评点是中国古典小说独有的鉴赏传统，经金圣叹、脂砚斋而发扬光大，其将批者的妙语附在小说字里行 间，兼具文化与美学意义。金庸小说的根脉深处，也流淌着中国古典小说的血液。本专栏便从中国传统 评点学视角，对金庸小说逐一复盘，细读金庸江湖的叙事美学与技法得失。 《射雕英雄传》，生活·读书·新知三联书店，1994年5月版 我在上一篇里提到，袁承志与陈家洛本质上属于服务于情节与历史的"眼中叙"人物，金庸需要一双眼 睛，去见证李自成的进京，去目睹崇祯的自缢，去亲历明清的易代。他们被宏大的历史裹挟，行为摇摆 而面目模糊。但到了《射雕英雄传》，虽同样背负着靖康之耻、蒙金宋三国对峙的沉重历史，读来却全 无窒碍，反而意趣盎然。为何？我认为，关键在于金庸换了一双眼睛。这一回，历史是从郭靖的眼 中"叙出"的。 "眼中叙"是中国古代小说评点家常用的术语。简单说，就是故事不直接由作者讲，而是通过书中人物的 眼睛看出来。"眼中叙"技法很常见，关键在于用得好坏。妙用此法者，能让景物染上人物的性格色彩， 所谓"物皆着我之色"。最经典的莫过于《红楼梦》。同样是贾府，林黛玉进府时，是"步步留心，时时 在意"，看到的是王夫人房中"半旧青缎靠背引枕"，是 ...

Group 1 - The article discusses the unique appreciation tradition of Chinese classical novels, particularly focusing on the narrative aesthetics and techniques of Jin Yong's works, which are deeply rooted in this tradition [1] - Jin Yong's humor and light-hearted writing style, although not fully matured in his debut novel "The Book and the Sword," leave a strong impression through direct and witty commentary, especially on characters like Emperor Qianlong [2][4] - The use of humor in Jin Yong's narratives serves to alleviate tension and enhance the storytelling experience, as seen in the character of Afanti, who employs clever logic to outsmart greedy characters, transforming serious situations into comedic ones [4][6] Group 2 - The article highlights the importance of rhythm and pacing in narrative structure, referencing Jin Shengtan's concept of "脱卸" (detachment) to describe how humor and narrative transitions should flow naturally without disrupting the story's momentum [6][7] - Criticism is directed at the inappropriate use of humor in "The Book and the Sword," where a forced comedic scene disrupts the tension of a critical moment, showcasing Jin Yong's early struggles with long-form narrative control [7] - The article contrasts Jin Yong's early works with his later masterpiece "The Deer and the Cauldron," which successfully integrates humor with historical elements and narrative structure, demonstrating his growth as a writer [7]

2025.12. 16 本文字数：3028，阅读时长大约5分钟 作者 | 第一财经 吴丹 12月15日，演员何晴的告别仪式上，儿子许何一身黑衣、戴着黑口罩，抱着遗像，与众人送别母亲 最后一程。 "我妈妈很喜欢下雪，12月12日（北京）下了今年的第一场雪，我坐在她病床旁，摸着她的脸对她 说，妈，北京下雪了。这场大雪在我心里，好像刻意为她下的一样。"许何在告别仪式上说。 何晴好友六小龄童、翁虹、唐国强等演员送来挽联，与粉丝送来的花圈堆满了走道，不少市民则自发 前去送别。 "只要你记住她，她就永远在。"演员王卫国与何晴既是邻居也是朋友，在何晴生病后的几年，他每次 见到她总是笑吟吟的，心态乐观。 何晴最后一次公开亮相是在2024年的浙江卫视晚会上，当时的她妆容精致、气质恬静，微笑起来还 跟当年一样，完全看不出患病多年。 这些年，久别荧幕的何晴几乎退出公众视野，鲜少露面。直到她去世，人们才知道，早在2015年她 就确诊脑瘤，之后隐退。 好友黄绮珊多年前曾发文为她祈祷，但没人知道何晴患什么病、有多严重。她始终希望以最好的状态 呈现在观众面前，从不向公众透露病情。她曾以为，自己可以像前辈李雪健那样，走过患癌的至暗时 刻，重 ...

