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夏曉虹:燕園學文錄;梁啟超:在政治與學術之間

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燕園學文錄

內容簡介

“三十年集”系列叢書的作者是一批如今活躍在學術界和文化領域的著名學者與知識分子。他們大多出生于四十年代和五十年代,對于他們而言,過去的三十年是一段重要而又特殊的生命旅程。

1977年,中斷十年的高考制度恢復,二批“知青”的命運由此而改變,並被投入到與先前的生活完全不同的時代洪流之中。在這潮頭多變的三十年里,他們執著地行走在自己選定的道路上,努力?持著自己獨立的性格;在洶涌而來的滾滾紅塵中,也不曾失卻超越性的人文關懷。為著一個信念、一份眷戀,他們不懈地尋覓著。這里的每一本書所記錄的就正是他們自己三十年來的心路歷程,他們的經歷、感受、體悟、思索以及由此而形成的獨特的精神姿態。這是他們個人的獨特道路,也是我們時代的獨特風貌。

夏曉虹,1953年出生于北京。1969年到吉林插隊。1975年底回京,進北京市第三皮毛廠。1978年3月入讀北京大學。1984年夏畢業,獲文學碩士學位。現為北京大學中文系教授。先後赴日本、美國、德國、捷克、韓國、英國、馬來西亞、以色列、新加坡以及中國台灣、香港等地從事研究與參加學術會議,並曾在德國海德堡大學、日本東京大學、香港嶺南大學客座講學。著有《覺世與傳世——梁啟超的文學道路》《晚清文人婦女觀》(日譯本名為《纏足�����女��女》)《晚清社會與文化》《晚清女性與近代中國》《閱讀梁啟超》《晚清上海片影》等。
 

目錄

自序
一九八○
談談李白的“好神仙”與從政的關系
一九八一
談杜牧與李商隱的詠史詩
一九Jk--
杜甫律詩語序研究
一九八三
古代民歌表現手法對早期詩人創作的影響
一九八四
梁啟超的“文界革命”論與“新文體”
一九八五
五四白話文學的歷史淵源
一九八六
懷此貞秀姿卓為霜下杰——析陶淵明《和郭主簿》其二
一九八七
梁啟超與日本明治小說
一九八八
寫給別人還是寫給自己——讀幾部近代人物日記
一九八九
說譚嗣同的“任俠”
一九九○
人生得意須盡歡
一九九一
晚清文學改良運動
一九九二
“明末三大家”的由來
一九九三
追尋歷史的蹤跡(關西篇)
一九九四
發乎情,止乎禮義——林紓的婦女觀
一九九五
從男女平等到女權意識——晚清的婦女思潮
一九九六
批茶女士是誰?——晚清翻譯文學誤讀之一例
一九九七
在美國“發現”歷史(錄二)
一九九八
晚清報紙的魅力
一九九九
劉崇佑︰抗辯政府的大律師
二○○○
心關國粹謀興學——丘逢甲教育理念的展開
二○○一
晚清上海賽馬軼話
二○○二
同里︰曾經有過的榮光
二○○三
重構晚清圖景——《晚清女性與近代中國》導言
二○○四
梁啟超的文類概念辨析
二○○五
《覺世與傳世——梁啟超的文學道路》新版序
二○○六
晚?外交官廖恩燾的戲曲創作
二○○七
晚清的西餐食譜及其文化意涵
二○○八
從新發現手稿看梁啟超為出洋五大臣做槍手真相
二○○九
溫厚情誼薪火相傳——《清華同學與學術薪傳》緣起
附錄一︰主要著作及論文發表目錄
附錄二︰隨境自在展風華——夏曉虹教授專訪(蔡祝青)



梁啟超:在政治與學術之間

內容簡介

選取梁啟超學術生活和政治生活點滴,展示了梁啟超不為人知的細節,他作為新舊交替時代知識分子勇於承擔社會責任,積極參政議政,在政治活動之余不忘學術研究,在學術領域獨辟一地;「國家興亡匹夫有責」,梁啟超或變革或筆伐,或溫和改良或力挽狂瀾,用政治行動和學術研究融入時代。

夏曉虹,北京大學中文系教授、博士生導師。先后赴日本、美國、德國、捷克、韓國、英國、馬來西亞、以色列以及台灣、香港地區從事研究與參加學術會議,並曾在德國海德堡大學(1998)、日本東京大學(1999—2001)客座講學。主要關注近代中國的文學思潮、女性生活及社會文化。著有《覺世與傳世——梁啟超的文學道路》、《詩界十記》、《晚清文人婦女觀》、《詩騷傳統與文學改良》、《晚清的魅力》、《晚清社會與文化》、《返回現場——晚清人物尋蹤》、《晚清女性與近代中國》、《閱讀梁啟超》;並主編「學者追憶叢書」,編校《〈飲冰室合集〉集外文》等。
 

目錄

小引
輯一
作為政治家的梁啟超
一、梁啟超研究簡述
二、梁啟超的政治生涯
三、對梁啟超政治活動的評價
四、對德宣戰與五四運動
梁啟超代擬憲政折稿考
一、考察憲政五大臣奏稿疑案
二、梁啟超與戴鴻慈、端方之奏折
三、新發現的梁啟超稿本
四、五篇奏稿與清末新政
五、化除滿漢畛域的獻策
六、關於《條陳郵傳部應辦事宜》
七、對一篇未完稿條陳的考證
附錄:梁啟超代擬憲政奏折及其他
一、請定外交政策密折
二、上端方書
三、請設財政調查局折
四、請設立中央女學院折
五、條陳郵傳部應辦事宜
六、為留學研究一得謹陳管見呈文
書生從政:梁啟超與伍庄
一、梁啟超與伍庄的交誼
二、伍庄眼中的梁啟超
三、粱啟超與憲政黨之關系
四、政治與學術的離合
輯二
胡適與梁啟超的白話文學因緣
1920年代梁啟超與胡適的學術因緣
——以新發現的梁啟超書札為中心
一、關於《清代學術概論》與《中國佛教史》
二、關於《中國哲學史大綱》與《國學小史》
三、關於《墨經校釋》
1920年代梁啟超與胡適的詩學因緣
——以新發現的梁啟超書札為中心
一、關於《晚清兩大家詩鈔題辭》與《嘗試集》
二、關於梁啟超詞稿
附錄:新見梁啟超致胡適書
輯三
梁啟超家庭講學考述
一、雙濤園:以辭章之學為主
二、飲冰室一:1918年為群兒講學綜考
三、飲冰室二:清代學術研究的再出發
四、飲冰室三:講論《孟子》的試演
梁啟超的「常識」觀
一、「國民常識學會」的構想
二、「國民常識」論述的形成
三、梁啟超「常識」觀的構成
梁啟超與《中國圖書大辭典》
一、《中國圖書大辭典》編纂緣起
二、「建設『中國的圖書館學」』之試驗
三、「培養圖書館人才」之實踐
四、《中國圖書大辭典》的成績
輯四
梁啟超與父親
——從四封未曾寄達的家書說起
一、民國前的父子離合
二、民國初年梁啟超的顧慮
三、梁啟超為父祝壽
四、為國乃大孝



Frederich Nietzsche, Beyond Good and Evil

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The Philosophy of Nietzsche – a Film

The challenge begins with how to pronounce his name: the first bit should sound like 'knee', the second like 'cha': 'kneecha'. Then we need to get past some of his extraordinarily provocative statements: 'What doesn't kill me makes me stronger'; 'God is dead! And we have killed him'; and his large moustache.

PHILOSOPHY - Nietzsche

https://www.youtube.com/watch?v=wHWbZmg2hzU

Own up to envy

own up
Admit to having done something wrong or embarrassing:he owns up to few mistakes











Beyond Good and Evil confirmed Nietzsche’s position as the towering European philosopher of his age. The work dramatically rejects the tradition of Western thought with its notions of truth and God, good and evil...





 
Vintage Books & Anchor Books
term contradicts itself: whatever can be common always has little value. In the end it must be as it is and always has been: great things remain for the great, abysses for the profound, nuances and shudders for the refined and, in brief, all that is rare for the rare.”
--Frederich Nietzsche, Beyond Good and Evil




尼采《善惡的彼岸》趙千帆譯,北京:商務,2015



The Rambling Taoists: Nietzsche V: Frog Perspectives

ramblingtaoist.blogspot.com/2012/10/nietzsche-v-frog-perspectives.html
Oct 23, 2012 - The Zhuangzian well-frog begins by believing that his little world is the whole ... in scale, every world has its limits, every perspective is frog-like.

Nietzsche's perspectivism - Routledge

documents.routledge-interactive.s3.amazonaws.com/.../NietzschePerspect...
translation is 'a frog's perspective'– which was also slang for 'narrow-minded' (because ... Nietzsche talks about 'perspective' when he is relating beliefs to our values ...perspectives are defined by different values; differences in belief are not ...

Alan MacFarlane 《日本镜中行》《玻璃的世界》GA: Glass and Architecture 1989,

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GA: Glass and Architecture , Special Issue, June, 1989 ( Atrium)



Crystal Houses by MVRDV
http://buff.ly/1WU7in2

atrium

発音
éitriəm
[名](複a・tri・a 〔-tri〕, 〜s)
1《建築》アトリウム.
(1)(古代ローマの)開口部つき中央大広間.
(2)(初期・中世教会建築の)柱廓に囲まれた中庭.
(3)吹き抜け(全階通し中央ホール).
2《解剖学》心房.
a・tri・al

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

[形]今天隔了5-6年,記Alan MacFarlane 第本書:他的書都值得一讀 ,《日本镜中行》翻譯相當用心。
他的日本觀當然可參考 不過引述某中國人之兒童教育等說法不令人滿意


《玻璃的世界》2004
不可不看一下的人類社會學學者的 網站:http://www.AlanMacFarlane.com裡面,有許多影片摘要、訪談等等。譬如說《玻璃的世界》 (北京:商務 ,2003) The Glass Bathscaphe: How Glass Changed the World (2002) (with Gerry Martin)。
他的論點之一說:西方的科學革命獨特 點是他們懂得用glass,
來作出種種精密儀器。這種假說很特別,我認為這成立不成立,是無法驗證的,然而何妨「百說俱陳」,或 許歷史的想像就是很美的研究前提。
這書名The Glass Bathyscaphe: Glass and World History有一奇怪字,即,BATHYSCAPHE. (Pronunciation: 'bathi`skeyf. Matching Terms: bathyscaph. WordNet Dictionary.) ,意思是:到深海之中駕"玻璃船"探討 (Definition: [n] navigable deep diving vessel for underwater exploration. Synonyms: bathyscape, bathyscaph.) 又,有人撰書評說,這方面的著作,有更全面的: Robert Temple's excellent book, THE CRYSTAL SUN deals with the development and use of lenses in antiquity in a more complete manner.

台灣未來的產業前途與高級玻璃LCD電視等息息相關……我是懷念竹北Philips的玻璃廠製造的 TV CRT中的兩大玻璃組件screens和cones(我一直在幻想:玻璃原料經高榙而下的數周煉成經過,那是我的煉丹經驗;雖然我不懂 細節,總工程師何先生說,我教的實驗計畫和統計方法,肯定對他們有助益……), 以及如何在上面塗佈化學螢光劑,加上精密複雜的masks等等。



作 者简介 · · · · · ·

  艾伦•麦克法兰 英国著名社会人类学家、历史学家、剑桥大学社会人类学教授、剑桥大学国王学院院士、英国学术院院士、欧洲学术院院士。著述凡18种,包括《英国个人主义的 起源》、《玻璃的世界》、《给莉莉的信》(以上三种均有中译本)、《都铎和斯图亚特时代英格兰的巫术》、《重构历史共同体》、《17世纪牧师拉尔夫•乔斯 林的家庭生活》、《资本主义文化》和《现代世界的形成》等。


2016

"Consumers could potentially be cut or injured if ingested," the company said in a statement.


RECALL ALERT: Some batches of 'Nice!' peaches and mixed fruit sold at Walgreens nationwide recalled over glass particles.


2010

Japan Through The Looking Glass, by Alan Macfarlane - Reviews ...

Japan Through The Looking Glass, by Alan Macfarlane

Views from a lonely road to modern life
Reviewed by Victoria James
Japan, like Antarctica, does funny things to its visitors. Perfectly normal people return desperate to write up "unique" experiences. I've lost count of the number of sub-standard accounts I've read of both places. Airport officials should keep an eye out for the afflicted and quarantine them until the authorial urge wears off.
I'd wave through the green lane, though, the author of Japan through the Looking Glass. Alan Macfarlane, professor of anthropology at Cambridge, has produced an engaging and well-informed analysis of Japanese culture and society. Though the book springs from his long-standing personal fascination with the country, it is refreshingly light on self-reference, instead treading a scrupulous anthropological line between observation and acknowledgement of one's perspective as observer.
Macfarlane jumps in at the deep end with a summary of the Nihonjinron, the notorious debate on national identity that gripped Japan from the postwar period to the mid-1970s, which may have the uninitiated floundering. Thereafter, he settles into a broad thematic analysis that explores wealth, people, power, ideas and beliefs. Admittedly, there is little here that feels particularly new, but readers fresh to Japanese studies will find something fascinating on every page. Those more familiar with writing on Japan will appreciate the smaller details, many born of Macfarlane's rich comparative insights: that Japan is "the only civilisation with no trace of witchcraft beliefs in its recorded history"; or that at the middle of the 20th century, reportedly 80 percent of the Japanese population were regular composers of haiku.
There is delightful trivia, too – like the fact that for centuries dwellers along Japanese highways "placed urinals in front of their houses" so that both men and women could "provide fertiliser for the field". Macfarlane hasn't included this for trivial reasons, though. He is very good at suggesting how Japan has been shaped by its poor soil, mountainous geography, monsoons and earthquakes. Not least, this led to a fascinatingly counterintuitive period, roughly 1600 to 1850, when the Japanese "systematically eliminated two of the fundamental technologies which had revolutionised agriculture about 10,000 years ago... the wheel and domesticated animals".
The penultimate chapter is a persuasive articulation of why Japan really is so tantalisingly unique. It draws heavily on the work of others, principally SN Eisenstadt and Robert Bellah. But much as Macfarlane admires the Japanese ability to incorporate only the best and most suitable of foreign influences, improving them in the process, so he distils a graceful and concise argument from the existing scholarship.
His conclusion – that Japan, being a modern society that has reached modernity by a path utterly different from the rest of the world, thereby offers an "opportunity to escape from the assumptions of our own culture"– is the best rationale yet for why we still need intelligent books on Japan. Just the intelligent ones though, please.
Victoria James is a former arts editor of the 'Japan Times'
Profile £16.99 (256pp) £15.29 (free p&p) from 0870 079 8897
《日 本鏡中行》是一次長達15年的研究的結果。艾倫‧麥克法蘭進入“鏡中日本”之前,恰如漫游鏡中世界的愛麗絲一樣,也曾滿懷西方人的預設,不料它們一一遭到 了日本文化和習俗的挑戰,因此他不得不放棄定見,屢次深入日本,重新估量這片奇異的國土。

在這部富于洞見、驚奇連連、幽默風趣的著作中,麥克法蘭解索了日本的各種謎題,包括天皇、宗教、禮儀、教育、種族、戰爭、藝術、家庭、民族性格,乃至飲 食、性、犯罪,等等,不僅使我們重新認識了日本,也有助于我們重新認識自己的社會。

麥克法蘭步履輕快地穿梭于古今之間,以學者的透視性目光洞察了日本的本質︰一支又一支外來水系源源匯入一條奔騰長河,而它的底蘊永遠是“變化的同一”,一 個自有其完美邏輯的整體。


艾倫‧麥克法蘭 英國著名社會人類學家、歷史學家、劍橋大學社會人類學教授、劍橋大學國王學院院士、英國學術院院士、歐洲學術院院士。著述凡18種,包括《英國個人主義的 起源》、《玻璃的世界》、《給莉莉的信》(以上三種均有中譯本)、《都鐸和斯圖亞特時代英格蘭的巫術》、《重構歷史共同體》、《17世紀牧師拉爾夫‧喬斯 林的家庭生活》、《資本主義文化》和《現代世界的形成》等。

詳細資料

  • 規格:平裝 / 260頁 / 15.5cmX23cm / 普級 / 單色 / 初版
  • 出版 地:大陸

目錄

序︰結伴而行
1 走進鏡中日本
2 文化震撼
3 財富
4 日本人
5 權力
6 思想觀念
7 信仰
8 走出鏡中日本
日本主要歷史時代
本書頻繁征引的幾位早期訪日西方人
網站、參考書目及推薦書目
索引
譯後記

當愛麗絲進人奇境和穿越鏡子的時候,她遇見了無數“奇人”,他們紛紛為她解釋他們的奇特世界,設法消除她的疑惑。同樣,本書也是我與友人多次談話、采納多 方意見、依靠眾人支持的結果。自從我與妻子莎拉首次訪問日本以來,十六年匆匆而過,其間我得到了許多人的幫助,但在這里,我只能向少數幾位表示感謝。

認知日本絕非易事。如果沒有中村健一教授和中村敏子教授——下稱健一和敏子——這兩位日本朋友的幫助,我的嘗試只會徹底失敗;如果我不得不首先花上好幾年 功夫學習說日語和讀日語,我就不會有時間開展本書自始至終都在進行的各文明的比較研究。不會說口語,也不會讀日語,我自然大力依靠當地的消息提供人士。譬 如,日本好幾位重要的歷史學家、人類學家和政治哲學家的代表作就不曾澤成英文,我只能依靠健一和敏子概括介紹的他們的思想和觀點。

我們曾多次與健一和敏子討論本書涉及的主題。迄今我和妻子已經訪日六次,每次都與他們會面,並且經常結伴雲游日本。無論是我們訪日期間,還是他們訪英期 間,我們總是無休止地提問,他們則盡力賜教,仿佛義不容辭。他們這樣做,部分原因在于他們對英格蘭文化也深感興趣,部分原因在于他們希望表述自己觀察日本 的結果,表達由此而生的向英格蘭學習的渴望。在日本,求知欲使我們變成了他倆的“孩子”,他們走進我們的無知世界,親切地帶領我們一步步走向理解。用英語 工作需要移譯,所以他們的交流負擔比我們沉重。

