關於 the chinese library 評論 ，我們在網路上蒐集到這些相關的討論、資訊與評價

▍Voices of Photography 攝影之聲 ▍
Issue 17 : 家族之間
Kins and Kinship

在這期《攝影之聲》中，我們穿越私密的家族史與家庭關係，尋找影像話語中「家」與生命的連結和距離。日本藝術家藤井良雄從父母的失合離異，面臨著家的解體，在崩落的家庭影像裡注視一個逐漸剝蝕、卻又迴繞於難以截斷臍帶命途的家庭形貌；中國藝術家黎朗面對父親的逝世，開始在他所拍攝的父親肖像與遺物照上逐一書寫父親畢生經歷的時光，直到三萬多個日期數字在照片上綿綿編織，生命時空的關係距離也在此立體地延展開來；香港藝術家劉衛的父母來自中國北方，歷經浩蕩的文革運動，輾轉遷徙後在香港成家，在她拆解家族老相片、記錄父母近況並重返北方生活場景的歷史複視裡，這份跨越世代的家族相冊，述說著對家族記憶的遺念與離散關係的審視刻劃。

本期的Artist’s Showcase單元，我們與馬格蘭攝影家張乾琦在不同時區的忙碌奔波間進行了訪談對話，並揭載了他的新作——《時差》（Jet Lag）。台灣出生、在經年累月穿梭於世界各地的報導攝影工作生涯裡，「在路上」已是張乾琦的個人日常。當飛機、旅館與閃爍的螢幕成為生活唯一的連續，婚姻、家庭與時間則處在過於頻繁的失連狀況。繼他在《唐人街》、《我願意》、《鍊》和《囍》等處理人之關係處境的著名作品之後，《時差》是張乾琦在以「家」為題的主計畫裡，一個處理著終極斷連的系列。「我相信時間會告訴我什麼時候該踏上歸程」，他在某個時區裡對我們說。

張世倫的「論影像」專欄則是對藝術家的「家族／家庭照」創作的反身探討，在各種映照親族關係間的攝影中論證「家」的影像建構與展演。顧錚則就中國與日本當代攝影中的家庭影像進行了大篇幅的介紹剖析，從王勁松的《標準家庭》、邵逸農與慕辰的《家族圖譜》到葉甫納的《家春秋》；自荒木經惟的《感傷之旅》、江成常夫的《新娘的美國》到淺田政志的《淺田家》等作品，家族關係在私密的、歷史的、再現的與擬仿的種種攝影裡交錯辯證，而使家的形象呈現著多樣的面貌。

此外，維持我們對攝影出版一直以來的關注火力，久違的「獨立攝影書庫」單元同樣由Larissa Leclair依本期主題推介了四本有趣的書給大家；在Q單元，我們專訪中國獨立出版人言由，他自2011年開始與中國新生代攝影創作者合作，並以「假雜誌出版」為中國攝影帶來了許多話題與新氣象。同時，攝影評論人陳佳琦從文學穿引，深度評寫藝術家陳傳興近期出版的攝影書《未有燭而後至》；另外，我們也新增了「攝影書與台灣」單元，透過早年影像出版的視角，梳理台灣與台灣攝影歷程的印記。

隨著2016年的到來，在這一年裡我們將試著展開新的出版計畫，先在這裡小小預告。謝謝親愛的讀者們，期盼大家享受閱讀，新年愉快，多元成家。

▍購買 / BUY：
www.vopmagazine.com/vop-017/
▍訂閱 / SUBSCRIBE：
www.vopmagazine.com/subscribe/

In this issue of VOP, through the relation between family history and private family relationships, we seek the connection and distance between "family" and life in photography. Japanese artist Yoshikatsu Fujii’s work shows us how he perceives his family’s falling apart in the face of his parents’ estrangement, a familial relationship that is disintegrating and yet binds like an umbilical cord. Chinese artist Lang Li, in the face of his father’s passing on, begins to mark the time of his father’s lifetime directly on portraits of his father as well as on items left behind, extending a trailing record of over 30,000 dates and establishing a relationship between the different times of his life. Hong Kong artist Wai Lau whose parents came from Northern China, participated in the Cultural Revolution and then made Hong Kong their home subsequently, deconstructs old family photos, records her parents’ current lives and makes a trip back north to revisit her parents’ historical homes of the past. These cross-generation family albums depict a deep reading of family memories and relationships between family members.

