The Hokusai Sketch-Books: Selections from the 'Manga 隅田川両岸一覧

March 20, 2016, 7:18 pm

≫ Next: Geoffrey Hartman《荒野中的批評》

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周作人有一文介紹
隅田川両岸一覧(葛飾北斎)

BBC Culture

It was the moment European art started turning Japanese.

Hokusai and the wave that swept the world

Without the Japanese printmaker Hokusai, Impressionism might never have happened.

BBC.COM|由 JASON FARAGO 上傳

1806年頃。　「絵本隅田川両岸一覧　新柳橋の白雨」。　（画老人北斎時代）

「粋（いき）な絵」ですね。

葛飾北斎の浮世絵＆屋形船

東京・隅田川に架かる両国橋の東岸沿い辺りの護岸壁を利用して設けれらている「隅田川テラス」アートギャラリー。
その壁に掛けられたアートのうちの一つである、「隅田川両岸一覧　無縁の日中」という葛飾北斎の絵　（墨田区文化資料所蔵）。
夕涼みの人出で混雑する両国橋の下を、夕涼みの屋形船がのんびりと行き交う風景を描いた画である。北斎は墨田区生まれである。
[2010.04][東京・「隅田川テラス」アートギャラリーにて][拡大画像: x22094.jpg][拡大画像: x22243.jpg] [拡大画像: x22241.jpg：北斎案内パネル「北斎通り」]
1

1.　説明書きによると　「水面におおいかぶさる桜と、隅田川から大挙して押し寄せる人々、酔って踊る人が描かれ、花見の時期の賑やかさが見てとれる。画面奥には吾妻橋、隅田川西岸には浅草寺・凌雲閣が見え、はるか彼方に富士山が描かれる。」　 [拡大画像: x22095.jpg]
2.　錦絵「東京名勝之図　両国橋」　（歌川房種　江戸東京博物館所蔵）の中の屋形船。
説明書きによると、「中央に描かれる西洋型木場橋の両国橋は、この錦絵が摺られた年に架けられたものである。伝統的な弧を描く橋から平らな橋となり、その上を人力車や馬車がさっそうと走っている。橋のたもとにはガス灯が立ち、電信局と思われる西洋館の大きな屋根も見える。しかし川には江戸時代のままの船が往来しており、多くの人は着物姿である。西洋の文化と日本の伝統文化が混在している。明治時代初期ならではの風景である」、と記されている。 [拡大画像: x22110.jpg][拡大画像: x22109.jpg][拡大画像: x22096.jpg][拡大画像: x22097.jpg：説明書き] [拡大画像: x22107.jpg][拡大画像: x22108.jpg]
3.　吾妻橋のたもとに横付けされた屋形船。　[拡大画像: x22239.jpg]
4.　墨田区の北十間川に架かる「枕橋」(Makura-bashi Bridge)から見上げる「東京スカイツリー」。目指す高さは６３４メートル、自立式電波塔としては世界一高くなる。平成22年(2010年)４月25日現在、その高さは３４９メートルで、わずかに本家の「東京タワー」を上回ったところである。その眼下には屋形船が、近づく初夏からの出番を待つ。　 [拡大画像: x22242.jpg]
5．　江戸東京博物館では、江戸期における「両国橋とその西詰の広小路」の賑わいを巨大なパノラマ模型にて展示している。夏の間は、花火見物に興じる屋形船、屋根船が隅田川に浮かび、その間を物売りのウロ船や花火船が両国橋辺りを行き交った、と案内パネルには記されている。　[拡大画像: x22244.jpg]
6．　北斎の画室Model of Hokusai's studio。北斎の画室を弟子が描いた「北斎仮宅図」をもとに再現したもの。北斎は生涯に90回余りも引越したといわれる。この模型はそんな仮住まいのうち、83歳頃の北斎が今の墨田区両国４丁目付近の貸家に娘の阿栄と住んでいた頃(年代1842年・天保13)の画室である。　[拡大画像: x22280.jpg] [拡大画像: x22281.jpg：説明書き(和文)][拡大画像: x22282.jpg：説明書き(英語)]

80 年代初在美國史丹佛大學書局買的
Michener, James A. (1958). The Hokusai Sketch-Books: Selections from the 'Manga'. Charles E. Tuttle, Rutland.
這本採取的方式是每頁上頭有簡短解說

80 年代中在日本看到原十來卷的原作之書籍未買
現在想起來有點後悔
現在25年過去了
我在網路上美國網站找到日本有"Hokusai描繪三千六百景"一全冊之出版品
我也考量新的出版方式

Old Edo at your fingertips

The Hokusai Manga Construction Kit is only in Japanese, but Japan Style has created an English guide for the easy-to-use system.
You'll then be able to create visions of old Tokyo, in the Edo period, with characters such as Hokusai-style beggars, priests and kings.
Once you've added graceful cranes and prowling tigers around your walled castle, and some Japanese script for authenticity, you can send the masterpiece to friends or add to a

Read more: How to paint like master Hokusai | CNNGo.com http://www.cnngo.com/tokyo/play/now-you-can-create-you-very-own-hokusai-version-tokyo-108029#ixzz1B0wELu9c

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http://www.hokusai-drawings.com/
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http://scienceblogs.com/neurophilosophy/2010/03/implied_motion_in_hokusai_manga.php

Implied motion in Hokusai Manga

Category: Art• Neuroscience• Vintage Illustrations• Vision• fMRI
Posted on: March 23, 2010 12:45 PM, by Mo

Click to enlarge images

ARTISTS employ a number of different techniques to represent implied motion in two-dimensional works. One of these, commonly used in posters, comics and animation, is the affine shear effect, whereby a moving object is depicted as leaning into the direction of movement. Cartoonists also use action lines to depict movement and speed, with straight lines conveying fast movements and wavy lines conveying slower ones. Motion can also be conveyed by superimposing several images showing the successive positions of a movement, or by a blurred image showing the different positions simultaneously.

The Japanese artist and printmaker Katsushika Hokusai (1760-1849) used a different and innovative technique to convey motion. The simple line drawings in his Manga strips lack all of the commonly-used motion effects, yet give a strong impression of movement by depicting the human body in highly unstable postures. As a new study just published in the journal NeuroReport shows, the figures in the sketches are perceived to be moving because their gravity-defying postures activate regions of the visual cortex that are sensitive to motion.

The Hokusai Manga is a collection of over 3,000 small, woodblock-printed sketches that was published in 15 volumes between 1815 and 1878. The drawings depict various aspects of everyday Japanese life as well as animals, objects and mythological characters. Hokusai was inspired by, among other things, European scientific illustrations, and his sketches are based on keen observation. His ability to gracefully depict the human body in motion is exemplified in the sketch Suzume Odori-zu ('Dancing Sparrows', top) from volume 3 of the Manga, and in many of the sketches contained in volume 6, which is devoted to the martial arts (above).

It is well established that static images with implied motion activate a subregion of the extrastriate cortex referred to as area V5 or area MT. This is a part of the visual cortex located in the inferior temporal gyrus, which contains neurons that are sensitive to motion. (V5 has even been shown to be activated by verbs such as "walking", or mimic words that imply the same action.) Research into this phenomenon often uses paintings and photographs as visual stimuli. Abstracted drawings such as those contained in the Hokusai Manga have been used seldomly, however, so Naoyuki Osaka of Kyoto University and his colleagues set out to establish whether or not they have the same effect.

The researchers recruited 14 university students and showed them Hokusai Manga illustrations while scanning their brains by functional magnetic resonance imaging (fMRI). Three different types of illlustrations were used: one set depicted people in positions that strongly imply motion, another showed people without implied motion (such as the sketches of the priests above), and a third showed inanimate objects. Sixty of each type were presented in a randomised order, for 2 seconds each and separated by an interval of half a second. The participants were required to indicate which of the illustrations gave the impression of motion, and how strong or weak that impression was, by pressing a button.

As would be expected, all of the sketches activated the primary visual cortex, which contains neurons that are responsive to specific properties of visual stimuli, such as contrast and the orientation of edges. The sketches with implied motion, but not those without, strongly activated the motion-sensitive visual cortical areas on both side of the brain, and also elicited weak activity in the cerebellum. Classically, the cerebellum is said to be involved in balance and coordination of movement, but it is also known to play a role in the perception of motion, and several studies have shown that patients with cerebellar lesions have motion perception deficits.

The authors suggest that the unstable postures in the Hokusai Manga figures act as visual cues that induce the effect of implied motion. Their research could be extended to investigate whether the sketches of animals also activate motion-sensitive brain regions. Hokusai was also fond of depicting water in motion, as is evident from his best-known work, The Great Wave Off Kanagawa. We know that the brain is particularly sensitive to biological motion, so it would also be interesting to investigate if this print, an

葛飾北斎　「北斎漫画三篇」　1815年（文化十二年）。
紗綾形(さやがた)、立涌(たてわく)、亀甲(きっこう)、麻の葉(あさのは)の文様。
HokusaiManga3MonyhoA

source: visipix.com

葛飾北斎　「北斎漫画三篇」　1815年（文化十二年）。　
青海波(せいがいなみ)、分銅(ふんどう)、籠目(かごめ)、卍繋(まんじつなご)の文様。
HokusaiManga3MonyhoB

source: visipix.com
（注：北斎の解説に「わりなし」と言う言葉が、「わりなしの」
「わりなくして」「わりいらず」「わりなしは」と出てきますが、
どのような意味なのか、私には分りかねている状況です。
北斎が別に著わした「新形小紋帳」と言う本にも、「わり」と
言う言葉が頻繁に出てきますが、「わりは」「わりに」などで
「なし」などの否定表現ではありません。こちらの意味は、
「割り付ける」「分ける」ほどの意味のようです。また、北斎
の本とは別の本に載る卍繋の書き方には、「卍繋、大割を
して、中に卍を・・・」とあります。「わりなし」とは、割り付け
基準のない状態＝フリーハンドを意味するのでしょうか？）

↧

Geoffrey Hartman《荒野中的批評》

March 20, 2016, 8:30 pm

≫ Next: American Wife By Sittenfeld (born 1975)

≪ Previous: The Hokusai Sketch-Books: Selections from the 'Manga 隅田川両岸一覧

幾天前我在孫康宜教授的facebook 上知道 Geoffrey Hartman過世的消息。去Wikipedia 查他的資料：印象最深的是他花了絕大力氣，在耶魯大學建立受納粹迫害的人士之口述歷史資料庫。在耶魯，他還幫助設了猶太研究計畫 (Definition of Judaica. : literary or historical materials relating to Jews or Judaism.)......

傑弗里·哈特曼- 台灣Wikiwww.twwiki.com/wiki/傑弗里·哈特曼 Translate this pageDec 11, 2013 - 目錄. 1. 早期理論2. 文學立場3. 心理分析4. 《荒野中的批評》5. ... 評價傑弗里·哈特曼的《荒野中的批評》也是耶魯解構主義批評的代表作之一。

在我這blog，起碼可找出與他相關的資料：

The Tanner Lecture：

Hartman, Geoffrey

Text and Spirit

Utah

1998-99

Yale University

“Chinese History, Jewish Memory": Shapes of Memory, ed. Geoffrey Hartman (London: Basil Blackwell Ltd., 1994)

Geoffrey Hartman著作中譯：【荒野中的批評︰關于當代文學的研究】(Criticism in the Wilderness)，張德興譯，天津人民出版社，2008

《荒野中的批評》：耶魯學派解構主義批評譯叢。《荒野中的批評》與其說是對於文學研究的一個系統的辯護，還不如說是一本關於經驗之談的書。為文學批評所作的最好的辯護就是開展這重批評，而在目前，就應當準確地理解它。

紐約時報的訃聞：http://www.nytimes.com/2016/03/19/books/geoffrey-h-hartman-literary-critic-dies-at-86.html?

BOOKS

Geoffrey H. Hartman, Scholar Who Saw Literary Criticism as Art, Dies at 86

By MARGALIT FOXMARCH 20, 2016

Geoffrey H. Hartman at Sterling Memorial Library at Yale in 1997. CreditRichard Mei/Associated Press

Geoffrey H. Hartman, a literary critic whose work took in the Romantic poets, Judaic sacred texts, Holocaust studies, deconstruction and the workings of memory — and took on the very function of criticism itself — died on March 14 at his home in Hamden, Conn. He was 86.

His death was announced by Yale University, where he was the Sterling professor emeritus of English and comparative literature.

Considered one of the world’s foremost scholars of literature, Professor Hartman was associated with the “Yale School,” a cohort of literary theorists that included Harold Bloom, J. Hillis Miller and Paul de Man. Their work was rooted in deconstruction, the approach to analyzing the multilayered relationship between a text and its meaning that was advanced by the 20th-century French philosopher Jacques Derrida.

Professor Hartman was renowned for his vast Continental erudition. His scholarly attention ranged over Wordsworth, to whom he was long devoted; the poetry of Gerard Manley Hopkins; Judaica (he helped found the Judaic studies program at Yale); Alfred Hitchcock; Freud; detective stories; and the nature of trauma, the memory of trauma and testimony about trauma — interests borne of his own wartime experience — as well as the ways in which traumatic recollections can be filtered through the creative imagination.

Among his best-known books are “Wordsworth’s Poetry, 1787-1814” (1964); “Criticism in the Wilderness: The Study of Literature Today” (1980), considered a landmark in the field; “The Longest Shadow: In the Aftermath of the Holocaust” (1996); and a memoir, “A Scholar’s Tale: Intellectual Journey of a Displaced Child of Europe” (2007).

He was the first director of what is now the Fortunoff Video Archive for Holocaust Testimonies at Yale. Begun in 1979, the archive, which is open to the public, comprises more than 4,000 interviews with Holocaust survivors, witnesses and liberators from around the world.

As a result of his association with the Yale School, Professor Hartman was often called a deconstructionist, but his critical stance eluded tidy classification.

Deconstruction maintains that any given text is, below its surface, a roiling system of conflicting semantic signs. As such, the text has no one empirical reading; it is, rather, a network of competing meanings — a quicksilver state of affairs that a critical analysis of that text must take into account.

Early on, Professor Hartman championed this approach. But over time he went deconstruction one better, arguing that a literary text is so pregnant with possible readings that to make an evaluative judgment about it — or even, perhaps, to extract an inventory of its meanings — is futile.

By longstanding tradition, as Professor Hartman reminded his readers, literary criticism was seen as a handmaiden of literature — an adjunct whose sole raison d’être was literature itself.

In “Criticism in the Wilderness,” he argued that criticism should not only stand on an equal footing with literature but also be literature. (Classifying criticism as literature inevitably triggers a hall-of-mirrors effect, the kind of Talmudic paradox that was to Professor Hartman a source of unalloyed delight: If criticism becomes literature, it is thus amenable to critical analysis. How, then, does one classify the criticism that results?)

In elevating criticism to the status of literature, Professor Hartman did not mean merely that it should be well written. What he also meant was that criticism should function for criticism’s sake alone.

“The spectacle of the critic’s mind disoriented, bewildered, caught in some ‘wild surmise’ about the text and struggling to adjust — is not that one of the interests critical writing has for us?” he wrote in “Criticism in the Wilderness.”

He continued: “In more casual acts of reading this bewilderment can be muted, for there is always the hint of a resolution further on, or an enticement to enter for its own sake the author’s world. However, incontaining this bewilderment, formal critical commentary is not very different from fiction itself.”

Professor Hartman’s critical writings occasioned, quite fittingly, a spate of critical responses. His style — suffused with puns, linguistic play and self-referential asides that mulled the meanings of the very words springing from his pen — was praised by some observers for its transparency and damned by others for its opacity. Sometimes, in the course of analyzing one of his works, a critic was moved to both opinions at once.

Reviewing “Criticism in the Wilderness” in The New York Times Book Review, the literary scholar Denis Donoghue wrote: “His own style makes me wonder. In one mood, he is a vigorous, witty, trenchant writer, formidably lucid and polemical. Many of his sentences make me feel: I wish I had said that. But some of them make me feel: I wonder would that be worth the labor of understanding it?”

Geoffrey H. Hartmann, as the family name was then spelled, was born in Frankfurt on Aug. 11, 1929. (In a curious augury for one whose life would center on signification, his middle initial stood for nothing.) His father left the family when Geoffrey was very young.

In 1939, Geoffrey was among the Jewish children evacuated from Nazi Germany as part of a Kindertransport. He spent the war years in England, living with other evacuated children at Waddesdon Manor, the Buckinghamshire country estate of James de Rothschild, a scion of the banking family.

There, to stave off isolation, he read voraciously and lost himself in the verdant countryside — an experience that would seed his lifelong passion for Wordsworth.

His mother managed to flee Germany for New York but could not send for Geoffrey, her only child, until after the war. Joining her there, he parted company with the final “n” of “Hartmann,” stripping the name of its most conspicuous Teutonic trace.

He earned a bachelor’s degree in comparative literature, summa cum laude, from Queens College in 1949 and later studied as a Fulbright scholar at the University of Dijon in France. He received a Ph.D. in comparative literature in 1953 from Yale, where his teachers included the distinguished Czech émigré critic Rene Wellek.

Professor Hartman first joined the Yale faculty in 1955. He spent the early and mid-1960s at the University of Iowa and at Cornell before rejoining Yale in 1967.

In 1988, he came to wide notice with a long article in The New Republic about his colleague Paul de Man. De Man, who died in 1983, had incurred worldwide posthumous censure after it was revealed in 1988 that during the war he had written hundreds of articles for collaborationist newspapers in his native Belgium.

Professor Hartman’s essay, written in response to those revelations, was commended in some quarters for forthright introspection but condemned in others for what detractors saw as his lenient appraisal of de Man’s ideology.

Professor Hartman’s survivors include his wife, the former Renée Gross; a son, David; a daughter, Liz Hartman; and a grandson.

His other books include “Saving the Text: Literature, Derrida, Philosophy” (1981); “Minor Prophecies: The Literary Essay in the Culture Wars” (1991); and “Scars of the Spirit: The Struggle Against Inauthenticity” (2002).

He received the Truman Capote Award for Literary Criticism in 2006 for “The Geoffrey Hartman Reader,” an anthology, published in 2004, that he edited with Daniel T. O’Hara.

To navigate the world of “wild surmise” in which the critical mind so often dwells, it behooves the critic, Professor Hartman said, to hew a path through the textual landscape. The path may run in many directions at once — a formal luxury that was once the exclusive province of the creative artist. In his view, however, it was also the prerogative of the critic.

“Interpretation is like a football game,” Professor Hartman wrote in “The Voice of the Shuttle,” a 1969 essay. “You spot a hole and you go through. But first you may have to induce that opening.”

