3c认证

人很少为自己讨厌的事情牺牲大量时间和睡眠，体育迷除外。    NEW YORK -- On the 400th anniversary of Shakespeare's First Folio, rare originals are being displayed and publishers are offering collectors editions of Shakespeare's plays, including one that sells for $1,500.Scholars believe that between 200-300 copies still survive from the late 1623 release of “Mr. William Shakespeares Comedies, Histories & Tragedies." Presided over by two friends and former colleagues of Shakespeare, who had died in 1616, the Folio ensured that lasting texts existed for “Macbeth,” “Twelfth Night” and other cornerstones of Western literature. In Shakespeare's lifetime, many of his works were unpublished or available only in cheap paperback editions.“Without the First Folio we would have lost a world of words,” Gregory Doran, artistic director emeritus of the Royal Shakespeare Company, writes in the introduction to “The Complete Plays” of Shakespeare, a new publication.First folios have been on exhibit everywhere from the British Museum to the New York Public Library and at least two major book projects will mark the anniversary. The British Museum is collaborating with Rizzoli Books in New York on “Shakespeare’s First Folio: 400th Anniversary Facsimile Edition,” contained within a slipcase cover. With a list price of $150, the book is 928 pages and includes an introductory booklet co-written by Adrian Edwards, head curator of the British Library’s Printed Heritage Collections.The most ambitious, and exclusive project, is “The Complete Plays,” a limited edition from the Folio Society, an employee-owned company in London that puts out customized volumes ranging from "Beowulf" to George R.R. Martin's “A Song of Ice and Fire” series. The Society has printed just 1,000 copies of the 3-volume box set, with a list price of $1,500. Besides Doran's introduction, the Folio Society release includes a foreword by Dame Judi Dench. Each set is hand-numbered by illustrator Neil Packer.More than three-quarters of “The Complete Plays” have already sold, according to the publisher.“In an era when everything seems disposable, I feel like there's a good market for fine editions of classic books,” says Folio Society publishing director Tom Walker.The First Folio was daring, even audacious for its time, when such publications were “reserved for learned treatises, hefty genealogical texts, books of religious or historiographical importance, or even works by monarchs,” according to Shakespeare scholar Chris Laoutaris. Before Shakespeare the only playwright known to have been so honored was his contemporary Ben Jonson, who honored himself by overseeing “The Workes of Benjamin Jonson” in 1616. While the British Museum edition is relatively affordable, the Folio Society's production is closer to the intended market for the original release."Only those with deep pockets, and the space to read them, could afford such luxurious products," says Laoutaris, an associate professor at the Shakespeare Institute in the playwright's native Stratford-On-Avon and author of “Shakespeare’s Book: The Intertwined Lives Behind the Fist Folio,” which came out this year. “When it was released, the First Folio cost more to produce than any other collection of plays in history up until that point.”The Folio proved successful enough that an updated edition, the Second Folio, was published in 1632, a Third Folio in 1663 and a fourth in 1685. By the 19th century, the original Folio was becoming a valued piece of history, in part through the efforts of collectors Henry and Emily Folger, and a symbol of might for the British Empire. Sir George Grey, who had served as a colonial governor, established libraries worldwide that included copies of the First Folio.“For Grey, the First Folio represented the pinnacle of culture, but specifically English culture,” Laoutaris says. “He sought nothing less than the obliteration of the language and culture of the native populations in Australia, New Zealand and South Africa, nurturing a desire to replace these with the English language and its literary products." The United States is home to more than half of all existing copies of the First Folio, followed by the United Kingdom and Japan, with handfuls of editions also existing in Germany, France, South Africa, Australia and New Zealand among other countries. For antiquarians, the First Folio is the greatest of prizes: One sold for $9.9 million in 2020. For scholars and countless admirers, the Folio is secondary to the plays themselves."Shakespeare’s stature, for the past 400 years, is a reflection of his plays’ staying power on the stage far more than their survival in a collected works," says James Shapiro, a professor of English and comparative literature at Columbia University and author of several books on Shakespeare.“You can buy a Ben Jonson folio for a few thousand dollars; a Shakespeare folio will cost you millions. The reason for this simple: the remarkable afterlife of his comedies, histories, and tragedies in theaters throughout the world.”。

二 | 如果你讨厌一部电影，看一会就会关掉；如果你吃完后不喜欢一家饭店，第二次去那的概率也微乎其微。人类趋利避害的本能，总是让我们倾向于把宝贵的时间花在能带来愉悦感的事物上，不适的就会去远离。但在竞技体育的世界里，好像并非如此。看球一直是一种爱憎分明的活动，几乎每个球迷都会有偏爱或者讨厌的队伍和球员。过往，大部分人在面对自己不喜欢的队伍时，都会选择不去看或者关注。但现在，越来越多的人选择做另一件事：批评式观看（hate-watching）。顾名思义，批评式观赛指的是明明不喜欢某支球队或某个运动员，却还是专门守着比赛直播，就为了盼着他们输。图源：Reddit最初，这个词是被影评家用于影视领域，形容观众明明觉得一档节目很烂，依然一期不落地追，为的就是挑错、吐槽，再从批评中获得满足，在2013年前后大量出现。