為了認識那些極其精明而且消息靈通的當代日本學者,必然需要最恰當的中間人。健一和敏子利用自己的學術關系,介紹我們認識了一批對日本問題有著深刻思考的 學者,為無數次極有價值的討論創造了條件。

對于日本學者來說,開誠布公地批評外國長輩學者也非易事。但是我們的兩位朋友格外直率,也非常自信,因此成為了出色的合作者和批評家。抱著誠懇的態度和原 創的精神,他們評閱了我的大量草稿和論文。

我們的合作始于一封邀請函——請我講講西方的浪漫愛情觀。而我們雙方由此發展起來的跨文化友誼,正是另一種形式的愛,令我和莎拉深為感動。這份愛,不僅體 現在知識和社交方面,也體現在他們為實現合作而做的許多瑣事中。特別值得提到的是,健一為我們的大多數訪日行程解決了資金問題,否則,頻繁訪問這樣一個國 度必然會昂貴到令人卻步。

既然本書實際上是一個共同探索的故事,是一番雙方試圖理解對方歷史和文化的長期對話,那麼,恰當的做法也許是在扉頁上標明本書的合作關系。不過我們雙方一 致同意不這樣做,理由很簡單︰盡管本書直接或間接引用了健一和敏子的見解,但是最終,構思和寫作本書的仍是我自己。他們並不完全同意我所寫的一切。因此有 必要強調,縱然我們在一個聯合研究項目中的互相合作滲透了本書的始末,但對本書觀點負全部責任的卻是我本人。

日本镜中行

日本镜中行

作者: 艾 伦 麦克法兰
译者: 管可秾
ISBN: 9787542631619
页数: 268
定价: 32
出版社:上海三联书店
装帧:平装
出版年: 2010-04

简介 · · · · · ·

  《日本镜中行》是一次长达15年的研究的结果。艾伦•麦克法兰进入“镜中日本” 之前,恰如漫游镜中世界的爱丽丝一样,也曾满怀西方人的预设,不料它们一一遭到了日本文化和习俗的挑战,因此他不得不放弃定见,屡次深入日本,重新估量这 片奇异的国土。
  在这部富于洞见、惊奇连连、幽默风趣的著作中,麦克法兰解索了日本的各种谜题,包括天皇、宗教、礼仪、教育、种族、战争、艺 术、家庭、民族性格,乃至饮食、性、犯罪,等等,不仅使我们重新认识了日本,也有助于我们重新认识自己的社会。
  麦克法兰步履轻快地穿梭于古今 之间,以学者的透视性目光洞察了日本的本质:一支又一支外来水系源源汇入一条奔腾长河,而它的底蕴永远是“变化的同一”,一个自有其完美逻辑的整体。

"The Mayor of Casterbridge" By Thomas Hardy《嘉德橋市長》吳奚真譯

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1967年我就買《嘉德橋市長》(吳奚真編注,台北:遠東圖書,1967;
只讀第一章,印象最深刻的是對facial angel 的註解,還有圖示。
看過BBC的影集,所以對故事有概括的了解。以前,

Everyman's Library 對這本小說的引言很短:


"...happiness was but the occasional episode in a general drama of pain."

--from "The Mayor of Casterbridge" By Thomas Hardy

今天2016.5.8 的,比較完整點,不過英文不好懂。這是小說的末段,句長或許另外有意思:

"And in being forced to class herself among the fortunate she did not cease to wonder at the persistence of the unforeseen, when the one to whom such unbroken tranquility had been accorded in the adult stage was she whose youth had seemed to teach that happiness was but the occasional episode in a general drama of pain."

吳奚真譯文:她雖然不得不把自己列入幸運者之中,可是她對於世事的永難逆料仍然莫測高深,她雖然在成長階段享受到這樣完整的安靜生活,少年時代的經歷卻給了她一個教訓,使她認為幸福快樂只是整齣痛苦戲劇中偶然出現的插曲而已。

Mayor of Casterbridge - Chapter 45 - Cleave Books

www.cleavebooks.co.uk/grol/hardy/mayor45.htm
She had not been able to forget it for days, despite Farfrae's tender banter; and now when the matter had .... And in being forced to class herself among the fortunate she did not cease to wonder at the persistence of the unforeseen, when the one to whom such unbroken tranquility had been accorded in the adult stage was ...
這章的遺囑更是感人.....

-----

方寒星來信pointed out:「《成寒英語有聲書5-一語動人心》書中插圖」 其中,「(李振清博士)在師大英語系大二期間,因為勤讀英文小說,我逐漸領會到英美文學作品及其文字的優美,從而摹仿其文詞、句構、語意與意境。當時教小說選讀的是一位令我敬愛、英國文學造詣極深的翻譯名家,吳奚真教授。吳老師當年選讀哈代(Thomas Hardy)的名著《卡斯特橋市長》(The Mayor of Casterbridge);這是我一生首次精讀,甚至背誦部分章節的英國文學作品,對日後的英文寫作有很大的影響。」

(hc:這本書我們談過。「哈代之小說《嘉德橋市長》(吳奚真編注,台北:遠東圖書,1967;吳奚真譯,台北:大地出版社,1992--民國八十一年榮獲國家文藝基金會翻譯獎…」 彭鏡禧先生寫過短文推薦。記得也有論文比較數種版本之翻譯。待查。)


Thomas Hardy’s English Lessons

  • By THOMAS MALLON
Published: January 28, 2007
When Thomas Hardy drew his first chancy breaths inside a Dorset cottage in 1840, Wordsworth had yet to become England's poet laureate. By his ninth decade, still writing, Hardy enjoyed listening to the wireless with his dog, Wessex, and had seen the silent-film adaptation of his own "Tess of the D'Urbervilles." The author's life span seems somehow even vaster than it was, a match for the cosmically long view Hardy took of his fictional characters, fate's playthings set in motion on a "blighted star."
Skip to next paragraph

Carin Goldberg

THOMAS HARDY

By Claire Tomalin.
Illustrated. 486 pp. The Penguin Press. $35.

Associated Press
Thomas Hardy at his home, Max Gate, in Dorset in 1923.
His mother, Jemima, is described by Claire Tomalin in this excellent new biography as having been "powerful, rather than tender," with a "dark streak of gloom and anger." A literate, book-hungry servant, Jemima had been exposed briefly to London life before her shotgun wedding to Hardy's father, a rural builder who proved, like his wife, a conscientious parent to their clever, undersize son, whom they provided with a nonconformist education and then apprenticed to an architect.
Much of Hardy's work in that early position derived from England's 19th-century vogue for "indiscriminate church restoration," an ahistorical endeavor he came to regret. From religion itself he never fell fully away, Tomalin argues. In the midst of his later meditations on the universe's blind cruelty, he "cherished the memory of belief," as if it were an original stone church underneath all the neo-Gothic gimcrackery.
━━ a. 非歴史の; 歴史に無関係の.

Lucky enough to secure a place with Arthur Blomfield, "one of the most successful architects in London," Hardy nonetheless began seriously to pursue his ambition of becoming a novelist. Finding something to say about the manners, economics and morality of his society was hard enough work; convincing himself that he had the right to say it — at a time when his lack of property meant he was not entitled to vote — must have been an even taller order. Class was the vise in which he lived his early life, and Tomalin makes her readers feel the squeeze, as Hardy manages his slow rise into the middle class and then toward the upper echelons of authorship.
This new biography makes its subject a fascinating case study in mid-Victorian literary sociology. Hardy struggles — with an industriousness befitting the age — against editorial rejection, rapacious contract terms and enforced prudery. Leslie Stephen, known chiefly to the 21st century as Virginia Woolf's father, edited his magazine, The Cornhill, under the watchful, prissy eyes of so many others that he sometimes made "few suggestions beyond bowdlerizations" when working on Hardy's copy. Serialization often forced the author "to pack in far too much plot" and thereby throw novels like "The Mayor of Casterbridge" significantly off-kilter. Finally, there were reviewers to contend with; Hardy remained overly sensitive to all they had to say.
━━ n. 好調.
 in [out of] kilter 調子がよい[悪い].

Tomalin herself examines the novels with the confident judgments of a critic, not the hedged and sometimes overawed appraisals of a scholar. Appreciative of Hardy's genius, she still finds his body of fiction "exceptionally uneven.""Tess," the novel that made him rich, remains by Tomalin's measure an awkward production in spots, and yet it "glows with the intensity" of Hardy's imagination. In a fine example of biography's usefulness to criticism, Tomalin notes that what Hardy called Tess's "invincible instinct towards self-delight" was a quality the novelist "himself possessed in very small measure," and thus, perhaps, judged all the more laudable in his heroine. "Jude the Obscure," written when he was in his mid-50s, reprised Hardy's earliest "theme of a penniless young man with ambitions and radical ideas." But so inexhaustible were his feelings on the subject that even today, as Tomalin puts it, "reading 'Jude' is like being hit in the face over and over again. ... It was Job retold for a godless world that offers no final consolation or redress." Reviews of the book were often scandalized and savage, and if they did not actually cause Hardy to abandon novels for poetry — something he'd long wished to do — they seemed to provide him with the right moment. Having secured his place among the English novelists, he had 30 years left to write nothing but verse.
Hardy tended toward second thoughts and withdrawn behavior, as well as toward the sense of himself as a kind of living ghost: "Even when I enter into a room to pay a simple morning call I have unconsciously the habit of regarding the scene as if I were a spectre not solid enough to influence my environment." Many, like Virginia Woolf, were struck by his kindliness, and he insisted on calling himself an "evolutionary meliorist," not a pessimist. But Tomalin quotes an astonishing letter of condolence that he wrote when Henry Rider Haggard, the adventure writer, lost his 10-year-old son: "To be candid, I think the death of a child is never really to be regretted, when one reflects on what he has escaped."
Hardy's long — and childless — marriage to Emma Gifford was marked by ever increasing estrangement and what Tomalin calls "mutual incomprehension." Emma's liveliness and complicated nature had made her, early on, a kind of muse and "mine"— Hardy's own word — of material, but her own frustrated desire to write left her jealous of her husband's success and even of his heroines. Annoyed by her habit of referring to "our books," Hardy worked hard at being both loyal and oblivious to her.
In the 1880s, two decades after he "set out to become a Londoner," he decided to return home to Dorset for good and build the house he called Max Gate; he took up residence and even served as a local justice of the peace. Emma did not favor the move but put up with it, as she put up with Hardy's attraction to the married Florence Henniker, a published novelist and the daughter of a lord, whose desire for friendship but not sex with Hardy helped inform his portrait of the neurotic Sue Bridehead in "Jude." In 1905, when Hardy was 65, another Florence, Miss Dugdale, entered his and Emma's life by means of a fan letter. She thoroughly insinuated herself into the Max Gate household and became the second Mrs. Hardy following Emma's death in 1912. And yet, any humiliation from this would come to her, not Emma, when Hardy began to produce an extended series of questioning, penitential elegies for his first wife, the whole set of them racked with guilt and wonder.
Tomalin calls the Emma poems "one of the finest and strangest celebrations of the dead in English poetry," shrewdly observing of their author: "The more risks he takes the less he falters." The elegies have been strongly appreciated by other Hardy biographers (including Martin Seymour-Smith a dozen years ago) but perhaps never so convincingly as they are by Tomalin, who chooses to begin her book's prologue with Emma's death, what she calls "the moment when Thomas Hardy became a great poet." To those, like this reviewer, who have always thought Hardy as unwise to have given up fiction as George Meredith was to neglect poetry, even for a time, Tomalin's treatment of the Emma poems prompts at least a tentative reconsideration. What she sees as "the contradictions always present in Hardy, between the vulnerable, doomstruck man and the serene inhabitant of the natural world" may actually have been better conveyed by verse, which allows the clashing elements a lyric near-simultaneity, something unachievable in the slower alternations of narrative fiction.
Surely, at points in writing this biography, Tomalin must have pined for the subject of her previous one, Samuel Pepys, whose whole exuberant existence derived from an "instinct towards self-delight" such as even Tess never knew. Nonetheless, Tomalin comes through, recounting Hardy's life with the amiable authority of a 19th-century novelist, unafraid of gentle, but firm, pronouncements ("Like most people, he gave different accounts of what he believed at different times"). She has visited each important locale of Hardy's life, noticing the large and seemingly simple things academic scholars often miss: "Most of his characters are prodigious walkers. Tess and Jude both walk themselves through the crises in their lives, and Jude effectively kills himself by walking in the rain." This is an observation that helps readers to square the circle of recognitions, to remember Hardy as a writer whose books they would once finish with the sudden need to get up from the chair and out of the house, to walk, alone, filled with the ancient surefire feelings of pity and fear.


Everyman's Library

"And in being forced to class herself among the fortunate she did not cease to wonder at the persistence of the unforeseen, when the one to whom such unbroken tranquility had been accorded in the adult stage was she whose youth had seemed to teach that happiness was but the occasional episode in a general drama of pain."

"...happiness was but the occasional episode in a general drama of pain."
--from "The Mayor of Casterbridge" By Thomas Hardy
The Mayor of Casterbridge is a man haunted by his past. In his youth he betrayed his wife and baby daughter in a shocking incident that led him to swear never to tough (sic) alcohol again for twenty-one years. He has since risen from his humble origins to become a respected pillar of the community in Casterbridge, but his secrets cannot stay hidden forever and he has many hard lessons left to learn. Thomas Hardy’s almost supernatural insight into the course of wayward lives, his instinctive feeling for the beauty of the rural landscape, and his power to invest that landscape with moral significance all came together in an utterly fluent way in The Mayor of Casterbridge. A classically shaped story about the rise and fall of the brooding and sometimes brutal Michael Henchard in the harsh world of nineteenth-century rural England, The Mayor of Casterbridge is an emblematic product of Hardy’s maturity–vigorous, forceful, and unclouded by illusions. READ an excerpt here: http://knopfdoubleday.com/…/75320/the-mayor-of-casterbridge/


Everyman's Library 的相片。



Bureaucracy: What Government Agencies Do and Why They Do It)《官僚機構──政府機構的作為及其原因》孫艷譯 北京三聯2006

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Bureaucracy is the classic study of the way American government agencies work and how they can be made to work better. Examining a wide range of bureaucracies, including the Army, the FBI, the FCC, and the Social Security Administration, James Q. Wilson provides the first comprehensive, in-depth analysis of what government agencies do, why they function as they do, and how they might become more responsible and effective. With a new introduction by the author.


From Library Journal

Wilson (management, UCLA) attempts to explain bureaucratic behavior, beginning with a contrast of similar institutions (armies, prisons, and schools) that have succeeded and failed. He finds that neither the liberal view (more money, new programs) or the conservative ideology (smaller government) provides the single answer. Wilson's key contribution here is his emphasis on the "bottom" of the bureaucracy--those who do the work. Policy, he says, is developed by those with no understanding of its implementation. In addition, Wilson suggests that bureaucracy can be made "efficient" by giving bureaucrats more incentives and flexibility, a strategy, he concludes, that conflicts with our political culture. For academic libraries.
- Jeffrey Kraus, Wagner Coll., Staten Island, New York
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Review

"A gold mine of interesting, even unique observations about bureaucratic government on all levels." -- Christian Science Monitor

"A gold mine of interesting, even unique observations about bureaucratic government on all levels." -- --R. Cort Kirkwood,Christian Science Monitor

"Immediately takes its place as the indispensable one-volume guide to American national administration." -- --Aaron Wildavsky,Los Angeles Times Book Review

"The synthesis is shrewd and creative. The prose is uncommonly swift. The fresh insights are abundant and compelling." -- --Martha Derthick, University of Virginia


Product Details

  • Paperback: 464 pages
  • Publisher: Basic Books (January 30, 1991)
  • Language: English




《官僚機構──政府機構的作為及其原因》 (Bureaucracy: What Government Agencies Do and Why They Do it)
詹姆斯.Q. 威爾遜[美]
譯者 孫艷
出版社 三聯書店(北京)
ISBN 9787108023605

  • 平装: 583页
  • 开本: 32开
  • 無索引

本書作者詹姆斯.Q.威爾遜是美國當代著名政治學家,美國藝術與科學院院士。在本書中,作者對包括軍隊、聯邦調查局、禁毒署、中央情報局、航空航天局、森 林管理局、社會保障管理局、公立學校和監獄等美國公共管理機構進行了全面、深入的分析研究,給讀者呈現了這些機構清晰的運作圖景及其背後複雜的原因機理, 並指出了提高官僚機構的責任感和效率的可能途徑。

本書融彙了政治學、社會學與經濟學之精髓,打破了行政管理與工商管理之領域,是探索普遍適用的“官僚-管理理論”的新嘗試。本書首版於1989年(中文版根據2000年第二版譯出),因其對美國官僚機構的出色研究而成為國際上公認的政治學與公共管理學科領域的經典之作。


目录

总序   新版序言   序言   致谢   第一部分组织   第二部分业务人员   第一章军队、监狱、学校   第二章组织的实质   第二部分业务人员   第三章情境   第四章信念   第五章利益   第六章文化   第三部分管理人员   第七章制约   第八章人员   第九章服从   第四部分主管人员   第十章势力范围   第十一章 战略   第十二章 创新   第五部分 环境   第十三章 国会   第十四章 总统   第十五章 法院   第十六章 国家差别   第六部分 变化   第十七章 问题   第十八章 规章制度   第十九章 市场   第二十章 官僚体系与公共利益   引注   译后记


 翻譯評論:
 作者在Bureaucracy: What Government Agencies Do and Why T...新版序言一段界定:

...  creating reorganization task forces that were chiefly devoted to expanding accountability, increasing efficiency, and enlarging presidential authority ( By accountability I mean increasing  policy implementers' responsiveness to higher officials who must take responsibility for that policy.) ......曾建立重組工作的課題組主要致力於拓展責任感提高效率和擴大總統權力
 (通過責任感我希望傳達的意思是提高政策執行者對主管貫徹該政策的高級官員的敏感性。)


  ......曾建立重組工作的任務小組主要致力於增廣責任感提高效率和擴大總統權力
 (我在上文的"責任感"的意思是提高政策執行者對於負責貫徹該政策的高級官員更能應答。)

"敏感性"固然可表示對人的RESPONSIVENESS ,不過它已有負面的意思。
----
James Q. Wilson《官僚機構──政府機構的作為及其原因》(Bureaucracy: What Government Agencies Do and Why They Do It)孫艷譯  北京三聯2006頁363 談協調
將"點金石" philosopher's stone 翻譯成"哲學家的墓石"




People 人物: 三月2012

hcpeople.blogspot.com/2012_03_01_archi... - Cached -Translate this page
2012年3月31日 – 官僚机构: 政府机构的作为及其原因/ ; 孙艳北京市: 生活.讀書.新知三联书店, 2006 北京第1版...