↧

American Wife By Sittenfeld (born 1975)

March 21, 2016, 12:53 am

≫ Next: Jean-Paul Sartre. "The Words"《論剽竊》: 《沙特隨筆》《再見，沙特！》《沙特引論《法國知識份子的世紀: 沙特時代》》

≪ Previous: Geoffrey Hartman《荒野中的批評》

三四年前讀英美報刊都說 Curtis Sittenfeld小說《美國夫人》故事生動，行文流暢，是近年少見的好文章。我找來細讀，六百三十多頁幾個晚上讀完了，文筆果然輕便，想到那裏寫到那裏，像爐邊閑話，娓娓道來，瑣碎親切。美國友人簡妮說，加州一位教文學的老師課堂上講柯蒂斯文字講了一個星期，說這部小說給英文寫作帶來一道清秋景色，學府裏的英美文學教授不妨解開圍巾跟柯蒂斯坐在院子裏晒晒太陽聊聊天。
--董橋：小品自序

https://en.wikipedia.org/wiki/Curtis_Sittenfeld

Elizabeth Curtis Sittenfeld (born 1975) is an American writer. She is author of four novels: Prep, the tale of a Massachusetts prep school; The Man of My Dreams, a coming-of-age novel and an examination of romantic love; American Wife, a fictional story loosely based on the life of First Lady Laura Bush, Sisterland, which tells the story of identical twins with psychic powers, and the forthcomingEligible, which is a contemporary retelling of Pride and Prejudice, as well as a number of short stories.

American Wife[edit]

Sittenfeld's third novel, called American Wife (2008), is the tale of Alice Blackwell, a fictional character who shares many similarities with former First Lady Laura Bush. In the novel, Blackwell is an only child who grows up in a Democratic family. As a high school student, Blackwell kills a friend in an auto accident. She also has an illegal abortion and discovers that her grandmother is a secret lesbian. She meets, falls in love with, and marries the wild son of an elite Republican family. Her husband rises in politics to the office of president, and, although Blackwell staunchly disagrees with her husband's politics, she continues to love him.

In November 2011, it was announced that Red Crown Productions had begun work on a film version, with the adaptation be written by Academy Award-nominated screenwriter Ron Nyswaner.^[4]

↧

Jean-Paul Sartre. "The Words"《論剽竊》: 《沙特隨筆》《再見，沙特！》《沙特引論《法國知識份子的世紀: 沙特時代》》

March 20, 2016, 5:41 pm

≫ Next: Chinua Achebe: Hopes and Impediments/ Bearing Witness, With Words

≪ Previous: American Wife By Sittenfeld (born 1975)

“I had found my religion: nothing seemed more important to me than a book. I saw the library as a temple.”

―from "The Words" by Jean-Paul Sartre

Jean-Paul Sartre's famous autobiography of his first ten years has been widely compared to Rousseau's Confessions. Written when he was fifty-nine years old, The Words is a masterpiece of self-analysis. Sartre the philosopher, novelist and playwright brings to his own childhood the same rigor of honesty and insight he applied so brilliantly to other authors. Born into a gentle, book-loving family and raised by a widowed mother and doting grandparents, he had a childhood which might be described as one long love affair with the printed word. Ultimately, this book explores and evaluates the whole use of books and language in human experience.

The Economist

Jean-Paul Sartre, the French thinker and writer, stressed an ever-present emotional element in human thinking that philosophers preoccupied with truth and validity tended to overlook. Sartre’s concern, in a phrase, was what it was like to be human. A thorough new biography offers expert analysis into his philosophical arguments http://econ.st/1D3qxwC

Beauvoir's book on Sartre's last years, Adieux: A Farewell to Sartre appeared in 1981.

《告別式》=《再見，沙特！》=《沙特傳》

出版故事參考: http://blog.udn.com/chenglee/578981

杜小真《沙特引論》北斗:商務 2007

《法國知識份子的世紀: 沙特時代》江蘇教育2001

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《論剽竊》

譯者: 沈明作者: 理查德·波斯納ISBN: 9787301162309頁數: 136定價: 19出版社: 北京大學出版簡介 · · · · · ·文學、學術、音樂、藝術和電影創作中的剽竊是一個魅惑著西方文化景觀的爭端問題，在本書中，美國最富影響力和爭議的法律學者之一理查德·波斯納法官對剽竊問題做出了簡明、生動、令人耳目一新的考察。暢銷小說作家JK羅琳和丹·布朗、知名歷史學家多麗絲·凱爾斯·古德溫和斯蒂芬·安布羅斯、哈佛法學教授勞倫斯·揣伯、查爾斯·奧格里崔、初出茅廬的小說家卡薇婭·維斯瓦納坦：這些人都曾被指控過剽竊——對於智識財產的盜竊——由此激發出的種種專家意見在媒體上廣泛傳播。但是，到底什麼是剽竊？這個內涵出名地含混的語詞的含義，作為跨越時代的歷史與文化變遷的後果，是如何發生演變的？剽竊行為到底是愈演愈烈了，還是僅僅由於技術進步而變得更容易發現了？現如今的表達性作品市場如何影響了我們自己對剽竊的理解？真的存在“隱藏的記憶”嗎——一種對他人作品的無意識的、非故意的盜用？剽竊者的神秘動機和古怪藉口是什麼？剽竊這種“罪過”觸發了哪些形式的懲罰和赦免？某些特定類型的剽竊可能有什麼益處？本書對這些糾纏的問題多有討論。《論剽竊》激人思辨、富於洞見，論說異常清晰、直率，是一本短小精悍的分析性傑作，是“美國最偉大的二十位法律思想家之一”（《法律事務》）、一位以智識探險和勇於破除偶像著稱的傑出法官的作品。理查德·波斯納，先後以最優生和年級第一名畢業於耶魯大學英文系和哈佛大學法學院。曾任美國聯邦最高法院大法官助理、聯邦政府律師、斯坦福大學法學院副教授、芝加哥大學法學院教授和講座教授。 1981年出任美國聯邦第七巡迴區上訴法院法官至今（1993--2000年任首席法官），同時擔任芝加哥大學法學院高級講師。波斯納是法律經濟學的主要創建者之一；同時也是“法律與文學”和實用主義法學的領軍人物。他的著作眾多，輻射廣泛，有所謂“一個人的智庫，之稱；他的法律學術和實踐重塑了美國的法學和法律。“他是著述最豐的聯邦法官，前無古人。任職上訴法院，仍屬最高產的法學家之列，同樣前無古人。如果以引證率測度影響力，那麼當仁不讓，波斯納是在世的最有影響的法學家。”****

沙特隨筆張靜二譯│Taipei: 志文│1980

生活·境遇：萨特言谈、随笔集 .

：平装18cm / 297页; 【出版项】：三联书店上海分店 / 1990.2，1996.6重印 ..

此書有抄襲張之翻譯之嫌
不過妙的是改錯了將農神 Saturn 翻譯成 Satan

↧

Chinua Achebe: Hopes and Impediments/ Bearing Witness, With Words

March 21, 2016, 12:09 am

≫ Next: Ronald Dworkin. The Age of Doubt；沒有神的宗教 Religion without God 《刺蝟的正義》

≪ Previous: Jean-Paul Sartre. "The Words"《論剽竊》: 《沙特隨筆》《再見，沙特！》《沙特引論《法國知識份子的世紀: 沙特時代》》

Literature, Chinua Achebe liked to say, was his weapon. He railed against the portrayal of Africa, inspired a generation of writers to find their own voices and was unafraid to upset the powers that be. He died on this day in 2013

Chinua Achebe, author of "Things Fall Apart"

Chinua Achebe, Africa’s greatest storyteller, died on March 21st 2013

ECON.ST

Chinua Achebe過世了. 現在很少讀小說的我選他的這本文集Hopes and Impediments

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Hopes and Impediments: Selected Essays, 1965-1987 is collection of essays by Chinua Achebe, published in 1988.^[1]
Several of the essays caution against generalizing all African people into a monolithic culture, or using Africa as a facile metaphor.^[2] The opening essay, "An Image of Africa: Racism in Conrad's Heart of Darkness", challenged the prevailing opinions in the west about Joseph Conrad's depiction of African people.^[3] He also discusses several notable authors and shares his opinion on the role of writers and writing in cultures. In a contemporary review, Chris Dunton wrote: "The essays in his new book remind us also how tough-minded, how properly insistent, he can be in exposing false and demeaning ideas about Africa and its culture."^[4] The book is dedicated to Professor Michael Thelwell.^[5]

"An Image of Africa: Racism in Conrad's Heart of Darkness"
"Impediments to Dialogue Between North and South"
"Named for Victoria, Queen of England"
"The Novelist as Teacher"
"The Writer and His Community"
"The Igbo World and Its Art"
"Colonialist Criticism"
"Thoughts on the African Novel"
"Work and Play in Tutuola’s The Palm-Wine Drinkard"
"Don’t Let Him Die: A Tribute to Christopher Okigbo"
"Kofi Awoonor as Novelist"
"Language and the Destiny of Man"
"The Truth of Fiction"
"What Has Literature Got To Do With It?"
"Postscript: James Baldwin (1924-1987)"

References

^Achebe, Chinua (1988) Hopes and Impediments: Selected Essays, 1965-1987. Heinemann, ISBN 0-435-91000-0
^Edwards-Yearwood, Grace (December 31, 1989). Africa Is Nobody's Metaphor: Hopes and Impediments by Chinua Achebe (review).Los Angeles Times.
^Grossman, Ron (November 8, 1989). "Damning message proves irresistible",Chicago Tribune.
^Ezenwa-Ohaeto (1997). Chinua Achebe: A Biography, p. 262. Indiana University Press, ISBN 978-0-253-33342-1
^French, Mary Ann (September 12, 1999). "The people's professor: Michael Thelwell, father of black studies at UMass-Amherst, thinks most of his academic peers have sold out the values of the '60s". Boston Globe.

External links

Hopes and Impediments publisher's page via Random House

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Chinua Achebe - Wikipedia, the free encyclopedia
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Chinua Achebe 2] was a Nigerian novelist, poet, professor, and critic. He was best known for his first novel and magnum opus, Things Fall Apart (1958), which is ...
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1. Chinua Achebe's anti-colonial novels are still relevant today
  The Guardian‎- 16 hours ago
  Nesrine Malik: He traced the dehumanising effects of western cultural arrogance that are still at work today in Iraq and Afghanistan.
1. Achebe: The guru of African literature
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Achebe: The guru of African literature - The Standard
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19 mins ago – Nigerian novelist Chinua Achebe, widely seen as the grandfather of modern African literature, died on Friday at the age of 82.

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Chinua Achebe's anti-colonial novels are still relevant today

He traced the dehumanising effects of western cultural arrogance that are still at work today in Iraq and Afghanistan

- Nesrine Malik
- guardian.co.uk, Sunday 24 March 2013 15.00 GMT
- Jump to comments (…)

A Nigerian reads a newspaper featuring a headline on Chinua Achebe's death on 22 March. Photograph: Pius Utomi Ekpei/AFP/Getty Images

Chinua Achebe's mission statement, by his own admission, was to "set the record straight". His seminal work, Things Fall Apart, was the first in an African trilogy that set about establishing the validity of life in tribal Nigeria in the late 19th century, before the "civilising" colonialism of Christian missionaries arrived.
Achebe paints a picture of village life that is vivid, poignant, but also brutal. With no judgment or steer as a narrator, he succeeds in presenting a community that is robust, with strong mores and religious values, and morally upright characters trying to do their best. He succeeds so well that despite also being shown this life's cruelty, the reader is left reeling with sympathy when the Christian missionaries come to the village and impose their British colonial system, which stamps the old life out as one would kick over an anthill.
As an African Arab growing up in post-colonial east Africa, I had not read before an indigenous interpretation of regional history that wasn't either a non-critical celebration of pre-colonial past, or a wretched condemnation of it as one that must be deficient if it succumbed so easily to invasion. Achebe was the first African writer who painted a non-romantic picture of this tribal life without apologising for the bad, or praising the good. Yes, tribal society Africa was strong and functional, but Christian missionaries would not have made any inroads were there not dissatisfaction with its brutal justice, ethnic discrimination and religious rigidity.
Achebe's writing isn't anything as banal as cultural relativism – something he has been accused of – but a powerful refutation of the fact that before the white man, Africa was a "blank sheet of civilisation". Once things did fall apart, with the west fully taking the reigns of governance either directly or by proxy, what replaced the old way? An uncomfortable mix of modern and traditional that still ended in tragedy.
Perhaps the most relevant of Achebe's works to my generation is No Longer at Ease, the second book of his trilogy, which powerfully exposed the difficulty of navigating a world where one is expected to partake of western secular education and all the values and privileges that comes with it, and still be hostage to the commanding beliefs of one's own culture. It is a heart-wrenching account of the grandchild of the main character in Things Fall Apart, who joins the Nigerian colonial civil service after receiving a British education but struggles to escape the conflicting mores of his family – a tragic modern protagonist with a foot in both camps.
In the third novel, Arrow of God, Achebe elaborates on political disruption and shows how closely the land, agriculture and subsistence of villagers were tied to religion. When the new colonial administrator tries to co-opt the chief priest, the latter rejects the offer and is thrown in prison. In rebellion and religious hubris, he refuses to call for a harvest and the yams rot in the fields. There ensues a famine that results in many converting to Christianity in rejection of a system that the white Christian missionaries convinced them had allowed them to starve. It is a simple narrative of the practical difficulties in governing societies under two conflicting political systems rooted in incompatible values. There are still echoes of this in the present, where western-style democracy is offered as an absolute panacea for all the Orient's ills.
This African trilogy is still relevant today; western intervention is routinely justified under the guise of moral concern, and political turmoil is often sparked by an imposition of western-style governance. In our increasingly global world, civilisational superiority can also be cloaked in ostensibly benign concepts: the promotion of democracy, self-determination, the liberation of women.
Achebe's memoir begins with the Igbo proverb: "A man who does not know where the rain began to beat him cannot say where he dried his body." His work tried to isolate when the defeat of colonised societies began. It is an important question, if we are to carve a path independent of post-colonialist ushering into "civilisation".
Achebe was a visionary who traced the modern tragedy of the dehumanising effects of cultural arrogance and absolutism, and how they are manifested as the moral arms of cynical campaigns still at work today in Iraq and Afghanistan. Indeed, the missionaries are still coming to the village.

阿切比：非洲現代文學之父

DWIGHT GARNER報道2013年03月26日

“如果你不喜歡某人的故事，”1994年，齊諾瓦·阿切比(Chinua Achebe)在接受《巴黎評論》(The Paris Review)採訪時說，“那就寫一個你自己的版本。”
阿切比於周四逝世，享年82歲，在他的第一部小說及傑作《崩潰》（Things Fall Apart, 1958年）中，他正是這樣做的。他以平靜而準確的敘事文體審視了一個部落社會如何在殖民者的苛待之下分崩離析。這部小說已成為幾代美國高中生和大學生的讀物——比如我的大學就把這本書發給大一新生。

按圖放大

Craig Ruttle/Associated Press

尼日利亞裔美國作家齊諾瓦·阿切比去世，《崩潰》是他的代表作。

《崩潰》在很多方面都很像非洲文化背景下的《殺死一隻知更鳥》(To Kill A Mockingbird)——容易理解，但是令人感到刺痛，故事發展的多重敘事一層層漸漸揭開。

《崩潰》這個題目來自威廉·巴特勒·葉芝(William Butler Yeats)的詩《第二次降臨》(The Second Coming)，該書賣出了超過1000萬本，被翻譯成45種語言。《時代》周刊把它列為1923-2005年間出版的100本最佳英語小說之一。

小說講述了奧孔科(Okonkwo)的故事，他是一位堅忍的部落首領，曾經是摔跤高手，經過七年流放後回到自己的村子（他因為與一樁意外死亡有關而被流放）。基督教傳教士和其他白人給村莊帶來的改變令他無法容忍。《崩潰》最後走向陰鬱的結局。

小說最讓人難以忘懷的是那些關於文化功能與意義的敏銳研究，大多通過民間故事展開。就“傳統男性”這個概念，阿切比（他的名字要讀作CHIN-you-ah Ah-CHAY-bay）有很多話要說，更不用提他對自然、信仰、神話、性別與歷史的細密觀察。

20世紀70年代，約翰·厄普代克(John Updike)在《紐約客》上寫道，這位小說家“堅決而公正地”捕捉到了殖民主義這個主題，“因此這部書中的悲劇就像古希臘悲劇一樣，有音樂感；一個空間被清理出來，人們得到一種理解，並且暗示着一個全新的開始。”

阿切比在尼日利亞長大，他所就讀的學校完全模仿英國公立學校。在他2009年出版的散文集《受英國保護的孩子所接受的教育》(The Education of a British-Protected Child)中，他滔滔不絕地談起年輕時閱讀英國經典小說的感受。這種體驗帶來了認知上的不和諧，他在今後只能努力去克服。

“讀這些書的時候，我不覺得自己是非洲人，”他寫道，“我和白人站在一邊，反對那些野蠻人。”他還寫道：“那個白人又善良又理性、又聰明又勇敢。列隊和他作戰的野蠻人們又邪惡又愚蠢，除了耍詭計之外一無所長，我痛恨他們的膽量。”

隨着阿切比漸漸長大，他也變聰明了：“那些作家騙了我！在《黑暗之心》(Heart of Darkness)中，我不是馬洛那艘向剛果河上游進發的蒸汽船上的人，而是河岸上那些醜陋的生物中的一個，他們上躥下跳，做着可怕的鬼臉。”

除了創作長篇小說，阿切比也是詩人、教授、短篇小說作者和評論家。他還有30多部其他著作，其中包括1960年的長篇小說《不再輕鬆》(No Longer At Ease)和1987年的《薩凡納的蟻丘》(Anthills of the Savannah)。他還出版過幾本童書。此外還寫過一篇有爭議的文章，名為《非洲形象：康拉德<黑暗之心>中的種族主義》(An Image of Africa: Racism in Conrad’s ‘Heart of Darkness.’ )。

很多評論家都為康拉德辯解，但阿切比並沒有退縮，仍然堅持認為康拉德小說中的種族主義不僅僅是時代的局限性造成的。在一本文集中，他引用了康拉德之前的一些作家的作品，並說他們的觀念就沒有那麼落後。
阿切比是整整一代非洲作家的導師與榜樣——他經常被稱為非洲現代文學之父。但和許多以早期作品成名的小說家一樣，阿切比也發現自己幾乎被《崩潰》這一本書限定住了。他人生的最後20年在美國度過，先後於巴德學院(Bard College)與布朗大學(Brown University)任教。

阿切比那部開創性的經典小說出版至今已有50多年了；至少對於西方讀者來說，它似乎已不再能代表整個非洲文學。他的才華，乃至他所取得的成功令後殖民寫作在整個非洲大陸廣為蔓延。僅在年輕一代的優秀尼日利亞作家中，就有齊瑪曼達·恩格茲·阿迪切(Chimamanda Ngozi Adichie)、阿達奧比·特利西亞·恩沃巴尼(Adaobi Tricia Nwaubani)和勞拉·施尼因(Lola Shoneyin)等人聲稱受他影響。

1990年，阿切比在尼日利亞遭遇車禍，腰部以下癱瘓了，翌年他接受了《Conjunctions》雜誌布拉福德·莫洛(Bradford Morrow)的採訪。

莫洛問起他關於那次車禍的事情，阿切比的回答顯得淡定而幽默：“有的孩子生下來就是殘疾的，他們犯了什麼罪過？我非常幸運，行走了60個年頭。所以人生最後幾年不能走也沒什麼關係。有的人一生都沒下地走過路。”

《崩潰》本質上是關於人類在團結中找到的力量。車禍令他學到了類似的東西。“這是一種機會，”阿切比對莫洛說，“是給我上了一課，它意味着太多東西。令我的人生變得豐富。我從中學到了太多，讓我明白我們有多麼依賴彼此。”

翻譯：董楠

An Appraisal

Bearing Witness, With Words

By DWIGHT GARNERMarch 26, 2013

“If you don’t like someone’s story,” Chinua Achebe told The Paris Review in 1994, “write your own.”
In his first novel and masterpiece, “Things Fall Apart” (1958), Mr. Achebe, who died on Thursday at 82, did exactly that. In calm and exacting prose, he examined a tribal society fracturing under the abuses of colonialism. The novel has been assigned to generations of American high school and college students — my college dispatched a copy to me before my freshman year.

