                           ˿µϣ20170712գ

17.7.7-11ûи
17.07.12, ӡֻץһҽǲġ
17.07.12, FMĿӽѧ167Ҫħο
17.07.12, FMĿӽѧ166ͬǲԹϵ
17.07.12, ߡйҪԪ
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17.07.12, йѧѧԺԺƽ
17.07.12, ѧѧͳѧԺԺ´һͶ
17.07.12, ǷɡһλһٴҽҩԸ𺦡
17.07.12, غϼ1762017.6.26-30

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                  ֻץһҽǲ

                          ӡ

ΪٹȫҽҩԱر¾
Ⱥ򻴰ǿʡĳ̨Ƶ
ŵĿݽĿµߵ绰θԹҩƷ
ûκЧӵȺڱ󣬻飬ר飬ڱ
ɳȵץթƭķ45ˣаҽҩԱ
أȫʮҵ̨ĿðθѪܡơ
ҽרңĴΰٲνҩƭȫڣ
ڡ

ҩЧȥȻ󾯷飬Եʵ
һҩûЧǼ٣Ҫҩಿ϶ģܿ
϶߾ЧҩδǼҩЧҩδҩ
˵Щ˲ӦץðҽѧרңڵӽĿٹƭߣ
թƭȻץץúá

ȫ֪ġҽҩԱֹһгҩƷĹ
Աðҽѧרڸ̨ĿձνĴ
ҽ˵ָľĸġҽزͷҲ
˵ػеΣġôȻץ
ΪʲôĴҽҽץѵġҽͲ
óеΣֻץأֻùײǹϣֻа
ҽһ򾡣ֳɵĹࡣ

ڵȡ֤з̨֣ɺصרҵĿ
ڵ̨¼ƵģҲǵ̨ˡЩ̨Ŀ
ർ˶Щҽĵϸģǻһƭ
ߣʵϾթƭͬıôΪʲôֻץҽ͹Ӷ
ҩ̡Ʒ̣ȴŹ˵̨Ĺأ

ҽҥ˵Щҽûҽʸ񣬲
ҽʵҪһҽʸ񲢲ѣЩȥһҽʸԼ
Ϊҽǲôٹ棬Ҳûأڸ̨
ĿȷкܶҽʸҽҽҲںԼҽ
ҩǾԲȥץǵģҩಿҲȥǵġʵ
Щҽ͡ҽûʵʵҽʸҲ
ƭߵʸ񡣡ҽӦúܺԼûȥһƭͨ
֤

2017.6.30.

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FMĿӽѧ167Ҫħο

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FMĿӽѧ166ͬǲԹϵ

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йҪԪ

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ְ90ŵɭŪǣйҪԪ


90ܳĹƷѧ磬һֱѧڸ
⣬ѧ磬ҪǿĹԼǷѧǰء
Ӹ¼ЩĹPUBMEDԲѯҸұ֤3
ѧҲҲְҲûκοõNIHľѡ

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60ĸعƿܸҵ90ɭһ
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ȻѧȽרٵ

𾴵ķ 

һԴϼ֤ϢĹҽ칫ҹʾ˻
ררұŵĳźͻرԭ򣬾ܽҲ
ȥӻرԭҹעһȻѧȽĳͨߣ

пԺԶϵͳƺ͹صʵ ̷ 

רң  ʾǱƼѧ  пԺԶ
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ǽٵ˫ݰ̷񣬻ȱ
ĳ˫ݰ̷ͬһ˵λͬһʵңͬһѧ
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ƥȱѧȫְƵ걨Ȼѧ

ƥȱѧȫְƵԲͬݣڹĿ
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ȫְݻùȻĿȻƱ15ѡǧ˼ƻ
ĿǰΪֹȫְ
(http://www.surgery.pitt.edu/people/daolin-tang-md-phd )ϣί
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йѧѧԺԺƽ



ã

һλѧߣڲĺѼӡڰ·˿Ʒ
Ӣʱ֣йѧѧԺԺʿʦƽ
ڷڡѧ20064ڣ75-81ҳġֳﾳµ
ѧ·˿ ۼصΪ

ƽڵնɴѧNancy J. Peterson1994귢
ΪHistory, Postmodernism, and Louise Erdrich's TracksPMLA, pp. 
982-994Ĵڴ֮ͬ

Ϊĺ棬ϸ˶ƪģշ֣³˵һ
ֺ½βһӢԭĴڲ֮ͬ⣬ƪڽṹС;
ϴڴ֮ͬ

һЩʷʵ۹۵˳
ԡ½ṹӢͬ

ǳֵǣƽԼлעУֻδ
ƪӢףɼײ淶⣬һʶġ
صѧٺѧΪ

ƪķʱȺ󣬲Ѷ϶ƽڵسϮ
ڵѧ£֤ȷ䣡

ҲʶƽڣֻһЩ£ļ2000격ʿ
ҵ2006Ӧǽ˰ɣǽΪʲôҪΪ
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Խ¶

ѧ־ĺڿҲѧȨڿ
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飬Ǵ𣬲ġ

ƽ³Ϯµľϸڣıȶԡ

Ӣƪ¸󣬹ο

һѧ

йѧƽڳϮӢĵıȶ

һ ڱ⡢ݡṹȷ棬Ӣ´ڴͬ

1. µһ֡뵱ӡڰѧݡ˳
ϣӢµһֻͬ

2. µ֡ʷꡱ˳ݺãӢ
µڶ֣С⡰The Past as Reference Pointͬ

3. µĲС⡰ʷ¡ݡ˳÷棬
Ӣе֣СHistory as StoryڴͬĲǶӢ
Ĳֵļ򻯡

ھݡṹ˳ϣӢ´
ͬ

1¡뵱ӡڰѧ֣76ҳӢ
µһ֣ԭ982ҳڴ֮ͬμ»߲֡

1 In a 1986 review of Louise Erdrich's second novel, The Beet 
Queen, Leslie Marmon Silko argues that Erdrich is more interested in 
the dazzling language and self-referentiality associated with 
postmodernism than in representing Native American oral traditions, 
communal experiences, or history. In Silko's view, the 
"self-referential writing" that Erdrich practices "has an ethereal 
clarity and shimmering beauty because no history or politics intrudes 
to muddy the well of pure necessity contained within language itself" 
(179). Whether or not one agrees with Silko's characterization of 
postmodernism, 2) with her criticism of The Beet Queen as apolitical 
and ahistorical, or with the implicit agenda that she proposes for 
Erdrich, it is true that reviewers of Love Medicine and The Beet Queen, 
the first two novels of Erdrich's recently completed tetralogy, tend 
to praise Erdrich's lyrical prose style and to applaud her subtle 
treatment of Native American issues. Erdrich's novel Tracks, published 
in 1988, almost seems to answer Silko's criticisms of The Beet Queen 
by overtly engaging political and historical issues.2 But writing such 
a novel did not come easily to Erdrich: 3) she put the original 
400-page manuscript for Tracks aside for ten years, and only after she 
had worked backward in time from Love Medicine to The Beet Queen did 
she take it up again and begin to link it to her already completed 
novels about contemporary generations of Chippewa and immigrant 
settlers in North Dakot