Gordon Tullock 和 James Buchanan《》

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Gordon Tullock 和 James Buchanan兩人的主要著作都有漢譯了


布坎南:終生反對特權的經濟學家
牛津大學政治學教授伊恩•麥克萊恩為英國《金融時報》撰稿

享年93歲的詹姆斯•布坎南(James Buchanan)是一位傑出而富有爭議的經濟學家,他與戈登•圖洛克(Gordon Tullock)合作創立了被稱為“維吉尼亞學派”的公共選擇理論。

在布坎南和圖洛克看來,在分析市場決策時採用“經濟人”假設(認為人的一切行為都是為了最大程度地滿足私利),而在研究政治決策時假設政治行為人是無私的,這相互矛盾。羅納德•裡根(Ronald Reagan)那句名言——“英文中最令人膽戰心驚的幾個字莫過於,'我為政府工作,我來這兒是為了幫助你”——其靈感源泉就是他們的觀點。

布坎南是1986年諾貝爾經濟學獎得主。考察那些涉及保護主義或農場補貼的政治博弈,可以印證他的觀點。那麼,圍繞布坎南的爭議從何而來?絕大多數爭議源於,布坎南的精緻理論,被人們與其他偏芝加哥學派經濟學家的一些不夠嚴謹的觀點混淆在一起。那些經濟學家不顧事實地認為,每個人在任何時候都是自私的。

以布坎南自己為例,他在母校田納西州立大學(Middle Tennessee State University)設立了多項獎學金(他後來又取得了芝加哥大學博士學位)。懷疑別人自稱的無私並無不妥,但自稱無私者並不總是在故作姿態。

這種矛盾對布坎南自己的研究也有影響。在與圖洛克合著的《計算共識》(The Calculus of Consent,1962年出版,該書是諾貝爾委員會對布坎南的頒獎詞中提到的第一本著作)一書中,他指出,在政治領域和市場中,自由的、不經協調的行動,都應在各方一致同意的憲法契約下進行。但他們始終未能解釋的是,自利的人類個體如何能達成一致意見。

布坎南對精英主義極為反感。布坎南於1919年出生於田納西州一個在當地頗有聲望、但比較貧困的家庭。談到自己的出身以及阿巴拉契亞山脈背景時,他曾說:“我所知道的所有祖輩……(都是)堅強的愛爾蘭裔美國人,他們是虔誠的長老教徒,非常獨立……我是南方人,我們是南北戰爭中的戰敗方,我的祖父母還記得那場戰爭的情形。”

布坎南並未因此成為南部邦聯政府的辯護者。阿巴拉契亞地區的農民在南北戰爭前並非奴隸主。不過,南北戰爭讓布坎南堅決地站在了特權的對立面(他從未在任何精英大學中任過教),對於特權階層人士所稱的他們是服務於公共利益的說辭,他也深感懷疑。他和圖洛克在公共選擇研究中心(Public Choice Center)舉辦的研討班以風格犀利而聞名。一名經歷過這種犀利風格“洗禮”的研修班學員回憶道:“布坎南講話毫不留情面,戈登也言辭尖銳。”

他不僅毫不留情地抨擊凱恩斯主義的謬誤,對芝加哥學派的錯誤觀點也毫不手軟。芝加哥學派過於輕率和樂觀,他們認為:自由市場是所有可能選擇中最理想的,因為通過交易所能獲得的所有收益都已被創造出來。布坎南對此表示強烈懷疑:“潛在的參與者直至進入市場才知道自己將會作何選擇。由此可以推出,從邏輯上來說根本不可能存在一位無所不知的設計師——當然,除非我們打算剝奪個體的自由意志。”布坎南的思想遠比人們通常以為的更精妙。

詹姆斯•麥吉爾•布坎南現在在世的親人還有他的兩個姐姐和三個外甥。

譯者/馬拉、鄒策


In Appreciation: James M. Buchanan

The Nobel-winning economist who understood how politics really works.


James M. Buchanan, who died Wednesday at age 93, was one of history's greatest economists. Though he won the Nobel Prize in 1986, Jim at heart was always a farm boy from Tennessee—an old-fashioned, hardworking American who disdained unearned privileges as well as deeply distrusting the promises of politicians and the passions of collectives.

The theme of his life's work is best summarized in the title of his 1997 article "Politics Without Romance." With longtime colleague Gordon Tullock, Jim launched a research program—public-choice economics—that challenged the widespread notion that politicians in democratic societies are more nobly motivated and trustworthy than are business people and other private-sector actors. In a wide river of books and papers, Jim warned against the foolishness of romanticizing government.

Jim regarded his work as simply extending and applying the insights of America's founding generation, especially those of James Madison. Unlike too many pundits and professors over the past century—but like America's founders—Jim understood that politicians' lovely proclamations of their desires to improve society too often camouflage unlovely venal motives that prompt politicians to disregard the general welfare in order to transfer wealth and privilege to powerful interest groups.

Auto-company bailouts, Solyndra subsidies, farm programs, tariffs—the real and ugly reasons for these and many other government activities become clear after absorbing Jim Buchanan's lessons.

His deep skepticism of government, combined with his expert understanding of free markets, led Jim to describe himself as a "classical liberal." But it wasn't always so. Like many of his generation, the young Jim Buchanan was a socialist. His socialism was cured, though, by his studies in economics at the University of Chicago. While there, Jim polished his keen instincts for detecting nonsense.

Jim's nonsense-detection instincts are on full display in his 1958 book "Public Principles of Public Debt." By the 1950s most economists were trumpeting the Keynesian myth that government debt is no burden on future taxpayers as long as it is held internally—that is, as long as "we owe it to ourselves."

Wrong, said Jim. It is unfortunate that he is no longer here to speak out against the again-rampant Keynesians who advocate massive deficit financing. Misled by their own unjustified lumping together of taxpayers and domestic bondholders, Keynesians mistakenly conclude that government is exempt from the reality that counsels households and firms to follow prudent rules of finance. This Keynesian error is one that Jim never tired of challenging.

Not that Jim held much hope that his speaking out against unwise government policy would do much good. He sought to prevent harmful policies by tying politicians' hands rather than by pleading with politicians to be more public-spirited. And to tie politicians' hands Jim championed constitutional reform. He believed that only binding, enforceable constitutional rules can prevent Leviathan from eventually suffocating private markets and stamping out human freedom.

Ironically, the constitutional reform that Jim advocated practically requires the cooperation of the politicians whom he so distrusted. Yet it is a mark of greatness in Jim Buchanan that he held out hope, until his dying day, that clear-eyed scholarship would eventually persuade people of the dangers of unconstrained government and of the need to somehow rein it in.
Mr. Boudreaux is professor of economics at George Mason University and chair for the study of free market capitalism at the Mercatus Center.





談危機錯在政府
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The Politics of Bureaucracy 官僚政治學


The Politics of Bureaucracy. By Gordon Tullock. (Washington: Public Affairs Press, 1965. Pp. 228. )

Gordon Tullock《官僚政治學》,北京:商務 ,2010
連索引都做不成的書
更成熟的 Gordon Tullock在69歲寫的另外一本(北京商務印書館 同系列)



戈登·圖洛克(Gordon Tullock)1922年出生於美國伊利諾斯州,是國際上最為重要的公共選擇經濟學家,著述豐富。他致力於將經濟學的理性分析方法引入政治決策過程的研究,研究領域覆蓋國家起源理論、官僚主義、獨裁、民主和法庭內部的決策行為等等。他最近一個職位是在喬治·梅森大學George Mason University)的法和經濟學研究中心擔任教授。
  1922年出生於美國伊利諾斯州,1947年獲得芝加哥大學法學博士學位,1992年獲芝加哥大學法學榮譽博士學位。1949—1956年任職於美國外交部,曾先後在中國天津、香港和南韓等國家和地區從事過外交服務工作,其間開始轉向對經濟學的研究。1957年在費城第一次與布坎南相遇,他關於官僚政治的經濟學分析引起了布坎南的重視。
  1958年被邀請作為博士後人員加盟由布坎南和沃倫·納特在弗吉尼亞大學創辦的傑菲遜政治經濟學研究中心(1969年更名為公共選擇研究中心)
  1962年,他和布坎南合著的《同意的計算》(中國社會科學出版社,1999年)為公共選擇學派奠定了理論基礎,並標志著公共選擇作為一門獨立的學科得以產生。從此,塔洛克的名字也與布坎南和公共選擇聯繫在一起。
  1963年他和布坎南創立了“公共選擇學會”,1965年出版了他的個人專著《官僚政治學》,開啟了公共選擇理論中的官僚經濟學 1967年發表了《關稅、壟斷和偷竊的福利成本》(《經濟社會體制比較》2000年第1期)一文,奠定了他作為尋租理論創始人的地位。
  1969年他創立了《公共選擇》雜誌,並擔任該雜誌主編長達二十五年之久,使這本雜誌成為目前全世界30種最重要的期刊之一。
  塔洛克曾經擔任過公共選擇學會第二任會長,東部經濟學會會長,南部經濟學會會長。1998年獲得美國經濟協會“傑出會員獎”(該獎只授予那些對經濟理論和經濟思想作出過傑出貢獻的美國經濟學家)。
  到 1991年為止他的論文和論著被三十幾個學科引證達3991次。被當今活著的最著名的經濟學術史專家馬克·布勞格(張維迎,1997年)列入《世界重要經濟學辭典》(經濟科學出版社,1987年)、《凱恩斯以後最有影響的100位經濟學家》(西南財經大學,1989年)。

  塔洛克還是《新帕爾格需夫經濟學大辭典》中“公共選擇”、“尋租”和“經濟學在生物學中的運用”等辭條的撰寫人,這在相當程度上也反映了他在這些領域的貢獻。因為,該辭典的主編在“出版說明”中指出:“經過深入討論和協商, 編輯們篩選和確定了條目,並約請數百名學者撰稿,他們的學術專長堪稱當今經濟學各個分支和各種觀點的代表”(《新帕爾格雷夫經濟學大辭典》第一卷,經濟科 學出版社,1992年,第1頁)。除前面列舉的代表著和論文以外,塔洛克還著有《關於政治數學》(1967年)、《私人欲望、公共途徑理想政府範圍的經濟 學分析》(1970年)、《收入再分配經濟學》(1983年)、《新聯邦擁護者》(1994年)、《非人類社會經濟學》(1994)、《尋租》(1994 年,西南財經大學出版社,1999年)、《論投票》(1998年)等23部著作和幾百篇論文,它們主要涉及福利經濟學、公共選擇、法和經濟學、生物經濟學等領域。


The Non-Nobelist

by JJMiller on October 12, 2009
NATIONAL REVIEW
September 25, 2006
THE NON-NOBELIST
But Gordon Tullock, maverick economist, deserves one
JOHN J. MILLER
Shortly after George Mason University opened its new law-school building a few years ago, then-governor of Virginia Jim Gilmore toured it. He asked to meet Gordon Tullock, a renowned economist on the faculty. Off a curving fourth-floor hallway, in Tullock’s freshly furnished office, the two men shook hands. “You’re the governor?” asked Tullock. “Good. Then maybe you can fix the leak in my ceiling.”
And that, in a nutshell, may explain why Tullock has failed to win a Nobel Prize in economics — an award he richly deserves, but one that has eluded him for decades. He is famously impolitic, and has developed a knack for provocation — a skill that can be either irritating or endearing. Whatever its effect, however, Tullock’s fondness for controversy is backed up by a daring intellect that cuts across disciplines and has shaped free-market thinking for more than a generation. “Gordon is one of the most original-minded persons in the world,” says Milton Friedman, who took home the Nobel in 1976. “I always thought it was a mistake not to let him have a prize.”
As the Nobel Foundation prepares to name this year’s recipient in October, it would do well to reconsider the case for Tullock. He has led an important and influential life, despite being constantly overlooked.
Tullock, now 84, was born and raised in Rockford, Ill. Although he attended the University of Chicago, he never formally received his bachelor’s degree because he objected to paying a $5 fee. “It doesn’t sound like a lot of money now, but it was to me back then,” he explains. This refusal didn’t stop him from entering Chicago’s law school, where he took his first and only course in economics. His teacher for that class was Henry B. Simons, a fierce critic of the New Deal and a founder of the fabled Chicago School — a group of professors and students, including Friedman, who would go on to win a dozen Nobels.
Tullock eventually earned his law degree and went into private practice. This lasted four months. “I participated in two minor court cases — I won one that I should have lost, and I lost one that I should have won,” he says. He then entered the Foreign Service and spent several years in China, Hong Kong, and Korea, sparking a lifelong fascination with international relations. He’s currently writing a book on the history of U.S. foreign affairs. “Since about 1890, our policies almost always have been wrong,” he says with a smirk — as usual, he’s seeking a reaction. He describes why it was a mistake to have intervened in the First World War and how Pearl Harbor might have been avoided. Then he suggests that it might be worthwhile, right now, for the U.S. to invade Brazil: “We could move into the jungle and develop it.” A couple of years ago, in fact, he drafted a paper urging this course of action. “I had the good sense not to give it wide circulation.” If nothing else, Tullock loves to start an argument — even one that guarantees he won’t ever win the Nobel Peace Prize.
Working for the State Department allowed Tullock to observe the operations of government up close. He was not enamored with what he saw, but the experience did give an idea for a book. He quit the diplomatic corps to write The Politics of Bureaucracy. As Tullock searched for a publisher, his photocopied manuscript found its way into the hands of Prof. James M. Buchanan, who was then teaching at the University of Virginia.
This was the start of a remarkably productive association. Buchanan invited Tullock to Charlottesville for a year-long fellowship. By the time it was over, in 1959, the two had agreed to collaborate on a book about the economics of constitutions and democracies. Curiously, Tullock doesn’t vote: “Anthony Downs [an economist] convinced me long ago that I stand a greater chance of being killed in a car accident on the way to the polls than I do of making a difference with my vote,” he says. “So why bother?” Tullock takes great pleasure in announcing this view — and on Election Day, friends enjoy attaching their “I Voted” stickers to his office door.

Gordon Tullock/Darren Gygi
In 1962, Buchanan and Tullock released The Calculus of Consent, which explained how economic rules affect political decisions. The book is a founding text of public-choice theory, a powerful intellectual movement that analyzes why governments so often fail to achieve their goals. “It’s a classic,” says William A. Niskanen, chairman of the Cato Institute. Public-choice theorists view lawmakers and bureaucrats through the lens of classical economics: as rational deliberators acting on the basis of their own interests. By eschewing the naïve view of public officials as selfless benefactors of the public good, this approach has blazed new trails in explaining government dysfunctionality. Buchanan and Tullock shared a byline and described their partnership in a preface to Consent: “In the most fundamental sense, the whole book is a genuinely joint product.”
Yet in 1986, when the Nobel people decided that public-choice theory had matured to the point of deserving the prize, they gave it to Buchanan alone. He had certainly earned it, and his distinguished career included many books and papers that he had written by himself. At the center of his achievement, however, lay his work with Tullock. When National Journal asked Buchanan’s co-author about being skipped over, Tullock shot back: “I’m mad about it, to put it bluntly.”
The slight was both obvious and gratuitous: In the 36 years since the economics prize was first awarded in 1969, it has been shared 16 times. Some thought that Tullock was a victim of his background. Lacking any formal training in economics beyond that single law-school class, he was possibly seen as an interloper who didn’t truly qualify. Moreover, Tullock has been called a “natural economist,” meaning that he did not have to sit through hours of lectures to understand his discipline. Nor did he have to write a thick dissertation. His contributions to economics have come in the form of big ideas and deep insights, rather than the technical genius and mathematical rigor that increasingly dominate the field. Tullock himself thinks something else may have played a role: “I have no doubt that I was making a lot of nasty cracks about Sweden and its socialist economy in those days.” The Nobel Foundation, of course, is based in Stockholm.
By the time he had missed out on the big prize, Tullock was used to snubs. As a professor at the University of Virginia in the 1960s, he was turned down for promotion three times, prompting him to leave. “I could see they didn’t want me around,” he says. There’s a nomadic quality to his life, with its spells at the University of South Carolina, Rice, Virginia Tech, and the University of Arizona. His current appointment, at George Mason, is actually his second stop at the school.
Even if Sweden’s prize-pickers were to shed their presumed biases, it’s unlikely that they’d circle back to Tullock. They’ve already given an award for the ideas contained in The Calculus of Consent. But the case for Tullock doesn’t need to rest on this book alone, as his greatest contribution to economics may lie somewhere else entirely.
Tullock is the author of one of the most groundbreaking economics papers ever published: “The Welfare Costs of Tariffs, Monopolies, and Theft.” It explained that when individuals or groups try to gain economic advantages through the manipulation of government policy — lobbying to build trade barriers or legal monopolies, for instance — the costs of their activities are both high and hidden. They not only discourage competition, but also drive talented people into non-productive activities, as skilled managers devote themselves to winning new favors from government or defending the ones they already have. Today, this behavior is called “rent-seeking,” and it is of course deeply embedded in Washington’s political culture of earmarks and subsidies. In his paper, Tullock mischievously likened the whole enterprise to theft. “I try to raise eyebrows in everything I write,” he says.
Top journals refused to publish the paper. “It does not appear significant (as a theoretical contribution),” wrote the editor of The American Economic Review in a rejection letter. The Journal of Political Economy and The Southern Economic Journal turned him down as well. A less prestigious outlet, The Western Economic Journal, finally published it in 1967. Yet almost nobody noticed. “It went down the memory hole,” says Tullock. Then, seven years later, The American Economic Review printed an article by Anne Krueger on rent-seeking — she actually invented the term, and arrived at the concept with no knowledge of Tullock’s prior scholarship. All of a sudden, Tullock’s pioneering work began to receive attention. Rescued from obscurity, it has since been credited with helping overturn the once-consensus view that the social costs of government regulations are minimal.
Tullock never married and he has no kids, so what he will leave behind is his work. There’s an awful lot of it, and it covers a vast range of subjects: income redistribution, political revolutions, and even biology (he once wrote a paper on a bird called the coal tit). The Liberty Fund recently put out The Selected Works of Gordon Tullock, a ten-volume set that spans more than 4,000 pages. “I can’t complain about my career being blighted,” he says. “I’ve done very well.” He’s also done a great deal of good, for which the world should be grateful, regardless of what they say in Stockholm.

