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"Kim" by Rudyard Kipling; The Jungle Books (Whole Story)

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Everyman's Library
11小時
“I consider in my own mind whether thou art a spirit, sometimes, or sometimes an evil imp," said the lama, smiling slowly.”
― from "Kim" by Rudyard Kipling
Rudyard Kipling’s Kim is the tale of an Irish orphan raised as an Indian vagabond on the rough streets of colonial Lahore. Young Kimball O’Hara’s coming of age takes place in a world of high adventure, mystic quests, and secret games of espionage played out between the Russians and the British in the mountain passages of ⋯⋯
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Everyman's Library 的相片。




British Museum
Rudyard Kipling was born ‪#‎onthisday‬ in 1865. Here’s an illustration to his Jungle Book http://ow.ly/GbI0F


Rudyard Kipling was born #onthisday in 1865. Here’s an illustration to his Jungle Book http://ow.ly/GbI0F
May 28, 2013, 12:22 pm

Kipling Letter Says He Borrowed ‘Promiscuously’ for ‘The Jungle Book’

While Rudyard Kipling spun beloved characters out of creatures like a bear, a tiger, a snake and a panther for his classic story collection “The Jungle Book,” he may have been a bit of a vulture himself and made monkey’s uncles of his readers — at least according to a letter that suggests he made use of outside sources for a portion of the work.

The Telegraph of London reported that a British company is selling a letter in which Kipling writes that “it is extremely possible that I have helped myself promiscuously” from other sources in writing “The Law of the Jungle,” an idea that he introduced in “The Jungle Book” and later codified in a poem.


The letter, written in 1895, was sent by Kipling to a recipient addressed only as “madam,” and opens with his apology for the “delay in answering yours of no date, in regard to my account of the Law of the Jungle.” The verses of that poem from “The Second Jungle Book” offer the rules and regulations for life among wolves, some of which prove to be good advice for humans, too. (“When Pack meets with Pack in the Jungle,” it reads in part, “and neither will go from the trail / Lie down till the leaders have spoken — it may be fair words shall prevail.”)

The Kipling letter says: “I am afraid that all that code in its outlines has been manufactured to meet ‘the necessities of the case’: though a little of it is bodily taken from (Southern) Esquimaux rules for the division of spoils.”

It continues: “In fact, it is extremely possible that I have helped myself promiscuously but at present cannot remember from whose stories I have stolen.” The signature reads, “Very sincerely, Rudyard Kipling.”

Andrusier Autographs, which is selling the Kipling letter for about $3,700 told The Telegraph that it had purchased the item from another dealer this month, after it was found among a larger collection of books and letters.




1960年代初台北東方書局改寫版的叢林奇譚
臺灣商務

The Jungle Books (Whole Story) by Rudyard Kipling: Viking Juvenile ...

www.abebooks.com › Rudyard Kipling - Cached
AbeBooks.com: The Jungle Books (Whole Story): Loose binding, but all pages are intact. ACCEPTABLE with noticeable wear to cover and pages. Binding intact.
7篇原文的插圖版 (義大利印刷).   此書台灣商務印書館有翻譯



Wikipedia的中文翻譯英文版引言論

http://en.wikipedia.org/wiki/The_Jungle_Book

The Jungle Book (1894) is a collection of stories by English Nobel laureate Rudyard Kipling. The stories were first published in magazines in 1893–94. The original publications contain illustrations, some by Rudyard's father, John Lockwood Kipling. Kipling was born in India and spent the first six years of his childhood there. After about ten years in England, he went back to India and worked there for about six-and-half years. These stories were written when Kipling lived in Vermont.[1] There is evidence that it was written for his daughter Josephine, who died in 1899 aged six, after a rare first edition of the book with a poignant handwritten note by the author to his young daughter was discovered at the National Trust's Wimpole Hall in Cambridgeshire in 2010.[2]
The tales in the book (and also those in The Second Jungle Book which followed in 1895, and which includes five further stories about Mowgli) are fables, using animals in an anthropomorphic manner to give moral lessons. The verses of The Law of the Jungle, for example, lay down rules for the safety of individuals, families and communities. Kipling put in them nearly everything he knew or "heard or dreamed about the Indian jungle."[3] Other readers have interpreted the work as allegories of the politics and society of the time.[4] The best-known of them are the three stories revolving around the adventures of an abandoned "man cub"Mowgli who is raised by wolves in the Indian jungle. The most famous of the other stories are probably "Rikki-Tikki-Tavi", the story of a heroic mongoose, and "Toomai of the Elephants", the tale of a young elephant-handler. As with much of Kipling's work, each of the stories is preceded by a piece of verse, and succeeded by another.
The Jungle Book, because of its moral tone, came to be used as a motivational book by the Cub Scouts, a junior element of the Scouting movement. This use of the book's universe was approved by Kipling after a direct petition of Robert Baden-Powell, founder of the Scouting movement, who had originally asked for the author's permission for the use of the Memory Game from Kim in his scheme to develop the morale and fitness of working-class youths in cities. Akela, the head wolf in The Jungle Book, has become a senior figure in the movement, the name being traditionally adopted by the leader of each Cub Scout pack.

"Lullaby" by W.H. Auden. Selected writings / edited and with an introduction by W.H. Auden

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"It is time for the destruction of error.
The chairs are being brought in from the garden,
The summer talk stopped on that savage coast
Before the storms, after the guests and birds:
In sanatoriums they laugh less and less,
Less certain of cure; and the loud madman
Sinks now into a more terrible calm."
W.H. Auden, Selected Poems

Vintage Books & Anchor Books 的相片。

"Lullaby" by W.H. Auden, (who died on this day in 1973.)
Lay your sleeping head, my love,
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms till break of day
Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.
Soul and body have no bounds:
To lovers as they lie upon
Her tolerant enchanted slope
In their ordinary swoon,
Grave the vision Venus sends
Of supernatural sympathy,
Universal love and hope;
While an abstract insight wakes
Among the glaciers and the rocks
The hermit’s carnal ecstasy.
Certainty, fidelity
On the stroke of midnight pass
Like vibrations of a bell,
And fashionable madmen raise
Their pedantic boring cry:
Every farthing of the cost,
All the dreaded cards foretell,
Shall be paid, but from this night
Not a whisper, not a thought,
Not a kiss nor look be lost.
Beauty, midnight, vision dies:
Let the winds of dawn that blow
Softly round your dreaming head
Such a day of welcome show
Eye and knocking heart may bless,
Find the mortal world enough;
Noons of dryness find you fed
By the involuntary powers,
Nights of insult let you pass
Watched by every human love.


Everyman's Library 的相片。

The Selected Writings of Sydney Smith:Edited by W. H. Auden

Synopsis:

'He is a very clever fellow, but he will never be a bishop.' George III

'A more profligate parson I never met.' George IV

'I sat next to Sydney Smith, who was delightful ... I don't remember a more agreeable party.' Benjamin Disraeli

'I wish you would tell Mr Sydney Smith that of all the men I ever heard of and never saw, I have the greatest curiosity to see ... and to know him.' Charles Dickens

How one agrees with Dickens. Without doubt, Sydney Smith was the most famous wit of his generation. But there was more to him than that, he was an outstanding representative of the English liberal tradition.

Starting as an impoverished village curate he went to Edinburgh as a tutor, and co-founded the Edinburgh Review, the first major nineteenth-century periodical. Happily married, he moved in 1803 to London, where he was introduced into the Holland House circle - of which he quickly became an admired and popular member - but at the age of thirty-eight a Tory government banished him to a village parsonage. There he became 'one of the best country vicars of whom there is a record', and after his two chief causes - the Catholic Emancipation Act of 1829 and the Reform Bill of 1832 - triumphed, he was rewarded by a canonry of St. Paul's.

This generous selection of his writings gives the full flavour of his mind and intellectual personality. In a characteristically stimulating introduction in which he discusses Sydney Smith both as an individual and as a shining exemplar of the liberal mind, W. H. Auden places him with Jonathan Swift and Bernard Shaw among the few polemic authors 'who must be ranked very high by any literary standard.'

As Macaulay said he was 'The Smith of Smiths'.

Tags:

Categorised as:
Non-fiction
Sub-categories:
Essays & Prose
Genres & Themes:
Church; Clergy; Faber Finds; Polemicists
The Selected Writings of Sydney Smith book cover
Selected edition:
Paperback
ISBN:
9780571252756
Published:
16.07.2009
No of pages:
416

Bib ID2381561
FormatBookBook
Author
Smith, Sydney, 1771-1845
DescriptionLondon : Faber and Faber, 1957.
396p.
Other AuthorsAuden, W. H. (Wystan Hugh), 1907-1973

檔案羅密歐The file : a personal history。「台灣雲端書庫」網址:http://www.ebookservice.tw/

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檔案羅密歐
The file : a personal history

作者: 葛頓艾許
原文作者:Timothy Garton Ash
譯者:汪仲
出版社:時報出版訂閱出版社新書快訊
出版日期:2000/01

  1992 年,柏林圍牆夷為平地,東西德融為一體的時候,他走進現在負責保管與整理前東德秘密情治機構,國家安全部檔案的高克機構,詢問他們有沒有他的檔案?高克的答覆是肯定的,不但有,而且厚達 325 頁,檔案名稱就叫做:羅密歐。

  「羅密歐」勾起了賈頓─艾許塵封 15 年的私秘回憶,1978 年,為了蒐集牛津大學博士論文的材料,他曾經隻身在東西柏林停留了共計將近 18 個月。當年那個腳上套著牛津大頭皮鞋,身上穿著蘇格蘭呢夾克的青年學者──他自嘲為雄心萬丈,偏偏「頭腦混亂」──萬萬沒有料到,自己已經置身於以「抓耙子」為全民運動,人類有史以來,規模最大,動員最徹底的前東德國家安全部監控之下。不論他走到哪裡,他觀察、省思周遭人事景物,同時間,成群線民也不動聲色地記錄、匯報這個心思單純的大男孩的一言一行……。

  賈頓─艾許一面翻閱國安部在檔案裡指示的「作戰計劃」,心中也逐漸浮現一個「反作戰計劃」,他一一走訪當年在他背後打報告的線民與國安部官員,探詢他們密告的動機與心理背景,集結出這本令書評家譽為「活生生的約翰.雷卡爾(John LeCarr)」的絕妙好書。


葉丙成
16小時· 編輯紀錄·



【愛書人的福音、難得的免費好資源:台灣雲端書庫】

今天應邀拜訪遠流出版社 王榮文董事長。王董向我介紹 「台灣雲端書庫」的服務。聽完讓我非常的驚艷!沒想到台灣有這樣免費又好的服務~

「台灣雲端書庫」是由遠流主導所建立,跟六都的圖書館都有合作。只要有六都的市立圖書館借書證(可網路辦),就可以免費閱讀書庫內幾百家出版社近一萬五千多本書籍跟雜誌。以台北市為例,兩個月的時間可借閱十二本書的電子檔完全免費。


而且書庫裡有許多書都很新,像「灣生回家」這麼新的書也借得到!最有趣的是商業模式,民眾借書免費,由圖書館付費給出版社跟平台。所以出版社會越來越願意把好書放上去,平台也可以提供越來越好的服務。目前已經有近四十萬人次使用這書庫,喜歡閱讀的朋友,或是想推共同閱讀而苦於孩子沒錢買書的老師們,趕快利用這樣的好東西!!

這次王董邀請我,也是希望聽我有什麼建議可以幫助書庫的服務更普及。我提供了幾點有趣的想法,包括把 PaGamO 跟書庫服務的結合等等。

其中我自己覺得最可行,也最有機會幫台灣提升閱讀風氣的,是請遠流把利用雲端書庫組讀書會的 knowhow 與 SOP 設計出來,免費提供給想組讀書會的人。讓沒有組過讀書會但卻很想組讀書會的人,都可以利用雲端書庫的好資源與經營讀書會的 knowhow ,輕易建立成功的讀書會組織,讓台灣民眾閱讀的風氣能夠更加提升!

會中也跟王董聊到影響我最大的兩本書,「龍馬行」跟「德川家康」都是遠流出的書。真的是難得的緣分 smile 表情符號

我真的覺得「台灣雲端書庫」是出版界的創舉。喜歡閱讀的朋友,一定要好好利用這樣免費的好資源!

「台灣雲端書庫」網址 http://www.ebookservice.tw/

Paul W. Kroll, Essays in Medieval Chinese Literature and Cultural History;Studies in Medieval Taoism and the Poetry of Li Po

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Studies in Medieval Taoism and the Poetry of Li Po

Studies in Medieval Taoism and the Poetry of Li Po
Website price:£90.00
(Regular price: £100.00)
  • Imprint: Ashgate Variorum
  • Published: July 2009
  • Format: 224 x 150 mm
  • Extent: 374 pages
  • Binding: Hardback
  • ISBN: 978-0-7546-5989-1
  • Short ISBN:9780754659891
  • BL Reference:895.1'12409
  • LoC Number: 2009923686
  • Print friendly information sheet
  • Send to a friend
  • Paul W. Kroll, University of Colorado, USA
  • Series: Variorum Collected Studies Series: CS931
  • The emergence of Taoism during the 3rd through 8th centuries as China's indigenous higher religion affected all areas of culture. This volume, one of a pair by Paul Kroll (its companion dealing with other aspects of medieval Chinese literature and cultural history), brings together twelve studies by this leading scholar of medieval China which illuminate selected aspects of Taoism in texts dating to this period and also considers its influence in the works of the great T'ang-dynasty poet, Li Po. Included here are essays on the proto-Taoist poem "Far Roaming" from the 2nd century B.C., on gods, goddesses, paradises, and poetry of the momentous Shang-ch'ing revelations of the 4th century A.D., and on Taoist figures from the T'ang dynasty. The author's writings on Li Po are well known, and several articles included in the second half of the book examine Li Po's personal connection with religious Taoism and his use of its specialized imagery. The volume concludes with a study focusing on the influence of earlier writings on Li Po's famous poem "The Road to Shu is Hard," and with an extensive monograph on his use of Buddhism in his poems and inscriptions.
  • Contents: Preface; Taoist Studies: On Far Roaming; In the halls of the Azure Lad; Spreading open the barrier of Heaven; The light of Heaven in medieval Taoist verse; The divine songs of the Lady of Purple Tenuity; Szu-ma Ch'eng-chen in T'ang verse; Notes on three Taoist figures of the T'ang dynasty. Lo Po Studies: Li Po's Rhapsody on the Great P'eng Bird; Li Po's transcendent diction; Li Po's purple haze; The road to Shu, from Zhang Zai to Li Bo; Dharma bell and dharani pillar: Li Po's Buddhist inscriptions; Index.
  • About the Author: Paul W. Kroll is Professor of Chinese in the Dept. of East Asian Languages & Civilizations, University of Colorado, USA and the editor of the Journal of the American Oriental Society.


Essays in Medieval Chinese Literature and Cultural History

  • Imprint: Ashgate Variorum
  • Illustrations: Includes 2 b&w illustrations
  • Published: July 2009
  • Format: 224 x 150 mm
  • Extent: 362 pages
  • Binding: Hardback
  • ISBN: 978-0-7546-5990-7
  • Short ISBN:9780754659907
  • BL Reference: 895.1'1309
  • LoC Number: 2009924649



(Young) TS Eliot's Four Quartets;李賦寧先生/ 艾略特文学论文集、The Waste Land by T.S. Eliot/Valerie Eliot 1926-2012, -The Cambridge Companion to T. S. Eliot

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http://www.bbc.com/culture/story/20150619-the-timeless-poetry-of-ts-eliot
Your 10 favourite TS Eliot lines




Louis McNeice, T.S. Eliot, Ted Hughes, W.H.Auden,Stephen Spender in Faber and Faber's offices, 24 Russell Square, 1960.


FULCRUM: an annual of poetry and aesthetics 的相片。




Since T.S. Eliot’s death, little has been known of the life that led up to the creation of “The Waste Land”, a difficult and richly allusive work that first came out in 1922, hailed as one of the finest poems of his generation. Fifty years after he passed, a long-awaited new biography sheds light on the young poet's lifehttp://econ.st/1L6oMmU




Young Eliot: From St Louis to The Waste Land. By Robert Crawford. Farrar, Straus and Giroux; 512 pages; $35. Jonathan Cape; £25. WHEN Thomas Stearns Eliot died in...
ECON.ST





  • Four Quartets - Wikipedia, the free encyclopedia

    en.wikipedia.org/wiki/Four_Quartets

    Four Quartets is a set of four poems written by T. S. Eliot that were published individually ....In Part III, the meditation experience becomes darker as night come on, and by ..... "Four Quartets: Music, Word, Meaning and Value" in The Cambridge  ...
  • Four Quartets - Wikiquote

    en.wikiquote.org/wiki/Four_Quartets

    Four Quartets by T. S. Eliot is a work of four poems: Burnt Norton (1935), East Coker (1940), The Dry Salvages (1941), and Little Gidding (1942) which has been acclaimed by many as one of the greatest works of mystical poetry ever written, and one of the greatest poetic compositions of the twentieth century.



  • 'Go, go, go, said the bird: human kind
    Cannot bear very much reality'.
    Jeremy Irons reads TS Eliot's Four Quartets: http://bbc.in/1Mtkqts

    Four Quartets is the culminating achievement of T.S. Eliot's career as a poet. While containing some of the most musical and unforgettable passages in twentieth-century poetry, its four parts, 'Burnt Norton', 'East Coker', 'The Dry Salvages' and 'Little Gidding', present a rigorous meditation on the spiritual, philosophical and personal themes which preoccupied the author. It was the way in which a private voice was heard to speak for the concerns of an entire generation, in the midst of war and doubt, that confirmed it as an enduring masterpiece.
    With an introduction by Michael Symmons Roberts, Lord David Alton and Gail McDonald.

    ****

     Serious readers will prefer their Eliot without ellipses.--The Cambridge Companion to T. S. Eliot, p.238
     He did not want his executors" to facilitate or countenance the writing of any biography of me." p.242


    阿加莎:......我只是在觀望和等待。這個世界上,
    一切都是不可解釋的,解決辦法得去另一個世界裡尋找。
    ----T.S. Eliot《家庭團聚》(The Family Reunion (1939) )








    TS Eliot 50 years on – quiz

    One of the 20th century's most influential poets, Eliot died 50 years ago this month. He often wrote of the fragility of memory, but much do you recall about his work?