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Craig Ruttle/Associated Press

Chinua Achebe

In many respects “Things Fall Apart” is the “To Kill A Mockingbird” of African literature: accessible but stinging, its layers peeling over the course of multiple readings.
“Things Fall Apart,” its title taken from William Butler Yeats’s poem “The Second Coming,” has sold more than 10 million copies and been translated into some 45 languages. Time magazine placed it on its list of the 100 best English-language novels from 1923 to 2005.
The novel tells the story of Okonkwo, a stoic clan leader and former wrestling hero who returns to his village after seven years in exile. (He’d been sent away after his role in an accidental death.) The changes that Christian missionaries and other white men have brought are intolerable to him. “Things Fall Apart” rolls toward a bleak denouement.
What sticks with you about the novel is its sensitive investigation, often through folk tales, of how culture functions and what it means. Mr. Achebe (his name is pronounced CHIN-you-ah Ah-CHAY-bay) had plenty to say about notions of traditional masculinity, as well, not to mention his braided observations about nature, religion, myth, gender and history.
The novelist grabbed the subject of colonialism “so firmly and fairly,” John Updike wrote in The New Yorker in the 1970s, “that the book’s tragedy, like Greek tragedy, felt tonic; a space had been cleared, an understanding had been achieved, a new beginning was implied.”
Growing up in Nigeria, Mr. Achebe attended schools that were modeled upon British public schools. In his recent book of essays, “The Education of a British-Protected Child” (2009), he was eloquent about what it felt like as a young man to read classic English novels. They provided a cognitive dissonance he had to work through.
“I did not see myself as an African in those books,” he wrote. “I took sides with the white men against the savages.” He continued: “The white man was good and reasonable and smart and courageous. The savages arrayed against him were sinister and stupid, never anything higher than cunning. I hated their guts.”
Mr. Achebe grew up, and grew wiser: “These writers had pulled a fast one on me! I was not on Marlowe’s boat steaming up the Congo in ‘Heart of Darkness’; rather, I was one of those unattractive beings jumping up and down on the riverbank, making horrid faces.”
Mr. Achebe was a poet, professor, short-story writer and critic in addition to being a novelist. His more than 30 other books include the novels “No Longer At Ease” (1960) and “Anthills of the Savannah” (1987). He published several children’s books. He was also the author, controversially, of an essay called “An Image of Africa: Racism in Conrad’s ‘Heart of Darkness.’ ”
While many critics defended Conrad, Mr. Achebe didn’t back down from his assertion that the racism in Conrad was not merely the norm for its time. In a book of essays he quoted earlier writers who, he said, were less backward.
Mr. Achebe was a mentor and role model to a generation of African writers — he’s often referred to as the father of modern African writing. But like many novelists who find success with an early book, Mr. Achebe found himself almost solely defined by “Things Fall Apart.” He spent the last two decades in the United States, teaching at Bard College and then Brown University.
It’s been more than 50 years since the publication of Mr. Achebe’s pioneering and canonical novel; it no longer seems to stand, to a Western audience at any rate, for African writing as a whole. His talent and success have helped spawn an array of postcolonial writing from across the continent. Among the talented young Nigerian writers alone who cite him as an influence are Chimamanda Ngozi Adichie, Adaobi Tricia Nwaubani and Lola Shoneyin.
In 1990 Mr. Achebe was paralyzed from the waist down in a car accident in Nigeria. The following year he gave an interview to Bradford Morrow in Conjunctions magazine.
Mr. Morrow asked him about the accident, and Mr. Achebe spoke about it with stoicism and good humor. “Children are born deformed,” he said. “What crime did they commit? I’ve been very lucky. I walked for 60 years. So what does it matter that I can’t for my last few years. There are people who never walked at all.”
“Things Fall Apart” is, at base, about the strength that human beings find in community. His car accident offered him similar lessons. “It is an opportunity,” Mr. Achebe told Mr. Morrow. “It’s a lesson. It’s so much. It is an enrichment. I’ve learned so much. I’ve learned how much we depend on each other.”

↧

Ronald Dworkin. The Age of Doubt；沒有神的宗教 Religion without God 《刺蝟的正義》

March 21, 2016, 1:51 am

≫ Next: The Mill on the Floss, by George Eliot

≪ Previous: Chinua Achebe: Hopes and Impediments/ Bearing Witness, With Words

台灣法理學會

上周四謝世民老師導讀德沃金《刺蝟的正義》ppt及實況錄影上線了! 歡迎點閱。

導讀一開始，謝世民老師解釋了德沃金在本書的核心主張 "The unity of value: value is one big thing"的意思: 德沃金並不否認價值多元論，亦即有倫理、道德、政治、法律等等各種價值。他的真正主張是：各種價值之間並沒有真正的衝突。

德沃金認為，倫理與道德價值是相互依賴的，倫理關乎一個人如何活出一場美好人生，道德則涉及人與人彼此應該如何互相對待。法律是政治道德的一個分支，而政治道德更是個人道德與倫理價值的一個分支。

在這場導讀中，謝老師分就德沃金的價值形上學與知識論（尤其是價值的真理、客觀性與詮釋問題），以及德沃金關於某些核心價值（例如美好人生、政治正當性、法治與正義）的實質理論，作了非常精闢的介紹。錯過現場的朋友，不要再錯過影音檔！

105年3月17日Ronald Dworkin《刺蝟的正義》經典導讀活動實況錄影及投影片

105年3月17日經典導讀活動由中正大學哲學系謝世民教授為我們導讀Ronal…

TAPLBLOG.WORDPRESS.COM

【In Memoriam: Ronald Dworkin】
下周四 (3/17) 謝世民老師要導讀德沃金生前最後鉅著《刺蝟的正義》，為此我們特別轉貼三年前紐約大學紀念德沃金的網頁，它非常扼要地介紹了德沃金的生平與思想。（詳細一點的介紹，特別推薦 https://issuu.com/nyulaw/docs/2005/15，有圖）

經驗顯示，有些朋友點閱英文網頁的意願不高。但我們還是強烈推薦點進去看看。就算看不懂英文，也有很多德沃金的珍貴照片可看──你看過德沃金玩風帆，陪小孩踢球嗎?

(裡面有個2010的專訪，德沃金說有人會誤以為《Jusitce for Hedgehogs》是一本有關動物權的書.....)

In Memoriam: Ronald Dworkin | NYU School of Law

Ronald Dworkin, the Frank Henry Sommer Professor of Law, passed away on February 14 after a valiant battle with leukemia.

LAW.NYU.EDU

Ronald Dworkin

Philosopher

Ronald Myles Dworkin, FBA was a Jewish-American philosopher and scholar of United States constitutional law and jurisprudence. Wikipedia

Born: December 11, 1931, Providence, Rhode Island, United States

Died: February 14, 2013, London, United Kingdom

Spouse: Betsy Ross (m. 1958–2000)

Children: Jennifer Dworkin, Anthony Dworkin

Parents: Madeline Talamo, David Dworkin

Books

View 10+ more

Taking Rights Seriously

1977

Law's Empire

1986

Justice for Hedgehogs

2011

Religion Without God

2013

A matter of principle

1985

The New Yorker

A cartoon from Roz Chast. See more from this week's issue:http://nyr.kr/1M5UYIs

不可知論者的禱告。

The Age of Doubt

Melvyn Bragg examines the spread of religious doubt over the last three centuries. Nietzsche proclaimed that God was Dead in 1882, Hegel in fact beat him to it apprising his Berlin students of Gods demise as early as 1827. By the end of the 19th century echoes of the death of God can be heard everywhere: in the revolutionary politics of Lenin, in the poetry of Tennyson and the psychoanalysis of Freud. The march of Science seemed to challenge the authority of the Bible at every turn and by the twentieth century almost all the great writers, artists and intellectuals had abandoned the certainty of their belief in God.So who or what was responsible for this sudden spread of religious doubt? If God could truly be said to be dead then who fired the first shot? Have we educated ourselves out of Christ only to embrace the bleaker creed of Mamon? Is God a human construct or did God construct us? Is there an argument from design, or was the Big Bang morally pointless, without what we could call a mind at all? Did Darwin and natural selection rebut the idea of a divine purpose? With A N Wilson, novelist, biographer, journalist and author of Gods Funeral; Victoria Glendinning, author, journalist and biographer of Anthony Trollope and Jonathan Swift.

BBC Radio 4

Anthony Trollope, by the way, had a sister named Cecilia. She wrote a novel about a man tormented by Anglican angst. It's discussed in this episode of In Our Time about 300 years of religious doubt - Tennyson, Freud, Hegel, Nietzsche, Darwin, Lenin; they're all here. Your experts are A.N. Wilson and Victoria Glendinning. Fascinating - and entertaining - stuff.

The Age of Doubt, from the In Our Time archive

With useful links to other programmes on related themes

BBC.IN

2015.5.19 梁先生贈，以後再讀。

沒有神的宗教

Religion without God

作者：羅納德．德沃金
原文作者：Ronald Dworkin
譯者：梁永安
出版社：立緒
出版日期：2015/

什麼是宗教，什麼是神之所在？
　　什麼是死亡，而什麼又是不朽？
　　究竟是神創造了宇宙？抑或，神就是宇宙？

　　面對這樣的大哉問，或許僅能以「只有上帝曉得」（God knows）一語回答，但是當人們這麼回答問題時，是指他們認為該問題無人能回答。意即：假設如果上帝存在（If a god existed），祂就會知道任何人都不知道的事情。這樣的用法並不是針對一個非人格神而發。正相反，這樣的修辭力量皆是仰仗一個虛擬的人格神。

　　德沃金認為，對上帝的信仰是一種層次更深的世界觀之展現，但不是唯一的一個，我們熟悉的二分法——把人分為有宗教信仰和沒宗教信仰兩大類——太粗糙了。本書欲闡明的即是：宗教的層次比上帝更深。宗教是一種深入內部、輪廓分明和涵蓋全面的世界觀︰它主張有本具（inherent）而客觀的價值滲透萬物，相信宇宙及其造物引人敬畏，認定人生具有目的而宇宙秩序井然。

　　本書靈感源自愛因斯坦對宗教所主張的「不可知論」（Agnostic theism）：

　　「知道某種我們所不能參透的東西確實存在，知道這種東西把自己展現為最高智慧和最璀燦的美（我們遲鈍的官能只能了解其皮相）——這種知識，這種感覺，位居於一切真正宗教情懷（religiousness）的核心。在這個意義下（也唯有在這個意義下），我屬於有虔誠宗教信仰者之列。」

　　作者從哲學、物理學及神學等角度剖析上帝的本質，並透過愛因斯坦、田立克、史賓諾莎等人的宗教和科學觀點來闡釋並佐證，「沒有神的宗教」所為何來。期盼這本小書有助於有神論與無神論兩者進行理性對話，同時化解對宗教的恐懼與仇恨。

作者介紹

作者簡介

羅納德．德沃金Ronald Dworkin

　　美國著名法理學家、公共知識份子代表，曾任教於耶魯大學、牛津大學、紐約大學和倫敦大學，為當代新自然法學派代表人物。二○一三年二月十四日因病逝世，英國《衛報》在訃聞中將其與十九世紀世界上最重要的思想家之一斯圖爾特．密爾相提並論。著作包括《認真對待權利》（Taking Rights Seriously）、《法律帝國》（Law`s Empire）、《生命的自主權》（Life’s Dominion）、《民主是可能的嗎？》（Is Democracy Possible Here?）、《刺蝟的正義》（Justice for Hedgehogs）等。

譯者簡介

梁永安

　　台灣大學文化人類學學士、哲學碩士，東海大學哲學博士班肄業。目前為專業翻譯者，共完成約近百本譯著，包括《文化與抵抗》（Culture and Resistance / Edward W. Said）、《啟蒙運動》（The Enlightenment / Peter Gay）、《現代主義》（Modernism：The Lure of Heresy / Peter Gay）等。

出版者識
第一章宗教性無神論？
緒言
何謂宗教？形而上核心
宗教性科學與宗教性價值
神祕莫測和可理解性
非人格化的上帝：田立克、史賓諾莎和泛神論

第二章宇宙
物理學與輝煌
美如何能指引科學研究？
這種美可能是什麼樣的美？
對稱是美？
宇宙的存在有可能是毫無道理可言的嗎？
別無選擇性與宇宙
別無選擇性之美

第三章宗教自由
憲法的挑戰
宗教自由只跟信哪個神或是否信神有關嗎？
失控的自由？
宗教自由的內部衝突
宗教自由的權利只有一種嗎？
新宗教戰爭

第四章死亡與永生

↧

The Mill on the Floss, by George Eliot

March 21, 2016, 6:27 am

≫ Next: 張玉芸《出口》《走！我們去看風景》/ BuchBilderBuch 書故事書: 《靈魂的出口》

≪ Previous: Ronald Dworkin. The Age of Doubt；沒有神的宗教 Religion without God 《刺蝟的正義》

George Eliot finished writing "The Mill on the Floss" on this day in 1860. From the novel's closing paragraphs, looking back on the death and destruction brought by the flooding of the Floss:

"Nature repairs her ravages, — repairs them with her sunshine, and with human labor. The desolation wrought by that flood had left little visible trace on the face of the earth, five years after….
Nature repairs her ravages, but not all. The uptorn trees are not rooted again; the parted hills are left scarred; if there is a new growth, the trees are not the same as the old, and the hills underneath their green vesture bear the marks of the past rending. To the eyes that have dwelt on the past, there is no thorough repair."

--from "The Mill on the Floss" (1860) by George Eliot

The Mill on the Floss, by George Eliot : chapter59

In The Mill on the Floss, George Eliot re-creates her own childhood through the story of the wild, gifted Maggie Tulliver and her spoiled, selfish brother. Though tragic in its outcome, this tenderly comic novel combines vivid vignettes of family life with a magnificent portrait of the heroine and an acute critique of Victorian sexual politics. Eliot had no peer when it came to finding the drama at the heart of normal lives lived in tandem with the gigantic rhythms of nature itself, and in The Mill on the Floss she shows us once again how thoroughly the art of fiction can satisfy our deepest mental and emotional cravings.

↧

張玉芸《出口》《走！我們去看風景》/ BuchBilderBuch 書故事書: 《靈魂的出口》

March 22, 2016, 2:07 am

≫ Next: 《東海情》.....；羅文森《懷念大學歲月與我的良師益友》

≪ Previous: The Mill on the Floss, by George Eliot

2016.3.22 ：10天前，張玉芸女士就從英國跟我們報春：
張玉芸

張玉芸

3月12日 10:18

春天來了！春天真的來了！黃色的水仙花大聲宣佈。

2016年2月26日漢清講堂 (台北)
《走!我們去看風景》張玉芸

https://youtu.be/W9UQ6u1VZzQ

張玉芸：　　台灣人。一個喜歡書寫喜歡分享的人。她以字為絲絨，筆為針黹，偕時間做見證，編織了一幅幅的人生風景畫。
　　她喜愛攝影，熱愛大自然，是一位對生命充滿熱情的寫作者。文章散見於報紙副刊。已出版散文集《出口》。

張玉芸的第2本書：《走！我們去看風景》2014

《走！我們去看風景》

作者：張玉芸
出版社：釀出版
出版日期：2014

【推薦序】值得借鏡的美學人生／陳銘磻
【推薦序】視野寬闊，行文從容／方梓
【推薦序】這風景，得慢慢欣賞／巴代
【推薦序】真誠的，銳利的，溫暖的／張耀仁

【有一條路】

季節的腳印
那一條河
火車上的回憶
往光的方向
A46拜訪從前
第一朵玫瑰花
龍眼樹
散戲
地震過後
幸運時刻
那年暑假
大學生
從「繭」開始
Happy
車站三人行
克蕾兒
懷念婆婆
二十五歲
街頭的守候
關於H鎮的回憶
在旅途中
潘思維克山丘的風景
寂寞餐桌
愛是助動詞
星光閃亮
懷念舊日子
電子扒手

【東張西望】

一句話
銅鏡
聖米歇爾山
遠山含笑
城市的地標
走在街頭上
德國太太說中文
我在羅亞爾河谷
雞同鴨講─加油站篇
雞同鴨講─在家樂福
問路達人
逛畫廊
單車日記
階梯
塑膠貨幣
昂貴的代價
湖邊光影
徽章
Daddy
街頭藝人
癮
浪漫薰衣草
步行的沉思
二手車
信任的高度
緊緊握著的手
芭芭拉的婚禮
生命的版本
雨後的山路

【我看見了】

歲月的價值
光之畫家
你的喜歡
英國皇室
人生的目標
茉莉和薔薇
這一家人
房屋出售
偽裝的天性
晚上七點到九點
馬戲團的猴子
希薇亞
年華似水
蘇珊的眼睛
健身房雜記
改名字
女店員
瑪莎的故事
凡爾賽宮的樹葉
生命的馴服
行過艱難處
最初的愛心
模特兒
目光的落點
星星月亮太陽
野生動物緣
我的聰明鄰居
看見大自然

推薦序

值得借鏡的美學人生／陳銘磻

　　如果生命是一只杯子，它將盛滿什麼？水、咖啡或是記憶？如果生命是一條河流，它將乘載什麼？歲月、成長或心情？如果生命是一條路，它將帶領人們走向什麼樣風景的遠方？人生是一條無法回頭的路。

　　讀張玉芸的《走！我們去看風景》，她的這一條人生路「經常在夢裡繞來繞去，繞過來，繞過去，有時會繞不出來。」原本是「清清楚楚的一條路，卻又常常迷路的一條路。」這一條經常使人迷路的道路，讓她看到不少風景，從而發現多樣的路，多元的路，只要好好走下去，就像「天空，從不拒絕飛鳥。路，從不拒絕旅人。」她在旅路中，見識到曼妙而生動的人生。

　　一個喜愛旅行，歡喜大自然，熱愛生命的人生攝影者，她用文字把生活在異國他鄉的人文、見地、思念和感懷，用眼睛和心靈的鏡頭，逐一紀錄；由是，讀者愈加清晰的從她細膩的傳述裡，見到她那一條時而藏在心裡面，時而東張西望的路，竟然積累了難以數計的甜美果實。

　　原來，她是如此用心的觀賞人生旅路所見的一條河、一片落葉、一個人，縱令只是半晌的懷念，或是喃喃自語的心境表露，讀者都能從中感受她對於難得清雅的生命的敬重，一如她透過熟知的自然界事事物物，嘆喟人生，那是她獨到的生活態度，也是值得借鏡的美學人生。

　　描寫童年，彷彿歲月倒轉，人就在其中；描述季節變化，深刻又在其間。許多人們共同擁有的回憶，在她眼下，在她筆觸，都浪漫得無以復加，一次兩次的看，一篇兩篇的讀，讀者實在難以想像這些遙想當年的篇章，竟是一個長年生活在異地的人，真切而生動的成長故事。

　　她的故事和她所見到的天空、車站行人、街景、小鎮，或者是旅途中的見聞，竟都如斯吸引人止不住的樂意閱讀下去；那是因為她的文字住著一名精靈，她的思想藏著一枝水晶手杖，悠然自得的揮灑出屬於她能說出好聽故事的魔力。

　　《走！我們去看風景》是一本好讀、好似魔幻一般使人驚奇的書。

+++++
張玉芸《出口》(台北:釀出版社， 2012)
這本書折騰一個多月才取得. (0429 9折351元): 有些在網路上讀過.
今晨讀《神學》OUP: A Short Introduction 用蘋果當認識論的例子

剛剛讀以前的引言:Quote
"All human wisdom is summed up in two words — wait and hope."— Alexandre Dumas

http://hcbooks.blogspot.tw/2007/07/blog-post_24.html

末篇"蘋果的滋味"，寫得不錯

不過，是否只是".....一周的光陰造就了此刻這些成熟美味的果香......" ? 不過大部分時候.....'我們只需靜靜等候"，沒錯.....

