（来源：上观新闻） 记得大约是1976年夏，我毕业后工作第一年从广州回东北探亲，去姑父家拜访。那天，刚下过雨，他家 屋里屋外全是泥，几乎无处落脚。第二天我走时，姑父赶毛驴车把我送去20里外的公共汽车站。赶毛驴 车的他，跃马横刀的他——那是同一个姑父吗？到站后，我在小镇供销社给他买了两件针织半袖衫。他 当即把穿出窟窿的背心脱下换了，看得我有些心酸，不由得扭过头去……就是如此穷困潦倒的姑父，几 年后，断然把二儿子送上老山前线参加对越自卫反击战…… 说回马。我也和马打过交道。上小学三四年级的时候，我和弟弟从县城步行三四十里去一个村子看外 婆。要回家那天，外婆天没亮就把我和弟弟叫醒，让我们搭坐村里去县城拉货的马车。路上要过一条名 叫饮马河的河，桥被大水冲跑了，马拉着车直接下河蹚水（东北话叫"蹚哨"）。河水很深，车到河中间 的时候，水没过车板、没过膝头，眼看就要淹到我和弟弟的胸口了，吓得我俩紧紧抱在一起。就在这当 口，拉车的四匹马忽然齐声长嘶，伸长脖子一跃而上，把车拉上河岸。马浑身是水——不知是汗水还是 河水——全无惊慌的样子，仍显得那么乖顺。我和弟弟不知多么感谢马，是马把我们救出水来！ 最后讲一个蒙古族画家、作家席慕 ...

2026年的高源，你好！ 我是2025年的自己，哈哈，好有趣哦，我要给我未来的自己写信了。 明年我就9岁了，想起7岁的时候，爸爸妈妈带我来到实验小学亚欧校区，我有点胆小，因为不知道小学 生活是怎么样的，现在的我能高高举起手，大声的回答老师的问题，还交到了好多好朋友。 （来源：南湖晚报） 转自：南湖晚报 N嘉兴市实验小学亚欧校区202班 高源 2026年，我想让自己变得更棒，我特别喜欢读历史故事，可能和小时候爸爸老是给我讲古代故事的缘 故，以前很小的时候爸爸给我讲，我听不懂，现在我二年级了，有点理解能力了，我就特别喜欢读三 国。三国让我知道了诸葛亮的聪明，他上知天文，下知地理；吕布的勇猛，还有他的坐骑赤兔马，日行 千里；曹操除了是个军事家，还是个诗人。明年我就长大一岁了，爸爸和我说，我们有四大名著，有 《三国演义》《水浒传》《西游记》《红楼梦》，明年我争取要全部看一遍。这样我就可以和爸爸比赛 历史知识了。 ...

Group 1 - The author reflects on the initial motivation for writing, which was to alleviate inner turmoil and express emotions through poetry [3] - Writing is described as a means to document life's experiences, both painful and joyful, allowing for a form of commemoration [3][7] - The influence of reading on the author's writing style is emphasized, with a focus on classical Chinese literature and modern authors [4][6] Group 2 - The author acknowledges a gap in contemporary literary knowledge after graduating, leading to a renewed emphasis on reading to improve novel writing skills [5] - A diverse range of literary influences is noted, including both domestic and international authors, which has shaped the author's understanding of human experiences [6] - The importance of storytelling about one's homeland and its transformations is highlighted as a significant theme in the author's work [6][7]