    TS Eliot in 1941
    The cruellest quiz ... TS Eliot in 1941. Photograph: Rex Features
    1. 1.Who was the “miglior fabbro” to whom The Waste Land was dedicated?
    2. 2.Which of these household items is not mentioned in Eliot’s The Love Song of J Alfred Prufrock?
    3. 3.In Old Possum’s Book of Practical Cats, who is “the master criminal who can defy the Law”?
    4. 4.From where did Eliot borrow the original title for The Waste Land, He Do the Police In Different Voices?
    5. 5.Which popular nursery rhyme is mentioned at the end of The Waste Land?
    6. 6.Which of these is a phrase from Eliot’s The Love Song of J Alfred Prufrock?
    7. 7.Which religious building is central to Eliot’s play Murder in the Cathedral?
    8. 8."No water. Dry rocks and dry throats,/ Then thunder, a shower of quotes/ From the Sanskrit and Dante./ Da. Damyata. Shantih./ I hope you'll make sense of the notes." Whose Waste Land parody?
    9. 9.Which work is sometimes referred to as Eliot’s "conversion poem"?
    10. 10.Before becoming established as a towering presence in literature, Eliot worked for a bank. Which one?

    The Waste Land by T.S. Eliot

    荒原驚動日本

    田村隆一詩文集1974 p.187
    提到某日譯本為

    夏天伴著驟雨
    來到史....湖上
    使我們驚奇了

    可是原詩為:
    Summer surprised us, coming over the Starnbergersee
    With a shower of rain; we stopped in the colonnade,*
    這讓田村隆一知道:日語是不能經驗的語言
    這種感嘆也出現在本書前面


    *

    The Waste Land by T.S. Eliot as hypertext

     - [ 翻譯此頁 ]A hypertext presentation of TS Eliot's poem, 'The Waste Land'. ... Summer surprised uscoming over the Starnbergersee With a shower of rain; we stopped in ...


    T.S. Eliot
    T.S. Eliot
    T.S. Eliot was born on this date in 1888. The author of The Waste Land (1922), he won the Nobel Prize for Literature in 1948. Eliot was born in Missouri, but moved to England in 1914, where he remained until his death. His plays include Murder in the Cathedral (1935) and The Cocktail Party (1949). One of Eliot's most famous poems is his early work, "The Love Song of J. Alfred Prufrock" (1915). Eliot's children's book, OldPossum's Book of Practical Cats (1939), was the inspiration for the hit musical Cats. He has said, "When a Cat adopts you there is nothing to be done about it except put up with it until the wind changes."

    Quote
    "Only those who will risk going too far can possibly find out how far one can go."T.S. Eliot

    瓦萊麗·艾略特|1926-2012

    詩人T·S·艾略特之妻去世


    瓦萊麗·艾略特(Valerie Eliot)在T·S·艾略特(T. S. Eliot)人生的末期與他結婚,之後堅定地維護他的文學遺產,長達約半個世紀之久。她於周五(11月9日)在倫敦去世,享年86歲。
    艾略特遺產委員會宣布了她的死訊。
    艾略特夫人比丈夫差不多小38歲;她在費伯-費伯出版社(Faber & Faber)為他做了幾年秘書,1957年二人結婚。根據各種記載,他們的婚姻很幸福。像很多人一樣,她認為艾略特是20世紀最偉大的詩人之一,她從十幾 歲就非常喜愛他的詩;她努力在費伯-費伯出版社找工作,就是因為他在那裡。
    艾略特非常嚴格地保護自己的隱私;他於1965年去世,遺囑中明確指出不允許傳記作家在他的人生中大肆搜尋素材。妻子成了他遺產的管理人,她很少批准別人引用他的作品,更是始終拒絕學者們與可怕的傳記作家們為他樹碑立傳。
    而她自己編輯了一本備受推崇的《荒原》(The Waste Land)版本,裡面包括原稿的複印件和抄寫本,以及經編輯過的埃茲拉·龐德(Ezra Pound)的注釋。她還同意把丈夫寫給孩子們的一本詩集改編成戲劇;那本詩集叫《老負鼠的貓經》(Old Possum’s Book of Practical Cats),改編成的音樂劇就是《貓》(Cats);這給她自己和遺產委員會帶來了巨額財富,她用這些錢創立了一個慈善信託基金。
    她晚年的主要工作是編輯丈夫的書信,雖然在將近25年的時間裡,只在1988年出版了從1898年到1922年這一卷,也就是艾略特10歲到34歲的這段時間——這讓有些人懷疑她把這些素材看得太過私人化了。
    “瓦萊麗·艾略特花了30年的時間編輯她已故丈夫的信件,”凱倫·克里斯蒂安森(Karen Christiansen)2005年的時候這樣寫道;她曾幫助艾略特夫人編輯第一卷,後來在馬薩諸塞州成立了伯克利出版集團(Berkeley Publishing Group),“我為她工作的時候,經常懷疑她可能連一封信都不會公開,當第一卷出版的時候,我鬆了一大口氣。”
    克里斯蒂安森女士接著說,儘管艾略特夫人聲稱填補這些信件的空白非常耗時,儘管“她一絲不苟地對待編輯工作”,但是“她不願意出版下一卷書信集不只是因為學術的問題”。
    後來在聯合編輯的幫助下,艾略特夫人2009年出版了艾略特書信第一卷的修訂版;第二卷(1923-1925)也於2009年出版;第三卷(1926-1927)去年出版。第四卷有望於2013年出版。
    埃斯米·瓦萊麗·弗萊徹(Esmé Valerie Fletcher)1926年8月17日出生於英國利茲市。她做保險生意的父親是個書蟲,把自己對詩歌的熱愛傳給了女兒。她說她14歲時聽了約翰·吉爾古 德(John Gielgud)朗讀的《麥琪之旅》(Journey of the Magi)之後,就愛上了艾略特——至少是愛上了他的作品。
    學業結束之後,她在利茲大學的圖書館工作,然後給小說家查爾斯·摩根(Charles Morgan)做秘書。後來她聽她們家的一個認識艾略特的朋友提起艾略特在尋找一位秘書,她還去申請了這個職位。
    艾略特的第一任妻子是薇薇安·海伍德(Vivienne Haigh-Wood),他們是在牛津相遇的。他們的婚姻極其痛苦,很多人推測他在這場婚姻中付出的沉重的情感代價,體現在《荒原》里他對20世紀的絕望評價之中。
    海伍德是個精神紊亂的女人,1938年她和艾略特正式分居5年後,她的哥哥把她送到了療養院。1947年她去世時,從法律上講他們仍然是夫妻,但是艾略特實際上早已離開了她。第二年,他贏得了諾貝爾文學獎。兩年之後,瓦萊麗·弗萊徹來到費伯-費伯出版社工作。
    艾略特的第二任妻子細心地照顧他,監督他少抽雪茄——他有肺氣腫,醫生只允許他一周抽一根雪茄——雖然有時他們也出去旅行,通常是去往那些有益於他的健康的溫暖的地方,但是他們主要是呆在家裡,生活很平靜。
    “婚姻生活很適合他,他天性如此,他有愛心,也很風趣,”1994年艾略特夫人接受採訪時說。“我們過去總是呆在家裡,喝杜林標(Drambuie)利口酒,吃奶酪,玩拼字遊戲。他打牌總想贏,該上床睡覺的時候,我就故意輸掉。”
    她丈夫去世後,有些人說他冷酷、自戀,說他是反猶太分子,對第一任妻子冷酷無情、自私自利,這些都讓她很傷心。她很少公開回應,不過1994年上映 的一部關於艾略特第一次婚姻的電影《湯姆和薇芙》(Tom & Viv,主演是維勒姆·達福[Willem Dafoe]和米蘭達·理查森[Miranda Richardson]),讓她忍無可忍,開口回應。
    電影改編自邁克爾·黑斯廷斯(Michael Hastings)的劇本,把艾略特描繪成那場婚姻的罪魁禍首,暗示薇薇安·海伍德可能已經寫出了《荒原》的大部分內容。在《獨立報》(The Independent)的長篇採訪中,艾略特夫人從各個方面為丈夫辯護,甚至拿出了一些信件的複印件,來反駁電影中的負面斷言,包括薇薇安在被拒絕進入費伯-費伯出版社辦公室之後,把融化的巧克力倒入郵箱那個情節。
    艾略特夫人說,費伯出版社的門永遠都是敞開的,所以巧克力的故事是捏造出來的。
    “湯姆喜歡的是加巧克力醬的香草冰激凌,”她補充說,“有一次他在餐廳里吃這種冰激凌,坐在他對面的一個男人說,‘我不能理解像你這樣的詩人怎麼能吃那種東西。’湯姆稍微停頓了一下,說,‘哦,因為你不是詩人’,就又接着吃起來了。”
    翻譯:王艷



    ******
    艾略特文学论文集 1994= RMB 13.2/ 2010=RMB 37.0

    換句話說 書價16年間 300%

    李賦寧先生的艾略特文学论文集選文很用心 ,注解也很好,  可惜錯字相當多。


    ****

    譯人(三十):我所不知道的先生2004/10/22

    2004/10/21 錄馮象先生的話:「我這輩子很幸運,碰到的都是一流的老師,我上北大後,領我入門的是甯先生,……他們那代人是有學問的,我特別相信一代不如一代,人類文明的衰落不可避免。」

    覺得應該查一下先生,不過沒什麼收獲。只知道他父親是水利專家,與錢鍾書等都師從過吳宓先生。後來當上北京大學西語系主任,造就一些人才。再一則:英語專業是深圳大學最早成立的專業之一,由國內英語界著名學者教授親手創辦。

    /著 <英語學習經驗談>,
    <英語史>商務印書館,1991【我有,這是大學高年級/研一之教材;從前言中可以了解許多。如果我們碰到北京大學出版社翻印的<劍橋大學英語史>,我們不必驚訝為什麼…….】
    總主編<歐洲文學>史 商務印書館.

    TS.Eliot《艾略特文學論文文集》(譯),南昌:百花洲文藝,1994一版一刷。
    【這本沒有看過,相當遺憾。】

    【王佐良先生在《英國二十世紀文學史》(1994)的"序"中提出建立具有中國特色的外國文學史的模式的五條原則:(1)歷史唯物主義觀點;(2)敘述體;(3)生動具體,有文采;(4)準確無誤,符合歷史事實和真相;(5)文筆簡練。先生正確地指出:這幾條原則"對我們今後編寫外國文學史具有可貴的參考價值。"】
    大家再談點「直書其事」(jarvisdd 留言) :孔子,董狐,直筆

    20世纪欧美文论丛书-艾略特文学论文集

    20世纪欧美文论丛书-艾略特文学论文集

    作者: T.S艾略特
    译者:

    20世纪欧美文论丛书-艾略特文学论文集

    20世纪欧美文论丛书-艾略特文学论文集

    作者: T.S艾略特
    译者: 李赋宁
    ISBN: 9787805796253
    页数: 278
    定价: 13.2
    出版社:百花洲文艺
    丛书:20世纪欧美文论丛书
    装帧:精装32
    出版年: 1994ISBN: 9787805796253
    页数: 278
    定价: 13.2
    出版社:百花洲文艺
    丛书:20世纪欧美文论丛书
    装帧:精装32
    出版年: 1994

    The Confessions of St. Augustine《懺悔錄》(希波的奧古斯丁著)

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    Born ‪#‎onthisday‬ in 354: St Augustine of Hippo. This engraving with hand colouring from around 1460 depicts the saint with St John's eaglehttp://ow.ly/E9tkm

    British Museum 的相片。




    Featured Artwork of the Day: Master of Saint Augustine (Netherlandish, ca. 1490) | Scenes from the Life of Saint Augustine of Hippo | ca. 1490 http://met.org/1dcVJny


    The Metropolitan Museum of Art, New York 的相片。


    Confessions (LatinConfessiones) is the name of an autobiographical work, consisting of 13 books, by St. Augustine of Hippo, written in Latin between AD 397 and AD 398. Modern English translations of it are sometimes published under the title The Confessions of St. Augustine in order to distinguish the book from other books with similar titles. Its original title was "Confessions in Thirteen Books," and it was composed to be read out loud with each book being a complete unit.[1]
    http://en.wikipedia.org/wiki/Confessions_(St._Augustine)


    Harvard Classics, Vol. 7, Part 1
    The Confessions of St. Augustine
    Saint Augustine
    The origin of the autobiographical tradition, the Confessions of one of the great Fathers of the Church traces a dialogue with his God and a journey toward rising above one’s self.
    Search:    
    CONTENTS
    Bibliographic Record
    NEW YORK: P.F. COLLIER & SON COMPANY, 1909–14
    NEW YORK: BARTLEBY.COM, 2001
    Introductory Note
    The First Book
    The Second Book
    The Third Book
    The Fourth Book
    The Fifth Book
    The Sixth Book
    The Seventh Book
    The Eighth Book
    The Ninth Book
    The Tenth Book
    《懺悔錄》(希波的奧古斯丁著)

    周士良(1914-1980.12.28)天主教耶穌會中國籍會士,北京天主教輔仁大學歷史系畢業,除文史外,尚精通音樂、音律。做過上海唐墓橋達義公學(現上海市唐鎮中學)校長和上海教區龔品梅主教秘書。
    精通拉丁語法語等多種語文,從原文譯出《懺悔錄》(希波的奧古斯丁著)和《福音概論》(法國耶穌會士余卞Joseph Huby原著)、《舊約以色列民族史》(法國耶穌會士戴業勞Henri Daniel-Rops原著)、《江南傳教史》(法國耶穌會士高龍鞶原著)等書。
    周神父譯《懺悔錄》1962年完成,1963年由北京商務印書館出版,重印15次以上,印數多,流傳廣,希波的奧古斯丁引《武加大譯本》經文譯自拉丁文原文,惟譯名經編輯加工改用新教譯名。


    -----
    這本書台中的光啟社也有翻譯。不知道差別。

    有的地方不好懂,譬如說講他母親被女僕笑:為"酒鬼"後,戒酒,之後作者的沉思......9章8節......
    另外是聖經的翻譯(本書可能5%是引文),譬如說,13:31


    除了人內裏的心神外,有誰能知道那人的事呢?同樣,除了天主聖神外,誰也不能明瞭天主的事。我們所領受的,不是這世界的精神,而是出於天主的聖神,為使我們能明瞭天主所賜與我們的一切。 (思高本)

    我被聖神的翻譯所困惑。現在的簡單國際標準本的比較容易......

    1 Corinthians 2:11-12

    New International Version (NIV)
    11 For who knows a person’s thoughts except their own spirit within them? In the same way no one knows the thoughts of God except the Spirit of God. 12 What we have received is not the spirit of the world, but the Spirit who is from God, so that we may understand what God has freely given us.




    Disturbing The Universe, The Love Song of J. Alfred Prufrock

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    Disturbing The Universe (Sloan Foundation Science Series ...

    www.amazon.com › ... › Professionals & Academics › Scientists

    Disturbing The Universe (Sloan Foundation Science Series) Paperback – April 15, 1981. ... Dyson evocatively conveys the thrill of a deep engagement with the world-be it as scientist, citizen, student, or parent. ... Freeman Dyson is Professor Emeritus of Physics at the Institute for ...
    此書有漢譯: 宇宙波瀾

    書名Disturbing The Universe 出自TS Eliot 的詩

    The Love Song of J. Alfred Prufrock


    The Love Song of J. Alfred Prufrock - Poetry Foundation

    www.poetryfoundation.org › Poetry Magazine

    Disturb the universe? In a minute there is time. For decisions and revisions which a minute will reverse. For I have known them all already, known them all:.

    The Craftsman by Richard Sennett 2009;【匠人】2015 。His Invention So Fertile by Adrian Tinniswood

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    The Craftsman 1st Edition


    • Paperback: 336 pages
    • Publisher: Yale University Press; 1 edition (March 31, 2009)

    • Language: English ;【匠人】,上海譯文,译者: 李继宏 , 2015
    Craftsmanship, says Richard Sennett, names the basic human impulse to do a job well for its own sake, and good craftsmanship involves developing skills and focusing on the work rather than ourselves. The computer programmer, the doctor, the artist, and even the parent and citizen all engage in a craftsman’s work. In this thought-provoking book, Sennett explores the work of craftsmen past and present, identifies deep connections between material consciousness and ethical values, and challenges received ideas about what constitutes good work in today’s world.
    The Craftsman engages the many dimensions of skill—from the technical demands to the obsessive energy required to do good work. Craftsmanship leads Sennett across time and space, from ancient Roman brickmakers to Renaissance goldsmiths to the printing presses of Enlightenment Paris and the factories of industrial London; in the modern world he explores what experiences of good work are shared by computer programmers, nurses and doctors, musicians, glassblowers, and cooks. Unique in the scope of his thinking, Sennett expands previous notions of crafts and craftsmen and apprises us of the surprising extent to which we can learn about ourselves through the labor of making physical things.

    匠人jiàng rénㄐㄧㄤˋ ㄖㄣˊ


    1. 木匠、工匠。墨子.天志上:「譬若輪人之有規,匠人之有矩。」警世通言.卷五.呂大郎還金完骨肉:「樹本就好做屋柱,枝條大者,就好做梁,細者就好做椽,卻不省了匠人工作。」



    2. 【匠人】2015

    3. 作者簡介  · · · · · ·


      目錄  · · · · · ·

      致謝
      序章作為自身製造者的人類
      第一部分匠人
      第一章煩惱的匠人
      第二章作坊
      第三章機器
      第四章物質意識
      第二部分匠藝
      第五章手
      第六章形象的說明書
      第七章刺激性工具
      第八章阻力與模糊
      第三部分匠藝活動
      第九章質量至上的工作
      第十章能力
      結語哲學作坊



    4. 翻譯討論: 頁248等3頁,His Invention So Fertile by Adrian Tinniswood
       翻譯成【他的發明如此有用】:" Fertile"通常指"多產"。
      -------

      His Invention So Fertile: A Life of Christopher Wren
      Adrian Tinniswood
      Jonathan Cape £25, pp463
      In the days before the Dome and the Wobbly Bridge catapulted them blinking uncertainly above stairs, Britain's architects struggled to find explanations for the massive public indifference to them and all their works. Britain, they were always saying, is a fundamentally literary culture rather than a visual one.
      It wasn't being blamed for the tower block disasters that bothered them, so much as the fact that nobody thought that they really mattered. They were kept toiling in the boiler room of the nation's cultural dreadnought, while the poets, writers and playwrights went swanning around in the sunshine up on deck, without so much as breaking into a sweat. What's putting a few words on paper, compared with the titanic efforts required to get the commission to do a building in the first place, and then struggle with Philistine politicians, venal contractors and corrupt public officials that take up most of an architect's attention?


