May bom Shimizu. May bom APP. May bom Lepono. May bom Hyundai. May bom day cao. May bom tang ap. May bom Pentax. May bom Sealand. May bom Mitsuky. May bom Ebara. May bom Stac. May bom Matra. May bom CNP. May bom Inline. May bom chua chay. May bom chay xang. May bom Honda. May bom Koshin. May bom Yamaha. May bom Makita. May bom TQ. May bom chay dau. May bom rua xe. May bom hut biogas. Originally called Tai-Gang wenxue guoji yantao hui International Conference on Taiwan and Hong Kong Literature at its inception in , it was renamed Tai-Gang ji haiwai huawen wenxue guoji yantao hui International Conference on Taiwan, Hong Kong, and Overseas Chinese Literature in , and in its fifth year it changed again to Shijie huawen wenxue guoji yantao hui International Conference on Global Chinese-Language Literature.
The move from the center to the margins and the emphasis within international publishing on voices from the Sinophone diaspora has given these border crossers a prominent literary voice, and indirectly, a social and political one. Contemporary theorists conceptualize the Third Space, so named by Homi Bhabha, in different ways and with varying emphases. All support the idea of in-betweenness that marks the work of Cheng, Gao, Dai, and Sa, as the discursive sphere in which Bhabha builds on concepts 23 A number of Francophone writers from the Communist Second World found themselves writing works in their native language, only to be unable to publish there, finding publishers and an audience abroad.
This was true of some Central and Eastern European Francophone writers as well. This kind of work on borders sets the tone for the growing area of studies called border poetics, focusing on texts that explore the narratives and symbolic representation of bordered spaces, border-crossing experiences, and their cultural lineages. Expanding on this idea, Gayatri Chakravorty Spivak emphasizes the conceptualization of borderlessness—a notion that entails experiencing borders through their inherent permeability—and the ways it still relies on the very presence of borders to allow the notion to exist.
Gao, Cheng, Dai, and Sa meet both the broader and more focused definitions as translingual writers. Liu As a result, to talk about the works of diasporic Chinese writers, a new critical apparatus must be forged and critical tools must be rethought. While questioning the stability of borders with an emphasis on their dynamic nature, geopolitical scholar Heather Nichol and international legal expert Ian Townsend-Gault in their volume Holding the Line: Borders in a Global World also speak of a type of retrenchment, of efforts to reinscribe the importance of borders, and of an emphasis by policy makers and states to highlight and prioritize the local over the global in the early twenty-first century.
Now residing in Europe, the writers I discuss represent the lived experience of those who cross borders as expatriates, or in the case of Gao, as a political asylum-seeker. France and Germany are two of eight countries in the twenty-six nation Schengen zone—which has guaranteed free movement to more than million EU citizens since its establishment in , abolishing passports and other systematic border controls—that instituted emergency border controls in in response to the Syrian refugee crisis in Europe.
The critical shifts that occurred during the twentieth century in relation to Chinese literature have resulted in a new paradigm of cultural translingualism which supposes the translation of one culture into the language of another. This cultural translation is based not on a secure set of cultural and linguistic practices but on an ever-shifting basis and thus takes place in a Third Space. Suresh Canagarajah. Taylor Spivak, one of the foremost thinkers in postcolonial theory, nonetheless began to challenge this approach in the s with the publication of A Critique of Postcolonial Reason and Death of a Discipline, both directed toward earlier thinkers, such as Marx and Kant, and toward the notion of globalism.
She considers the ways in which, in other circumstances, particularly in postcolonial studies, where much earlier analysis was situated, many individuals with fewer resources than the writers studied here reside in a state of struggle, deprived of resources, access to institutional power structures, and systems of support Spivak, Aesthetic Such situations continue to exist, of course. Such a movement may be able to at once recognize the voices of these privileged expatriate writers as well as embrace work for social justice to address the fundamental inequalities and oppression present in both Eastern and Western nations.