張玉芸

今天是東海大學前外文系主任謝培德教授的喪禮(Mr Ivor Shepherd 1930 – 2014) 。Mr Shepherd的離世，彷彿象徵一個世代的消逝。今晚與昔日東海外文系的老師相聚，聊及往事感觸頗多。
謹以此篇舊文章懷念舊時光，本文摘錄於張玉芸的散文集《出口》。

《關於風的回憶》
是起風的季節，風狂嘯的吹號起來，或獨自呼號或夾帶雨水而來。不管是以何種姿態駕臨，她總會掀起人們貯藏在記憶中的一些東西。也許是美麗的詩篇，也許是憂戚的樂章，可能是片刻的感動，也可能是一些傷心的回憶。總之，風是一位奇妙的不速之客，她總是不做預約的匆匆到來，而且還會帶著一些舊雨新知一起來訪，隨之而來的夥伴常常就是昔日的記憶。
曾經在起風的季節裡，回憶童年上學途中，走在窄窄的田埂中，望著豐盈的稻穗隨風吹起時揚起的層層金黃色浪濤，那時候風傳遞的是一種關於豐收的信號。隨著四季的變換，風有著不同的舞姿，她用曼妙的肢體語言告訴我們關於春夏秋冬的故事，同時也以她那獨特的聲音訴說人生的各樣風景。
風吹起的時候，我也會想到多年以前事業草創之際，獨自騎著五十CC的機車遊走在生疏的城鄉街道中。滿載著海報，四處尋找合適的張貼處，海報突然被一陣強風刮走，而我在後面追趕的窘境。
關於風的記憶無數。我今天想說的是關於在台中大度山上那一段起風的日子裡的回憶。大度山以強風著名，我曾經在東海大學求學，因此風經常撩起我一些大學生活的回憶。
那時候在課業忙碌之餘，我擔任一些外國人的中文老師。一開始是教少數的幾位外文系老師，後來藉著這些老師們不斷的幫我介紹宣傳，我的教學課表逐漸繁忙起來，於是開始體會到口碑相傳的力量。當時校園各地都可能是我的教室，雄偉的圖書館外面的長廊裡，綠油油的陽光草坪上，暫時閒置空曠的教室，麥當勞或四福頂呱呱的座椅上或者是老師們的辦公室裡，處處可以看到我和我這些來自世界各地的老師們的身影。
那一段教中文的日子裡，因為跟著這一些外籍人士們的接觸，讓當年從未踏出國門的我有一個大開眼界的機會。今天，在這樣一個起風的季節裡，我想訴說的正是關於這些往事的回憶。
尼爾是一位法國人。他有一頭捲曲的褐色頭髮，一對圓圓亮亮的淡藍色眼珠子，微微突起的嘴形，似乎隨時呈現嘟嘴的可愛模樣，他似乎是時時刻刻帶著一臉專注及天真好奇的神情。他的長相已經悄然透露出他的至真性情，他是一位名符其實的好奇寶寶。尼爾的興趣極為廣泛，他同時也是一位多才多藝的青年。年紀輕輕的他，已經有周遊列國的經驗，並且從事多樣化的職業。我教他中文的時候，他既是法文老師，同時也是市區一家著名的法國西餐廳主廚。有一次上課時，他的臉上受傷掛彩，他說那是在餐廳廚房裡精雕細琢一些蔬果造型時，一個不小心被尖銳刀器刻到的，那個傷口正在眼角處，離眼睛大約僅是沙粒之間的距離，聽他描述過程，頗令人心驚膽顫。
尼爾也是一位魔術師。他告訴我，他在旅遊世界各地時，不管是在熱鬧的街道中或者是旅程途中的各節火車車廂裡，只要是有人潮的地方，他都不放過表演變魔術的機會。他一節一節車箱的逐一去表演，然後再拿著帽子一一的去收費。
尼爾也會幫人剪頭髮，他經常利用這個技能賺取旅費。有一年入夏之前，他很興奮的告訴我，他今年夏天即將去西班牙旅行。他會去拜訪住在南部小鎮的友人，而這位熱心朋友已經幫他知會了當地居民，這一陣子先不要剪頭髮，請大家留著等尼爾七月來時再剪。所以當他抵達西班牙時，他就要展現他的理髮絕活，幫村子裡的大大小小男女老少剪頭髮了。他真是憑著才藝闖天下。
有一天尼爾垂頭喪氣的告訴我，他即將失去法國西餐廳的廚師工作了。因為他的老闆要縮短他的工作時數，但是仍然要求他做出相同品質的高級法國餐，他說這真是太為難他了，他不可能做到。他接著忿忿不平的說，老闆以為我是魔術師！真的就可以在短時間內變出來可口精緻的美食！他無奈的說，其實他做出來的每一份餐都是需要長時間準備的。他用他那濃濃的法國腔英語繼續說著，說食物就像藝術品一般，那是需要時間精心烹調的。這是來自法國的尼爾，我總在他身上看到一種不斷嚐試及堅持的精神。但是他慢條斯理的工作態度，顯然無法見容於如台灣社會這般匆忙的商業環境。
有一年我們系上來了一位客座教授戴格博士。他來自美國，是一位學識豐富又具有幽默感的學者。他的專長是莎士比亞戲劇，我一開始只教他中文，後來他們一家五口都是我的學生，包含他太太艾美，二個兒子約翰和強納生以及小女兒露西。跟他們上課的地點和時間不同，跟戴格博士上課是在外文系館空閒的教室裡，跟艾美大多是在校園內的四福頂呱呱的戶外座椅上，跟三個小孩則是在他們的家中上課。
艾美是一位溫柔賢淑的女士，當年在大學校園裡，有許多的流浪狗，他們遊走在校園內覓食，有些還是滿身皮膚病的癩皮狗，每次艾美都帶著悲天憫人的眼神觀看著這一羣野狗。那真的是真情流露，雖然身處在豔陽下的艾美總是戴著黑黑的太陽眼鏡上課，我還是清清楚楚的看見她注視著生病的狗兒時，同情的淚珠兒緩緩流下臉頰的情景。
她的眼睛總是隨著狗兒們的蹤影轉動。愛心滿滿的艾美上課前經常先去買薯條餵養這些流浪狗，當年的我是一個自食其力，需要辛苦賺取學費及生活費的窮困學生，當我利用午餐時間兼課與艾美上課之際，空空的腸胃也正在咕咕叫著呢。
戴格博士有著敏銳的洞察力，他看到我當時認真做事的毅力與決心，曾經斷言我將來一定會擁有一份成功的事業，並且開玩笑的說未來的我一定會開名車。若我現在擁有的一切算是成功的話，總會感念他的慧眼賞識與抬舉。
吉米也是一位令我印象深刻的學生。他是一位長相很可愛很有禮貌，人見人愛的年輕男士。我記得第一次上課時，我們一起從校園沿著相思林的徒步小徑往東海別墅走上去，沿途看到許多紙屑垃圾，他如同一個聽話的小學生一般沿途低頭撿起垃圾來，他遵守規矩的樣子，讓我很受感動。但是接下來的日子裡，想必他也習慣了這樣的環境，沒有再看見他彎下腰撿垃圾了。
我在吉米身上看到創意，有一天正逢他遠在美國的弟弟的生日，他找來一張當日的台灣報紙，將某則新聞有附照片的角落換貼上他弟弟的照片，然後影印之後寄給弟弟，並用英文寫著生日快樂！全台灣民眾都在慶祝你的生日哦！有當日的報紙為憑。另外有趣的是，他撥電話的方式也不是像我們一般人用一根手指頭按號碼，他是像彈鋼琴一樣的用雙手按鍵盤。他的一些行為，讓我見識到創造力以及做事情的彈性，很多事情不是一成不變的。
來自美國又高又壯的布魯斯是我的第一個學生。那一年他剛從美國來到台灣，幾乎是一句中文都不會說，剛開始他總是面紅耳赤的結結巴巴說話，有時候很用力的擠出幾個中文字也是說的零零落落的，上他的課時我總是全神貫注的全力傾聽。布魯斯學習態度非常認真。相形之下，其他學生學中文好像只是玩票性質，而布魯斯則是全力以赴。過一段時間之後他已經說得一口流利的中文了。多年之後，聽說他到中國經商，擁有一份成功的事業。我相信這個傳言必定屬實，從布魯斯他那種學習的拼勁，我真是可以看出他的潛力與可能性。
在東海的日子已經遠颺，昔日認識的這些海外遊子，也隨著他們的時光，隨著他們身旁所吹起的陣陣微風，繼續航行到世界的各處角落去了。繡球花的顏色會隨著土壤酸鹼度而改變。初次聽見園藝專家提起土質與花色的說法時，突然恍然大悟，花兒竟然與人們相似。各人雙腳踩踏出來的人生路徑之差異，就好像一團團的繡球花球一樣，其中隱然牽動這些變化的不也是埋藏在人們心田裡的土壤嗎？
今天在這個起風的日子裡，隨風吹起的是我青春歲月裡的一些插曲。我的朋友啊！隨風傳送到你內心深處的又是甚麼呢？

勞動節收到哈佛大學商學院的通信，資深的教授主持網路討論“服務領導”。

Why Isn't 'Servant Leadership' More Prevalent?
With servant leadership, a leader's primary role is to serve employees. Everyone from Lao-Tzu to Max De Pree thinks this a wonderful model. Why then, asks Professor James Heskett, is this style so rare among CEOs?

我注意這主題近廿年了。

不過，思想受回憶與今天讀的書中的故事所影響:在張玉芸著的《出口》(台北:釀出版社，2012) 中，某篇(由於我採取翻讀方式，目前還找不到確切的篇名)。大意是一位年青人受邀要去西班牙某村落旅行，他沒什麼盤纏，不過有一技之長，即他會幫人理髮。於是他的朋友告訴村民，希望大家等這位朋友來訪時，再給他理髮，幫助客人。

為什麼這則故事會搬到這兒呢?因為我想起一位服務領導的奇人，他在拙譯《戴明領導手冊》中。故事是某位總經理也有理髮這一技之長。他總會邀請員工來他辦公室，享受免費的理髮服務。過程當中，難免聊聊天，交流交流。

理髮當然是特例。比較常見的方式是邀請員工到主管的家，做菜請客。

我以前在某位老員工生日邀他到圓山俱樂部請他一頓。這件事，竟然是他服務公司三十多年的第一次，所以他退休時，特別感謝我一番。

0317禮拜天: 決定去找《出口》的入口。我住在文教區-- 聯經書房說他們沒進釀出版出版社的書。誠品的櫃台很忙碌。政大書城說沒《出口》，不過可以代訂。就這樣啦! …..張女士如果在台北可以一聚--那我叫"鍾十本"--通常跟作者買10本--在新生南路3段88號2樓與校友們一聚.

張: 很謝謝您費時找《出口》的入口目前博客來正好七折優惠中四月一日止您也許可以參考我因為人不在台北否則會很樂意與校友相聚期待聆聽指教http://www.books.com.tw/exep/prod/booksfile.php?item=0010559487

博客來書籍館出口

www.books.com.tw

*****

《靈魂的出口》(BuchBilderBuch書故事書:)Quint Buchholz 繪圖，Milan Kundera等47人撰文，台北：格林，1998

這本書是出版者家Buchholz 的繪圖集(每圖都畫有書)寄給一些作家，邀請他們寫出該圖的故事。

台北該出版的時候，特價99元。這本書有意思的地方是，我自己用便利條寫下8則短篇文章。人們都說……..文章自己的好。

BuchBilderBuch書故事書: 靈魂的出口

在這本《書、文與畫》的書中，每頁的書都有一位盛裝戴帽的男士，他們手上或有傘，或提著東西。應該有人畫下數十年之後的主角，或白髮蒼蒼，埋首重讀中學時代的書本。老人或老淚縱橫、痛哭流涕一番，因為書中的那些道理，從林覺民的《與妻訣別書》，到梁任公的《為學與做人》。

我初二的國文老師教我們《陋室銘》，他甚至於將他在師範大學的《中國文學發展史》等借給我；有一次他送我厚禮，將他的筆架送我──而我一輩子沒用毛筆。

那時候教師的待遇之微薄，我是從與歷史老師的交往中得知的。

初中畢業約20年之後，我從歷史老師的口中知道國文老師的悲慘下場：在父親的墳旁自殺……。

BuchBilderBuch [Hardcover]

Quint Buchholz(Author)

昆特布赫霍爾茨/書故事書通俗小說系列
作者昆特布赫霍爾茨
市場5-7歲
等級流利/母語
除德語尺寸（mm）N/ A
出版日期1997年12月價格24.25英鎊

Quint Buchholz / BuchBilderBuch

Series	Popular fiction
Authors	Quint Buchholz
Market	Ages 5-7
Level	Fluent/native speakers
Subject	German	Size(mm)	N/A
Publication Date	March 1997	Price	£24.25
Binding	Paperback	ESB Code	11831
Pages	N/A	ISBN	9783725411092
Weight (gms)	N/A	UK Delivery	Out of stock, available shortly - your order will be recorded
Inspection Copy	No

靈魂的出口

作者：米蘭昆德拉等/著
譯者：張莉莉
出版社：格林文化 1998/2006

序

　　現在您能高高興興地把這本書捧在手上，得感謝一些因緣際遇，有時它們比一切計劃更能決定書的命運。
　　有一天下午，插畫家科運特‧布赫茲（Quint Buchholz）來到我們辦公室，把他的作品拿給我們看。我們出版社的許多書都曾請他畫封面，他那富含詩意的畫作上，使我們更容易與讀者接近。當這些畫一張張排在地上，放在我們面前時，不難發現，它們都有一個同樣的主題：所有的作品中都有書或者書的前身：紙、打字機、自來水筆…；在想到故事並要把故事寫出來時，一切都要有書才能付諸實現。
　　在沒有任何作者的約束之下，布赫茲用自己獨特的風格畫出這些有主題的故事。而這些畫與文學之間有著一個微妙的互動，因此我們想出一個點子：為什麼不把畫中的故事寫出來呢？於是，我們把布赫茲的畫寄給46位不同國藉的作家，請他們把藏在畫中的故事寫出來，大家共襄盛舉，如此我們才使這本書得以誕生。
　　在此，我們願將本書獻給欲位偉大的書文化藝術家，他用老方法把老故事繼續編出來，一切都在封面和封底之間。

↧

《東海情》.....；羅文森《懷念大學歲月與我的良師益友》

March 22, 2016, 6:47 am

≫ Next: L'Insinuant / Monsieur Teste (1926) by Paul Valéry 梵樂希, Paul Valéry, André Gide : correspondances

≪ Previous: 張玉芸《出口》《走！我們去看風景》/ BuchBilderBuch 書故事書: 《靈魂的出口》

約10天前，我跟錦坤兄說此blog 被"禁足"，他說一定/可能是罵了某人而被檢舉......

我喜歡羅文森學長的薄書 (令人感動的事頗多)：《懷念大學歲月與我的良師益友》
(台北：至潔，2014)

再做一片：

羅文森東海人 und Dear Me
https://www.youtube.com/watch?v=vx1FqM0hPM0

羅文森令人懷念的東海歳月 Vincent Lo Life on Tunghai
【羅文森校友簡介】羅文森校友(第8屆化學系，1966年畢) 學歷：紐約州立大學石溪分校的物理化學博士…

Hanching Chung

2015年3月22日 22:22

《東海情》發刊詞
3月16日，想起我過去的企業界訓練，凡是有專案、會議等等，無不要求我寫"目的說明書"。
我希望藉由《東海情》的blog和雙月刊，做交流平臺，不致於發生類似情況："送別：伍月華，曾丹菊。蕭德輝。楊安華。"。他們都過世了，可是我多是多年之後才知道的 (2015.3.22補充：台北校友會的主持人李世堯也說，他從與會者知道其橄欖球隊隊長5年前因直腸癌過世，很傷心)。.......

李世堯：報告學長:原本今天有請羅文森學長(8化學)來講訴他寫"我在東海的年輕歲月"一書的故事,但因忙亂中,沒有機會,我們可能沒有辦法,像羅學長可以把東海的日子寫成書,但希望每個人都有東海年輕的故事,告訴大家在東海歡樂,遺憾,悔恨的往事,很支持您"東海情"讓我們把故事說出來,(今天得知林春鋒學長(23化工)去世消息,不禁鼻頭一酸,心中哽咽,眼淚奪眶而出,久久不能言語,太難過了),希望校友能夠常常聚會,多聊往事,當年我們入學19歲!2015/4/15台北市校友會和桃園校友會合辦桃園一日遊,希望大家報名參加!