1һι·˿루Louise ErdrichĲɷ, 
ӡڰ˿ MƣLeslie Marmon Silkoָ , С
˵ȱʷ , עغִ Ϸָ , 
 ͳ  Ⱥʷ 2Ϊ С˵ 
ʺ󡷣The Beet Queenӱκʷ , Υԭߵĳ 
1988 С˵ۼ (Tracks), Ƶ˻
𡣡ۼ Ƕڵ¿ӡڰ֥ ǲ (Chippewa)
еĵ , 3С˵Ĵʮ֮áˡ֮ҩ (Love 
Medicine) ʺ ֮󣬶ֻصʷģ֥ǲ
 ֳͳµ״Ϊ, ʾĻ ˵ʷʱٵ
 

2£76ҳ Ӣԭģ982-983ҳҲŴ
֮μ»߲֡

1Erdrich's difficulty in fleshing out this historical saga is 
symptomatic of a crisis: the impossibility of writing traditional 
history in a postmodern, post-representational era. It seems 
epistemologically naive today to believe in the existence of a past to 
which a historian or novelist has unmediated access. Radicalized in 
the post-structuralist movement, language and linguistics have not 
only led to skepticism concerning access to the past but also 
instigated a debate about whether historical narratives can be 
objective representations or are (merely) subjective constructions of 
a researcher's and a culture's ideologies.2Following Lacan, Saussure, 
and Althusser, prominent poststructuralists have without regret or 
nostal- gia asserted the textuality of history-that there is no direct 
access to the past, only recourse to texts about the past. Even the 
facts of history are constructed in language, as Barthes observes: "It 
turns out that the only feature which dis- tinguishes historical 
discourse from other kinds is a paradox: the 'fact' can only exist 
linguisti- cally, as a term in a discourse, yet we behave as if it 
were a simple reproduction of something on another plane of existence 
altogether, some extra-structural 'reality"' (153). Similarly decon- 
structing the linkage of history and the real, Derrida demonstrates in 
Of Grammatology the degree to which historicity is linked to writing: 
"Before being the object of a history-of an historical science-writing 
opens the field of history-of historical becoming". 3And else- where 
in Of Grammatology, Derrida makes the now famous pronouncement "there 
is nothing beyond the text" (158), which indicates to some readers a 
radical ontological and epistemolog- ical skepticism that makes 
history pure fic- tion, with no referential link to events of the 
past.4 In the light of this cultural-intellectual trajectory, which 
radically destabilizes history, it is no wonder that Erdrich grappled 
with the difficulties and possibilities of telling a historical tale. 
The crisis Erdrich confronts may also be viewed as an outgrowth of the 
Nietzschean view of history as a disease, an affliction, a burden. In 
The Use and Abuse of History, Nietzsche argues that historicizing is 
abusive when it overdeter- mines the present and future or when it 
leads to paralysis rather than action. Indeed, Erdrich's lengthy 
hiatus from working on Tracks might be read as a symptom of this 
Nietzschean paralysis; certainly Erdrich's comments about Tracks echo 
a Nietzschean anxiety regarding the weight of history: "I always felt 
this was a great burden, this novel" (qtd. in Stead). 4Extending 
Nietzsche's concerns about "an excess of history," Hayden White 
asserts in a chapter titled "The Burden of History" that "it is only 
by disenthralling human intelligence from the sense of history that 
men will be able to confront creatively the problems of the present" 
(Tropics 40; emphasis added). Thus, as White suggests elsewhere, many 
histo- rians and theorists have become interested in "getting out of 
history" ("Getting" 2). Getting out of history, however, is a strategy 
not available to those who have never been in it, as Diana Fuss 
observes. Fuss challenges White's position by arguing that "[s]ince 
women as his- torical subjects are rarely included in 'History' to 
begin with, the strong feminist interest in forging a new historicity 
that moves across and against 'his story' is not surprising" (95). The 
same claim can be made on behalf of other groups that have been 
marginalized in tradi- tional historical accounts-Native Americans, 
Asian Americans, African Americans, Latinos and Latinas, and so forth. 
Indeed, the burden of history is markedly different for writers from 
such groups since a lack of historical repre- sentations can be as 
burdensome as an excess.

1 ڴʷϵĳɺ ĳϷӳ˵
ʷѧΣ:Ѿ޷ôͳķʽдʷ, ΪʷҺ
ֱʷ ֹȥĹ ѲʱˡǺִھ۽ʷ 
ͬʱ , ҲǶʷǡ2 ͰͼΪ
ṹۼ ޷˵֤ʷı :ֻйڹ ȥı, û
ͨʷֱͨ, νʷ ʵҲԹɵġͶָ : 
ʷƷһ  :ʵֻѧﾳ
 ,  ΪָơȻȴһֱΪʵ ʵĸƷ 
  3ڽ⹹ʷʵ Ĺϵʱָ, ı֮ʲô 
  Ļʷ˼ʷ, ֱۺʶ۵Ļ  ڵ߸ ͳ
 ʷ 4١ (Hayden White)ָ , ֻеǴʷ ظ
½ܴ֮Եʵ,   , ʷѧӦѧΰʷ 
   , Щδʷڴͳʷ бԵ, 
ΰʷ һ̸⡣5մɭ  ŮС˵
ʷ˼ һָ : ṹ۶ŮĻ˲Ӱ
 , ΪδüԼдʷ , ʷ ʧˡ һ
Ӣԭע5еעԭΪIn her essay "The Re-imagining of 
History in Contempo- rary Women's Fiction," Linda Anderson 
acknowledges this concern on behalf of women but sets it aside by 
invoking its opposition, the return of naive bourgeois realism: "The 
fear that post-structuralist theory could be disabling for women, 
making history disappear even before we have had a chance to write 
ourselves into it, needs to be set against another danger: the 
constant danger that by using categories and genres which are 
implicated in patriarchal ideology we are simply re-writing our own 
oppression" (1)

3˴ͬ⣬£78ҳӢԭĵڶ֣985ҳ
ڴ֮ͬμ»߲֡

1) Erdrich's writing lays tracks here for a revisionist history 
and a new historicity. Nanapush's speech is revisionist because it 
defamiliarizes the popu- lar narrative of American history as progress 
by showing the costs of that "progress" to native peoples.9 His speech 
to Lulu presents an alterna- tive narrative of certain past 
events-epidemics ("the spotted sickness," "consumption") and 
"government papers" (various federal treaties and legislative 
acts)-that led to hardship and death for members of the tribe. Indeed, 
academic history "documents" the "fact" that Nanapush's historical 
account corresponds to past events: academic accounts report that 
North Dakota was afflicted with outbreaks of smallpox from 1869 to 
1870 and of tuberculosis from 1891 to 1901. In fact, European diseases 
such as small- pox, measles, and tuberculosis are said to have been 
more deadly to native populations across the country than Indian-white 
warfare was.

