Wednesday, January 30, 2019

Writing/Publishing

Aesopian language is communications that convey an innocent meaning to outsiders but hold a concealed meaning to informed members of a conspiracy or underground movement. For instance, Person X is known for exposing secrets in an organization, so the organization leaders announce, "any members who have dirty talking habits will be dealt with", warning Person X. It refers to the ancient Greek fabulist AesopThe term "Aesopian language" was first used by the nineteenth-century Russian writerMikhail Saltykov-Schedrin to describe the writing technique he began using late in his career, which he compared to Aesop's Fables. His purpose was to satirize the social ills of the time while evading the harsh censorship of late Tsarist Russia, of which he was a particular target.[1] The Soviet-era writer Lev Loseff noted that the use of Aesopian language remained a favorite technique of Russian writers (including himself) under Soviet censorship.[2] Maliheh Tyrell defines the term in the Soviet context and observes that the use of Aesopian language extended to other national literatures under Soviet rule:
"In short, this form of literature, like Aesop's animal fables, veils itself in allegorical suggestions, hints, and euphemisms so as to elude political censorship. 'Aesopian language' or literature is a technical term used by Sovietologists to define allegorical language used by Russian or nationality nonconformist publicists to conceal antiregime sentiments. Under Soviet rule, this 'Aesopian' literature intended to confuse the Soviet authorities, yet illuminate the truth for native readers."[3]
According to one critic, "Censorship... had a positive, formative impact upon the Aesopian writers' style by obliging them to sharpen their thoughts."[4] The German-American philosopher Herbert Marcuse uses the term in his book One-Dimensional Man somewhat interchangeably with Orwellian language.[5] In this context, "Aesopian Language" refers to the idea that certain usages of language work to 'suppress certain concepts or keep them out of the general discourse within society'.[6] An example of such a technique is the use of abbreviations to possibly prevent undesirable questions from arising, e.g., "AFL-CIO entombs the radical political differences which once separated the two organizations."[7] Within the context of Australian politics a term with very similar meaning is called dog-whistle politics, which describes the use of coded language to address voters' interests. Certain sections of the electorate will react strongly to controversial content if spoken of overtly, but may not be so attuned that they notice statements that appear neutral to outsiders. Dog-whistle politics uses phrases that speak to a sub-group without alarming the general population. For example, a politician may signal race or immigration views by using the phrase illegal arrivals to describe refugee-claimants.

Publishing industry outlook
- http://www.chinadailyasia.com/lifeandart/2015-12/02/content_15352937.html Even though the publishing industry around the world has been in decline over the past decade, children's books have somehow managed to buck the trend. It is the only sector to thrive amid competition from new media, says Randy Wang of Reed Exhibitions, organizer of the China Shanghai Children's Book Fair.
The fair, which was held last month at the Expo Exhibition Center, celebrated its third edition in Shanghai with a huge crowd and vendor turnout that surprised the organizers.

Web-publishing
- future of online newspaper/media
  • http://www.digitalnewsreport.org/
  • Oxford Institute/Thomson Reuters Foundation http://ar.trust.org/reportItem/oxford-institute/
- http://www.qidian.com/Default.aspx
- http://www.shikoto.com/

Style
- michael skapinker's book ft 23aug14 p10 http://www.ft.com/intl/cms/s/0d2e93f6-2877-11e4-9ea9-00144feabdc0,Authorised=false.html?_i_location=http%3A%2F%2Fwww.ft.com%2Fcms%2Fs%2F0%2F0d2e93f6-2877-11e4-9ea9-00144feabdc0.html%3Fsiteedition%3Dintl&siteedition=intl&_i_referer=http%3A%2F%2Fwww.ft.com%2Fintl%2Fbooks#axzz3BBGjvydS
- capitalisation
  • Camel case (stylized as camelCase; also known as camel caps or more formally as medial capitals) is the practice of writing phrases such that each word or abbreviation in the middle of the phrase begins with a capital letter, with no intervening spaces or punctuation. Common examples include "iPhone" and "eBay". It is also sometimes used in online usernames such as "johnSmith", and to make multi-word domain names more legible, for example in advertisements. Camel case is often used for variable names in computer programming. Some programming styles prefer camel case with the first letter capitalised, others not.[1][2][3] For clarity, this article calls the two alternatives upper camel case (initial uppercase letter, also known as Pascal case) and lower camel case (initial lowercase letter, also known as Dromedary case[4]). Some people and organizations, notably Microsoft,[2]use the term camel case only for lower camel case. Pascal case means only upper camel case. Camel case is distinct from Title Case, which capitalises all words but retains the spaces between them, and from Tall Man lettering, which uses capitals to emphasize the differences between similar-looking words such as "predniSONE" and "predniSOLONE". Camel case is also distinct from snake case, which uses underscores interspersed with lowercase letters (sometimes with the first letter capitalized). The combination of "upper camel case" and "snake case" is known as "Darwin case". Darwin case uses underscores between words with initial uppercase letters, as in "Sample_Type". It has no known conventional use in computer programming but is named after Charles Darwin because of the way it has "evolved" from more traditional conventions.
- space

