關於 english literature degree ，我們在網路上蒐集到這些相關的討論、資訊與評價

跟中興大學合作開設今年冬令營, 除了每年必開的藍帶小小廚神營之外, 還多了英文異國料理營, 一邊學料理一邊學英語，結合料理、語言、手作、五感的冬令營～讓小小孩子們可以透過真實的食物與實際的烹飪體驗，不僅學習身體的五感體會（看，聞，聽，摸，嚐），還透過英文兒哥，識識及使用英文，不再覺得英文只是課本上一個應付考試的科目。

Chef Leah is a highly experienced teacher with over 10 years of experience and a Masters Degree in English and American Literature from Fu Jen Catholic university. In addition, she an accomplished author and a two-time gold metal winner of international culinary competitions.

上課時間為 1/21-1/22 英文異國料理營二日營(全天, 而且都是我帶喔)

報名連結 https://bit.ly/3mrEFxI

No Forbidden Zones in Reading (Lee Yee)

German philosopher Hegel said, “The only thing we learn from history is that we learn nothing from history.”

In April 1979, the post-Cultural Revolution era of China, the first article of the first issue of Beijing-based literary magazine, Dushu [meaning “Reading” in Chinese]," shook up the Chinese literary world. The article, titled “No Forbidden Zones in Reading”, was penned by Li Honglin. At the time, the CCP had not yet emerged from the darkness of the Cultural Revolution. What was it like in the Cultural Revolution? Except for masterpieces by Marx, Engels, Lenin, Stalin and Mao, and a small fraction of practical books, all books were banned, and all libraries were closed. The Cultural Revolution ended in 1976, and 2 years later in 1978, the National Publishing Bureau decided to allow 35 books to be “unbanned”. An interlude: When the ban was first lifted, there was no paper on which to print the books because the person with authority over paper was Wang Dongxing, a long-term personal security of Mao’s, who would only give authorization to print Mao. The access to use paper to print books other than Mao was a procedural issue. The Cultural Revolution was already on its way to be overturned. The door to printing these books was opened only after several hang-ups.

“No Forbidden Zones in Reading” in the first issue of Dushu raised a question of common sense: Do citizens have the freedom to read? “We have not enacted laws that restrict people’s freedom of reading. Instead, our Constitution stipulates that people have the freedom of speech and publication, as well as the freedom to engage in cultural activities. Reading ought to be a cultural activity,” argued Li. It was not even about the freedom of speech, but simply reading. Yet this common sense would appear as a subversion of the paralyzing rigid ideas formulated during the Cultural Revolution, like a tossed stone that raises a thousand ripples. Dushu’s editorial department received a large number of objections: first, that there would be no gatekeeper and mentally immature minors would be influenced by trashy literature; second, that with the opening of the Pandora box, feudalism, capitalism and revisionism would now occupy our cultural stage. The article also aroused waves of debates within the CCP. Hu Yaobang, then Minister of Central Propaganda, transferred and appointed Li Honglin as the Deputy Director of the Theory Bureau in his department. A colleague asked him directly, “Can primary school students read Jin Pin Mei [also known in English as The Plum in the Golden Vase, a Chinese novel of manners composed in late Ming dynasty with explicit depiction of sexuality]?”

“All Four Doors of the Library Should be Open” was published in the second issue of Dushu, as an extension to “No Forbidden Zones in Reading”. The author was Fan Yuming, but was really Zeng Yansiu, president of the People’s Publishing House.

In the old days, there was a shorthand for the three Chinese characters for “library”: “book” within a “mouth”. The four sides of the book are all wide open, meaning that all the shackles of the banned books are released. “No Forbidden Zones in Reading” explains this on a theoretical level: the people have the freedom to read; “All Four Doors of the Library Should be Open” states that other than special collection books, all other books should be available for the public to loan.

The controversy caused by “No Forbidden Zones in Reading” lasted 2 years, and in April 1981, at the second anniversary of Dushu, Director of the Publishing Bureau, Chen Hanbo, penned an article that reiterated that there are “No Forbidden Zones in Reading”, and that was targeting an “unprecedented ban on books that did happen”.

Books are records of human wisdom, including strange, boring, vulgar thoughts, which are all valuable as long as they remain. After Emperor Qin Shihuang burned the books, he buried the scholars. In history, the ban on books and literary crimes have never ceased.

Engraved on the entrance to Dachau concentration camp in Germany, a famous poem cautions: When a regime begins to burn books, if it is not stopped, they will turn to burn people; when a regime begins to silent words, if it is not stopped, they will turn to silent the person. At the exit, a famous admonishment: When the world forgets these things, they will continue to happen.

Heine, a German poet of the 19th century, came up with “burning books and burning people”. There was a line before this: This is just foreplay.

Yes, all burning and banning of books are just foreplay. Next comes the literary crimes, and then “burning people”.