2) But Erdrich's work moves beyond documen- tation. Such 
historical "facts" do not fully ac- knowledge the horror of 
depopulation and genocide, a horror that is marked in the opening 
passage by the shift from "we" (the people) in the first paragraph to 
"I" (the only surviving witness) in the last. The problem of relating 
the past in the form of history is further addressed in that passage 
when Nanapush instructs Lulu on the limits of his own narrative: "My 
girl, I saw the passing of times you will never know." 

3) Without denying the referentiality or importance of his 
historical narrative, Nanapush acknowl- edges that the real (or "what 
really happened") is that which Lulu "will never know" in other words, 
the complexity of the past exceeds his (and anyone else's) ability to 
re-present it fully.11 Nonetheless, Nanapush insists on telling this 
history to Lulu, for only by creating his own narrative can he empower 
her.

4) The question of power and empowerment is central: Erdrich's 
novel focuses not only on the limits of documentary history but also 
on its politics. "Documents originate among the pow- erful ones, the 
conquerors," writes Simone Weil, a French Jew exiled to London during 
World War II. "History, therefore, is nothing but a compilation of the 
depositions made by assassins with respect to their victims and 
themselves" (224-25). Indeed, a documentary history of Na- tive 
America would necessarily be based on treaties, legislative acts, and 
other documents written or commissioned in the name of the United 
States government and subsequently (ab)used to take land from 
indigenous peoples. 12 The history of treaty making and treaty 
breaking with Native Americans demonstrates that such documents are 
not autonomous, objective, or transparent statements but texts open to 
inter- pretation by whoever is in power. Since traditional written 
history, based on documents, is another kind of violence inflicted on 
oppressed peoples, Tracks features oral history.

5) The opening of the novel uses oral story- telling markers: the 
narrator does not name himself, as he would not in a traditional 
face-to- face storytelling situation, nor is the addressee named 
except to designate her relationship to the narrator ("Granddaughter"); 
the last two para- graphs quoted above contain a rhetorical pattern 
typically associated with orality, repetition with variations ("I 
guided," "I saw," "I trapped"). Other oral markers signify Erdrich's 
rejection of the language of documents: Nanapush refers to "the 
spotted sickness," not to smallpox or mea- sles; he uses traditional 
oral tribal names (Nadouissioux, Anishinabe) rather than angli- cized 
textual ones (Sioux, Chippewa); he speaks of "a storm of government 
papers" instead of naming specific documents affecting the tribe. The 
turn to oral history in Tracks signals the need for indigenous peoples 
to tell their own stories and their own histories

6But the evocation of the oral in a written text implicates this 
counterhistory in the historical narrative that it seeks to displace. 
Tracks renders a history of Anishinabe dispossession that moves within 
and against an academic account of this history. Indeed, the need to 
know history as it is constructed both orally and textually is 
indicated by the contextual phrases that begin each chap- ter: first a 
date, including the designation of season(s) and year(s), then a 
phrase in Anishinabe followed by an English translation. This 
information establishes two competing and con- tradictory frames of 
reference: one associated with orality, a seasonal or cyclic approach 
to history, a precontact culture; the other linked with textuality, a 
linear or progressive approach to history, a postcontact culture. 
Erdrich creates a history of dispossession that moves between these 
frames, that is enmeshed in the academic narrative of dates and of 
causes and effects concerning the loss of land. Indeed, only by 
knowing this narrative can the reader attach any significance to the 
fact that chapter 1 begins in 1912.

1С˵һ־е߸ ԺԵʷ 
ʲĹǶ ٷʷ, ʷ¼ٳ ʷ
İ , ν ʷ  Ĵչʾ˿ 

2벻ֻǳ ʷ¼ ʵ ,  
ǿȨʶΪʷ ʵ ʡ˲Ҿ 徵Ѫȿֲɱ
ӶᡣС˵ һβõһ˳Ƹʽ ǡ (), һ
һ˳ ҡ (Ψһ Ҵ)β, ǿƽֲ֮ʲ 
¶¶Ĺʷķʽ , ӳ»ľԺʷʵ
ì : ҵĺ , ĿõʷǨ  ʱۣԶҲ޷
ġ

3ʲһʷָͱҪ , ͬʱָ 
(С˵е), ʷʵ (ʵʷ)¶¶ ԶҲ޷ġ 
֮ , ʷĸԳ (κ)ֵ 
(representability), ʲβظ¶¶¡ ˵ʷ, 
ΪֻйԼʹʷȨ

4ȨȨС˵ĺ⡣   ʾʷľ
, ʾ ʷеȡȨʷʶ
ı, ǹѹߵĹߡĹٷʷֻһϵ
ΪӶضƶԼ ɺ͹ġ , 
ǩԼΥԼʷ֤ , Щ޷Բ˵ , ʷǿ͹۳
 , ɵȨ͵ıʷΪʷ 
ѹȵ˵ھǿ  ֮, С˵ÿʷ
֮  

5ƷԵĿ:ûн ߺͱ () , 
ֻǰʾ ˵Ĺϵ (Ů)һ ޴ֶҲǿ
߳ʹõ, űȺ͸ (ָӡ , Ŀá , Ҳ) 
 ʱʷϰ ʹõԼ:ʲ
컨Ϊ ߲ (spotted sickness);ʹÿﻯĲ  
(Nadouissioux , Anishinabe), Ӣﻯ  ıָ (Siux , 
Chippewa);ı ǵصġ , ָ


