For over 140 years, so far, publications originating in East Asia have been assembled in libraries in the U.S. and Canada in ways that until fairly recently were independent of one another. Early catalog-card distribution by the U. S. Library of Congress, along with printed library catalogs, did allow for the distribution of information about publications and library holdings. But until the internet drastically altered how information was created and shared, academic libraries developed nearly autonomously, relying heavily on publishers, faculty, and graduate students to alert librarians to lacunae in their collections. Libraries still do that to some extent, but accepting libraries as stand-alone institutions within larger institutions is obsolete thinking.
And yet, all collections are unique in the ways they were developed, in the stories of the people who built them, and in their idiosyncrasies. All of that is recorded in this volume and is supplemented by copious notes and bibliographies and many visual images of texts, libraries, and the personalities, some quite unusual, who have had lasting influences on the libraries that no doubt also had lasting influences on them.
The genesis of this collection of essays on the histories of the 25 oldest East Asian libraries in North America is explained by the editor in his preface:
The idea of publishing a volume on the history of East Asian collections in the United States and Canada over the past 140 years came about in October 2007, when the head of more than twenty East Asian libraries met at the University of California, Berkeley, for a two-day symposium on the topic. The event coincided with the dedication of the university’s newly completed C. V. Starr East Asian Library and Chang-Lin Tien Center for East Asian Studies, the first library building ever constructed in North America specifically to house an East Asian collection. [p. xi]
The historical essays in this volume are presented in the chronological order in which the East Asian collections are considered to have been established, although real dates of “founding” might be open to interpretation.
One of the delights that the editor and the designers created is a whole page image, opposite the dedication statement, of photos of some of the librarians who were instrumental in founding or expanding individual collections, librarians such as Gussie Gaskill (Cornell), Kaiming Chiu and Eugene Wu (Harvard-Yenching), Naomi Fukuda (Michigan), Elizabeth Huff (California-Berkeley), T. H. Tsien (Chicago), Mary Wright (Hoover Institution, Stanford), Kan’ichi Asakawa (Yale) and other iconic figures who led the development of major collections.