      They consoled themselves by telling each other that it was not their fault. They could pick up plenty of work abroad, even if nobody would give them a job at home. Britain, they muttered darkly, is nothing but a nation of visual illiterates, a country that is not fundamentally interested in architecture, no matter how good it is.
      It's a view that spectacularly fails to deal with the case of Christopher Wren, an architect who was just as immersed in dealing with venal contractors, jealous professional rivals, corrupt officials and Philistines as any of his present-day successors. But the image of the dome of St Paul's, caught in the searchlights and smoke of a London burning under the Luftwaffe bombers' onslaught, has ensured that Wren's architecture is an essential and irreplaceable part of Britain's sense of itself. Wren has been elevated to the status of national icon, right up there with Shakespeare and Dickens. His reputation was unassailable enough for him to be allowed onto a banknote and join that tiny group of whiskery men that we use to measure out our national identity.
      The Wren cult now ensures that any red-brick country house of the right period with a Portland stone pediment over the front door is instantly ascribed to him. Just as every colonial transplant on America's East Coast is a Wren design, and any house with a view of St Paul's was used by Wren as a temporary lodging during the construction of the great cathedral.
      Yet Wren is not exactly fashionable with the architectural profession today. If Britain's architects are interested in the lessons to be learnt from the work of their historic predecessors, it's Lutyens they will be looking at, or Hawksmoor, Wren's talented assistant who fascinated James Stirling for so long, or, even more, Sir John Soane.
      Adrian Tinniswood will not do much to change their minds. His biography is conscientious and diligent, but it will not make anybody look differently at a Wren building. Nor has he discovered an entirely unknown Wren. He leaves us little the wiser about exactly what it is that gives Wren's work its quality, and concentrates instead on the mechanisms of how it got built. The intrigues with the masons and the royal place-men, the bickerings with the clients and the committees, the bribes that the city parishes paid to persuade him to concentrate on their church at the expense of rivals during the post-fire rebuilding, are all fascinating. But it is not central to understanding what makes Wren important.
      The major elements of Wren's life - the high church royalist divine for a father, the education at Oxford, the switch from astronomy to architecture, the friendship with Charles II, the trials of the various versions of St Paul's, the establishment of the Royal Society, the work at Hampton Court, Greenwich and Chelsea Hospital - are all familiar stuff. And there is not that much more to say that has not been said before.
      Tinniswood continually has to confess himself defeated as a biographer because there is so much that we do not know about the detail of Wren's personal life. He is lamely reduced at one point to telling us: 'I would love to have known what Wren was thinking.' Describing Edward Pierce's marble bust of Wren in the manner of Bernini, with his high forehead and flowing locks, 'This is the face of a man you would give a great deal to know.'
      Clearly Tinniswood could not come up with quite enough. And of Jane Fitzwilliam, Wren's second wife, he confesses that 'the woman herself is a complete mystery'. Instead he pads the book with engaging accounts of masturbating scientists, cuckolded architects succumbing to nervous breakdowns, hanged women cut down from the gallows and revived, and homosexuality at court.
      Entertaining though this is, precious little of it has much to do directly with Wren. And all of it is written in the clipped sentences and condescending style of those trying too hard to make their subjects come alive. Tinniswood permits himself to tell us at one point that 'if Wren hadn't come to Paris to shop, he hadn't come to party either'.
      More of a problem is that Tinniswood has as much of a blind spot when it comes to bringing architecture alive as he does with words. He is like a tour guide, marching his charges briskly off the coach and through Wren's life, pointing out the items of interest on the way and relentlessly attempting to keep us amused with constant anecdotes. All right if you like that kind of thing. But for a better idea of what makes Wren special, try standing in the City on a muggy August night, as the offices and the dealing rooms go silent, as the miraculous milkily floodlit dome of St Paul's soars majestically upward, floating effortlessly above the sublime stone cliff of the east end of the cathedral.




    A Man Without a Country Kurt Vonnegut on writing a story...

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    Kurt Vonnegut

    Great video of Kurt Vonnegut on writing a story...


    紅黨建黨宣言滿布著一種顯然來自於黨主席的浪漫,它引用了美國作家馮內果《沒有國家的人》一書放在卷首的一首小詩:「善,沒有理由戰勝不了惡,只要天使們能像黑手黨那樣組織起來。」

    A Man Without a Country (subtitle: A Memoir Of Life In George W Bush's America) is an essay collection published in 2005 by the author Kurt Vonnegut. The extremely short essays that make up this book deal with topics ranging from the importance of humor, to problems with modern technology, to Vonnegut's opinions on the differences between men and women. Most prevalent in the text, however, are those essays that elucidate Vonnegut's opinions on politics, and the issues in modern American society, often from a decidedly humanistic perspective.[1] 

    A Man Without a Country Quotes (showing 1-30 of 57)
    “And on the subject of burning books: I want to congratulate librarians, not famous for their physical strength or their powerful political connections or their great wealth, who, all over this country, have staunchly resisted anti-democratic bullies who have tried to remove certain books from their shelves, and have refused to reveal to thought police the names of persons who have checked out those titles.

    So the America I loved still exists, if not in the White House or the Supreme Court or the Senate or the House of Representatives or the media. The America I love still exists at the front desks of our public libraries.”
    ― Kurt VonnegutA Man Without a Country
    “Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college.”
    ― Kurt VonnegutA Man Without a Country
    “If you want to really hurt you parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”
    ― Kurt VonnegutA Man Without a Country
    “And I urge you to please notice when you are happy, and exclaim or murmur or think at some point, 'If this isn't nice, I don't know what is.”
    ― Kurt VonnegutA Man Without a Country
    “I tell you, we are here on Earth to fart around, and don't let anybody tell you different.”
    ― Kurt VonnegutA Man Without a Country
    “I wanted all things
    To seem to make some sense,
    So we could all be happy, yes,
    Instead of tense.
    And I made up lies
    So that they all fit nice,
    And I made this sad world
    A par-a-dise.”
    ― Kurt VonnegutA Man Without a Country
    “Do you realize that all great literature is all about what a bummer it is to be a human being? Isn't it such a relief to have somebody say that?”
    ― Kurt VonnegutA Man Without a Country
    “Here is a lesson in creative writing.

    First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college.

    And I realize some of you may be having trouble deciding whether I am kidding or not. So from now on I will tell you when I'm kidding.

    For instance, join the National Guard or the Marines and teach democracy. I'm kidding.

    We are about to be attacked by Al Qaeda. Wave flags if you have them. That always seems to scare them away. I'm kidding.

    If you want to really hurt your parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.”
    ― Kurt VonnegutA Man Without a Country
    “In case you haven't noticed, as the result of a shamelessly rigged election in Florida, in which thousands of African Americans were arbitrarily disenfranchised, we now present ourselves to the rest of the world as proud, grinning, jut-jawed, pitiless war-lovers with appalling powerful weaponry - who stand unopposed.
    In case you haven't noticed, we are now as feared and hated all over the world as the Nazi's once were.
    And with good reason.
    In case you haven't noticed, our unelected leaders have dehumanized millions and millions of human beings simply because of their religion and race. We wound 'em and kill 'em and torture 'em and imprison 'em all we want.
    Piece of cake.
    In case you haven't noticed, we also dehumanize our own soldiers, not because of their religion or race, but because of their low social class.
    Send 'em anywhere. Make 'em do anything.
    Piece of cake.
    The O'Reilly Factor.
    So I am a man without a country, except for the librarians and a Chicago paper called "In These Times."
    Before we attacked Iraq, the majestic "New York Times" guaranteed there were weapons of destruction there.
    Albert Einstein and Mark Twain gave up on the human race at the end of their lives, even though Twain hadn't even seen the First World War. War is now a form of TV entertainment, and what made the First World War so particularly entertaining were two American inventions, barbed wire and the machine gun.
    Shrapnel was invented by an Englishman of the same name. Don't you wish you could have something named after you?
    Like my distinct betters Einstein and Twain, I now give up on people too. I am a veteran of the Second World War and I have to say this is the not the first time I surrendered to a pitiless war machine.
    My last words? "Life is no way to treat an animal, not even a mouse."
    Napalm came from Harvard. Veritas!
    Our president is a Christian? So was Adolf Hitler.
    What can be said to our young people, now that psychopathic personalities, which is to say persons without consciences, without senses of pity or shame, have taken all the money in the treasuries of our government and corporations and made it all their own?”
    ― Kurt VonnegutA Man Without a Country
    “No matter how corrupt, greedy, and heartless our government, our corporations, our media, and our religious & charitable institutions may become, the music will still be wonderful.”
    ― Kurt VonnegutA Man Without a Country
    “A saint is a person who behaves decently in a shockingly indecent society.”
    ― Kurt VonnegutA Man Without a Country
    “Life is no way to treat an animal.”
    ― Kurt VonnegutA Man Without a Country
    “To practice any art, no matter how well or badly, is a way to make your soul grow. So do it.”
    ― Kurt VonnegutA Man Without a Country
    “The truth is, we know so little about life, we don't really know what the good news is and what the bad news is.”
    ― Kurt VonnegutA Man Without a Country
    “Only in books do we learn what’s really going on.”
    ― Kurt VonnegutA Man Without a Country
    “I was once asked if I had any ideas for a really scary reality TV show. I have one reality show that would really make your hair stand on end: "C-Students from Yale."
    George W. Bush has gathered around him upper-crust C-students who know no history or geography, plus not-so-closeted white supremacists, aka Christians, and plus, most frighteningly, psychopathic personalities, or PPs, the medical term for smart, personable people who have no consciences.
    To say somebody is a PP is to make a perfectly respectable diagnosis, like saying he or she has appendicitis or athlete's foot . . .
    PPs are presentable, they know full well the suffering their actions may cause others, but they do not care. They cannot care because they are nuts. They have a screw loose! . . .
    So many of these heartless PPs now hold big jobs in our federal government, as though they were leaders instead of sick. They have taken charge of communications and the schools, so we might as well be Poland under occupation.
    They might have felt that taking our country into an endless war was simply something decisive to do. What has allowed so many PPs to rise so high in corporations, and now in government, is that they are so decisive. They are going to do something every fuckin' day and they are not afraid. Unlike normal people, they are never filled with doubts, for the simple reasons that they don't give a fuck what happens next. Simply can't. Do this! Do that! Mobilize the reserves! Privatize the public schools! Attack Iraq! Cut health care! Tap everybody's telephone! Cut taxes on the rich! Build a trillion-dollar missile shield! Fuck habeas corpus and the Sierra Club and In These Times, and kiss my ass!
    There is a tragic flaw in our precious Constitution, and I don't know what can be done to fix it. This is it: Only nut cases want to be president.”
    ― Kurt VonnegutA Man Without a Country
    “Here's the news: I am going to sue the Brown & Williamson Tobacco Company, manufacturers of Pall Mall cigarettes, for a billion bucks! Starting when I was only twelve years old, I have never chain-smoked anything but unfiltered Pall Malls. And for many years now, right on the package, Brown & Williamson have promised to kill me.
    But I am eighty-two. Thanks a lot, you dirty rats. The last thing I ever wanted was to be alive when the three most powerful people on the whole planet would be named Bush, Dick and Colon.”
    ― Kurt VonnegutA Man Without a Country
    “When a couple has an argument nowadays they may think it s about money or power or sex or how to raise the kids or whatever. What they're really saying to each other, though without realizing it, is this: "You are not enough people!”
    ― Kurt VonnegutA Man Without a Country
    “For some reason, the most vocal Christians among us never mention the Beatitudes (Matthew 5). But, often with tears in their eyes, the demand that the Ten Commandments be posted in public buildings. And of course, that's Moses, not Jesus. I haven't heard one of them demand that the Sermon on the Mount, the Beatitudes, be posted anywhere.
    "Blessed are the merciful" in a courtroom? "Blessed are the peacemakers" in the Pentagon? Give me a break!”
    ― Kurt VonnegutA Man Without a Country
    “The biggest truth to face now - what is probably making me unfunny now for the remainder of my life - is that I don't think people give a damn whether the planet goes or not. It seems to me as if everyone is living as members of Alcoholics Anonymous do, day by day. And a few more days will be enough. I know of very few people who are dreaming of a world for their grandchildren.”
    ― Kurt VonnegutA Man Without a Country
    “I don't reveal to her that I love her. I keep poker faced. She might as well be looking at a cantaloupe, there is so little information in my face, but my heart is beating.”
    ― Kurt VonnegutA Man Without a Country
    “Only nut cases want to be president. This was true even in high school. Only clearly disturbed people ran for class president.”
    ― Kurt VonnegutA Man Without a Country
    “Socialism" is no more an evil word than "Christianity." Socialism no more prescribed Joseph Stalin and his secret police and shuttered churches than Christianity prescribed the Spanish Inquisition. Christianity and socialism alike, in fact, prescribe a society dedicated to the proposition that all men, women, and children are created equal and shall not starve.”
    ― Kurt VonnegutA Man Without a Country
    “If you actually are an educated, thinking person, you will not be welcome in Washington, D.C. I know a couple of bright seventh graders who would not be welcome in Washington D.C.”
    ― Kurt VonnegutA Man Without a Country
    “Electronic communities build nothing. You wind up with nothing. We are dancing animals. How beautiful it is to get up and go out and do something. We are here on Earth to fart around. Don't let anybody tell you any different.”
    ― Kurt VonnegutA Man Without a Country
    “Our government's got a war on drugs. That's certainly better then no drugs at all.”
    ― Kurt VonnegutA Man Without a Country
    “Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.”
    ― Kurt VonnegutA Man Without a Country
    “And I apologize to all of you who are the same age as my grandchildren. And many of you reading this are the same age as my grandchildren. They, like you, are being royally shafted and lied to by our Baby Boomer corporations and government.”
    ― Kurt VonnegutA Man Without a Country
    “The last thing I ever wanted was to be alive when the three most powerful people on the whole planet would be named Bush, Dick and Colon.

    Our government's got a war on drugs....But get this: The two most widely abused and addictive and destructive of all substances are both perfectly legal.

    One, of course, is ethyl alcohol. And President George W. Bush, no less, and by his own admission, was smashed, or tiddley-poo, or four sheets to the wind a good deal of time from when he was sixteen until he was forty. When he was forty-one, he says, Jesus appeared to him and made him knock off the sauce, stop gargling nose paint.

    Other drunks have seen pink elephants.”
    ― Kurt VonnegutA Man Without a Country
    “The arts are not a way to make a living. They are a very human way of making life more bearable.”
    ― Kurt VonnegutA Man Without a Country
    “Evolution is so creative. That's how we got giraffes.”
    ― Kurt VonnegutA Man Without a Country
    “Oh, a lion hunter
    in the jungle dark,
    And a sleeping drunkard
    up in central park,
    and a Chinese dentist
    and a British queen
    All fit together
    in the same machine.
    Nice, nice,
    such very different
    people in the same device!”
    ― Kurt VonnegutA Man Without a Country
    “Humor is a way of holding off how awful life can be, to protect yourself.”
    ― Kurt VonnegutA Man Without a Country
    “And my car back then, a Studebaker as I recall, was powered, as are most of all means of transportation and other machinery today, and electric power plants and furnaces, by the most abused, addictive, and destructive drugs of all: fossil fuels.

    When you got here, even when I got here, the industrialized world was already hopelessly hooked on fossil fuels, and very soon now there won't be any left. Cold turkey.

    Can I tell you the truth? I mean this isn't the TV news is it? Here's what I think the truth is: We are all addicts of fossil fuels in a state of denial. And like so many addicts about to face cold turkey, our leaders are now committing violent crimes to get what little is left of what we're hooked on.”
    ― Kurt VonnegutA Man Without a Country
    “The youngest child in any family is always a jokemaker, because a joke is the only way he can enter into an adult conversation.”
    ― Kurt VonnegutA Man Without a Country
    “I saw the destruction of Dresden. I saw the city before and then came out of an air-raid shelter and saw it afterward, and certainly one response was laughter. God knows, that's the soul seeking some relief.”
    ― Kurt VonnegutA Man Without a Country
    “But I replied that what made being alive almost worthwhile for me, besides music, was all the saints I met, who could be anywhere. By saints I meant people who behaved decently in a strikingly indecent society.”
    ― Kurt VonnegutA Man Without a Country
    “Shrapnel was invented by an Englishman of the same name. Don't you wish you could have something named after you?”
    ― Kurt VonnegutA Man Without a Country
    “While we were being bombed in Dresden sitting in a cellar with our arms over our heads in case the ceiling fell, one soldier said as though he were a duchess in a mansion on a cold and rainy night, 'I wonder what the poor people are doing tonight.' Nobody laughed, but we were still all glad he said it. At least we were still alive! He proved it.”
    ― Kurt VonnegutA Man Without a Country
    “When I got home from the Second World War, mu Uncle Dan clapped me on the back, and he said, "You're a man now." So I killed him. Not really, but I certainly felt like doing it.”
    ― Kurt VonnegutA Man Without a Country
    “I became a so-called science fiction writer when someone decreed that I was a science fiction writer. I did not want to be classified as one, so I wondered in what way I'd offended that I would not get credit for being a serious writer. I decided that it was because I wrote about technology, and most fine American writers know nothing about technology. I got classified as a science fiction writer simply because I wrote about Schenectady, New York. My first book, Player Piano, was about Schenectady. There are huge factories in Schenectady and nothing else. I and my associates were engineers, physicists, chemists, and mathematicians. And when I wrote about the General Electric Company and Schenectady, it seemed a fantasy of the future to critics who had never seen the place.”
    ― Kurt VonnegutA Man Without a Country
    “It was a big mistake for me to take a degree in anthropology anyway, because I can't stand primitive people — they're so stupid.”
    ― Kurt VonnegutA Man Without a Country
    “Most of us, if we get married nowadays, are just one more person for the other person. The groom gets one more pal, but it's a woman. The woman gets one more person to talk to about everything, but it's a man.

    When a couple has an argument nowadays, they may think it's about money or power or sex or how to raise the kids or whatever. What they're really saying to each other without realizing it, is this: "You are not enough people!"

