1．是否应有世贸纪念碑？
1. Should there be a memorial for the World Trade Center?

2．应该是什样的纪念碑？
2. What kind of memorial?

3．谁是受众群？
3. Who is the audience/viewership?

4．我们怎么激发集体记忆？
4. How can we activate collective memory?

5．什么是集体记忆？
5. What is collective memory?

指导阅读的提问：
Questions to guide your reading:

1. 在〈个人和集体记忆〉中，Maurice Halbwachs争议所有的记忆都是集体的。他是如何支持他的论点？
1. In "Individual and Collective Memory" Maurice Halbwachs argues that all memory is collective. How does he substantiate this claim?

2. Andreas Huyssen评价说，在美国人的想象中没有「废墟」一说。你同意吗？为什么同意或不同意？你如何描述美国对911事件的第一反应（例如政治、媒体、文化、宗教方面）？
2. Andreas Huyssen remarks that there is no space for "ruins" in the American imagination. Do you agree? Why or why not? How would you describe the first American reactions (for example, in politics, in the media, in culture, in religion) to the events of 11 September 2001?

I. 集体记忆
I. Collective Memory

Q：你在阅读Maurice Halbwach的《集体记忆》（CM）之前是如何看集体记忆？Maurice Halbwachs（MH）又认为如何？
Q. What did you think collective memory was before you read Maurice Halbwach's Collective Memory (CM)? What does Maurice Halbwachs (MH) think it is?

A：Maurice Halbwachs第一次使用这表述，是在他《集体记忆》（1922）和《社会记忆的框架》（1925）的研究。
A: Maurice Halbwachs first used the expression in his studies The Collective Memory (1922) and The Social Frameworks of Memory (1925).

B：Maurice Halbwachs是一位社会学家，致力反对心理分析的个人主义。
B: MH was a sociologist, working against individualism of psychoanalysis.

II. 空间和集体记忆
II. Space and Collective memory

Q：第一章的记忆场景是什么？
Q. What is first memory scene in chapter 1?

A：Maurice Halbwachs明白，记忆是依赖于特定人群所在的空间环境。Halbwachs诠释「空间」为「持久的真实」。我们要重新抓住过去，只能通过理解（过去）是「如何在我们身边的实际环境保存」。
A: MH understood memory to be dependent upon the spatial environment of a given group. "Space," Halbwachs argues, is "a reality that endures." We can only recapture the past by understanding how it is "preserved in our physical surroundings" (Halbwachs p. 140).

Q：这环境会怎样改变？结构的改变将会如何影响集体记忆？
Q: How could this environment change? How would this structural change affect collective memory?

A：Halbwachs解释说，【集体】定义其对外在世界的关系，是与「实际环境的特别架构」相联。他强调，如果社区「在某街道的孤立地区或某教堂的影子」失去其位置，那么它们将会失去原有根基存在的传统。(CM 135页，157页)
A: A collective defines its reactions to the outside world in relation to "a specific configuration of the physical environment," Halbwachs argues. If a community were to lose its location "in the pocket of a certain street, or in the shadow of some wall or church," he insists, they would then lose the tradition that grounds their existence (CM p. 135, p. 157).

III. 历史／记忆，档案／博物馆
III. History/Memory, Archive/Museum

Q：你会怎样将历史和记忆区分？
Q: How would you differentiate history from memory?

A：Halbwachs以区分内部／外部认知和经验的轴线，把集体记忆和历史分割。
A: Halbwachs draws a dividing line between collective memory and history split by an axis that opposes internal to external knowledge and experience.

Q：历史和记忆是是否有不同的短暂性？什么图像可以诠释历史和记忆？
Q: Do history and memory have different temporalities? What kind of images illustrate history and memory?

B：对于Maurice Halbwachs来说，记忆是短暂和偶然，不能沉淀成为单一统合的故事。
B: For MH, memory is ephemeral, contingent. Cannot be sedimented into a single unified story.

C：从另一方面来说，历史假装记忆是倾向于统合。如果历史有记录，记忆会回应。
C: History, on the other hand, pretends that memory does lend itself to unification. If history records memory responds…

D：【档案archive】一词的根源可追溯到希腊文的动词arkhein，意思是「开始」，还有「统治」或「命令」的含义。与之成对照的是「博物馆museum」，这是「陵墓mausoleum」的近义词，是回首过去。
D. The roots of term "archive" reach back to the Greek verb arkhein, which means "to begin" but also "to rule" or "to command." In contradistinction, the word "museum," a cousin to "mausoleum," looks back to the past.

IV. Henri Bergson

A：在《集体记忆》中，Halbwachs先是引用，然后又驳斥Bergson在《物质和记忆》里的观点。
A: In CM, Halbwachs refers to and then refutes the insights that Bergson presents in Matter and Memory.

B：Bergson将记忆视为一本有形的和丰满的书，是「无意识图书馆」的一卷书，其中有过去事件的生动影像，就像是那么多的书页都有署名。
B: Bergson envisions memory as something with all the concreteness and repletion of a book, a bound volume in the library of the unconscious, in which vivid images of past events would lie like so many pages sewn into signatures.

C：Bergson认为回忆全部份是可能的。
C: Bergson was convinced total recall was possible.

D：对Halbwachs来说，怀旧症只是失忆症的对应。
D: For Halbwachs, however, anamnesis only exists as a counterpart to amnesia.

Q：这是个玩弄字谜的难题。你怎样认为？
Q: This is a conundrum. What do you think?

E：对Halbwachs来说，记忆幸存为「粉碎的印象」，其意义只能由社会的镜片来透视。记忆只能存在于【进行的工程】。从历史意义上来说，记忆只始于某一特别传统结束或集体记忆消失之时。（77-80页）
E: For Halbwachs, Memory survives as "piecemeal impressions," whose meaning can be divined only through the lens of the social. Memory can only exist as a work-in-progress. Historically, memory starts only when a particular tradition ends or when collective memory withers away. (pp. 77-80.)