三 | 那个时间节点，恰好也是社交媒体逐渐成为大众主流发声工具的时候。当然了，这种盼着死敌倒霉的心态在球迷文化其实并不陌生，但过往这种期待往往只是热爱主队的副产品，因为我支持A，所以我顺便盼着B输。但是近一两年在体育社媒上更明显的变化，是这种「讨厌」逐渐脱离主队关系，单独成为一种观看动力。因为很多时候，一些人批评式观看的两队，哪个都不是自己主队。而且由于有了这样的归纳性术语，很多社媒上都开始出现一些追本溯源的帖子，比如你一生中最好的批评式观看经历是什么？其中很多都是十几二十年前的案例。那么，为什么批评式观看能成为一种文化现象？一个很重要的原因，就是这种心态本身带有的情绪奖励。

四 | 幸灾乐祸这个词大家都知道，现实里，这种情绪不太体面，也没有人提倡这种心态和行为。

五 | 但是，体育赛事某种程度上却为此划出了合法区域，某个队伍的失败也会反向加强自己的身份认同。更深一层的满足也来自观点自证，一些球队因为张扬的行事风格或者球迷文化，给外界留下了极差印象，当一个人认定它名不副实或者「迟早出事」，每次输球都是对批评式观赛人群观点的确认。而且，有些时候看主队比赛是一种历劫，要常备速效救心丸，一场比赛就能尝遍人间的酸甜苦辣。但看死敌比赛，相当于是纯粹的享受，是一种零风险、高回报的情绪投资。

六 | 甚者，一些深受「阴间」赛程折磨、主队比赛时间对中国球迷极度不友好的球迷，为了多看球就会去早场较多的其他联赛认领第二主队，再顺着球队关系找出第二「死敌」。花几个小时时间看主队输球be like 图源：Reddit读到这里，有些人会觉得这个心态过于扭曲，但我们需要厘清一个极其重要的边界：纯粹的互联网喷子，和批评式观赛不是一回事。绝大多数时候，后者只是一种「乐子人」的情绪消遣心态，而不是真的要去对他人造成实质性的伤害。某种程度上，批评式观赛也能当作一种时间管理工具。

七 | 今天这种信息爆炸的时代，一个人能挤出来的看球时间太有限了，很多人希望在主队之外多看点比赛，所以就选择去代入一些情绪，让自己有更有动力和代入去看更多比赛。如果一定要做个不太严谨的比较，一个连比赛都不看的喷子，和一个认真看完比赛的黑粉，哪个更差？大家大概都有自己的答案。那为什么要一定去批评式观看，而不是纯粹享受竞技本身？因为体育迷能做到这件事概率，比实现世界和平还要艰难。而且，一个球员和队伍越强，越容易成为批评式观赛的对象。这两天，《独树不成林》的主播仲树关于《奥德赛》采访导演诺兰的视频出圈，其中有一个极具穿透力的观点：现在我们生活在一个「需要为伟大道歉」的时代。图源：@仲树这种对伟大的天然警惕甚至排斥，在体育世界中其实一直存在，并且表现得淋漓尽致。

八 | 很多时候，一支球队的统治力越强、建立的王朝越是漫长，就越不可避免地会成为众矢之的，批评式观赛很少是针对弱队的。不过，一个行为能成为现象，除了个体行为和心理机制外，也跟社会和媒介的发展离不开关系。批评式观赛文化的彻底爆发，很大程度上是由于社媒和其算法的推波助澜，且扮演了一个双刃剑的角色。

九 | 一方面，其让批评式观赛变成了一种能找到同好圈子文化，变成某种调侃。但另一方面，社媒也让这种原本应该无伤大雅的乐子人心态，面临着随时变味的风险。当下各大平台的底层逻辑，都在奖励负面情绪和观点。有理有据的战术讨论，信息流都不愿正眼瞧一眼；但某个失误画面配上一嘲讽，算法就像是看到菠菜的大力水手。

十 | 在这样的机制喂养下，批评式观赛有些时候也变得跟比赛本身无关，而是变成了一场巨型的互联网社交表演，很多人开始模糊底线，让其上升为人身攻击和骂战。

十一 | 如果到了这个地步，那批评式观赛就与纯粹喷子的行为并无区别。我想，这种脱离于原本意义和目的的行为，是所有人都不愿意看到的。毕竟，树立某个「反派」可以让人更投入的看比赛，但如果最后搞得戾气横生、丧失底线，脱离圈子去攻击他人，那这好不容易挤出来的宝贵时间和睡眠，可就真的不值当了。