The reasons for governmental and corporate hegemony are political, or, when transnational corporations are involved, they stem from the desire to maximize profit that ignores the welfare of people Thus, while literary and cultural theories of increased borderlessness abound, they do not fully account for the harshness of reality. Border crossings may involve the exportation of one idea, often from a European culture, to another local history and culture, establishing the perspective of subalterity Delgado, Romero, and Mignolo This reconfiguration, Mignolo hopes, will allow discourse to move away from the outdated dependency theory that long viewed poorer or less-developed nations only as sources of resources and cheap labor for wealthier nations, regardless of the ways in which individuals in these nations viewed themselves Mignolo Border thinking is an essential consequence of these types of dislocations.
His critical work Le Dialogue focuses on his work in two languages, cultures, and countries, China and France. He contemplates ways in which the best of the West—in his eyes, humanism, the emphasis on individual agency, and the idea of the thinker—meet those of the East—alluding to Taoist notions, including those of Yin, Yang, and the Middle Path, which promote ideas of balance, where all is organically linked Cheng, Le Dialogue 79; Mayaux Other individuals have immigrated or sought political exile.
Most recently, Chinese dissident artist Ai Weiwei had his passport returned in July , four years after being banned from leaving China where he was arrested in He is now in Germany and has a visa for a three-year stay there where his six-year-old son has been living Phillips. The field concerns itself with the presence of real borders in texts as well as with their metaphysical cousins. Homi Bhabha has thus written of one such transnational writer, V.
The development of this split, this loss of connection and home, links the physical and metaphysical border crossings that mark this domain of literature. Furthermore, Lossau takes exception to the use of spatial language and terminology—involving a type of determinism and fixity that recalls positioning oneself with a Geographic Information System GIS —for such symbolic endeavors, and shows their pitfalls if misconstrued.
In both works, however, the protagonist deals with dislocation, in one case, being held offshore by currents and in the other, wandering, often lost, through the Sichuan mountains. Such narratives of travel and unstable siting permit new spaces to open. For Wang, while marginal literatures from outside and throughout Mainland China need to be taken seriously as a critical component of the Sinophone diaspora, dialectical ideas have been replaced by a new paradigm which captures the new multiplicity of the works being produced by Chinese natives outside of China, such as those who have resettled in France.
The boundary crossings in the lives and literature of these four exemplary Francophone-Chinese writers have thus become a part of such a negotiation and create a third way, whether one refers to it as a Third Space or not, at the very least an in-betweenness that constitutes the spaces and exchanges in this ongoing dialogue between individuals and cultures.
Spaces of Silence: Expansion and Constriction The Third Space of cultural translingualism through which I am reading the works of these four writers is at once one of silences, both isolating and freeing, and one where meaning is at times constricted and at times expanded.
For some, it is a welcomed space, for others a place of painful exile. For some it is a place of multiplicity and for others of emptiness. For some, it is a place of solace, for others, of fear.
What it entails cannot, at any rate, be universalized. The polarities that are denoted by the terms Yin and Yang are often taken in binary fashion in Western culture, with Yin representing qualities such as the feminine, passivity, coldness, and darkness along with the moon and negative spaces, and Yang representing qualities that can be described as masculine, active, hot, and bright along with the sun and positive space.
The heavenly domain throws the Yin into relief, whereas, the earth is exemplified by the Yang. The Buddhist Middle Way reveals an unbinding and dissolution of binaries, which result in an absence. From this perspective, emptiness and nothingness are not empty of reality but full. Thus, the empty space is one of production and a rich expansiveness. For translingual writers, such as Cheng, eliminating this limiting duality is freeing, both from Western paradigms and from contemporary Chinese political oppression.
