李一桐，本名李雪，1990年出生于山东济南，中国内地影视女演员，毕业于北京舞蹈学院，代表作有 《射雕英雄传》《狂飙》《鹤唳华亭》《苍兰诀》《书卷一梦》等。 转自：扬子晚报 2月11日深夜，李一桐发文"小年快乐 快去领红包️"，附上总额49999元的现金红包链接。多名用户晒出 截图证实红包真实可领，金额从几元至数百元不等。 红包发放前数小时，李一桐因与陈哲远在晚会合唱《我想要占据你》被网友质疑假唱，相关话题#李一 桐假唱#登上热搜。 来源 | 新晚报、北青娱见 ...

其实，在《射雕英雄传》里，黄蓉就提到过："今日才知在这世上，欢喜快活原只一忽儿时光，愁苦烦 恼才是一辈子的事。" 《射雕英雄传》明河社版封面 《射雕英雄传》里，黄蓉给读者的印象一般是古灵精怪、活泼俏皮，以至于到了《神雕侠侣》，许多读 者会觉得中年黄蓉不再有灵气了，总在解决着各种各样的烦难。黄蓉从什么时候开始不那么快乐了？ 这话在第四部书的开头。这时《射雕英雄传》刚结束全书节奏最快、最紧张的一段，郭靖、黄蓉已经拿 到《武穆遗书》，习得《九阴真经》。随后第四部的主要情节矛盾，是从郭靖黄蓉二人在桃花岛上发现 郭靖五位师傅死于非命这一巨大误会和陷害开始的。 而在这两个大的情节段落之间，金庸写了一段闲笔。 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。 远处海涛之声隐隐传来，刹时之间，黄蓉心中转过了千百种念头，从儿时直到十五岁之间在这岛上的种 种经历，突然清清楚楚的在脑海中一晃而过，但随即又一晃而回。 这一"过"一"回 ...

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]

Core Viewpoint - The article reflects on the life and legacy of actress He Qing, highlighting her contributions to Chinese cinema and the impact of her passing on the entertainment industry and her fans [3][15]. Group 1: Life and Career - He Qing was diagnosed with a brain tumor in 2015, which led to her gradual withdrawal from public life until her passing in December 2025 [4][12]. - She is renowned for her roles in classic Chinese literature adaptations, including "Dream of the Red Chamber," "Journey to the West," "Romance of the Three Kingdoms," and "Water Margin," earning her the title of "the first beauty of classical Chinese" [6][9]. - He Qing's artistic journey began at the Zhejiang Kunqu Opera Troupe, where she honed her skills before transitioning to film [6][10]. Group 2: Personal Attributes and Relationships - He Qing was known for her vibrant personality, often described as a "tomboy" during her youth, which contrasted with her on-screen image [11][12]. - Despite her fame, she maintained close ties with her peers from the Kunqu Opera Troupe, often gathering with them during her career [12][14]. - Her marriage to actor Xu Yajun produced a son, Xu He, but they divorced after eight years, maintaining a cordial relationship post-separation [14]. Group 3: Health Struggles and Legacy - He Qing faced significant health challenges, including multiple surgeries and cancer recurrence, yet she remained resilient and composed throughout her illness [13][15]. - Her passing elicited widespread mourning in the entertainment community, with many colleagues and fans expressing their sorrow and admiration for her character and contributions [15].

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].