HC：羅文森學長的新書發表：漢清講堂
有約20分鐘的錄影
令人懷念的東海歳月Vincent Lo Life on Tunghai
https://www.youtube.com/watch?v=i5tWzSBMKEs
羅文森著《令人懷念的東海歲月與良師益友》(台北：至潔出版社，2014) (這是回憶錄7部曲之一)

【羅文森校友簡介】
羅文森校友(第8屆化學系，1966年畢)
學歷：紐約州立大學石溪分校的物理化學博士
經歷：1974年加入莊臣公司研發部，1982年晉升為臺灣莊臣公司總經理，將企業轉虧為盈，建立莊臣愛地潔品牌。1985年加入美商派德大藥廠，任臺灣集團公司總經理。1989年成立羅氏顧問公司提供跨國企業人力資源與企業顧問服務。1995年受聘於美商華生製葯公司，任亞洲地區總裁，赴中國大陸建立華生中國分公司，建立了製劑厰與原料藥廠，成立研發部門申請新藥，成立銷售隊伍。於2003年退休。
退休後繼續給臺灣及中國大陸的企業做顧問工作，奔走於兩岸，提供培訓，長程規劃，建立管理制度的服務工作。也提供企業與社會團體的專題演講，平均每年超過50場。多餘的時間，從事業餘寫作，於2007年在兩岸同時出版第一本書"戀戀九號宿舍&q uot;，描述早期由大陸來臺灣時候的眷區生活。2009年出版"當機會被我遇見！"，描寫赴美深造，成家立業的過程與經歷。該書榮獲2009年中山國家文藝創作獎。羅文森同學將東海的肯吃苦，求上進的校風，發揮到企業裏，在三個跨國企業裏，表現傑出。他也善用了在東海學到的溝通技巧，廣結善緣，退而不休，服務社會。

-----

http://hclectures.blogspot.tw/2014/09... http://hcbooks.blogspot.tw/2014/06/7....新書*發表會：漢玉雅集場時間：2014年9月13日星期六地點：台北新生南路3段88號2樓，Tel:23650127/23625776

羅文森令人懷念的東海歳月 Vincent Lo Life on Tunghai

【羅文森校友簡介】羅文森校友(第8屆化學系，1966年畢) 學歷：紐約州立大學石溪分校的物理化學博士…

YOUTUBE.COM

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L'Insinuant / Monsieur Teste (1926) by Paul Valéry 梵樂希, Paul Valéry, André Gide : correspondances

March 22, 2016, 6:25 am

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≪ Previous: 《東海情》.....；羅文森《懷念大學歲月與我的良師益友》

英文翻譯本的 Paul Valéry 選集普林斯頓大學出版社--我讀過詩學與藝術家評介約3本.....

******風起.....
The title is a reference to a line from a Paul Valéry poem, "Le Cimetière marin" ("The Graveyard by the Sea"海濱墓園): "The wind is rising!...We must try to live."
電影名稱則是出自瓦勒里（Paul Valéry）的詩作。

*****

梵樂希談詩體驗的表現：心靈的共鳴，神聖的片刻的共享

2004/7/26 晨，讀某人翻譯扭曲名詩L'Insinuant，就將它貼瑞麟兄網頁。我們可以發現這幾十年中文界的語言污染和拙劣利用的一例：從「神聖愛情的表情」到所謂「世俗的文化評論」。

他在11點多前寫兩封回信（謝謝他）。這兒只取英譯。
這首詩數十年前胡品清老師就翻譯過，我轉引自莫渝編的《梵樂希詩文集》（高雄：大舞台書苑，1977，第86-87頁）。

梵樂希：「詩是體驗的表現，詩人的目的，乃在與讀者作心靈的共鳴，和讀者共享神聖的片刻。」

（比較下段，它談英文字眼的「從描述轉向評價化……」
Integrity is undergoing what C.S. Lewis, in his ''Studies in Words,'' called ''the tendency of words to become less descriptive and more evaluative . . . and to end up by being purely evaluative -- useless synonyms for good and bad.'' He took note of sadistic (to mean ''cruel''), rotten, villain, awful and significant. Now integrity, too, has lost its integrity.-- Characters By CHRISTOPHER CALDWELL
Published: July 25, 2004 http://www.nytimes.com/2004/07/25/magazine/25WWLN.html

按；有趣得是，sadistic（從虐待他人取得快感或性感上滿足等），這字在1913年的Webster辭典沒收錄。可以練習查其他幾字rotten, villain, awful and significant的原本意思和今日習用者來學習。譬如說，以天象預測人事，固然（若）有所指示，然而卻是無效（率）的：the stars were significant, but not efficient.）
--

回覆: L'Insinuant
作者: rl 2004-07-26 11:41:40

已將法英詩文收錄於法詩園地Paul ...(not accecible noe)

hc：這兒取他看懂的英譯（請注意sly的說法第一義：Dexterous in performing an action, so as to escape notice; nimble; skillful; cautious; shrewd; knowing; -- in a good sense. 次義：Artfully cunning; secretly mischievous; wily.）。
除英文勉強力追原作之外，所有的中文翻譯似乎都無法表答原文的婉約簡練。至於曲解，更為一絕的台灣文化界現象。這首詩數十年前胡品清老師就翻譯過，我轉引自莫渝編的《梵樂希詩文集》（高雄：大舞台書苑，1977，第86-87頁）

The Sly One
Extracted from The Penguin Book of French Poetry 1820-1950; p.489
O Windings, meandering, secrets of the deceiver, what art is more tendre than this slowness?
I know where I'm going, I want to guide you there, my wicked design will do you no harm...
(Smile though she may in the fullness of pride, so much freedom is leading her astray!)
O Windings, meandering, secrets of the deceiver, I will keep in suspense the most tender word.

婉轉者

啊曲線，纡迴，
謊言者的密訣，
有何藝術
比這徐緩更為溫柔？

我知道我的去向，
我將導你前往，
我邪惡的計畫
並非使你遭受損傷。

（雖則微笑嫣然
且十分驕矜
如許的自由
令她迷惑）

啊曲線，纡迴，
謊言者的密訣，
我要讓他守候，
那最溫柔的話語。
　
附件：
《人不能在語言中躲藏！》南方朔／著
　　在我們社會裡，「口水」、「硬拗」、「玩語言遊戲」，都早已司空慣見，並成了政治上的固定風景。
　　而在西方，也有一個字，可以和上述現象相對照，它就是Insinuation，我們可以把它翻譯成「語言迂迴術」、「暗示」、「諳諷」……等，而無論東西方，上述的語言行為，都有「欺騙」的意涵。
　　這時候，就必須一談法國大詩人梵樂希（Paul Valery, 1871-1945）那首有名的〈語言迂迴術〉了：
　　啊，繞彎路，瞎扯
　　謊言的訣竅
　　還有甚麼伎倆
　　比這種拖拖拉拉更上流？
　
　　或許我是妳的嚮導？
　　我知道自己做些甚麼
　　而我這致命的詭謀
　　將不會讓妳受到傷害
　
　　（雖然她笑了
　　如此的篤定安心
　　但這樣的語言自由
　　卻也讓她困惑。）
　
　　啊，繞彎路，瞎扯
　　謊言的訣竅
　　我將讓妳等候
　　那最上流優雅的話。

　　梵樂希的這首詩，說的是情人間的語言迂迴術。在這首具有「自白」意義的詩裡，敘述者已坦白指出，這種迂迂迴迴、拉拉扯扯的語言行為模式，看起來漂亮，可以捕獲情人的芳心，但它終究只是一種「欺騙的訣竅」，縱使人們不能一下子就看出問題，但對這樣的語言至少還會覺得「困惑」。 …….

----

【名稱】：居停主人

【拼音】：jū tíng zhǔ rén

【釋義】：居停：寄居之處。寄居之處的主人。指房東。

【出處】：《宋史·丁謂傳》：“帝意欲謫（寇）准江淮間，謂退，除道州司馬。同列不敢言，獨王曾以帝語質之。謂顧曰：‘居停主人勿複言。’蓋指曾以第舍假准也。”

【例子】：已求此公作～矣。（清·蒲松齡《聊齋志異·桓侯》）巫永福基金會出版的【巫永福小說集山茶花 (譯文)】(2005)，頁242等用上 "居停"。

Skepticism and Custom Le doute mene a la forme. — Paul Valery In Sextus Empiricus and Descartes, we found a curious relation between skepticism and ...

Monsieur Teste (1926)
Full TEXT

https://archive.org/stream/MonsieurTestePaulValery/Monsieur%20Teste_Paul%20Valery_djvu.txt

無CUSTOM/young understand

The famous opening line of Monsieur Teste -- "Stupidity is not my strong suit"

Habit

From what have I suffered most? Perhaps from the habit of 
working out my whole thought-of going to the very 
in me.

Monsieur Teste had taken the strange habit of thinking of 
himself as a chessman in his own game. He could see him- 
self. He would push himself across the table. At times he lost 
interest in the game.

And this capital remark on the general independence of 
form and value, which are associated only in particular cases: 
by the fact, per accidens, or from habit. Principle of duality.

******

Correspondances avec André Gide et Romain Rolland / Henri Bachelin ; édition établie, présentée et annotée par Bernard Duchatelet avec la collaboration de Alain Mercier
Bachelin, Henri, b. 1879

Brest : Centre d'étude des correspondances, CNRS (UPR 422), Faculté des lettres, [1994]

主要作者 Sheridan, Alan 書名/作者 André Gide : a life in the present / Alan Sheridan 出版項 Cambridge, Mass. : Harvard University Press, 1999
總圖2F人社資料區 PQ2613.I2 Z6916 1999

書名/作者 Paul Valéry, André Gide : correspondances / textes recueillis et présentés par Frédéric Canovas 出版項 Paris : Harmattan, 2003

Valéry, Paul, 1871-1945 -- Criticism and interpretation
Gide, André, 1869-1951 -- Criticism and interpretation

這本中國有選譯本

NTU總圖2F人社資料區 PQ2643.A26 Z82 2003

↧

An Anthology By Paul Valery. Translated by James R. Lawler

March 22, 2016, 12:11 pm

≫ Next: Alphonse Daudet / 都德, In the Land of Pain《磨坊書簡/磨坊文集》

≪ Previous: L'Insinuant / Monsieur Teste (1926) by Paul Valéry 梵樂希, Paul Valéry, André Gide : correspondances

An Anthology

Paul Valery
Princeton University Press, 1977 - Literary Collections - 380 pages
1 Review

James R. Lawler's elegant introduction deals with Valery's concerns and his influence, and also with critical interpretations of his work. The volume begins with "The Evening with Monsieur Teste" (1896), from the famous "anti-novel" Monsieur Teste, for whose translation Jackson Mathews received the National Book Award in 1974. It includes such notable essays as the "Introduction to the Method of Leonardo da Vinci,""The Crisis of Mind," and "Poetry and Abstract Thought."

The importance of Valery's prose poetry has only recently been recognized, and a selection is presented here. There are also ten of his best-known poems in verse, among them "La Jeune Parque" and "Le Cimetiere Marin," with the French texts facing the English translations by David Paul. The anthology closes with two dialogues, one dating from the twenties, the other from 1943; which demonstrate the play of ideas--the intellectual vigor and grace--that are characteristic of Valery's work as a whole."
Bibliographic information

Title

An Anthology
Volume 45 of Bollingen series

Author

Paul Valery

Editors

James R. Lawler, Jackson Mathews

Contributor

James R. Lawler

Publisher

Princeton University Press, 1977

ISBN

0691018146, 9780691018140

Length

380 pages

劃一題名	Works. Selections. English. 1977
書名	Paul Valéry, an anthology : selected, with an introd., by James R. Lawler from The collected works of Paul Valéry, edited by Jackson Mathews
主要作者	Valéry, Paul, 1871-1945
	顯示相似館藏
Imprint	Princeton, N.J. : Princeton University Press, ©1977

館藏地	索書號	條碼	狀態說明
總圖2F人社資料區	PQ2643.A26 A23 [鄰近架位館藏]	1229149	可流通

稽核項	xxiii, 355 pages ; 21 cm
叢書名	Bollingen series ; 45-A
劃一叢書名	Bollingen series ; 45-A
	顯示相似館藏
內容類型	text
媒體類型	unmediated
載體類型	volume
附註	Includes bibliographical references
內容	From Monsieur Teste -- Various essays -- From Poems in the rough -- From Poems -- Two dialogues
主題	Valéry, Paul, 1871-1945 -- Translations into English
	Valéry, Paul, 1871-1945. (OCoLC)fst00048705
	Translations. (OCoLC)fst01423791

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Alphonse Daudet / 都德, In the Land of Pain《磨坊書簡/磨坊文集》

March 23, 2016, 2:31 am

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都德 (1840-97)
https://en.wikipedia.org/wiki/Alphonse_Daudet

In 1866, Daudet's Lettres de mon moulin (Letters from My Windmill), written in Clamart, near Paris, and alluding to a windmill in Fontvieille, Provence, won the attention of many readers. 磨坊文集莫瑜譯，志文，1981

Major works, and works in English translation (date given of first translation). For a complete bibliography see Alphonse Daudet Bibliography

Les Amoureuses (1858; poems, first published work).
Le Petit Chose (1868; English: Little Good-For-Nothing, 1885; or Little What's-His-Name, 1898).
Lettres de Mon Moulin (1869; English: Letters from my Mill, 1880, short stories).
Tartarin de Tarascon (1872; English: Tartarin of Tarascon, 1896).
L'Arlésienne (1872; novella originally part of Lettres de Mon Moulin made into a play)
Contes du Lundi (1873; English: The Monday Tales, 1900; short stories).
Les Femmes d'Artistes (1874; English: Artists' Wives, 1896).
Robert Helmont (1874; English: Robert Helmont: the Diary of a Recluse, 1896).
Fromont jeune et Risler aîné (1874; English: Fromont Junior and Risler Senior, 1894).
Jack (1876; English: Jack, 1897).
Le Nabab (1877; English: The Nabob, 1878).
Les Rois en Exil (1879; English: Kings in Exile, 1896).
Numa Roumestan (1880; English: Numa Roumestan: or, Joy Abroad and Grief at Home, 1884).
L'Evangéliste (1883; English: The Evangelist, 1883).
Sapho (1884; English: Sappho, 1886).
Tartarin sur les Alpes (1885; English: Tartarin on the Alps, 1891).
La Belle Nivernaise (1886; English: La Belle Nivernaise, 1892, juvenile).
L'Immortel (1888; English: One of the Forty, 1888).
Port-Tarascon (1890; English: Port Tarascon, 1890).
Rose and Ninette (1892; English: Rose and Ninette, 1892).^[6]
La Doulou (1930; English: In The Land of Pain, 2003; translator: Julian Barnes).

著作列表[編輯]

《小東西》 (1868)
《磨坊書簡》 (1869)
《達拉斯貢的戴達倫》 (1872)
《月曜故事集》 (1873)
《藝術家的妻子》 (1874)
《Robert Helmont》 (1874; English: Robert Helmont: the Diary of a Recluse (1896))
《小弗洛蒙特和大黎斯雷》 (1874)
《努馬·胡梅斯當》 (1880)
《薩福》 (1884)
《阿爾卑斯山上的戴達倫》 (1885)
《不朽者》 (1888)

Vintage Books & Anchor Books

Now available for the first time in paperback . . .

"My poor carcass is hollowed out, voided by anaemia. Pain echoes through it as a voice echoes in a house without furniture or curtains. There are days, long days, when the only part of me that's alive is my pain."
—Alphonse Daudet, In the Land of Pain, edited and translated byJulian Barnes

Daudet (1840–1897) was a greatly admired writer during his lifetime, praised by Dickens and Henry James. In the prime of his life, he developed an agonizing nerve disease caused by syphilis and began taking notes about his experience, published posthumously as In the Land of Pain. Daudet wrote in powerful, unflinching images about his excruciating symptoms, his fears, his desperate attempts at treatment, and the effects of the morphine he came to depend on. His novelist’s eye and sense of humor did not desert him as he observed the bizarre society of his fellow patients at curative spas, nor did his generosity and compassion for them and for his friends and family. In Julian Barnes’s crystalline translation, Daudet’s notes comprise a record—at once shattering, haunting, and beguiling—of both the banal and the transformative realities of physical suffering.

