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推廌強打China’s Contested Capital：Architecture, Ritual, and Response in Nanjing高CP值

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內容簡介: When the Chinese Nationalist Party nominally reunified the country in 1928, Chiang Kai-shek and other party leaders insisted that Nanjing was better suited than Beijing to serve as its capital. For the next decade, until the Japanese invasion in 1937, Nanjing was the “model capital” of Nationalist China, the center of not just a new regime, but also a new modern outlook in a China destined to reclaim its place at the forefront of nations. Interesting parallels between China’s recent rise under the Post-Mao Chinese Communist Party and the Nationalist era have brought increasing scholarly attention to the Nanjing Decade (1927–1937); however, study of Nanjing itself has been neglected. Charles Musgrove brings the city back into the discussion of China’s modern development, focusing on how it was transformed from a factional capital with only regional influence into a symbol of nationhood— a city where newly forming ideals of citizenship were celebrated and contested on its streets and at its monuments.博客來網路書局博客來China’s Contested Capital investigates the development of the model capital from multiple perspectives. It explores the ideological underpinnings of the project by looking at the divisive debates surrounding the new capital’s establishment as well as the ideological discourse of Sun Yat-Sen used to legitimize it. In terms of the actual building of the city, it provides an analysis of both the scientific methodology adopted to plan it and the aesthetic experiments employed to construct it. Finally, it examines the political and social life of the city, looking at not only the reinvented traditions that gave official spaces a sacred air but also the ways that people actually used streets and monuments, including the Sun Yat-Sen Mausoleum, to pursue their own interests, often in defiance of Nationalist repression. Contrary to the conventional story of incompetence and failure, Musgrove shows that there was more to Nationalist Party nation-building than simply “paper plans” that never came to fruition. He argues rather that the model capital essentially legitimized a new form of state power embodied in new symbolic systems that the Communist Party was able to tap into after defeating the Nationalists in 1949. At the same time, the book makes the case that, although it was unintended by party planners who promoted single-party rule, Nanjing’s legitimacy was also a product of protests and contestation, which the party-state only partially succeeded in channeling for its own ends.
China’s Contested Capital is an important contribution to the literature on twentieth-century Chinese urban history and the social and political history of one of China’s key cities during the Republican period.

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  作者： Charles D. Musgrove    新功能介紹
• 出版社：香港大學出版社    新功能介紹
• 出版日期：2013/05/01
• 語言：英文

推廌強打China’s Contested Capital：Architecture, Ritual, and Response in Nanjing高CP值

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張愛玲評畫 蒙娜麗莎讓人不安

旺報【記者賴廷恆╱綜合報導】

在作家張愛玲的眼中，經典名畫《蒙娜麗莎的微笑》「使人略感不安！」以小說、散文傳世，張愛玲的「才女」封號其來有自，不僅遺有繪畫作品，且生平第一筆稿費居然不是來自小說，而是在《大美晚報》上發表一幅漫畫。張愛玲的散文〈談畫〉除評論《蒙娜麗莎的微笑》，還指出法國畫家塞尚筆下，「一切女人的肚子都比男人大」。

張愛玲生前除為自己或他人之作繪下插圖外，尚有漫畫、雜誌扉頁及書籍封面設計等，尤其散文集《流言》一書，由封面畫到內文插圖，張愛玲全都一手包辦，最為「張迷」所津津樂道。胡蘭成也曾在《今生今世》中，提到張愛玲「煩惱於一切語言文字的貧乏。這使她寧願擇取古典的東西做材料，而以圖案畫的手法來表現。」

一刻也留不住的笑容

收錄在《流言》的〈談畫〉，張愛玲寫下對35幅畫作的品頭論足，並由《蒙娜麗莎的微笑》揭開序幕，隨後登場的30餘幅畫作，幾乎全出自後期印象畫派代表人物塞尚之手。張愛玲表示，學生時代教室裡掛著一幅義大利文藝復興時代的名畫《蒙娜麗莎的微笑》，老師提醒她們：「注意那女人臉上的奇異的微笑。」

「的確是使人略感不安的美麗恍惚的笑！」張愛玲表示，像是一刻也留不住，「即使在我努力注意之際也滑了開去，使人無緣無故覺得失望」。張愛玲形容，就像是一個女人驀然想到，讓戀人「顯得異常稚氣，可愛又可憐」的任何一個小動作，突然間充滿寬容，並由自身無限制延伸、庇蔭戀人的過去與將來，「眼睛裡就許有這樣的蒼茫的微笑」。

塞尚作品最愛《破屋》

塞尚的風景畫作品中，張愛玲最喜歡《破屋》，描繪正午陽光下的一座白房子，有一隻獨眼樣的黑洞洞的窗；「從屋頂上往下裂開一條大縫，房子像在那裡笑，一震一震，笑得要倒了。」讓她想起李白《憶秦娥》：「咸陽古道音塵絕，音塵絕。西風殘照，漢家陵闕」，但並未有著巍峨的過去，「有的只是中產階級的荒涼，更空虛的空虛」。

《牧歌》畫面上水邊或蹲、或躺、或坐的一群男女，「白的肉與白的衣衫，音樂一般地流過去」，「周身的肉都波動著，整個的畫面有異光的盪漾」。與此相對照，畫出狂歡節男女間公開追逐的《謝肉祭》，也讓張愛玲「只看得出一點：一切女人的肚子都比男人大」。

新聞來源https://tw.news.yahoo.com/張愛玲評畫-蒙娜麗莎讓人不安-215006778--finance.html

推廌強打China’s Contested Capital：Architecture, Ritual, and Response in Nanjing高CP值