    A husband, wife and some kids is not a family. It's a terribly vulnerable survival unit.”
    ― Kurt VonnegutA Man Without a Country
    “my father said, "when in dount, castle”
    ― Kurt VonnegutA Man Without a Country
    “Speaking of plunging into war, do you know why I think George W. Bush is so pissed off at Arabs? They brought us algebra. Also the numbers we use, including a symbol for nothing, which Europeans had never had before. You think Arabs are dumb? Try doing long division with Roman numerals.”
    ― Kurt VonnegutA Man Without a Country
    “A husband, a wife and some kids is not a family. It's a terribly vulnerable survival unit.”
    ― Kurt VonnegutA Man Without a Country
    “Thanks a lot, you dirty rats. The last thing I ever wanted was to be alive when the three most powerful people on the whole planet would be named Bush, Dick, & Colon.”
    ― Kurt VonnegutA Man Without a Country
    “Si quieres lastimar a tus padres, y no tienes el valor de ser gay, lo menos que puedes hacer es convertirte en artista. No estoy bromeando. Las artes no son una manera de ganarse la vida. Son una forma muy humana de hacer la vida más soportable. Practicar un arte, no importa cuan bien o mal, es una forma de hacer crecer el alma. Cantar en la ducha. Bailar con la radio. Contar historias. Escribir un poema, aún un poema malo. Hazlo tan bien como puedas. Obtendrás una enorme recompensa. Habrás creado algo.”
    ― Kurt VonnegutA Man Without a Country
    “Demasiadas personas necesitan recibir el siguiente mensaje: “Siento y pienso igual que tú, me preocupan las mismas cosas que a tí. No estás solo”.”
    ― Kurt VonnegutA Man Without a Country
    “How do humanists feel about Jesus? I say of Jesus, as all humanists do, “If what he said is good, and so much of it is absolutely beautiful, what does it matter if he was God or not?” 
     Kurt Vonnegut, A Man Without a Country“But I have to say this in defense of humankind: In no matter what era in history, including the Garden of Eden, everybody just got here. And, except for the Garden of Eden, there were already all these games going on that could make you act crazy, even if you weren't crazy to begin with. Some of the crazymaking games going on today are love and hate, liberalism and conservatism, automobiles and credit cards, golf, and girls' basketball.”
    ― Kurt VonnegutA Man Without a Country

    廖為民《我的黨外青春》

    $
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    我的黨外青春:黨外雜誌的故事


    售價 : $ 350


    【關於本書】

    黑夜。搜查。禁印。焚焰。

    塵埋的記憶,激揚的秘辛,

    屬於台灣的,

    最絢麗的青春物語



    作家林世煜 邱振瑞 感動推薦



    三十幾年前,國民黨對內控制,還當盛時。我們辦黨外雜誌,好像在佔領區打游擊,一站一站快跑前進。採訪、拍照、寫作、編輯、打字、完稿,到了天將光,火速送廠,製版、校訂、調色,上機,印刷、摺紙,裝釘。流水工序一廠傳過一廠,像游擊隊一村行過一村。第二天深夜,打包完成,趁著夜黑風高,堆疊裝車,銜枚疾走,穿街走巷轉上高速公路。漆黑的車廂裡亮著兩只火紅的菸頭,兩個單兵互相掩護,展開縱貫線聯勤大作戰……。為民兄做為一名民間學者型的藏書家,有他身為書商的豐富資源,更在於他有心有情有意,在國民黨的爪牙和網羅當中,搶救福爾摩莎抵抗史料的堅持。——林世煜



    作者是資深的書籍流通和出版業者,平時既廣泛地閱讀,有關遭查禁的各類政論雜誌,全被他蒐羅和保存下來,期號刊別齊全幾無缺漏,在這方面,可說遠遠勝過國家級的史料收藏。最重要的是,他是「在場」的觀察者。他親歷過這段驚心動魄的歷史蔭谷。有了這兩種奇妙的經驗基礎,其展示的歷史圖景自有其特殊的魅力。儘管台灣已經進入二次的政黨輪替,民主的風潮方興未艾,轉型正義做得並不徹底,許多歷史罪惡沒有受到深切批判和清算,便走向看似幸福和平的民主社會,這終究沒能達至歷史創傷的超越與克服,頂多只是內傷外癒罷了。若果如此,它的出版在某種程度上,應該可視為是投向未竟的轉型正義的一束亮光。——邱振瑞



    呈獻在各位讀友面前的是,從一九七五年八月《台灣政論》創刊號起,經《夏朝》、《這一代》、《富堡之聲》、《長橋》、《八十年代》、《美麗島》,「美麗島事件」後由《進步》、《深耕》系列、《關懷》、《政治家》系列、《千秋評論》、《前進》、《自由時代》系列、《新潮流》等,再受到「民主進步黨」成立、解除戒嚴、開放報禁後,資訊自由傳遞的禁忌消失後,才日漸沒落,最後只能「休刊」的過程。歷代黨外前輩們努力爭取自由、追求民主的艱辛過程,也已成為「台灣歷史」的一部份,更期待有心人士能再進一步涉入這塊尚待開拓的領域,一棒接一棒為台灣民主及自由奠下更深遠的根基,成為我們的生活方式,這是我們的共同願望。——廖為民



    【關於作者】

    廖為民,台灣雲林縣人,現居新北市三峽。逢甲大學合作經濟學系畢業。曾任書報社發行經理,出版社行銷企劃,雜誌社發行副理,書報公司總經理,出版社發行人,出版社社長,從事文化工作逾三十年。現在擔任「座家」。喜好讀書,逛書店,聊天,小酌,沉思。目前仍就相關「黨外」查扣與查禁書籍撰述中。













    序為民兄大作《我的黨外青春》
    --藏書於民--
    三十幾年前,國民黨對內控制,還當盛時。我們辦黨外雜誌,好像在佔領區打游擊,一站一站快跑前進。採訪、拍照、寫作、編輯、打字、完稿,到了天將光,火速送廠,製版、校訂、調色,上機,印刷、摺紙,裝釘。流水工序一廠傳過一廠,像游擊隊一村行過一村。第二天深夜,打包完成,趁著夜黑風高,堆疊裝車,銜枚疾走,穿街走巷轉上高速公路。漆黑的車廂裡亮著兩只火紅的菸頭,兩個單兵互相掩護,展開縱貫線聯勤大作戰。
    不能開快車,若被攔下來,就前功盡棄。我們由北而南,桃竹苗,中彰投,雲嘉南,一站一站丟包。子夜前抵達的北部縣份,有些書店尚未打烊,老闆睡眼惺忪相迎,交談甚歡。夜漸深,路漸南,所到之處,大多鐵門深鎖。我們靜靜地泊車,把幾疊雜誌堆在事先交代的某處,好整以暇地,抽支菸再走。如此這般,一路到南台灣的屏東,從子夜到清晨,天都亮了。
    三十多年過去,我還記得幾處抵抗軍的游擊基地。像豐原的三民書局,台中書報社,嘉義紅豆書局…
    我記得特別清楚的是台中書報社。印象中是幾名熱情的青年經營的。他們批發黨外雜誌,不像做買賣,比較像搞運動。大家互相看一眼,就覺得對味。其中廖兄為民,是最典型的熱血份子。他不但賣書賣雜誌,進而藏書藏雜誌,甚至自己開了出版社。
    所以,得知為民兄寫了這本書時,我一點都不訝異。也該他把自己的藏卷清點一下公諸同好的時候了。為民兄做為一名民間學者型的藏書家,有他身為書商的豐富資源,更在於他有心有情有義,在國民黨的爪牙和網羅當中,搶救福爾摩莎抵抗史料的堅持。
    為民兄也是昔日彼時代的人物典型,無時無刻目光赤赤在吸收空氣中任何反抗威權的訊息。儘可能地,他每一本雜誌都讀,每一場演講都聽,每一件公案都頭頭是道。直到很多很多年之後,他還可以幫政論雜誌校對老照片裡出現的人名。每個人他都記得。
    他也記得我寫過什麼東西幹過什麼事,而且還留著紙本,真正鐵証如山。如今重讀,恍如隔世。在國民黨即將覆亡的前夕,翻閱三十多年來我們的世代親身經歷的血汗抗爭,和為民兄等,在人生的薄暮中,更盡一杯,笑看台灣人洗盡百年羞辱,真是不亦快哉。


    ---






    廖為民的「我的黨外青春」--黨外雜誌的故事新書發表會,在信義書局。
    邱萬興的相片。


    1114 2015下午,2:30。
    廖為民《我的黨外青春》新書發表會。
    在信義書局,
    台北市復興南路2段173號。



    「台湾映画」2015年目次

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    『台湾映画』 2015年     A5 110頁  1000+税

    「台湾映画」2015年目次
    私の会った李香蘭        羅福全 
    山口淑子女史の思い出     陳鵬仁 
    台湾シネマだより―2014年編     司豊明 
    「黒衣の刺客」
    ――侯孝賢が描く静かな緊張感に満ちた武俠世界 浦川留       
    映画「軍中楽園」に垣間見る馬英九政権下の台湾 吉村剛史 
    九把刀にとっての青春――『あの頃、君を追いかけた』   横路啓子  
    湯浅浪男から湯慕華へ 台湾に帰化した日本人映画監督   山﨑泉 
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    野島剛: 銀幕上的新台灣:新世紀台灣電影裡的台灣新形象 映画で知る台湾

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    銀幕上的新台灣:新世紀台灣電影裡的台灣新形象

    認識‧TAIWAN‧電影 映画で知る台湾



    內容簡介

    二十一世紀新台灣電影現象!
    你能在一分鐘內說出十部近三年上映的國片嗎?
    或許你不太常看國片,也不清楚台灣電影人在忙什麼。
    但是,曾經想過嗎?台灣電影正是讓全世界認識我們這座島嶼的櫥窗!

      《兩個故宮的離合》、《謎樣的清明上河圖》、《最後的帝國軍人》
      暢銷作家 野島剛 2015年最新作品
      描繪近十年來台灣電影裡所呈現的台灣新形象

      收錄:侯孝賢、魏德聖、齊柏林、鈕承澤、蔡明亮、陳懷恩、陳玉勳、九把刀、李烈,九位台灣電影導演、製片人專訪紀錄。

      熱愛新世紀台灣電影,看過一百多部國片的日本資深記者野島剛,以跨文化的比較性視角切入,描繪出近十年來新世紀台灣電影裡呈現出的台灣新形象。

      野島剛強調,這本書並不是電影解說書,而是透過電影這扇窗去觀察台灣社會,是以記者角度出發的書:
      ‧台灣,對於拍攝紀錄片的人來說,這裡可是天堂。台灣擁有豐富的多元文化,充滿了矛盾,換言之就是題材相當豐富。
      ‧當我看台灣電影時,總會發現有幾項不斷重複出現的元素,我想這就顯示了這些元素對台灣人的重要性,也是日常生活裡不可或缺的,甚至是電影無法避而不談的。若是不了解這些元素,也許就無法真正了解台灣電影。
      ‧台灣確實存在著貧富差距和南北差距的問題,透過《不能沒有你》這部電影更可以明顯察覺到這個現象。
      ‧過去的台灣電影,不管是拍攝逃避現實或是自我尋找之旅,通常以選擇海外取景的居多,像是去香港或日本等等。然而,《最遙遠的距離》的主角們則是在台灣旅行,或許也是反映了受到「本土化」影響的這一代台灣人的內心所感吧!
      ‧日本的喪禮通常要求必須「靜肅」,但是在台灣似乎完全不通用。《父後七日》是一部顛覆了日本常識,同時也可以認識台灣喪禮的電影。
      ‧台灣的校園電影裡出現的「教官」,或許對於日本觀眾來說是比較難以理解的。但是,當電影是以一九九○年代以前的校園為舞臺時,教官就是不可或缺的重要存在。
      ‧台灣電影裡比較沒有那種「我愛你」、「絕對不能離開你」或者「到死都要在一起」的台詞。恰到好處的現實感,又穿插著小小的夢想。像這樣小而美的電影,剛好體現了台灣這塊土地的特質,不是嗎?
     

    作者介紹

    作者簡介

    野島剛 Nojima Tsuyoshi


      資深媒體人,作家。1968年出生,就讀日本上智大學新聞系期間,曾赴台灣師範大學及香港中文大學交流學習。1992年畢業後,進入朝日新聞社展開記者生涯。曾任職於朝日新聞社佐賀支局、西部本社等,2001年起擔任駐新加坡特派員。曾赴伊拉克、阿富汗等戰地前線採訪。其後擔任東京本社政治部記者,2007至2010年擔任駐台北特派員。擅長採訪報導兩岸三地華人圈的政治、外交、文化等多面向議題,目前在日本、台灣、大陸等地許多媒體上開闢專欄發表時事評論。著有《伊拉克戰爭從軍記》等多部作品,已在台灣出版《銀輪的巨人GIANT》、《兩個故宮的離合》(聯經)、《謎樣的清明上河圖》(聯經)、《最後的帝國軍人:蔣介石與白團》(聯經)。2014年將中文漫畫《中國人的人生》譯為日文,榮獲日本文化廳藝術祭漫畫部門優秀作品獎。

    譯者簡介

    張雅婷


      1980年出生,台灣台中人,畢業於名古屋大學國際言語文化研究科博士後期課程,喜愛閱讀及翻譯。已出版譯作《我的台南:一青妙的府城紀行》。
     

    目錄

    與侯導對話──台灣版序

    前言

    PART 1 新電影裡的台灣新形象
    第一章 電影裡的台日關係
    CINEMA 《海角七號》《賽德克‧巴萊》《KANO》
    Interview 1 魏德聖導演

    第二章 台灣紀錄片的實力
    CINEMA《看見台灣》《拔一條河》《刪海經》
    Interview 2 齊柏林導演

    第三章 外省第二代的心聲
    CINEMA《軍中樂園》《白銀帝國》
    Interview 3 鈕承澤導演

    第四章 凸顯台灣社會的矛盾
    CINEMA《郊遊》《不能沒有你》《白米炸彈客》
    Interview4 蔡明亮導演

    第五章 透過環島認識台灣
    CINEMA《練習曲》《最遙遠的距離》《不老騎士》
    Interview 5 陳懷恩導演

    第六章 認識台灣文化
    CINEMA《總舖師》《艋舺》《父後七日》
    Interview 6 陳玉勳導演

    第七章 此情可待成追憶:我的青澀年代
    CINEMA《那些年,我們一起追的女孩》《女朋友。男朋友》《九降風》
    Interview 7 九把刀導演

    第八章 台灣的好,台灣人的好
    CINEMA 《聽說》《逆光飛翔》《白天的星星》
    Interview 8 李烈製片‧演員

    第九章 台灣電影不可或缺的元素
    CINEMA 「摩托車」、「咖啡館」、「同性戀」、「教官」
    Interview 9 侯孝賢導演

    第十章 台灣電影的歷史和展望
    Interview 10 龍應台文化部長

    PART2 推薦必看台灣新電影
    台灣本土電影票房統計(2005-2014)

    2007年
    不能說的秘密
    練習曲
    最遙遠的距離

    2008年
    海角七號
    囧男孩
    九降風

    2009年
    陽陽
    聽說
    不能沒有你
    白銀帝國

    2010年
    艋舺
    父後七日
    第四張畫
    獵豔
    一頁台北

    2011年
    賽德克‧巴萊
    雞排英雄
    那些年,我們一起追的女孩

    2012年
    南方小羊牧場
    陣頭
    女朋友。男朋友
    逆光飛翔
    白天的星星

    2013年
    阿嬤的夢中情人
    總舖師
    一首搖滾上月球
    失魂
    聽見下雨的聲音
    被偷走的那五年
    大尾鱸鰻
    看見台灣
    拔一條河
    郊遊

    2014年
    逆轉勝
    寒蟬效應
    痞子英雄二部曲:黎明再起
    KANO
    大稻埕
    共犯
    等一個人咖啡
    想飛
    南風
    白米炸彈客
    刪海經
    軍中樂園
    後記
     

    與侯導對話──台灣版序(節錄)

      侯孝賢導演很適合戴帽子的造型,他一戴上帽子,馬上呈現出一種導演特有的專注神情;然而一把帽子摘下,就是電影界的大人物。每次看他以金馬獎主席身分出現在螢光幕前,幾乎都是穿著西裝,沒有戴帽子。

      他到東京宣傳最新電影《刺客聶隱娘》時,果然是戴著帽子出現,帽沿下的眼神炯炯發亮,或許是來自終於完成作品的踏實感,或許是因為剛在坎城影展拿下最佳導演獎的喜悅,整個人神采奕奕。和二○一四年見面的時候比較起來,他的表情也明顯變得柔和了許多。

      到目前為止,我一共採訪過侯孝賢導演三次。第一次是二○○七年在「台北之家」裡的主題電影院「光點台北」見面,我當時擔任朝日新聞社台北支局長,希望在報紙上寫一篇關於一青姐妹的報導,一青窈是知名的台日混血女歌手,她曾在侯導的《咖啡時光》(二○○四)擔任女主角;她的姐姐一青妙是作家兼女演員。為了收集這篇報導的材料,我想聽聽侯導對於一青窈的想法,因此預約了採訪。那時候,我對台灣電影一竅不通,對侯孝賢的作品也只知道《悲情城市》而已,整個訪談過程我都沒能切入重點,侯導的表情也一直很凝重,無法延伸出有趣的話題。

      第二次訪談則是七年後了,也就是去年(二○一四)底,正值這本《銀幕上的新台灣》即將完成的最後階段,見面地點仍然在同一個地方──「光點台北」。這一次,台北市電影委員會的饒紫娟總監也在場,當時的訪談內容就收錄在這本書裡,因此不加贅述。令人印象深刻的是,侯導對於光點台北挪出一樓庭園空間作為服飾雜貨攤位之用而感到氣憤:「這樣一來就把光點台北的氣氛都給搞砸了,我已經要求他們改善了!」

      我依稀記得那天他就是這麼說的。對了,侯孝賢也是光點台北營運規劃團隊裡的一員。

      總之,任誰看來,侯孝賢都是個非常忙碌的人,應該也有很多記者像我這樣子要求採訪。這一趟在東京的採訪──我們第三次訪談,我開門見山問道:「為什麼這八年來都沒有推出電影?」他的回答簡潔有力:「因為太忙了。」

      「金馬獎執委會主席做了五年,台北電影節主席也做了三年,有好多事情都必須做,掛了很多頭銜,也不能光掛名不做事。在台灣,只要跟電影有關的事情,大家都會來拜託我,但是我自己也有必須要做的事啊。就像幾年前碰上選舉,突然說要改在台中市舉辦金馬獎,那時候真的是一片慌亂。」

      侯導說話其實很幽默,但是因為有點脫離主題,在旁邊的女翻譯員,臉上露出為難的表情。

      他繼續補充說:「為了選舉,當時的台中市長想要改在台中舉辦,但是先前已經以在台北舉辦為前提做了許多準備,臨時要換場地根本不可能。那時候是我出面跟政府單位溝通協調的,不然都沒人敢講。金馬獎必須要維持它的獨立性。」

      當時的台中市長是胡志強,應該是為了二○一四年的九合一地方選舉吧,結果,十一月二十二日照常在台北舉辦金馬獎,而胡志強在十一月二十九日的選舉連任失敗,交出台中市長的棒子。

      不只是寫台灣電影報導的記者希望見到侯孝賢導演,包括台灣人本身或是外國人也都想要一睹他的風采。台灣當然也有其他才華洋溢的資深電影導演,但是侯孝賢這個名字幾乎已經和台灣電影畫上等號,尤其是我這樣的外國記者寫台灣電影的時候,一定會提到侯孝賢。就像要談論當代日本小說時,就無法忽略村上春樹的存在。

      總之,百事纏身的侯孝賢從二○一一年開始,花了兩年左右的時間完成《刺客聶隱娘》的劇本,但是他製作電影時屬於慢工出細活的類型,直到二○一四年才完成拍攝,二○一五年才公開上映。日本和台灣的上映檔期同樣安排在八月到九月。說真的,以侯導的實力應該每三年就可以推出一部作品,但是因為來自四面八方的邀請和委託,讓他分身乏術。

