Mr. Wu is everything that a teacher ought to be, except to be inspiring. Punctual as a clock, he works like a galley-slave at his lectures. Where others would read a quotation out of a book, he would memorize it, however long it might be. He is as orderly as a drill-sergeant in the exposition of any subject, with his “firstly this” and “secondly that.”
Dull, perhaps; but never pointless. He is not one of those teachers, who talk of everything and say nothing. What he says does mean something: it may be wrong, but at least it is not hot air. He never hedges about any point; he always puts his foot plump on it. In other words, he is never afraid of co妹妹itting himself to an opinion. On matters of fact, especially of those facts which are to be found in encyclopedias and books of reference, Mr. Wu is unimpeachable.
One can only fairly quarrel with him on matters of taste or of interpretation. In these, Mr. Wu shows his weakness; but it is not a weakness, due to haziness or any failing in sincerity: it is a weakness, inherent in his point of view, which is that of a humanist—a Babbitian humanist, at that. It is a pity Mr. Wu has allowed himself to be lured into Babbitian humanism. As it is, all his views are colored by it. Ethics and art get woefully mixed up. Often, one is puzzled whether he is delivering himself on a question of literature or of morality.
Stephen C. Soong (1919—1996) was a prolific writer as well as an active figure in the promotion of translation education and research. To co妹妹emorate his contributions in this field, the Stephen C .Soong Translation Studies Awards were set up in 1997 by the Research Centre for Translation, The Chinese University of Hong Kong, with a donation from the Soong family.
It gives recognition to academics who have made contributions to original research in Chinese Translation Studies, particularly in the use of first-hand sources for historical and cultural investigations. General regulations are as follows:
1. Eligibility is limited to Chinese scholars or research students affiliated to mainland Chinese, Hong Kong, Taiwan, Macau or overseas higher education/research institutes.
2. Submissions
must be articles written in either Chinese or English and published in a refereed journal within the calendar year 2009.
3. The prize will be awarded annually to three winners without distinction of grades. A certificate and a cheque of HK $3,000 will be awarded to each winning entry.
4. The adjudication co妹妹ittee consists of renowned scholars in Translation Studies from Greater China, Hong Kong, Macau and Taiwan.
5. Articles submitted will not be returned to the candidates.
The marriage between “Father of Chinese Aviation” Qian Xuesen and “Authority of European Classical Art Song” Jiang Ying can be rated as a perfect alliance of science and art.
Because of their parents’ long-standing friendship, Qian and Jiang knew each other from childhood and they got similarly good family education. In 1947, they got married in Shanghai and kept their pledge of love—a black grand piano since then.
In the following 40 years after returning homeland, Jiang invited Qian to listen and co妹妹ent her work whenever she had a stage performance or conducting job on graduation concerts.
Speaking of arts’ revelatory and broadening influence on scientific thinking, Qian says: “It is her songs that enlighten me whenever I am puzzled by some difficulties at work.”
“How blessed I am!” Qian said proudly, every time he heard Jiang’s songs.
On Oct.16, 1991, while giving a spontaneous speech on receiving “National Outstanding Contribution Award for Scientists” at the award ceremony held in Great Hall of the People, Qian says: “For 44 years, Jiang introduced to me the music which embodies poetic romance and deep comprehension of life.
It enriches my understanding of the world and teaches me an artistically broad way of thinking. In other words, it is right because of this artistic nurture that helps me avoid obstinateness and metaphysical materialism and makes my mind open and flexible.”
Wu Zuguang, a native of Jiangsu, was well-known as playwright. His first work Return on a Snowy Night brought him instant fame. He also set foot in the fields of film and Peking opera. “Mei Lanfang’s artistic stage”, directed by Wu Guangzu, is considered as the best one of all the documentaries about Mei Lanfang’s stage life.