Q：生与死，与建世贸纪念碑有什么关系？
Q: What do life and death have to do with the matter of making a WTC monument?
世贸纪念碑应否为那些在曾在那里生活和工作的人们见证？
Should the monument testify to the lives lived and worked in the WTC?
又或是纪念他们的逝去？
Or should it commemorate their deaths?
纪念碑应该是为记忆而设，或是记录历史？
Should the monument work memory or record history?

V. 历史／记忆 （续）
V. History/Memory (continued)

A：在他原本的主张，Maurice Halbwachs推测记忆没有牢靠一些指示物质，是不能茁壮成长。到1925年，Halbwachs发现，一旦空间的记忆慢慢进入个体的思维，就不会受限于具体实物。
A: In his initial propositions, MH conjectured that no memory could thrive without some material referent in which it could anchor itself. By 1925 Halbwachs came to see that, once spatial memory instills itself into the individual mind, it need not remain tethered to concrete objects.

B：Halbwachs坚持，即使社群与其实际场所的链接「在摧毁那一刻更清晰」，也会有所得益。（131页）
B: The links which attach the community to its physical locale, Halbwachs maintains, gain even "greater clarity in the very moment of their destruction." (p. 131.)

Q：城市毁坏怎么培养集体记忆？
Q: How could urban destruction foster Collective Memory?

C：对话和个人叙述的交流，是把现时的记忆保存于集体――记忆的运作是存于接收。
C: It is the conversations and the exchange of personal narratives that keep memory present to the collective--the work of memory consists in the reception.

Q：纪念碑要满足那些条件？
Q: What criteria should the memorial meet?

VI. Andreas Huyssen〈双塔记忆〉
VI. Andreas Huyssen, "Twin Memories"

A： Huyssen针对修建纽约世贸纪念碑的问题，是重建贵重房地产主要协调1）需要纪念逝者，和2）记忆「历史事件」的挑战。( 7页)
A: Huyssen targets the problem of making a WTC monument in New York, to reconcile rebuilding a site of prime real estate with 1. The need to commemorate the dead and 2. The challenge of memorializing a "historical event?" (p. 7.)

B：Huyssen（和Eric）指出世贸大厦与五角大楼不同的像征意义。
B: Huyssen (and Eric) point out the differing symbolism of the WTC and the pentagon.

Q：你认为世贸中心是更会引起共鸣的标志吗？为什么？
Q: Do you think the WTC is a more resonant icon? Why?

C：Huyssen对纽约世贸纪念碑的问题的进一步说法：「如何从一个纪念碑想到一个早已成事的纪念碑――企业现代主义，资本主义的现实主义的纪念碑……？” （9页）
C: Huyssen develops upon the problem of the WTC monument in New York, "…how to imagine a monument to something that was already a monument in the first place? --monument to corporate modernism, capitalist realism…" (p. 9.)

Q：世贸中心是什么风格？谁了解其建筑？
Q: What style was the WTC? Who knows architecture?

D：Pruitt Igoe在其毁坏后成为像征，标志着城市现代主义的结束，后现代主义的开始。
（编注：Pruitt-Igoe是美国圣路易市的政府房屋区，当时被认为是五、六十代现代主义的代表作，后来在1972年拆卸。Pruitt-Igoe的建筑师Minoru Yamasaki山崎实也是纽约世贸大楼的建筑师。） D: Pruitt Igoe became an icon through its destruction. It marked the end of urban modernism, beginning of Postmodernism.

Q：世贸中心会变成迟到的像征吗？是什么的像征？
Q: Will the WTC become a belated icon? To what?
Huyssen认为需要分配多少时间落实世贸中心纪念碑？
How much time does Huyssen think should be allotted to realize the WTC memorial?
在这篇文章中，还有引用哪些被毁的纪念碑？
What is the other destroyed monument that is invoked in this essay?
为什么美国人的想象中不许有废墟？
Why are no ruins allowed in the American imagination?

1．在〈完全战争时代〉中，Eric Hobsbawm将第一次和第二次世界大战放在世界政治经济的大背景下。1914-45年这段「短世纪」期间，激活了哪些社会制度和金融部门？这些经济构件与Andreas Huyssen在〈双塔记忆〉描述的后9.11景像又作何比较？
1. In "The Age of Total War" Eric Hobsbawm sets the events of World Wars I and II within the larger context of the global political economy. Which institutions and financial sectors were activated in that "short century" from 1914-45? How does this economic formation compare to the post-9.11 landscape that Andreas Huyssen describes in "Twin Memories"?

2. Kurt Vonnegut《第五屠宰场》的临时并列有什么功能？
2. What is the function of temporal juxtaposition in Kurt Vonnegut's Slaughterhouse Five?

I. Reinhold Martin〈一个还是几个〉
I. Reinhold Martin, "One or More"

A：Martin问道，是否有单一世界历史「事件」是值得记念和重建（他称之为擦除）？
A: Martin asks whether there occurred anything like a singular, world-historical "event" worthy of commemoration and rebuilding (what he calls 'erasure').

B：在纽约，许多人耗费了精力于像征，而且不止是曼哈顿下城的房地产集团开发商、建筑师、Bloomberg市长和政治评论员。
B: Symbolic energies are already being expended by many in New York, not only the lower Manhattan development corporate real estate developers, architects, Mayor Bloomberg, and political commentators.

Q：你认为怎样？有多少？
Q: What do you think? How many?
Martin有什么想法？
What does Martin think?
他的批判目标是什么？
What is the target of his Critique?
为什么这是一个问题？
Why is this a problem?