John Welwood says the following about the harm that these fixed boundaries and borders bring about: The dualistic mind is essentially a survival mechanism on a par with fangs, claws, stingers, scales, shells, and quills that other animals use to protect themselves. By maintaining a separate self-defense, it attempts to provide a haven of security in an impermanent world marked by continual change, unpredictability, and loss. Yet the very boundaries that create a sense of safety leave us feeling cut off and disconnected.
Shan Sa, a much younger writer, has also published both originally in Chinese, and then predominantly in her adopted language, French. China, My Sorrow , and Xiao cai feng trans. Balzac et la petite tailleuse chinoise were primarily in Chinese with Chinese actors, subtitled into languages including French, English, and Japanese. An unintended and paradoxical effect of juggling multiple languages may be to create the sense of a sort of bottleneck in which many ideas and multiple versions of words try to force themselves through a constricted space of thought and speech.
The silence comes not out of a lack—a lack of ideas to communicate, a lack of words, a lack of languages—but Kristeva suggests, from having to enter into only the most banal of conversations using approximation, leaving an empty cavern of what one intended to say.
The silence is thus at times a space of navigation and negotiation in which obstacles and hurdles present themselves and are to be surmounted or avoided. The perspective is always indirect, referential to the native tongue, Kristeva seems to claim. While meaning is both constricted and expanded in physical and geographic border crossings, this kind of silence, be it self-imposed or thrust upon the speaker, plays a crucial role in creating multiplicities of meaning for polyglossic writers.
At times, silence is associated with the achievement of a state of nirvana Gao, Montagne Quand le son est perdu, le langage aussi. Unable to suppress desire, that is, unable to attain the place of nirvana in which a silence and stillness of the mind is achieved, the writer finds that forced silence brings suffering.
At other times, it is not nature but humankind that makes the silence oppressive, something particularly true for Gao whose plays were banned and whose voice was silenced in Mainland China.
The cultural and geographical border-crossing from civilization to nature has thus left the narrator in a confused state, even when he has found what he was seeking. Having looked for old-growth forest, the narrator has only found heavily logged Sichuan tracts, before being oriented toward the pure forest he seeks, filled with spruce, fir, hemlock, azaleas, and birdsong.
This narrative style is explored further in Chapter Three. This world is at once one of discoveries and, at times, terror, one in which he is separated from his guide, literally lost in a 3,meter expanse of ancient forest at high altitude. He tells the reader that he has neither map nor compass nor the name of the guide who accompanied him, futilely scouring his memory for signs, as his knowledge lacks a foundation and offers only chaos. The narrator states that his memory is failing him and the more he tries to order the images, the more the images blend together, and he then gives in to fatigue and falls on the damp earth When he does cry out for help, hoping for rescue or a miracle, he is met with an echo that fills the space and underscores its isolation.
The protagonist states: Je crie. The book ends with him lost. Tout est calme alentour. La neige tombe en silence. Je suis surpris par ce calme. Un calme de paradis. Montagne The narrator acknowledges his own lack of comprehension in this silence that follows his winter exploration after a visit with a friend who has come to talk about his experiences during the Cultural Revolution of being re-educated through hard work on a prison farm.
All of these conversations lead the narrator away from certainty toward the struggle against the cold, toward silence—or at least away from public communication toward intrapersonal and limited or secure forms of interpersonal communication.
The narrator wanders through towns, recounting encounters with many individuals, seeking knowledge that ranges from the scientific in the reserve for pandas , cultural through the collection of folksongs, folktales, and folklore , and historic exploring ruins and historic sites to religious seeking knowledge from elders and hermits and personal looking inward as much as outward , but he seeks freedom in an organic manner without overarching plans and is open to immersion in the present.
Critics have designated this stylistic choice as constituting a text that defies traditional genres. It contains dialogues and stream-of-consciousness monologues, as we may expect from a novel, but also pieces, which look like journalistic reportage, anthropological reports, philosophical essays, and historical treatises.