好兵帥克 "The Good Soldier Svejk" by Jaroslav Hašek

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Osudy Dobreho Vojaka Svejka 好兵帥克歷險記

    
Jaroslav Hasek(1883- )/星燦/允晨/捷克

“Sometimes I notice I'm demented, especially at sunset.” 
―from "The Good Soldier Švejk" by Jaroslav Hašek


“After debauches and orgies there always follows the moral hangover.”
―from "The Good Soldier Svejk" by Jaroslav Hašek
The eponymous hero of The Good Soldier Svejk— the book for which the Czech writer Jaroslav Hasek will forever be remembered—has virtually come to define, since his creation in the aftermath of World War I, the spirit of comic endurance necessary to withstand the manglings of a modern-day bureaucratic war machine. Shrewd, affable, possessed of an unerring talent for finding himself in (and extricating himself from) the most fitfully chaotic and absurd situations, Svejk represents, in his instinct for survival, all those human values which stand opposed to the utter futility of warfare. With an introduction from, and translated by, Cecil Parrott.



Everyman's Library 的相片。

Le Modulor, 現代建築年鑒/邁向建築? Le Corbusier, 1925 Almanach d'architecture moderne

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Almanach d'architecture moderne, Le Corbusier,『現代建築年鑑』

Bibliography[edit]

  • 1918: Après le cubisme (After Cubism), with Amédée Ozenfant
  • 1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture")
  • 1925: Urbanisme (Urbanism)
  • 1925: La Peinture moderne (Modern Painting), with Amédée Ozenfant
  • 1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)
  • 『今日の装飾芸術』 1925年(前川國男訳、鹿島出版会:SD選書) 
Le Corbusier1887年10月6日 - 1965年8月27日 著
  • Almanach d'architecture moderne, Paris 1925-1926, édition originale : Le Corbusier, Almanach d'architecture moderne, G. Crès, coll. « L'Esprit nouveau »,‎ , 199 p.(notice BnF no FRBNF32362618)
  • 『現代建築年鑑』 (治棋訳、中國建築工業出版社:2011) 頁41-57出自1966: Le Voyage d'Orient (The Voyage to the East),不過譯者可能將grand tour 翻譯成"大學生旅行見聞" (p.57)


  • 1931: Premier clavier de couleurs (First Color Keyboard)
  • 1935: Aircraft
  • 1935: La Ville radieuse (The Radiant City)
  • 1942: Charte d'Athènes (Athens Charter)
  • 1943: Entretien avec les étudiants des écoles d'architecture (A Conversation with Architecture Students)
  • 1945: Les Trois établissements Humains (The Three Human Establishments)
  • 1948: Le Modulor (The Modulor)
  • 1953: Le Poeme de l'Angle Droit (The Poem of the Right Angle)
  • 1955: Le Modulor 2 (The Modulor 2)
  • 1959: Deuxième clavier de couleurs (Second Colour Keyboard)
  • 1966: Le Voyage d'Orient (The Voyage to the East)

See also[edit]



本blog 有Le Corbusier1887-1965 書訊約十則 請用它來搜尋

現在記他最著名的 邁向建築
1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture" 1930年由 JohnRodker 翻譯 倫敦出版 現在1986美國Dover版 根據第13版 有導言)

邁向建築 吉阪隆正譯東京: SD 1967 根據1926第3版 有著者序
邁向建築施植明譯 台北:茂榮 1990 可能根據初版
走向新建築 陳志華西安:陜西師範大學 2004 根據1926第2版 有著者序






多少Ueno故事 

東京・上野の国立西洋美術館本館を含むフランス人建築家ル・
コルビュジエ(1887~1965)の作品群のユネスコの世界遺産への今年の登録は見送られ る見通しとなった。ユネスコ世界遺産委員会の諮問機関・国際記念物遺跡会議が、4段階で最も厳しい「不登録」を勧告した。
在書海中約有七篇相關
不過我最喜歡他生前將年輕的東方之旅讓我們享用
Journey to the East by LeCorbusier, Edited by Iv...



現代建築年鑒

作  者:(法)柯布西耶 著
出 版 社:中国建筑工业出版社
出版时间:2011-3-1

Almanach d'architecture moderne
documents, théorie, pronostics, histoire, petites histoires, dates, propos standarts, organisation, industrialisation du bâtiment : Paris 1925
Charles-Edouard Jeanneret Gris (Le Corbusier) ; presentazione di Roberto Gabetti. Published 1975 by Bottega D'Erasmo in Torino .
Written in French.

本書顯然非"年鑑"參考 almanac, Alma Mater
:文件,理論,技巧,歷史,故事,日期,標尺,組織,產業化建設:1925年巴黎

日譯: 『今日の装飾芸術』 1925年(前川國男訳、鹿島出版会:SD選書)??? +1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)

13. In 1925, Le Corbusier's Pavilion de l’Esprit Nouveau is given an obscure location in the Exposition International des Arts Decoratifs et Industrielles Modernes because of “official hostility to it.” [Source: Le Corbusier in America]

Edition Notes


On cover: L.C. 2.
Reprint of the 1926 ed. published by G. Crès, Paris, in series Collection de L'Esprit nouveau.


勒·柯布西耶,原名查爾斯·愛德華·讓納雷。
按自己外祖父的姓取筆名為勒·柯布西耶,他是20世紀最重要的建築師之一,現代建築運動的激進分子和主力將領,“現代建築的旗手”,他和沃爾特。格羅皮烏斯、密斯·凡·德·羅同是現代建築派和國際形式建築派的主要代表,柯布西耶出生於瑞士,1907年先後到布達佩斯和巴黎學習建築,在巴黎到以運用鋼筋混凝土著名的建築師奧古斯特,佩雷處學習,後來又到德國貝倫斯事務所工作,在那裡他遇到了同時在那里工作的格羅皮烏斯和密斯。凡·德·羅?他們互相之間都有影響,一起開創了現代建築的思潮,他1917年定居巴黎。同時從事繪畫和雕刻,與新派立體主義的畫家和詩人合編《新精神》雜誌,後來他把其中發表的一些關於建築的文章整理匯集出版單行本書《走向新建築》,他提出“住房是居住的機器”,倡導以工業的方法大規模地建造房屋,對建築設計強調“原始的形體是美的形體”,讚美簡單的幾何形體,1926年柯布西耶就自己的住宅設計提出著名的“新建築五點”。柯布西耶在建築設計的許多方面都是一位先行者,對現代建築設計產生了非常廣泛的影響,其建築設計的結構和設計形式在?後被其他建築師推廣應用。他還對城市規劃提出許多設想,一反當時反對大城市的思潮,主張全新的城市規劃。認為在現代技術條件下,完全可以既保持人口的高密度,又形成安靜衛生的城市環境,首先提出高層建築和立體交叉的設想,極有遠見卓識。他在20世紀30年代始終站在建築發展潮流的前列,對建築設計和城市規劃的現代化起了推動作用,他的設計理念直到去世,都對世界各國的建築師有很大的啟發作用。

目錄致讀者題詞建築年表建築的新精神歐特伊的兩座公館1910年,旅行見聞君士坦丁堡(續)/清真寺衛城之上在西方!1925年裝飾藝術展 轉折 批量建造一個標準死過去,另一個標準生出來皮埃爾·讓納雷先生的住宅 對一扇現代窗戶的一點研究心得

----
日本的翻譯: 有意思的是近年還在做....

著作[編集]

  • 建築をめざして』 1923年(吉阪隆正訳、鹿島出版会SD選書
  • 『今日の装飾芸術』 1925年(前川國男訳、鹿島出版会:SD選書) 
  • 『住宅と宮殿』 1928年(井田安弘訳:同上)
  • 輝く都市』 1935年(坂倉準三訳:同上)
  • 伽藍が白かったとき』 1937年(生田勉・樋口清訳、岩波書店岩波文庫
  • 『モデュロール1』 1948年(吉阪隆正訳、鹿島出版会:SD選書)
  • 『モデュロール2』 1955年(同上)
    • 『エスプリ・ヌーヴォー 近代建築名鑑』 以下も全て「SD選書」
    • 『プレシジョン 新世界を拓く 建築と都市計画 (上.下)』  
    • 『四つの交通路』/『ユルバニスム』/『建築と都市』/『アテネ憲章
    • 『三つの人間機構』/『東方への旅』/『人間の家』(F・ド・ピエールフウ共著)
  • 『建築十字軍 アカデミーの黄昏』 井田安弘訳、東海大学出版会 1978年→SD選書、2011年 
  • 『ムンダネウム』 ポール・オトレ共著 山名善之・桑田光平訳 筑摩書房 2009年
  • 『建築家の講義 ル・コルビュジエ』 岸田省吾監訳、桜木直美訳 丸善 2006年-小著
  • 『マルセイユのユニテ・ダビタシオン』 山名善之・戸田穣訳、ちくま学芸文庫、2010年

Major written works

  • 1918: Après le cubisme (After Cubism), with Amédée Ozenfant
  • 1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture")
  • 1925: Urbanisme (Urbanism)
  • 1925: La Peinture moderne (Modern Painting), with Amédée Ozenfant
  • 1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)
  • 1931: Premier clavier de couleurs (First Color Keyboard)
  • 1935: Aircraft
  • 1935: La Ville radieuse (The Radiant City)
  • 1942: Charte d'Athènes (Athens Charter)
  • 1943: Entretien avec les étudiants des écoles d'architecture (A Conversation with Architecture Students)
  • 1945: Les Trios éstablishments Humains (The Three Human Establishments)
  • 1948: Le Modulor (The Modulor)
[Jeune public] Inspiré par « l’homme modulor » de Le Corbusier, mesurez le corps et l'espace avec vos enfants en dansant dans l'exposition !
Informations et billetterie :https://www.centrepompidou.fr/id/caX75Xy/rrX7E67/fr
Le Corbusier, Le Modulor, 1950 © F.L.C. Adagp, Paris HD


Centre Pompidou 的相片。
Pour le moment, il n'y a personne… peut-être serez-vous là demain, pour l'ouverture de l'exposition Le Corbusier, Mesures de l'homme !‪#‎JourDeFermeture‬

「 Entrée de l'exposition "Le Corbusier, Mesures de l'homme", Galerie 2 du Centre Pompidou. 」

「 Entrée de l'exposition "Le Corbusier, Mesures de l'homme", Galerie 2 du Centre Pompidou. 」
  • 1953: Le Poeme de l'Angle Droit (The Poem of the Right Angle)
  • 1955: Le Modulor 2 (The Modulor 2)
  • 1959: Deuxième clavier de couleurs (Second Colour Keyboard)
  • 1966: Le Voyage d'Orient (The Voyage to the East)

  • 1923: Vers une architecture (Towards an Architecture) (frequently mistranslated as "Towards a New Architecture")




For the Swiss-born architect and city planner Le Corbusier (Charles-Édouard Jeanneret, 1887–1965), architecture constituted a noble art, an exalted calling in which the architect combined plastic invention, intellectual speculation, and higher mathematics to go beyond mere utilitarian needs, beyond "style," to achieve a pure creation of the spirit which established "emotional relationships by means of raw materials."
The first major exposition of his ideas appeared in Vers une Architecture (1923), a compilation of articles originally written by Le Corbusier for his own avant-garde magazine, L'Esprit Nouveau. The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.
Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture.""Architecture is stifled by custom. It is the only profession in which progress is not considered necessary.""A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."
Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.



Reprint of Vers une Architecture, John Rodker Publisher, London, 1931.- See more at: http://store.doverpublications.com/0486250237.html#sthash.oVsmwJEg.dpuf
根據13版翻譯


陳志華(1929年),浙江寧波人,清華大學建築學院教授,

走向新建築 (應該根據英譯本重譯,不過翻譯較好。)

本書表達了作者民主的建築風格。包括:工程師的美學、給建築師先生們的三項備忘錄、基準線、建築或者革命等。
應該是1986年的出版品或譯稿。

邁向建築


建築師透過造型的處理,所實現的某種秩序,代表著其精神的純粹創造;基於這些造型,建築深深地觸發了我們的感受,激起了造型藝術的情感;經由所創造的整體關係,喚醒了我們內心的迴響,賦予我們一套能與宇宙相契合的標準,決定了我們精神上及心靈上各式各樣的活動;使得我們得以感受到美的存在。





  • 1925: L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)




The Decorative Art of Today Paperback – March 16, 1987
by Le Corbusier (Author), James Dunnett (Translator)

Product Details

Paperback: 240 pages
Publisher: The MIT Press; 1st MIT Press Ed edition (March 16, 1987)
Language: English


Among the most famous of Le Corbusier's works, this book first came out in 1925 as a companion volume to Towards a New Architecture and The City of Tomorrow, two of the most influential writings on architecture and town planning Le Corbusier produced. This is the first English translation of Le Corbusier's densely illustrated polemic against the crafts tradition and superfluous ornament in interior decoration.

The Decorative Art of Today was inspired by and written in protest to the Decorative Arts Exhibition mounted in Paris in 1925. In it Le Corbusier warned about certain dangerous trends he saw emerging in interior, industrial, and architectural design. He did not like what he saw. Against the official tradition of interior decoration, he called for an architecture that satisfied the imperatives of function through form and for an interior and an industrial design that responded to the industrial needs of the present, machine-age methods of production.

Although the exhibition that spawned the term "Art Deco" was organized by the French Ministry of Industry and Commerce for the purpose of creating a market for French arts and crafts and to fend off the influx of foreign products, Le Corbusier saw an opportunity to show that the industry was capable of supplying not only the apartment but the entire city with mass-produced furniture and objects. His own roots lay in the crafts tradition; yet in this book he rejects the masters Ruskin, Hoffmann, Guimard, and Grasset and provides a theoretical basis for his opposition to decoration. The translator, James Dunnett, is professor of architecture at the University of Canterbury.






《傅斯年:中國歷史與政治中的個體生命》《陳寅恪與傅斯》年

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 此書《傅斯年:中國歷史與政治中的個體生命的副標題用"個體生命"翻譯" a life ",真是有點"一鳴驚人"亂譯!
中文版《傅斯年:中國歷史與政治中的個體生命》比英文版多六篇附論 (頁265-379) ,很有參考價值。 不過沒弄索引,是敗筆。

Fu Ssu-nien: A Life in Chinese History and Politics


https://books.google.com.tw/books?isbn=0521480515
Fansen Wang - 2000 - ‎Biography & Autobiography
But even before Hu Shih's arrival, a new climate had already been forming. ... Owing to this influence, Fu later went to England to study Freudian psychology.