Core Viewpoint - The article highlights the emotional and cultural significance of the recent opening ceremony of the National Games, emphasizing the shared memories and cultural heritage of the Guangdong-Hong Kong-Macau Greater Bay Area, as well as the unity and pride among the people of these regions [1][4][21]. Group 1: Cultural Significance - The performance of the song "Chinese" by Andy Lau during the opening ceremony evoked strong national sentiments, reminding many of the cultural memories associated with Hong Kong's return to China in 1997 [4][6]. - The event featured various cultural performances, including traditional Cantonese opera and martial arts, showcasing the rich cultural heritage of the Greater Bay Area [10][21]. - The opening ceremony was a collaborative effort involving artists from Guangdong, Hong Kong, and Macau, reflecting the shared cultural roots and the importance of cultural transmission [21][25]. Group 2: Historical Context - The article references significant cultural milestones, such as the release of the film "Shaolin Temple" in 1982, which popularized Chinese martial arts and generated substantial box office revenue [6][7]. - The "Provincial-Hong Kong Cup" football match, initiated before Hong Kong's return to China, has become a cherished tradition that fosters connections between the two regions [15][17]. - The successful bid for the 2008 Beijing Olympics, with events held in Hong Kong, marked a pivotal moment in the relationship between mainland China and Hong Kong, further solidifying their emotional ties [11][15]. Group 3: Sports and Unity - The article discusses the increasing collaboration in sports between mainland China and Hong Kong, with joint training sessions and participation in competitions, enhancing the sense of unity [18][20]. - The opening ceremony included innovative measures such as cross-border events and streamlined customs processes, symbolizing the integration of the Greater Bay Area [25][27]. - The emotional resonance of the event was heightened by the collective entry of the Guangdong-Hong Kong-Macau teams, accompanied by the song "My Motherland and I," reinforcing a shared identity [27][28].

Core Viewpoint - The recent opening ceremony of the National Games showcased a rich cultural heritage and emotional connection among the Guangdong-Hong Kong-Macau Greater Bay Area, highlighting the shared memories and aspirations of the people in these regions [1][12][21]. Group 1: Cultural Significance - The performance of the song "Chinese" by Andy Lau during the opening ceremony evoked strong national sentiments, reminding many of the cultural impact it had since its creation in 1997 for Hong Kong's return [4][6]. - The event featured various cultural performances, including classic Cantonese opera and martial arts, emphasizing the shared cultural memories that resonate deeply with the audience [5][10]. - The inclusion of lion dance as a cultural performance at the National Games reflects the ongoing significance of traditional customs in the daily lives of people in the Greater Bay Area [10][25]. Group 2: Historical Context - The article references significant cultural milestones, such as the release of the film "Shaolin Temple" in 1982, which popularized Chinese martial arts and generated substantial box office revenue [6][7]. - The "Provincial-Hong Kong Cup" football match, initiated before Hong Kong's return to China, has become a cherished tradition that symbolizes the connection between the two regions [15][17]. - The successful bid for the 2008 Beijing Olympics, supported by Hong Kong and Macau, marked a pivotal moment in the region's sports history, showcasing the unity and aspirations of the people [12][13]. Group 3: Sports and Unity - The collaboration between Guangdong, Hong Kong, and Macau in hosting the National Games represents a significant step in enhancing sports and cultural exchanges within the Greater Bay Area [21][25]. - The article highlights the participation of athletes from Hong Kong and Macau in various training and competitions, fostering a sense of unity and shared goals among the regions [18][20]. - The innovative measures introduced during the National Games, such as cross-border events and streamlined customs processes, signify a new era of integration and cooperation in sports [25][27].