6ߵԢʮ:ӡڰӦ ķʽĹº
ʷ С˵ (дı)вÿΪ˵ʷ   Ȩ   , 
 һ    ʷ (Counterhistory)ʷʷͬҪ   
 дʩɱȲ䱻ݲеʷڵ ⹹ʷĹٷı
С˵ĸ½ ضڿʼ, ں , Ȼ ʩɱȲ
Ա , Ӣķ  Ȼ, ߿໥ì  ໥ͻ
 ﾳָ :һ   Ȼ ()¼ʷķ, 
ͻ ǰԭʼĻ;һı     ʱ˳
¼ʷ, ֳĻ С˵ӡڰ䱻Ӷ  ѹȵʷ
֯ ʷﾳ֮, ֻĶ ֮ŻС˵ͷ 
(1912 ) ¼ʷ


½Ӣԭݽи򻯣ɾԭݡ

1: £79ҳдӢ986-987ҳݣμ
߲֡

The academic historical narrative that Erdrich uses and resists 
typically begins with the reser- vation period: the United States 
government initially disrupted tribal ways of life by estab- lishing 
reservations so that the tribes were confined within strict boundaries 
while white settlers claimed more territory.13 Then the Dawes 
Allotment Act of 1887 codified a turn in government policy, making it 
relatively easy to divide up land formerly held communally on 
reservations and to allot it to individual Indi- ans.14 The point of 
allotment was to convert tribes such as the Chippewa from a communal 
hunting and gathering organization to a capital- istic, 
individualistic agricultural economy. The allotted tracts were to be 
held in trust for twenty- five years (according to the original plan), 
during which time the owners would be encouraged to profit from the 
lands (by farming, selling timber rights, and so on) but would not be 
required to pay property taxes. The goal was to use the trust period 
to assimilate the Indians into the "white man's" way of life so that 
they would become productive capitalists, capable of assuming the 
responsibilities of landholding-such as paying taxes-without further 
governmental interven- tion. But in 1906 Congress passed the Burke Act, 
which allowed the commissioner of Indian affairs to shorten the 
twenty-five-year trust period for "competent" Indians. Under this act, 
those deemed competent were issued a fee patent rather than a trust 
patent; they could therefore sell or lease-or lose-their allotments. 
Then in a 1917 "Declaration of Policy," Commissioner of Indian Affairs 
Cato Sells announced that all Indians with more than one-half white 
blood would be defined as competent and thus would be made United 
States citizens and that they would be granted fee patents for their 
allotments. Although the professed original intent of allot- ment was 
to maintain Indian land ownership, the policy had the opposite effect: 
"before allotment 139 million acres were held in trust for Indians. In 
1934 when allotment was officially repealed, only 48 million acres of 
land were left and many Indians were without land" (Schneider 85). 
Some Indians lost their allotments because they could not pay the 
taxes after the trust period ended; others were conned into selling 
their allotments at prices well below the land's value; still others 
used their allotments as security to buy goods on credit or to get 
loans and then lost the land after failing to repay the debts.15 By 
opening in 1912 and proceeding through the disastrous consequences of 
Sells's 1917 declaration, Tracks dramatizes the tenuousness of land 
tenure for Native Americans. Although Nanapush tells Father Damien, "I 
know about law. I know that 'trust' means they can't tax our parcels" 
(174), the map Father Damien brings along-with its seemingly innocuous 
little squares of pink, green, yellow-shows that the agent's office is 
busy calculating who will be unable to pay. As Fleur, Nanapush, Eli, 
Nector, and Margaret work to raise money to pay their taxes, native 
traditions are forced into a new economic context: the 
Pillager-Kashpaw family gathers and sells cranberry bark, just as 
Turtle Mountain women sold herbs and roots to raise money, while Eli 
traps and sells hides, activities that Turtle Mountain men had to 
engage in (Murray 16, 29). These efforts raise just enough money. But 
when Margaret and Nector go to pay the taxes, they are told that they 
have enough only to pay the taxes on their own tract. No doubt Fleur's 
land is too valuable to be left to Indian ownership; the lumber is 
worth too much for the encroaching capitalists to leave it unhar- 
vested. As Nanapush recognizes, the late-pay- ment fine levied by the 
agent is probably illegal, yet greed and desire divide the Anishinabeg, 
turning some, such as Bernadette Morrissey and Edgar Pukwan Junior, 
into "government Indi- ans," while prompting others-Margaret and 
Nector-to look out for themselves at the ex- pense of communal values. 
Erdrich's novel takes up (corresponds to) a turning point in the 
history of Anglo-Indian land conflicts. But the absence of names for 
the dates, acts, and other specifics attached to this kind of history 
displaces this narrative, even as it is invoked. That is, the tension 
and conflict at the heart of Tracks come into focus only when readers 
have some knowledge of the Dawes Allotment Act of 1887, but the text 
does not refer to the act directly.16 The documentary history of 
dispossession that the novel uses and resists functions as an absent 
presence; the text acknowl- edges the way in which this historical 
script has impinged on the Anishinabeg but opposes allow- ing this 
history to function as the only story that can be told. Moreover, by 
refusing to participate in such documentation, Erdrich's novel 
refocuses atten- tion on the emotional and cultural repercussions that 
the loss of land entails. In one of the final events of the novel, the 
trees on Fleur's tract are razed. Fleur does not communicate the 
trauma of this event; she is not a narrator in the novel, though she 
is a central character (perhaps the central character). Instead, the 
razing of the trees accrues import through its link to two earlier 
episodes: Fleur's rape by the butchermen of Argus, North Dakota, after 
her victory at poker and Margaret's "rape" by Clarence Morrissey and 
Boy Lazarre, who shave her head out of vengeance. In all three 
incidents, a nexus of forces-capitalism, sexism, violence-causes ir- 
reparable loss. Fleur has ways to redress these wrongs: she causes the 
tornado in Argus that maims and kills the butchermen, she reduces Boy 
Lazarre's speech to babbling because of his voyeurism, and she asks 
the manitou of Matchi- manito Lake to drown men who cross her. But her 
powers cannot ward off the whites and government Indians greedy for 
land, money, and power. The novel portrays Fleur's loss in this 
sociocultural war as tragic: it is because tradi- tional Anishinabeg 
like Fleur and Nanapush are dispossessed and because Native American 
clans and tribes are consequently fragmented that the tracks of Native 
American history and culture are so difficult to discern. At the end 
of the novel Fleur is said to walk "without leaving tracks," a 
foreboding development since she is described by Pauline as "the 
hinge" between the Chippewa people and their manitous and by Nanapush 
as "the funnel of our history" (215, 139, 178). And yet, Fleur's 
disappearance and tracklessness at the end of the novel function as a 
present absence -her absence becomes a haunting presence in the 
narrative,17 signifying the need for a recon- ceptualization of history, 
for a new historicity that both refers to the past and makes a space 
for what can never be known of it.