C：Martin对世贸袭击有两个看法。分开来说，它们是连续结构的部分。但是放在一起，当第二次袭击补充了第一次袭击，这就有了世界历史性的重要性。
C: Martin has two views on WTC attacks. Separately, they are part of a continuum. But taken together, that is, when the first attack is complemented by the second, it takes on world-historical importance.

Q:他的观点出自何处？
Q: Where does he say this?

选择和阐释Paul Celan的一首诗，使用参考资料证实你的分析。
Choose one of the poems from Paul Celan and explicate it. Substantiate your analysis with references to the poem.

I. Paul Celan

A：他于1920年出生于罗马尼亚的Czernovitz。这个城市在1918年之前是奥匈帝国的部分。当时奥匈帝国是西到奥地利，东南到巴尔干的数种语言混合的国家。
A: He was born in Czernovitz, in Romania, in 1920 which up until 1918, formed part of the Austro-Hungarian empire, a polyglot amalgam of nations stretching from Austria in the west to the Balkans in the south-east.

Q：那里使用何种语言？
Q: What language was spoken there?

B：能说一口好德语显得一个人有教养，属于中产阶层，能到处参与政治、艺术、文化和音乐的世界。
B The speaking of good German marked an individual as both bourgeois and cultured, one who participated in the cosmopolitan world of politics, art, literature and music.

C：德语始终是Celan的主要语言，部份归因于他母亲坚持和她对于他的教育的影响。Celan记得所读过的第一位诗人是席勒。他为人所知的诗作，是他在青少年时代用德语写的。
C: German began as, and remained, Celan's dominant language, in part through the insistence of his mother and her influence on his education. The first poet Celan remembered reading was Schiller and he wrote his first known poems, as a teenager, in German.

D：1942年，德国人把他的父母遣送到在乌克兰的劳工营，他们在那里去世。
D: In 1942 the Germans deported his parents to labor camps in the Ukraine where both died.

E．Celan不能在说德语的文化环境生活，但是他觉得自己不能用其他语言写作。1984年他刚到巴黎时，写道：「这世上没有什么是会使一位诗人放弃写作的，哪怕他是犹太人，而他的诗是德语的。」Dennis Schmidt把德语称为「他[Paul Celan]延缓死去的语言。」
E: Celan could not live in a German-speaking culture, but he felt he could write in no other language. In 1948, just after he arrived in Paris, he wrote, "There's nothing in the world for which a poet will give up writing, not even when he is a Jew and the language of his poems is German." Dennis Schmidt calls German 'the language of his [Paul Celan's] deferred death.'

F:Celan试图表达灭绝的痛苦…但使用德语—有大屠杀含义的德语词汇—并不足够。他的语言创造力和隐喻，是对德国人杀害他父母和几百万像他们的人的蔑视。在他手中，「语言被历史的车轮打散，在诗中得到改造。」
F: Celan tried to get at the task of expressing the agony of extermination... but German-- that is, the vocabulary of the German implicated in the Holocaust--was inadequate. The creativity of his language and its metaphorical density became acts of defiance against the Germans that had executed his parents and the many millions like them. In his hands, "language broke apart on the wheel of history and reformed in poetry."

II. 赋格曲
II. Fugue

Q：什么是赋格曲？
Q: What is a fugue?

A：巴哈是德国文化和西方传统古典音乐的完人。
A: Johann Sebastian Bach was an integral figure in both German culture and the western tradition of classical music.

B：Celan希望重新从事德国音乐、语言和文化。集中营的组织者和管理者，以及许多囚犯都共有这后者的传统遗产。
B: Celan wanted to reengage with German music, language, culture. The organizers and governors of the camps and many of the prisoners shared this latter heritage.

Q：你认为Celan把赋格曲和死亡联系，做到了什么？
Q: What do you think Celan achieves by linking fugue to death?
标题建立的音乐主题是如何在诗篇延续？
How is the musical theme established in the title continued in the poem?

C：精神病学专家对【赋格】一词有另一个定义：一种意识被改变，如梦一般的状态，持续几个小时到几天；期间人忘记以前的生活记忆，并且往往会离家。【赋格Fugue】一词本身源于意大利词fuga，意思是逃离和逃走。
C: There is also a second definition, from psychiatry, for the word fugue: a dreamlike state of altered consciousness, lasting from a few hours to several days, during which a person loses his/her memory of a previous life and often wanders away from home. Fugue itself derives from the Italian word fuga, which means a running away, flight.

III. 我们在晚上喝掉你
III. We drink you at night

A：在第一节诗中，Celan写到黑色牛奶，直接的表述。
A: In the first stanza, Celan writes of the black milk, addressing it directly.

B：Amy Colin言称，对【你】打招呼，是为了在一首诗里制造亲密感，或是制造一种进行对话的可能性。讲话者可以将他（她）自己称为【你】，并制造一种内心的对话，或是暗示读者（听者）是【你】。
B: Amy Colin argues, the address to a 'you' is a way of creating intimacy within a poem, or a way of creating a possibility of dialogue. A speaker may address him/herself as 'you' and creating an internal dialogue, or may implicate the reader/hearer as 'you'.

Q：想一想在课堂上提出的【黑色牛奶】的意思。【黑色牛奶】可以听到吗？【黑色牛奶】可以回应吗？讲话者称呼无生命的物体或抽象的概念，对诗有什么影响？
Q: Think of some of the meanings the class suggested for 'black milk'. Can the 'black milk' hear? Can the 'black milk' respond?
What happens within the poem as a result of the speaker's addressing an inanimate object or abstract concept?
作为读者，你对此改变有什么反应？
How do you as a reader react to the shift?

IV．他命令我们演奏和为舞蹈伴奏
IV. He commands us to strike up and play for the dance

A：Primo Lev告诉我们，集中营司令官把犯人编成乐队，在工作日的不同时间演奏。
A: Primo Levi tells us that the concentration camp commandants formed prisoners into orchestras which played at different times during the workday.

