial success of works like Jung Chang’s Wild Swans had on this era. For Chinese writers and filmmakers who had stories to tell and willing publishers and financiers, the Cultural Revolution soon became ten years ripe for cultural monetization.

As far as Chinese contemporary art is concerned, a collector once laughingly told me that Chinese artists had discovered that the key to financial success was to make art which is “political.” Not an approach alien to the professional writer who understands full well that controversy sells, but here made more acute by the Western preoccupation with China’s political woes almost to the exclusion of all else (anyone read any non-political Chinese literature lately?).

The 2012 Nobel Literature prize winner, Mo Yan, presents us with the opposite side of the coin. The disgust with which some Western-based China watchers and dissidents greeted his elevation to the ranks of the literary “elite” was largely based on his poor politics and only secondarily his lack of literary merit. In short, he is perceived in some parts to be a party boot licker or at best a literary coward without a strong inclination to be exiled and imprisoned like a latter day Aleksandr Solzhenitsyn or, more precisely, the Nobel Peace laureate, Liu Xiaobo. Mo Yan’s novels are in fact frequently political but not in the way favored by Western journalists and academics. He is, in fact, the wrong kind of Chinese novelist.

A Chinese Life is a bit late to the party and passed with minimal notice in the year of its publication. Its contents would appear to be of a piece with the literature and movies which have inundated the West since the opening of the Chinese market. As a comic, it is solidly mediocre, the kind of “worthy” book some would point to if questioned concerning the suitability of comics for adults. It does gain some gravitas from its roots in autobiography but, as always, the failure here lies in the lack of narrative imagination and literary beauty—as history, it is far too shallow; as a work of literature, plodding and unemotive. It was, in short, an absolute chore to get through and ranks as one of the worst things I’ve encountered concerning China’s late 20th century history. The fault lies largely with Ôtié who fails to sculpt Li’s story into an engaging whole. All that remains is Li’s frequently interesting draftsmanship; he is a good artist undone by a poor storyteller.

If a reviewer like Rob Clough is made to wonder whether A Chinese Life is propaganda, it is simply the result of the largely unexamined and uninterrogated life which fills these pages—an approach which informs not only the third and final book of A Chinese Life (the one concerning modern China) but, for all intents and purposes, its entire length. If there is one exception to this rule, it would be Li’s thoughts on the “6/4” incident.

A Chinese Life_0001



A Chinese Life_0002

So what made me borrow and read this book? Well, it was this snippet from a review by Rob Clough:

“The whole philosophy of the book is very much “the past is the past”…we once again go back to the Deng doctrine of “Development is our first priority”. As Li describes it, it’s the only priority.

This leads to an interstitial scene where Li and Otie argue about how best to present his view on the Tiananmen Square protests of 1989. Otie stresses to him the importance of this event to Western readers, and Li is resistant, because he said that he wasn’t anywhere near Beijing, only listened to the reports on the radio and has no idea what actually happened. Because he “didn’t personally suffer”, it wasn’t something that was really part of his story like the Cultural Revolution, Great Leap Forward…He notes that while he understands that lives were lost and people suffered, he considered the event within the context of Chinese history. Essentially, he was tired of China being a whipping boy for foreign interests and invaders. He was tired of instability. He was tired of being behind the industrialized nations of the world. The most salient quote is “China needs order and stability. The rest is secondary.” The past is the past. Development is the first priority.

It’s a statement that makes a degree of sense within the context of a countryman who suffered during the prior youth revolution (indeed, some women in his story fear the events of the protests as the potential return of the Red Guard)…It is disappointing, however, to see an intelligent man like Li who fancies himself a moralist in rooting out corruption to simply toss aside human rights and freedoms as expendable when the corporate well-being of China is involved. It is a kind of moral compartmentalization that reeks of hypocrisy, the same kind of hypocrisy he faced (and was part of) during the Cultural Revolution. It values dogma (or progress) over humanity.” [emphasis mine]

But what exactly does a word like a “progress” mean to a person like Li? His words are sparse, his actual intentions up for conjecture. When Li indicates that, “China needs order and stability. The rest is secondary,” should we take his words as those of a coward, a hypocrite, or one with little respect for “humanity?” Can there in fact be any conception of human rights in a state without order and stability?