      這回在東京的訪談只有三十分鐘而已,但是從一大早開始就陸續接受其他媒體訪問的侯導,表情已經有些疲倦了,於是我們一起喝個咖啡,放鬆一下心情。一開頭,我就說:「去年曾經在台灣見過面。」於是侯導笑著說:「有點面熟。」我想即使他真的忘記了,也會顧慮他人的感受而這樣回答吧,這就是他待人溫和寬厚之處。

      這次採訪是和另一位媒體記者一起進行的,但是那位記者一直圍繞著在日本取景的話題,感覺似乎有點乏味,於是我丟出了一個自認為侯導可能有興趣回答的問題:「我知道導演從小時候開始就喜歡看武俠片,所以自己也想要拍,可是為什麼是選擇女刺客的題材呢?」

      看到侯導的反應,我想我問對了。他開始侃侃而談,他說是因為舒淇,所以讓他興起了拍女刺客的念頭。舒淇是侯孝賢導演一手琢磨成玉的女演員。

      「要拍電影時,心裡一定要有適當的演員人選,舒淇是很棒的女演員,當我在思考能夠和她一起合作什麼樣的題材時,又剛好讀了小說,靈光一閃,就想讓她扮演女刺客的角色,也因為之前和她合作過很多次,她的演技很穩定,現場的劇組人員也都很喜歡她。對我來說,舒淇是個很完美的人。」他甚至豎起了大拇指,看起來相當開心。由此可見,他對於女演員舒淇給予了高度評價。

      我接著說:「和導演第一次合作的那個時候相比,她的演技似乎已經成長了一百倍。」話匣子一開,侯導開始聊起了過去:「我最初注意到舒淇,是她在香港拍了一支沐浴乳廣告,第一眼就覺得她的表情很有魅力,於是立刻透過香港的製片友人聯絡她的經紀人,希望能夠安排見面。當時,她只是在香港拍一些性感電影的艷星,但是當她來赴約時,明明沒有拍過其他電影,卻沒有一絲膽怯,態度落落大方,可能是心想:『這個導演或許稍有名氣,究竟在拍什麼電影?』的那種感覺,眼神帶著挑戰意味。很多人不知道她天生的本質,也許都還停留在臉蛋漂亮、身材性感的印象,但是她相當有個性。」

      當一起合作的《千禧曼波》(二○○一)入圍坎城影展時,舒淇第一次在大銀幕上看到自己在這部片中的演出,看完之後她跑回飯店忍不住哭了起來,因為她意識到自己是以貨真價實的女演員身分來到坎城而感動不已,一直關在房間裡面。

      在那之後,侯導對舒淇說了這一番話:「當時蔡明亮也一起入圍了坎城影展,我還記得他突然不見蹤影。那個時候,評審團裡面有演員也有導演,甚至有人比妳還年輕,不管是由誰得獎,一定和妳想的不一樣,也許最佳電影獎是全員一致認同的好電影,但是評審團大獎就不一定了,很多時候是看評審的個人品味。」不管得獎與否,希望她能平常心以待。

      如果看過《刺客聶隱娘》,就更能確定這是侯導專門為舒淇打造的電影,將她推向國際舞台。在拍攝時,因為她本身拍武打片的經驗不夠,所以在體力上應該是一大負擔,但是因為這是侯導的電影所以才能夠撐過來的吧!舒淇在這部電影裡的台詞屈指可數,只有九句而已。沒有任何笑容,維持一貫的冷淡表情,但是舒淇作為女主角的存在感是無庸置疑的。

      耗資四億五千萬台幣的《刺客聶隱娘》,是侯孝賢歷年來拍的電影裡成本最高的。他在坎城影展成功拿下最佳導演獎,這項榮耀無疑是對那些認為侯導江郎才盡的人做出最佳反擊。並不是「老兵凋零」,而是証明了「寶刀未老」。

      在我撰寫這本書時,剛好是台灣電影界面臨了「脫侯孝賢」的轉型時期,尤其在這波國片熱潮裡,我甚至一度認為「侯孝賢已經成為過去式」,雖然這有點難以啟齒,卻是我真實的想法。因為侯孝賢是享譽國際的偉大導演,無論是誰也無法超越他的地位,他一路走來累積起的盛名和影響力是無人可取代的。

    前言

      電影是反映社會的一面鏡子。


      這本書的日文版書名取為《認識.TAIWAN.電影》的動機,是想藉由「電影」這面鏡子映照出來的台灣影像,認識「TAIWAN」(台灣)真實的一面。

      對於很多日本人而言,台灣是友善的鄰人,卻對它的歷史文化感到陌生,即使想要認識台灣,往往不知道從何著手,而我認為最佳途徑就是從看電影開始。以持續關注台灣的這二十餘年經驗,我能夠很有自信地說:若要真正透視台灣社會的本質,電影鏡頭下的台灣絕對是關鍵性要素;見微知著,因為台灣電影本身融入了相當多元豐富的要素,那都是台灣一路走來的足跡。

      而且,台灣電影在近十年發生了巨大的變化,在那之前可以說幾乎是處於休眠狀態的低迷期,卻突然在近十年裡生機蓬勃,吸引了社會大眾的目光,掀起了所謂的「國片熱潮」。

      原本讓人興致缺缺的台灣電影,轉眼間大家趨之若鶩,願意前往電影院捧場,很顯然地,這是一個社會現象,因為「國片熱潮」不會沒有任何理由就突然出現,甚至是到現在都還持續著。

      要如何探討這個社會現象的發生背景呢?我嘗試使用的方法不同於專業影評人的電影評論,而是以記者的角度來思考電影和社會現象之間的關聯性。

      但是,單憑一兩部電影絕對無法解釋一個「現象」,會有以偏概全之嫌,因此我盡可能地將這一股「國片熱潮」和台灣社會的整體狀況做聯結,認為這和「台灣意識」的崛起和興盛息息相關。

      提起「國片熱潮」,就不得不追溯到二○○八年轟動全台的《海角七號》。那時候我正好在台北擔任《朝日新聞》特派員,見證了二○○七年到二○一○年這段期間,台灣國片的高峰期。而且,在《海角七號》帶動之下,很多國片彷彿被注射強心針一樣,一部接著一部推出,並且獲得相當好的評價。

      這些受到觀眾喜愛的電影裡,都有一個共同特徵,那就是以「台灣」為主題。即使拍攝與呈現手法不同、故事題材多變,但是製作者想要傳達的想法和表現的方向,全都指向源於對台灣這塊土地的關心。

      或許會有人說,台灣人對於台灣自身感興趣是理所當然的事,但是在台灣內部卻混合了錯綜複雜的情感。

      近二十年來,台灣社會一直持續進行著「台灣本土化」。

      第二次世界大戰後,一九四九年敗給共產黨而撤退到台灣的國民黨,主導了整個台灣的政局。國民黨等同於「中華民國」,在退出聯合國之前代表著正統的中國,而且是在打著「反攻大陸」口號的意識形態下,將原本在中國大陸發展出來的那一套制度和教育直接套用在台灣上;對於當時的執政者來說,台灣始終是中國大陸的邊緣一省而已,並不正視台灣本身擁有的歷史,更別說會尊敬這塊土地。

      但是,在台灣民主化的過程中,脫離了政治束縛的民眾之間,開始趨向認為「台灣是台灣,中國是中國」,也就是「台灣本土意識抬頭」,並且在情感的表現上也愈來愈強烈,這種台灣意識、台灣情感的直接表現,就是將台灣視為獨一無二的故鄉。

      這樣的轉向可以解讀為「回歸台灣」,或是「台灣再發現」,但是它無非是生活在台灣這片土地上的每一個人,重新踏上認識台灣的旅途而已。

      在我看來,這波台灣本土化的潮流,是在一九九○年代後半正式浮出水面,但是如果概觀當時的台灣電影,其內容顯然並未呼應台灣本土化的趨勢。從一九九○年代前半開始,雖然出現了一些帶有強烈藝術性和哲學色彩的「台灣新浪潮」電影,在國際影壇上造成了熱烈迴響並且獲得好評,但整體國片的走向卻是「如實反映台灣人心境變化的電影愈來愈少」,再加上好萊塢與香港電影大舉進入台灣市場,台灣電影幾乎陷入了沒有票房的困境。

      多年之後,二○○八年《海角七號》的出現,一口氣帶動萎靡的台灣電影走向前所未有的盛況。

      《海角七號》的發燒現象已經被很多人討論過了,但是,實際上從二○○五年開始,台灣電影就陸續推出了一些不錯的作品,已經點燃的火苗恰好因為《海角七號》而猛烈燃燒,釋放出來的能量到現在依舊火熱,絲毫沒有衰退跡象,兼具了藝術性和娛樂性的電影一部接著一部輪番上映,也獲得了相當程度的支持。

      就在這段期間,我剛好以特派記者的身分駐台,自然而然會到電影院去觀賞台灣電影,透過電影逐漸認識了以前不知道的台灣,同時也發現了很多值得探討的元素。在那段時間裡,只要新片上映就會抽空去看,即使工作任期結束回到日本後,也會利用到台灣旅行或出差的機會瘋狂買DVD;甚至只要有台灣電影到日本上映,也盡可能到電影院觀賞。從二○○七年開始到現在,我可能看過一百部以上的台灣電影吧,其中較賣座的或是備受矚目的電影,大致上應該沒有漏網之魚。

      電影的世界,擁有比起一般駐台記者所能接觸到的現實世界更廣闊的時空,帶領觀眾認識更久遠的、更深層的台灣。其中有一些電影題材引起了我的好奇,我也會在深入探討後寫一些投稿文章抒發己見,若說我對台灣的理解有一半以上來自於台灣電影也不為過。

      只是,我要強調的是,這本書並不是電影解說書,而是透過電影這扇窗去觀察台灣社會,是以記者角度出發的書。換言之,這不是「電影論」,而是「台灣論」,以台灣電影為媒介來深入了解台灣,並且掌握同時代的脈動,提供不同於影評或學術的觀點來剖析台灣電影。在日本,將台灣電影做系統性的整理,或是具有學術性質的先行研究有《新編.台灣電影》(晃洋書房,二○一四)、《台灣電影表象的現在》(あるむ,二○一一)、《台灣電影》(晃洋書房,二○○八)、《台湾映画のすべて》(丸善書籍,二○○六)等優質的參考書籍。另外,定期刊物《台灣電影》也在相關人士努力下每年發行一次。

      本書介紹的電影是鎖定在二○○七年到二○一四年之間上映的,雖然先前已有非常傑出的電影,但是在這一波「國片熱潮」裡,基本上我想以同時代自己親身體驗到的氛圍,和看過的電影為中心來討論。

      Part 1的章節裡,我會以「台日」、「外省人」、「隔閡」等的不同主題,分別挑選出幾部電影來介紹,嘗試透過電影來觀察台灣社會的動態和現實,並且搭配導演或製片人的訪談內容,更完整地呈現一部電影的生成以及背景。雖然這些訪談是花費了數年才完成的,但是我會分別清楚標示出訪談日期。依據每章的主題規劃,這本書一共收錄了十篇訪談,實際上我採訪的對象是兩倍以上,裡面也有相當有趣和引人省思的內容,但是礙於章節構成的統整性或篇幅有限的關係,不得不忍痛割愛。

      另外,在Part 2台灣電影影評部分,是為了便於日本讀者能夠初步掌握台灣電影,也包括了我個人認為不錯、值得推薦的電影;其中一些電影若是已在前面各章裡詳細介紹過,就不另外贅述,只提供電影的基本資料。至於裡面有些電影在日本上映過,有些則不然,但是本書並不探討這一部分,因為我認為,如果是好的作品,有一天一定會有機會登陸日本,只是早晚的問題而已。還有,我以記者的角度出發,卻用幾顆星來標註電影,或許僭越了專業影評人的領域而可能招致批判的聲浪,但是這純粹是我身為一位影迷的見解而已。我想把「很有趣」、「感動」、「好笑」、「催淚」、「獲益良多」等比較個人和直接的情緒坦率地跟讀者分享。

    "Cakes and Ale" by W. Somerset Maugham

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    "I began to meditate on the writer's life. It is full of tribulation. First he must endure poverty and the world's indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax ... of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man."
    --from "Cakes and Ale" by W. Somerset Maugham
    Cakes and Ale is a delicious satire of London literary society between the Wars. Social climber Alroy Kear is flattered when he is selected by Edward Driffield's wife to pen the official biography of her lionized novelist husband, and determined to write a bestseller. But then Kear discovers the great novelist's voluptuous muse (and unlikely first wife), Rosie. The lively, loving heroine once gave Driffield enough material to last a lifetime, but now her memory casts an embarrissing shadow over his career and respectable image.

    Vintage Books & Anchor Books 的相片。


    一九一五年的《人性枷鎖》與一九一九年的《月亮與六便士》,則更確立他在文壇的地位。其他著作有《剃刀邊緣》、《餅與酒》--台灣1960s 有譯本、《書與你》、《毛姆寫作回憶錄》等。 ...

    《尋歡作樂》翻譯過份:

    毛姆的《餅與酒/尋歡作樂》(Cakes and Ale)就常被认为是讽刺哈代与他第二任妻子的小说,传言如此之盛,使毛姆 ...

    上海譯文版 翻譯成 尋歡作樂

    Cakes and Ale: or, the Skeleton in the Cupboard (1930) is a novel by British author William Somerset Maugham. It is often alleged to be a thinly-veiled roman à clef examining contemporary novelists Thomas Hardy (as Edward Driffield) and Hugh Walpole (as Alroy Kear)[citation needed] -— though Maugham maintained he had created both characters as composites and in fact explicitly denies any connection to Hardy in his own introduction to later editions of the novel. Maugham exposes the misguided social snobbery leveled at the character Rosie Driffield (Edward's first wife), whose frankness, honesty and sexual freedom make her a target of conservative propriety. Her character is treated favorably by the book's narrator, Ashenden, who understands her sexual energy to be a muse to the many artists who surround her.
    Maugham drew his title from the remark of Sir Toby Belch to Malvolio in William Shakespeare's Twelfth Night: "Dost thou think, because thou art virtuous, there shall be no more cakes and ale?" Cakes and ale are the emblems of the good life in the tagline to the fable attributed to Aesop, "The Town Mouse and the Country Mouse": "Better beans and bacon in peace than cakes and ale in fear".
    Interestingly, it is one of two books to take the same quote for a title, the other being by Edward Spencer aka Edward Spencer Mott aka Nathaniel Gubbins.

    Contents

    [hide]

    “It's no good trying to keep up old friendships. It's painful for both sides. The fact is, one grows out of people, and the only thing is to face it.” 

    “The ideal has many names and beauty is but one of them.” 

    “It must be that there is something naturally absurd in a sincere emotion, though why there should be I cannot imagine, unless it is that man, the ephemeral inhabitant of an insignificant planet, with all his pain and all his striving is but a jest in an eternal mind. ” 

    “The Americans, who are the most efficient people on the earth, have carried [phrase-making] to such a height of perfection and have invented so wide a range of pithy and hackneyed phrases that they can carry on an amusing and animated conversation without giving a moment’s reflection to what they are saying and so leave their minds free to consider the more important matters of big business and fornication.” 

    “As we grow older we become more conscious of the complexity, incoherence, and unreasonableness of human beings; this indeed is the only excuse that offers for the middle-aged or elderly writer, whose thoughts should more properly be turned to graver matters, occupying himself with the trivial concerns of imaginary people. For if the proper study of mankind is man it is evidently more sensible to occupy yourself with the coherent, substantial, and significant creatures of fiction than with the irrational and shadowy figures of real life.” 

    “It's very hard to be a gentleman and a writer. ” 

    “A man who is a politician at forty is a statesman at three score and ten. It is at this age, when he would be too old to be a clerk or a gardener or a police-court magistrate, that he is ripe to govern a country. This is not so strange when you reflect that from the earliest times the old have rubbed it into the young that they are wiser than they, and before the young had discovered what nonsense this was they were old too, and it profited them to carry on the imposture...” 

    “I had not then acquired the technique that I flatter myself now enables me to deal competently with the works of modern artist. If this were the place I could write a very neat little guide to enable the amateur of pictures to deal to the satisfaction of their painters with the most diverse manifestations of the creative instinct. There is the intense ‘By God!’ that acknowledges the power of the ruthless realist, the ‘It’s so awfully sincere’ that covers your embarrassment when you are shown the coloured photograph of an alderman’s widow, the low whistle that exhibits your admiration for the post-impressionist, the ‘Terribly amusing’ that expresses what you feel about the cubist, the ‘Oh!’ of one who is overcome, the ‘Ah!’ of him 

    whose breath is taken away.”

    『餅與酒』與『尋歡作樂』的故事
    約1965-56年,我經常讀我小阿姨買的『文壇』,它的社長是穆中南先生。
    我印象很深的一則書籍廣告:餅與酒/毛姆著/沙 夷譯……..
    幾十年過去,我知道這本書的書名可能錯誤,因為『餅與酒』是基督教的主題*,毛姆(Somerset Maugham)先生會用它嗎?

    今天買毛姆『尋歡作樂』(Cakes and Ale)南京:譯林,2006,從書後之資料知道,書名取自莎士比亞的『第十二夜』:「你以為自己道德高尚,人家就不能尋歡作樂了嗎?」
    我找一下:
    Cakes and Ale: or, the Skeleton in the Cupboard (1930) is a novel by British author William Somerset Maugham. It is a thinly veiled roman à clef satirizing contemporary novelists Thomas Hardy and Hugh Walpole.

    Twelfth Night Act 2…..「你以為自己道德高尚,人家就不能尋歡作樂了嗎?」(…..because thou art virtuous, there shall be no more cakes and ale? .)