Core Viewpoint - The publication of "Seventeenth-Century Chinese Novels" marks a significant contribution to the understanding of Chinese literature, particularly focusing on lesser-known works from the 17th century that provide unique social insights [1][4]. Group 1: Author Background - Robert E. Hegel, an esteemed professor emeritus at Washington University in St. Louis, has dedicated his career to the study of classical Chinese narrative literature, particularly Ming and Qing novels [3]. - Hegel's notable works include "Reading Illustrated Fiction in Late Imperial China" and translations of various Chinese literary texts, showcasing his extensive engagement with Chinese literature [3][4]. Group 2: Publication Significance - "Seventeenth-Century Chinese Novels" was first published in 1981 and has been recognized as a classic in American sinology, highlighting the importance of this period in Chinese literary history [1][3]. - The book provides a detailed analysis of several novels, including "Journey to the West Supplement" and "The History of Sui," revealing a vibrant literary world during the Ming and Qing dynasties [1][4]. Group 3: Research Focus - Hegel's interest in 17th-century Chinese novels stems from a lack of scholarly attention to this period, prompting him to explore the available works and their cultural significance [8][12]. - The novels discussed in Hegel's research often reflect personal perspectives and innovative storytelling, diverging from traditional narratives [13][19]. Group 4: Cultural and Historical Context - The novels of the 17th century serve as a means of escapism and intellectual engagement for educated readers, allowing them to reflect on contemporary societal issues through historical narratives [16][19]. - Hegel emphasizes that the political turmoil of the late Ming period paradoxically fostered a literary flourishing, similar to patterns observed in Western literature during times of crisis [18]. Group 5: Literary Analysis - Hegel notes that the commercial aspect of novel publishing in 17th-century China was complex, with many high-quality novels being expensive and not primarily aimed at profit [11][12]. - The cultural significance of these novels often lies in their intricate references and allusions, which require a deep understanding of the historical and philosophical context to fully appreciate [12][23]. Group 6: Translation and Impact - Hegel's translations of works like "The Heroic Adventures of Qin Shubao" and "Journey to the West Supplement" aim to make these texts accessible to a broader audience, highlighting their literary and cultural value [34][42]. - His work has contributed to correcting misconceptions about Chinese literature and its historical context, providing a more nuanced understanding of its development [42].

Core Insights - The resurgence of interest in "Dream of the Red Chamber" is attributed to the dual influence of the "hidden meaning" school and short videos, transforming it from a family saga into a work of mourning for the Ming dynasty [1] - The difficulty of adapting "Dream of the Red Chamber" into film or television is linked to its high literary and interpretative value, making it less suitable for adaptation compared to other classic novels [7][9] - The audience's increasing scrutiny of adaptations of the Four Great Classical Novels reflects a desire for fidelity to the original narratives, leading to a "respect for the original" standard that creators must navigate [30][32] Adaptation Challenges - "Dream of the Red Chamber" is considered to have a "hell-level" difficulty in adaptation due to its complex literary nature, which often leads to disappointment among original readers when visualized [9][11] - The narrative's focus on domestic life and family ethics limits the scope for adaptation, as the story is fundamentally a tragedy that lacks the "satisfying points" modern audiences seek [13][15] - The capital market's focus on IP certainty makes "Dream of the Red Chamber" a risky investment, as its historical discussion levels do not guarantee immediate audience engagement [15][17] Comparative Analysis of the Four Classics - "Journey to the West" is recognized as the easiest to adapt due to its fantastical elements and straightforward narrative structure, allowing for creative reinterpretation [18][19] - "Water Margin" and "Romance of the Three Kingdoms" share similar adaptation challenges, with the former being more relatable to contemporary audiences due to its grounded characters [24][27] - The perception of "Romance of the Three Kingdoms" as a historical narrative limits its adaptability, as audiences have established expectations for character portrayals that are hard to deviate from [26][24] Audience Expectations and Market Dynamics - The audience's resistance to adaptations that deviate from the original narratives often stems from a lack of engagement with the story rather than a mere desire for fidelity [30][32] - The success of adaptations like "Nezha" demonstrates that audiences are open to reinterpretations if they resonate with contemporary themes, indicating a potential path for future adaptations [32] - The current landscape of adaptations reflects a tension between preserving the essence of classic literature and meeting modern audience expectations, posing a significant challenge for creators [36]

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 news highlights the passing of actress He Qing at the age of 61, emphasizing her significant contributions to Chinese television and film, particularly her iconic roles in classic adaptations of literary works [1][3]. Group 1: Career Highlights - He Qing gained fame for her performances in adaptations of the Four Great Classical Novels of Chinese literature, including her roles as Lianlian in "Journey to the West" (1984), Qin Keqing in "Dream of the Red Chamber" (1988), Xiao Qiao in "Romance of the Three Kingdoms" (1993), and Li Shishi in "Water Margin" (1996) [5][11]. - Her portrayal of these characters has left a lasting impression on audiences, establishing her as a representative of "ancient beauty" in Chinese cinema [3][5]. Group 2: Personal Struggles - He Qing was diagnosed with cancer ten years prior to her passing, leading to a long period of treatment during which she rarely appeared in public [7]. - Despite her health challenges, she maintained a positive demeanor, often smiling and speaking gently, which masked her internal struggles [9][10]. Group 3: Resilience and Character - He Qing faced significant personal tragedies, including the sudden death of her father when she was 19, which she coped with by vowing to remain strong and unbreakable [11][12]. - Her character was marked by a blend of beauty and strength, as she navigated both her professional and personal life with resilience, often expressing her opinions candidly [15][16].