In our Artist’s Showcase, we have an interview with Magnum Photo photographer Chien-Chi Chang done in the midst of his busy schedule on the go between different time zones. We also feature some shots from his new work Jet Lag. Born in Taiwan and having spent years travelling all over the world as part of his documentary reporting work, “on the road” is a daily state in his personal life. When the plane, the hotel and a shimmering television screen become life's only extension, marriage, family and time are in a perpetual state of disconnection. Following his work in China Town, I Do I Do I Do, The Chain and Double Happiness etc which deal with interpersonal relationships, Chang turns to the theme of “Home” in the project Jet Lag, a series that deals with the ultimate disconnection. “I do believe time will tell when to commence the return journey.” He said from an unknown time zone.

In addition Shih-Lun Chang’s column On Images is a reflection of artists creation based on the theme of “clan/family photographs”, discussing the imagery of “home” and its ways of presentation through the portrayal of family relations through photography. Zheng Gu presents us with an extensive introduction of family photography in contemporary Chinese and Japanese photography, from Jin-Song Wang’s Standard Family, Yi-Nong Shao and Chen Mu’s Family Register, Fu-Na Ye’s Family Album, Nobuyoshi Araki’s Sentimental Journey, Tsuneo Enari’s Japanese war brides in America to Masashi Asada’s The Asada Family, family relations cross each other in complex private, historical, re-presentational and imitation forms of photography, presenting the image of the family in many forms.

Moreover, we continue our interest in photography publishing, we have a special on the “Indie Photobook Library”, also featuring its founder Larissa Leclair in this issue, introducing four interesting books. In the Q section, we interview Chinese independent photobook publisher, You Yan. He began working with the new generation of Chinese photographers since 2011 and introduced many new themes and possibilities to Chinese photography through his Jiazazhi Press. At the same time, photography critic Chia-Chi Chen writes about Taiwanese artist Chuan-Xing Chen’s recent new work Won’t Somebody Bring the Light and its connection with Taiwanese literature. Also we added in a new section titled “Photobooks & Taiwan”, from the perspective of early publishing, sorting out Taiwan and its photography tracks.

In 2016, we hope to expand into other areas of photo publishing, here's a little notice for you all. We thank you our dear readers and hope all of you enjoy this issue. Happy lunar new year, may you be with the ones you love.

#攝影之聲 #vopmagazine
---
Voices of Photography 攝影之聲
www.vopmagazine.com

/ / 新年新刊上路 GRAB YOUR COPY NOW ! / /

▍Voices of Photography 攝影之聲 ▍
Issue 17 : 家族之間
Kins and Kinship

在這期《攝影之聲》中，我們穿越私密的家族史與家庭關係，尋找影像話語中「家」與生命的連結和距離。日本藝術家藤井良雄從父母的失合離異，面臨著家的解體，在崩落的家庭影像裡注視一個逐漸剝蝕、卻又迴繞於難以截斷臍帶命途的家庭形貌；中國藝術家黎朗面對父親的逝世，開始在他所拍攝的父親肖像與遺物照上逐一書寫父親畢生經歷的時光，直到三萬多個日期數字在照片上綿綿編織，生命時空的關係距離也在此立體地延展開來；香港藝術家劉衛的父母來自中國北方，歷經浩蕩的文革運動，輾轉遷徙後在香港成家，在她拆解家族老相片、記錄父母近況並重返北方生活場景的歷史複視裡，這份跨越世代的家族相冊，述說著對家族記憶的遺念與離散關係的審視刻劃。

本期的Artist’s Showcase單元，我們與馬格蘭攝影家張乾琦在不同時區的忙碌奔波間進行了訪談對話，並揭載了他的新作——《時差》（Jet Lag）。台灣出生、在經年累月穿梭於世界各地的報導攝影工作生涯裡，「在路上」已是張乾琦的個人日常。當飛機、旅館與閃爍的螢幕成為生活唯一的連續，婚姻、家庭與時間則處在過於頻繁的失連狀況。繼他在《唐人街》、《我願意》、《鍊》和《囍》等處理人之關係處境的著名作品之後，《時差》是張乾琦在以「家」為題的主計畫裡，一個處理著終極斷連的系列。「我相信時間會告訴我什麼時候該踏上歸程」，他在某個時區裡對我們說。