    我再查從少年起深植記憶中的書:某家圖書館有資料:
    餅與酒/毛姆(Somerset Maugham)著/沙 夷譯 , 臺北縣永和鎮/文壇社/民52. 234面/19公分.  文壇每月文叢;
    ---
    *「聖餐的意義~保羅強調主祝謝了餅與酒後,都重複說明我們如此行事為了紀念主。 紀念是保存歷史和傳承信仰的重要活動。 ... 藉餅與酒,領主體血,養我靈魂,堅我信德。 中懷自覺感謝不盡,蒙恩既大,沾惠亦深,. 有主在心,勝獲至寶,我等喜樂難以言告 ... 」
    林前 11:24-25

    11:24 [hb5] 祝謝了、就擘開、說、這是我的身體、為你們捨的.〔捨有古卷作擘開〕你們應當如此行、為的是記念我。
    [lb5] 祝謝擘開說︰「這是我的身體,是為了你們而舍的﹔你們要這樣行,來記念我。」
    [nb5] 祝謝了,就擘開,說:“這是我的身體,為你們擘開的;你們應當這樣行,為的是記念我。”
    [asv] and when he had given thanks, he brake it, and said, This is my body, which is for you: this do in remembrance of me.
    [kjv] And when he had given thanks, he brake it, and said, Take, eat: this is my body, which is broken for you: this do in remembrance of me.
    [bbe] And when it had been broken with an act of praise, he said, This is my body which is for you: do this in memory of me.
    11:25 [hb5] 飯後、也照樣拿起杯來、說、這杯是用我的血所立的新約.你們每逢喝的時候、要如此行、為的是記念我。
    [lb5] 吃了餅以后,拿杯也照樣子﹔他說︰「這杯是新的約,用我的血立的﹔你們每逢喝的時候,總要這樣行,來記念我。」
    [nb5] 飯後,照樣拿起杯來,說:“這杯是用我的血所立的新約,你們每逢喝的時候,應當這樣行,為的是記念我。”
    [asv] In like manner also the cup, after supper, saying, This cup is the new covenant in my blood: this do, as often as ye drink [it], in remembrance of me.
    [kjv] After the same manner also he took the cup, when he had supped, saying, This cup is the new testament in my blood: this do ye, as oft as ye drink it, in remembrance of me.
    [bbe] In the same way, with the cup, after the meal, he said, This cup is the new testament in my blood: do this, whenever you take it, in memory of me.
    11:26 [hb5] 你們每逢吃這餅、喝這杯、是表明主的死、直等到他來。
    [lb5] 你們每逢吃這餅喝這杯的時候,總是傳揚主的死,直到他來。
    [nb5] 你們每逢吃這餅,喝這杯,就是宣揚主的死,直等到他來。
    [asv] For as often as ye eat this bread, and drink the cup, ye proclaim the Lord’s death till he come.
    [kjv] For as often as ye eat this bread, and drink this cup, ye do shew the Lord’s death till he come.
    [bbe] For whenever you take the bread and the cup you give witness to the Lord’s death till he comes. 

    Julian Barnes,福樓拜的鸚鵡(Flaubert's Parrot)

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    “Women scheme when they are weak, they lie out of fear. Men scheme when they are strong, they lie out of arrogance.”
    ― Julian Barnes, Flaubert's Parrot
    A kind of detective story, relating a cranky amateur scholar's search for the truth about Gustave Flaubert, and the obsession of this detective whose life seems to oddly mirror those of Flaubert's characters.

    Vintage Books & Anchor Books 的相片。


    Julian Barnes,福樓拜的鸚鵡(Flaubert's Parrot)湯永寬譯,上海:譯文,2005

    精裝約twd 70,價錢可能是兩年前臺灣版本的1/6(福婁拜的鸚鵡, 朱利安.拔恩斯/, 麥田, 2004/02/15, $405. 3)。

    2004


    福樓拜:「為朋友立傳時,寫法要像報復他似的。」【為他報復」(taking revenge for him)譯成「報復他」(書首引文)Flaubert may have had in mind when he wrote to Ernest Feydeau, ''When you write the biography of a friend, you must do it as if you were taking revenge for him.''

    書緣 2007/2015

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    2005年的一篇舊文
    書緣:「中法文化年傅雷計畫(2004-2005)」與出版質量

    2007年加一連結




    文潔若著『兩老頭兒:巴金與蕭乾』(北京:中國工人出版社, 2005
    最好的是附錄一:巴金致蕭乾 64封:蕭乾致巴金61封。
    (譬如說,巴金不喜歡易卜生的培爾金特,不過蕭乾翻譯它,並引主角Solveig一生浪蕩、晚年有歸宿自喻( p.187))
    感動的是 蕭乾在寫「摯友益友和畏友巴金」(1981)時的通信。講真話的困難。
    從蕭乾的信可知在 1980左右大陸有20種刊物刊登外國文學翻譯;卜生的培爾 金特是在「外國戲劇」一期全文刊登。又蕭乾拿到台灣版的「雙城記」,說「他們譯的書很不少」( 1985/6/19)。
    巴金在 1981年寫字就困難,一直叮嚀蕭乾要趁能夠寫的時候多寫。
    蕭乾帶文潔若世界跑半圈,知道這是 Farewell Trip,回來就閉關翻譯…….
    -->******
    科克托Jean Cocteau之譯本:《存在之難》、《美女與野獸電影日記》《陌生人日記》《科克托訪談錄》( COCTEAU PAR COCTEAU - 28 AUTOPORTRAITS ECRITS ET DESSINES,相當精彩,這是編制的,原文……)等五本由華東師範大學出版社 , 2005【版權頁的中國打成china…….
    我談過-提過兩本。
    看它們,我覺得應該有人介紹、介紹 「中法文化年傅雷計畫( 2004-2005)」 ---這計劃是法國外交部獎勵翻譯法國書,大陸可能已出版數百本。
    *******
    「托爾斯泰小說全集」是由上海文藝出版社,我弄不清楚其中的『哈薩克』是否就是Calvino 所談的 TheHussars---可能我弄錯了。因為下月要介紹 Why Read the Classics所以還有許多工作待做。




    *******
    博華,
    請告訴我【新經濟學】何時上市、定價。
    我最近偶有訂單,必須 Kept informed.
    Best Wishes
    ----
    Dear HC,

    上市會是12月, 日期尚未決定, 可能是中旬或下旬. 但是不會拖到1月.定價尚未決定.抱歉, 決定後會立刻告知 ..
    第四章淵博知識系統的心理學的部分, 寫得很棒, 有些感動.
    也了解為何當時出版"給一個A"*時, 您會特別喜歡..
    感謝
    博華

    2007「Dear HC, 想麻煩你。「給一個 A」這本書,12 月會再版(改書名),想繼續放陳健邦先生的推薦序,所以希望跟他打聲招呼,您有他的聯絡方式嗎? …….. 謝謝 博華 」我與太太曾買近百本(?)『給一個A 』 (The Art of Possibility: Transforming Professional and Personal Life  by Rosamund Stone Zander , Benjamin Zander  ,2002,後改書名為"A級人生:打破成規、激發潛能的12堂課" ),分送朋友、老師,並舉辦過讀者座談會、作刊物專題。最後,還將改過之初稿,送博華。我們空中(emails和電話) 通信,認識翻譯者麗美。她去年也到網路個人新聞台 SU 幾次,後來斷了音訊。----

    說起博華,就想起他與我談過的Ayn Rand 。她最有名的小說The Fountainhead ,本月竟然有三人合作之翻譯本:『泉源』,重慶出版社( 80 萬字)。

    Serving tea is a formal art


    ------
    『斜線』中原好文訳,思索社,1978
    Roger Caillois(ロジェ・カイヨワ) : Obliques 1975
    Homepage
    --> http://www.isis.ne.jp/mnn/senya/senya0899.htm
    我們可以知道日本至少翻譯他的半打著作。
    這位法國『不朽的』院士,wiki的介紹竟說他最為人記得的是主編的UNESCO
    雜誌和引進中南美文學到法文圈
    Today Caillois is remembered for founding and editing Diogenes, an interdisciplinary journal funded by UNESCO, and Southern Cross , a translation of contemporary Latin American authors published by Gallimard that is responsible for introducing these authors to the French-speaking public.
    -----
    很久沒讀大陸的『萬象』。這原先可以說是海外文摘。取2005年十月號一讀,關於張愛玲專集做的那樣勉強
    -->— 換句話說說,炒「張學」真令人厭煩。
    唯一不變的,似乎是林行止老當益壯,第二篇之『""話連篇』可以抄 /寫近十頁。

    「給杜拉斯一個理由」,文末說起新版的「……那種小小的,奢侈的開本…….」。
    先前談「中法文化年傅雷計畫(2004-2005)」之「量」,這兒牽涉到「質」的提昇之助力。
    逃離宇宙的沸騰與熾熱、超強擠壓、無可抵抗的撞擊與爆炸,此物質歷經千辛萬苦終於得以喘息,動人之美於焉誕生。──凱伊瓦(Roger Caillois)《寶石》,1966年

    -->

    Herman Melville:Complete Shorter Fiction 大洋洲的逍遙列島

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    "Nothing so aggravates an earnest person as a passive resistance."
    --from "Bartleby, the Scrivener" (1853) by Herman Melville
    Herman Melville (1819-91) brought as much genius to the smaller-scale literary forms as he did to the full-blown novel: his poems and the short stories and novellas collected in this volume reveal a deftness and a delicacy of touch that is in some ways even more impressive than the massive, tectonic passions of Moby-Dick. In a story like "Bartleby, the Scrivener" -- one of the very few perfect representatives of the form in the English language -- he displayed an unflinching precision and insight and empathy in his depiction of the drastically alienated inner life of the title character. In "Benito Cereno," he addressed the great racial dilemmas of the nineteenth century with a profound, almost surreal imaginative clarity. And in Billy, Budd, Sailor, the masterpiece of his last years, he fused the knowledge and craft gained from a lifetime's magnificent work into a pure, stark, flawlessly composed tale of innocence betrayed and destroyed. Melville is justly honored for the epic sweep of his mind, but his lyricism, his skill in rendering the minute, the particular, the local, was equally sublime.

    Everyman's Library 的相片。





    Herman Melville stamp (Hand-painted Paslay)


    Herman Melville 的相片。




    這本書有點複雜.  無索引譬如說 引Herman Melville的小說至少兩部.
    引人類學家馬林思基?的更多次......
    而我採取隨便翻翻的方式
    不過 土人們當時很少過胖者.也討論像我這種有肚圍的人.
    作者好幾次有生命危險......

    Obesity Is No Longer Rising, but It's More Dangerous Than Ever
    Obesity is more deadly than previously thought, but a nationwide survey shows that after rising for decades, rates have not increased for the first time in 30 years





    大洋洲的逍遙列島(上/下) The happy isles of Oceania : paddling the Pacific

    太平洋不單單是一片海洋,太平洋像一個宇宙,彷若一片無垠的太空,其中點綴的島嶼如同群星閃爍,這些星團般的列島,如同銀河,流傳不一樣的神奇故事。

    上 冊:踩著泥水走過紐西蘭、在白人的澳洲胡扯、在烏普烏普漫遊、在絕地之北、擱淺於不安的特洛布里安、沙弗島的孵蛋場、萬那杜的食人族和傳教士……。

    下冊: 王室之島東加、髒亂的礁湖、愛之島的迎風岸大溪地、庫克群島、復活島、在那帕里海岸追隨海豚前進、在天恩眷顧中划船……。



     -----
    我先翻末章.
    可以談點譯注的微改善:
    注1:   吉夫斯式的廢話

    P. G. Wodehouse (- Wikipedia, the free encyclopedia) 小說中的人物指理想僕人

     此君英文名字值得一記: Jeeves - Wikipedia, the free encyclopedia

    Reginald Jeeves is a fictional character in the short stories and novels of P. G. Wodehouse (1881–1975), being the valet of Bertie Wooster (Bertram Wilberforce ...
    ----
    注5  內文談達賴團隊所用Om:應也說明此為佛教/印度教共用:根據吠陀經的傳統,「唵」這個音節在印度教裡非常神聖,它認為「唵」是宇宙中所出現的第一個音,也是嬰兒出生後所發出的第一個音。佛教受印度教影響,也認為這是一個聖潔音節,不少密宗咒語都以「唵」字作開首,如著名的六字真言「唵嘛呢叭咪吽」。

    -----
    頁585 Herman Melville 1819-91 作品Omoo 最好附原文.
    原作者引用的是下句黑體字 (紅字未翻譯)
    CHAPTER LVII.

    THE SECOND HUNT IN THE MOUNTAINS

    FAIR dawned, over the hills of Martair, the jocund morning of our
    hunt
    .


     

     頁7  漢譯完全

     But does not Alfred Wallace relate in his famous book on the Malay Archipelago
    how, amongst the Aru Islanders, he discovered in an old and naked savage
    with a sooty skin a peculiar resemblance to a dear friend at home?

    不過發現本書的地名有的和地圖不一致. 所附地圖也不夠精確.





    天生反骨 Born to Rebel-Birth Order; Family Dynamics, and Creative Lives

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    "Most innovations in science, especially radical ones, have been initiated and championed by laterborns. Firstborns tend to reject new ideas, especially when the innovation appears to upset long-accepted principles."
    --from "Born to Rebel: Birth Order, Family Dynamics, and Creative Lives" By Frank Sulloway
    Why do people raised in the same families often differ more dramatically in personality than those from different families? What made Charles Darwin, Benjamin Franklin, and Voltaire uniquely suited to challenge the conventional wisdom of their times? This pioneering inquiry into the significance of birth order answers both these questions with a conceptual boldness that has made critics compare it with the work of Freud and of Darwin himself. Frank J. Sulloway envisions families as ecosystems in which siblings compete for parental favor by occupying specialized niches. Combing through thousands of biographies in politics, science, and religion, he demonstrates that firstborn children are more likely to identify with authority whereas their younger siblings are predisposed to rise against it. Family dynamics, Sulloway concludes, is a primary engine of historical change. Elegantly written, masterfully researched, Born to Rebel is a grand achievement that has galvanized historians and social scientists and will fascinate anyone who has ever pondered the enigma of human character.


    Vintage Books & Anchor Books 的相片。


    天生反骨
    Born to Rebel-Birth Order; Family Dynamics, and Creative Lives

    作者: 法蘭克.薩洛威
    原文作者:Fran J. Sulloway
    譯者:張定綺
    出版社:平安文化
    出版日期:1998/02/01

    內容簡介

      家庭裡一場場角逐資源和父母疼愛的戰爭中,「手足競爭」世人人面對的第一場人生硬仗,而「天生叛逆」則可能是你的武器。其實你不自覺的獨特性格正是來自家庭排行的塑造!
      你是個「承平老大」嗎?-認同體制、道德觀念強、具雄辯之才、討厭別人挑戰其權威。
      還是個「亂世老二」?-為爭取不同於老大的發展利基,所以總是勇於嘗試新經驗、富冒險性,擁有多元而靈活的思考。
      當然,不是每個思想反抗傳統的人都會成功,但敢於與眾不同的人,幾乎天生便具有那根反骨。

    ~名人推薦~
    • 「薩洛威完成了社會科學史上最權威、最重要的一本書。」-【普立茲獎得主】艾德華‧威爾森
    • 「每隔一段時間就會出現一本改變整個學術界,甚至所有人的思考方式的書。《天生反骨》就是這麼一本書!」-【哈佛大學動物學阿加西斯講座榮譽教授】厄斯特‧梅耶
    • 「薩洛威以家庭關係的演化觀點橫掃人類歷史!他的書會改變我們思考過去、未來和自我的方式。我相信他的書會留下跟佛洛伊德、達爾文同樣長遠的影響。」-《永不演化的女人》作者莎拉‧芭拉茀‧哈蒂
    • 「《天生反骨》是傑作中的傑作!它的寫作匠心獨具、引人入勝,像一本好小說。我相信這是應用演化論新角度看歷史的第一部成功之作!」-【哈佛大學科學使聖湯瑪士講座榮譽教授】伯納德‧柯亨
    • 「花了四分之一個世紀,這部精彩、深入、發人深省、可讀性高的著作,被傳誦的時間絕對不只廿五年。不論頭生子女或後生子女,每個人都會既驚且喜遞叢書中發現許多關於自己的細節。-【哥倫比亞大學榮譽教授】羅勃‧莫頓
    • 「《天生反骨》是無與倫比的知識成就,既震撼又切身!它提供一個觀察人類歷史與日常生活的嶄新觀點。」-《道德動物》作者羅勃‧賴特
     

    目錄

    第一部-排行與「造反」人格
    • 第一章:科學改革的原動力
    • 第二章:排行與科學人格
    • 第三章:龍生九子各不同
    第二部-不只是家務事
    • 第四章:家庭利基與手足差異
    • 第五章:發展出了紕漏
    • 第六章:性別導致人格差異
    • 第七章:「先天」的害羞與外向
    • 第八章:在家庭排行影響之外
    第三部-社會與政治思潮之間
    • 第九章:發動社會革命的人
    • 第十章:為什麼是達爾文
    • 第十一章:心靈鬥爭的宗教改革
    • 第十二章:天生的鐵石心腸
    • 第十三章:法國大革命的註腳
    第四部-叛逆傾向的綜合
    • 第十四章:來自環境的力量
    • 第十五章:天生的反骨
    附錄:統計上的「相關」觀念簡介
     