I started working at a publishing house with a high school degree at 18, and lived my entire life in a pile of books. 42 years ago, when I read “No Forbidden Zones in Reading” in Dushu, I thought that banned books were a thing of the past. Half a century since and here we are, encountering the exact same thing in the freest zone for reading in the past century in the place which enlightened Sun Yat-sen and the rest of modern intellectuals, a place called Hong Kong.

Oh, Hegel’s words are the most genuine.

With the second wave of coronavirus slowly getting contained in Hong Kong, our team is now mapping out the teaching schedules for mid-June onwards for our voluntary tutors.

Meanwhile, we are accepting new applications for ESL teaching positions, both online and offline, for the upcoming academic year.

If you are
(1) a holder of a bachelor’s degree in English / Literature / Education; and
(2) mission-driven (our non-profit teaching force places a special emphasis on women, girls and the underprivileged), please drop us a message with your full resume at info@girlymachine.com

Thanks for taking the time to read this. I hope you’re all safe and well. Take care!

Louise xx

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Repost:
這數個月來走遍香港，探訪了很多我從未到過、認識過的地區，感受很深。教學的美妙，就是一份純粹的分享。將來的日子，繼續和一班有心的導師的小小心意，繼續生命影響生命。
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有些同學DM問我是不是離開了香港，順便在此簡單回應。這陣子我會在港和加國兩邊走，一邊開拓教育藍圖之餘，我也會繼續在香港義教和推動教育普及化。倘若你們的學校有興趣找我幫手舉辦工作坊或seminar，歡迎聯絡我，我會很樂意幫忙🙌🏻💯
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(感謝舊生Rain Ng在此活動當天幫忙拍照。Pagers真的很有愛💞) @ Hong Kong

🔥如何在美國創立藝術實踐平台？
✅離島人訪談花絮https://www.humansoffshore.com/2020/ep098/

這週離島人邀請到在HATCH的創辦人：宋若彤＆李于一。

宋若彤（Minna Son）和李于一（Nana Yu-I Lee）兩人在古根漢博物館實習期間，受日益改變的後殖民全球氛圍加上，對於「全球性都市」的脈絡下，離散記憶的藝術表現，深感興趣、發想出HATCH Series概念。試著以Hatch Series作為一個實踐平台，摸索一個都會創意人 Urban Creatives的製作網絡能夠提供那些回應與解方。近年創辦人通過各自的嘗試，期望定義出平台的可能，HATCH的活動形式流動，從快閃展覽、座談至出版，思索藝術文化與都市之間的關係。

Minna畢業於NYU、曾經在古根漢、MoMa策展、NationSwell等單位持續累積經驗；Nana則畢業於Columbia University，擅長對外關係、募款與事業開發，以及文化政策諮詢等。兩人持續在不同領域耕耘，探索自己在藝術與文化產業的角色。

歡迎大家來聽聽這週的離島人播客節目，這集節目會以英文進行
來聽聽宋若彤和李于一談談Hatch Series的創立及契機，以及各自探索的路上、看到的可能性
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🎧離島人們的經驗交流播客平台
A podcast platform, shares experiences of those who are offshore.

🏠 離島人官網 | https://www.humansoffshore.com
🎬 訂閱Youtube收聽節目 | https://bit.ly/ho_youtube
🌹 Paypal支援離島人生存計畫 | http://bit.ly/humansoffshore_paypal
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🎙Ep098- 都會創意網絡HATCH：宋若彤＆李于一
#Guggenheim #CreativeDirector #FineArt
🔗 http://www.hatch-series.com/

李于一(Nana)
🏆經歷
- 英國倫敦 Tom Fleming Creative Consultancy - Senior Researcher
- 美國紐約 HATCH Series - Co-Founder and Co-Curator
- 香港 SUTTON - Senior Account Director
- 台灣 Taipei Fine Arts Museum - Head of Public Relations

🎓學歷
- 英國 UCL - MPhil / PhD candidate, Museology/Museum Studies
- 美國 Columbia University - MA in Arts Administration
- 台灣 National Taiwan University - Bachelor's degree, English Literature

宋若彤(Minna)
🏆經歷
- 美國 NationSwell - Account Manager
- 美國紐約 HATCH Series - Co-Founder
- 美國 Lewis & Harris - Creative Director
- 美國 Guggenheim Museum - Interim Curatorial Research Assistant-Asian Art Initiative

🎓學歷
- 美國 New York University - Master of Arts - MA, Media, Culture, and Communication
- 美國 Pratt Institute - Bachelor of Arts (B.A.), Critical and Visual Studies, History of Art

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0:00 Intro
3:41 Minna攻讀Pratt和NYU後，目前專注於什麼領域？
8:33 Nana到倫敦UCL攻讀PhD的理由
12:56 創立HATCH平台的契機
21:00 HATCH series是什麼？
22:59 兩位分別在HATCH裡扮演什麼角色
32:26 一個HATCH的實際範例
40:50 什麼樣的對象適合參加HATCH
42:31 HATCH如何適應2020年？
45:06 HATCH未來會在台灣有活動嗎？