Condemning the binary format of debate, and even the grammatical binaries of you and me, singular and plural, him and her, Gao dismisses these questions, both in form and content, and engrosses himself in the journey, the process, the exploration, and the Third Space of the route itself, which separates or joins two, or an infinite number, of disparate locations. The narrator immediately follows this exposition on the journey that is human life with the sense of wandering and hybridity that these disparate elements entail.
One can feel the constant tug between the individual and society in the interplay of pronouns and the struggles of the narrator, which remain unresolved. Yet, forgoing the elements of realism as well as satire, so often part of picaresque works, Gao produces a work where there is something of both Thomas Mann resisting the social ascent and instead opting for a journey to restore life in the wake of an erroneous death sentence of lung cancer, and something of Hunter S.
Gao rejects this type of totalitarian voice and multiplicity, embracing always the individual and the individual voice. And, as such, he has often rejected the role, in the wake of international news of censorship, arrests of artists, and imprisonments in China, bowed out gracefully from being a spokesperson for Chinese expatriates or against the Chinese Communist Party CCP. Once opened, that expanding box of pronouns, misfortunes and perceptions can no longer be closed. One wonders if hope even remains inside the box, as in the myth.
Can what is done not be undone? Essentialism or singularity is impossible, much like univocality in the face of the Tower of Babel as seen by this Francophone, Sinophone, transnational writer.
The you, a threshold of perspectives, perhaps comes closest to articulating the site and context of the Third Space. It is the place where the two cups collide and make noise, the space of intermingling and creation. He finds the matter of his childhood elsewhere, where he was not raised, in the glimpse of another door, another courtyard, clothes drying on bamboo poles, in simulacra.
That is where both the transnational writer and the one who has watched time pass must find the window into his past, a bath of homesickness in a place that combines the interiority of memory with the exteriority of simulacra, a place that is changed and not of the original. The quotes were translated from Chinese to English by Mabel Lee.
Dans la charpente des sombres beffrois. Consens au carillon. Ce qui vit de toi Deviendra fort par cette nourriture. Entre dans la mutation, entre et sors. The middle space, often marked by silence, makes the to-and-fro of communication possible. Cheng finds truth in silence and empty space, which he shows to never be truly empty, but as a place of passage, of silent temporal echoes that electrify humanity.
The breaking of silence is not harmonious but a necessary passage and sometimes a savage act. Furthermore, the sounds in these poems are often perplexing, inadequate, or secondary to the unseen forces.
Sa does not mention the wind in the title of her collection but merely breath, as though it originated from inside the tree and was not an external force which could shape the tree. Both Buddhism and Taoism, like many spiritual traditions, emphasize the role of silence. Jin Y. Silence then creates a space which can also be a border and allow one to penetrate two spaces at the same time. Milton Scarborough, writing in Comparative Theories of Nonduality: The Search for a Middle Way , states that Asian cultures have had a longer history with such notions of nonduality than Western nations.
In the sixth century BCE, records show that two terms existed to discuss existence in the East: permanent existence asitta and no existence nasitta Buddhism began to change such notions in ways, according to Scarborough, that opened the door to a third or Middle Way. The self consisted of name, form, and a number of interactive processes, including physical sensations, emotions, mood, perceptions, and consciousness. Circular cause-and-effect relationships gained importance, Scarborough writes, reducing the importance of linear narratives.
Cheng thus describes this Third Space, sometimes one of silence, as a place of fecundity, thought, and transcendence. Furthermore, silence is sometimes a pause, sometimes an internal dialogue, and it can even be language-dependent.
This silence is the silence of the thinker and the interior world, even though it cannot be free of language. Silencing also occurs when Chinese writers see both their works and performances of their works banned, and through the self-censorship that writers, including Gao, experienced during the Cultural Revolution.
It exists in other languages and is called Nachhall, Hinausschwingen einer Stimmung in German Dombrady qtd. For him, no trace could exist of the papers he possessed or he could face the same fate.