      本書的寫作受到一個令人困惑的問題的啟發。為什麼有些人的天才足以駁斥他們當時的傳統智慧,改革了我們思考的方式?哥白尼、牛頓、達爾文,不過是這群最大膽的夢想家中的三個例子,他們徹底改變了我們對這世界的了解。不論觀念多麼激進,也不論反對的勢力多麼強大,總有人很快就領悟到改革的重要性,挺身為它辯護。
      《天生反骨》一書由四個部分組成,每一部分都為我們的基本論證添加一個新的層次。第一部分提出一個核心議題:為什麼有的科學家能立刻接納激進觀念,有的科學家則否?達爾文轉而相信演化論的故事,說明了革命觀念的一個經常出現的特徵。包括科學家在內的大多數人,都反對激進的改革。說服達爾又相信演化論的同樣一批證據,卻不能使跟他私交甚篤的同行放棄創造論。達爾文之所以成為激進的革命家,決定因素不在證據充分與否。我研究西方歷史上六千多個人的傳記獲得的心得,可用達爾文的人生閱歷做為範例。有些人,生來就是會造反的。
      我的論證的關鍵在於一項不尋常的發現。一塊兒長大的手足間的人格差異之大,跟來自不同家庭沒什麼不同。人格心理學的研究已確認這一發現,從中又浮現一個疑問:為什麼每個小孩的家庭生活經驗會那麼不同?手足差異的形成是因為家庭內部偶發的影響與經驗,或這些影響跟分割家庭環境的變數有系統化的關係?性別當然應列入考慮,但它是唯一的影響嗎?甚至是最重要的嗎?
      排行又如何呢?它對每個手足都是不一樣的。雖然所有研究排行的文獻都大力強調這一變數的重要性,這方面的發現卻因經常自相矛盾而不受重視。不過事實上,這些矛盾大多是因為方法出了問題。更有甚者,缺乏適當的理論架構之下,卷秩浩繁的排行文獻導不出有意義的結論。給予排行文獻恰當的新闡釋,就能找到出人意表的邏輯,使我們向解答手足為何差異如此之大的問題,跨出重要的第一步。
      演化理論和廿世紀末方興未艾的演化心理學,提供了解家庭生活有用的綱領,手足為何那麼不同的問題亦可獲得解答。手足差異的一個特別重要的原因就是角逐家庭資源。因爭奪資源(尤以父母的疼愛為主)而造成敵對。本質上,任何一再出現的衝突,都會增加有助於獲勝的適應性調整。兄弟姊妹為了爭取競爭的優勢,會使用體格、力量等體能上的優勢。這些方面的差異主導手足相互競爭時的策略。排行是決定體能差異和家中地位的關鍵。隨著頭生子女把他們的策略發揮到淋漓盡致,後生子女也會發展出因應的策略。結果就是在家庭裡演出一場演化的武器競賽。甚至《聖經》裡對手足競爭的重視,也與演化理論聲氣相通:《聖經》的第一樁謀殺案—(創世紀)裡哥哥該隱殺了弟弟亞伯—就是兄弟相殺。
      頭生子女較認同權力與權威是很自然的。他們先出生到家庭裡,可以使用佔上風的體型與力量,保衛自己獨特的地位。相對於弟妹,頭生子女比較武斷、愛操縱、野心勃勃、深怕失去既有的地位、防禦心強。弟妹在家中備受壓抑,於是傾向於質疑現狀,有時甚至發展出所謂的「革命性人格」。後生子女打著革命的旗號,一再向當時認為經過時間考驗的假設挑戰。從他們之中產生了歷史上的大探險家、偶像破壞者、異端份子。 
      排行的影響跟性別一樣,有顯著而戲劇化的影響,在歷史上的痕跡斑斑可考。自有文字記錄以來,排行往往決定誰能活、誰該死,誰握有政治權力、誰沒有,誰能成功找到配偶、生養後代。過去無數世紀中,父母經常對頭生子女做較大投資,以確保至少有一名子女可以傳宗接代。歷史上,頭生子女往往有較多子 一女。早在長子繼承制度出現前,資源匱乏就不斷限制家庭的規模,導致排行在後的子女不斷面臨殺嬰、被父母忽視的威脅。後生子女為了活過童年期,把基因傳到後代,不得不跟兄姐從事永遠的鬥爭。
      行為的演化跟個體如何學習各種行為,是不同的問題。孩子生成頭生子女或後生子女,並未因而遺傳特殊的基因,他們只得到可用於角逐父母投資的基因。家庭環境決定這些競爭的傾向該如何表達。以人格而言,每名頭生子女都有可能成為後生子女,反之亦然。排行造成的心理影響充分證明了家庭環境的重要性。
      本書第二部分探討除排行以外,多種不同的影響力。手足會變得不一樣,理由與物種經過長時間而發生改變是一樣的:資源稀少時,趨異可使競爭縮至最小。舉個例子,子女若避免直接競爭,討好雙親中受拖累較少的那位,就能得到更多的照顧與關注。手足差異的故事,其實就是家庭結構和搭配的利基劃分的故事。它也關係到父母的投資和其中可察覺的偏見。父母雖力持公正,但還是不免對某一、兩名子女偏心。世上沒有一種委屈及得上在自己的家裡受到不公平的待遇。這種感覺若不加以彌補,就曾破壞對權威的尊敬,打下革命性人格的基礎。
      性別、氣質、親子衝突、喪親等特殊因素,更提昇我們預測革命性人格的能力。手足策略以得到最多父母投資為目標,而這些變數都是打造策略的材料。即使獨生子女也要運用手足策略。這種說法乍看矛盾,事實卻是對未出生的弟妹設防有其必要,後者從演化角度對家庭生活的影響,就跟可能孕育他們的卵子和 精子一樣真實存在。
       手足策略典型的會產生突生的性質。排行、性別、氣質互相作用,形成人格特徵的加成效應,絕非把這些影響力簡單的排比在一起就可預測。手足策略的理論有助於強調突生的人格特質,並釐清它們與家庭結構、家庭互動的關係。
      第三部分討論社會影響(尤其是社會立場與社會階級)的角色。在相當程度上,社會影響也涵蓋家庭之間的差異。雖然這種差異對人格的直接影響不大,但它們確實能塑造一個人的社會立場和價值觀,對行為模式也有相當程度的影響。了解人格與社會立場的關係並不像一般以為的那麼密切後,很多生活史上的矛盾就迎刃而解。一個「順從性高」的人,可能擁護地從父母或其他權威人物學到的自由主義。社會立場有時不僅反映子女的手足差異,也反映父母這一輩的手足差異。配偶的社會立場也有高度相關性。代代相傳,手足之間世界觀的差異,可能因志趣上門當戶對的婚配,更形擴大。不同家庭的世界觀,基本上也無非是一種經過偽裝的手足差異。解釋激進思考時,需要知道的大抵就是手足差異。
      第三部分大部分都在討論一般歷史。不用科學標準,歷史學家的預感正確與否就很難區分。截至目前為止,歷史學家用的方法很適合製造假設,卻不適合測試假設。為了本書的研究,我從數萬種傳記中,選取五十多萬條傳記資料輸入電腦。我利用電腦科技和假設測試,整合與分析這批龐大的資料。大多數人把科學當作跟物理或化學一樣的科目。科學其實不是科目,而是方法。大部分的歷史都可以用科學方法加以研究(原作者註:歷史假設可以免除測試這一關,一個主要原因是從來沒有人死於劣質歷史。醫學上,新藥未經測試,提前用在病人身上,就構成業務過失。不過不需要斷送一條人命就可知道,在測試假設時,客觀程序優於陳述式的評估)。
      社會生活中叛逆行為的主要來源,跟科學中是否相同?做為表現手足差異的競技場,政壇又添加了大量暴力而更形複雜。左翼的恐怖主義與平等主義,是南轅北轍的政治取向。歷史上,這類運動顯示手足間不同的對應人格。
      為說明政治生活中家庭互動的角色,我深入探討宗教改革和法國人革命。這兩種激進的社會革命,既檢驗我的論點,也提供進一步的闡釋。預測這兩次激進事件中,特定人物對社會改變的態度,最好的指標就是手足差異。法國人革命是該隱與亞伯的故事的放大。它說明了為什麼家庭背景相同的兄弟,政治觀點會如此不同。
      夫妻間的衝突規則與手足衝突類似。配偶成長期間大多也有兄弟姊妹,所以在建立自己的家庭利基時,也學會了適應的策略。社會革命彰顯了這些手足差異。宗教改革時代,不是每個人都有跟相同排行的人成婚的好運氣。於是這時代的夫妻往往因宗教或政治歧見反目。亨利八世不是唯一權威受到心懷不滿的妻子考驗的丈夫。若干認同新教的異端邪說的王室婦女,遭丈夫囚禁,命喪劊子手刀下的也大有人在。排行是預測這類型婚姻衝突的絕佳指標,亨利八世和他的六名妻子果然不出所料。
      本書第四部分,也是最後一部分,綜合了我研究叛逆傾向的心得。這麼做必須克服歷史偶發的本質。歷史獨一無二的特質就是發生的狀況千變萬化。人類行為可以預測,但首先必須對背景有完整的了解。我們必須賦予歷史背景跟來自個人生活史的影響相當的份量,才能找出一再。歷史學家強調歷史背景的重要性固然不錯,但他們卻沒有以科學方法探討這問題。由於個人氣質與行為背景的互動實在太多、太雜,這一問題太過複雜,不能以敘述的方式解決。
      改革可以用獨立的標準分析和分類。改革一旦經適當的分類,在吸引的支持者的類型上,就展現出全盤適用的一致性。在科學上,頭生子女同情保守改革,而後生子女人多反對。生物學的「活力論」(Vitalism)一再提供頭生子女此一傾向的佐證。相對於保守的改革,激進革命典型的會跟廣被接納的社會信念(尤其是普及的宗教教條)發生衝突。哥白尼原理和演化論都是激進革命,由後生子女領導,遭到頭生子女全力反對。
      因為每個人對不同類型的革命都有不同的反應,以致沒有一種歷史改變足以解釋,為什麼某個人會在歷史上扮演領袖角色。必須研究很多歷史事件,把這些事件根據各自最強烈的特質分門別類。只要歷史事件分類妥當,往往就能看出人類行為上前後一致之處。
      本書一開始,我的目標是說明人類行為的一個方面—造反的傾向。我的發現完全出乎意料。藉特定行為來解決家庭生活的困境,使人特別能適應改變。接納或反對現狀是每個人都不時要面對的基本決定。我們最先學會在家庭裡做這種決定。家庭鍛造個人擁護或抗拒革命的傾向,也是歷史改變最重要的推動器。造反的理由以我一開始全然沒有料到的方式,存在每個家庭之中。這是每個人的故事。

    Euripides著《戴神的女信徒》(The Bacchae),7 FAMOUS GREEK PLAYS

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    "I know, indeed, the evil of that I purpose; but my inclination gets the better of my judgment."
    --from MEDEA by Euripides
    "In the interval between the epics of Homer...and the age of the three great tragic poets, thinkers began to explore the various phenomena of the external world and came to understand many aspects of nature which had hitherto been shrouded in complete mystery. The creative literary activity of this epoch likewise betokens on the part of the Greeks an increasingly higher level of self-understanding and self-consciousness, in the best sense of the word. At this time appeared a group of lyric poets, who had looked deeply within their own natures, and through the vehicle of their poetry, made abundantly evident how thoroughly they understood the essential character of man's inner being. In Greek tragedy as we now have it we meet a fully developed dramatic form....The influence of tragedy on classic comedy is evident in the increasing preoccupation with subjects that are utopian or timeless, [while] the traditional satire on contemporary events and personages recedes more and more into the background."

    Vintage Books & Anchor Books 的相片。


    Euripides著《戴神的女信徒》(The Bacchae),胡耀恆,胡宗文譯



    2008/8/14 日與彭老師談 智慧 vs 機智 等。
    Deming的引文,無法在這版本找到。無法知道版本差異。
    附錄:日本的轉型  

    「不要誤以為你的機智就是智慧。」──古希臘作家Euripedes作品《酒神》(Bacchae)中,TiresiusDionysus說。「對愚人而言,智慧有如痴言妄語。」──同上作品,DionysusCadmus說。




    酒神的女信徒
    The Bacchae
    作者: 尤瑞皮底斯
    原文作者:Euripides
    譯者:胡耀恆,胡宗文
    內容簡介
      戴歐尼色斯回到故鄉,目的在展現祂是一位真神,並且招收信徒,建立自己的新教。在同時,祂還要為母親洗刷名譽。為了報復,祂來到希臘後誘迫婦女們離開家庭,到郊外上山歌舞狂歡……
      酒神狄奧尼修斯來到底比斯城,欲將城內的女性納為信徒而與底比斯王彭休斯發生衝突。
      為了一探這些信徒的祭祀儀式,彭休斯改裝為女人混入其中,最後在酒神的操縱之下,遭到母親殺害,他的親人遭到酒神放逐,他的王朝也隨著煙消雲散。彭休斯代表的是排斥酒神的少數,最後犧牲在狂熱崇拜者的手上,營造出人類在神明力量面前,自身的渺小脆弱。全劇也在此神威無限、神意難料聲中結束。
      《酒神的女信徒》基本上呈現宗教與政治的衝突,但因為在所有希臘神祇中,酒神的性質最為複雜又最多層面,劇情隨之顯得浩瀚深邃。它一方面回應希臘的歷史與傳說,酒神來到希臘要建立自己的新教,遭到國王彭休斯的強烈反對;另一方面,它也是人類政治與宗教發展的縮影,其前瞻性至今仍可成為處理類似衝突的指南針。

    黎漢傑的相片。



    The Bacchae
    by Euripides

    書  名:戴 神的女信徒副標題 :
    書  號:87006-30出版社 :聯經出版公司
    作  者:尤瑞皮底斯(Euripides) 頁  數:120頁
    譯  者:胡耀恆、胡宗文◎譯注 印刷方式:平版印刷
    版  式:正25開 ISBN:9570825944
    裝訂方式:平裝 商品條碼:9789570825947
    系列名稱:聯經經典 初版時間:2003/6/1




    作者/譯者/編者.簡介
    尤瑞皮底斯
    約公元前480-406,希臘悲劇家。25歲左右就開始寫作,終生完成了90個以上的劇本。他的作品在當時評價不高,只有四次獲得首獎,但後世卻受到熱情歡迎:在現存的31本悲劇中,他一人就獨佔了17本。
    他長年隱居,博覽群書,獨立特行。他懷疑傳統的信仰,攻擊當代的文化,挑戰戲劇的成規。最近幾十年歐美批評界流行「女性主義」、「後現在主義」,或「後殖民主義」等,尤瑞皮底斯可以說是這些主義的始祖。

    譯者
    胡耀恆,台灣大學外文系學士,美國印地安那大學戲劇系及比較文學博士。現為台灣大學外文系及戲劇系榮譽教授,世新大學英語系客座教授。先後任教美國密西根大學、夏威夷大學及澳洲墨爾本大學多年。
    胡宗文,美國瑞德學院(Reed College)古典文學學士,加州大學Santa Barbara 分部古典文學碩士,現在該校攻讀博士學位,兼任助教。譯注《伊底帕斯王》及中譯英、英譯中文章甚多。
     
    內容簡介
    祂回到故鄉,目的在展現祂是一位真神,並且招收信徒,建立自己的新教。在同時,祂還要為母親洗刷名譽……為了報復,祂來到希臘後誘迫婦女們離開家庭,到郊外上山歌舞狂歡——
    本劇劇名一般譯為《酒神的女信徒》,現在根據希臘原文,譯為《戴神的女信徒》。
    基本上此劇刻畫政治與宗教的衝突。但因為在所有希臘神祇中,戴歐尼色斯最為複雜又最多層

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    生命是這樣複雜,人們難免犯錯,從錯誤中人學習到了解、經撿、甚至智慧,但總是為時已晚。而且,受害的不僅是當事人本人,往往也殃及無辜。牽涉其中的人痛苦悲哀,旁視 ...
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    在弛的節日演弛的從前,凸顯出希腿人運用智慧,成功的調適了信仰,雖然這信仰本身還有內在的缺陷,還難以抗拒更新更好的宗教。古今中外,新舊宗教層出不窮; ...
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    42 我們必須在哪裡去跳舞?到哪裡去施展腳步,搖動白頭?泰瑞西亞斯,因為你富有智慧43 ,開導我叫這位老人家吧。整天整夜,我都能夠用我的常春杖肪地,毫不疲倦。 5 。 ...
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    聰明並非智慧,妄想意味夭壽:既然如此.誰會去390 395 67 68 迂是封神牡牲奉攻的宴會,信徒們桿命冬典,奧他們共豐。在希八當時很多紀念成神的芹度中,林有掠似的活功 ...
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    870 875 (覆唱詞)什麼是智慧, 36 ?或者在神的賜與中,有什麼好過把鐵腕放在敵人的頭上9 榮售永遠是珍賈的。 880 (反旋)神的力量運作緩慢。但仍足以信賴。 ...

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    706 - 707 )在下面,兩位老人尚未正式入教,但因為他們穿上了信徒的服飾,拿著常春杖,顯然取得了返老還童的力量:卡衍枉斯菜瑞西亞斯整天整夜,我都能夠用我的常春杖觸 ...
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    ...休攻尼色所宙斯天帝奧色弘妮公主之子杉休向底比斯城邦因王亞枯伊彭休斯母現卡何林斯亞格伊之父,彭休斯之外祖父泰瑞西亞斯盲昧先知筍兵佰使一佰使二吆心 ...
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    369 )盲眼先知泰瑞西亞斯,約卡德穆斯到山上參加信徒們的狂砍儀典。國王彭休斯從國外蹄來,封密教的活功非常辰怒,因為他認定,那些信徒只是藉宗教之名,行邪惡敘備之 ...
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    42 我們必須在哪裡去跳舞?到哪裡去施展腳步,搖動白頭?泰瑞西亞斯,因為你富有智慧43 ,開導我叫這位老人家吧。整天整夜,我都能夠用我的常春杖肪地,毫不疲倦。 5 。 ...
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    245 (他首次看到泰瑞西亞斯,以及卡 ...

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    吶,泰瑞西亞斯,是你教唆他作的。你想要對人類引進一個新神,然後從解釋飛鳥、焚燒的祭品中,賺得更多的費用52 。如你不是白髮年邁,你定會因為進這個邪教儀式而帶上 ...
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    孩子,泰瑞西亞斯對你的勸導很好。你要和我們一起,不要逾越法統,但你現在情緒激動,思念恍協。即使如你所言,此神不是真神,你在心目中也要當弛是其的,善意編織 ...
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    220 原來,我和老泰瑞西亞斯離開了跳舞的信徒們。回到城裡時,就有人告訴我我女兒們的妄行,於是我重回山上,去拾回被信徒殺害的孩子。 ...

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    ...那個知道神明盛事的人,他滿快樂23 ,生活純潔,當他在山中進行著戲神神聖的淨化24 儀式之時,又能與 ...
    Page 23
    在她之後,與她相稱的,就是色弭妮的兒子,他發現了葡萄的流液,介紹給人類可憐的人們喝過它以後,就可以止歇憂傷,獲得安睡,忘了當天所有的煩惱。

    Pentheus torn apart by Ino and Agave, lekanis lid, ca. 450-450 BC, Louvre.
    Pentheus torn apart by Ino and Agave, lekanis lid, ca. 450-450 BC, Louvre.


    In Greek mythology, Pentheus was a king of Thebes, son of the strongest of the Spartes, Echion, and Agave, daughter of Cadmus, the founder of Thebes, and the goddess Harmonia.
    Cadmus abdicated in favour of Pentheus because of old age. Pentheus banned the worship of Dionysus, the son of his aunt Semele, and didn't allow the women of Cadmeia to join in his rites. Dionysus caused Pentheus' mother and his aunts, Ino and Agave, to rush to Mount Cithaeron in a bacchic frenzy. Because of this, Pentheus imprisoned Dionysus, but his chains fell off and the jail doors opened for him.
    Dionysus then lured Pentheus out to spy on the bacchic rites. The daughters of Cadmus saw him in a tree and thought him to be a wild animal. Pentheus was pulled down and torn limb from limb by them (sparagmos), causing them to be exiled from Thebes. The name 'Pentheus', as Dionysus and Tiresias both point out, means "'Man of Sorrows'; even his name destines him for tragedy. Pentheus was succeeded by his uncle Polydorus.

    Edward W. Said, Orientalism

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    “Every single empire in its official discourse has said that it is not like all the others, that its circumstances are special, that it has a mission to enlighten, civilize, bring order and democracy, and that it uses force only as a last resort. And, sadder still, there always is a chorus of willing intellectuals to say calming words about benign or altruistic empires, as if one shouldn't trust the evidence of one's eyes watching the destruction and the misery and death brought by the latest mission civilizatrice.”
    ― Edward W. Said, Orientalism

    The mission civilisatrice (the French for "civilizing mission"

    The noted critic examines the way in which the West observes the Arabs.