What can it mean for a man like Li to hear of distant reports of protesters being killed when the reports in earlier times had been those of war and cannibalism; the evidence before his eyes that of people dropping like flies by the wayside. The past clearly isn’t the past for Chinese citizens like Li. If anything, it thoroughly colors their perception of China’s present day fortunes.

A Chinese Life_0003

Two other reviews online arrive at the same point as Clough in the course of their largely positive reviews:

“Li is far more a witness than a commentator. He declines to cover the events of Tiananmen Square because, he says, he wasn’t even there (but that scene with his co-writer Philippe Ôtié shows him wriggling apologetically to avoid it – it was obviously a bone of contention), and you won’t see Tibet mentioned once. He’s far prouder of what China has accomplished in thirty-five short years…” Stephen at Page 45

“Although this 60 year story largely ignores China’s fragile relationship with Taiwan and Tibet and only briefly mentions Tiananmen square, Li acknowledges these weaknesses by openly accepting that this is a story of his life, a single man, and no single man lives through all the history of his entire country (he didn’t know anyone affected by Tiananmen and therefore had little to say).” Hardly Written

The reviews which accompanied the publication of A Chinese Life seem more useful in revealing the differing attitudes of readers (presumably) from the West and the mainland Chinese; for Li’s attitude towards the Tiananmen demonstrations are hardly novel and have been ennunciated periodically over the years by the Chinese people. On the other hand, it is all too clear that the Tiananmen Massacre is one of the central prisms through which the West understands China, in much the same way the word “Africa” conjures up images of war, famine, and disease for the casual reader.

These reviewers would appear to be readers who have grown up in stable and ordered societies while Li has actually been one of those deluded and disappointed revolutionaries; one who has been recurrently attracted to mass movements. These experiences have clearly allowed him to entertain doubts concerning received notions of what is best for China and what human beings need first and foremost. And in this instance at least, ideology has come in second best.

Progress and human rights may not be mutually exclusive but it seems obvious that Li views the democracy movement and potential revolution of June Fourth as detrimental to the former and, as a consequence, to the latter. The prescription which America has recommended and administered to its client states has been political freedom (this word used loosely) before economic freedom, while Li clearly believes that the reverse is the surer course towards true liberty—patiently awaiting the creation of an educated middle class more attuned to the demands of a democratic system and who will, hopefully, make greater demands for political expression. Such has been the course for the former dictatorships in South Korea and Taiwan as well as the authoritarian democracy of Singapore.

What is the objective of political freedom if not the happiness of its people? For many Chinese today, mere sustenance, attaining a first world lifestyle (for all its ills), and the well being of their family members come before notions of a democratically elected government, especially when that tarnished model of democracy, the United States government seems effectively little better than the authoritarian one they are currently experiencing. The rampant capitalism which is America’s true essence, on the other hand, seems rather worth emulating; greed being altogether more attractive as far as human nature is concerned. Liu Xiaobo is a poor thinker when it comes to the history of the Western powers but he affords a somewhat different perspective when it comes to China’s economic “rise”:

“The main beneficiaries of the miracle have been the power elite; the benefits for ordinary people are more like the leftovers at a banquet table. The regime stresses a “right to survival” as the most important of human rights, but the purpose of this…is to serve the financial interest of the power elite and the political stability of the regime… […]…an autocratic regime has hijacked the minds of the Chinese populace and has channeled its patriotic sentiments into a nationalistic craze this is producing a widespread blindness, loss of reason, and obliteration of universal values…The result is our people are infatuated more and more with fabricated myths: they look only at the prosperous side of China’s rise, not at the side where destitution and deterioration are visible…” [emphasis mine]

A recent survey by researchers at the University of Michigan indicates that China’s Gini coefficient for income inequality could be as high as 0.55 having recently surpassed that of the United States. According to a report from Peking University, China’s Gini coefficient for wealth inequality comes in at 0.73 which is slightly lower than that of the U.S.. If there are lessons being learnt from the West, it would appear to be all the wrong ones. Consider the words of Liu Xiaobo in “On Living with Dignity in China” and see if they might not also be applied to the America we all know and love:

“In a totalitarian state, the purpose of politics is power and power alone. The “nation” and its peoples are mentioned only to give an air of legitimacy to the application of power. The people accept this devalued existence, asking only to live from day to day…This has remained a constant for the Chinese, duped in the past by Communist hyperbole; and bribed in the present with promises of peace and prosperity. All along they have subsisted in an inhuman wasteland.”