С˵зâǶʷָ  ӡڰʱڡ 
ѹʵ ʷѧҶ, ʱ 1867 
 1887  һʱ,  ӡڰ˱Сͬı 
 ӡڰĻ ء 20 , һ
ǿԱ ĹͿ , ӡڰ˵ , ð˶߻
øءѹӡ ˷ͬʱ , ӽ̨һϵͬӡ ڰ
 ()Ĵʩ , Ա  ε˺Ϯ߸Ϊ
,  طĺˡ   1887 ̨ ˹ 
־ӡڰ ת䡣  涨ɢзʵӡ 
, طĳԱ  ӵ 25 йȨ , й
 ,  Ȩƽ˲ʸ , ʣµı
ӡڰ˶߿  ˹ ʹԷָԭӡڰ
 ءӡڰ˵ , ʵʩζ  ⻯֮ 
 ׼   ˹ ڰ֥ Ϊ
Ĳʱ˽ũҵ ù , ӡڰͬΪطĹ
  , ûӡڰ˴ô  , طƶʵʩ , 
̰İ˽һȡ ӡڰ˵ 1906 , ͨ   
(Burke Act), ȨӡڰίԱ ϯ̶ ӡڰˡ 涨 
25   1917  , ίԱϯС˹ ԡ а
ж֮һӡڰѪͳ ӡڰΪ  (competent) ʸ 
Ϊˡ ˹ ȷ طƶΪάӡ
ڰ˵ Ȩ, ɽǡǡ෴ڡ˹䲼ǰ1.39 ڹ
ӡڰС1934꣬ط䷨ʽȡʱֻ
ʣ4800أӡڰɥʧأʧ޼ҿɹ顣
11йڹ֧ص˰ʧȥ˷ֵõأͼ۳
أûϣС˵ʷʮҪ 
¿ ʼ1912  , еѾ  ԡ ֮Ƶ
¡С˵Ϸ绯 дӡڰطѹ֮ ʵ
 ʲͨ , Ϊӡڰ˱ߺ, Ȼ 
 ׶ ʲ    ο  Ϊ ˰ƣڱ, 
ĻҲòת һͳľģʽ ׶ҵӵзḻ ɭ
Դ, ʱǴ  ˰Ҳʹֻ, Աе
  ɡ , е , غο,  Ļ, ı
· ۼ ӡڰ سͻʷϵһҪת
ʱ, Ʒûֱἰ˹һʷ¼ʡԾ
ָν¼ʱ 䡢صȣʷΪǱڵıӡ֤ӡ
ڰĻڹٷʷ̿еȱϯ 

2: µĲ֡ʷ¡79-90ҳӢĵ
History as Story988ҳڴͬ˼·֤һ£
μ»߲֡

Tracks dramatizes the problematic nature of historical narrative, 
which cannot give voice to the (precontact) past directly-a notion 
figured in the character of Fleur-but which mediates that past in 
language and narrative. The novel works toward an understanding of 
history not as an objective narrative but as a story con- structed of 
personal and ideological interests. Arising from this insight is a 
vexing theoretical issue: if history is just a story, how is it 
possible (or is it possible at all) to discriminate between one 
account of the past and other accounts

The postmodern novel, which Hutcheon terms "historiographic 
metafiction," characteristically foregrounds the fictionality of 
history. E. L. Doctorow exemplifies this position in his essay This 
image of a Chippewa woman called Josephine is remarkable for the 
absence of historical detail sur- rounding it and her. Unlike the 
photo of Little Shell, this portrait is captioned only with her first 
name: no last name, birth date, or tribal affiliation is given; no 
date or place of the sitting is recorded. Like Fleur, she is a 
voiceless, enigmatic presence. (Courtesy of the Smithsonian Institution. 
National Anthropological Archives negative 434-C.) "False Documents," 
where he argues that there is no difference between history and fiction, 
that both are narratives constructing the only world that can be 
known.18 Erdrich's work resists absolute groundlessness or relativity 
by contrast- ing the two narrators who construct the story of Tracks. 
The second narrator-in addition to Nana- push-is Pauline, an orphaned 
young woman who is trying to make sense of the beginnings of sexual 
desire and her alienation from both the tribe and Anglo society. She 
eventually resolves this psychic tension by becoming a nun, but only 
after becoming pregnant, trying to force a mis- carriage, and then 
forgetting about the illegiti- mate baby after it is delivered. 
Ignoring her part-Chippewa ancestry, she declares herself to be 
"wholly white" in order to become a nun (137).19 Pauline's narrative 
voice reproduces a phenomenon Bell Hooks describes in Black Looks: 
"Too many red and black people live in a state of forgetfulness, 
embracing a colonized mind so that they can better assimilate into the 
white world" (191). Indeed, Pauline embraces Catholicism to repress 
her sexual desire and her connection to tribal culture; but the 
perverseness of this repression becomes apparent when she begins 
masochistically punishing herself for being unworthy. Because of 
different identities and allegiances, Nanapush and Pauline narrate 
contrasting inter- pretations of the historical moment that unfolds in 
Tracks. Nanapush's elegiac historical saga runs contrapuntally with 
Pauline's assimilation- ist version, which interprets the Anglo 
settling of America as progress. Whereas Nanapush sees the allotment 
policy and the concomitant con- version of the Anishinabeg from 
hunters and trappers to farmers as the cause of starvation, poverty, 
and land loss, Pauline suggests that "many old Chippewa did not know 
how to keep" -that is, to farm-their allotments and there- fore 
deserved to lose them. In addition, while Nanapush views the 
destruction of Anishinabe society and culture as tragic, Pauline sees 
it in terms of Christian millennialism

Although part Chippewa, Pauline justifies the maneuvers of 
Christian and governmental authorities to dispossess the people of 
their land and culture. By teaching at Saint Catherine's, Pauline 
becomes one of the agents that blind and deafen children to their 
native culture and lan- guage. In contrast, Nanapush rescues Lulu from 
boarding school and its inevitable racism. This difference in 
perspective is also reflected in Pauline's eagerness to be renamed and 
reborn as Leopolda-a name given to her by white Chris- tian 
authorities-in contrast to Nanapush's re- fusal to reveal his name to 
those authorities. Pauline recognizes that indoctrination into white 
culture is a kind of mutilation-her students will be "blinded" and 
"deafened" as she herself has been-but she sees this development as 
inevita- ble. The white Christian capitalists will win the 
cultural-epistemological war, in Pauline's view, and she will side 
with the victor.