B：一个人通常不会随着赋格曲跳舞，更不用说把古典音乐与「口哨」和「刮擦声」这样的词语联系起来。
B: One does not normally dance to a fugue. Nor are 'whistle', and 'scrape' words associated with classical music.

C：Celan看起来是在建立与音乐的第二联系，这一次是流行音乐。节奏强烈和明显，更像是进行曲或谣曲。
C: Celan appears to be setting up a second strand of musical associations, this time with popular music. The beat is heavy and insistent, more like a march or a communal song.

Q: 这两个概念（赋格曲和进行曲）联结，对你有什么提醒示？
Q: What does the union of the two ideas (fugue and march) suggest to you?

V. Margareta

A：Margareta使我们想起德国的女性理想。
A: Margareta recalls the Romantic German ideals of the feminine.

B：Margareta是歌德《浮士德》的女英雄。
B: Margareta is the heroine of Goethe's Faust.

VI. Shulamith

A：她是《旧约圣经》〈雅歌〉中「黑而清秀」的公主。
A: She is the "black and comely" princess in the 'Song of Songs' in the Old Testament.

B：Shulamith通常被视为犹太人本身。
B: Shulamith is often seen as the Jewish people itself.

VII. Meister

A：在德语中，Meister可以指上帝、耶稣、犹太学者、老师、冠军、船长、主人、公会成员、艺术或神学宗师、劳改所监督、音乐大师、「优越」种族。
A: Meister in German "can designate God, Christ, rabbi, teacher, champion, captain, owner, guildsman, master of arts or theology, labor-camp overseer, musical maestro, "master" race.

B：Celan精确的词汇选择，使他能够将整段历史放进一个词语：他指控「文明」的多元化意义，其最近的花开萣放就是大屠杀。
B: Celan's precise word choice allows him to pack a whole history into one word: he manages to indict multiple strands of the 'civilisation' whose most recent flowering was the Holocaust.

Q：这个词语对作为读者的你唤起了什么？
Q: What associations does the use of this word arouse in you as a reader?
这唤起的什么如何带领你阅读诗篇这部分？
How do these associations lead you to read this section of the poem?

Lisa Yoneyama的「幽灵式无知」是什么概念？这如何在对反映广岛和长崎原爆的文化中发挥出来？这种回应与现在美国还在进行的的9.11后果又如何比较？
What is Lisa Yoneyama's notion of "phantasmatic innocence?" How would it function in the cultural response to the bombing of Hiroshima and Nagasaki? How would this response to compare to that, currently underway, in the aftermath of 9.11 in the US?

I. Yoneyama

Q：Nandy是一位激进的历史学家。Lisa Yoneyama不止提出了客观的陈述。你怎样评价她作品的特点？ 广岛和平纪念公园的美学根源可能是什么？
Q: Nandy is a radical historian. Lisa Yoneyama doesn't only present an objective account. How would you characterize her work?
What were the possible aesthetic origins of the Hiroshima Peace Memorial Park (HPMP)?

A: 大东亚纪念馆和广岛和平纪念公园两个建筑项目都是由丹下健三设计。
A: Kenzo Tange designed both the Commemorative Building Project for the construction of greater East Asia (imperial) and the Hiroshima Peace Memorial Park.

Q：广岛和平纪念公园的设计是怎样的？两个纪念建筑有什么相似之处？
Q: What is the design of the Hiroshima Peace Memorial Park? What were some similarities between the two monuments?
Yoneyama看来，这些相似之处有什么问题？
What problems does Yoneyama see in these similarities?

B：她的著作唤醒反抗民族主义。她将民族主义视为真正的敌人。这样的民族主义带来了健忘症。
B: Her book is a wake-up call against nationalism. She sees nationalism as the real enemy. This nationalism brings about amnesia.

Q：什么被遗忘了？
Q: What is being forgotten?
这个盲点在广岛和平公园是怎样展现的？
How did this blind spot manifest in the Hiroshima Peace Memorial Park?
Lisa Yoneyama是否有区分记忆和历史？
Does Lisa Yoneyama (LY) argue for distinction between memory and history?
Halbwachs的区分是什么？
What was Halbwachs' distinction?

II. 比较德国和日本
II. Comparing Germany and Japan

A：Yoneyama作出比较，因为她想证明记忆的政治是战后民主更深层危机的症状。她提醒我们，历史学家一致认为纳粹主义和大屠杀是欧洲现代性的产物。
A: Yoneyama draws a comparison, because she wants to demonstrate how politics of memory are symptomatic of deeper crises in postwar democracy. She reminds us of historians' consensus that Nazism and the Holocaust were products of European modernity.

Q：这是怎样形成的？她在说什么？
Q: How could that be? What is she saying?

B：大屠杀的种族灭绝，使很多人怀疑欧洲现代性的原则。今日，欧洲的记忆政治是围绕着认识和对失去根源和无知而悲恸。
B: The genocide of the Holocaust made many doubt tenets of European modernity. Today, politics of memory in Europe revolve around recognition of and mourning for a loss of origins and innocence.

C：在日本，对失去的关注并不那么深刻。
C: In Japan, concerns about loss are less profound.

Q：Yoneyama看到日本战后纪念文物和记忆有什么问题？
Q: What's the problem that Yoneyama sees in Japanese postwar monuments and memory?

D：Yoneyama想展示日本民间的无知幻觉，是如何「深陷」于全民的人文讨论。
D: Yoneyama wants to show how this phantasm of Japanese civilian innocence' is "enmeshed" within the universalistic discourse on humanity.

Q：Yoneyama将广岛和长崎视为比喻。比喻是什么？
Q: Yoneyama sees Hiroshima and Nagasaki as tropes. What's a trope?