A chronology of the development of the twenty-five East Asian collections highlighted in this collection precedes the text, as does a timeline of East Asian history. Appendix A lists major East Asian Collections in North American institutions in alphabetical order with information on the size of their holdings as of June 2008; and a ranking list, by size of collections, of those libraries. Appendix B lists the acquisitions budgets of each of the collections. The book, which is indexed, is available from the Association for Asian Studies (www.asian-studies.org). The chapter titles and the text authors are listed below.
我得說,這本書的結構簡直是匠心獨運,它完全顛覆瞭我對傳統遊記的認知。作者似乎完全拋棄瞭傳統的地域順序或時間綫索,而是采用瞭一種更像是意識流的碎片化敘事結構。每一章都像是一塊精心打磨的寶石,雖然獨立存在,卻又通過某種看不見的、內在的邏輯相互呼應,形成一個宏大而復雜的整體。比如,第一部分對某個特定手工藝品的深度挖掘,其詳盡程度堪比人類學田野調查報告,從原料的産地到製作的每一個微小步驟都交代得一清二楚;而緊接著的下一章,卻可能是一個極其浪漫化、充滿詩意的哲學探討,討論的是“時間”在不同文明中的意義。這種風格的劇烈跳躍,初讀時可能會讓人有些許不適,但一旦適應瞭這種跳躍感,就會發現其中蘊含的巨大信息密度和思想深度。它強迫讀者主動去建立章節之間的聯係,去構建屬於自己的理解框架,這極大地增強瞭閱讀的主動性和智力參與感。書中對於某些文化習俗的批判性視角也相當犀利,絕非盲目的贊美,而是帶著一種審慎的、學者的冷靜,使得全書的基調既熱情洋溢又不失理性的光芒。
评分這本書最讓我印象深刻的一點,在於它對於“失落”與“記憶”這兩個主題的深刻挖掘。它不像許多旅行文學那樣聚焦於發現“新奇”或“奇觀”,反而是將目光投嚮那些正在消逝的角落,那些被主流曆史敘事所忽略的微小文明的殘片。作者似乎對“遺忘”這一主題有著近乎癡迷的關注,他花瞭大量篇幅去記錄那些瀕臨失傳的手藝、正在被現代建築取代的古老街區,以及那些隻存在於老人口中卻找不到文字記載的民間傳說。這種記錄行為本身就帶有一種強烈的挽歌式的悲劇色彩。比如,有一段文字描繪瞭一個偏遠村落中最後一位編織者,她指尖的動作緩慢而精準,但她的技藝卻注定無法傳承下去,那種無力感和曆史的必然性交織在一起,非常動人。書中充斥著對“不再存在”之物的追憶,這種追憶並非是傷感的停滯不前,而是一種對生命短暫和文化脆弱性的深刻反思。它提醒我們,我們所見的繁榮背後,往往隱藏著無數不為人知的消亡故事。這種冷靜的悲憫情懷,讓全書的調性顯得格外厚重和耐人尋味。
评分我必須要稱贊這本書在處理復雜文化衝突時的那種近乎外科手術般的精確和剋製。作者似乎在處理敏感議題時,始終保持著一種超然的、多角度的審視,完全避免瞭簡單粗暴的“好人”與“壞人”的二元對立標簽化處理。在描述不同信仰群體間的張力時,他不會輕易站隊,而是細緻入微地剖析瞭造成衝突的社會經濟根源、曆史誤解的纍積,甚至是日常生活中因文化差異導緻的微小摩擦。這種處理方式的難度極高,但作者完成得非常齣色,呈現齣的是一幅充滿灰色地帶的真實圖景。我記得有一章專門探討瞭全球化浪潮對當地傳統生活方式的衝擊,作者並未簡單地將全球化描繪成一個吞噬一切的怪物,而是展示瞭當地人如何以一種既抗拒又吸收的復雜心態去適應變化,展示瞭文化在壓力下的韌性與變異。這種對復雜性的擁抱和對細微差彆的敏銳捕捉,使得這本書的論述具有極強的說服力和深度,它不提供簡單的答案,而是引導讀者去提齣更深刻的問題。讀完之後,你會感覺自己對這個世界多瞭一層理解的濾鏡,看待任何衝突都能多一份同理心和辯證思維。
评分翻開這本書,我立刻被其語言的音樂性所吸引。這不是那種平鋪直敘、旨在告知信息的文字,而是一種充滿韻律和張力的散文詩。作者在遣詞造句上達到瞭齣神入化的地步,尤其擅長運用那些不常見卻又精準無比的詞匯,將原本可能平淡無奇的場景渲染得華麗而富有張力。舉個例子,描述某地山脈時,他用的詞匯不是“高聳”或“雄偉”,而是“嶙峋的骨骼在雲海中掙紮”,這種擬人化的手法立刻賦予瞭山脈生命力。再看人物對話的描摹,那種基於文化背景産生的微妙的、心照不宣的停頓和省略,被捕捉得絲絲入扣,讓人感覺仿佛真的置身於那種語言環境之中。這種語言上的極緻追求,使得閱讀本身成為一種極大的享受。我時常會因為某個句子結構的美感而停下來,反復咀嚼,甚至會去查閱那些生僻但貼切的詞義。這使得我的閱讀速度慢瞭下來,但這恰恰是好事,因為它迫使我去細細品味那些文字構建齣的感官盛宴。這本書的文字,本身就是一種值得收藏的藝術品,它超越瞭單純的內容傳遞,上升到瞭美學體驗的層麵。
评分這本書的敘事手法真是讓人眼前一亮,作者似乎毫不費力地就能將讀者帶入到那個遙遠的、充滿異域風情的場景之中。我記得有幾個篇章,描述的是中亞某個古老商隊在沙漠中跋涉的場景,那種炙熱的陽光、漫天的黃沙,以及旅人對綠洲的渴望,都被描繪得淋灕盡緻。你幾乎能聞到空氣中彌漫的香料和塵土的味道。更妙的是,作者並沒有沉溺於純粹的景物描寫,而是巧妙地穿插瞭人物的內心獨白和曆史的片段。比如,在一個描繪絲綢之路節點的章節裏,主人公對貿易的變遷和文化交融的思考,層次感極強。這不僅僅是一本旅行見聞錄,更像是一部流動的曆史畫捲。它成功地將宏大的曆史背景與微小的個人體驗編織在一起,使得閱讀過程充滿瞭發現的樂趣。我特彆欣賞作者在捕捉那些轉瞬即逝的瞬間時的細膩筆觸,無論是清晨集市上的一聲吆喝,還是黃昏時分寺廟裏傳來的悠遠鍾聲,都顯得那樣真實可感,仿佛觸手可及。這本書的節奏控製也恰到好處,時而舒緩悠長,時而又因突發事件而變得緊張刺激,牢牢抓住瞭讀者的注意力,讓人不得不一口氣讀完。
评分瞭解北美圖書館藏的窗戶。
评分瞭解北美圖書館藏的窗戶。
评分瞭解北美圖書館藏的窗戶。
评分瞭解北美圖書館藏的窗戶。
评分瞭解北美圖書館藏的窗戶。
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