Chronology Entries
| # | Year | Text |
|---|---|---|
| 1 | 1961 |
Aufführung von Hei nu hen = "Sorrows of the black slaves" = Uncle Tom's cabin von Harriet Beecher Stowe = 黑奴恨 in der Adaptation von Ouyang Yuqian unter der Regie von Sun Weishi, zum 100. Geburtstag der Publikation des Buches, in Beijing und Guizhou.
Tian Han schreibt : “The dramatization is not just to commemorate the rise of the new drama movement. It is also a significant support to the liberation movement of the black people in Africa and in the United States. The play is a powerful exposure of the United States. It is a powerful exposure of the reactionary nature of U.S. imperialism.” Tian Han commends Mrs. Stowe for her success and criticizes her for placing too much hope in Christianity. He then compliments Ouyang Yuqian for looking at slavery from the perspective of 'socialist ideology' by creating a most touching character in Tom and 'endowing him with class consciousness at the time of death'. |
| 2 | 1961 |
Moore, Marianne. Foreword to A Marianne Moore reader. (New York, N.Y. : Viking Press, 1961).
As antonym, integrity was suggested to me by a blossoming peach branch – a drawing by Hsieh Ho – reproduced above a New York times Book Review notice of The Mustard Seed Garden Manual of Painting formulated about 500 A.D. – translated and edited by Miss Mai-mai Sze, published by the Bollingen Foundation in 1956 and as a Modern Library paperback in 1959. The plum branch led me to The Tao of Painting, of which 'The Mustard Seed Garden' is a part, the (not 'a') Tao being a way of life, a 'oneness' that is tireless ; whereas egotism, synonymous with ignorance in Buddhist thinking, is tedious. And the Tao led me to the dragon in the classification of primary symbols, 'symbol of the power of heaven' – changing at will to the size of a silkworm ; or swelling to the totality of heaven and earth ; at will invisible, made personal by a friend at a party – an authority on gems, finance, painting, and music – who exclaimed obligingly, as I concluded a digression on cranes, peaches, bats, and butterflies as symbols of long life and happiness, 'O to be a dragon !' (The exclamation, lost sight of for a time, was appropriated as a title later). Note : The dragon as lord of space makes relevant Miss Mai-mai Sze's emphasis on 'space as China's chief contribution to painting ; the essential part of the wheel being the inner space between its spokes ; the space in a room, its usefulness' in keeping with the Manual : 'a crowded ill-arranged composition is one of the Twelve Faults of Painting' ; as a man 'if he had eyes all over his body, would be a monstrosity'. |
| 3 | 1961 |
Lowry, Malcolm. Hear us O Lord from heaven thy dwelling place. (Philadelphia : Lippincott, 1961).
"Or, at such a time of stillness, at the brief period of high tide before the ebb, it was like what I have learned the Chinese call the Tao, that, they say, came into existence before Heaven and Earthg something so still." "And the rain itself was water from the sea… raised to heaven by the sun, transformed into clouds, and falling again into the sea. While within the inlet itself the tides and currents in that sea returned, became remote, and becoming remote, like that which is called the Tao, returned again as we sourselves had done." |
| 4 | 1961 |
Rexroth, Kenneth. The poet as translator. In : Rexroth, Kenneth. Assays. (New York, N.Y. : New Directions, 1961).
Rexroth presents an anthology of six poems by different translators. Half are translations from Chinese originals by Ezra Pound, Stuart Merrill and Witter Bynner. "Most Sinologists are philologists. They are all too close to the language as such and too fascinated by its special very un-English and yet curiously very English-like problems ever to see the texts as literature. The grammarian takes over in the decadence of the story of language ; but he also takes over – in fact he is essential – in its infancy". |
| 5 | 1961 |
Burgess, Anthony. One hand clapping. (London : Peter Davies, 1961).
The Chinese camphorwood chest. http://www.anthonyburgess.org/?collections=the-chinese-camphorwood-chest. One Hand Clapping was Burgess's first published novel as Joseph Kell, and is a comic satire on consumer culture. Not to spoil the story too much, at one point the protagonist Janet Shirley and her lover Redvers Glass find themselves in Paris with a dead body to dispose of. [Redvers Glass] said: 'That shop in Rue What's-its-name. Where they have the antiques and things. 'Yes?' 'They have a Chinese camphorwood chest. A nice big one. Camphor will preserve anything. A lovely smell, too. We'll go and buy that.' |
| 6 | 1961-1965 |
Göran Malmqvist ist Professor und Dekan der der Faculty of Asian Studies der Australian National University.
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| 7 | 1961 |
Ellen B. Widmer erhält den B.A. in Political Science des Wellesley College.
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| 8 | 1961 |
Chinese art treasures : exhibition National Gallery of Art, Washington D.C. Exhibition of works from National Palace Museum Taiwan.
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| 9 | 1961-1964 |
Hugh T. Morgan ist Counsellor nad Head of Chancery der britischen Botschaft in China (Beijing ?).
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| 10 | 1961 |
Der Bau der Mauer der Deutschen Demokratischen Republik in Berlin findet die uneingeschränkte Unterstützung Beijings.
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| 11 | 1961 |
Theodor Schu kehrt nach Deutschland zurück.
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| 12 | 1961-1983 |
François Mitterand besucht China 1961, 1981, 1983.
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| 13 | 1961 |
Sam P. Gilstrap ist Generalkonsul des amerikanischen Konsulats Hong Kong und Macao.
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| 14 | 1961-1963 |
Marshall Green in Generalkonsul des amerikanischen Konsulats Hong Kong und Macao.
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| 15 | 1961 |
Besuch von Max Petitpierre in Beijing.
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| 16 | 1961 |
Chen Yi (2) trifft Friedrich Traugott Wahlen und Max Petitpierre an der Genfer-Konferenz.
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| 17 | 1961-1965 |
Jiang Tingfu ist Botschafter der chinesischen Botschaft in Amerika.
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| 18 | 1961-1962 |
Werner Haeni ist Vize-Konsul des schweizerischen Generalkonsulats in Shanghai.
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| 19 | 1961-1963 |
Wang San ist Botschafter der chinesischen Botschaft in Dänemark.
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| 20 | 1961-1962 |
Nils Per Kjell Öberg ist Botschafter der schwedischen Botschaft in Beijing.
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