上海机器织布局俗称“老洋布局”，是近代中国最早的官督商办机器棉纺织企业。早在光绪二年（1876），李鸿章便曾派魏纶先出面筹办织布事宜，但魏无法筹集资金，所以该计划未能实现。光绪四年九月初十日，四川候补道彭汝琮呈请北洋大臣李鸿章、南洋大臣沈葆桢奏准设立上海机器织布局。几经变动，光绪六年（1880），确定由戴恒、龚寿图、郑观应、经元善等人负责筹办，郑观应任总办，开办资金五十万两，全套机器从英、美购置，拥有纱绽三万五千枚，布机五百三十台，雇工多时约四千人。光绪十三年（1887），李鸿章复派龚寿图接办。直到光绪十六年（1890）才建成投产。营业兴旺，纺纱的利润尤高。光绪十九年（1893）夏，李鸿章决定扩充纺纱，向英国增订机器。九月初十日，织布局清花间失火，全厂付之一炬。十月，李鸿章派盛宣怀会同上海海关道聂缉椝负责恢复织布局，招募新股一百万两，在织布局旧址设厂，取名“华盛纺织总厂”。

上海机器织布局俗称“老洋布局”，是近代中国最早的官督商办机器棉纺织企业。早在光绪二年（1876），李鸿章便曾派魏纶先出面筹办织布事宜，但魏无法筹集资金，所以该计划未能实现。光绪四年九月初十日，四川候补道彭汝琮呈请北洋大臣李鸿章、南洋大臣沈葆桢奏准设立上海机器织布局。几经变动，光绪六年（1880），确定由戴恒、龚寿图、郑观应、经元善等人负责筹办，郑观应任总办，开办资金五十万两，全套机器从英、美购置，拥有纱绽三万五千枚，布机五百三十台，雇工多时约四千人。光绪十三年（1887），李鸿章复派龚寿图接办。直到光绪十六年（1890）才建成投产。营业兴旺，纺纱的利润尤高。光绪十九年（1893）夏，李鸿章决定扩充纺纱，向英国增订机器。九月初十日，织布局清花间失火，全厂付之一炬。十月，李鸿章派盛宣怀会同上海海关道聂缉椝负责恢复织布局，招募新股一百万两，在织布局旧址设厂，取名“华盛纺织总厂”。

中国历代封建王朝的末年，不堪战乱的普通百姓和权力失落的前朝贵族纷纷移居海外。由于地缘上的毗邻关系，东南亚成为中国移民的迁徙地和避难所。因此这种迁徙历史上称为“下南洋”。 　　走西口是“中国近代史上最著名的三次人口迁徙”之一，从明朝中期至民国初年四百余年的历史长河中，无数山西人背井离乡，打通了中原腹地与蒙古草原的经济和文化通道，带动了北部地区的繁荣和发展。 　　民间所说的“走西口”中的“西口”就是山西省朔州市右玉县杀虎口。走出这个西口，就到了昔日由山西人包揽经商天下的归化与绥远（统称归绥）、库伦和多伦、乌里雅苏台和科布多及新疆等地区。“杀虎口”还是通往蒙古恰克图和俄罗斯等地经商的重要商道。 　　闯关东，是悲壮的历史，是一次移民壮举。存在特定的“闯关东”路线以及“闯关东”的特定背景。因此，闯关东是一种社会历史移民现象，有自发的客观因素，有内在的政治影响深度。“山东人闯关东实质上是贫苦农民在死亡线上自发的不可遏止的悲壮的谋求生存的运动。

三圣母和刘彦昌婚后生下儿子沉香，被压华山之下，刘彦昌又娶妻王桂英，生下儿子秋儿。沉香和秋儿在南学读书，因见告老太师秦燥的儿子宫保污辱老师，沉香失手将其打死。他们的父亲刘彦昌知道了此事，弟弟秋儿与沉香争着说自己是凶手，刘彦昌犹豫不决。他请出继室王桂英共同勘问。王桂英先袒护秋儿，遭到刘彦昌的责备。刘彦昌因思念前妻三圣母，不忍将沉香舍去，毅然送秋儿抵罪，秦燥怒将秋儿打死。

三圣母和刘彦昌婚后生下儿子沉香，被压华山之下，刘彦昌又娶妻王桂英，生下儿子秋儿。沉香和秋儿在南学读书，因见告老太师秦燥的儿子宫保污辱老师，沉香失手将其打死。他们的父亲刘彦昌知道了此事，弟弟秋儿与沉香争着说自己是凶手，刘彦昌犹豫不决。他请出继室王桂英共同勘问。王桂英先袒护秋儿，遭到刘彦昌的责备。刘彦昌因思念前妻三圣母，不忍将沉香舍去，毅然送秋儿抵罪，秦燥怒将秋儿打死。

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

这是一场作家和演员的文学之旅。5位顶级作家和5位资深演员共同开启10次奇妙的文学旅行，穿过课本中的文学城市，作家完成文学创作后由演员进行沉浸式舞台演绎，共同创造全新实景文学舞台作品。

这是一场作家和演员的文学之旅。5位顶级作家和5位资深演员共同开启10次奇妙的文学旅行，穿过课本中的文学城市，作家完成文学创作后由演员进行沉浸式舞台演绎，共同创造全新实景文学舞台作品。