最好的时代，最坏的时代

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A Dirty Pun Tweaks China’s Online Censors

BEIJING — Since its first unheralded appearance in January on a Chinese Web page, the grass-mud horse has become nothing less than a phenomenon.

A YouTube children’s song about the beast has drawn nearly 1.4 million viewers. A grass-mud horse cartoon has logged a quarter million more views. A nature documentary on its habits attracted 180,000 more. Stores are selling grass-mud horse dolls. Chinese intellectuals are writing treatises on the grass-mud horse’s social importance. The story of the grass-mud horse’s struggle against the evil river crab has spread far and wide across the Chinese online community.

Not bad for a mythical creature whose name, in Chinese, sounds very much like an especially vile obscenity. Which is precisely the point.

The grass-mud horse is an example of something that, in China’s authoritarian system, passes as subversive behavior. Conceived as an impish protest against censorship, the foul-named little horse has not merely made government censors look ridiculous, although it has surely done that.

It has also raised real questions about China’s ability to stanch the flow of information over the Internet — a project on which the Chinese government already has expended untold riches, and written countless software algorithms to weed deviant thought from the world’s largest cyber-community.

Government computers scan Chinese cyberspace constantly, hunting for words and phrases that censors have dubbed inflammatory or seditious. When they find one, the offending blog or chat can be blocked within minutes.

Xiao Qiang, an adjunct professor of journalism at the University of California, Berkeley, who oversees a project that monitors Chinese Web sites, said in an e-mail message that the grass-mud horse “has become an icon of resistance to censorship.”

“The expression and cartoon videos may seem like a juvenile response to an unreasonable rule,” he wrote. “But the fact that the vast online population has joined the chorus, from serious scholars to usually politically apathetic urban white-collar workers, shows how strongly this expression resonates.”

Wang Xiaofeng, a journalist and blogger based in Beijing, said in an interview that the little animal neatly illustrates the futility of censorship. “When people have emotions or feelings they want to express, they need a space or channel,” he said. “It is like a water flow — if you block one direction, it flows to other directions, or overflows. There’s got to be an outlet.”

详见：http://www.nytimes.com/2009/03/12/world/asia/12beast.html?_r=2&partner=rssnyt&emc=rss