張世倫的「論影像」專欄則是對藝術家的「家族／家庭照」創作的反身探討，在各種映照親族關係間的攝影中論證「家」的影像建構與展演。顧錚則就中國與日本當代攝影中的家庭影像進行了大篇幅的介紹剖析，從王勁松的《標準家庭》、邵逸農與慕辰的《家族圖譜》到葉甫納的《家春秋》；自荒木經惟的《感傷之旅》、江成常夫的《新娘的美國》到淺田政志的《淺田家》等作品，家族關係在私密的、歷史的、再現的與擬仿的種種攝影裡交錯辯證，而使家的形象呈現著多樣的面貌。

此外，維持我們對攝影出版一直以來的關注火力，久違的「獨立攝影書庫」單元同樣由Larissa Leclair依本期主題推介了四本有趣的書給大家；在Q單元，我們專訪中國獨立出版人言由，他自2011年開始與中國新生代攝影創作者合作，並以「假雜誌出版」為中國攝影帶來了許多話題與新氣象。同時，攝影評論人陳佳琦從文學穿引，深度評寫藝術家陳傳興近期出版的攝影書《未有燭而後至》；另外，我們也新增了「攝影書與台灣」單元，透過早年影像出版的視角，梳理台灣與台灣攝影歷程的印記。

隨著2016年的到來，在這一年裡我們將試著展開新的出版計畫，先在這裡小小預告。謝謝親愛的讀者們，期盼大家享受閱讀，新年愉快，多元成家。

▍購買 / BUY：
www.vopmagazine.com/vop-017/
▍訂閱 / SUBSCRIBE：
www.vopmagazine.com/subscribe/

In this issue of VOP, through the relation between family history and private family relationships, we seek the connection and distance between "family" and life in photography. Japanese artist Yoshikatsu Fujii’s work shows us how he perceives his family’s falling apart in the face of his parents’ estrangement, a familial relationship that is disintegrating and yet binds like an umbilical cord. Chinese artist Lang Li, in the face of his father’s passing on, begins to mark the time of his father’s lifetime directly on portraits of his father as well as on items left behind, extending a trailing record of over 30,000 dates and establishing a relationship between the different times of his life. Hong Kong artist Wai Lau whose parents came from Northern China, participated in the Cultural Revolution and then made Hong Kong their home subsequently, deconstructs old family photos, records her parents’ current lives and makes a trip back north to revisit her parents’ historical homes of the past. These cross-generation family albums depict a deep reading of family memories and relationships between family members.

In our Artist’s Showcase, we have an interview with Magnum Photo photographer Chien-Chi Chang done in the midst of his busy schedule on the go between different time zones. We also feature some shots from his new work Jet Lag. Born in Taiwan and having spent years travelling all over the world as part of his documentary reporting work, “on the road” is a daily state in his personal life. When the plane, the hotel and a shimmering television screen become life's only extension, marriage, family and time are in a perpetual state of disconnection. Following his work in China Town, I Do I Do I Do, The Chain and Double Happiness etc which deal with interpersonal relationships, Chang turns to the theme of “Home” in the project Jet Lag, a series that deals with the ultimate disconnection. “I do believe time will tell when to commence the return journey.” He said from an unknown time zone.

In addition Shih-Lun Chang’s column On Images is a reflection of artists creation based on the theme of “clan/family photographs”, discussing the imagery of “home” and its ways of presentation through the portrayal of family relations through photography. Zheng Gu presents us with an extensive introduction of family photography in contemporary Chinese and Japanese photography, from Jin-Song Wang’s Standard Family, Yi-Nong Shao and Chen Mu’s Family Register, Fu-Na Ye’s Family Album, Nobuyoshi Araki’s Sentimental Journey, Tsuneo Enari’s Japanese war brides in America to Masashi Asada’s The Asada Family, family relations cross each other in complex private, historical, re-presentational and imitation forms of photography, presenting the image of the family in many forms.