[I should note here that the 2013 BBC Country Rating Poll suggests that the citizens of China and the United States have equal amounts of antipathy towards each other.]

A Chinese Life

Given a choice between Mitt Romney and Barack Obama, the American public chose the lesser evil—the man who has delivered some change and only marginally more murder—the man with no moral center. It is not hard to see that Li might view his own choice in a similar light. And he is living with his choices as are the rest of the Chinese people. As I sit in the comfort of my home, in all my life not having suffered one day of hunger, repression, and fear as severe as those experienced by Li Kunwu through China’s turbulent 20th century, I am inclined to be more understanding and less judgmental.
Translation - Chinese
https://mp.weixin.qq.com/s/J3uAQfS_OGjtAenauo0ulA

李昆武和欧励行(Philippe Ôtié)的漫画 《从小李到老李:一个中国人的一生》(A Chinese Life)属于那种一般来说我会拒绝阅读的类型;主要原因是它的主题太老套。



上个世纪八九十年代,有那么一段时期,十年浩劫是一个避不开的话题:伤痕文学、接踵而来的相关电视剧;在这段时期被定义为“十年浩劫”之后,它立刻成了热门话题。在西方人眼里,张戎的《野天鹅》这样的一系列作品的商业成功,给这个时代带来的影响是不可小视的。对于有故事要说的中国作家、电影人以及乐于出手相助的出版商和金主来说,这个题材迅速地成了用于文化变现、收割红利的金蛋母鸡。



至于中国当代艺术呢?一位收藏家曾经笑着对我说,个别中国艺术家财务成功的秘诀就是创造“政治性”的艺术。对于完美理解了“争议就是卖点”这一点的职业作家来讲,这倒也不是什么新鲜玩意儿。但是西方世界对于中国政治某个位面的过度关注,却令这种倾向激化了,且产生了几乎完全的排他性(我就问问:最近还有人读到过非政治性的中国文学吗?)



2012年的诺贝尔文学奖得主莫言,则为我们展示了硬币的另一面。一些来自西方的中国观察家和异议人士对于莫言晋升“精英”文学阶层表示反感,主要是嫌他在政治上不给力,比起来,就连“文学品质是否有所欠缺”这种原因都成了次要的。简而言之,在某些人眼里,莫言不过是个拍马屁的作家,或者顶多是个文学上的懦夫,既没有很强的意愿被驱逐、囚禁,也成不了新时代的索尔仁尼琴。莫言的小说其实常常带有很强烈的政治性,但并非西方记者和学者们所喜欢的方式。作为来自“中国”的小说家,莫言辜负了这些人士的期待。



《一个中国人的一生》来得有点迟。第一眼乍看之下,它的内容似乎与中国改革开放以来西方世界泛滥的文学、电影题材是比肩的。作为漫画,它则是非常典型的、适合向不了解成人图像小说的读者推荐的作品。它有自传题材作为支撑,德高望重,在叙事想象力和文学美感上,作为历史作品略浅;而作为文学作品则稍显沉重。简单来说,在讨论中国20世纪晚期历史的所有作品里边,这是一部普通的作品:问题主要来自欧励行。他未能够将李昆武的故事塑造成一个引人入胜的整体。这本书的亮点来自李昆武隔三差五的有趣插图;他是一位了不起的艺术家,在这里却因为受到说书人的拖累而失了色。



像罗伯·克劳(Rob Clough)这样的评论家,注定要怀疑《一个中国人的一生》是一部政治宣传作品。可它不过是一部卷帙浩繁,但不带多少审视和反思的人生白描漫画——这样的手法不仅贯穿《一个中国人的一生》的第三册和最后一册(关于新中国的一册),实际上也无处不在地渗透了整部作品。可是这个规律里也有个例外,那也是驱使我借阅这本书的原因。



让我们来看看罗伯·克劳评论中的这么一段摘录:





整本书的哲学基本是‘过去的都过去了’……我们再次回到邓小平的“发展是第一要务”这个理论。正如李昆武所述,它是唯一的要务。

这就引出了一段插曲[…此处有删节]。李昆武老师厌倦了中国被当成外国利益和入侵者的替罪羊。他厌倦了时局的动荡。他厌倦了跟随世界各大工业化国家的节奏。这本书的题眼是:“中国需要秩序和稳定。其余皆属次要。”是的,过去的都过去了。发展才是第一要务。





对于一名在之前的青年革命中(确实,他的故事中,个别女性担心这些示威最后会演变成另一波红卫兵回归的运动)饱经苦难的乡下孩子的人生大背景来说,这种说法是符合逻辑的。不过令人失望的是,李昆武把自己设想为一名铲除腐败的卫道士,却为了中国的集体福利,简单地将人的权利和自由可有可无地弃置一旁,这种道德双标是透着虚伪的。十年浩劫期间,他曾面对这样同一种虚伪。它将信条(或进步)置于人性之前。} [黄雪堂:这段引用里的加粗强调是我标的]




引用到这里就结束了。然而“进步”这个词,对于李昆武这样的人来说,到底有着怎样的意义?书中他的话很少,他的真实想法则有待推测。当李昆武指出,“中国需要秩序和稳定。其余皆属次要,”我们是该把这当做一个懦夫、伪君子之言,还是对“人性”缺乏敬畏者之言?我要再问:没了秩序和稳定,是否还能有“人权”概念的哪怕任何立足之地?



对于有着李昆武这样的经历的人来说,突然听到报道说在遥远的地方有抗议者被杀;又意味着什么?要知道,再早年间,传来的报道是关于战争和各种残忍行径的。他曾经亲眼见过路边一个个活生生的人像苍蝇般倒毙。对李昆武这样的中国公民来说,过去的怎么可能就仅仅是过去了。恰恰相反,它会为他们所看到的当今中国发展增添一层不同的颜色。



另外两条大体持正面态度的网评也和克劳达成了共识:



“李昆武绝对是见证人而不是评论者。他倾向于隐去某些事件,因为他说他当时根本就不在场(然而和本书共同作者欧励行争论的那一幕场景,展示了他想要逃避的愿望——很明显,他们争执的主题就是这个),他更为中国在短短35年间所实现的成果而自豪……”

Stephen写于Page45(http://www.hoodedutilitarian.com/2014/08/chinese-choices/%C2%A0http:/www.page45.com/store/A-Chinese-Life.html)



“尽管这个跨度60年的故事刻意地忽略了一些东西,对某些事件更只是匆匆一笔带过,但李昆武承认了这些缺点,坦承这是他的人生故事,也没有任何一个人能把整个祖国历史都经历一遍(他也不认识这些事件的亲身经历当事人,因此没什么好说的)。”

Hardly Written(http://hardlywritten.wordpress.com/2012/10/16/a-chinese-life/)





伴随着《一个中国人的一生》的出版而来的评论,似乎倒更加有助于揭示西方和中国内地读者在态度上的(大致)分歧;李昆武关于某些事件的态度并不新鲜,多年来,中国人也会定期地向外界阐明这个观点。另一方面,这些事件也是西方人理解中国的主要棱镜之一,就像“非洲”一词让普通读者联想起战争、饥荒和疾病。



这些评论者似乎是一些在稳定有序的社会中长大的读者,而李昆武,实际上曾经是一位遭受过蒙蔽、经历过幻灭的革命者;他曾经反复地为各种民众运动所吸引。这些经历显然让他对那些“什么对中国是最好的”“人类首当其冲需要的是什么”的成见产生了怀疑态度。至少,在这一情况下,意识形态是次要的。



进步和人权并不相斥。但李昆武很明显把一些运动和某些事件中的革命因素看作是不利进步的因,“人权”引发的果。美国向其各大联邦推荐并实行过的处方是政治自由(political freedom,这里我们取它的广义)先于经济自由,而李昆武则坚信,反其道而行之才是通往真正自由的更安稳的道路——要耐心等待受过高等教育的中产阶级的产生,他们会更适应一套民主体系的需求,如果有幸的话,也会产生更多的政治表达方面的诉求。韩国、中国台湾以及新加坡模式的民主都是这样过来的。