E：广岛和长崎是人文主义的比喻，具有「普遍参考价值」。
E: Hiroshima and Nagasaki are tropes for humanity. They take on a "universal referentiality."

Q：你认为世贸中心能否取代这「灾难主要代码」的位置？
Q: Do you think WTC can take over this position as being 'master code for catastrophe'?

F：在这背景下，Yoneyama视日本的记忆政治把持人文主义的无名地位，将其特权化成为「核全民主义」。
F: Against this, LY sees politics of memory in Japan as privileging anonymous position of humanity a 'nuclear universalism.'

III. 对铭文的辩论
III. The Epigraph Debate

Q：广岛和平纪念公园的铭文有什么问题？
Q: What was the problem with the epigraph on the HPMP?

Q：辩论是怎样开始的？
Q: How did this debate begin?

IV. 和平／原爆
IV. Peace/Bomb

Q：Yoneyama看来和平和原爆有什么联系？
Q: What is the link Yoneyama sees between peace and the bomb?

A：麦克阿瑟本人认为广岛需要重新规划，成为演绎和平和原爆关系的国际陈列窗。
A: Macarthur himself thought that Hiroshima should be re-planned to turn it into an international showcase for exhibiting the link between the bomb and peace.

Q：你对为游人着想有什么看法？这与Libeskind的犹太人博物馆有什么区别？
Q: What do you think about accommodating visitors? How would this compare to Libeskind's Jewish Museum?

B：Yoneyama认为，广岛作为纪念城市，设计是要展示和平和原爆的可交替性。
B: LY says that Hiroshima, as commemorative city, was designed to demonstrate the interchangeability between the bomb and peace.

V. Ariella Azoulay

A：和Halbwachs一样，对记忆的空间层面感兴趣。
A: Like Halbwachs, interested in spatial dimension of memory.

Q：为什么在广岛记忆受到窒碍？
Q: Why is memory thwarted in Hiroshima?

Q： Resnais的电影中，这篇文章的颂称是什么？
Q: What is a mantra of this article, from Resnais film?

B：灾难刚过去，没有什么可看，没有什么可记忆。
B: In the wake of this total catastrophe, there was nothing to see, nothing to remember.

Q：如果没有什么可以记忆，Azoulay是否要我们忘记？
Q: If there was nothing to remember, does Azoulay want us to forget?

Q：Marie-Ange Guilleminot（MAG）对战后审查机构有什么描述？
Q: What is Marie-Ange Guilleminot's (MAG) account of postwar censorship?

C：MAG想以无声来回答这静默。我们表态是针对某人，是回应。她是對土田 ヒロミ作出回應。
C: MAG wants to answer this silencing with something mute. We address to address someone, to answer back. She is responding to Hiromi Tsuchida's account.

Q：这如何怎样引起共鸣，去纠正？
Q: How does that resonate, to redress?

D：回应其他人的注视，她只能通过回应才看得到。（80页）
D: Responding to someone else's gaze. She can see only by responding (p. 80)

Q：Azoulay对博物馆的看法如何？
Q: What is Azoulay's stance toward the museum?

看86和88页
Look at pages 86 and 88.

Q:这传送如何又与Halbwachs相关？
Q: How does this transmission related back to Halbwachs?

视觉和盲感是如何在峠三吉，正田筱枝和栗原贞子关于广岛的诗篇起作用？
How do vision and blindness operate in the poetry of Hiroshima by Toge, Shoda, and Kurihara?

I. John Whittier Treat《描写归零地》
I. John Whittier Treat, Writing Ground Zero

Q：章节题目是什么意思？诗篇是反对本身吗？
Q: What does the chapter title mean. Is it poetry against itself?

A：Treat被后广岛诗篇的「美学保守主义」冲击。
A: Treat is struck by the "aesthetic conservatism" of post-Hiroshima poetry.

Q：你对日本诗有什么了解？
Q: What do you know about Japanese poetry?

B：Treat提到Paul Celan是「站在语言之外」的演讲者一个好例子。
B: Treat brings up Paul Celan as a good example of the speaker who 'stands outside language.'

C:这种「站在语言之外」的概念正是后广岛的状态。诗的异化之处与核袭击的异化之处相同。
C: This sense of 'standing outside language' is part of the post-Hiroshima condition. The poet is alienated in the same way the target of a nuclear attack is alienated.

Q：隐喻是什么？
Q: What's a metaphor?

D：隐喻metaphor源自metapherein，由meta和pherein组成，转移和忍受的意思。这是一种语法，以一个字或短语在文字上指示一个物体或概念，是用于代替和表示两者的相像性或类似性（如淹死在钱里）；广义来说：是比喻性语言。
D: It is derived from metapherein, to transfer, which is from meta and pherein, to bear. It is defined as a figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them (as in drowning in money); broadly: figurative language.

E：Treat也谈到提喻法。「奥斯维辛集中营是现代暴行的提喻。」这是一种语法，以部份代表整体（如五十张帆代表五十条船）、以整体代表部份（如社会代表高层社会）、分类以小代大（如割喉代表暗杀）、或以大代小（如动物代表人类）、或以材料名称代表所做出的东西（如板代表舞台）。
E: Treat also talks about synecdoche. "Auschwitz is synecdoche for the catalogue of modern atrocities." It is a figure of speech by which a part is put for the whole (as fifty sail for fifty ships), the whole for a part (as society for high society), the species for the genus (as cutthroat for assassin), the genus for the species (as a creature for a man), or the name of the material for the thing made (as boards for stage).

II. 峠三吉〈还我父亲〉
II. Toge Sankichi, "Give me back my father"

A：Robert Jay Lifton称之为「和平运动的呼叫口号」。
A: Robert Jay Lifton calls this a "rallying cry for peace movements"

Q：Treat对这个口号「还我……」有何评价？
Q: What does Treat say about this command: "give me back..."