Core Insights - The global influence of Jin Yong's novels is significant, with translations available in over twenty countries and regions, starting from 1958 [1] Translation and Dissemination - Jin Yong's novels began to be translated in Southeast Asia, with Thailand being the first country to publish a translation of "The Legend of the Condor Heroes" in 1958 [15] - Following Thailand, Indonesia and Vietnam also produced multiple translations of Jin Yong's works, indicating a growing popularity in these regions [15] - The translation of Jin Yong's novels in Cambodia and Myanmar is less clear, with no confirmed Cambodian translations and a focus on adaptations in Myanmar through film rather than direct translations [16][17] Academic Research - Academic research on Jin Yong's works in Southeast Asia began relatively late, with Thailand starting serious studies around 2000, while Vietnam has produced a wealth of scholarly work on the subject [21][22] - In East Asia, Japan and South Korea have also developed significant academic interest in Jin Yong's novels, focusing on various aspects such as literary analysis and cultural comparisons [22] Western Reception - Jin Yong's novels began to gain attention in the West in the 1990s, with early English translations appearing but not achieving the same level of popularity as in Asia [18][19] - The first complete English translations emerged in the 1990s, with subsequent translations into multiple European languages, indicating a growing interest in Jin Yong's works outside of Asia [19] Ongoing Influence - The influence of Jin Yong's novels continues to grow, with new translations and academic studies being published, suggesting that his works are on the path to becoming "world literature" [24][25]

Core Viewpoint - The article reports the passing of TVB actor Xu Shaoxiong at the age of 76 due to multiple organ failure caused by cancer, highlighting his significant contributions to the television and film industry in Hong Kong [1]. Biography and Career Highlights - Xu Shaoxiong was born in 1948 in Hong Kong and later moved to Guangzhou with his father for business before returning to Hong Kong in 1958, where his family faced financial challenges [2]. - He joined the TVB artist training class in 1972 and began his acting career, initially working at TVB before moving to another television station and returning to TVB later [3]. - His first film role was in the 1974 movie "Ghostly Twins," and he gained recognition in 1983 for his role in the TVB version of "The Legend of the Condor Heroes" [4][5]. - Xu starred in several popular TV dramas throughout the 1980s and 1990s, including "The Deer and the Cauldron" and "The Heaven Sword and Dragon Saber" [6][8]. - He received a nomination for Best Supporting Actor at the 19th Hong Kong Film Awards for his role in the 1999 film "Dark War" [9]. - His notable roles include "Brother Huanxi" in "Line Walker," which earned him the title of "Most Favorite TV Male Character" at the TVB Anniversary Awards [11][13]. Recent Works and Legacy - In recent years, Xu participated in several dramas such as "The Season of Love" and "The Storm of Drug Enforcement," with upcoming projects including a collaboration with actress Sheren Tang [13].

Core Viewpoint - The "Jin Yong vs Jiang Nan" case, a significant copyright dispute in the publishing and literary creation industry, has reached a comprehensive settlement after nine years of legal proceedings, marking the end of what is known as the "first case of fan works" in China [1][4]. Group 1: Case Background - The case originated from Jiang Nan's early novel "The Youth of This Place," which heavily utilized characters and elements from Jin Yong's classic martial arts novels, leading to allegations of copyright infringement and unfair competition by Jin Yong in July 2016 [2][3]. - The initial ruling by the Guangzhou Intellectual Property Court recognized the infringement and ordered Jiang Nan to cease the infringing activities, issue a public apology, and pay a total of 1.68 million yuan in damages, along with 200,000 yuan for reasonable expenses to stop the infringement [3]. Group 2: Settlement Details - The parties reached a settlement agreement that included several key points: - They agreed not to classify the actions as "plagiarism" - Jiang Nan acknowledged a lack of knowledge regarding copyright law and the resulting damage to Jin Yong [4] - Jiang Nan committed not to reprint "The Youth of This Place" in its original form and will not use original character names or related content from Jin Yong's works in future editions [4] - The subtitle used in the earlier version of the novel constituted unfair competition [4] - Jiang Nan has fulfilled the compensation amount determined in the previous ruling, and all prior judgments will no longer hold legal effect [4]. Group 3: Legal Implications - The case highlights the complexities surrounding "fan works" and copyright infringement, emphasizing that each situation must be analyzed on a case-by-case basis to determine whether a fan work infringes on the original author's rights [6]. - The court's approach focused on resolving disputes through dialogue rather than strict legal interpretation, aiming to clarify the legal boundaries of fan creations and the standards for recognizing copyright infringement [3][6].