Lao 46 Gao mentions students attending so-called struggle meetings with rightist senior students were called forward, their alleged crimes mentioned, and without the accused students ever speaking, the accused disappeared Livre Gao says that no one ever saw them or mentioned them again, as if they had never existed.
Silence thus becomes the norm for those who live in fear of punishment, even of being beaten to death. Adolescents and middle-school students wearing the old army uniforms of the Red Guard and sporting red armbands were beating the woman. The woman, previously moaning, is then herself silenced.
The silence of the crowd is linked to their immobility, a state in which individuals who lack agency are neither free to speak, nor to act, in opposition to Mao, his Red Guard, and the mission of the Cultural Revolution. One needs to be silenced in advance of any action, Lao Tan tells the narrator.
Having given a noted writer a manuscript to read, Lao Tan is met with silencing words. He learns that even manuscripts that had nothing to do with the party could get him into trouble. Lao Tan also destroys a photo in which his father is wearing Western clothing. MacFarquhar estimates the death toll around , All of this is cited as sound evidence of his anti-Communist Party leanings. In burning the photo of his parents, he was choosing silence; figuratively, he cremated them, feeling that safety resided in this loss, as in the loss of his manuscripts.
The desire to blend in, to wipe out those dangerous boundaries, became another form of being silenced. He wishes to leave the pain of a ten-year marriage, of state rules saying that he had to be married and have proof of housing to live with a woman, all behind him.
Livre 28 The plane lifting off establishes the trialectics of the border crossing, what Karen Ikas and Gerhard Wagner describe as an antagonistic relationship in which one has left from a first space, often an indigenous one in a postcolonial context, and arrived in a second space, often a colonial space in postcolonial theory.
The Third Space comes from taking flight, physically, mentally, or emotionally, from this opposition. Ikas and Wagner suggest that Bhabha, whose Third Space notions they expand upon, uses the Third Space not to reconcile the opposition, which in their view would entail a move toward Hegelian dialectical logic.
The avant-garde theatrical rope game, not unlike a metaphysical tug-of-war, involves human connection, influence, and disconnection, with emphasis on the rope, which at times forms a border and at other times an entanglement, becoming a physical representation of a Third Space primed for individual experimental, expression, and creation.
Subsequently, one revolves around the other, placing one actor at the center and one on the periphery as an external satellite. The game continues to evolve, showing relationships that shift from tense, lax, and distant to close and tight. Nous examinons. Manipulation et soumission.
However, as the rope play progresses, the moments of tension in which the sense of constriction dominates the stage. Not only do possibilities and the ability to create meaning develop, but the actors are entangled. The darker side of border crossing emerges in the limitations that are confronted, the obstacles encountered. Border crossings often involve binaries, in themselves reductive and yet essential, of here and there, self and other, eliminating the nuances and complexities of identity.
Loss of home, loss of language, and loss of identity may be more or less significant in each case. Gao simultaneously captures both the lure of in-betweenness, evading a thread, and its frightening qualities, the fear of loss, danger, and the unknown.
The unknown qualities of new experiences that result from boundary crossings merge elements of excitement and fear, hope and despair. To live in the human land in which achievement of paramita enlightenment or nirvana bliss is impossible because of the power of human desire. However, the characters inhabiting the play are stuck; they are trapped in a catch A pure form of enlightenment remains elusive. This in turn allows them to distinguish between self and other in ways that lead to paranoia and violence, which in the end appears inescapable in human society.
The inability to reach a state of peace and enlightenment, and the rage that sometimes inhabits man, constricts opportunities for growth and life itself. Avez-vous fini?
La foule. Eh bien, dis-nous ce que nous devons faire maintenant. Nous te suivrons en tout. Ne nous abandonne pas! Et vous pourrez rentrer chez vous voir vos proches, femmes et maris, enfants et parents, tous ceux que vous aimez et qui vous aiment! On mange ensemble? One waits or strives to achieve this level of enlightenment without expectation of success. This motif implies a further limitation of expression and a narrowing of life, whether offshore, or between two destinations, the shore and the open water, or with someone on one shore seeking to reach a different, seen or only imagined shore, yet often unattainable.