III. 峠三吉〈伤疤〉
III. Toge, "The Scar"

A：这首诗以诗的本身作为主题。这是以反身叙述。诗是关于一个男孩，但这男孩的身体成了原爆的「文本」。
A: This poem takes poetry itself as the theme. It is reflexive. It's about a boy, but the boy's very body becomes a "text" of the bombing.

IV. 峠三吉〈阴影〉
IV. Toge, "The Shadow"

B：就像〈伤疤〉，这首诗也是反应了诗本身的脆弱本性。
B: Like "The Scar," this poem also reflects the fragile nature of poetry itself.

Q：对河岸上的阴影的描述，如何体现这脆弱性？
Q: How does the description of the shadow on the bank convey this fragility?

V.栗原贞子《希望，奥斯维辛，视觉》
V. Kurihara Sadako hope, Auschwitz, vision
栗原贞子的和歌《哀歌的伤痛有其意义》
Shoda's waka elegiac pain that has purpose

A：Treat感兴趣的是这些诗篇如何触动后广岛诗的主题。
A: Treat is interested in how these poems touch on the main themes of post-Hiroshima poetry.

B：栗原贞子最后一首史诗是如诗似诗，也是行事语言。
B: Shoda's last epic poem became just as performative as it was poetic.

VI. Lisa Yoneyama〈驯服记忆空间〉
VI. Lisa Yoneyama, "Taming the Memoryscape"

A：这一章讨论擦除广岛黑暗的过去的城市想象，并粉饰太平。
A: This chapter discusses the urban imaginary that erases Hiroshima's dark past, and whitewashes it.

B：开始时谈论由汽车公司设计，包括「和平之光」的「和平塔」的计划。
B: Starts out by talking about plans to build a "peace tower" by an automobile company design including a "light of peace".

Q：光有什么问题？
Q: What is the problem with light?
广岛还有哪些其它「光」的工程？
What are other "lightening" projects in Hiroshima?

C：广岛当代博物馆是「有意识的被建成代表未来、明亮和富有潜力的…而非黑暗和可怕的历史。」
C: The Hiroshima Contemporary Museum was "deliberately constructed to represent the future, bright and full of potential... not the dark and ghastly past."

Q：为什么我们不能说「我爱广岛」？
Q: Why can't we say "I love Hiroshima"?

D：Yoneyama对广岛的城市重建持批判态度。
D: Yoneyama is critical of Hiroshima's urban renewal.

Q：在哪些情况下？
Q: On what terms?
Yoneyama所说的「现实触觉」是什么？
What does LY say about "the touch of the real"?

E：Yoneyama仔细读了旅游局的小册子，并找出了一些「历史记忆丧失症」。
E: Yoneyama reads the pamphlet of the Office of Tourism very closely and she picks up on something called "Historical Fugue."

Q：「记忆丧失症」是什么？「历史记忆丧失症」与「死亡丧失症」有何不同？
Q: What is a fugue? How does 'Historical Fugue' compare to 'Death Fugue'?

F：Yoneyama也在〈记忆的容纳〉中提到了原爆博物馆。
F: Yoneyama also mentions the Atomic Bomb museum within context of "memorial containment".

Q：记忆的政治是如何影响「容纳」？
Q: How do politics of memory affect this question of containment?

Q：「原爆受害者」是什么？
Q: What are hibakusha?

G：在这一章，她最后谈到「8.6」的比喻，或者86，8月6日，和平日。在战后早期，这日子煽动激进反战抗议，尤其是邻近爆发另一场战争。
G: At the end of the chapter she talks about trope of "8.6", or hachi roku - August 6, peace day. In early postwar years, this day incited urgent anti-war protests especially since another war was being waged nearby.

Q：那是什么战争？
Q: What war was it?

日本现代舞蹈butoh是什么？这类型的表演如何保持集体记忆？正如其他类型的表演艺术，日本现代舞蹈在真实的空间实时表演。在激发记忆方面，这些表演如何与其他纪念文物不同？
What is butoh? How could this sort of performance sustain collective memory? Butoh, like other performative arts, happens in real space and in real time. How does performance activate memory differently than monuments do?

I. Lisa Yoneyama〈废墟中的记忆〉
I. Lisa Yoneyama, "Memories in Ruins"

A：这一章审视重建项目的后果。她关注有什么反对后归零地重建的点滴。
A: This chapter examines what has come out of the renewal projects. She looks at what goes against the grain of post-ground zero reconstruction.

Q：Yoneyama提到的两个主要项目是什么？
Q: What are the two main projects Yoneyama talks about?
市政当局开始搬移遗迹时，人们有什么反应？
What was the response when city officials started to remove the ruins?

B：一个主要问题，是考虑原爆遗物是否应如建筑的功能部份被保存？原爆医院正是如此。它们应否另行放置在博物馆？
B: A major question to consider is whether the atomic relics should be retained as functioning parts of the building? This is what happened with the atomic bomb hospital. Should they be relocated to a museum?

Q：博物馆有什么好处？
Q: What are the advantages of a museum?

C：Yoneyama对一个和平纪念公园收取娱乐费用提出警告。
C: Yoneyama warns against an entertainment charge for a Peace Memorial Park.

D：圆屋顶变成一个「官方记忆容器」。有这样的想法：一旦有了这个，就不用建其他的。
D: The dome becomes an "official receptacle of memory". There's the sense that once that is up, then nothing else needs to be built.

Q：80-81页的文章如何与Halbwachs联连？
Q: How does the passage on pages 80-81 relate to Halbwachs?

II. Jean Viala〈动乱的年代〉
II. Jean Viala, "Turbulent Years"

Q：为什么1960年是转折点？
Q: Why was 1960 a turning point?