↧

Art Studio America /The Artist in His Studio (Alexander-Liberman)/ 賈科梅蒂的畫室：熱內論藝術/ The Architect's Home

March 23, 2016, 12:52 pm

≫ Next: Being Mortal: Medicine and What Matters in the End by Atul Gawande；沈祖堯

≪ Previous: Alphonse Daudet / 都德, In the Land of Pain《磨坊書簡/磨坊文集》

[新聞] 畢卡索的私人工作室大公開

藝術家的工作室總是令人好奇，到底是怎樣的一個工作空間，能讓藝術家創作出如此美好的作品？前陣子，一批從未公開的西班牙國寶級畫家畢卡索的畫室照片於巴黎展出，這批黑白照片，據研究是在四、五零年間，由不同的攝影師拍攝，充分展現畢卡索的畫室樣貌，以及他在其中創作的景況：http://www.biosmonthly.com/contactd.php?id=7273

Beautiful pictures of American artists in their studios:

Art Studio America is a new book by Hossein Amirsadeghi and Maryam Eisler, who have travelled the length and breadth of the country, capturing intimate portraits of 115 artists in their places of work.

http://www.bbc.com/culture/story/20131105-american-artists-in-their-studios

5 November 2013

American artists pictured in their studios

Rebecca Laurence

Chuck Close: The American landscape −both natural and urban − has inspired generations of artists. Art Studio America is a new book by Hossein Amirsadeghi and Maryam Eisler, who have travelled the length and breadth of the country, capturing intimate portraits of 115 artists in their places of work. These are juxtaposed with images of the landscapes that surround and influence them, and essays and interviews with the diverse group of artists, ranging from obscure figures to household names. One of the latter, Chuck Close, is photographed in his New York studio among his large canvas portraits – he describes how physical disability has influenced his working method. (All images courtesy of C TransGlobe Publishing from Art Studio America: Contemporary Artist Spaces published by Thames & Hudson)

賈科梅蒂的畫室：熱內論藝術

這本書可能是重版以前用副標題為書名

原作名: L'ATELIER D'ALBERTO GIACOMETTI
作者 : [法]讓•熱內
譯者 : 程小牧
出版社:吉林出版集團有限責任公司
出版年: 2012-8-15

1954年，法國作家熱內通過薩特、科克託等朋友與藝術家賈科梅蒂相識，並應邀為藝術家做模特。從1954至1958年，熱內時常拜訪賈科梅蒂位於巴黎十四區伊伯利特-曼東街的畫室。這一相遇所激起的精神探索、交流和純淨的友誼，被熱內記錄在《賈科梅蒂的畫室》裡。熱內論藝術的文字極少，本書收錄的幾篇獨具風格的藝術筆記，是熱內僅存的直接闡述自己的生命觀和藝術觀的文字。

《賈科梅蒂的畫室》是我所讀過的最好的藝術評論。
——畢加索
熱內向我們證明，天才並非某種天賦，而是人在絕境中開闢的出路。
善只是幻覺，而惡是虛無，它在善的廢墟上造出自己。
——薩特
有一天，熱內應被視為道德家。我們總習慣於把道德家混同與衛道士。
詩是一種道德，內在、自律，拒絕強制性的範疇和機制。
——讓• 科克托
熱內非常像賈科梅蒂為他畫的肖像，賈科梅蒂把握住了這個人強烈
的情感、嚴格的控制力和近乎...
(展開全部)

1954年，法國作家熱內通過薩特、科克託等朋友與藝術家賈科梅蒂相識，並應邀為藝術家做模特。從1954至1958年，熱內時常拜訪賈科梅蒂位於巴黎十四區伊伯利特-曼東街的畫室。這一相遇所激起的精神探索、交流和純淨的友誼，被熱內記錄在《賈科梅蒂的畫室》裡。熱內論藝術的文字極少，本書收錄的幾篇獨具風格的藝術筆記，是熱內僅存的直接闡述自己的生命觀和藝術觀的文字。
《賈科梅蒂的畫室》是我所讀過的最好的藝術評論。
——畢加索
熱內向我們證明，天才並非某種天賦，而是人在絕境中開闢的出路。
善只是幻覺，而惡是虛無，它在善的廢墟上造出自己。
——薩特
有一天，熱內應被視為道德家。我們總習慣於把道德家混同與衛道士。
詩是一種道德，內在、自律，拒絕強制性的範疇和機制。
——讓• 科克托
熱內非常像賈科梅蒂為他畫的肖像，賈科梅蒂把握住了這個人強烈
的情感、嚴格的控制力和近乎宗教式的沉靜的驚人結合。
——薩義德

作者簡介 · · · · · ·

讓•熱內（Jean Genet 1910—1986），法國作家。出生後被遺棄，在教養院長大。早年流浪、偷竊、賣淫，多次被捕入獄。在獄中開始寫作詩歌和小說，包括《死囚》、《鮮花聖母》、《小偷日記》(台北:時報文化)等。作品被紀德、科克託等人發現，嘆為天才，他們與薩特等數十位作家聯名向法國總統請願，要求終身赦免熱內。出獄後，熱內轉入戲劇創作，代表作有《女僕》、《陽台》、《屏風》等，聲譽鵲起。後參與社會運動，支持被壓迫者的反抗，尤其是巴勒斯坦民族解放運動。

目錄 · · · · · ·

愛的殘痕——熱內論藝術（代序）
賈科梅蒂的畫室
倫勃朗的秘密
一本撕碎的倫勃朗之書的殘餘
走鋼絲的人

The Artist in His Studio [Hardcover]

Alexander Liberman (Author. text and photographs by )

Liberman draws on his skill as a photographer and his wide acquaintance with the great modern artists to construct a splendid visual and verbal meditation on art and the act of creation. First serial to Vogue and Vanity Fair. 216 photos, 161 in full color.

From Library Journal

Displaying an artist's sensitivity, an editor's skill, and a camera's perceptive eye, Liberman's 1960 classic, The Artist in His Studio , presented a singular image of the great artists working in France during the 20th century. Twenty-eight years later, he offers a revised and expanded edition, strengthening his contribution to the world of art by adding material to some sections and enlarging the number of artists. Liberman's empathy and erudition, enhanced by fine reproduction quality, is exemplified by his intimate conversations with many of the artists, sensitive shots of the surroundings in which they created, and keen understanding of the creative process. Matisse's hand, a pensive Giacometti, the meticulous line of tools laid out by Braqueall are photographic witness to an intimacy pierced by the author's vision. Paula Frosch, Metropolitan Museum Lib.
Copyright 1989 Reed Business Information, Inc.

Hardcover: 292 pages
Publisher: Random House; Revised Edition edition (November 8, 1988)
Language: English
此封面是美國版. 我的是英國T & H版
1988 Revised Edition

Rare film of Le Corbusier in his Paris home and studio

這本書還沒過目

Autobiographical homes

The houses architects design for themselves

The greatest challenge in designing homes is negotiating the delicate balance between aesthetics and the personal desires of the occupants. While it’s important for the structure to reflect the vision and style of the architect, the client must ultimately feel at home beneath the roof. It is particularly interesting, therefore, to examine the homes that architects create for themselves. If houses reflect their owners’ personalities, then architects’ own homes are like autobiographies. Location, layout, style, lighting, artwork, furnishings—every detail adds color to the story. Each of these dwellings, presented A-Z by architect, speaks more about its designer than any other building possibly could.

The House of Alvar Aalto, Helsinki, 1936 © Alvar Allto Archives

The Architect's Home
Gennaro Postiglione
Hardcover
8.2 x 10.8 in., 480 pages
$ 39.99

↧

Being Mortal: Medicine and What Matters in the End by Atul Gawande；沈祖堯

March 24, 2016, 9:21 am

≫ Next: 大江健三郎《作家自語》

≪ Previous: Art Studio America /The Artist in His Studio (Alexander-Liberman)/ 賈科梅蒂的畫室：熱內論藝術/ The Architect's Home

Being Mortal: Medicine and What Matters in the End
Book by Atul Gawande
4.4/5·Goodreads
4.6/5·Barnes & Noble
For most of human history, death was a common, ever-present possibility. It didn't matter whether you were five or fifty - every day was a roll of the dice. ... Google Books

Originally published: October 7, 2014
Author: Atul Gawande

香港中文大學

沈祖堯校長【生命的肌理】讀書會講辭

紀錄及整理：陳曉蕾

...

沈祖堯校長【生命的肌理】讀書會講辭
記者陳曉蕾·2016年3月23日

今天要講的是《BEING MORTAL》，作者來過香港演講，他送了這本書給我。在談這本書之前，先提一句這裡是一年級醫學生做解剖的地方，等一下大家可以去看解剖遺體的樣本。我相信人的生命，軀殼是一部份，但還有一個內在世界，或者可以說是靈魂，或者是我們的內心世界。所以待會看到的是軀殼，但我們要談的，是除了軀殼，還有什麼？
這本書是一位外科醫生寫的，作者Atul Gawande是在哈佛工作的印度籍醫生，因為照顧年老的父親，開始想：究竟人生到老，開始有好多毛病，眼又矇，耳又聾，記憶又差了，走路不穩，接著可能斷骨躺著，甚至患上不治之症，可能是癌症、心臟，者腎萎竭……去到這種地步，人生的意義在哪裡？今日醫學很發達，老實說，要死也不是很容易，如果那醫院或者醫生決定不讓你死，心可以一直跳下去，我們只要放進電線，心就會繼續跳；如果肺不懂得自己抖氣，找一部機械泵住就可以；腎不懂製造小便、清潔血液，可以洗腎──每一樣器官都可以用一些方法去取代失去了的功能，但這樣的生命還有什麼意義？
你說我現在又不是「七老八十」，要我聽這些做什麼？雖然大家大多數是二、三十歲，但每一個人都會經過這樣的階段，要如何準備？可能家人、爸爸媽媽、或者祖父母等年紀大時，都會有這些病痛的時候，甚至乎躺在醫院、住在老人院，可以如何面對這些問題？應該如何去想？我沒有正式的答案，但大家可以討論一下。
。。。。。。。。在這本書裡面，作者先從歷史講起，我們的平均歲數在一百年間增加得好快，你看歷史片裡打仗三四十歲就死，「陰功，咁後生！」但其實當時一般人也是活到這年紀，不打仗也會因為疾病死去。直到一九零零年，我們的平均歲數都不超過五十歲。一九三零年全世界的平均年歲大約去到六十歲，但現在二零一零年，已經去到八十歲。香港人平均更長壽，女人可以去到八十七歲，男人大約短命六年，就是八十一、八十二歲，這只是平均數。所以大家去壽宴，千萬不要祝長命百歲，對方隨時已經九十九歲了。為什麼現在的人這樣長命？他說在二十世紀頭那五十年，有很快的進步，原因有三：１。衛生條件２。食物供給
３。很多傳染病有疫苗可以預防，像天花，白喉等致命的傳染病已經沒有了。這三個好像好簡單的原因，已經令全世界人口增加到六十歲
接著由五零年代到現在，歲數再延長，是因為很多很多醫學進步，包括新藥物、新手術，現在還會做一些基因的治療，並且是度身訂造的，例如糖尿病不是人人都用同一種藥，而是測試了你的基因去看用那一種糖尿藥。以前癌症的藥是多餘的，根本殺死腫瘤同時連人也死掉，可是現在用目標治療，更能把目標對準癌細胞。
然而始終人不能永遠生活下去，不是所有病都可治瘉，付出很貴很貴的資源，可能增加的歲數很少很少，可能癌症花多幾百萬，只能活多兩三個月。現在醫丙型肝炎，吃六個星期藥要大約七十五萬才能好，可是又真能痊癒，以前打針都不好，現在吃藥會好，但這是少數例外，大部份用很多錢，也不會完全康復，這書就寫道美國25%醫療費用在5%病人最後的幾個月，換言之好多醫療資源放在最後用來延長人生。我們不是講錢，而是談數字。
除了長命，我們的家庭人數也減少了。一對父母有多少孩子？以前在十九世紀，平均每個家庭有七個孩子，因為媽媽由十多歲，一直生到更年期，有三四十多年可以懷孕，但現在女性結婚已經廿六七八，接著三十五歲後又怕有唐氏綜合症，又怕遺傳的病，或者不生孩子，因為要工作、養一個孩子很貴、希望享受自由自在的人生等等。一九零零年，平均家庭人數已經是三個。現在香港家庭一對夫婦平均生多少孩子？才零點八，即是兩人結婚也生不到一個小孩，有些人不生，有些也只是一個。內地一孩政策改變，但人們也不一定會生。
那你能想像：長命，加上少了小孩，就是人口老化。並且老人要自己生活，因為沒有了年青人。家庭像倒轉了的金字塔，老人最多，中年人少一點，後生的再少一點，是一個倒轉的金字塔。
。。。。。。。。
這是我爸爸媽媽，那是我女兒，我拿這相片出來，想說，祖父母最大享受就是有子女和孫兒在身邊，這是很多亞洲人的看法，可是對外國人有點不同。我在加拿大讀書時，有婆婆是八十歲生日，那孫子是加拿大出世的華人，婆婆問：阿孫，婆婆生日，你送什麼給我？那孫子很活潑地答：Grandma, I will give you a coupon to go to nursing home！你們嘩然，但他們覺得nursing home很好，很漂亮，好多人陪你玩，覺得是好事。觀念上，西方喜歡獨立生活，子女住遠一點，不要讓我湊這個、湊那個，寧願去一間很漂亮的老人院。美國還有專門讓人退休的市鎮，裡面有哥爾夫球場、打牌的地方，一日三餐都準備好了，他們喜歡這樣的生活。亞洲人覺得年紀大，自己住好「淒涼」，但香港亦已經走向西方的觀念，城市設計要改變，需否有整楝的建築、甚至整個社區給健康的長者生活，路牌的字大一點、汽車駛得慢一點，老人也不怕走失。可是要獨立生活，仍然要有條件。你們說呢？（問學生）到你八十歲，要獨立生生活，你覺得要有什麼條件（學生馬上答：money）錢？都要的，不過不是整天談錢，有第二樣嗎？假設有儲蓄，不用擔心錢。（另一學生答健康）是的，如果沒健康，走不到要坐輪椅，吃東西也要要插喉。
（再有學生答：起碼腦筋清晰，不要dementia。）
不要認知障礙？但這不到我們話事，要有方法防止咁快退化。（有學生答朋友）
對，我們還需要有社交圈子，如果子女肯一齊住就最好，同朋友一起也不錯。我們需要三樣東西：好的身體、安全的家、社交圈子。
這幅圖（一條微斜的直線突然急跌）是醫學未進步時：健康是好好的，但去到某個歲數，突然跌下來，然後去世。以前很多疾病沒法預防，很快去世，美國第一任總統華盛頓是喉嚨發炎死的，美國頭三任總統都死得很快。這幅圖（一條線不斷上上落落）是現在：很多疾病可以預防，就算病了，也有方法好轉，身體差了好起來，好起來又再差，又再好，起起伏伏的，而且時間拉長很多，當到了某一個階段，健康差到失去自理能力，還有很久沒能死去，還有很長時間需要人照顧。年紀大的人，像我，會擔心什麼時候過了這條線？何時失去獨立照顧自己的能力？對多人來說，死不是最可怕，而是最怕老了，開始覺得自己身體功能一樣樣失去。我都好驚，二、三十歲跌倒不怕，但這幾年我開始看東西不清楚，要戴老花眼鏡──對我是「心理創傷」，為何要載眼鏡才能看書？！別人說話，我聽不清楚，要別人講得大聲一點，這又是心理創傷。早兩年帶女兒去桂林上獨秀峰，我無法追上她們，發覺膝蓋不妥，走一走會沒有力氣，這是軟骨蝕了。當你一樣樣失去，有些警號出現，老人最怕的就是這樣持續地失去，慢慢慢慢一樣樣地失去，最後可能是在醫院或者老人院。
。。。。。。。。
為什麼醫院咁難頂？就算我在醫院做了一輩子工作，也不想自己在醫院過最後那幾年。因為當你在家，時間是由你控制的，你的空間、所有你擁有的都由你控制，可是當你躺在醫院的床上，就是肉在帖板上。我記得我第一次入醫院，我平時在醫院是站著的，第一次望見天花是十多年前在泰國不知道吃了什麼，急性肺炎，其實做教授很慘，那些醫生仔來打針會手震，無端端打多幾針，又找那些最老資格的，那些已經不再替病人打針，於是又要打多幾針。而且當你成為病人，很多事都受控制：幾點吃飯、怎上廁所、如何洗澡，連這些基本的都無法話事，甚至乎關係尊嚴的事，都無法決定，痛苦地失去自己自主的能力。我都好驚，如果有日入醫院要被學生「舞來舞去」，又要插尿喉又要點點點，點算呢？
在老人院又好悶，好無助。我們需要想一想，在我們有生之年，如何可以bring meaning to life。
這本書的作者作為外科醫生，會有這樣的想法是很難得的，因為外科醫生通常都是當人是死的「劏」！但他想了很多，透過爸爸，看到人生存需要意義，不是我的心會跳，我可以進食，這樣就叫做生存。生命需要有意義。有美國老人院做實驗，院友本來都只是等餵飯、等洗澡的，院方就放了幾隻貓、幾隻狗、一些植物（註：原文是兩隻狗、四隻貓、一百隻鳥、全院放滿植物），老人馬上吃少一些藥。人是需要慰藉，需要感情，大家開心好多，不需要那麼多安眠藥，痛楚也少一點。我們需要一些理由，這些理由往往不是自己身上的。我們的人生價值和意義，可以透過和其他人建立關係找到，可能是子女、爸爸媽媽、朋友，甚至一隻狗、一隻貓。日本有一隻機械海獅，懂得貶眼，對人類表情有不同反應。設計成海獅，是避開人類嬰兒的種族和語言，那海獅好可愛，能夠幫助認知障礙的病人情緒不那麼波動，不會大吵打人，可以穩定好多。大家知道高錕教授前幾年學畫畫，情緒也安定了好多，我們需要感情記託，這是醫院解決不了。
。。。。。。。。
今日醫院裡有這樣的說法：now we have all the means, while we lost the meaning of medicine。我們今天有很多方法，心臟病有心臟病的醫法、腸胃有腸胃的醫法，有所有的方法，但醫生失去醫治的意義。我們今日只是做一部份的工作：去到急症室，急症室醫生望望，啊發燒，照肺，照完上樓上，他就看完了，不會知道這病人後來如何。上到樓上，第一個醫生仔睇睇，有些痰，那醫生就放工；之後資深的醫生來看，開一點抗生素；再下一個醫生來看，抽痰；再下一個又做另一部份──人人只做一部份，工作就完了，沒有再跟這個病人的進度如何，更談不上了解病人，知道他內心的狀況。我們很擔心今日的醫院，變了一間工廠，工廠裡每一個病人都像產品，我們好像在修理汽車，這個上一口鏍絲、那個看車軚是否夠氣、那個就唧油，每一個人只是做一個部份，沒有人看到整架汽車，沒人見到整個病人。
加拿大有一間醫院好「醒目」，深切治療部是最多機械、最沒「人性」的地方，病人昏迷不見天日，就算不昏迷也要令你昏迷，不然插住那麼多喉管是很辛苦的。可是他們發現如果深切治療部每一個病人床頭，都放一張那病人健康時的相片，或者是後生時的樣子，那就可以提醒護士醫生，這是一個人，不是一件東西，不是一付機械、一堆數字，只是出血就止血，可以把病人當回一個人。你們覺得好錯愕？如果我在深切治療部，也是不斷看機械，看數字：體溫、血壓、白血球等等的數字，忘記了這是一個人。如果我們有這些觀念，對病人的治療是好一點的。這就是深切治療部（圖片）：病人躺著，氣管插住一條喉、動脈靜脈插住一條喉、肺插住一條喉、小便插住一條喉、又要洗肚，再插住一條喉……七八條喉，動也不能動，每四個小時要找護士轉一轉身，否則身體的肉會爛掉。在這樣的環境裡，究竟我們是延長壽命，還是延長痛苦？這樣的生命，意義在哪裡？這是作者不斷問的：人生是需要一些目的。we seek a life with purposes，要有價值、有目標，但在這樣的環境，我們是延長病人的生命，還是延長了他的痛苦？究竟是否在某個階段，應該let go？這裡可能會涉及安樂死，但作者說的不是應否安樂死，而是應否給病人選擇，讓病人也能表達意願：如果我只得三個月命，那你可否讓我講我最想講的說話？可能是對太太說好愛你，可能對你氣了一世的人說對不起，或者和誰講一聲再見。可能我們在最後要問：病人想如何？作者相信臨終病人最想要的有五件事：１，不想受苦２，維持和家人的關係，所以很多病人寧願回家。
３。希望自己是清醒的４。不想成為負累
５。人生無憾，可以留下一些，一生沒白過。這五件事是作者認知裡，對臨終病人重要的。
。。。。。。。。
這張相片就是沈祖堯。我想說，在過去兩個月，我看了這本書後，減了二十磅，因為我覺得保持健康好重要。我最初點解減肥？因為我買了一條褲，發現不合穿，太太笑我買這衣服，我就說一年之內一定要能夠穿到，結果一個月內就能穿。當我過了五十歲，一樣樣身體功能開始退化，以前可以跑步，現在開始喘氣，血壓開始升，肝又有脂肪，這樣那樣，不行，我一定要減肥。減了這二十磅不止是身體改變，還是給了我一個好大的動力，我發覺原來aging的過程不是一定向下跌的，有些東西好像年青了──（問學生）「你覺唔覺得我後生Ｄ呢？多謝啊！」之前我走樓梯，兩層已經氣喘，現在走五、六層依然可以，人生觀也改變了，身體改善，讓你覺得「後生」了，還未「玩完」！還有好多日子，所以我很鄭重地說介紹各位：保持你的身體健康！就算你只是二十歲、三十歲，都要好好地保持，因為體力會一直減少，不要「七老八十」才做運動。就算「七老八十」都要做運動，我的健身教練幫一位八十歲的婆婆做運動，笑說一邊做一邊怕她骨折，可是婆婆做了運動，幾個月後身體也好了，之前要坐輪椅，現在走路好了。保持你的身體健康很重要！醫生當然說這些，但身體好，你的人生觀可以樂觀一點。
第二是做一些東西，可以令你生活可以獨立一點，例如多一點親近仔女，仔女唔都找隻狗。沈祖堯現在學煮飯，雖然學煮飯和減肥互相違背，但可以煮了給別人吃，自己不吃。做一些東西，令你覺得人生是有趣味的，不要只是上班下班，做一些令你覺得有趣，讓生命有意義。如果煮飯沒意義，可以寫大字、做義工，總之做一些事令你覺得和世界有連繫。
第三就是保持關係。（展示兩張相片）這是十年前我兩個女兒，在我的辦公室「扮哂嘢」：穿我的醫生袍，今日其中一個已經成為醫生，上星期剛畢業。這兩張相片貶吓眼就過，女兒開始長大，會離開家裡，不需要我給那麼多意見，自己會決定。可是維持關係，你的家人、朋友，都很重要，當你的世界只是事業事業事業，成功成功成功，之後你失去身邊所有關係，最後就是一無所有。
十幾年前，有一位外國醫生對我說，我們在國際上都有點名氣，在國際的腸胃科會議碰見，他說你想像人生就像有四顆球，好像玩雜技：有三個球都是玻璃的，第四個是塑膠的，三個玻璃球包括健康，家庭，朋友，而第四個是事業。當你跌了頭三個，打爛了就沒有了，唯獨是事業這個波還可反彈，我們要定立優次，不要把打得爛的，打爛了。所以健康、你和別人的關係、讓自己開心的心情，都很重要。無論如何，我們都有失去自理能力的日子，但到那日之前，我們仍是很滿足地過我們的人生，之後可以為世界留一點東西，就是最close to immortal。雖然始終都是being mortal，但想想這時還年青健康，可以和愛人一起，和仔女在一起，保持這些吧。多謝各位。
。。。。。。。。。。。。。。

