谢谢丰远。是的，柏宪他没有社交媒体账号。电话我已经打过了，明天白天再试试能否打通。可能叶女士已经退休或者不再管理此事物，我也发了邮件给教育部属下的国际教育司。感谢。
我同意西瓜的观点，要有调查才有发言权，倘若不了解共和国史，不了解新中国成立以来的内外交困与共产党的发展脉络，那就不会理解这些社会运动的必然性，新社会归根到底是社会关系的根本改变，而共和国改变创造了一种全新的社会关系。

https://m.weibo.cn/status/4811489070287778?wm=3333_2001&from=10C9193010&sourcetype=weixin
丑化自己跪舔别人的货色可以吃香喝辣，在北京文艺圈混的风生水起。认真做学术，寒窗苦读哪怕命也搭进去也要传播真正知识的，没好报，天理何在啊。 柏宪真的是花了一条命来写这么一本薄书（The Experimental Aesthetics of Global Sinophone Theatre: The Present, The Absent, and The Avant-Garde)。他为什么做学术做的这么难，是因为他有学术理想，不愿喂老外想看的，或者一味迎合他们。所以往往解释起来每一字每一句都很难，如果换成一般人，那早点写点洋人看得懂的随便糊弄文凭了事，或者更有甚者跟这个什么狗屁画家一样，随意抹黑，自甘当娼妓。
今天读他的论文回忆又涌上心头，
“As many scholars have pointed out, Shih’s Sinophone critique is thought provoking
as it challenges the default assumption that anything “Chinese” is certainly
from the Chinese mainland. However, Shih’s theoretical approach is also problematic
because it automatically presumes that China is deemed to be a “problem” as the
country’s pursuit of a unified Chinese nation-state and emphasis on ancestral cultural
roots are considered a dire threat to the international community.Although Shih’s
Sinophone critique is a timely response to the all-inclusiveness of the term “Chinese,”
in this dissertation, I use the Sinophone as a method and a framework to expand the
conceptual horizon of current Sinophone studies scholarship that tends to
overemphasize the China problem through the lens of embodied performance. In
doing so, I suggest that scholarly debates over the cultural and sociopolitical
implications of terms like “Chinese” and “Sinophone” all revolve around the
presence and absence of “China”—be it political, cultural, aesthetic, or ideological.” 这里引用的shih是史书美，是美国华人研究的学术权威，可是柏宪对她的论点有很多的不同意见，他的论文也是由此切入打开的。 我也想起来不久前陈真医生对乔姆斯基的论断。很多白人对我们的文明实在是想当然，我们中文的博大精深，是他们永远都无法领略的。柏宪在解释戏剧这个字眼上，就废了不少墨水。
“3 In Mandarin Chinese, the term xiqu is a combination of two separate Han characters—“戲” (drama)
and “曲” (song/melody). In this dissertation, I use xiqu and Chinese indigenous theatre interchangeably
when referring to the traditional operatic performances derived from ancient Chinese dynasties. I
choose not to use “Chinese opera” because the English translation fails to capture the complexity of
different Chinese operatic performances produced and toured in various provinces of mainland China.
For example, jingju (Beijing opera) is frequently misunderstood as the monolithic form of Chinese
opera to many non-Chinese spectators because the theatrical genre is often praised as “Chinese
national theatre.” However, the fact is that Beijing opera is merely a regional branch of Chinese
indigenous theatre. For more information with regard to the terminology of xiqu, please read Li
(2010):6-9 and Wichmann 191-92.”

还记得岩里正男老贼去世那天，柏宪一脸不以为然，却对一个我不熟悉的名字,王晓波,的离去而痛心疾首。那天我们看了杨世光对王晓波先生的追忆，印象深刻。回顾吾友柏宪的一生，我想说无论是岛上左派还是学者真正想做事就是会很不容易，往往就把一辈子搭进去了，可是古往今来信念就是如此的，信念不坚定就是绝对没信念，读书读懂都是假的，不能坚持也是假的，还是只有实践是真的。我们大陆人都读过奥斯特洛夫斯基的’钢铁是怎样炼成的‘。柏宪就像主人公保尔柯察金一样，一步一步把自己锻炼成像金子一般的人。以此纪念我的朋友。