政治自由如果不是为了人民的幸福,那么目标到底是什么?对于很多当今中国人来说,吃饱喝足、达到世界一流生活水平(哪怕以各种问题为代价)、家人幸福安康,这些都优先于民主选举政府的概念,尤其是当那有瑕疵的民主模型,也就是美国政府,从效率上看起来也并不比他们正在体验的权力主义模型好到哪儿去。另一方面,猖獗的资本主义,作为美国的真正本质,看起来似乎更值得效法;说到底人类是本能地趋向于贪欲的。在中国的经济“崛起”问题上,一些思想家为我们提供了不一样的视角,但是在这里,鉴于一些大家都清楚的原因,这段文章不得不删除了相关的引用和论证。




在米特·罗姆尼(Mit Romney)和巴拉克·奥巴马之间,美国公众两害相权取其轻——他们选择了那个能带来一些改变,并最大限度地少造杀孽的那个人——“那个没有道德轴心的人”(http://www.rawstory.com/rs/2013/01/13/noam-chomsky-blasts-obama-he-has-no-moral-center/)。不难看到,李昆武对自己的选择有着相似的看法。而,和所有的中国人一样,他也要背负着这些选择活下去。当我坐在自己舒适的家中,想到自己有生以来没有任何一天遭遇过李昆武在20世纪中国乱相中所经历的饥饿、迫害和恐惧,我便愿意给予更多的理解,和更少的评判。
English to Chinese: a chapter from Museum of Secrets
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting
Source text - English
Presumed Portrait of Gabrielle d’Estrées and Her Sister, the Duchess of Villars

POLITICS AND GABRIELLE’S BREASTS

Two naked women are sitting in a bath doing something
strange. This may be an erotic picture, but that is not all it
is: it had a symbolic role and there is far more to the two
sisters than first meets the eye. The picture was aimed
at King Henri IV and has a story to tell, for those able
to decipher it, about a particular episode in the history
of France. The allusions and hidden signs appeal to the
viewer’s wit and culture and make it more of an intellectual
work than a lascivious one.

On the right of the picture is Gabrielle d’Estrées, Henri IV’s mistress;
on the left, a woman who is almost certainly her sister, the Duchess
of Villars, is shown pinching Gabrielle’s nipple. This strange gesture
is generally interpreted as indicating that Gabrielle is pregnant by her royal lover; in the background, a servant is sewing what could well be a layette for the baby. In the foreground, the ring prominently on display could be a reminder of a promise of marriage made by the king.

What can have been the point of a picture like this, which makes such a play of the relationship between Henri IV and his mistress? To answer this we have to look more closely at Gabrielle d’Estrées and her fairytale romance with the king. Henri met her when he was nearly forty and she was only eighteen, and was immediately captivated by her extraordinary beauty. Though Gabrielle did not immediately yield to his desires, she eventually became his mistress
and remained so until her death in 1599, when she was still only twenty-six. She bore him three children, including a boy in 1594. It was this child that she was expecting when this picture was painted.

Confident of the king’s love, and empowered by having provided him with an heir, Gabrielle set about trying to supplant the famous Queen Margot, Marguerite de Navarre, who, unlike her, had not managed to bear Henri IV a child. The ambitious mistress had a tough battle on her hands, however: it was not easy to make a king divorce.

The picture was almost certainly designed to remind the king of his mistress’s finest assets, which included not only being young and attractive but also having produced a male heir. The king was renowned as a womanizer, and nicknamed the “Green Gallant” as a result, and the sensuality of the scene must surely have been calculated to sway him. Whether or not there was a deliberately erotic intention behind the picture, let alone a suggestion of a lesbian encounter, is quite another matter.
Translation - Chinese
《考据为加布里埃尔·黛丝特蕾和她的姐妹维拉尔公爵夫人的肖像》

政治和加布里埃尔之胸

两个裸体女人一边坐着沐浴一边摆出奇怪的动作。这可以看做一幅色情图景,但这并不是它的全部意义:它有一个象征性的作用,放在观者眼前的远远不止第一眼看见的两姐妹。对于懂得破译的人来说,这幅画针对的是国王亨利四世,要讲一个故事,围绕着法国历史上一段特殊的篇章。其中的暗喻和隐藏的符号吸引观者运用智慧与文化来解读,从而使这个作品更添思虑而非淫秽。