↧

大江健三郎《作家自語》

March 24, 2016, 6:05 pm

≫ Next: Kenneth Clark 著作集 / 包括Ruskin Today (edited and annotated by Kenneth Clark)

≪ Previous: Being Mortal: Medicine and What Matters in the End by Atul Gawande；沈祖堯

大江健三郎有其世界作家聯絡的網絡。他的交情廣、學識淵博都可以從許多訪談得知。譬如說《作家自語》第195頁介紹Dante: The Poetics of Conversion By John Freccero 。

《作家自語》第205頁談到與勒克萊齊奧（法語：Jean-Marie Gustave Le Clézio，1940年4月13日－）的通信，當時勒克萊齊奧還沒得諾貝爾文學獎.....。我查《當代法國文學辭典》江蘇人民，1983，將他說是1943年生，只介紹2本著作。

Wikipedia 是這方面的好的參考處。勒克萊齊奧作品的漢譯，還可以分列台灣的與中國的。

2008-07-01

大江健三郎口述，尾崎真理子採訪整理，許金龍譯，遠流出版，2008

不願寫自傳的大江健三郎，以口述的方式接受記者提問，歷經漫長的訪談，終有此書的誕生，雖不是大江健三郎親筆書寫，卻是類自傳，詳盡地述說了從事寫作五十年來的所思所想，溯及孩童時代對語言世界的體悟，及青年時期對知識追求與創作欲望的自我認知，對自己為何成為一名作家，誠摯地回顧了一番。並對浸淫文壇多年間，對文學的觀感和體會，提出獨到的見解，也為當前日本文學在世界的定位提出解釋，肯定村上春樹及吉本芭娜娜享譽國際的現象，從中放寬看待日本文學的視野。大江以回顧的角度坦蕩剖析創作歷程與心路歷程，涉及政治與藝術討論，及他與世界文壇名人的交往情誼，侃侃談論，均見其嚴謹的寫作態度與赤誠的創作姿態。（魯雅）

《作家自語》

↧

Kenneth Clark 著作集 / 包括Ruskin Today (edited and annotated by Kenneth Clark)

March 25, 2016, 6:00 pm

≫ Next: 魯迅的散文集 1978；The Organization Man By William H. Whyte.

≪ Previous: 大江健三郎《作家自語》

今天讀David Piper 寫的Kenneth Clark 簡傳.....

Kenneth McKenzie Clark, Baron Clark, OM, CH, KCB, FBA (13 July 1903 – 21 May 1983) was a British author, museum director, broadcaster, and one of the best-known art historians of his generation. In 1969, he achieved an international popular presence as the writer, producer, and presenter of the BBC Television series, Civilisation.

Kenneth Clark 的Civilisation 影集(1969，YouTube可觀賞 2013年7月發現13集都可以在YouTube找到 )，台灣約1977年7月?才播出，影響我很大 (香港續播數次)。

In 1969 he wrote and presented Civilisation for BBC television, a series on the history of Western civilisation as seen through its art. Also broadcast on PBS in 1969, Civilisation was successful on both sides of the Atlantic, gaining Clark an international profile.

1977，年我去英國讀書時，趕緊買下它的紙本。在導師課時與 C. B. Winsten教授談Viking等對英國的劫掠， Winstein還跟我有些"同情"。

我後來買/讀他的許多書，包括他的二本回憶錄 (其中一本還有他的簽名) ，如下紅字體：

台大圖書館還有些或可令你驚豔的東西，

Bibliography黑/紅字體書我有

The Gothic Revival (1928)
Catalogue of the Drawings by Leonardo da Vinci in the Collection of HM King at Windsor Castle (1935 2 vols)
Leonardo da Vinci: An Account of his development as an Artist (1939, rev. ed. 1952)
Florentine Painting: The Fifteenth Century (1945)
Piero della Francesca (1951)
Landscape into Art (1949), adapted from his Slade Lectures，台灣有翻譯。
Moments of Vision (1954), the Romanes Lecture for 1954. Oxford: Clarendon Press.
The Nude: a study in ideal form by Kenneth Clark(1956) A.W. Mellon Lectures in the Fine Arts, delivered in 1953.台灣有新潮文庫翻譯、中國也有翻譯。
Looking at Pictures(1960)
Ruskin Today (1964) (edited and annotated by)
Rembrandt and the Italian Renaissance (1966)
The Drawings by Leonardo da Vinci in the Collection of HM Queen at Windsor Castle (1968/9 with Carlo Pedretti 3 vols)
Civilisation: A Personal View(1969), book version of the television series台灣有翻譯
Blake and Visionary Art (1973)
The Romantic Rebellion (Kenneth Clark 1973), book version of the television series 台灣有翻譯
Another Part of the Wood (1974) (autobiography)
Animals and Men (1977) 這本書的封面：

The Metropolitan Museum of Art, New York

In “Durga, Perseus & Beyoncé: From Exploitation to Empowerment,” a group of high school interns use works from the collection to consider how nudity is perceived in art and culture.

Durga, Perseus & Beyoncé: From Exploitation to Empowerment
The importance lies in recognizing that whether you're looking at an iconic…
METMUSEUM.ORG

Discover The Cloisters museum and gardens on our Pinterest board featuring works of art, publications, digital archives, and more:http://met.org/1gVrX6X

The Unicorn in Captivity (from the Unicorn Tapestries) | 1495–1505 | South Netherlandish

The Other Half (1977) (autobiography)
What is a Masterpiece? (1979) 台灣有翻譯
Feminine Beaut
---2012.6.3 重讀Kenneth Clark (1903-83) 的回憶錄第二部 The Other Half: A Self-Portrait 1977 。序言提到許多名人的自傳，多不如泛泛之輩來得精彩，原因很多，如政客多參考和引用過去的信件等等，文章很笨重。
還有些人在晚年才寫，當時作者已經覺得此生已休 (one's appetite for life 他認為H. G. Wells (1866-1946)的自傳(Experiment in Autobiography (1934))是少數的例外，因為他寫書時，還有生之生氣---此書值得一記，因為我參訪過哈佛大學的燕京圖書館，竟然只記得它的架上有此書的漢譯本。 )
--Kenneth 是在70歲之後才感到"人生不過如此而已 "。不過，他努力以赴，所以雖然沒有第一部(1974 談36歲前的人生)的神韻或神來之筆，還是可觀。

Arthur David Waley 的源氏物語和白居易

我介紹過 Arthur David Waley ，是英語界的大譯家。

在著名的藝術史家Kenneth Clark 的回憶錄 Another Part of the Wood (1974) 第81頁指出，Waley是他認為大學前對他最有影響力的， 他兼有學者之學問和詩人對語言的敏感。
他的翻譯，英國人認為很不錯的。
源氏物語 讓他們了解日本人早盧梭、蒙田、普魯斯特等人的創新數百年。

Waley 的白居易的〈詠慵詩〉：「有官慵不選，有田慵不農。屋穿慵不葺，衣裂慵不縫。有酒慵不酌，無異樽長空。有琴慵不彈，亦与無弦同。家人告飯盡，欲炊慵不舂。親朋寄書至，欲讀慵開封。常聞嵇叔夜，一生在慵中。彈琴復鍛鐵，比我未為慵。」
等都讓他一直(日後重溫) 喜歡白居易! (Clark先生的幽默因為彼時常有人勸他" go hard , go hard".)

有酒慵不酌，無異樽長空。有琴慵不彈，亦与無弦同。
I have got wine, but I am too lazy to drink it, so it's just the same as if my cup were empty. I have got a lut, but am too lazy to play it; so it's just as if it had no strings.

Ruskin Today (A Peregrine Book) [Paperback]

John Ruskin (Author),

Ruskin Today (1964) (edited and annotated by Kenneth Clark)
Ruskin in his youth saw things with a clarity of perception which was almost unprecedented. In addition he was a poet: he had the gift of transmitting what he saw - in art, architecture, society, and nature - with a spontaneous eloquence which enslaved, alike, writers from Wordsworth to Proust and reformers from Tolstoy to Bernard Shaw.

Today Ruskin is practically unknown. His tendency to preach, his bouts of mental chaos, and the very fluency of his rhetoric have killed his appeal. Few writers have ever suffered such a reversal.

Sir Kenneth Clark's new anthology of 'the best of Ruskin', by modern standards, is perfectly designed to reintroduce this fascinating and complex figure. Extracts from his writings are grouped by subjects with separate introductions, and Ruskin's own shrewd comments on himself are preceded by a note on his life and the pathetic story of his infantile relations with women.
--- from book's back cover

Ken Su 的漢玉雅集：中國經驗雜談 and more..... 必讀必讀.....

(關於散文詩，多以為是來自法國。昨天晚上讀 Ruskin Today by K. Clark (1962) p.102 ，選 Grass 草注："此段為 M. Arnold 選來說明Ruskin的散文詩，根據他1949年6月3日在Vevey 所作的筆記...."，收入Modern Painters 。我對照幾年前廣西師範的譯本，發現錯誤百出，這是中國學界之悲哀，連人類 human race 都會翻譯成"人的競爭"等等.... 讓我們想一下，這本書是 Oliver Wendell Holmes 在他兒子16歲送給小霍姆斯的生日禮物，讓他對藝術世界更深入探索......。參考 Justice Oliver Wendell Holmes : Law & Inner Self.....)

（今天上網找不到他的墓志找到他的一本書的第一章說明: 一The title-page of chapter i. was as follows:--

Praeterita / Outlines of / Scenes and Thoughts / perhaps / worthy of Memory / in my past Life. / By / John Ruskin, LL.D. / Honorary Student of Christ Church, Honorary Fellow of Corpus Christi / College, and Slade Professor of Fine Art, Oxford / Chapter l / The Springs of Wandel. / With Steel Engravings of My Two Aunts. / George Allen, / Sunnyside, Orpington, Kent / 1855）

“明智”兄真的需要多作自我介紹，他昨天才說一點點，包括"杭之"(陳忠信)是他們昔日臺大社團的演講名師。
昨天 Peter 說到過，天津天主堂望彌撒之熱烈情況--- 我想起幾年前北京開始興起的基督教風氣：新教中英國派有一稱教友為 Friends 的

Friend A member of the Society of Friends; a Quaker.

由於儀式簡單，知識份子兩人在北京街頭就可以彼此禱告神....立地成"佛"，所以相當流行。

↧

魯迅的散文集 1978；The Organization Man By William H. Whyte.

March 26, 2016, 8:32 am

≫ Next: The Power of Myth by Joseph Campbell

≪ Previous: Kenneth Clark 著作集 / 包括Ruskin Today (edited and annotated by Kenneth Clark)

這篇提到：到機場前，將書丟掉的情。
我有這種慘痛的經驗，那是1978年10月某天，我要搭機從倫敦回台灣的去機場過程。
我將一些去年在Soho 買的好多本薄薄的人民文學出版的魯迅的散文集丟棄，因為碰不到懂得中文的人，而我不太可能將它們帶回台灣。

書架上只有一本書我辨識得出來，

The Organization Man

By William H. Whyte. Foreword by Joseph Nocera

Publication Year: 2013

Regarded as one of the most important sociological and business commentaries of modern times, The Organization Man developed the first thorough description of the impact of mass organization on American society. During the height of the Eisenhower administration, corporations appeared to provide a blissful answer to postwar life with the marketing of new technologies—television, affordable cars, space travel, fast food—and lifestyles, such as carefully planned suburban communities centered around the nuclear family. William H. Whyte found this phenomenon alarming.

As an editor for Fortune magazine, Whyte was well placed to observe . . . show more

Published by: University of Pennsylvania Press

SOMETIME IN THE AFTERMATH OF THE PUBLICATION OF WILLIAM H.Whyte's The Organization Man, the DuPont Corporation produced a print advertisement with the above headline. In the upper right-hand corner of the ad was a classic 195os-era sketch of a handful of, well, organization men, dressed in look-alike suits and ties and fedoras, striding purposefully toward some unseen office. In the bottom left-hand corner sat a solitary figure, ...

PART I: The Ideology of Organization Man

CHAPTER 1 Introduction

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pp. 3-14

THIS BOOK IS ABOUT THE ORGANIZATION MAN. IF THE TERM IS VAGUE, it is because I can think of no other way to describe the people I am talking about. They are not the workers, nor are they the whitecollar people in the usual, clerk sense of the word. These people only work for The Organization. The ones I am talking about ...

CHAPTER 2 The Decline of the Protestant Ethic

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pp. 14-22

LET US GO BACK A MOMENT TO THE TURN OF THE CENTURY. IF WE PICK up the Protestant Ethic as it was then expressed we will find it apparently in full flower. We will also find, however, an ethic that already had been strained by reality. The country had changed. ...

CHAPTER 3 Scientism

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pp. 22-32

JUST HOW THESE CURRENTS OF REFORMS CONGEALED INTO AN ORTHO• doxy is a problem in intellectual history I must duck. Trying to weigh whose ideas were most responsible is in any event somewhat fruitless, for it is what people want to believe that is important, and those whose ideas they so frequently misinterpret should ...

CHAPTER 4 Belongingness

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pp. 32-46

WHAT KIND OF SOCIETY IS TO BE ENGINEERED? SOME CRITICS OF SOCIAL engineering are sure that what is being cooked up for us is a socialistic paradise, a radically new, if not brave, world, alien to every tradition of man. This is wrong. Lump together the social engineers' prescriptions for the new society and you find they are ...

CHAPTER 5 Togetherness

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pp. 46-59

IT IS THE ORGANIZATION MAN, THEN, MORE THAN THE WORKER WHOM he wishes to serve, who most urgently wants to belong. His quest takes many forms; in this chapter I would like to examine the most concrete one: his growing preoccupation with group work. The group that he is trying to immerse himself in is not merely the ...

PART II: The Training of Organization Man

CHAPTER 6 A Generation of Bureaucrats

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pp. 63-78

WHEN I WAS A COLLEGE SENIOR IN 1939, WE USED TO SING A PLAINTIVE song about going out into the "cold, cold world." It wasn't really so very cold then, but we did enjoy meditating on the fraughtness of it all. It was a big break we were facing, we told ourselves, and those of us who were going to try our luck in the commercial world ...

CHAPTER 7 The Practical Curriculum

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pp. 78-100

How DID HE GET THAT WAY? HIS ELDERS TAUGHT HIM TO BE THAT WAY. In this chapter I am going to take up the content of his education and argue that a large part of the U.S. educational system is preparing people badly for the organization society-precisely because it is trying so very hard to do it. My charge rests on the premise ...

CHAPTER 8 Business Influence on Education

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pp. 101-109

IN THIS CHAPTER I WOULD LIKE TO BRING INTO SHARPER FOCUS THE part business is playing in these educational changes. Business has been only one of many influences, but it is going to become a great deal more important in the years ahead. Simply by virtue of the changing economics of university financing, the organization man ...

CHAPTER 9 The Pipe Line

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pp. 109-128

BEFORE WE FOLLOW THE SENIOR INTO THE CORPORATION'S POSTGRADUATE training schools, we must pause a moment longer on the campus. For it is here, in one important respect, that these new schools are being shaped. They are a projection of what the senior wants, and more than corporations care to admit, what the senior wants these ...

CHAPTER 10 The "Well-Rounded" Man

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pp. 129-137

LET'S EXAMINE FIRST THE MODEL AS YOUNGER MEN SEE HIM. THEY ARE in remarkable agreement on the matter. There are dissenters, precious few that they may be, and no generalization can do justice to all the different shadings in the majority's view. On the fundamental premise of the new model executive, however, the young ...

PART III: The Neuroses of Organization Man

CHAPTER 11 The Executive: Non-Well-Rounded Man

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pp. 141-150

LISTENING TOO LONG TO TRAINEES AND PERSONNEL MEN DESCRIBE THE future is likely to unnerve one into assuming that the complete bureaucrat is just about ready to take over. Now whether or not these people are riding the waves of the future or wallowing in some kind of trough is a matter of pure prophecy, and later I will ...

CHAPTER 12 The Executive Ego

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pp. 150-156

IN THIS ABSORPTION IN WORK, MANY PEOPLE BELIEVE, LIES THE SEAT of the executive neurosis. From Dodsworth on, the figure of the businessman self-alienated from the wider life has been held up to Americans as a somewhat tragic figure. Why, when the purpose of our vast productive apparatus is the release of man from toil, do the ...

CHAPTER 13 Checkers

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pp. 156-167

Now, FINALLY, THE MATTER OF AMBITION-FOR HERE IS WHERE WE see most clearly the collision between the Social Ethic and the needs of the organization man. So far I have been arguing that the older executive is .far more suspicious of organization than the professional manager who is the model of the next generation of management. I have further argued that this is not simply a difference in ...