Wang Fan-sen, Fu Ssu-nien: A Life in Chinese History and Politics, Cambridge University Press,2000

傅斯年:中国近代历史与政治中的个体生命 [平装] ~ 王汎森 (作者)
出版社: 生活•读书•新知三联书店; 第1版 (2012年5月1日)
外文书名: Fu Ssu-nien:A Life in Chinese History and Politics
平装: 385页
正文语种:简体中文


中譯本序
鳴 謝
縮略語
導 論 1895年後的思潮與傅斯年

  傅斯年在中國現代知識界的地位

第一章 傅斯年的早年

  家鄉:瀕於崩潰邊緣的舊社會
  傅斯年的成長歷程
  北大歲月
  傅斯年和《新潮》
  作為五四遊行示威主將的傅斯年
  年輕的叛逆者
  作為文化批判者的傅斯年
  對中國國民性的批判
  傳統學術的再評估
  創造一個社會
  一團矛盾

第二章 新歷史學派的形塑

  在倫敦和柏林的學習
  傅斯年與史語所
  史語所的眼界和目標
  史語所的工作

第三章 走向中國文明多元起源論:中國古史的學說

  中國古史起源多元論
  重建中國古代史
  傅斯年學說的影響

第四章 反內省的道德哲學

  反內省傳統的出現
  古代道德哲學的去倫理化
  終結內省的道德傳統

第五章 五四精神的負擔

  歷史與政治
  《東北史綱》
  文化認同的需要
  愛國主義與反傳統
  政治選擇

第六章 一個五四青年的晚年

  政府不端行為的批判者
  對民族往昔的兩難心理
  平抑昆明學生運動
  懲治漢奸
  清流
  動盪年代的知識份子:在臺灣和台大
  尋找道德之源
  歸骨于田橫之島

結 語 一個五四青年的失敗

附錄一 攻擊顧頡剛的小說片段

附錄二 傅斯年與陳佈雷筆談記錄

參考書目

附論六篇

傅斯年對胡適文史觀點的影響
胡適與傅斯年
伯希和與傅斯年
傅斯年與陳寅恪——介紹史語所收藏的一批書信
什麼可以成為歷史證據——近代中國新舊史料觀點的衝突
一個新學術觀點的形成——從王國維的《殷周制度論》到傅斯年的《夷夏東西說》

《傅斯年全集》總目錄

 
《傅斯年:中國歷史與政治中的個體生命》是臺北中央研究院史語所(Institute of History and Philology ,Academia Sinica)研究員王汎森先生的近著。近年來王先生的著作不斷被介紹進大陸,引起學者的關注。傅斯年是中國近代學術史、教育史乃至政治史上不可或缺的人物之一,但是大陸對他的思想、學術進行深入探討的專著至今尚嫌薄弱。王先生的這本書恰好能彌補這一遺憾。此書將傅斯年(1895—1950)置放於18961850年間中國歷史的大背景之下,描述了一個中國知識份子在複雜動盪的時代,在多種兩難選擇(左派與右派、激進與保守等)的尷尬困境中“一團矛盾”的存在樣態。

  本書正文共有六部分:第一章,《傅斯年的早年生活》,介紹傅斯年的成長歷程,包括在北京大學的學習,及其與新潮社、五四運動的關係,這些為他日後學術思想的發展、人格的形成奠定了基礎;第二章,《新歷史學派的形成》,介紹傅斯年在倫敦和柏林的學習,實證主義、自然科學、心理分析及比較語言學都對他產生了極大的影響。回國後,傅斯年建立了史語所,集中了一批中國學術的精英,如陳寅恪、趙元任、李濟等,展開學術研究工作,史語所成為傅斯年們的舞臺??;第三章,《走向中國文明多元起源論:對中國古代史的研究》,作者向人們展示了上個世紀史學家們對中國古代文明起源的探討,傅斯年打破了中國古代歷史研究的單一體系,形成新的多元文明起源論,代表著作是《夷夏東西說》(1935年),並重新描繪出古代歷史的畫卷。王先生檢討了傅斯年的理論的價值、影響及值得商榷之處;第四章,《反內省的道德哲學》,作者結合了當時的時代思潮,精闢地分析了知識份子群體的矛盾心態,指出傅斯年在反對傳統的道德內省哲學時與清代考據派學者在精神上一脈相承,另一方面,他又以西方思想、方法為參照系和武器,對中國的內省的道德傳統進行駁斥。傅斯年集中地對“性”、“命”、“令”、“心”這幾個關鍵概念作了詳細的辨證,寫成《性命古訓辨證》(1940年);第五章《五四精神的重負》,在這一章中,作者認為中日戰爭爆發後民族主義興起、專制政治下民主與獨裁辯論的高漲、以及本位文化的鼓吹,都使五四的個人主義、反傳統、宣導純學術等成為一種負擔,並闡述這種轉變的錯綜複雜的社會、歷史背景以及傅及其同時代人所受的影響;第六章,《中央集權的統治與一個五四青年的晚年》,傅斯年曾將蔣介石看作最有能力的中國領導人,但是蔣介石的獨裁使他感到失望、不滿,因此他對蔣的態度是複雜的。作者指出傅斯年晚年積極參與政治活動,已經漸漸緩解了傳統價值與現代價值之間的張力。此外,另有《引言:傅斯年與1895年後的知識思潮》、《結語:一個五四青年的失敗》。書前附有傅斯年年表,書後附有兩篇短文,一篇是傅斯年諷刺顧頡剛推翻中國古代史真實性的方法論的小說片段,另一篇是傅與當時的國民黨參謀長陳佈雷關於蔣介石的為人的談話——這兩篇短文再次為書的標題作下注釋:歷史與政治同傅斯年的一生化不開的干戈。

  作者將歷史與政治看作理解傅斯年的一生的關鍵因素。所謂“歷史”,首先是指傅斯年從事歷史研究,他既是作為歷史的建構者,又是作為歷史的破壞者的身份,出現在中國歷史研究領域的。作者在其中也表述了歷史研究中的個人動機與時代際遇間的微妙關係。傅斯年創立了史語所,拼湊起被顧頡剛等疑古派撕碎的中國古代歷史,主張歷史研究的專業化,對史料進行分析,摒棄理論化、概括化,作者對傅的歷史研究給予了高度評價,並呼籲學術界的適當關注;其次,“歷史”也指傅斯年與中國歷史傳統的糾結及他在歷史現實中的艱難抗爭,他曾努力拋棄沉重的中國歷史傳統,鼓吹“只有西方才有學術”,同當時的許多人一樣,求助於西方文明。但是,傅斯年出生在中國最保守的山東地區,接受的是中國最傳統的教育,他的內心世界仍對自己的傳統一往情深,理智和情感上的分裂又使他倍受煎熬,現時的歷史又殘酷的將他拉進來。所謂“政治”,一方面,傅斯年宣導“純學術”,聲稱“二十年不談政治”,極力想避開政治,然而,先是學術研究資金的缺乏,使他不得不向政治求援,緊接著是民族的災難,日本入侵,純學術成為一種奢侈,傅斯年又不得不與政治握手。另一方面,書中描述了一個知識份子的自由靈魂受到政治獨裁的羈押時本能的反抗。中國知識份子從政,一直籠罩在“文官”的陰影中,只能動搖某一政治人物,卻難以動搖整個政治體制。傅斯年歷任北大代理校長、台大校長,國民黨參政會代表,曾經促成了孔祥熙、宋子文的辭職,這一切都無法改變政治現實;他對蔣介石即批判又維護,“最終政治吞噬了他的生命”(P10)。作者通過傅斯年的生命揭示出的是個體生命消解於歷史理想與現時政治的夾縫中的過程。

  很多人物因政治的原因而被歷史的塵煙掩埋,傅斯年就是其中之一,今天我們再依次重新經歷那一代人的心路歷程,他們的怕和愛。

  然而,在二十世紀初的中國,在歷史和政治的旋渦中掙扎的不僅僅是傅斯年一人,幾乎近現代是上所有的名人,都出現於本書中:嚴複、章太炎、陳寅恪、王國維、錢穆、胡適、魯迅、顧頡剛……無須一一列舉了,在某種意義上,本書也可以說是一部近現代知識份子的曲折的心路歷程的記錄。貫穿本書的一條主線是五四運動,作者將傅斯年稱作“一個五四青年”,在傅斯年的一生和那個時代中,五四精神由戰鬥的號角變成心理上的負擔,對這種蛻變過程的考察,也包含著作者對中國歷史、文化、政治的深刻而真誠的反思。

  傅斯年晚年回歸了他曾激烈批判的孟子,反對全盤西化,同時,政治也主宰了他的生活,作者認為,這是他最後十五年沒有嚴肅的研究著作出版的原因。雖然如此,王先生堅持認為,傅斯年骨子裏仍是五四精神的薪火傳人:自由主義、科學主義。作為一個中國近代學者,傅斯年終於難逃歷史與政治的牽絆,但作為一個知識份子,他堅守了自己的陣地:自由、真理。這不能不引起今天的知識份子的深思。王先生在書中介紹了傅斯年的歷史研究成就及其方法論,而他這本書本身,資料翔實、視野開闊,也是歷史研究的一個典範——通過把握個體生命進而把握中國近現代歷史變遷的脈搏,同樣值得我們借鑒。



 ***

陳寅恪與傅斯年

  • 作者:岳南
  • 出版社:遠流
  • 出版日期:2009年
  •  
  •    在20世紀初葉成群而來的學術大師中,有些是單打獨鬥、依靠本身的研究成果對學術界產生巨大影響而為後人所懷念,有的除個人輝煌的學術造詣外,還留下了制度性的遺業,在學術界維持著歷久彌新的影響力,前者當以陳寅恪為代表,後者則非傅斯年莫屬。
       陳寅恪先後留洋16載,通曉二十餘種語言,傅斯年乃五四運動健將,負笈海外7年,與陳寅恪在德國柏林大學共同度過了4年時光。二人學成歸國,陳氏進入清 華國學研究院,成為聞名天下的「四大導師」之一;傅氏出任中山大學文學院院長,開南國一代學術新風。北伐成功後,被譽為「人間最希有的一個天才」的傅斯年 出任中央研究院歷史語言研究所所長,「三百年來僅此一人」、「教授的教授」陳寅恪出任史語所歷史組主任。傅、陳二人這一歷史性的聚合,開創了一個舉世矚目 的學術流派。令人扼腕的是,由於國共分裂,這對同學加姻親關係的曠代天才,被無情地阻隔在海峽兩岸遙天對望而不能相聚,最後的結局是:一個無聲地倒斃在台 灣省議會大廳,一個默默死於大陸嶺南病榻。並世成雙的奇葩凋落成泥,只有芬芳永留人間大地。
      本書敘述了陳寅恪與傅斯年成長、留學以及在動蕩歲月中顛沛流離,執著學術事業的艱難過程,生動卓然地展現了知識分子「獨立之精神,自由之思想」的理想信念。是一部反映20世紀上半葉知識分子心路歷程與事業追求的通俗作品,讀來感人淚下,悵然歎息。
    作者簡介
    岳南
       1962年生,山東諸城賈悅人,先後畢業於解放軍藝術學院文學系、北京師範大學魯迅文學院文藝學研究生班,文學碩士。中國作家協會會員,現居北京。著有 考古、歷史題材紀實文學作品《風雪定陵》、《萬世法門》、《復活的軍團》、《日暮東陵》、《尋找北京人》等十二部。另著有以自由知識分子學術、精神及人生 歷程為主軸的《李莊往事》、《梁思成、林徽因和他們那一代文化名人》、《春去花還在》等紀實文學作品十部。

      目錄

      《實用歷史叢書》出版緣起
      序:獨為神州惜大儒(何茲全)
      第一章 風雲際會
      走進清華園∕從北大到柏林∕北京初會∕槎浮海外
      第二章 江湖多風波
      歐洲行旅∕柏林日夜∕羅家倫信件披露的隱祕∕傅斯年歸國∕中山大學的暗流
      第三章 南北兩校園
      傅斯年與魯迅、顧頡剛的衝突∕由同窗到仇寇∕陳寅恪進清華的背後隱祕∕獨為神州惜大儒∕王國維沉湖
      第四章 史語所的第一桶金
      元和新腳未成軍∕內閣大庫檔案的「發見」∕陳寅恪與內閣大庫檔案∕
      第五章 望斷天涯路
      盧溝橋事變∕流亡途中∕再別長沙
      第六章 南渡記
      暫住蒙自∕遷往昆明∕炸彈下的陳寅恪與傅斯年∕
      第七章 中研院院長爭奪戰
      八方風雨會重慶∕來渝只為胡先生∕揚子江頭流亡客∕
      第八章 縱橫天涯馬
      傅斯年家世情緣∕辭別重慶∕營救陳寅恪∕「殺孔祥熙以謝天下」
      第九章 與李莊擦肩而過
      騎上虎背的葉企孫∕傅斯年與葉企孫之爭∕李莊不復見
      第十章 西北望
      亂世策士夢∕傅斯年與毛澤東窯洞相會∕延安歸來
      第十一章 千秋恥,終當雪
      初聞涕淚滿衣裳∕代理北大校長∕重返平津
      第十二章 魂返關塞黑
      在燕大講台上的背影∕陳寅恪失明經過∕欲將心事付瑤琴∕陳寅恪與蔣介石的因緣∕赴英就醫
      第十三章 生別常惻惻
      日暮蒼山遠∕還都南京∕最後的晚餐∕北歸一夢原知短
      第十四章 斯人獨憔悴
      醉不成歡慘將別∕退守孤島∕傅斯年之死
      第十五章 殘陽如血
      南國的冬日∕汪籛、向達的悲劇∕傅斯年家族的毀滅∕陳寅恪之死