  • http://www.slate.com/articles/technology/technology/2011/01/space_invaders.html one space or two spaces
font
- designer 張済仁 hket 18sep15 c1

Poetry reference bok
- 詩韻  www.hkpl.gov.hk › literature › Shi_Wen
https://www.hkpl.gov.hk/tc/about-us/publication/books/Special-literature-works.html 詞韻香港詩詞瓊玉

Magazine
- Publisher Weekly http://www.publishersweekly.com/

typewriter
- Hou-Kun Chow (Chinese周厚坤), a mechanical engineer in Shanghai, is credited with inventing the first Chinese typewriter in 1916.[7] His typewriter utilized 4,000 characters. He had studied in the United States like several other Chinese who also contributed to the development of Chinese typewriters.[5][8] Chow first thought about the practicality of a Chinese typewriter in Boston, while he was inspecting American typewriters as a student of the Massachusetts Institute of Technology. His efforts were initially hindered by a lack of technical assistance in Shanghai. The Ming Kwai typewriter is an electromechanical typewriter invented and patented by Lin Yutang. The patent, No. 2613795, was filed on April 17, 1946 by Lin, and was issued by the United States Patent and Trademark Office on October 14, 1952.[9] One of Lin's intentions was to help modernize China. Lin called his design the "Ming Kwai" typewriter and promoted it as "The Only Chinese Typewriter Designed for Everybody's Use". The two Chinese characters "Ming kwai" (Chinese明快pinyinmíngkuàiWade–Gilesming-k'uai) means "clear" (as in understandable) and "quick".In the midst of the Chinese economic reformsof the 1980s, both the need and the opportunity to create a modern Chinese typewriter became apparent. Old and inefficient mechanical typewriters were still in use although China's industries were modernizing. In the mid-1980s, it became possible for the Chinese to establish small private businesses called Township and Village Enterprises. At the time, this business model was effectively the only way that a private domestic company could operate in China.[11] Engineer and dissident Wan Runnan and his partners took advantage of the new legislation to form their IT company Stone Emerging Industries Company (Chinese四通新型产业公司pinyinSìtōng xīnxíng chányè gōngsī) in 1984 in Zhongguancun, China's "Silicon Valley". Although described with various terms of "people-run enterprise" by officials, there was no legal category that would correspond to it. Wan and his partners had to operate the company as a "red hat capitalist" firm which was formally a collective enterprise but in reality pursued private profit and expansion into new markets.

Web resources
- http://www.writersdigest.com/

Bookstore
- http://edition.cnn.com/2014/07/23/travel/worlds-coolest-bookstores/index.html

https://nplusonemag.com/issue-20/the-intellectual-situation/the-free-and-the-antifree/

http://accrispin.blogspot.hk/2010/11/fake-writing-jobs-realwritingjobscom.html

Santa Fe Writers Project
- christina chiu was born to Chinese immigrants in New York; her parents moved from Shanghai to Hong Kong during the 
Cultural Revolution
 (1966-1976), which is where they met. They emigrated first to San Diego in the US state of California, and then New York, though most of Chiu’s relatives remain in Hong Kong. https://www.scmp.com/lifestyle/fashion-beauty/article/3090521/author-channelled-her-stylish-hong-kong-grandmother-beauty

Event
-  national book expo, china
- shanghai international children's book fair http://www.ccbookfair.com/en/
丰子恺儿童图画书奖颁奖典礼暨华文图画书论坛