PART IV: The Testing of Organization Man

CHAPTER 14 How Good an Organization Man Are You?

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pp. 171-181

IN THE FOREGOING CHAPTERS, I HAVE ARGUED THAT THE DOMINANT ideological drift in organization life is toward ( 1) idolatry of the system and ( 2) the misuse of science to achieve this. I would now like to go into some detail on one manifestation of this drift: the mass testing of "personality." These curious inquisitions into the ...

CHAPTER 15 The Tests of Conformity

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pp. 182-201

IF PERSONALITY TESTS ARE THE VOICE OF THE ORGANIZATION IT IS NOT that testers mean them to be. A few are lackeys, but the great majority cherish the professional's neutrality; they try hard to be objective, and "value judgments" they shun. And this is the trouble. Not ...

PART V: The Organization Scientist

CHAPTER 16 The Fight against Genius

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pp. 205-217

SUPPOSE FOR TilE MOMENT THAT YOU WERE GIVEN THIS MENTAL EX• ercise: without knowing anything about how scientists work today, you were to imagine what would happen if the Social Ethic were applied to science as it has been in the rest of organization life. The chances are that you would imagine, among other things, that: ( 1) scientists would now concentrate on the practical application of ...

CHAPTER 17 The Bureaucratization of the Scientist

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pp. 217-230

LET'S TURN NOW FROM THE CORPORATION TO ACADEMIA, FOR HERE WE can more clearly see the root of the problem. If the academic scientist is seduced, it cannot be explained away as Babbitt versus the intellectual, the pressures of commercialism, or the managers' misunderstanding of science. Nor can it be blamed on want of talent; ...

CHAPTER 18 The Foundations and Projectism

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pp. 230-240

THE BUREAUCRATIZATION CAN BE REVERSED. FOR THE MAN WHO WANTS to escape the mesh of organization, to ask his own questions, and to ask them for the sheer hell of it, the foundations are the last best hope. Alone of our big institutions, they do not have to yield to the pressures of immediacy or the importunings of the balance sheet. ...

PART VI: The Organization Man in Fiction

CHAPTER 19 Love That System

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pp. 243-248

... A middle-management executive is in a spot of trouble. He finds that the small branch plant he's helping to run is very likely to blow up. There is a way to save it: if he presses a certain button the explosion will be averted. Unfortunately, however, just as he's about to press a button his boss heaves into view. The boss is a scoundrel and a fool, and at this moment he's so scared he is almost ...

CHAPTER 20 Society As Hero

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pp. 248-263

I HAVE BEEN TALKING OF ONE BOOK AND ONE DECADE. NOW I WOULD like to broaden the angle of view, for the The Caine Mutiny is only one more step in a development that has been going on for a long time. Let me at once concede that much of what seems contemporary in popular fiction is fairly timeless. Black has always been black and white has always been white, with few shades of gray in between; coincidence outrageous and the endings happy, or at least ...

PART VII: The New Suburbia: Organization Man At Home

CHAPTER 21 The Transients

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pp. 267-280

I NOW TURN TO ORGANIZATION MAN AT HOME-AND, I HOPE, SOME clues as to where he is going. In these next chapters I am going to examine him in the communities that have become his dormitoriesthe great package suburbs that have sprung up outside our cities since the war. They are fascinating institutions ...

CHAPTER 22 The New Roots

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pp. 280-298

TO FIND WHERE THE MOBILITY OF ORGANIZATION LIFE IS LEADING, THE new package suburbs may be the best place of all to look. For they are not merely great conglomerations of mass housing. They are a new social institution, and while the variations in them are many, wherever one goes-the courts of Park Forest, the patios of Park ...

CHAPTER 23 Classlessness in Suburbia

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pp. 298-312

As FAR AS SOCIAL VALUES ARE CONCERNED, SUBURBIA IS THE ULTIMATE expression of the interchangeability so sought by organization. It is classless, or, at least, its people want it to be. As in The Organization, so in its dormitories there has been a great broadening of the middle, and a sort of "declassification" of people from the older criteria ...

CHAPTER 24 Inconspicuous Consumption

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pp. 312-329

IN DEFINING THE GOOD LIFE, THE SUBURBANITES HAVE TO GET DOWN TO cases, and when they do these social pressures can become highly visible. On the one hand, suburbanites have a strong impulse toward egalitarianism; on the other, however, they have an equally strong impulse to upgrade themselves. Somewhere in the middle ...

CHAPTER 25 The Web of Friendship

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pp. 330-349

IN SUCH CHARACfERISTICS AS BUDGETISM THE ORGANIZATION MAN IS SO similar from suburb to suburb that it is easy to fall into the trap of seeing a "mass society." On the surface the new suburbia does look like a vast sea of homogeneity, but actually it is a congregation of small neighborly cells-and they make the national trends as much as they reflect them. ...

CHAPTER 26 The Outgoing Life

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pp. 350-365

THE EFFECI' THIS WEB OF FRIENDSIDP HAS ON THE INDIVIDUAL IS A problem suburbanites think about a great deal. Like them, I am going to deal with the good aspects first, the adverse second. But the two are really inseparable, and it is this duality I wish to underscore. The Social Ethic denies it, and there is the problem. ...

CHAPTER 27 The Church of Suburbia

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pp. 365-381

THIS BRINGS US TO A QUESTION. IS THE ORGANIZATION TRANSIENTS' emphasis on the social a passing phase in their lives-a convenient accommodation to current reality? In the early stages of their life in suburbia, patently, the sheer fact of living so close together is bound to make them put a heavy premium on fellowship, and to a degree they are preoccupied with other people because they have to be. Yet there is more than expediency to this impulse. There is internal conviction as well, and ...

CHAPTER 28 The Organization Children

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pp. 382-392

THE ORGANIZATION MAN'S EMPHASIS ON THE GROUP, I HAVE BEEN maintaining, is not a temporary phenomenon dictated by external necessity; it is a response to what he feels is a moral imperative, and more and more he is openly articulating it. I have looked at the church in this perspective; now I would like to tum to the schools. ...

CHAPTER 29 Conclusion

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pp. 392-404

HERE, FINALLY, IS THE APOTHEOSIS OF THE SOCIAL ETHIC. SOME MIGHT summarize the suburban temper in different terms-pragmatism, perhaps, or utilitarianism-and their intonation would depend on their own outlook. But the dominant motif is unmistakable. Not just as something expedient, but as something right, the organization ...

APPENDIX: How to Cheat on Personality Tests

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pp. 405-410

Acknowledgments

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pp. 411-445

First of all I want to thank my colleagues on Fortune. So many of them were so helpful in so many ways that I could not name them without listing the whole masthead. But I do in particular want to thank Managing Editor Hedley Donovan, and not merely because I am a good organization man. For three years he gave me the time ...

Index

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pp. 413-429

The Guardian

"Very few of us want to keep the books we actually enjoyed as we commuted to work, or lay on a Spanish beach. Like cheap one-night stands, they’re passionately embraced and dumped before the airport taxi arrives. That’s why this week, a Swansea charity shop begged its patrons to stop donating used copies from theFifty Shades of Grey Trilogy."

Fifty shades of shame (or why you won’t find the books I read on my shelves)

The worthy titles people display at home are often unread, while…

THEGUARDIAN.COM|由 FLIC EVERETT 上傳

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The Power of Myth by Joseph Campbell

March 26, 2016, 7:38 pm

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The Power of Myth 等等，在台灣有漢譯本。
Bill Moyers

In this clip, Joseph Campbell encourages us to "follow your bliss," and fight "the dragon locking you in."
Joseph Campbell and the Power of Myth -- 'The Hero’s Adventure'
BILLMOYERS.COM
http://billmoyers.com/content/ep-1-joseph-campbell-and-the-power-of-myth-the-hero%E2%80%99s-adventure-audio/

JOSEPH CAMPBELL AND THE POWER OF MYTH (1988)
Ep. 1: Joseph Campbell and the Power of Myth — ‘The Hero’s Adventure’
March 8, 2013
by BillMoyers.com Staff

Bill Moyers and mythologist Joseph Campbell begin their groundbreaking and timeless conversation with an exploration of the classic hero cycle, including consistent and enduring hero patterns in literature, real life and even the Star Wars films. Campbell also encourages the audience to view parts of their own lives as heroic journeys. In a clip from the first episode, Campbell encourages the audience to discover what excites them, and make that the basis for their personal journeys.

Released in 1988, The Power of Myth was one of the most popular TV series in the history of public television, and continues to inspire new audiences.
Continue to Episode 2 >>

Bill Moyers

Joseph Campbell was born 112 years ago today. In this clip from "The Power of Myth," the mythologist spoke with Bill about the common experience of God across cultures. Read the full transcript of the episode, which we recently transcribed for the web, in which the two discuss commonalities in every culture that create a need for God, and the symbolism of circles in life and literature.

Ep. 6: Joseph Campbell and the Power of Myth -- 'Masks of Eternity'

Bill Moyers and Joseph Campbell discuss the common experience of God…

BILLMOYERS.COM

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"Rig-Veda"

March 27, 2016, 7:04 pm

≫ Next: Julien Gracq ( 1910 – 2007)格拉克文集《大路》等

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"Lord of creation! no one other than thee
pervades all these that have come into being.
May that be ours for which our prayers rise,
may we be masters of many treasures!"
--from "Rig-Veda"

Among the sacred books of India are the hymns of the Rig-Veda, the world’s first recorded poems; the “magical texts” of the Athara-Veda; the stirring pantheistic speculations of the Upanishads; and the Bhagavad-Gītā, a cosmic drama of divine self-revelation in human history on the field of human battle. Taken together they represent 3,500 years of a continuous religious tradition that is multifarious, inclusive, and, at the same time, wedded to a central spiritual vision. This edition features the translations and annotations of R. C. Zaehner, a pioneering scholar whose selections in this volume, first published by Everyman’s Library in 1966, have never been bettered as an introduction for the general reader to the Vedic tradition. Zaehner has chosen the most interesting and important verses, rendered in English that is accessible and vivid, and his introduction provides an excellent guide to the historical context, the philosophical significance, and the literary power of these beautiful and ancient texts.

The Rig Veda : an anthology : one hundred and eight hymns, selected, translated and annotated / by Wendy Doniger O'Flaherty : 總圖2F人社資料區:到期 04-13-16 ; BL1112.54 E5 1981

Rig-Véda ou Livre des hymnes / trad. du sanscrit par A. langlois : 總圖2F人社資料區:可流通 ; BL1115 A32 1984
『リグ・ヴェーダ』（ऋग्वेद Rigveda）は、古代インドの聖典であるヴェーダの1つ。サンスクリットの古形にあたるヴェーダ語（英語: Vedic Sanskrit）で書かれている。全10巻で、1028篇の讃歌（うち11篇は補遺）からなる。

中国語の密教経典の翻訳では「梨倶吠陀」と表記され、日本語文献でも用いられた事がある。^[1]
《梨俱吠陀》（梵文：ऋग्वेद ṛgveda 全名《梨俱吠陀本集》，是由 ṛc「歌頌」和veda「知識」兩個詞根構成的複合詞），漢譯名稱為《歌詠明論》，是吠陀經中最早出現的一卷，成文於公元前16世紀到前11世紀，是除了西臺語的文獻外，在印歐語系語言中最古老的書籍。與其他文明的古老文獻不同，它是以口傳方式保存下來的。

中核となっているのは2巻から7巻で、祭官家の家集的な性質を持つ。第1巻と第8巻は内容的に類似し、2巻～7巻の前後に追加された部分と考えられる。9巻はこれらとは大きく異なり、神酒ソーマに関する讃歌が独占している。10巻は『リグ・ヴェーダ』の中で最も新しい部分とされる。讃歌の対象となった神格の数は非常に多く^[3]、原則として神格相互のあいだには一定の序列や組織はなく、多数の神々は交互に最上級の賛辞を受けている。しかし、他方でリグ・ヴェーダの終末期には宇宙創造に関する讃歌を持つにいたり、ウパニシャッド哲学の萌芽ともいうべき帰一思想が断片的に散在している^[4]。

後期ヴェーダ時代（紀元前1000年頃より紀元前600年頃まで）に続くヴェーダとして『サーマ・ヴェーダ』・『ヤジュル・ヴェーダ』・『アタルヴァ・ヴェーダ』の三つが編纂される。付属文典として『ブラーフマナ』（『祭儀書』）、『アーラニヤカ』（『森林書』）、『ウパニシャッド』（『奥儀書』）が著された。

日本語訳[編集]

辻直四郎訳注『リグ・ヴェーダ讃歌』岩波文庫、初版1970年

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Julien Gracq ( 1910 – 2007)格拉克文集《大路》等

March 27, 2016, 9:13 pm

≫ Next: Act of Creation by Arthur Koestler. Koestler : the literary and political odyssey of a twentieth-century skeptic / Michael Scammell

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維基百科，自由的百科全書

朱利安·格拉克（Julien Gracq，1910年7月27日－2007年12月22日），又譯葛哈克，法國作家。他認為作家不該比作品出名，所以他是目前法國文壇中最低調的作家之一。他受了德國浪漫主義以及超現實主義影響，他的作品摻雜著怪異的內容以及富想像力的意象。

他在約1930年時在法國師範學院受教育，主修歷史與地理。他曾在坎佩爾，南特，亞眠及巴黎克洛德貝納爾的中學教書。

他第一本作品《阿爾戈古堡》被Gallimard出版社拒絕後，由出版商荷西·科提發行，從此格拉克的書都由他發行。超現實主義的創始人安德烈‧布勒東在當時對小說及論說文有革命性的影響，格拉克雖然從來沒正式加入超現實主義一派，但是他的作品忠於超現實主義的精神，而且他也很推崇布勒東的論調。

另一位對格拉克很有影響力的作家是恩斯特·容蓋爾，容蓋爾在1943年作的意象性小說在懸崖邊對格拉克很有啟發性。在格拉克後來的主題和筆風都能看到和這書的影子。

在1950年他在恩培多克利斯文摘發表了一份嚴苛的論文，批評當代文學及文學獎的問題。他對自己提出的批評身體力行，在隔年因《流沙海岸》得龔古爾文學獎時拒絕領獎，因此還引起軒然大波。

他在1960年代起開始發表許多批評文學的作品（《癖好》、《大號字母上下集》、《讀它，寫它》），這些作品顯出他的崇高的文化素養及銳利的批評。

作品：[編輯]

維基語錄上的相關摘錄：朱利安·格拉克

阿爾戈古堡（1938年）小說
陰鬱的美男子（1945年）小說
巨大的自由（1946年）詩集
安德烈·布勒東（1948年）短文
漁夫國王（1948年）戲劇
肚裡的文學（1950年）論文
流沙海岸（1951年）小說，龔古爾文學獎，格拉克拒領。
林中陽台（1958年）小說
癖好（1961年）論說文集
大號字母上集（1967年）論說文集《首字花飾》華東師範
半島（1970年）短篇小說
大號字母下集（1974年）論說文集《首字花飾 2》華東師範
窄溪（1976年）故事
讀它，寫它（1980年）論說文集《邊讀邊寫》華東師範
城市的形狀（1985年）
在七座山旁（1988年）
大路筆記（1992年）《大路》華東師範
維護（2002年）

外接連結[編輯]

朱利安·格拉克官方網站

Julien Gracq (27 July 1910 – 22 December 2007), born Louis Poirier in Saint-Florent-le-Vieil, in the French département of Maine-et-Loire, was a French writer.^[1] He wrote novels, critiques, a play, and poetry. His literary works were noted for their dreamlike abstraction, elegant style and refined vocabulary. He was close to the surrealist movement, in particular its leader André Breton.^[1]

Life[edit]

Gracq first studied in Paris at the Lycée Henri IV, where he earned his baccalauréat. He then entered the École Normale Supérieure in 1930, later studying at the École libre des sciences politiques (Sciences Po.)

In 1932, he read André Breton's Nadja, which deeply influenced him. His first novel, The Castle of Argol is dedicated to that surrealist writer, to whom he devoted a whole book in 1948.

During the Second World War, he was a prisoner of war in Silesia with other officers of the French Army. One of the friendships he formed there was with author and literary critic Armand Hoog.

In 1950, he published a fierce attack on contemporary literary culture and literary prizes in the review Empédocle titled La Littérature à l'estomac. When he won the Prix Goncourt forThe Opposing Shore (Le Rivage des Syrtes) the following year, he remained consistent with his criticism and refused the prize.^[1]

Gracq taught history and geography in secondary school (high school) until he retired in 1970.

In 1979, he wrote the foreword to a re-edition of the Journal de l'analogiste (1954) bySuzanne Lilar, a work he called a "sumptuous initiation to poetry" ("une initiation somptueuse à la poésie").

In 1989, Gracq's work was published by the Bibliothèque de la Pléiade. He remained distant from major literary events and faithful to his first publisher, José Corti.

Gracq lived a quiet life in his native town of Saint-Florent-le-Vieil, on the banks of the Loire River. On 22 December 2007, a couple of days after suffering a dizzy spell, he died at the age of 97 in a hospital in Angers.

The Opposing Shore[edit]

Main article: The Opposing Shore

The Opposing Shore (Le Rivage des Syrtes - 1951) is Julien Gracq's most famous novel.

A novel of waiting, it is set in an old fortress close to a sea which defines the ancestral border between the stagnant principality of Orsenna and the territory of its archenemy, the mysterious Farghestan. Its lonely characters are caught in a no man's land, waiting for something to happen and wondering whether something should be done to bring about change, particularly when change may mean the death of civilisations.

Works[edit]

Au château d’Argol, 1938 (novel) (English translation: The Castle of Argol)
Un beau ténébreux, 1945 (novel) (English translation: A Dark Stranger)
Liberté grande, 1947 (poetry)
Le Roi pêcheur, 1948 (play)
André Breton, quelques aspects de l’écrivain, 1948 (critique)
La Littérature à l'estomac, 1949
Le Rivage des Syrtes, 1951 (novel) (English translation: The Opposing Shore)
Prose pour l’Etrangère, 1952
Penthésilée, 1954
Un balcon en forêt, 1958 (novel) (English translation: A Balcony in the Forest)
Préférences, 1961
Lettrines, 1967
La Presqu’île, 1970
Le Roi Cophetua, 1970 (novel) (English translation: King Cophetua); it inspired the film Rendezvous at Bray, directed by André Delvaux
Lettrines II, 1974
Les Eaux Etroites, 1976 (Allusions, allegories and metaphors on a French river, l'Èvre.) (English title: The Narrow Waters)
En lisant en écrivant, 1980 (English translation: Reading Writing)
La Forme d’une ville, 1985 (English translation: The Shape of a City)
Autour des sept collines, 1988
Carnets du grand chemin, 1992
Entretiens, 2002

References[edit]

^ Jump up to:^a ^b ^c

1971 Rendez-vous à Bray (after Julien Gracq's novel, Le roi Cophetua)

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