      獨為神州惜大儒
      何茲全時年九十八歲 2008.3.23
      前幾天,岳南先生來到我的寓所,攜來《陳寅恪與傅斯年》書稿,囑我看後提些意見。我雖是九十八歲的老人,精力不濟,但面對這部撰述陳、傅兩位恩師,並插 有堂兄何思源(仙槎)青年時代與陳、傅二師一起留學歐洲相交甚篤的圖片和文字,百感交集,遂未作推辭,決定先讀為快。書稿翻閱一遍,一幕幕往事湧上心頭, 兩位大師的身影又在眼前浮現。既然作者有此盛意,藉此機會,說一說陳、傅二師對我的栽培和教誨,順便寫下一點讀後感言,算是對兩位恩師的紀念,以及對作者 岳南先生為此付出心血與汗水的答謝吧。
      我是一九三一年冬認識傅斯年先生的。一九三一年暑假,我考上北京大學,進入史學系。我的堂兄何思 源寫信給傅先生,請他做我的保證人。他們是五四時期的同學好友,後來又一起在歐洲留學數載。我於一個晚上持信去看他,那時傅先生住在西城內平安里往東不遠 再往北的一個胡同裡,好像是廠橋胡同吧。
      傅先生熱情接待了我,和我談了大學應如何學習,並囑我兩句話:「一定要學好古文,一定要學好外語。」說來慚愧,我一生既沒有學好古文,也沒有學好外語,但越來越覺得學好古文和學好外語的重要,時時想起傅先生這兩句話,念念不忘。
      傅斯年先生有學術心,也有學術事業心。他北大畢業後留學歐洲,回國後在中山大學教書,不久就在中山大學創辦了「語言歷史研究所」,這是一九二七年秋天的 事。一九二八年十月,傅斯年又在中山大學語言歷史研究所的基礎上,籌備建立了中央研究院歷史語言研究所。史語所成立後他出任所長,一直到一九五○年去世。 他的社會、政治領域的職務千變萬化,名堂甚多,但史語所所長這個職務卻是他一直擔任到底的。他以史語所為基礎,對中國近代學術事業作出了很大貢獻,中國的 歷史、語言研究由此向前推進了一大步。特別是田野考古工作,可以說是到傅先生與李濟、梁思永等那一代人手中才成為科學的,小屯殷墟的考古發掘是傅先生和史 語所同人建立起來的最早的科學工作。傅斯年主持中央研究院歷史語言研究所的二十三年中,為中國史學、考古學、語言學、民族學培養了眾多人才。新中國成立 後,一大批在這方面有貢獻的學者,大多都受過他的培養。因而在這一領域,傅斯年是當之無愧的第一功臣。
      傅先生是北大培養出來的,也是著 名的五四運動學生領袖,對北大有一種特別的感情,在他一生的事業中,除了創辦史語所,對北大的貢獻也功不可沒。抗戰前,傅斯年除了擔任史語所所長,還兼任 北大歷史系教授、文科研究所所長等職務。我在北大讀書的那四年,和傅先生接觸不多,但聽過他講的中國古代史課程。他講西周史,處處有新意,有創見,使人開 闊眼界,開闊胸襟。聽他的課,很佩服他廣博的學問和深厚的功力。前幾年,美籍華人、著名考古學家張光直教授稱讚傅先生是一位歷史天才,他的〈夷夏東西說〉 一篇文章奠定了他的天才地位,並說此文與董作賓的〈甲骨文斷代研究例〉,是他所看到的有創始性和突破性的最好的兩篇文章。在我看來,傅先生除了這篇名滿天 下的雄文之外,在他身後留下的有關中國古代史的文字中,我更看重〈周東封與殷遺民〉、〈大東小東說──兼論魯、燕、齊初封在成周東南而後乃東遷〉、〈姜 原〉,以及〈論所謂五等爵〉等篇章。這些文章的好,不在於篇篇擲地有聲,而在於它們和〈夷夏東西說〉一樣,都是有創始性和突破性的大手筆與天才之作,只有 大手筆和真正的天才,才能寫出這般具有史識、史見,震古鑠今的光輝篇章。
      我說傅斯年是我的老師,這老師不是泛泛的老師而是真正意義上的 恩師。一九三五年我從北大畢業,他邀我去史語所工作,我沒有去,而是赴日本讀書。抗戰爆發後,我回國在重慶編雜誌,寫社論,在機關裡混。後來失了業,中英 庚款董事會撥發一部分專款協助一些人員在國內做研究工作,我請傅先生推薦我,取得了中英庚款協助,研究魏晉南北朝史。我有了收入,一家三口生活得以維持。
      一九四四年,何思源大哥回山東任山東省政府主席,要帶我回山東做官。當時我正在國民黨中央訓練委員會任編審,該會的負責人是段錫朋,段與傅斯年先生同為 五四運動學生領袖,為人精明苛刻。我原已不想再在訓練委員會待下去,但也不願去山東做官,我還有自知之明,自知做官是最無能的。抗戰後期論政之心已倦,極 願回書齋生活。我去看傅先生,說我願去史語所念書。傅先生說:「畢業時就約你來,你不來。」就這樣我進了當時已搬遷到四川省南溪縣李莊鎮的中央研究院歷史 語言研究所。
      在李莊,我和傅先生見面的機會就多了,只是我同所內大多數學長、學弟一樣,對傅先生是又尊敬又拘束,用三個字來表達,那就 是「敬」、「怕」、「親」。所謂敬,大家對傅先生的學問沒有不是滿心尊敬、佩服和崇拜的;對於怕和親,說老實話,傅先生的性情不同常人,極易衝動、暴怒, 像個孩子,因而大家對他既怕又親。正像董作賓所說:其實傅先生對朋友,對同人,原是一片赤子之心,同人愛他之處也在此,但年輕人的「敬」和「怕」卻又壓住 了他們的「親」。或許這便是當時的內在真情吧。
      抗戰之後,我去美國留學,一九五○年回到北京,十二月去看鄭天挺師,進門他就對我說:「孟真(傅斯年先生的字)先生去世了!」我一時愕然,沉默了半天沒說話。
      行文至此,禁不住思緒縹緲,淚眼婆娑,一時回到北大,一時回到李莊,一時又回到現在,情腸交結,不忍追憶。當年史語所在李莊的幾十口子同人、師友,傅先 生去了,董作賓先生去了,李濟先生、梁思永先生、石璋如先生、夏鼐先生,以及與李莊擦肩而過的陳寅恪師也去了。想到這裡,真是欲祭疑君在,天涯哭此時,令 人倍感傷神。
      屈指算來,到今天,傅斯年師去世已五十八個年頭,而陳寅恪師去世已三十九年矣。我自己也漸漸老了。回憶接受傅斯年、陳寅恪師教誨的日子,猶歷歷在目,感念不已。
      我與陳寅恪師相識於抗戰爆發之後的西南之地,最早見到他是在重慶,後來我到了史語所歷史組任助理研究員,成為陳寅恪先生的學生與下屬。儘管接觸不多,但 有論文經常寄給他請教。在李莊的後期,陳寅恪師已赴成都燕大任教,他的眼睛已患嚴重的疾病,但對我的論文與晉升職稱等事宜,時刻掛念在心,這樣的事例從 陳、傅二師通信中還可以看到,岳南先生在著作中已有摘錄,不贅。有一次,聽從成都回李莊的一位史語所同事說,他去拜訪陳寅恪先生時,陳師對我的學問與人品 還誇獎了一番。我聽後受寵若驚,感到莫大的榮幸,同時也感汗顏。抗戰勝利後,陳先生從英國治病回到南京,住在俞大維公館。這個時候,我與陳先生的接觸就多 了起來,經常受傅斯年先生或董作賓先生委派,給他送信、送物或者送錢等。藉此機會,我也請教了一些史學上的難題,已雙目失明的陳師都一一作答,令我深受感 動。
      陳寅恪先生是三百年甚至一千年乃得一見的學術大師,傅斯年先生是二十世紀中國史學界、國學界當之無愧的天才、奇才和大師級人物。如 果用「最好的」、「最有創始性、突破性」作標準,二十世紀上半葉史學、國學方面的學者,能稱得起大師級人物的,在我看來也就是梁啟超、王國維、胡適、陳寅 恪、傅斯年、陶希聖、錢穆、郭沫若、顧頡剛等幾個人吧。
      令我感到欣喜的是,岳南先生在這部《陳寅恪與傅斯年》文學傳記書稿中,不僅講了陳、傅兩位大師級人物,上面列舉的另外幾位大師,也大都有不同篇幅的描述和介紹,只是敘述的側重點有所不同罷了。
      由於諸多複雜的原因,過去幾十年,在中國大陸,沒有看到關於傅斯年的傳記,甚至連普通的介紹文章也較少。隨著政治思想逐漸放開,前些年傅先生家鄉聊城的 父老鄉親,為此做過不少的努力,召開過幾屆「傅斯年與中國文化」國際學術研討會,也出版過幾本傳記性書籍與論文集。但總的感覺,其聲勢與深入人心的程度, 與傅斯年本人的聲望和在學術上的貢獻比起來,還是不夠匹配,不到位。今天中國大陸的年輕一代,甚至包括相當一部分中青年知識分子,能知傅斯年為何許人也, 做過何種事業者,已不是很多了。人類是容易遺忘的,對傅斯年及他那一代知識分子精英的健忘,不知是歷史的無情,還是今人的不幸?
      關於陳寅恪先生的生平史事,在此前出版的一些著作中,大多是把先生的人生境遇一分為二,對前幾十年生命歷程的?述相對薄弱,而後半生,特別是陳先生最後二十年著墨較多。我猜想,這可能是陳師前半生留下的資料較少,而作為傳主「出彩」的地方也較少的緣故吧。
      岳南先生的《陳寅恪與傅斯年》令我看到的是,他盡可能地搜集了陳寅恪與傅斯年家族前輩人物的一些史事,簡明扼要地進行?述點評,爾後對陳、傅二人留學期 間,特別是在歐洲的交往史實,進行了多方搜羅和鑑別比較,通過當年在歐洲的中國留學生的書信來往與局外者的回憶文章,一點一滴查找、拼對、復原,基本勾勒 出一個輪廓,讓後人看到陳、傅二人在那個時代較為清晰的身影,以及二人在學術上相互影響、砥礪,漸行漸近,肝膽相照的生命歷程。
      幾年 前,岳南先生為撰寫《陳寅恪與傅斯年》這部書,找過我幾次,特別是對抗戰期間知識分子流亡西南的事情,詢問得尤為仔細。我談了一些我所知道的情況。後來聽 說為了寫好這部書,岳南先生還赴長沙、昆明、重慶、成都、李莊等地,對傅斯年、陳寅恪那一代知識分子,以及我們這一批小字輩學者工作、生活和戰鬥過的地方 進行調查採訪,體察當地風土人情,盡量在每一個細節上做到真實不虛。在這個基礎上,他耗幾年心血成就了這部著作,這種扎扎實實的寫作態度是難能可貴的。此 書涉及不少史事屬首次有理有據、條理清晰地對外披露,填補了陳、傅兩位大師研究領域的空白,對研究者與普通讀者予以啟迪的方面不少。
      正 如岳南先生書稿中所描述的,由於歷史和政治等原因,一九四八年後,陳、傅兩位大師被迫離散,一位留在了大陸嶺南中山大學,默默承受一系列政治苦難和心靈煎 熬;一位歸骨孤島,長眠於台灣大學校園。兩位天才的聚合離散,既是大時代的因緣,也是二人性格與思想觀念不同所致。去台後的傅斯年先生曾把主要精力用於台 灣大學的建設上,他想把這座日本統治時期創建的學府,改造成現代一流的大學和學術中心。可惜天不假年,他僅在台大校長任上奮鬥了兩年即溘然長逝,去世時年 僅五十五歲。而留在大陸的陳寅恪先生逐漸落入了淒涼之境,於「文革」中精神備受折磨而死去。
      當年與陳寅恪、傅斯年同時留歐,且是好友加 親家的俞大維說:陳寅恪平生的志願是寫成一部《中國通史》,及《中國歷史的教訓》,在史中求史識,「因他晚年環境的遭遇,與雙目失明,他的大作 (Magnum Opus)未能完成,此不但是他個人的悲劇,也是我們這個時代的悲劇。」
      作為後來者,面對岳南先生撰寫的這部著作,以及著作中所描述的兩位天才大師的因緣際會,聚合離散,或許能讓我們從另一個側面更真切地感知歷史的真相,並從中吸取一些「歷史的教訓」吧。
      是為序。
      序者簡介
      何茲全
      一九一一年生,山東菏澤人。一九三五年北平大學(今北京大學)研究生畢業,旋赴日本留學。抗戰爆發後歸國,任中央研究院歷史語言研究所歷史組助理研究 員、研究員。一九四六年赴美國哥倫比亞大學攻讀歷史學,一九五○年歸國。曾任北京師範大學歷史系教授、北京大學歷史系兼職教授。著有《讀史集》、《中國古 代社會》、《中國文化六講》、《何茲全全集》(六卷)等作品。
      推薦序一
      評論家 南方朔
      詩人戴望舒在〈我用殘損的手掌〉這首詩裡如此寫道:「無形的手掌掠過無限的江山,手指沾了血和灰,手掌黏了陰暗。」他的意思是在那個災難的歲月,詩人的手掌殘損,他撫摸的江山也同樣的殘破。
      但若我們殘損的手掌,撫摸的是知識分子這個板塊,相信,那種感覺就更複雜了。其中有悵然、有傷感,有對歷史的深深喟嘆,有對典型在夙昔的緬懷。知識分子 和他們所處的時代,本來就有著極不自在的關係。而在後進國,這種不自在又多了許多悲劇色彩。近代中國知識分子從康梁、王國維、陳寅恪、傅斯年,到最近剛逝 世的季羨林,哪一個不或多或少帶有悲劇的況味?這本《陳寅恪與傅斯年》說的雖是陳寅恪與傅斯年,其實是用殘損的手掌摩娑過他們那個時代知識分子這個板塊, 予人無限幽思。
      近代知識分子命運多乖,在西方已有新興的「知識分子論」這個新的探索領域,研究中國知識分子,可能也需要從更大的視野去 重新解釋他們命運多乖的更深層原因,並探索知識分子前瞻的可能性。這本著作倒不妨作為一個新的起點,讓我們在作者感嘆的「大師之後再無大師」上,作出更多 探討與思考!
      推薦序二
      歷史學家∕政治評論者 胡忠信
      本書以二十世紀「新 史學」兩位史學大師陳寅恪與傅斯年的生平與思想為主軸,「上窮碧落下黃泉,動手動腳找東西」,深刻而周密地重建民國時代的學術氛圍,把知識分子追求真理以 及報效家國的意志與熱誠作了忠實的敘述。「歷史是現在與過去之間無休止的對話」,這是一本與知識良心的對話錄,值得反思與尊崇。
      推薦序三
      作家∕評論家 楊照
      兩位個性與風格截然不同的人物,卻共同經歷了中國動盪時代,更重要的,共同經歷了對於中國歷史苦苦追尋的過程。從他們的合傳,我們可以更深刻地思考二十世紀中國知識分子悲運的來龍去脈,並探問我們自己看待歷史知識的根本態度。

      內容連載

      【第一章】
      風雲際會
      走進清華園
      一九二五年,隆冬。

      薄霧輕啟,天色微明。慘澹的星光下,一個單薄瘦削的中 年人攜一黃髮碧眼的幼兒,悄然離開德國柏林大學研究院暗灰色的公寓,冒著清晨凜冽的寒風,乘車向大街盡頭駛去。兩天後的上午,二人轉乘的汽車穿越卡納比埃 爾街︵La Canebiere︶,很快抵達碧海青天、卷積雲連綿不絕的馬賽港。中年人提著行李,深吸了一口帶有海腥味的空氣,健步踏上停泊在港灣的豪華郵輪,身後的 幼兒既興奮又好奇地跟進。陣陣汽笛聲中,一老一少作別歐洲大陸,穿越波滾浪湧的地中海,向魂牽夢繞的東方故國駛來。

      翌年七月八日,中年人的身影出現在北京西郊清華園荷塘岸邊,他那清臞、睿智的面容與擺動的長衫,隨著陣陣微風與飄拂的花香,立即入了學界的視野。

      ──時年三十七歲的陳寅恪受好友吳宓舉薦、清華學校校長曹雲祥聘請,告別長達十六年海外游學生涯,來到這所浸潤著歐風美雨的大師之園,以教授身分,開始了傳道、授業、解惑的人生之旅。

      清 華學校的建立,其源頭要追溯到清宣統元年︵一九○九︶六月。當時大清王朝的掌權者受時風薰染與國內外形勢所迫,在北京設立了一個游美學務處,負責選派留美 學生和籌建游美肄業館。這年八月,經外務部和學務部一同奏請,內務部把北京西北郊一座荒蕪的皇家花園──清華園撥給游美學務處,作為游美肄業館館址,並撥 款修建了館舍。在往後的三年時間裡,游美學務處於北京城內史家胡同等處考選了三批共一百八十位直接留美生。入選者到美後,視不同條件或直接進入美國大學就 讀,或先進入美國高級中學補習,爾後再進大學。宣統三年二月,游美學務處和籌建中的游美肄業館遷入清華園辦公,並將校名定為清華學堂。這年四月二十九日︵ 農曆四月初一日︶,清華學堂正式開學,由此揭開了中國教育史上嶄新的一頁。
      十月因發生辛亥革命,停課。一九一二年中華民國成立後,清華學堂更名為清華學校,於五月一日重行開課,並裁撤游美學務處,使之隸屬外交部。

      最初的十幾年中,清華學堂一直作為一所普通的留美預備學校而設置,學生進入清華園,主要學習英文和一些歐美文化知識,中國傳統文化的教學則相對薄弱。一九二四年初,清華學校在各方鼓譟和社會大潮湧動中,正式啟動﹁改辦大學﹂程序。

      這 年十月,根據清華大學籌備委員會草擬的組織綱要,決定在籌建大學部的同時,籌備創建研究院,﹁以備清華大學或他校之畢業生,對特種問題為高深之研究﹂。由 於財力、人力、研究方向等諸方面的限制,籌備人員多次討論,最終決定研究院先設國學門一科,也就是後來被社會廣泛稱謂的國學研究院。培養目標是訓練﹁以著 述為畢生事業的國學研究人才﹂,學科範圍包括中國歷史、哲學、文學、語言、文字學、考古學等,同時吸收歐美、日本等國際學術前沿的優秀成果,重建中國傳統 學術之魂──即研究院主任吳宓所提出的:﹁故今即開辦研究院,而專修國學。惟茲所謂國學者,乃指中國學術文化之全體而言。而研究之道,尤注重正確精密之方 法︵即時人所謂科學方法︶並取材於歐美學者研究東方語言及中國文化之成績,此又本校研究院之異於國內之研究國學者也。﹂
    •  

    • 週運:王汎森不知道的傅斯年藏西文哲學及數理書

      五明子 五明子 2015-11-29 11:30:22


    • 陳寅恪與傅斯年

      作者:岳南

      出版日期:2009 年07 月 31 日


      計畫既定,清華校長曹雲祥立即動員原游美學務處第二批庚款留學生,以第五十五名成績放洋美國,並於一九一七年歸國未久就﹁暴得大名﹂的北大文學院 哲學教授胡適︵字適之︶,到籌建中的清華國學研究院主持院務。時年三十四歲,尚不算糊塗的胡氏立即推辭,表示只做顧問不就院長,還建議曹校長採用宋、元書 院的導師制,吸取外國大學研究生院學術論文的專題研究法來辦研究院。曹校長聽罷深以為然,當場表示請胡出任導師,廣招天下士子名流,親身示範,以保留綿延 中國文化之血脈云云。儘管胡適此時的學問日益進取,地位和名聲在新派學界如日中天,但他畢竟算是個心中有數之人,面對曹校長的一番抬舉,並未得意忘形,更 沒敢輕視王國維︵字靜安,號觀堂︶、梁啟超︵字卓如,號任公︶等諸前輩學界泰斗的真實存在,忽略王、梁等人作為文化崑崙在天下儒林所展現的﹁高山仰止﹂的 偉岸身影。
      他清醒並謙虛地說道:﹁非第一流學者,不配作研究院的導師,我實在不敢當。你最好去請梁任公、王靜安、章太炎三位大師,方能把研究院辦好。﹂曹校長見對方態度誠懇,又覺此言甚在情理,於是決定按胡適指引的方式、方法付諸行動。

      一九二五年二月,在曹雲祥主持下,清華學校國學研究院籌備處鳴鑼開張,首先聘請由清華出身、美國哈佛大學學成歸國的一代名士、年僅三十二歲的吳宓主持研究院籌備處事宜。

      按 照當初胡適的建議,曹雲祥讓吳宓拿著自己簽發的聘書前往幾位大師住處一一聘請。曾任宣統朝五品﹁南書房行走﹂之職、時年四十九歲的王國維,身為滿清王朝最 後一位皇帝──溥儀的﹁帝師﹂,自然屬於舊派人物。此前,曹雲祥曾託胡適向王氏轉交過一封非正式的印刷體聘書,並讓胡對王就研究院性質與教授程序做一番解 釋說明。聘書送到後,胡適怕這位性格內向的學術大師優柔寡斷,又動用自己的汽車專門載著王國維在清華園轉了一圈。王氏見園內風景優美,校內頗具規模與秩 序,始有進清華的念頭。此次吳宓在登門之前,針對王氏這位清朝遺老的生活、思想、習性做了調查研究,計定了周密的對付辦法,欲一舉拿下。待到北京城內地安 門織染局十號王國維住所後,吳宓進得廳堂,二話沒說,先必恭必敬地向上行三鞠躬禮,然後落坐,再慢慢提及聘請之事。如此一招,令王國維大感意外又深受感 動,覺得眼前這個吃過洋麵包的年輕人,居然把自己當做一個有身分的前輩人物看待,尊敬有加,頓覺有了面子,心中頗為舒暢痛快,當場答應下來。據吳宓回憶 說:﹁王先生事後語人,彼以為來者必係西服革履、握手對坐之少年,至是乃知不同,乃決就聘。﹂

      吳宓打的三個恭總算沒有白費。

      王 國維雖打定主意,但又想到自己仍是前清皇朝的臣子,為人臣者,乃唯君命是從,像這樣工作調動之大事還得按舊規矩向﹁皇帝﹂稟報,看﹁上面﹂是否﹁恩准﹂, 然後才能正式決定行止,否則有失體統。於是,他憋在家中頗費了一番腦筋,經過幾次反覆思量,又偷偷摸摸跑到日本駐華使館拜見遜帝溥儀︵南按:時溥儀被馮玉 祥趕出紫禁城,暫避於東交民巷日使館︶,吭哧了老半天,在﹁面奉諭旨命就清華學校研究院之聘﹂後,才放下心來,收拾行李,於四月十八日攜家人遷往清華園古 月堂居住︵秋遷入西院十六、十八號︶,就任國學研究院教授之職。
    •  王氏到校,立即在師生間引起轟動,鑑於他在國學界如雷貫耳的顯赫聲名,曹雲祥校長有意請其出任研究院院長一職,王﹁以院長須總理院中大小事宜﹂而堅辭不 就,執意專任教授。曹校長鑑於吳宓在籌備過程的貢獻,便與之商議,請他出任院長,吳宓為人謙恭不肯接受,學校乃改聘他為研究院主任。

      與王 國維處事風格不同的是,時年五十三歲的梁啟超一見吳宓送達的聘書,極其痛快地欣然接受。梁氏儘管年過半百,思想不再像當年﹁公車上書﹂,憑一介書生之血氣 與康有為等舉子在北京城奔走呼號,掀起著名的﹁康梁變法﹂滔天巨浪時那樣激進,且已有保守之嫌;但憑藉他那明快暢達,開一代學風的︽飲冰室文集︾和現代史 學的奠基之作︽中國歷史研究法︾等文史巨著,奠定了其不可撼動的學術大師地位。當時中國學界曾稱﹁太炎為南方學術界之泰山,任公為北方學術界之北斗﹂,南 北兩大巨星相互映照,構成了二十世紀上半葉史學星河中燦爛絢麗的風景。

      王、梁二位大師應聘後,按當初胡適的提議,清華方面欲聘另一位名蓋 當世,為天下士子服膺的國學大師、外號﹁章瘋子﹂的章太炎︵名炳麟︶前來聚會。但自視甚高,目空天下士的章氏不願與王、梁二人同堂共事。因為章在日本時常 和梁啟超打筆墨官司,另外章公開反對甲骨文,說那是奸商們鼓搗出的假冒偽劣產品,信它就是妄人,而王國維恰是以研究甲骨文並發現了殷商王朝的先公先王聞名 於世的。鑑於這眾多的瓜葛,章太炎得此禮聘,﹁瘋﹂勁頓起,當場將聘書摔在地下,高聲示眾,以表決絕之心。自此,﹁章瘋子﹂失去了在清華園一展風采的機 會,清華園也失去了一位儒林宗師。