The expanse of water constitutes a boundary, different from the one between two countries that emphasizes instead the expanse between them. Mark Twain depicted the river as a place of freedom, as opposed to the tyranny and rule-bound life of the land. But I had lost something, too. I had lost something which could never be restored to me while I lived.
The writers studied here all express a sense of loss inherent in the increasing scope of cultural translingualism for which a sense of home and familiarity, however repressive, must be sacrificed.
Ambivalence even in the face of the most exacting of journeys results in a kind of constriction and its ensuing pain. In the water, he suffers a severe abdominal cramp, and fears he will not be able to make it back to shore, given the currents, the distance from shore, and the jellyfish brushing against him. Soon he surrenders himself to the forces of nature while not giving up hope of escaping alive. The Third Space here, a kilometer off shore, away from human contact with those who know and care for him, is a place of pain, of loneliness, and fear, that he only escapes from alive due to his focus, his precise movements, and because he does not allow himself to be distracted by extraneous thoughts, especially paralyzing thoughts of fear.
The protagonist engages in magical thinking. He thinks of the corpses of jellyfish, shrunk to the thinness of a sheet of paper, drying on the hostel window, and thinks that he could meet the same fate.
Being in the position of the sea creatures, he profoundly senses his own mortality and confronts it, not wanting the jellyfish to die but not wanting to die himself either. The swimmer is anxious to share his experience and deliver his warning to all, but no one wants to listen or is in a position to understand his Cassandra-like warnings.
He is warmed by the shelter he seeks but finds the sand and the beach turned cold and unfriendly. Back in human society, he is still lonely. The people on the beach begin to disrobe and run into the water, oblivious to the near-death experience from which the swimmer so recently emerged.
The brief tale, cast into very long, breathless paragraphs, easily serves as a metaphor for the stateless person. The narrator is in fact already being silently pulled away, drawn to another time and place, both known and unbeknownst to the reader. The comparison between two objects, two places, two times spin out into multiple dimensions in a third spot inhabited by the narrator.
The fishing rod he sees is an imported fiberglass rod composed of ten segments that must be assembled. The narrator admits that his grandfather never saw a rod like this, even in the sanctuary of his mind, and would not have purchased one; nostalgia thus takes place for the lived past simultaneously for a past that never was.
For the grandfather, life included hard work and basic items were not easily purchasable. When he heard that someone was traveling to the capital of the province, he would ask them to bring back hooks, and the narrator would comment on the availability of fishing reels that allowed the fisherman to relax while waiting for the fish to bite rather than being forced to remain attentive to the line. But the landmarks in his geography of memory no longer line up with the real world. The road, the bridge, and even the lake in which the waves looked like the backs of fish are gone.
People laugh at the narrator. When he finds someone who can tell him where the lake is, the individual says that the stone bridges were all demolished All is not what it seems. Everything had changed. A part of the narrator is paralyzed and hollowed out by this new knowledge, and the notions of stability and longevity, valuable and attractive attributes, are called into question and examined.
Conclusion While there have been for a long time many works of expatriate writers and their geographical and psychological border crossings, one detects a more pressing geopolitical shift that impacts literature, particularly in the new territory of Francophone-Chinese writers, such as Cheng, Gao, Dai, and Sa.
Spivak underlines the tension between the fixed borders of nation-states and the borderlessness inherent in a world shaped by globalization, transnational corporations, and borders with varying degree of physical and technical permeability.
These writers, who dwell in diverse cultures, languages, and subjectivities, offer meditations on borders and their influence, on the silences that are at times empty and other times filled with meaning, on the limitations these borders impose, and on the expansiveness that translingual, transcultural lives, for all their hardships, may also allow.
