Group 1 - The 11th Nishan World Civilization Forum will be held in Qufu, Shandong from July 9 to 10, 2025, focusing on the theme "Beauty in Diversity: Civilizational Relations and Global Modernization" [1] - The forum aims to address the urgent need for dialogue among different civilizations amidst rising global political conflicts and economic barriers [1] - Various subtopics will be discussed, including the origins and future of civilization, the global significance of Confucian culture, and the role of artificial intelligence in human civilization [1] Group 2 - Li Jingze, Vice Chairman of the Chinese Writers Association, emphasizes that Chinese literature should not only "go global" but recognize its presence within the global context [2][3] - He advocates for an open and confident attitude towards engaging with other cultures, suggesting that both individuals and civilizations should embrace dialogue and interaction to enrich themselves [3][4] - The relationship between local narratives and global perspectives is not binary; rather, they are interdependent, reflecting the changing global landscape [3][10] Group 3 - Li Jingze argues that "world literature" should not be centered on Western literature but should be a collaborative construction involving diverse literary traditions [4][10] - He highlights the importance of translation as a bridge for cultural exchange, noting that understanding literature from different cultures requires more than just translation [11][12] - The cultural mechanisms surrounding literature must be open to new voices and perspectives, allowing for a richer literary landscape [3][14]

Core Viewpoint - The dialogue on "World in Beijing: Thematic Dialogue on Copyright Output of Ning Ken's Works" emphasizes the interconnectedness of global literature and the significance of Ning Ken's writing in the context of Beijing's cultural landscape [1] Group 1: Ning Ken's Literary Contribution - Ning Ken's work is described as "detailed, vivid, and profound," highlighting the need to recognize its value within the framework of world literature [1] - He is characterized as a "hexagonal warrior" in the literary field, indicating his versatility across various genres such as poetry, prose, and novels [1] - His title as "literary assassin" reflects his uncompromising spirit in artistic exploration [1] Group 2: Perspectives from Translators and Publishers - Egyptian sinologist Yara emphasizes the importance of Beijing in Ning Ken's work, describing it as a narrative about "place" and "memory" [1] - American sinologist Thomas Moran praises Ning Ken's originality, citing Mo Yan's description of him as a "writer who creates his own style" [1] - Yara shares her unique experience translating "Beijing: City and Year," noting the significance of the title which reflects both the city and the author's life experiences [1] Group 3: Publishing Insights - Li Yang from Chas Publishing highlights the value of publishing "Zhongguancun Notes," which presents content previously unknown to Western readers, enhancing the understanding of China's Silicon Valley [1] - Thomas Moran describes the nearly ten-year journey of translating "Tian·Cang," emphasizing the importance of firsthand experience in understanding the geographical and cultural context of the work [1] Group 4: Author's Reflections - Ning Ken expresses gratitude towards his translators and publishers, reflecting on the serendipitous connections that have facilitated the global reach of his works [1] - He notes the significance of these relationships in bridging cultural gaps, illustrating how the world can feel both distant and close [1]

1987年初冬，汉堡的易北河畔天气已经转冷。多和田叶子住在一间面朝河道的小公寓里。她用胶带将一 张手写告示纸贴在窗边："此处有售日语与德语双语诗集《唯有你在的地方一无所有》，一册二十五马 克，有意者请按门铃。"她并不觉得这举动有什么突兀之处——书多卖一册是好事。她在小说《捕云 记》中，以回忆的方式写下了这段经历——"那是我人生中出版的第一本书。" 这本由一家名为"破产出版"的公司推出的诗集，为她在德语文学世界打开一扇微妙的缝隙。从那扇缝隙 中，多和田叶子观察语言如何呼吸，如何挣脱秩序，如何带人前往未知之地。三十八年过去，她依旧在 用德语和日语双语写作，已是最具国际影响力、被认为是最有可能摘得诺贝尔文学奖的日本作家之一。 正逢多和田叶子的新著《献灯使》在中国出版，《经济观察报》以文字访谈的形式，与她进行了对话。 这段经历决定了她的文学出发点。由此，她以新的角度打量并捕捉自己的母语，从母语的"束缚感"中逃 离，开始了在日语和德语之间的游走，有意识地让自己成为了一个"语言难民"。比如她在第一本诗集 里，创新性地将日语竖排与德语横排设计在一起，让读者穿行于两种语言的缝隙之间。这种大胆实验昭 示了她的核心文学观：语言从 ...