Core Viewpoint - The article highlights the life and achievements of Shao Yifu, a legendary figure in the Hong Kong entertainment industry, emphasizing his role in shaping the film and television landscape in Asia and his philanthropic contributions to education in China [5][43]. Group 1: Early Life and Career - Shao Yifu was born in 1907 in Ningbo, Zhejiang, and later moved to Shanghai for education. His family was well-off, but after his father's death, he ventured into the film industry with his brothers [7][8]. - In 1925, Shao's elder brother founded Tianyi Film Company, which quickly rose to prominence by producing historical films, but faced competition from established companies [10][11]. Group 2: Challenges and Expansion - The Tianyi Film Company faced a significant challenge known as the "六合围剿" (Six Unions Siege), which forced the Shao brothers to expand into the Nanyang market, where they established over 100 cinemas and amusement parks [11][13]. - After relocating to Hong Kong, the foundation laid in Nanyang proved crucial for the Shao brothers' success in the film industry [13]. Group 3: Establishing Shaw Brothers Studio - At the age of 51, Shao Yifu founded Shaw Brothers Studio in Hong Kong, focusing on creating a full entertainment industry chain, including production, distribution, and cinema operations [18][20]. - The studio produced numerous successful films, including "The Love Eterne," which became a cultural phenomenon, and established Shaw Brothers as a dominant force in the film industry [20][22]. Group 4: Impact on Film Industry - Shaw Brothers Studio produced over 40 films annually at its peak, with more than 2 million viewers weekly, significantly influencing the global film industry [23][25]. - The studio pioneered the martial arts genre with films like "One-Armed Swordsman," which shifted the focus of Hong Kong cinema from art films to commercial blockbusters [25][26]. Group 5: Transition to Television - In 1967, Shao Yifu co-founded TVB, which became a major player in Hong Kong television, producing numerous iconic series and launching the careers of many stars [35][39]. - TVB's success in the 1980s and 1990s made it a household name, with its dramas becoming immensely popular in mainland China [39][41]. Group 6: Philanthropy and Legacy - Shao Yifu established the Shaw Foundation in 1975, donating extensively to education and healthcare, with over 47.5 billion HKD contributed by 2012 [43][46]. - His philanthropic efforts led to the establishment of thousands of "Yifu Buildings" across China, symbolizing his commitment to education and community welfare [43][47].

Core Insights - Shao Yifu, known as the "King of Asian Entertainment," had a profound impact on the film industry, producing over a thousand films and establishing a vast entertainment empire in Hong Kong [1][22][24] - His life spanned significant historical events in China, and he is recognized for his contributions to both cinema and philanthropy, particularly in education [1][50][44] Group 1: Early Life and Career - Shao Yifu was born in 1907 in Ningbo, Zhejiang, and later moved to Shanghai for education [2] - His family was prominent in the paint business, but after his father's death, he and his brothers ventured into the nascent film industry, founding Tianyi Film Company in 1925 [3][4] Group 2: Business Challenges and Strategies - The Tianyi Film Company faced significant competition from established firms, leading to the "Liuhe Encirclement," a notable business conflict in Chinese film history [5][6] - Shao Yifu successfully expanded into the Southeast Asian market, establishing over 100 cinemas and a complete entertainment chain [6][8] Group 3: Establishment of Shaw Brothers Studio - After relocating to Hong Kong, Shao Yifu founded Shaw Brothers Studio in 1958, aiming to create a full industry chain encompassing production, distribution, and exhibition [16][19] - He invested heavily in building a film studio, purchasing land in Clearwater Bay, and implemented a strategy of attracting talent with better pay than competitors [20][22] Group 4: Impact on Film Industry - Shaw Brothers Studio produced over 40 films annually at its peak, with a significant audience reach, including over 2 million viewers weekly [22][24] - The studio's success shifted the focus of Hong Kong cinema from art films to commercial productions, particularly in the martial arts genre, influencing global cinema [24][26] Group 5: Transition to Television - In 1967, Shao Yifu co-founded Hong Kong Television Broadcasts Limited (TVB) to adapt to the changing entertainment landscape, eventually closing Shaw Brothers to focus on television [37][39] - TVB became a major player in the Hong Kong entertainment industry, producing numerous stars and popular series that resonated with audiences [39][41] Group 6: Philanthropy and Legacy - Shao Yifu established the Shaw Foundation in 1975, donating significantly to education and healthcare, with a focus on building schools across China [44][50] - His philanthropic efforts led to the establishment of over 6,000 "Yifu Buildings" in educational institutions, reflecting his commitment to social causes [44][47]