Moreover, we continue our interest in photography publishing, we have a special on the “Indie Photobook Library”, also featuring its founder Larissa Leclair in this issue, introducing four interesting books. In the Q section, we interview Chinese independent photobook publisher, You Yan. He began working with the new generation of Chinese photographers since 2011 and introduced many new themes and possibilities to Chinese photography through his Jiazazhi Press. At the same time, photography critic Chia-Chi Chen writes about Taiwanese artist Chuan-Xing Chen’s recent new work Won’t Somebody Bring the Light and its connection with Taiwanese literature. Also we added in a new section titled “Photobooks & Taiwan”, from the perspective of early publishing, sorting out Taiwan and its photography tracks.

In 2016, we hope to expand into other areas of photo publishing, here's a little notice for you all. We thank you our dear readers and hope all of you enjoy this issue. Happy lunar new year, may you be with the ones you love.

#攝影之聲
---
Voices of Photography 攝影之聲
www.vopmagazine.com

<<冒用亞裔姓名而獲詩作入選所引發的軒然大波
A White Poet Borrows a Chinese Name and Sets Off Fireworks>>

New York Times, Sept. 8th (by Jeniifer Schuessler) -- This year’s edition of the anthology “Best American Poetry” has come under criticism for including a poem by a white poet writing under a Chinese pseudonym, touching off intense online debate about diversity, inclusion and racial entitlement in the poetry world.
在收錄了一名用中文筆名寫作的白人詩人的作品後，今年的《美國最佳詩作》選集受到不少責難。此事在網路上引發了詩壇中關於多樣性、包容性和種族特權的熱烈討論。

“The Bees, the Flowers, Jesus, Ancient Tigers, Poseidon, Adam and Eve” was submitted to the anthology, published on Tuesday by Scribner, by a little-known poet named Michael Derrick Hudson, under the pseudonym Yi-Fen Chou. After the poem’s selection, Mr. Hudson revealed his identity to the volume’s editor, Sherman Alexie, who decided to include it anyway, along with a note explaining the use of the pseudonym.
默默無聞的詩人Michael Derrick Hudson用周一峰(Yi-Fen Chou)作為筆名，向《美國最佳詩作》投稿了自己的作品《蜜蜂、鮮花、耶穌、古代的老虎、波塞頓、亞當和夏娃》。詩選由出版社Scribner於週二刊出。作品入選後，Hudson對《美國最佳詩作》主編Sherman Alexie表明了自己的真實身份，並附上對使用這一筆名的相關解釋。結果Alexie依然決定收錄這首詩。

In an essay on the Best American Anthology blog on Monday, Mr. Alexie, a Native American, defended his decision, saying he had paid closer attention to the poem because of the author’s name — a kind of “racial nepotism,” he said — but ultimately chose it because he liked it.
週一，身為土生土長美洲人的Alexie在《美國最佳詩作》部落格上發文為自己的決定辯護，他聲稱因為作者的名字，他給與了這首詩更多關注─他表示，這是一種「種族裙帶行為」─但選擇那首詩的最終原因是自己喜歡。

When Mr. Hudson revealed his use of a pseudonym, Mr. Alexie wrote, he debated how to deal with this instance of “colonial theft,” but decided that dropping the poem “would have cast doubt on every poem I have chosen” and “implied that I chose poems based only on identity.”
Alexie寫道，當Hudson表明自己用的是筆名時，他考慮過該如何處理這起「殖民盜用」事件，但後來下定決心，認為放棄這首詩「會讓我對選出來的每首詩產生懷疑」，並「意味著我只是根據作者的身份來選詩。」

“I hadn’t been fooled by its ‘Chinese-ness’ because it contained nothing that I recognized as being inherently Chinese or Asian,” Mr. Alexie wrote.
「我並沒有被它的『華人元素』給欺騙，因為它並沒有包含在我看來是華人或亞裔固有特色的成分，」 Alexie如此表示。

Mr. Hudson, who works as an indexer at the Allen County Public Library in Fort Wayne, Ind., did not answer messages requesting comment. But in the biographical note in “Best American Poetry,” he explained that he often sent poems out under the name Yi-Fen Chou.
Hudson在印第安那州韋恩堡的艾倫縣公共圖書館當索引編輯員，而他並沒有對於被提出的要求做任何回覆及評論。但在《美國最佳詩作》的簡介中，他解釋自己經常用周一峰的筆名投稿其詩歌創作。