The voices of these Francophone-Chinese writers have come out of a shift, written about by David Der-wei Wang and others, from a literary emphasis on the long, important history of Mainland China to works emerging from the Chinese diaspora, not just those works written in Chinese, but those written in other languages, especially English and French.
These writers, many of whose works are banned in China, often situate themselves in opposition to, or at least in relation to, the Chinese oppression of the Cultural Revolution, Tiananmen Square incident, and widespread censorship, themes that inform their writing and will be explored in my subsequent chapters.
The human cost of such perilous border crossings continues to mount and cannot be overlooked. Furthermore, more than 80, refugees arrived in Europe by boat during the first six weeks of , more than those in the first four months of The majority of those individuals were fleeing conflict in Syria, Afghanistan, and Iraq, and the UNHCR estimates that 2, people per day are now fleeing their homes and seeking asylum elsewhere. Indeed, approximately 1.
Migrants continue to become part of a growing crisis as avenues into Europe are blocked and migrants remain in dangerous situations at the Greece-Macedonia border.
Tragically, such displacement is the genesis of narratives of political oppression and flight. This desire and dominant theme is imbricated in literary, psychological, cultural, and scientific texts penned beyond the borders of Mainland China where censorship still shapes the intellectual landscape. Lu Many were sent to the countryside to do hard labor where they were tortured, beaten, committed suicide, or died of infections or other illnesses.
Dai, whose parents were both professors of medicine, admits that his own experiences of being re-educated in rural Sichuan for three years in the s provided autobiographical material that he incorporated into his novel Balzac et la petite tailleuse chinoise , a bestselling novel that has been translated into over twenty-four languages and made into a film, released in Dai conceptualizes a China in which many ideas that have been or remain unpopular with the government reside only in the locked offices of the fictional Department of Clandestine Anti-publications, where the protagonist Muo chances to find himself, a criminal wanted by the notorious Judge Di.
Wendy Larson credits such Western theories with merging the personal and the political, focusing on individual—and often female—subjectivity, and advancing notions about personal and social liberation with deep cultural implications Both of Dai novels, Balzac et la petite tailleuse chinoise and Le Complexe de Di, use intertextuality to put forward a plethora of unstable counternarratives based on Western literature and theory, disseminating multiple narratives that resist the dominant discourses of Chinese politics and culture.
Interviews On the one hand, Kristeva, like the contemporary Francophone-Chinese writer Dai Sijie, drew attention to the existence of prior texts, with which the author, characters, and reader then dialogue a posteriori. Other Francophone-Chinese writers include Buddhist gatha poems54 such as those of Zen patriarch Huineng, Japanese monogatari,55 and medieval Japanese war epics like the Tales of the Heiji among other works used to create polyphony and an asynchronous dialogue with both Eastern and Western traditions.
It's recommended you have 3 Masters running on different hosts. There is no reason to have more than 3 Masters in production no matter how many shards you have. Loads on Masters are light and you could co-locate them with Coreapp containers. Backing up your current application settings before upgrading is highly recommended to ensure you can get back up and running quickly. Please follow the Backup and Restore documentation.
Run the following commands with changes necessary for your environment i. You can now make use of a database upgrade service that will let you upgrade your database while your application is still running to avoid downtime.
The dbupgrade-compose. If the database upgrade is successful, the container will exit with code 0. You can use the following Docker command to track the status:. If you are upgrading from v2.
If you need to reset your development environment by removing all containers, use the following commands with changes necessary for your environment i. To collect logs of a specific service, append the service name e. On-Premises API. Before You Start If you have already run a developer setup and want to reuse the phone number in production, please refer to the Migration guide before continuing with the rest of this document. If you do not have an existing Docker account, create one by clicking on Sign Up.
After you have created your account, you will be directed to the Docker download page. Download Docker Desktop based on your OS This should be automatically detected and presented as the default option. The remaining steps are based on macOS and should be very similar for Linux or Windows To install Docker using macOS: Install the package docker.
0コメント