      國學研究院既開,第一屆招收了三十八名學生,僅王、梁二位導師顯然不足以應付。於是,清華教務長張彭春 積極薦舉與自己同期留美,時年三十四歲,才情超群,知識廣博,號稱﹁漢語言學之父﹂的哈佛博士趙元任前來任教。曹校長聞知,欣然同意,立即發電聘請。正擔 任國學研究院主任之職的吳宓,一看張氏薦舉了自己的同窗故舊,也不甘示弱,靈機一動,藉機向曹雲祥推薦了自己在哈佛攻讀時的同學──這便是後來被譽為中國 史學界﹁三百年來僅此一人﹂的陳寅恪。

      原籍陝西涇陽的吳宓︵字雨僧︶,一九一六年於清華學堂畢業,次年赴美留學,初入維吉尼亞大學,後轉 入哈佛大學就讀。獲得學士學位後,繼入哈佛研究生院,師從新人文主義大師白璧德︵Irving Babbitt︶攻讀哲學。就在這個時候,來自江西義寧的陳寅恪經在美國哈佛就讀的表弟俞大維介紹,入哈佛大學,師從東方語言學大師蘭曼︵Charles Rockwell Lanman︶學習梵文與巴利文︵Paali,古印度文的一種︶。既進哈佛校園,自然要與中國留學生結交,陳寅恪很快與姜立夫、梅光迪、湯用彤等輩相識, 當然還有終生摯友吳宓。其間,由於陳寅恪、吳宓、湯用彤三人才華出眾,成績卓著,引起中國留學生的矚目,一時有﹁哈佛三傑﹂之譽。而
      身為三傑之一的吳宓,則對陳寅恪的學問人品推崇備至,讚為人中之龍,相識不久即以師長待之。

      吳 宓有寫日記的習慣和毅力,也是日記高手,行文優美,議論獨到,與好論政治時勢的胡適日記大為不同,內中充滿了真性情和對世事的深邃見解。其珍貴的史料價值 與引人入勝的﹁好看﹂程度,在學術界備受推崇,是研究陳寅恪生平史事的一扇不可或缺的窗口。據已整理出版的︽吳宓日記︾載,一九一九年三月二日,正在哈佛 攻讀碩士學位的吳氏受中國學生會之請,作︽紅樓夢新談︾演講,他認為﹁用西洋小說法程︵原理、技術︶來衡量︽紅樓夢︾,見得處處精上,結論是:︽紅樓夢︾ 是一部偉大的小說,世界各國文學中未見其比﹂。
    •  當吳宓意氣風發,正在講堂上慷慨激昂地演講之時,剛進哈佛大學一個月的陳寅恪在俞大維的陪同下前往聆聽,見吳宓搖頭晃腦沉醉其中,對︽紅樓夢︾中人物景 象,隱語暗線,起承轉合,皆說得有聲有色,頭頭是道。陳寅恪對吳宓的才學留下了深刻印象,並流露出欽佩之情,很快作︿﹁紅樓夢新談﹂題詞﹀一首相贈,詩 曰:

      等是閻浮夢裡身,夢中談夢倍酸辛。
      青天碧海能留命,赤縣黃車(自注:虞初號黃車使者)更有人。
      世外文章歸自媚,燈前啼笑已成塵。
      春宵絮語知何意,付與勞生一愴神。

      吳宓初得陳寅恪詩文,驚喜交加,認為在異國他鄉的飄零歲月,不僅得到了一位難得的知音,同時得到了一位亦師亦友的貼心好兄弟。這個朋友很可能伴隨自己一生,並作為道德學問之楷模,像一盞永不熄滅的明燈,昭示著前方那漫長的人生之路。

      吳 宓在當天的日記中寫道:﹁陳君學問淵博,識力精到,遠非儕輩所能及。而又性氣和爽,志行高潔,深為傾倒。新得此友,殊自得也。﹂i字裡行間,跳躍著作者喜 悅的音符,彌漫蕩漾著濃得化不開、只有雙方心靈深處才能觸動的熱血情懷。自此之後,吳、陳二人作為同學加密友,攜手並行,開始了長達半個世紀感人肺腑的管 鮑之交。也正是得益於陳寅恪的鼓勵與幫助,吳宓所學專業日漸精進,在﹁紅學﹂研究中深得神韻,終於成為開宗立派、獨領風騷的一代宗師。為此,吳宓深為感 激,並多次提及此事。許多年後,對於陳寅恪的學問人品,吳宓仍不無感慨地說道:﹁一九一九年一月底二月初,陳寅恪君由歐洲來到美國。先寓康橋 Cambridge區之Mt. Auburn街。由俞大維君介見。以後宓恆往訪,聆其談述。則寅恪不但學問淵博,且深悉中西政治、社會之內幕。……其歷年在中國文學、史學及詩之一道,所 啟迪、指教宓者,更多不勝記也。﹂縱觀吳宓一生為人為學之品性,此說當為其發自肺腑的心聲。

      一九二一年夏秋之交,吳宓獲得碩士學位後歸 國,先後出任東南大學和東北大學教授,致力於西方文學教學和研究,同時兼任號稱﹁論究學術,闡述真理,昌明國粹,融化新知,以中正之眼光,行批評之職事, 無偏無黨,無激無隨﹂的︽學衡︾雜誌主編。這份以梅光迪、柳詒徵等為主要創辦人,奉吳氏為﹁學衡派﹂領袖的雜誌,儘管遭到了另類文化派領袖陳獨秀以及幹將 胡適、周豫才︵魯迅︶、周作人兄弟等人的強烈抵制與猛烈抨擊,但與胡適關係相當密切的曹雲祥,並未因此類江湖恩怨偏袒一方。當清華學校國學研究院籌備處成 立後,曹氏慕吳宓的才學與名聲,力主聘其回母校為國學研究院籌備工作鳴鑼開道。吳不負厚意,很快辭去東北大學教職,懷著一份感念之情回到故都北京,二度踏 進水木清華那寧靜安逸的校園,竭盡全力協助校長曹雲祥,積極物色延聘國內﹁精博宏通的國學大師﹂︵吳宓語︶來院執教。就在這樣一個節骨眼上,遠在萬里之外 的陳寅恪,迎來了踏入清華園一試身手的歷史契機。

      此時,陳寅恪已由美國哈佛大學轉赴德國柏林大學研究院攻讀。他得到清華聘請的電文後,經 過一番躊躇思量,答應就聘。由於購書等事宜拖延了半年才起程歸國,又因母喪等事宜,回到上海的陳寅恪向校方請假在家中逗留了一年,直到一九二六年七月八 日,方步入清華校園的大門。而這個時候,吳宓因與教務長張彭春矛盾加深,已辭去研究院主任之職,改任清華外國語言文學系教授。曾經薦舉趙元任步入清華講壇 的張彭春,也在與吳宓等人的紛爭中敗下陣來,被學生趕出了清華園,研究院事務由新任教務長梅貽琦兼理。

      混戰過後,處於多事之秋的清華園又恢復了往日的平靜。在蛙鼓蟬鳴與陣陣熱風吹蕩中,隨著陳寅恪擺動長衫緩緩登上承載著文化使命的聖潔講台,一個令天下學界為之震動,被後世廣為流傳並影響深遠的﹁四大導師﹂陣營業已形成,清華國學研究院迎來了它的巔峰時代。

      這 年十一月十六日,清華學校教務長梅貽琦來到陳寅恪住所商談,欲聘請一位大字號﹁海龜﹂︵海外歸國學人︶來校出任中國文史教授,以充實清華的文科陣容,壯大 學校的整體實力,為即將改制的清華大學再加籌碼。陳寅恪稍加思索,脫口說出了一個人的名字。這便是聲名赫赫的五四運動學生領袖,當時仍在德國柏林大學研究 院就讀的同窗好友──傅斯年。

    Raymond Carver. THE LITTLE SISTER by Raymond Chandler

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    “Wonderful what Hollywood will do to a nobody. It will make a radiant glamour queen out of a drab little wench who ought to be ironing a truck driver's shirts, a he-man hero with shining eyes and brilliant smile reeking of sexual charm out of some overgrown kid who was meant to go to work with a lunch-box. Out of a Texas car hop with the literacy of a character in a comic strip it will make an international courtesan, married six times to six millionaires and so blasé and decadent at the end of it that her idea of a thrill is to seduce a furniture-mover in a sweaty undershirt.”
    ―from THE LITTLE SISTER by Raymond Chandler
    The Lady in the Lake moves Marlowe out of his usual habitat of city streets and into the mountains outside of Los Angeles in his strange search for a missing woman. The Little Sister takes Marlowe to Hollywood, where he tries to find a sweet young thing’s missing brother, uncovering on the way a little blackmail, a lot of drugs, and more than enough murder. In The Long Goodbye, a case involving a war-scarred drunk and his nymphomaniac wife has Marlowe constantly on the move: a psychotic gangster’s on his trail, he’s in trouble with the cops, and more and more corpses keep turning up. Playback features a well-endowed redhead who leads Marlowe to the California coast to solve a tale of big money and, of course, murder. Throughout these masterpieces, Marlowe’s wry humor and existential sense of his job prove yet again why he has become one of the most recognized and imitated characters in fiction.



    *****

    Raymond Carver
    BornMay 25, 1938(1938-05-25)
    Clatskanie, Oregon, United States
    DiedAugust 2, 1988(1988-08-02) (aged 50)
    Port Angeles, Washington, United States
    OccupationWriter
    NationalityAmerican
    Period1958–1988
    Literary movementMinimalism, Dirty realism


    Raymond Clevie Carver, Jr. (May 25, 1938 – August 2, 1988) was an American short story writer and poet. Carver is considered a major American writer of the late 20th century and also a major force in the revitalization of the short story in the 1980s.
    Contents[hide]

    Life

    Carver was born in Clatskanie, Oregon, a mill town on the Columbia River, and grew up in Yakima, Washington.[1] His father, a skilled sawmill worker from Arkansas, was a fisherman and a heavy drinker. Carver's mother worked on and off as a waitress and a retail clerk. His one brother, James Franklin Carver, was born in 1943.
    Carver was educated at local schools in Yakima, Washington. In his spare time he read mostly novels by Mickey Spillane or publications such as Sports Afield and Outdoor Life and hunted and fished with friends and family. After graduating from Yakima High School in 1956, Carver worked with his father at a sawmill in California. In June 1957, aged 19, he married 16-year-old Maryann Burk. She had just graduated from a private Episcopal school for girls. Their daughter, Christine La Rae, was born in December 1957. When their second child, a boy named Vance Lindsay, was born the next year, Carver was 20. Carver supported his family by working as a janitor, sawmill laborer, delivery man, and library assistant. During their marriage, Maryann worked as a waitress, salesperson, administrative assistant, and high school English teacher.
    Carver became interested in writing in California, where he had moved with his family because his mother-in-law had a home in Paradise. Carver attended a creative-writing course taught by the novelist John Gardner, who became a mentor and had a major influence on Carver's life and career. Carver continued his studies first at Chico State University and then at Humboldt State College in Arcata, California, where he studied with Richard Cortez Day and received his B.A. in 1963. During this period he was first published and served as editor for Toyon, the university literary magazine, in which he included several of his own pieces under pseudonyms. He later attended the Iowa Writers' Workshop, at the University of Iowa, for one year. Maryann graduated from San Jose State College in 1970 and taught English at Los Altos High School until 1977.
    In the mid-1960s Carver and his family lived in Sacramento, where he worked as a night custodian at Mercy Hospital. He would do all of the janitorial work in the first hour and then write at the hospital through the rest of the night. He sat in on classes at what was then Sacramento State College, including workshops with poet Dennis Schmitz. Carver and Schmitz soon became friends, and Carver's first book of poems, Near Klamath, was later written and published under Schmitz's guidance.
    With his appearance in the respected "Foley collection," the impending publication of Near Klamath by the English Club of Sacramento State College, and the death of his father, 1967 was a landmark year for Carver. That was also the year that he moved his family to Palo Alto, California, so that he could take a job as a textbook editor for Science Research Associates. He worked there until he was fired in 1970 for his inappropriate writing style. In the 1970s and 1980s as his writing career began to take off, Carver taught for several years at universities throughout the United States.
    During his years of working different jobs, rearing children, and trying to write, Carver started to drink heavily.[1] By his own admission, eventually he more or less gave up writing and took to full-time drinking. In the fall semester of 1973, Carver was a teacher in the Iowa Writers' Workshop with John Cheever, but Carver stated that they did less teaching than drinking and almost no writing. The next year, after leaving Iowa City, Cheever went to a treatment center to attempt to overcome his alcoholism, but Carver continued drinking for three years. After being hospitalized three times (between June 1976 and February or March 1977), Carver began his 'second life' and stopped drinking on June 2, 1977, with the help of Alcoholics Anonymous.[1]
    Carver met the poet Tess Gallagher at a writers' conference in Dallas, Texas in November, 1977. Beginning in January, 1979, Carver and Gallagher lived together in El Paso, Texas, in a borrowed cabin near Port Angeles, in western Washington state, and in Tucson, Arizona. In 1980, the two moved to Syracuse, where Gallagher had been appointed the coordinator of the creative writing program at Syracuse University; Carver taught as a professor in the English department. He and Gallagher jointly purchased a house in Syracuse, at 832 Maryland Avenue. In ensuing years, the house became so popular that the couple had to hang a sign outside that read "Writers At Work" in order to be left alone. In 1982, Carver and first wife, Maryann, were divorced.[2] He married Gallagher in 1988 in Reno, Nevada. Six weeks later, on August 2, 1988, Carver died in Port Angeles, Washington, from lung cancer at the age of 50. In the same year, he was inducted into the American Academy of Arts and Letters.
    Raymond Carver is buried at Ocean View Cemetery in Port Angeles, WA. The inscription on his tombstone reads:
    LATE FRAGMENT
    And did you get what
    you wanted from this life, even so?
    I did.
    And what did you want?
    To call myself beloved, to feel myself
    beloved on the earth.
    His poem Gravy is also inscribed.
    As Carver's will directed, Tess Gallagher assumed the management of his literary estate.

    Legacy

    In 2001 the novelist Chuck Kinder published Honeymooners: A Cautionary Tale, a roman à clef of his friendship with Carver in the 1970s. In 2006 Maryann Burk Carver wrote a memoir of her years with Carver: What It Used To Be Like: A Portrait of My Marriage to Raymond Carver. An unauthorized biography, Raymond Carver: A Writer's Life by Carol Sklenicka, published by Scribner in 2009, was named one of the Best Ten Books of that year by The New York Times Book Review.[3] Carver's widow refused to cooperate with Sklenica.[4]

    Writing

    Carver's career was dedicated to short stories and poetry. He described himself as "inclined toward brevity and intensity" and "hooked on writing short stories" (in the foreword of Where I'm Calling From, a collection published in 1988 and a recipient of an honorable mention in the 2006 New York Times article citing the best works of fiction of the previous 25 years). Another stated reason for his brevity was "that the story [or poem] can be written and read in one sitting." This was not simply a preference but, particularly at the beginning of his career, a practical consideration as he juggled writing with work. His subject matter was often focused on blue-collar experience, and was clearly reflective of his own life. The same could probably be said of the recurring theme of alcoholism and recovery.
    Carver's writing style and themes are often identified with Ernest Hemingway, Anton Chekhov, and Franz Kafka.[citation needed] Carver also referred to Isaac Babel, Frank O'Connor, and V. S. Pritchett as influences. Chekhov, however, seems the greatest influence, motivating him to write Errand, one of his final stories, about the Russian writer's final hours.
    Minimalism is generally seen as one of the hallmarks of Carver's work. His editor at Esquire magazine, Gordon Lish, was instrumental in shaping Carver's prose in this direction - where his earlier tutor John Gardner had advised Carver to use fifteen words instead of twenty-five, Gordon Lish instructed Carver to use five in place of fifteen. Objecting to the "surgical amputation and transplantation" of Lish's heavy editing, Carver eventually broke with him.[5] During this time, Carver also submitted poetry to James Dickey, then poetry editor of Esquire. His style has also been described as Dirty realism, which connected him with a group of writers in the 1970s and 1980s that included Richard Ford, Tobias Wolff -- two writers Carver was closely acquainted with—as well as Ann Beattie and Jayne Anne Phillips. With the exception of Beattie, who wrote about upper-middle class people, these were writers who focused on sadness and loss in the everyday lives of ordinary people—often lower-middle class or isolated and marginalized people—who represent Henry David Thoreau's idea of living lives of "quiet desperation."
    His first published story appeared in 1960, titled "The Furious Seasons." More florid than his later work, the story strongly bore the influence of William Faulkner. "Furious Seasons" was later used as a title for a collection of stories published by Capra Press, and can now be found in recent collections No Heroics, Please and Call If You Need Me.
    His first collection, Will You Please Be Quiet, Please?, was first published in 1976; the title story had appeared in the Best American Short Stories 1967 collection. The collection itself was shortlisted for the National Book Award, though it sold fewer than 5,000 copies that year.
    Carver was nominated again in 1984 for his third major-press collection, Cathedral, the volume generally perceived as his best. Included in the collection are the award-winning stories "A Small, Good Thing", and "Where I'm Calling From."John Updike selected the latter for inclusion in The Best American Short Stories of the Century. For his part, Carver saw Cathedral as a watershed in his career, in its shift towards a more optimistic and confidently poetic style.
    His final (incomplete) collection of seven stories, titled Elephant in Britain (included in "Where I'm Calling From") was composed in the five years before his death. The nature of these stories, especially "Errand", have led to some speculation that Carver was preparing to write a novel. Only one piece of this work has survived - the unpromising fragment "The Augustine Notebooks," printed in No Heroics, Please.
    Tess Gallagher published five Carver stories posthumously in Call If You Need Me; one of the stories ("Kindling") won an O. Henry Award in 1999. Throughout his lifetime Carver won six O. Henry Awards: the winning stories were "Are These Actual Miles" (originally titled "What is it?") (1972), "Put Yourself in My Shoes" (1974), "Are You A Doctor?" (1975), "A Small, Good Thing" (1983), and "Errand" (1988).
    Tess Gallagher fought with Knopf for permission to republish the stories in What We Talk About When We Talk About Love as they were originally written by Carver, as opposed to the heavily-edited (or "heavy edits") and altered versions that appeared in 1981 under the editorship of Gordon Lish.[6][7] The book, entitled 'Beginners',[8] was released in hardback on October 1, 2009 in Great Britain.[9]'Beginners' also appears in a new Library of America edition collecting all of Carver's short fiction.
    Carver believed he would have died of alcoholism at the age of 40 if he hadn't found a way to stop drinking. When he knew the cancer would kill him, he wrote a poem about that bonus of 10 years, called "Gravy."[10]

    Works

    Fiction

    Collections

    Compilations

    • Where I'm Calling From (1988)
    • Short Cuts: Selected Stories (1993) - published to accompany Robert Altman film Short Cuts
    • Collected Stories (2009) - complete short fiction including Beginners

    Poetry

    Collections

    • Near Klamath (1968)
    • Winter Insomnia (1970)
    • At Night The Salmon Move (1976)
    • Fires (1983)
    • Where Water Comes Together With Other Water (1985)
    • Ultramarine (1986)
    • A New Path To The Waterfall (1989)

    Compilations

    • In a Marine Light: Selected Poems (1988)
    • All of Us: The Collected Poems (1996)

    Screenplays

    • Dostoevsky (1985, with Tess Gallagher)

    Films and theatre adaptations

    Music

    • The 1989 album So Much Water So Close to Home by Australian singer-songwriter Paul Kelly, includes a track "Everything's Turning to White" which is a re-telling of Carver's story So Much Water So Close to Home.
    • The 2004 EP by Owen includes a song titled Gazebo, named after Carver's short story. The song mentions Carver's name, and also quotes the final line of Gazebo; "In this too, she was right."
    • The 2005 album Pocket Revolution by dEUS includes a song titled "What We Talk About (When We Talk About Love)".