A：这标志着「反艺术」群体崛起，代表着后广岛一代。反艺术群体代表现代主义更大的批判，即使在日本之内。
A: It marked the emergence of 'anti-art' groups, representing the post-Hiroshima generation. The anti-art group represented a larger critique of modernity, even within Japan.

Q：前卫派从西方艺术转向日本传统—为什么？
Q: Avant-garde turned away from Western Art, and towards the Japanese tradition--why?

B：他们故意转向日本艺术的陈词滥调…但把这些转变为荒地的痉挛、可怕生物。
B: They deliberately returned to clichés of Japanese art... but turned them into wasteland spastic, gruesome creatures.

C：土方巽是一个战后萌芽的艺术家，打碎了传统舞蹈的框架。
C: Tatsumi Hijikata was a seminal postwar artist who shattered traditional dance framework.

Q：这些不是芭蕾。这是什么？
Q: These aren't ballets. What are they?

D：这让我们的身体自己说话，揭露现实，展现自己的真实性，抵制每日生活的浅薄。舞蹈者的身体变成了「死亡的身体」，抵制每日生活的习惯……和生命本身。
D They are happenings in which we let the body speak for itself, to disclose truth, to reveal itself in all its authenticity, rejecting superficiality of everyday life. The dancer's body is turned into "dead body" that rejects the habits of everyday life... and life itself.

III. Alexandra Munroe〈肉体反抗〉
III. Alexandra Munroe, "Revolt of the Flesh"

Q：暗黑舞蹈是什么意思？
Q: What does Ankoku Butoh mean?

A：它通过身体畸形、自残、没有语言、没有优雅—可怜，堕落的野性、原始的牺牲这些形像揭示原始的力量。这试图解放日本「被压抑的前现代意识」。
A: It reveals primal forces through images of physical deformity, self-obliteration of the body, no words, no elegance--abject perverse savagery, primitive sacrifice. It is an attempt to liberate Japan's "suppressed pre-modern consciousness."

B：这是一种「被空洞的思想消耗，被分裂和不理性的狂想驱使」的艺术形式。
B: It is an artistic style "consumed by thoughts of the void, driven by fantasies of fragmentation and irrationality.

1． 在James Young看来，德国大屠杀的记忆的问题是什么？ Young自己有什么德国大屠杀记忆的问题？
1. What is Germany's Holocaust memorial problem, as James Young sees it? What is Young's own problem with Holocaust memorial?

2． 你对细江英公的电影《中心点与原爆》有什么回应？思考后广岛日本和后9.11美国的视觉艺术。不同的艺术品是如何回看这些「归零地」地点？
2. What is your response to Eiko Hosoe's film Navel and Atomic Bomb? Think about visual culture in post-Hiroshima Japan and post-9.11 America. How do different artworks look back upon these sites of "ground zero"?

Q：哪些是失败的大屠杀纪念文物？
Q: What were some of the failed Holocaust (HC) memorials?
德国有那些大屠杀的问题？
What is Germany's Holocaust problem?

A：一个纪念馆可以是一个让德国人卸下他们回忆的地方
A: A memorial could become a place for Germans to un-shoulder their memory.

Q：James Young有什么大屠杀的问题？
Q: What is James Young's Holocaust problem?
他想要纪念碑吗？
Does he want a monument?
描述获奖的提案？
Describe the winning proposal?

Q：大屠杀与世贸中心纪念文物的记忆政治有什么不同？
Q:What's different about the politics of memory in the Holocaust memorials and those in the World Trade Center?

Q：描述死亡的文字纪念碑有什么问题？
Q: What's the problem with a literal monument that depicts death?
为什么犹太人（的作为陪审员，作为建筑师）对大屠杀纪念文物很重要？
Why are Jews necessary (as jury, as architect) to HC memorials?

I. Cathy Caruth

思考文段：
Passages to consider:

37／看见不是抹掉死亡……它是死亡的重现……它意味不知道生命和死亡的区别。
37/ seeing is not the erasure of a death… it is reappearance of a death… it notes not knowing difference between life and death.

42／爱人的创伤历史只能在他们的关系中显现……因为关系在他们的互相了解中造成了暂止。
42/ traumatic histories of lovers can emerge only in their relation to each other… because the relation creates a break within the mutual understanding of their address.

56／就是如果有这种不了解和我们抛开情理和了解，我们才可能真正的有了本身的见证。
56/ it is in the event of this incomprehension and in our departure from sense and understanding that our own witnessing may indeed begin to take place.

必须有怎样的状况才能使一个人成为奥斯维辛的见证者？读了Giorgio Agamben的文本之后回答这问题。
What conditions must be in place in order for one to be a witness to Auschwitz? Answer this after reading the text by Giorgio Agamben.

I. Primo Levi〈氩〉和〈氢〉
I. Primo Levi, "Argon" and "Hydrogen"

A：氩argon是一种无色无味的惰性气体，源自a和ergos=缺少活力和动力。在〈氩〉中，Levi把不活跃的惰性气体，和他的犹太祖先拒绝与意大利山簏故乡的非犹太人同化，作出类比－家庭是自给自足的。
A: Argon--an inert colorless odorless gas from a and ergos = lacking activity or force. In "Argon" Levi draws an analogy between the non-reactivity of this inert gas and the refusal of his Jewish ancestors to assimilate into the gentile majority of their native Italian piedmont--family is self-sufficient.

B：氢hydrogen的语源有两个：hrdro和Gen，意思是水和出生。〈氢〉是一个关于他小时候实验爆炸气体的轶事。
B: The etymology of hydrogen reveals two words: Hydro, meaning Water and Gen, meaning Born. "Hydrogen" is an anecdote about his boyhood experiments with this explosive gas.

C：Agamben和Levi看到两方面不情愿地被卷入破坏的辩证。
C: Agamben and Levi see both sides as caught up in a dialectic of destruction.