ۼ ʾʷʵ: ʷֲǿ͹۵, 
ǲ ʶ̬ȨȡĹ, ô , ʷʵ Ժ ? 
ֲͬĹ?

ѧۼմ٣Linda HutcheonΪִС˵ĺ
metanarrativeͨ͹ʷ鹹ԡС˵λߣʲ
ͱPaulineӡ 79 ֳﾳµѧ ĺ
, Լᶼ  ھ˰̥ۡ 
 ú󣬱Ҫ֥ǲĻһ  Ϊǲѹ, 
 ,  ʷ֮ ݺĲ , ʲ
ͱͬһʷ¼ĳͽ γɷ ʲһʷ, 
 һͬ˵Ĺ : Ӷӡڰصо
Ϊʷ  ʲΪ, ӡڰ˴ ũ
طǵӡڰ ƶ ʧĸԭ,  
Ϊӡڰ˾ȡ, ǲ    ֪ ʲ
ΪӡڰĻ ǱԵ, ΪӦ , ǻ
ĽΪ ӡڰ  ݲӡڰĻо 
ʥɪνڼ, ޼ɵڮ ӡڰĻԡð˽̻
Ϊ, Ϊն, ̥,  ˡ֪ͬɱ
Ϊ, ȴΪⲻ ת Ű˻ʱǻӮⳡ ս, 
Ҫվʤһ 

ġʹõĺܶƷԭģӢвõԭȫ
ͬ

177-78ҳò֣Ӣ984-985ҳС˵
ȫһ¡μ»߲֡

We started dying before the snow, and like the snow, we continued 
to fall. It was surprising there were so many of us left to die. For 
those who survived the spotted sickness from the south, our long fight 
west to Nadouissioux land where we signed the treaty, and then a wind 
from the east, bringing exile in a storm of government papers, what 
descended from the north in 1912 seemed impossible. By then, we 
thought disaster must surely have spent its force, that disease must 
have claimed all of the Anishinabe that the earth could hold and bury. 
But the earth is limitless and so is luck and so were our people once. 
Granddaughter, you are the child of the invisible, the ones who 
disappeared when, along with the first bitter punishments of early 
winter, a new sickness swept down. The consumption, it was called by 
young Father Damien, who came in that year to replace the priest who 
succumbed to the same devastation as his flock. This disease was 
different from the pox and fever, for it came on slow. The outcome, 
however, was just as certain. Whole families of your relatives lay ill 
and helpless in its breath. On the reservation, where we were forced 
close together, the clans dwindled. Our tribe unraveled like a coarse 
rope, frayed at either end as the old and new among us were taken. My 
own family was wiped out one by one, leaving only Nanapush. And after, 
although I had lived no more than fifty winters, I was consid- ered an 
old man. I'd seen enough to be one. In the years I'd passed, I saw 
more change than in a hundred upon a hundred before. My girl, I saw 
the passing of times you will never know. I guided the last buffalo 
hunt. I saw the last bear shot. I trapped the last beaver with a pelt 
of more than two years' growth. I spoke aloud the words of 984 This 
content downloaded from 61.175.228.207 on Fri, 30 Sep 2016 01:43:46 
UTC All use subject to http://about.jstor.org/terms NancyJ. Peterson 
the government treaty, and refused to sign the settlement papers that 
would take away our woods and lake. I axed the last birch that was 
older than I, and I saved the last Pillage

ѩ֮ , ǲ˿ʼ ȥ , ׷ѩƬ , 
 Ϣ䡢 ʧȻô˴ ȥȴ, ǲ
˼ ս ʤϷ컨, ǿػ ,  ǩԼ
ɶ ,  콵 , Ӷһ籩 ,  ǵص
   , Ƶ޼ҿ  , 硣 ͬ޲֮ءǺ
첻 Ӧ , еز, ˻, Ը  ʩɱȵĴ (Anishinabe)
   Ȼ, ǹ޵, ǵ  , ǵҲ
֮ϢϢء , ֮ĺ, ǰϺ  п
̷Ͳħ޺֮, ׷ 뿪 Ű , ȫ  , 
಻, ʣµ˲òڱ  , ԽԽ, ǵĲһ 
õ, ᧿Σ, һһ ħɡǵļ˲඼
  , ֻʣʲһ ,  Ȼ, ѾǴ
ĺ ˡұ˪ , ̬, Ҳ 77 ֳﾳµ
ѧ ֱˡһ , Ҷ Ŀõʷʱȱ
ǧ Ҫࡣ ҵĺ, ĿõʷǨ ʱ , 
ԶҲ޷ġ ʱ, ҵĲָ һˮţԡ
Ŀǹ һֻغ ҲҲ˴ ԭһֻ
ɽꡣƽԼ ¡ܾǩ ЩӶ
ǵɭֺͺļͺ ͬҲøͷһñҵ 仹
Ҫİ , ðΣ һλƤĺ

280ҳεãӢ989ҳȫͬ

[O]nce the bureaucrats sink their barbed pens into the lives of 
Indians, the paper starts flying, a blizzard of legal forms, a waste 
of ink by the gallon, a correspondence to which there is no end or 
reason. That's when I began to see what we were becoming, and the 
years have borne me out: a tribe of file cabinets and triplicates, a 
tribe of single-space docu- ments, directives, policy. A tribe of 
pressed trees. A tribe of chicken-scratch that can be scattered by a 
wind, ind, diminished to ashes by one struck match.

Űĸֱʴ̽ӡڰļ  , ǵصķɹġ 
޾   ī֭ûǵ  ǵصļ, 
Լ , ʱ֤ʵҵԤ:ʵҲ̶    
Ѿһڵ Ĳ, һ  ɹĺ 
ѹȵýϢĲ , һɭ ⿳ мҲܹĲ, һ 
һ ֮ɸ֮һĲ 

(XYS20170712)

˿(www.xys.org)(xys9.dxiong.com)(xys.ebookdiy.com)(fangzhouzi.me)

ѧѧͳѧԺԺ´һͶ

ѧѧͳѧԺԺԺѧѧλίԱ´
ƪһͶ

[1] https://doi.org/10.1016/S0893-9659(99)00150-0

[2] https://doi.org/10.1006/jmaa.2000.7216

[3] https://doi.org/10.1016/j.nonrwa.2006.10.005

[4] https://doi.org/10.1016/j.nonrwa.2007.03.016

У[1][2] оȫͬ⣬õͬĽڶ1.2
Ͷ1.2,ֻ[2]в˶1.3ժҪȫͬ

[3][4]һ򵥵ı任U=u^{k_1} and V=v^{k_2}ƪ
оõĽȫһ¡[3]2005110Ͷ壬
[4]2006625Ͷ壬ҷͬ־Ȼ[4]δ[3]
ǲʵġ´Ϊ[3][4]Ĺͬߣˣ
´Ժһ෢ԡ