  • 2017 http://paper.takungpao.com/resfile/PDF/20170924/PDF/a21_screen.pdf

- writers' camps
  • iowa camp
  •  Nieh Hua-ling was born on 11 January 1925 in Wuhan, Hubei, China. In 1936, Nieh's father, an official of the Kuomintang administration, was executed by the Communist Red Army during the Chinese Civil WarIn 1948, she graduated with a degree in English from the Western Languages Department of National Central University. Following the communist revolution in China, she and her family relocated to Taiwan.In Taiwan, Nieh became the literary editor and a member of the editorial board of Free China, a liberal intellectual magazine. She served in these positions until 1960, when the magazine was closed down by the Chiang Kai-shek administration. She also began to teach creative writing courses at National Taiwan University and Tunghai University, becoming the first faculty member to do so in Chinese. She met Paul Engle, then director of the Iowa Writers' Workshop, while he was visiting Taiwan to research the contemporary literary scene in Asia. He invited her to attend the Writers' Workshop. As the political climate grew worse in Taiwan, she was placed under surveillance and prevented from publishing. She decided to accept Engle's invitation and arrived in Iowa City in 1964 with seven books already published. In 1966, after receiving her Master of Fine Arts degree in fiction from the Writers' Workshop, she suggested to Engle, then retiring from the Workshop, that they start a writing program solely for international writers. Their joint plan was to invite published writers from all over the world to Iowa City to hone their craft, exchange ideas, and create cross-cultural friendships. With support from the University of Iowa and a private grant, the first group of international writers convened in Iowa City in 1967 as the first participants in the International Writing Program (IWP).[1] They were married in 1971. With Engle as director and Nieh Engle as assistant director and then associate director, the International Writing Program grew into a recognized residency for literary artists. As an active editor, Nieh Engle sought to introduce little-known Chinese literary trends emerging even in the middle of the Cultural Revolution. She and Engle translated and edited a collection of Mao Zedong's poems. This was followed by a two-volume scholarly collection, Literature of the Hundred Flowers, which she edited and co-translated. In 1976, to honor their role in promoting exchange among international artists, 300 writers advanced the Engles for the Nobel Peace Prize. The pair was officially nominated by US Ambassador at Large W. Averell Harriman. In 1979 they coordinated a "Chinese Weekend," one of the very first encounters between writers from mainland China, Taiwan, Hong Kong, and the diaspora after 1949.Nieh Engle continued as the director of the International Writing Program (IWP) after Engle's retirement in 1977.
  • 我是一九八四年秋在美國愛荷華「國際寫作計劃」認識柏楊、張香華伉儷,此後成了忘年交。http://pdf.wenweipo.com/2020/03/18/b06-0318.pdf
  •  柏楊夫婦大陸行,茹志鵑以上海作家協會常務副主席身份出面,上海作家協會作為一個接待單位代安排所有行程,是最好不過的。後來因為柏楊要求探望王若望事件,覺得茹志鵑刻意不作安排,使柏楊非常不滿,對茹志鵑大有意見。對柏楊探望王若望的事,茹志鵑對新加坡《聯合早報》記者是這樣表示的:「另一位台灣作家應鳳凰女士曾提到要見王若望,我可以很坦白地說,當時王若望是不是在上海,我確實不知道,但是我說王若望不在上海,這是我不對,是我撒謊了。但我的動機是基於保護王若望,因為王若望已經很為難了。他這個人的性格又很像兒童。你三句話引他,他什麼都可以講,是很坦率的一個人。」此後,柏楊要單獨行動,人地生疏,不免碰釘,他寫道:「他們之中一位是復旦大學教授,安排二十三日在復旦舉行一個座談會,我高興能受到邀請,約定的時間是下午一時半,我在旅館等候,他們派人來接。可是時間已到,我衣帽整齊,正襟危坐,每一次門鈴聲我都認為定是來接我的,直到三時,還沒有消息,不但沒有人來,而且沒有一聲通知。」主要是雙方缺乏溝通的途徑。柏楊事後也覺得拒絕上海作協的協助,是一個「魯莽的決定」。我與柏楊夫婦及茹志鵑都是很好朋友。我一九八三年與茹志鵑及她的女兒王安憶一道參加應屆的愛荷華「國際寫作計劃」。活動完了之後,我在愛荷華大學進修英語,所以翌年即在一九八四年可以與參加應屆「愛荷華寫作計劃」的柏楊、張香華夫婦敘晤。柏楊是我神交已久的台灣作家,這次在美國中西部小城愛荷華意外邂逅,喜出望外,返港後一直保持緊密的聯繫。我覺得柏楊與茹志鵑的矛盾,說破了只是大家對彼此處境及社會背景不了解所造成的。後來柏楊一九八九年出版大陸行《家鄉》的回憶錄,還把茹志鵑接受新加坡《聯合早報》的訪問記附在書末,俱可見他的磊落胸懷!http://pdf.wenweipo.com/2020/05/06/b06-0506.pdf

  • 我於一九八三年一月在新加坡「國際文藝營」與她邂逅的,她是新加坡第一屆「國際文藝營」被邀請的旅美作家(還有聶華苓、鄭愁予),我是被邀請的香港作家。我們的文藝活動中,幾乎每一個場合都響徹她與聶華苓的笑聲,頓使這次文化活動倍添不少歡樂。 她直認不諱,這是愛情的滋潤。新婚的她(她的第二次婚姻,丈夫是美國紐約州立大學校長歐立文『Vincent O'leary』),顯得比前有更多的活力、更多的信心。一九八三年五月二十一日她偕夫婿歐立文赴內地訪問經港,由我接待,並在她下榻的華國酒店與她暢談了一個上午,海闊天空,談她的創作生活,她對海外華文文學的意見和認識,美國華人第二代的心態,中西文化衝擊的問題等和她最新的創作計劃和路向等等。http://pdf.wenweipo.com/2020/05/13/b08-0513.pdf

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