D：碳-1789， Lavoisier在1780年以法语命名为charbone，源自拉丁文carbo （gen. carbonis） 「charcoal木炭」，也就源自词根*ker-燃烧。复写碳纸（很快被舍弃）在1895年出现。
D: Carbon-1789, coined by Lavoisier 1780s in Fr. as charbone, from L. carbo (gen. carbonis) "charcoal," from I.E. base *ker- "to burn." Carbon paper (soon to be obsolete) is from 1895.

Q：碳在这里有什么隐喻？他在240页谈到关于艺术和文学的什么内容？
Q: For what is carbon a metaphor here? What is he saying about art, and literature on page 240?

II. Giorgio Agamben〈奥斯维辛的残迹〉
II. Giorgio Agamben, "Remnants of Auschwitz"

Q：见证的矛盾或僵局是什么？
Q: What is the paradox or impasse of witnessing?
什么是伦理学？
What are ethics?

A：伦理学可以被定义为道德的科学，是研究人类责任的原则的学问。需要定义事物例如好与坏，道德责任与义务。
A: Ethics can best be defined as the science of morals; the department of study concerned with the principles of human duty. It is necessary to define things such as good and bad, moral duty and obligation.

B：後伦理学研究关于普遍真理、上帝的旨意和道德判断中理性的作用。
B: Metaethics concerns issues of universal truths, the will of God, and the role of reason in ethical judgments.

C：规范伦理学包括较为实际的运用，以达到规范正确和错误行为的道德标准。
C: Normative ethics involves a more practical task, which is to arrive at moral standards that regulate right and wrong conduct.

D：应用伦理学是研究有关特别有争议的议题，比如流产、杀婴、动物权利、环境关注、同性恋、死刑或核战。通过利用後伦理学和规范伦理学概念工具，应用伦理学讨论试图解答这些有争议的议题。
D: Applied ethics concerns specific controversial issues, such as abortion, infanticide, animal rights, environmental concerns, homosexuality, capital punishment, or nuclear war. By using the conceptual tools of metaethics and normative ethics, discussions in applied ethics try to resolve these controversial issues.

E: Agamben想动摇有关大屠杀的论述，指出语言和理论的限制—还有记忆文物的限制。他想揽乱主控过去的思想畅流。
E: Agamben wants to unsettle the discourse of the holocaust, to point out the limits of language and theory--also the limits of memorial--to account for holocaust. He wants to disrupt the smooth flow, the idea of mastering the past.

Q：Agamben对“大屠杀”这个字词语有什么问题？
Q: What's Agamben's problem with the word 'holocaust'?

F：它是由olah（一种牺牲）衍生而来，向神奉献。
F: It is derived from olah (one type of sacrifice), offering to the divinity.

G：Agamben对Levi的灰色地带概念非常有兴趣。
G: Agamben's takes a great interest in Levi's notion of a grey zone.

H：「为什么shoah是不能说的？为什么要就灭绝神秘的威望交换意见？我们不能理解这个吗？」（32页）
H: "Why is shoah unsayable? Why confer on extermination the prestige of the mystical? Can't we understand this?" (p. 32.)

在《9.11》书中，Noam Chomsky按时间顺序，回顾先于世贸袭击和可能导致袭击世贸的事件和趋向。
In 9.11 Noam Chomsky offers a retrospective chronicles of the events and tendencies that preceded and perhaps contributed to the attacks on the World Trade Center.

1．他如何陈述前苏联入侵阿富汗？
1. What is his account of the Soviet invasion of Afghanistan?

2．美国在那场冲突中的角色是怎样？而9.11为何被理解为是这事件的回响？
2. What role did the U.S. play in that conflict and how could 9.11 be understood as its repercussion?

I. Agamben〈安全和恐怖主义〉
I. Agamben, "on Security and Terror"

A：政治导致紧急事件。管治的三项工具是安全、纪律和法律。安全是否自由主义的核心因素？
A: Politics produces emergencies. Three instruments of governance are security, discipline, and law. Is security a central element of liberalism?

Q：安全和恐怖主义如何组成单一的致命系统？为什么安全只有在交通自由、贸易和个人主动性的背景下发挥功能？
Q: How do security and terrorism form a single deadly system?
Why does security only function within a context of freedom of traffic, trade, and individual initiative?

Q：这是关于记忆的作品吗？
II. Noam Chomsky, 9.11

Q：这是关于记忆的作品吗？
Q: Is this a work of memory?
在80年代初期，美国在阿富汗冲突中的角色是怎样的？
What was America's role in Afghan conflict of early eighties?
为什么普京想将车臣反抗者定义为恐怖主义者？
Why does Putin want Chechen rebels identified as terrorists?
Chomsky对克林顿的结论是什么？
What is Chomsky's take on Clinton?
半岛电视Al-Jazeera是什么？
What is Al-Jazeera?

Kenzaburo Oe和Primo Levi使用不同叙述手法陈述广岛和奥斯维辛的不同历史时刻。它们相比之下怎样？每种表述手法有何得失？
Kenzaburo Oe and Primo Levi employ different narrative strategies to account for the different historical moments of Hiroshima and Auschwitz. How do they compare? What are the gains and losses presented by each strategy?

1．现在你大致看了世贸所在的地方周围，你对纪念碑的想法是改变了还是一样？
1. Now that you've briefly seen the surroundings of the site where the WTC once stood, have your thoughts on the memorial process changed or stayed the same?

2．思考Jill Lerner和Maya Schali的评语，你觉得建纪念碑有哪些挑战？除了纪念碑，还有哪些城市功能需要重建？
2. Considering the remarks of Jill Lerner and Maya Schali, what challenges do you see to the building of a memorial? Besides the memorial, what other urban functions need reconstruction?