画面右侧是亨利四世的情妇加布里埃尔·黛丝特蕾;左侧是一名基本确定为是她姐妹的维拉尔公爵夫人,她在掐加布里埃尔的乳头。这个怪异的姿势通常被解读为是在暗示加布里埃尔怀上了国王的孩子。背景里,一名女佣缝着的很可能就是新生儿的全套织物。前景里很醒目地展示着的戒指可能就是国王许诺成婚的纪念物。

这样的一幅画玩味亨利四世和他情妇之间的关系到底想要表达什么呢?为了回答这个问题,我们必须更仔细地研究一下加布里埃尔·黛丝特蕾还有她和国王的那段童话一般的风流韵事。亨利在年近四十的时候与年仅18岁的她相遇,立马被她无与伦比的美丽深深迷住。虽然加布里埃尔并没有立马屈服于他的欲望,但最终还是做了他的情妇直到1599年去世,去世的时候她也只有26岁。她为他生了3个孩子,其中包括1594年诞下的一名男婴。这幅画画出来的时候,她所怀的正是这个孩子。

对于国王的宠爱信心满满、又由于为他诞下继承人而得势的加布里埃尔准备要取代著名的玛戈皇后,也就是玛格丽特·德·纳瓦尔。不同于加布里埃尔的是,玛戈皇后无意为亨利四世生子。不过野心勃勃的情妇仍然要经历一场硬仗:让国王离婚可不是那么容易的事。 

基本可以肯定,这幅画的用意在于提醒国王,他情妇手上拥有了哪几张王牌,包括她年轻迷人,还能为他生儿子。国王被公认为极好女色,还因此有个小名叫“绿情圣”(“Green Gallant”)。这幅画场景中的肉欲成分一定是经过精心计算,有意要动之以情。这幅图背后是不是有预设的色情意图,甚或是对于女同性恋邂逅的暗示,在这里就暂且略过不提,因为这些都是另一个话题了。
French to Chinese: extrait de Bouvard et Pécuchet
General field: Art/Literary
Detailed field: Poetry & Literature
Source text - French
« D’abord une immense nappe d’eau, d’où émergeaient
des promontoires, tachetés par des lichens ;
et pas un être vivant, pas un cri. C’était un monde
silencieux, immobile et nu. Puis de longues plantes
se balançaient dans un brouillard qui ressemblait à la
vapeur d’une étuve. Un soleil tout rouge surchauffait
l’atmosphère humide. Alors des volcans éclatèrent,
les roches ignées jaillissaient des montagnes ; et la
pâte des porphyres et des basaltes, qui coulait, se
figea. Troisième tableau : dans des mers peu profondes,
des îles de madrépores ont surgi ; il y a des
coquillages pareils à des roues de chariot, des tortues
qui ont trois mètres, des lézards de soixante pieds.
Enfin, sur les grands continents, de grands mammifères
parurent, les membres difformes comme des
pièces de bois mal équarries, le cuir plus épais que
des plaques de bronze, ou bien velus, lippus, avec
des crinières, et des défenses contournées.

« Toutes ces époques avaient été séparées les unes
des autres par des cataclysmes, dont le dernier est
notre déluge. C’était comme une féerie en plusieurs
actes, ayant l’homme pour apothéose. »

Gustave Flaubert, Bouvard et Pécuchet
Translation - Chinese
“先是一片浩瀚的水面,从水面上露出几块岬角,苔藓斑驳;没有一个生灵,没有一声呐喊。这世界沉默、禁止而赤裸。然后长长的植物在烘箱蒸汽一样的雾气里摇摆。红红的太阳使潮湿的大气变得过热。同时火山爆发,火成岩从群山中喷射而出;斑岩和玄武岩流淌的岩浆凝结。第三幅图景:在不怎么深的海水中,冒出了一些石珊瑚岛;还有像板车轮子一样的贝壳、三米的海龟、六十英尺的蜥蜴。最后,在大陆上,大型哺乳动物出现,像被劈歪了的木块一样畸形的肢体,比铜板还厚的表皮,或者毛茸茸、厚嘴唇,有着浓密的毛发和变形的獠牙。

“所有这些时期都由一个个大灾难分隔开来,最后的灾难就是我们的大洪水。就像一部多幕幻梦剧,人类是闭幕的高潮。”

古斯塔夫·福楼拜,《布瓦尔和佩居谢》

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Bio

As a freelance translator specialized in English/French to Chinese (my native language), I offer my clients accuracy and clarity that comes from careful research of the subject area and terminology.