Core Viewpoint - The article reports the passing of renowned actress He Qing at the age of 61, highlighting her contributions to the Chinese entertainment industry and the impact of her work on audiences and peers alike [1][2][4]. Group 1: Biography and Career Highlights - He Qing was born on January 13, 1964, in Jiangshan, Zhejiang Province, and began her artistic journey at the age of 13 by studying Kunqu opera [4]. - She gained recognition in 1983 for her role as a clever and brave girl in the film "Shaolin Sucai Dizi," marking the start of her acting career [4]. - In 1984, at the age of 20, she was cast by director Yang Jie in the TV series "Journey to the West," where she portrayed the character Lingji Bodhisattva, leaving a lasting impression despite her brief screen time [4]. - He Qing's notable roles include playing Qin Keqing in the 1988 film "Dream of the Red Chamber," Xiao Qiao in the 1993 TV series "Romance of the Three Kingdoms," and Li Shishi in the 1996 series "Water Margin" [4]. - She is recognized for her classical beauty and gentle demeanor, successfully embodying various iconic female characters in Chinese literature, making her the only actress to have portrayed all four classic novels [4]. Group 2: Industry Impact and Legacy - Fellow actor Liu Xiaoling Tong expressed that He Qing was a classmate during their training at the Zhejiang Kunqu Opera Troupe and praised her extensive knowledge of Kunqu and her significant achievements in film and television [4]. - He Qing was affectionately referred to as "Sister Lianlian" by audiences, a nod to her memorable role in the CCTV version of "Journey to the West" [4]. - The article emphasizes the collective mourning from fans and industry peers, reflecting on her legacy and the impact she had on the Chinese entertainment landscape [2][4].

Core Viewpoint - The article reports the passing of renowned actress He Qing at the age of 61, highlighting her contributions to the entertainment industry and the impact of her death on fans and colleagues [1][3]. Group 1: Personal Background - He Qing was born on January 13, 1964, in Jiangshan, Zhejiang Province, and developed a passion for the arts from a young age, joining the Zhejiang Kunqu Opera Troupe at the age of 13 [5]. - She began her acting career in 1983 when she was selected by director Hua Shan to play a role in the film "Shaolin Sucai Dizi" [5]. Group 2: Career Highlights - In 1984, at the age of 20, He Qing was cast by director Yang Jie in the TV series "Journey to the West," where she portrayed the character Lingji Bodhisattva, making a memorable impression despite a brief appearance [7]. - She gained further recognition for her roles in various classic adaptations, including playing the tragic character Qin Keqing in "Dream of the Red Chamber" in 1988, the beautiful Xiao Qiao in "Romance of the Three Kingdoms" in 1993, and the renowned courtesan Li Shishi in "Water Margin" in 1996 [7]. - He Qing is noted for her classical beauty and gentle demeanor, successfully embodying a series of iconic female characters, and is recognized as the only actress to have portrayed characters from all four classic Chinese novels [7].

Core Viewpoint - The Director-General of the World Intellectual Property Organization, Daren Tang, emphasizes that true creativity does not abandon tradition but rather allows tradition to gain new significance in a modern context [1][3]. Group 1: Cultural and Technological Integration - Daren Tang highlights the need for the integration of culture and technology, suggesting that technology should carry culture while culture should inspire technology [3]. - He uses the example of the classic Chinese novel "Water Margin," which has been disseminated through woodblock printing and continues to be reinterpreted through films, comics, and songs, demonstrating the empowering role of technology in cultural transmission [3]. Group 2: Trends in the Global Creative Economy - Tang identifies three major trends in the global creative economy: the central role of digital technology as a driving force, the expansion of the innovation geography towards Asia, Africa, and Latin America, and the shift in economic growth from tangible trade to intangible assets [3].