近年来，中国文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网（CCTSS）联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。

　　此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。

　　欧阳江河，男，原名江河。1956年生于四川省泸州市，祖籍河北。中国作家协会会员。现为北京师范大学文学院教授。1979年开始发表诗歌作品。多次应邀赴美国、德国、英国等国的二十余所大学及多个文学基金会讲学，朗诵诗歌，访问写作。著有诗集《透过词语的玻璃》《谁去谁留》等。代表作有《悬棺》《玻璃工厂》《傍晚穿过广场》《凤凰》等。华语文学传媒大奖2010年度诗人。有部分作品被翻译为英语、德语、法语、西班牙语、俄语、意大利语等十多种语言。

　　欧阳江河善于在诗歌中运用汉语言，通过词语本身和词语组合的力量开拓了汉语言的表现张力。他的诗歌表现出强烈有力的戏剧性冲突，构成了厚重的寓言般的诗中世界。“他不但能够用哲学与思辨的方式来处理当代文化与历史的重大命题，而且能够运用具有巨大时代与文化载力的符号，来使这种处理形象化，并同时呈现出思考于其中的复杂而睿智的诗人主体的形象，从而使之上升为一种时代与精神的元命题。”评论家张清华对他的评论非常准确。“出色的智性始终是欧阳江河最闪光的素质，他绵延的语势和滔滔雄辩的语感令人着迷。在‘后朦胧诗’时代，他的文本具有无可替代的意义。” 

　　《玻璃工厂》的思辨性极高，触及到了异化的主题和“看”与“被看”的权力关系。诗人以具有透明特征的玻璃为“看”和“被看”发生可能的基础和媒介，运用着它在权力运作中的监视作用。当然，本诗的意义并不只在于工人群体，而是蕴含了诗人更复杂深刻的思辨。深层的思想通过诗中直观日常的意象传达，诗人得心应手得运用意象群，搭建出了象征性结构。《傍晚穿过广场》探讨了个体精神在同质化世界中保持独特的可能性。诗的题目有其潜在含义，“傍晚”暗示了时间和死亡原型，“穿过”意味着人置身于制度语境的方式以及对待政治的冷漠态度，“广场”则包含了各种各样的公共生活的面相。诗中的“我”不像人群一样乘车离开，也不像少数人一样倒下，而是在痛悼，在批判，“我不知道还要在夕光中走出多远/才能停住脚步？/还要在夕光中眺望多久才能/闭上眼睛？”欧阳江河的长诗《凤凰》单行本于2012年10月出版。诗人写作这首诗的灵感来源于艺术家徐冰的大型装置艺术品“凤凰”，它由12吨工业废材料搭建而成。艺术品和诗之间形成了一种对话和共生的关系，在原初艺术品的基础上，诗人构建了一种全景式的形态，包含了当下全球化后工业时代的繁复图景，反思了新世纪人类的生存境遇。

　　欧阳江河

　　Ouyang Jianghe

　　Ouyang Jianghe， formerly known as Jiang He， was born in 1956 in Luzhou City， Sichuan Province， and his ancestral home is in Hebei. He is a member of the China Writers Association and is currently a professor at the College of Literature， Beijing Normal University. In 1979， he began to publish poetry works. He has been invited to lecture in more than 20 universities and literary foundations in the United States， Germany， Britain and other countries to recite poetry and visit writing. He has written the poetry collections， The Glass Through Words， Who Goes Who Stays， and so on. His representative works include The Hanging Coffin， Glass Factory， Passing Through the Square at Dusk and Phoenix. He is the Chinese Literature Media Awards Poet of the Year in 2010. Some of his works have been translated into more than a dozen languages including English， German， French， Spanish， Russian and Italian.

　　Ouyang Jianghe is good at using Chinese language in poetry， and has developed the tension of Chinese language through the power of the words themselves and the combinations of words. His poetry shows a powerful and dramatic conflict that constitutes a thick and fable-like world of poetry. “Not only is he able to handle the major propositions of contemporary culture and history in a philosophical and analytical way， but also use symbols with great historical and cultural weight to symbolize this process and present the complexities of thinking in it. The image of the wise man’s subject， which makes it rise to a meta-proposition of the times and spirits.” Commentator Zhang Qinghua’s comments on him are very accurate. “Excellent wisdom has always been the most shining quality of Ouyang Jianghe. His long-lasting tone and eloquent sense of language are fascinating. In the era of ‘post-obscure poetry’， his texts have irreplaceable significance.”

　　The analytical nature of Glass Factory is extremely high， touching on the theme of alienation and the power relationship between “seeing” and “being seen”. The poet uses transparent glass as the basis and medium for “seeing” and “being seen”， and uses its monitoring role in the operation of power. Of course， the significance of this poem is not only in workers groups， but contains the more complicated and profound analysis of the poet. The deep thoughts are conveyed through the intuitive daily imagery of the poems， and the poet is able to use the imagery group to create a symbolic structure.

　　Passing Through the Square at Dusk explores the possibility that the individual spirit will remain unique in a homogenous world. The title of the poem has its own hidden meaning. “Dusk” hints at the original form of time and death， while “passing through” implies the way people are placed in the institutional context and the attitude of indifference when dealing with politics and “the square” includes the various faces of public life. The “I” in the poem does not leave on a bus like a crowd of people， nor does it fall down like a few people， it is bitter and criticizing， “I don’t know how much further I have to go out in the evening light / before I can stop. / How much longer do I have to look down in the evening light / before I can close my eyes？”

　　The separate edition of Ouyang Jianghe’s long poem Phoenix was published in October 2012. The poet wrote this poem inspired by the artist Xu Bing’s large installation art Phoenix， which was built from 12 tons of industrial waste materials. The art and poetry form a dialectic and symbiotic relationship together. On the basis of the original art， the poet constructs a panoramic form， including a complex picture of the current post-industrial globalization era， reflecting on the living conditions of human beings in the new century.