(XYS20170712)

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һλһٴҽҩԸ

ߣǷ

˴ҽְҵ꣬ÿĹǸθΣ֢
ƼЩУƵġ

ԺͲԡĿǰڼдСҽԺڲԻ
ѡĿڷҩٻƿڷҺҲмͯҽԺƵνЧҩ˻ƿ
߳ɷʵͬڷЩ˻ҩ󾭳ֺܶ಻Ӧ
Ż¡кϡȡŻЩҩθ̼ӦȽϴͬ
ʱŻҲ֭βϢķաкʹˮּʶʧ
࣬ˮݿ˼ҵķա

깤УұڳʱڷٻƵµҩ
Ը𺦡ǰһڻϸߣڼпڷٻƿڷ
Һ˻ʮ죬δҽԺסԺơԺιʾת
øߣΪֵһ屶һؼų˸ϵмTORCH
Ⱦôʲôԭ˻תøߣΨһĽ;ٻƿ
ҺٻƿڷҺеĳɷ¡ӡˡϱ
Ǵȷĸ඾ԵģûڷٻƿڷҺʮ죬ٻеĻ
µҩԸ𺦡

һƵĻڼпڷٻƿڷҺ˻
ܣδҽԺסԺơԺιתøߣ
أĽٻеĻˡûԺͣʹٻƣ
ٴθιܣתøӽֵ
ء

ڸϵͳٱȽϽۣԴڷ׶ΣҩȽУ
ǸòгҩϽڵӤĸι˳油
άAD⣬ǲҪˮģʱڷгҩҲ
ˡ

ĿǰҽԺҽӤ׶Ӧгҩʹ
ҩעҺɴ˵µ¼żʡÿһ𱯾¼
ҩ£ȫԱġӤ׶һʱڣȫҩֵ
ÿһ˹ע

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غϼ1762017.6.26-30

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Brandonwang? @Brandonwang1970
Replying to @fangshimin
ν˵˵£Ҳˡ⣿Ҫ

?Verified account @fangshimin  Jun 29

 Retweeted Brandonwang
ɶ˼йÿҽȴ˵ͷϣйҽ
ôˣֽԴˡ

?Verified account @fangshimin  Jun 28

 һhttp://mp.weixin.qq.com/s/Do3w4Q1vwwxb0wub8Edm6w 

?Verified account @fangshimin  Jun 28

 ջҵ2009꡶ʱܿﱻԼαġʱ
ܿҪ䳷¡洨ơʱܿ

https://pbs.twimg.com/media/DDdeJY-UMAEbgQ6.jpg
https://pbs.twimg.com/media/DDdeJYGV0AEdAMP.jpg
https://pbs.twimg.com/media/DDdeJZHVwAMVa6I.jpg
https://pbs.twimg.com/media/DDdeJY-UMAIuQnz.jpg

?Verified account @fangshimin  Jun 28

 Ըй궼ֻߣԱĻµ
£ܷķһȣһֹ⣬өһ㣬Ҳںڰ﷢
һ⣬صȺ𡣴˺羹ûоұΨһĹ⡣   ³Ѹ

?Verified account @fangshimin  Jun 28

 ˼ű⣬ĺûǸζˣαʱ־
յ¡չ°ûжԴղŷĶȡ
жýǡšȴýΪ٣
ϲ˾αһʲô̬
https://pbs.twimg.com/media/DDd6V4_UIAADqRD.jpg
https://pbs.twimg.com/media/DDd6V4_UIAEvdJM.jpg
https://pbs.twimg.com/media/DDd6V4_VoAI5FDu.jpg

?Verified account @fangshimin  Jun 28

 ɻ£һ궼һΣںչ˾ȴٴ
вȡԤʩ˶ٳɱڷɻ˻׬㻨
ǮǱһЦ
https://pbs.twimg.com/media/DDeCSyfUAAA4nj3.jpg

?Verified account @fangshimin  Jun 29

 ǲǺܺԼUCSFҽѧרҵǶѧ
https://pbs.twimg.com/media/DDeIUa9VoAA9nH_.jpg

?Verified account @fangshimin  Jun 29

 Ҽֵ¼128
https://pbs.twimg.com/media/DDh7Se0W0AI4sxI.jpg

ѳ? @ninglianjie
ѳ Retweeted 
ôĵ, һ.

?Verified account @fangshimin  Jun 29

 Retweeted ѳ
ûɶرɣóͷûƽʱָպáӰǣǮ


Eddie Cheng? @eddie__cheng
CNN λΪйءͨűȴְʼûģΪ
̫ëʧǰˡող֪һǵùŽ֡
ͷ

?Verified account @fangshimin  Jun 29

 Retweeted Eddie Cheng
˲ΪŴְģΪֻһϢԴ
CNNҪֻ˵CNNˡϸ񣬲Ǹ˹ɱȡȻ
ջץס£ΪͨȫǼšʵͨ
ذԻʢʱŦԼʱȡ

childe? @BobjobChilde
Replying to @fangshimin
ڶ˵ǸProject Veritasϵ͵Ƶйء

?Verified account @fangshimin  Jun 29

 Retweeted childe
վʹվ㣬Ǹ͵ĵCNNƬǽƵģͨ
űûκιϵôĹ˾ɶûУ͵ҲС

Eddie Cheng? @eddie__cheng
ŦԼʱԱʾ༭ٴģԱвһֱָŦ
ʱٲfailingŦʱǵĶġڲ
СЩӵĶߴ󲻻ݼǵı༭
˼ǣû˱༭Ŧʱ򵥵Ĵʶûƴдԡ
https://pbs.twimg.com/media/DDheCTAXcAA6AYD.jpg
https://pbs.twimg.com/media/DDheDRYXYAANOyJ.jpg

?Verified account @fangshimin  Jun 29

 Retweeted Eddie Cheng
ǡŦԼʱһǰͿʼĽṹҪѴͳֶ༭
copy editorsõһ룬򻯱༭򣬷չƵΪѲ
òԱԴȻǺ˵˵ʵŦԼʱĶȥѡ
ɶ϶ģԴޡ