    Vintage Books & Anchor Books 的相片。

    《周策縱 文集》《棄園文粹》《周策縱舊詩存 》《古巫醫與[六詩]考中國浪漫文學探源》《五四運動史》《致向陽》

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    曹永洋學長來訪未遇。他除了還【旁觀者】,更送了一本【周策縱 文集*】(下,648頁)(香港:商務,2010, (扉頁:

    摯友洪銘水教授贈書:周策縱先生乃銘水兄在威斯康辛攻讀比較文學博士之恩師;妻子陳增文均同時受教於作者。.....作者代表作{五四運動史}中譯本由其門生合譯出版。.......p.282(屈原 "哀郢"新譯",pp.282-88)、p.386、p.390。)

    (*本文集共上下兩冊,收錄其各類論文及散文等作品70餘篇。上冊包括三大部分:(1) 自傳與人事憶記、(2)《紅樓夢》研釋,及(3)五四與近代思潮。下冊亦有三大部分:(1)經典與訓詁、(2)詩詞歌賦類,與(3)文史宗哲研究。)

    周策縱舊詩存  作者: 周策縱  本書收入周策縱教授一生的舊詩作品千餘篇。周先生的舊詩創作始於少年時,其少作頗鄉先輩激賞。後入中央政治大學,就職侍從室,又負笈西遊,執教於哈佛大學、威斯康辛大學等校。先生閱歷豐富,交遊廣闊,課讀之餘,吟詠不輟。贈答酬酢,皆一時高才碩彥。詩筒往還,如洪煨蓮、唐德剛、瞿同祖、傅吾康、劉子健、楊聯陞、蔣彝、田龍、蕭公權、饒宗頤、謝扶雅、徐復觀、蘇文擢、葉嘉瑩、夏承燾、俞平伯、周汝昌、程千帆、黃苗子、啟功、辛笛、馮其庸、勞思光、宋謀瑒、端木蕻良、潘受、吳宏一、王晉光、黃坤堯、鄭子瑜等(以詩集中先後為序),皆當代著名學者詩人。《周策縱舊詩存》不啻為當代的一部詩史。

    周策縱舊詩存
    作者:周策縱   陳致(編)
    香港:匯智出版, 2006



    Results 1-3 of 3
    Page 84
    風定高花薄,煙消宿鳥驚。年年有新意,不見歲華更。^一九五八年六月九日 無情對《有
    小序及跋)楊聯陞 84 
    Page 85
    無情對《有小序及跋)楊聯陞兄席上,劉子健兄以「太空時代擺搖舞」()命作無情對。因即席成此詩以應。子健命作無情對,姑且生湊沒趣談:太空時代擺搖舞,月色分明別散關。二句中以「子」對「姑」-至為明顯。古人有為「
     ...
    Page 224
    ... 去國之年,撰一説部,乃颠倒「四八」二字,署其書名為《一九八四》,亦兩皆鼠年,且書中
    迷苛政最可怖之刑為以鼠嚙人,謂傳自中國。而《詩,魏風》有《碩鼠》:「無食我苗」之作。
    可謂巧合矣。^一九八三年十二月 附:楊聯陞敎授和作接來片 224 

    Results 1-3 of 12
    Page 157
    周策縱戲墨一九七二年十月三十日於陌地生之棄園古问寒(有序及跋)蕭公權先生寄示
    《迹園詩稿》-有「一從心識高寒境,入眼珉巒總覺低」之句,無比摯情,型於峻藻,雅過於西
    人所謂新古典主義之作。吳雨僧(宓)、鄭因百(審)、朱佩弦(自清一、潘伯麾(飛聲一 ...
    Page 158
    附:蕭公權敎授答詩玉宇何曾勝境慳,高寒刻骨且須還。一身落落歸塵界,兩手空空出
    寶山。久矣枯腸虛酒德,悠哉冷眼看雲閒。鈎天到耳猶能聽,未擬燒丹學驻顏。一九七二
    年十一月十三日於西雅圖此意一章答蕭公權先生論新舊體詩仍用慳颜韻蕭條此意説
    尤 ...

    Page 173
    蕭公權先生公和予殘冬詩有「閑舆早己驰先路,積雪終難阻上春」句。潮漲潮平見道
    新,嬌花婀娜忽然春。合招海畔尋詩叟,來證無冬不去因。^一九七五年五月二十日重啞
    訪問祖國,即將歸來。詩以迎之,君去國在一九三三年四十一一年尋故國,八千里路溯前
    Page 352
    本書收入周策縱教授一生的舊詩作品千餘篇。周先生的舊詩創作始於少年時,其少作頗鄉先輩激賞。後入中央政治大學,就職侍從室,又負笈西遊,執教於哈佛大學、威斯康辛大學等校。先生閱歷豐富,交遊廣闊,課讀之餘,吟詠不輟。贈答酬酢,皆一時高才碩彥。詩筒往還,如洪煨蓮、唐德剛、瞿同祖、傅吾康、劉子健、楊聯陞、蔣彝、田龍、蕭公權、饒宗頤、謝扶雅、徐復觀、蘇文擢、葉嘉瑩、夏承燾、俞平伯、周汝昌、程千帆、黃苗子、啟功、辛笛、馮其庸、勞思光、宋謀瑒、端木蕻良、潘受、吳宏一、王晉光、黃坤堯、鄭子瑜等(以詩集中先後為序),皆當代著名學者詩人。《周策縱舊詩存》不啻為當代的一部詩史。
    Page 100
    1 八百多逢八一難,不知取得是何經? ^一九六二年六月二十七日 洪煨蓮先生贈詩四首
    並序 100 周策縱舊詩存.
    Page 220
    ... 洪煨蓮《一八九三—一九八零)、顧颉剛(一八九三—一九八零)、袁同禮(一八九七—
    一九八一)、蔣#^一九零三—一九七七)、徐復觀一一九零三 I 一九八二一、羅香林《一
    九零六—一九七八) , 220 周策縱舊詩存.
    Page 107
    周策縱, 陳致. 自題畫枇杷初日黃金果,汪汪照眼明。汁多脹欲裂,辛苦戀枯籐。一九六
    四年夏於波士頓之棄園謝啞行者蔣彝贈畫鳥及詩葉落空山一鳥鳴,不平鳴後更無聲。
    偷閒差比幫閒好,不為朱門頌太平。一九六四年八月附:蔣彝原贈詩一首啞子戲墨五
    分鐘 ...
    Page 139
    一九六七年元月寄重&蔣彝)平生未傾蓋,白首仍相期;東京失交臂,乃覺富士稀。予旅
    東京時小病逾旬,未嘗一瞻. ^士山,而與重啞同寓國際文化招待所,臨去前猶不相知,
    能一晤。^一九六七年十一月廿五日於陌地生星島紀遊用字字迴文體(寄王醉六先生) ...




    Dear HC:
    http://yifertw.blogspot.com/2010/12/blog-post_6466.htmlHC 猛力推薦我閱讀周策縱的「棄園文存」,希望我就「歸去來」一詞作個回應。我卻對書中的對聯與特別感興趣。周策縱曾任蔣介石秘書(1945~1948),1948年辭職赴美留學,在密西根大學獲得博士。他 的最重要著作The May Fourth Movement: Intellectual Revolution in Modern China 五四運動史》,這本英文書大受歡迎,在美國再版七次,卻雙雙被蔣介石與毛澤東列為禁書。台灣到1972年解禁,中國則到1996年解禁。一本學術書籍,同 時在中國與台灣被禁,真是一大奇書。
    我要談的是書中69則到78則(共48頁)所談的對聯與「對對子」。Ken Su

    11/09周策縱先生大博學家
    胡適等的專家

    棄園文粹 或許不錯啦
    無交待出處和刪除處
    棄園文粹
    作  者:周策纵
    出 版 社:上海文艺出版社
    出版时间:1998-2-1


    2007/06/11 15:39
    我今天才知道周策縱(Chow, Tse-Tsung)先生過世。我只是他的學問、文章、做人的佩服者。上網一查,都是些零星的作品和消息,不過,倒知道先生是200759日過逝的。
    或許有點巧,5/12我還引他的作品「古代中文【扶桑】即是榕樹。詳見周策縱先生之考據如【棄園文粹】【固庵詩詞選】有詠印度巨榕之詩 *****僅以此筆記贈昔日同遊夏威夷之侔先生《詳全文》」。


    [PDF]

    周策縱教授著述目錄 - Uno, T

    檔案類型: PDF/Adobe Acrobat - 快速檢視
    棄園文粹》(錢文忠編選)。上海:上海文藝出版社,1997 年11 月。「學苑英華」叢書. 之一。458 頁。 Qiyuan wencui (The Best Writings from Qiyuan). ...

    2010年11月9日星期二


    Love in a Life by Robert Browning

    http://www.answers.com/topic/robert-browning


    改1999年(1999/04)之舊作:雖然忠樸過世多年。我們這些世人繼續尋覓…..

    (1998)十月十日,從永和出來,秋高氣爽。…走經台大校園,與一些樹打招呼。從新生南路側門出校園。有一少年騎一輛新機車;他的同伴,新車造型、設計,極盡"疼愛、撫摸"、"品評"之能事。這,讓我知道自已不年青了,因為我已沒有騎美車雲遊天下之志。
    進 辦公室,寫點東西,從網路上知道到你的網站周年慶,並有「承諾的樂趣」。由於台大校內海報故意把「五四」戲寫成「舞肆」,想起名著《五四運動史》作者周策 縱先生,他才富五車,在文選《棄園文粹》中第九九則,談王靜安的「…頻摸索,且攀躋,千門萬戶是耶非?人問總是堪疑處,唯有茲疑不可疑。」

    周先生說,此《鷓鴣天》甚莊嚴深遠。「此種無盡追求之意境,比 靜安 自己新云古今之成大事業大學問者必須之三種境界,皆更高深。」
    (鷓鴣天

    閣道風飄五丈旗,層樓突兀與雲齊,空餘明月連錢列,不照紅葩倒井批。
    頻摸索,且攀躋,千門萬戶是耶非?人間總是堪疑處,唯有茲疑不可疑。)

    周先生並以白郎寧(Robert Browning , 1812-83)《有終生的愛》(Love in a Life)──詩和之。我轉錄來作為我們這些中文網站開拓者的賀禮:

    一間房又一間房,
    我找遍了這院子,
    我們同住在這裡。
    心啊,一點也別怕,因為,心,你會找到她,
    下次,會找到她本人!──不是她所留下來的
    簾內的煩惱,床上的芳香!
    那壁上的花環,經她拂拭後又開花了:
    那兒明鏡對著她翠翹的搖顫也閃光了。

    但是日子不斷消磨,
    還是一條門又一條門?
    我永遠摸索著新的命運──
    從廂房到正廳,找遍了這大廈。
    老是這麼個緣法!我進來時她偏出去了。
    我尋了一整天,──別管吧!
    可是你知道,天快黑了,──還有那麼多的房間要探索,
    那麼多的私屋要尋找,那麼多的幽室要瀆求!
    ----
    Love in a Life
    by Robert Browning

    I

    Room after room,
    I hunt the house through
    We inhabit together.
    Heart, fear nothing, for, heart, thou shalt find her,
    Next time, herself! -not the trouble behind her
    Left in the curtain, the couch's perfume!
    As she brushed it, the cornice-wreath blossomed anew, -
    Yon looking-glass gleamed at the wave of her feather.

    II

    Yet the day wears,
    And door succeeds door;
    I try the fresh fortune -
    Range the wide house from the wing to the centre.
    Still the same chance! she goes out as I enter.
    Spend my whole day in the quest, -who cares?
    But 'tis twilight, you see, -with such suites to explore,
    Such closets to search, such alcoves to importune!




    维基百科,自由的百科全书
    跳转到: 导航, 搜索
    周策縱1916年1月7日2007年5月7日)出生於湖南祁陽,逝世於美國三藩市,美國威斯康辛大學東方語言系和歷史系終身教授,國際著名紅學家和歷史學家(特別是中國五四運動)。

    目录

    [隐藏]

    [编辑]生平

    湖南省祁陽縣(今祁東縣)人,1916年出生於祁陽縣。父親周鵬翥生前是詩人、書法家,行俠仗義,望重一時,舊學深厚而思想維新,以至於傾家襄助辛亥革命。周策縱先生幼承庭訓,兼長新舊學,與弟周策橫皆長於書藝詩文。中學畢業於長沙市第一中學(今長沙市一中),與毛澤東為相差十五年的校友。該校主編的校刊《長高學生》四字,就出自周策縱的手筆。
    1942年,周策縱於中央政治大學行政系畢業後,曾先後主編《新認識月刊》、《市政月刊》、《新批評》等刊物,並一度供職於重慶市政府。1945年始,任國民政府主席侍從室編審(秘書),與陳佈雷陶希聖徐複觀等聞人共事。蔣介石在臺灣二二八事件後的發表的《告臺灣同胞書》就是由周所執筆。 1948年辭職後即赴美國留學,開始潛心研究中國五四運動歷史,獲美國密西根大學博士學位。
    棄園文粹的序文 有更多旅美經歷 如1954年 哈佛大學訪問學者 1956年起哈佛大學研究員5-6年

    [编辑]学术

    其巨作 The May Fourth Movement: Intellectual Revolution in Modern China(五四運動史),1960年由哈佛大學出版社以英文出版,為第一步全面深入對五四運動描述分析的英文著作,為西方對中國五四運動的研究提供了寶貴的指導。其影響甚大,再版達七次之多。
    然而,其文中對五四運動中的文化啓蒙運動對傳統文化的反駁以及對國共兩黨的反應的客觀描述與分析使得此書在他校友毛澤東的中國和他前上司蔣介石的臺灣被視爲禁書不得發行。臺灣直到1972年才獲准其中譯本發行,中國則在1996年才對本書解禁。
    周策縱先生在研究紅樓夢上亦有很高造詣。1980年6月,他在威斯康辛州首府主持召開了首屆國際《紅樓夢》學術研討會,並任會議召集人和大會主席。此後,還促成了在哈爾濱揚州臺北北京舉行了二、三、四、五屆國際《紅樓夢》研討會,為研究和宣傳《紅樓夢》作出了貢獻。他還是國際中國現代文學討論會主席。著有《玉璽·婚姻·紅樓夢——曹雪芹家世政治關係溯源》、《論紅樓夢研究的基本態度》等系列紅學論文和《破斧新詁一一詩經研究之一》、《中國浪漫文學探源》等古典文學研究論文,出版了新詩集《海燕》,翻譯了泰戈爾的《螢》、《失群的鳥》等作品。1981年以後,他多次於臺灣中國講學和進行學術交流,努力加強中國學術界與國際學術界的交流。

    [编辑]參考文獻

    • 周策縱曾為周汝昌的《曹雪芹小傳》(1980年4月,天津:百花文艺出版社)撰有序文。

    [编辑]外部連結





     古巫醫與[六詩]考中國浪漫文學探源 (周策縱 )2011

    正文約290頁 (含英文摘要) 索引 73頁 (採 Wade Giles 拼音): 由於本書不避假設 多據文獻及文字求融會貫通 故索然無味特詳 期便於作進一步之考核與探索



    書  名:古 巫醫與[六詩]考 副標題 :浪漫文學探源
    書  號:82010出版社 :聯經出版公司
    作  者:周策縱 頁  數:364頁
    譯  者:
    印刷方式:直排2
    版  式:25ISBN:
    裝訂方式:平裝商品條碼:
    系列名稱:詩詞 初版時間:1986/4/30


    內容簡介本書從人的求生意志出發,根據並重新解釋古典著作、古文字、和新的地下發掘資料,深入探討古巫對醫藥和詩的貢獻,首次把這中國文明中的大成就聯繫了起來, 並說明古祭祀如高臺、畤、郊、社等的意義,和巫在古史上的重要地位。

    就醫藥方面說,本書首次揭發出古巫曾使用針灸,證明至遲在商代針刺術就已流行。「巫」字和巫咸、扁鵲等神醫命名的用意,及其對針砭的應用。神醫持螰與棒與古希臘相似。更從所有的古巫名推論他們與醫藥、求生產等魔力的關連。

    就詩和詩論來說,本書闡釋了巫提倡兩性自由,對齊、陳、鄭、衛、和楚國文化及浪漫文學的重大影響。並指出所謂「六詩」或「六義」原指六種詩體,進而說明賦、比、興、風、雅、韻的原始意義,其體製的實況,及如何發展成不同的詩歌原理。
    總的說來,本書對古代醫藥史、思想史、文學史、文學理論批評史,尤其是針灸的早期使用,詩體與詩論、歌舞與戲劇的演變等做出深入淺出的探討。



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     http://tea.ntue.edu.tw/~xiangyang/hiongyong/letter3.htm
     
    周策縱先生致向陽
    [ 1984年12月01日‧美國威斯康辛 ]
    這是國際著名紅學家和歷史學家,《五四運動史》著者周策縱教授 ( 1916年1月7日-2007年5月7日 ) 於1984年12月1日給向陽的信, 回應向陽寄奉詩集《十行集》, 對於「定型新詩體」有殷切期盼。信文如下:
    向陽先生:
    謝謝你寄來大著十行集。這就我看來的確有劃時代的意義。三四十年前我就覺得,「定型新詩體」是新詩人可能發展的一個領域,可是總無法推動優秀的詩人去嘗 試。許多人還不能了解,我們要嘗試發展定型詩,並不意味著要全部用定型或不定型的格律詩來取代自由詩,我們中國人太容易落進非此即彼、只有兩個取捨的思想 模式了。一九六二年我在紐約的海外論壇月刊發表一篇「定型新詩的提議」後,有人就在香港一個刊物上非常感情衝動地反對,好像我是在企圖推翻自由新詩ㄧ般, 真有點像無的放矢。我那篇文章後來給瘂弦和梅新轉載在他們所編的詩學弟三輯裡,希望台灣的新詩人們能夠注意到。我那篇( 以上第一頁,以下第二頁 )文章裡舉的例子五、三「八行體」,格律自然太嚴,我不過是用一個最嚴的例子去說明許多可能的規律,實際上當然還有更多的格律不太嚴的定型詩體,所以我在第 二節裡說:「這也可包括一些格律較寬的詩體,所以它發展的範圍可能很大。」這就是說,只規定行數的定型詩體,也該算在內。目前恐怕還只能做到這種最寬的定 型體。所以你的嘗試是很富 于實際價值的。我們還不妨去試試各種行數,如五行詩、七行詩、九行詩、十二行詩,或十五行詩等等。也就是我在那篇文章的末了說的:「尤其希望大家用多種不 同的方式,來創造更多的定型詩體。」
    你這詩集裡,好詩和好句很多,前言和附錄中,他們已指出和徵引過了,用不著我再說。我還喜歡其中關于「雨」和「水」,以及季節與自然現象的幾首 ,以至於「閨怨」的數首。句子像「人類雙腳所踏,都是故鄉。「甚至連風也不敢咳嗽。」「所謂心事是楊柳繞著小湖徘徊。」都非常好。我也很欣賞「楚漢」,以前淡瑩寫有一首「西楚霸王」,也很好。
    來不及多寫了。特此致謝。陽光小集還繼續出版嗎?祝
    近好              周策縱 一九八四年十二月一日
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