“As a strategy for ‘placing’ poems this has been quite successful for me,” he said, noting that “The Bees” had been rejected 40 times under his own name but only nine times under the pseudonym before it was printed by the journal Prairie Schooner.
他認為「作為一種讓詩作『入眼』的策略，這個辦法對我來說相當成功，」，並指出自己用真實姓名寄出《蜜蜂》後被拒絕了40次，用筆名只被拒絕了九次，然後就在期刊《草原篷車》上被刊登了。

“If indeed this is one of the best American poems of 2015, it took quite a bit of effort to get it into print,” Mr. Hudson wrote. (Poems under his own name have appeared in numerous journals, including Poetry, this year.)
Hudson還這麼寫著「如果說這真的是美國2015年最好的詩作之一，那為了要刊登它還真是費了些功夫，」。（今年，以他真名署名的詩作出現在了包括《詩歌》[Poetry]在內的眾多期刊上。）

Mr. Hudson’s blunt explanation drew outrage and ridicule online. “Never thought I’d see poets using yellowface to get published in 2015 but here we are,” Saeed Jones, a poet and the literary editor of Buzzfeed, said on Twitter. Jezebel ran a post under the headline “If You’re a White Man Who Can’t Get Published Under Your Own Name, Take the Hint.”
Hudson這般露骨的解釋在網路上引發了憤怒和嘲諷兼有的一陣論戰。「從來沒想過，到了2015年居然會看到詩人為了能發表作品而假裝自己是黃種人，但現在還真就看到了，」本身也是詩人的Buzzfeed文學主編Saeed Jones在Twitter上如此表示。Twitter上的另一個帳號Jezebel也發表了一篇文章，標題是《如果你是用真名發表不了作品的白人，看這裡》。

Ken Chen, a poet and executive director of the Asian American Writers Workshop, said Mr. Hudson was guilty of “cynical mischief” in the service of a “reactionary fantasy.”
同樣身為詩人的亞裔美國作家工作坊行政總監陳聖為(Ken Chen)表示，Hudson利用「反動幻想」的做法是犯了「虛偽惡作劇」的錯誤。

“He believes that he’s being cheated, and things will only improve if writers of color are virtualized away,” Mr. Chen said in an interview. “If only they didn’t really exist, and were just white guys with pseudonyms.”
「他以為別人在作弊，只有當有色人種作家被虛化掉，情況才會有所改善，」陳聖為在接受採訪時說。「他們其實並不存在，都是用了筆名的白人就好了。」

Rigoberto González, a poet who teaches at Rutgers University, Newark, said that Mr. Hudson had inadvertently “given a language to the anxiety that’s out there” among nonwhite writers: that they are included as tokens.
在紐華克羅格斯大學任教的詩人Rigoberto González認為，Hudson無意之間讓非白人作家「本已存在的焦慮具現化了」：他們是作為一種象徵被接納的。

“He’s buying into this notion of ‘I’ll be noticed because I have this ethnic name,’ ” Mr. González said. “But that’s what many writers of color are trying to avoid. We just happen to have ethnic names. But we are getting published because we are also good poets.”
「他相信『我會因為用了這個有種族特色的名字而被注意到』的觀念，」岡薩雷斯說。「但這正是很多有色人種作家在努力避免的。我們只是碰巧擁有了有種族特色的名字。我們的作品能發表是因為我們也是優秀的詩人。」

On Twitter on Monday, Mr. Alexie found a silver lining, writing, “I’m exhausted by the Best American Poetry mess, but wow, how cool that so many people are crazy-passionate about poems.”
週一的時候，Alexie還從這件事上發現了亮點。他在Twitter上寫道，「被《美國最佳詩作》的爛攤子搞得精疲力盡，不過話說回來，哇，有這麼多人對詩歌有著瘋狂的熱情真是太酷了。」

Mr. González, however, said that including Mr. Hudson had distracted from the anthology.
然而，González表示，收錄Hudson作品這件事轉移了人們對《美國最佳詩作》本身的注意力。

“There are good poems and other new names in the anthology, but all we’ve been hearing about is this guy,” Mr. González said. “It’s really a shame.”
González說「選集中有不少優秀的詩歌和其他一些新秀，但我們聽到的所有討論都是關於這一個人的，」他認為這樣「真的很遺憾。」

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