Eddie Cheng? @eddie__cheng
Replying to @fangshimin
û˵û˵ûԼı༭߷
ʤʵǶϽͷˡ

?Verified account @fangshimin  Jun 29

 Retweeted Eddie Cheng
õĴյĻָŦԼʱ첻ȥˡӸṹì
ܡý嶼ٴͳλá˹ողõ20д
֡

Eddie Cheng? @eddie__cheng
˼10´ѡʱֶ17鱨һ϶Ƕ
֯˶ܲʷĹʱġfact checkerҲ϶
ʵһ17巢ŦԼʱȴһƪ֮·
˶˵ʵֻ4϶ѵŦʱ
https://pbs.twimg.com/media/DDh4ChFWAAAepQ0.jpg

?Verified account @fangshimin  Jun 29

 Retweeted Eddie Cheng
ʱǹȫ͹鱨ΰ칫Ҵ鱨ͬ塱Ϸ
鱨ͬ17ɣϣô˵յ׼ȷ
ˡʵеǹҰȫ֡鱨ֺ֡͹鱨
ΰ칫ĸǾŻ޹ؽҪ

?Verified account @fangshimin  Jun 29

 ԭΪйũˮֻȥԪʳƷվ̨
Ծӵ˵ƺҵҲзݡ
https://pbs.twimg.com/media/DDiY7_WV0AAF61j.jpg

?Verified account @fangshimin  Jun 29

 ҥߡҥ335תйĳЩط֡
΢乫ںŷˡˡѧҲһƪĳƴԪһ
޴Ĺ漯šѧҡĵϸ4ǰͽ¶ˡ
http://mp.weixin.qq.com/s/nBQQP2wnbDpYMYQsgIEJUw 

?Verified account @fangshimin  Jun 29

 ׼һתףBtף
RNAɱƻǿ׺өҶ׵׳档
https://pbs.twimg.com/media/DDjBEMkWAAQr-C_.jpg

chunyun Xu? @xuchunyun
Replying to @fangshimin
ôת֪Ͳ¾

?Verified account @fangshimin  Jun 30

 Retweeted
ôϲҥҥ֪Ͳ¾

? @DeYzjbhCiUcfJzJ
 Retweeted
ż ɽ˲ٰ?? 

?Verified account @fangshimin  Jul 2

 Retweeted
˳ΪչˣǰԼ˹ 

?Verified account @fangshimin  Jun 29

 ս糿MSNBCĿʱͻȻýĿһ
̡񡱡Ѫһǡ񲡡˵Ϧʱ
ܾ¼ʾǼˡ
https://pbs.twimg.com/media/DDjHf3bW0AI4yTD.jpg

?Verified account @fangshimin  Jun 29

 ФҥٰҵӪ˺ֱ˭ҥĨCNNCNN
Ϊһƪ籨δϵӣֻһϢԴΥڲ涨ˡ
˴ְͳˡ¼CNNƵƬ˸˽˵
ڴͨĿǰûƾʵݣͳˡĨڴͨ
https://pbs.twimg.com/media/DDjOae6XcAAD25u.jpg

?Verified account @fangshimin  Jun 30

 Ŀͨ򡷰ο롰潡ҡǿ顱У
ͬΪԹϵֺչʾͬĿɾ֪
ĸ⽨ʿģһӵ˵ʮǰ
https://pbs.twimg.com/media/DDnIk-_VYAAA4NG.jpg

ǿ˵İ? @HUANGZONGQIN
Replying to @fangshimin
⽨˼Ƿַ⽨ʸִҰʲôϵ

?Verified account @fangshimin  Jun 30

 Retweeted ǿ˵İ
ơ˼ǻɫʸʲôϵ

CorisPro? @CorisPro
Replying to @fangshimin
չʾοñ

?Verified account @fangshimin  Jun 30

 Retweeted CorisPro
ʲôĽԴŻΪָǡչʾοûС
ΪǲǾͿչʾġΪ

chencbin? @chencbin
Replying to @fangshimin
ͬԹϵһΥȻľǷġ̲ͬĴ
Уͥ°ַܻ֧ͬỷ

?Verified account @fangshimin  Jun 30

 Retweeted chencbin
ӹŴԽֻҪСʱŻᷢΪ
ΥȻġġ̲ĽйأͬԻĽ
Ϊͬ

Derek? @Derek_Shenzhen
Replying to @fangshimin
иѧ̷ڳ֮УûвԷֳ
ΪĿĵΪأ

?Verified account @fangshimin  Jul 1

 Retweeted Derek
УǰΪΪͽ⡢ϵֶΣġҪ
Ҫս

һζ? @doyiwei
Replying to @fangshimin @wenyunchao
ǹٷļɣһɽկЭᷢ

?Verified account @fangshimin  Jul 1

 Retweeted һζ
ǿɲɽկЭᣬйΨһĹҼҵ֯Ա
ӡ㡢»ѶٶȡſᡢѺ600һ

?Verified account @fangshimin  Jun 30

 ³ѸϾɵĵӣһһʱǶӦóģģ
ˣһʱȻ֪ϵӲٳǣһ
ΪĵǣȴΪ壬רͼԼıĸ
ꡣǣԼϵӹȻ꣬ȴѱˡ

?Verified account @fangshimin  Jun 30

 ǰﾯ̥пܸȾʵ
ı棬ոиԼ̥ĽҺ󣬵ӤȾ

https://t.co/2IcnAkYWdO

?Verified account @fangshimin  Jun 30

 շMSNBCŮȥϦʱƤѪ
˸˵ƬúõġǰһŮˡ
ĳѪ¿ȤΪʲôôŮ˵Ѫ 
https://www.theatlantic.com/entertainment/archive/2017/06/mika-brzezinski-and-donald-trumps-penchant-for-blood-feuds/532185/ 
https://pbs.twimg.com/media/DDnezHZU0AEuTNY.jpg

?Verified account @fangshimin  Jun 30

 Ρ͡
http://mp.weixin.qq.com/s/r8RVYm82Wlpmv4cEd2qN6Q 

?Verified account @fangshimin  Jun 30

 ֹżߺͼվδλͬ˽Կչ֪ʲô˼
ְָΪûͬȻûְָΪҲ뾭λ
ͬ⣿磬ǰӼߡ֡¾Ƶߡ־
ҥ̰ҡթƭΪҲҪ¾쵼
https://pbs.twimg.com/media/DDn34u6U0AA8Pb4.jpg

?Verified account @fangshimin  Jun 30

 ۱Ȼᡰ˺Ž̹ڽ̸飬ƻŽ̹ͲŽ̹Žᡱ
Ҳֻ̲ڽ̣йڽ̹𣿡ɿƻ
ߣڽ̿ȣΣڽ̺˺Ž̹ڽ̸飬ƻŽ̹
ͲŽ̹Žᣬа̡ŵġ
https://pbs.twimg.com/media/DDoPsCDV0AE9Be4.jpg

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