As a freelance translator specialized in
English/French to simplified Chinese (my native language), I offer my clients
accuracy and clarity that comes from careful research of the subject area and
terminology.

Years of experience as a professional
editor in publishing houses have contributed to my sense of responsibility,
commitment to deadline, precision and considerable knowledge and skill in the
target language, simplified Chinese. My published translation works include artistic
comic books, Karl Lagerfeld’s biography, critique articles, as well as fun
introduction to art history and serious research on green development (CV
attached for more details).

Just as my curiosity of world cultures pushes me to
think outside of the box and learn new languages such as German, Italian,
Japanese, Dutch and Latin, I am willing to explore new areas upon my clients’
requests.

My translation related work includes:

* Jiangsu Phoenix Litterature and Art Publishing, Nanjing: editorial work and promotion copywriting for simplified Chinese version of Naruto novels and books by designer Kashiwa Sato;

* Editions FEI, Paris: assuring communication and cultural exchange between French scenarists and Chinese cartoonists in comics creating process;FR>CN translation of press articles on the house’s comic books;

* Edition de La Martinière, Paris: assistance in the Foreign Rights Department for multilingual coedition.

My published translation work includes:

*
Simplified Chinese version of The Museum of Illusions (Celine Delavaux,
Prestel, ISBN 9783791347776),
《幻影艺术博物馆》(ISBN 9787515512570) , 207 pages, 65k Chinese characters, art
critics, art, Gold Wall Press (
金城出版社), English to Chinese book translation;

*
Simplified Chinese version of The Museum of Mysteries (Elea Baucheron
& Diane Routex,  Prestel, ISBN
9783791349206),
《神秘艺术博物馆》(ISBN 9787515512563), 171 pages, 55k Chinese characters, art critics,
art, Gold Wall Press (
金城出版社), English to Chinese book translation;

* Simplified Chinese version of Le Monde d'Edena, Tome 1: sur
l’étoile
(Moebius, Casterman, ISBN 9782203345201),
《伊甸园世界01:星之上》(ISBN 9787559601339), 61 pages, 11k Chinese characters, comic
masterpiece, art, Hinabook (
后浪出版公司) & Beijing United Publishing Co., Ltd. (北京联合出版公司), French to Chinese legendary
comic book translation;

* Simplified Chinese version of Le Mystère Lagerfeld (Laurent Allen-Caron,
Fayard, ISBN 9782213702087),
《卡尔·拉格斐传》(ISBN 9787540493660), French to Chinese fashion biography
translation, 304 pages, 103k Chinese characters, 2020;

* Simplified Chinese version of Financer la transition énergétique: Carbone, climat et argent (Alain Grandjean & Mireille Martini, Les Editions de l’Atelier, ISBN 9782708244986), 《如何解决能源过渡的金融难题》(ISBN 9787519042547), French to Chinese, green development, 263 pages, 154k Chinese characters, 2020;

* Simplified Chinese version of Léonard 2 Vinci (Stéphane Levallois, Futuropolis, ISBN 9782754824187), 《克隆达·芬奇》(ISBN 9787535691682), French to Chinese comic book translation, 96 pages, 17k Chinese characters, 2020;

* translation sample: https://mp.weixin.qq.com/s/ZB_lOi0uXTazloXxl3QXbw
(4k Chinese characters, critique on Anders Nilsen’s comic book Big Questions
 Big Questions, art, source link:
http://www.hoodedutilitarian.com/2011/09/big-questions-our-father-where-art-thou/

).

Rates shown are for reference purposes and subject to negociation.


Keywords: French, English, Chinese, comics, art, culture


Profile last updated
Sep 3, 2020



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