    Books and articles about Carver

    • Carver, Maryann Burk (2006). What It Used to Be Like; A Portrait of My Marriage to Raymond Carver. St. Martin's Press. ISBN0-312-33258-0.
    • Nesset, Kirk (1995). Stories Of Raymond Carver: A Critical Study. Ohio University Press. ISBN0821411004.
    • Charles McGrath (October 28, 2007). "I, Editor Author". Week in Review, New York Times. http://www.nytimes.com/2007/10/28/weekinreview/28mcgrath.html. Retrieved 2007-10-28.
    • Pieters, Jesús (2004). El silencio de lo real: sentido, comprensión e interpretación en la narrativa de Raymond Carver. Monte Ávila Editores Latinoamericana. ISBN9789800112199.
    • Stull, William L. and Gentry, Marshall Bruce (editors) (1990). Conversations With Raymond Carver (Literary Conversations Series). University Press of Mississippi. ISBN0878054499.
    • Stull, William L. and Carroll, Maureen P. (editors) (1993). Remembering Ray: A Composite Biography of Raymond Carver. Capra Press. ISBN0884963705.
    • Runyon, Randolph Paul (1994). Reading Raymond Carver. Syracuse University Press. ISBN9780815626312.
    • Kleppe, Sandra Lee and Miltner, Robert (editors) (2008). New Paths to Raymond Carver; Critical Essays on His Life, Fiction, and Poetry. University of South Carolina Press. ISBN9781570037245.
    • Halpert, Sam (1995). Raymond Carver. An Oral Biography. University of Iowa Press. ISBN0-87745-502-3.
    • Sklenicka, Carol (Nov 2009). Raymond Carver: A Writer's Life. Scribner. ISBN978-0-7432-6245-3.
    • The novel Name Your Poison: A Max Mitchum Mystery, by Lucas Stensland, was a comical attempt by the author to combine the styles of "the two Raymonds": Carver and Chandler. The book was intended to be a tribute.
    • Ródenas, Gabri (2009), “Jarmusch y Carver: Se ha roto el frigorífico” in Fernández, P. (Ed.), Rompiendo moldes: Discursos, género e hibridación en el siglo XXI. Zamora/Sevilla: Editorial Comunicación Social. ISBN 978-84-96082-88-5. Available at Google Books.

    References

    1. ^ abc Sklenicka, Carol. Raymond Carver: A Writer's Life. New York: Scribner, 2009
    2. ^ What It Used To Be Like: A Portrait of My Marriage to Raymond Carver, St. Martin's Press (July 11, 2006)
    3. ^ King, Steven. "Raymond Carver’s Life and Stories," The New York Times, Nov. 19, 2009
    4. ^ David Wiegand, "Serendipitous stay led writer to Raymond Carver,"San Francisco Chronicle, December 19, 2009
    5. ^The Carver Chronicles
    6. ^The Real Carver: Expansive or Minimal?
    7. ^ For further details of the extent of the original editing, see Blake Morrison, [1] and ‘Carved up, or kindly cut?’ by James Ley, [2]
    8. ^ And re-edited by William Stull and Maureen Carroll
    9. ^Beginners, London, Jonathan Cape, 2009
    10. ^Ebert, Roger (October 22, 1993). "Short Cuts". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=REVIEWS01&TITLESearch=Short%20Cuts&ToDate=20101231. Retrieved 2010-01-05.

    External links






    瑞蒙.卡佛(Raymond Carver, 1938-1988)乃是二十世紀美國文學上的一個奇蹟和一則傳奇。
    【南方朔/文】
    瑞蒙.卡佛(Raymond Carver, 1938-1988)乃是二十世紀美國文學上的一個奇蹟和一則傳奇。他出身寒微,為下層工人之子,自己中學畢業後即早婚生子。二十歲就得忙著一家四口的生 活,從這個工作地點搬到另一個工作地點。看起來這種辛苦工作的人生似乎沒什麼盡頭,他並因此而成了酗酒之徒;但儘管人生似乎已拋棄了他,而他卻從未真的放 棄人生,對文學堅持不變的執愛,最後終於將他從生命的困境中解救。1983年,他得到「米德瑞暨哈洛.史特勞斯生活年金獎」(Mildred & Harold Strauss Living Award),每年可獲得免稅年俸三萬五千美元,為期五年,他的窘境才徹底解除。
    瑞蒙.卡佛以對文學至終不變的熱愛拯救了自己的人生,而他回報整個世界的,乃是他也拯救了文學。1960年代以來,美國文學進入各式各樣的先鋒實驗 主義大盛的年代,用理論一點的說法,那是文學上的知識分子本位主義(Intellectual Egoism)掛帥:對文學的風格、敘述方式及語言表達都根據知識分子的偏好任意界定,它雖造成文學上看起來熱鬧和多采多姿,但反而言之,卻也等於將一般 讀者驅逐到了文學之外,在這種大趨勢下,瑞蒙.卡佛這個名不見經傳的小人物,卻悶聲不響,沒有任何理論靠山下,默默的去寫他那些不張揚的故事,他對文學的 誠實謙卑不做作,使他連繫上了海明威的傳統,他成了二十世紀重要的短篇小說作家,也是1980年代文學重振活力的先行者。他的作品精簡,沒有任何知識分子 因為理論先行而產生的文藝腔,都是些小人物,如餐廳服務生、推銷員、失業者、郵差、護士、麵包師等的生命質感。他沒有去強調這些人的身分階級,只是稱之為 「工作餬口的人」(working people),乃是他拒絕把人概念化和定格化,以至於疏忽了每個個人的生命感覺。
    他的寫作就是以直觀為中心,去觀察每個人生命情境中有感應的場景,而沒有像許多知識分子作家一樣去層層疊疊加上自己的觀點,提示或者自以為是的說 明。由於自己觀察的眼光清澈透明,他的敘述也簡潔透明。他的文學啟蒙老師,後來成為終生至友的作家嘉德納(John Gardner)就曾期勉他寫作要簡潔。「十五個字可以講清楚的就不要用二十個字」。後來他的作品編輯,也是作家的李許(Gordon Lish)也一度說:「能三個字講清楚的就連十五個字都不必。」敘述的簡潔,後來的評論家們幾乎毫無例外的都視他為文學極簡主義(Minimalism) 的代表人物。對於這個標籤,他不是很喜歡。他即表示過:「批評家討論我的作品時,經常稱之為極簡主義,但這種稱呼卻讓我很困擾,因為它似乎是在指作品的生 命觀點狹窄,缺乏企圖,文化視野不足。坦白說,我認為這種觀點並不符合我的作品。我的作品精實,乃是我不想敘述時加油添醋搞得太過分。」
    不過,他雖不喜歡「極簡主義」這種稱呼,但他終究還是承認自己精簡的寫作風格。他用海明威的話來做注解,「文章是建築,而非室內裝潢。巴洛克風格的 時代結束了。」海明威的文字敘述精簡,渲染鋪陳的東西少,沒有雕欄畫棟這種矯飾的表現。瑞蒙.卡佛所接觸的就是海明威、卡夫卡、契訶夫這些祖師爺級作家的 傳統,因而評論家們普遍認為他是海明威之後最偉大的作家。
    除了文風精簡的特性之外,瑞蒙.卡佛由於早期生活艱辛,它的筆下人物幾乎沒有例外的均屬生活困苦,坎坷謀生養家活口的下層人物,縱使後來他去大學教 過文學創作,但他認為知識分子根本沒有他認為重要的那種生命質料,因而他的作品從未以知識分子為題材。基本上都是梭羅所說的低下層人們那種「靜悄悄的自暴 自棄」,因而評論家除了「極簡主義」這個稱號外,另外也稱他為「骯髒寫實主義」(Dirty Realism),這是指1970和80年代一群作家,包括瑞蒙.卡佛、福特(Richard Ford)、伍爾夫(Tobias Wolff)、比蒂(Ann Beattie)、菲莉普絲(Jayne Anne Phillips)等,這些人主要都是在寫中下階級或孤立邊緣人日常生活的悲傷及失落等題材。「極簡主義」這個稱呼瑞蒙.卡佛都不喜歡了,對「骯髒寫實主 義」他當然更不可能同意。他後來有兩段話談到自己的寫作題材及改變:
    我的短篇小說裡,極大多數都是在寫可憐、徬徨無措的、經濟生活很重要,我不覺得我是個政治作家,有些右派批評家指責我沒有替美國勾劃出更多笑容圖 象,不夠樂觀,只寫不成功的人。但那些人的生活和精明幹練的成功者一樣有意義。是的,我將失業問題、金錢問題、煩惱問題視為生活的要件,人們擔心付不出房 租,擔心子女,擔心家庭生活,這是基本的。有百分之八、九十或上帝知道有多少人活在這種情況下。我寫這些窮困潦倒的人,他們經常都沒有人幫他們講話。我是 某種見證,而且我曾長期過著那種生活。我不自視為代言人,而是那種生活的見證人,我是個作者。
    另外,瑞蒙.卡佛自己也承認,人的情感會隨著情境而改變。在他1983年出版《大教堂》短篇小說集時,由於生命情境已變,他雖然角色還是下層人,但 在〈大教堂〉、〈好事一小件〉等篇裡,他的敘事方式已有了微妙的變化。他變得慷慨多了,用俗話說就是給人更多相互理解的空間。我最喜歡的是〈好事一小 件〉,一個媽媽在兒子生日前去訂生日蛋糕,但兒子生日當天卻被車撞了,緊急送醫,兒子卻昏迷多日,最後腿部受傷死了。在那兩天,蛋糕店的老師傅天天打電話 來催他們取蛋糕,由於溝通不良,小孩父母認為那是可惡的惡作劇,才經歷喪子之痛的父母真想把那人殺掉。後來搞清楚了,原來要去蛋糕店興師問罪的父母,和那 個老師傅卻成了朋友。那篇故事跌宕起伏,故事急轉直下,人與人的不能溝通卻又急變為可以溝通,的確是瑞蒙.卡佛的轉捩點之一。他的「骯髒寫實主義」其實也 不是真的那麼骯髒!
    瑞蒙.卡佛的短篇小說精練而準確,作者沒有層層渲染去告訴讀者要怎麼去讀,而是要讓讀者根據自己的知性與感性去體會,因此讀他的作品有時候對讀者也 是種考驗。他的作品必不是心中先有了一個意象,再去包裹和渲染這個意象,而是心中有了感覺,再透過一再修改將這個感覺精準的抓住,因此有些批評家會說他的 作品裡,某個情景怎麼到了後來卻沒了下文,這些瑕疵他自己也承認,這也是他的作品會反覆修改的原因。當年托爾斯泰寫《戰爭與和平》凡七易其稿,我卡佛的短 篇故事多修改幾次又算得了什麼?也正因他寫作嚴謹精簡、準確,感性細膩,在文學史上的地位遂被視為海明威之後最傑出的短篇作者。他作品的人間性及寫作方 式,在1970及80年代遂能獨領風騷。許多年輕輩作家都仿效他的風格去創作,而出現了所謂的「瑞蒙.卡佛體的短篇小說」。
    除了在美國發揮了再活化文學的功能外,他對歐洲也有極大影響力。而他的影響力,對台灣讀者最感興趣的,應當是日本作家村上春樹深受他的影響。瑞蒙. 卡佛的所有作品都有日文譯本,全都由村上春樹翻譯。村上春樹1984年首次登門拜訪,此後兩人成了重要的文壇友人。村上春樹的文字精練,在日本近代城市文 學領有一席之地,顯然即受到瑞蒙.卡佛的啟發。最近,我在他的詩集《海那邊》(Ultramarine)就讀到他寫的一首〈擲打:致村上春樹〉。這首詩有 點長:
    我們啜飲著茶,優雅的想著
    我的書暢銷的可能理由
    當它在你的國家被翻譯,而後話題一轉
    我們談起痛苦與屈辱
    你一再察覺
    它們在我的小說裡出現,以及那些純屬機會
    的元素,所有的這些
    怎麼會變成書的暢銷數字。
    這時我凝視著房子角落
    突然之間好像回到十六歲的時候
    我們車子斜翻在雪堆傍
    一輛五十年代的道奇轎車
    有五六個菜鳥在裡面
    我們手指著另外一些蠢蛋
    他們正對著車子尖叫並丟擲
    雪球和碎石
    以及老樹幹,而我們則反擊也喊叫
    希望趕快離開那裡
    但我的車窗在雪下三吋
    只有三吋,我大聲叫罵
    髒話,看到那些小鬼也急怒
    的擲東西,從現在這個有利位置
    我想像著一切又都重現
    看著往事快速回來
    就像是上個世紀開始時
    那些士兵看見霰彈在他們
    所站地點的上方橫飛
    而他們驚嚇困惑得不能動彈
    但我當時看不見,我轉過頭
    去譏笑我的夥伴
    忽然感覺到一個重擊
    打到我的頭上及耳朵鼓膜
    立刻雙膝倒下 一個冰雪的大雪球
    那個痛苦 非常巨大
    而且屈辱
    在驚嚇中我開始痛哭
    當著那些硬漢的面
    他們也在哭喊。真是運氣衰,出了怪意外
    百萬分之一的機會
    那個丟東西的傢伙,也驚異的覺得驕傲
    則在大喊及拍著同伴肩膀。
    他必定在褲子上擦拭弄髒了的手
    然後興奮一陣子
    而後回家吃午飯。他長大後
    生命挫折有份,也會失去
    自己的人生,就像我失去人生一樣
    在那個下午,他不可能想到別的。
    他有必要嗎?
    這乃是人生常態
    雖還會記得那輛蠢車子
    滑倒在路上,而後終於脫困
    並消失離去。
    在那個房間,我們優雅的舉起茶杯
    在剎那之間,某種不明言的東西走了進來。
    瑞蒙.卡佛除了短篇小說外,他同時也寫詩。他的詩與小說相同,每首都是個小小的心靈故事。在這首〈致村上春樹〉的詩裡,他們說痛苦,說屈辱,說人生 的偶然與必然,說年少輕狂及老大徒傷悲,不是人生活過,是不可能有這樣的感情的。由這首詩,也的確可以看出他和村上春樹的友誼甚深。
    ※延伸閱讀:
    瑞蒙.卡佛 用生命煎熬出來的文學傳奇(下)
    【完整內容請見《聯合文學》三月號317期;訂閱聯合文學電子版

    On Metaphor

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



    大部分的書都有中譯了.....

    • Paul Ricoeur (1975). The Rule of Metaphor: Multi-Disciplinary Studies in the Creation of Meaning in Language, trans. Robert Czerny with Kathleen McLaughlin and John Costello, S. J., London: Routledge and Kegan Paul 1978. (Toronto: University of Toronto Press1977)

    ----
    • Jakobson, Roman (1990). "Two Aspects of Language and Two Types of Aphasic Disturbances". In Linda Waugh and Monique Monville-Burston (ed.). On Language. Cambridge, MA: Harvard University Press. pp. 115–133. ISBN 0-674-63536-1.


    ----
    • Lakoff, G. & Johnson, M. Metaphors We Live By (IL: University of Chicago Press, 1980), Chapters 1–3. (pp. 3–13).
    • Lakoff, George (1980). Metaphors We Live By. Chicago, IL: The University of Chicago Press. ISBN 0-226-46801-1..

    Lakoff and Johnson (1980, 1999) greatly contributed to establishing the importance of conceptual metaphor as a framework for thinking in language. In recent years many[quantify] scholars have investigated the original ways in which writers use novel metaphors and question the fundamental frameworks of thinking implicit in conceptual metaphors.





    ------

    The word’s oldest meaning is “Of, relating to, or of the nature of a letter, or the letters, of the alphabet”. It is only by extension that “by the letter” has come to mean “real things in the real world.” And that jump makes literally—are you sitting down?—a metaphor

    Almost everything is a metaphor, even the word "literally"
    ECON.ST

    Alexander Pushkin, "Eugene Onegin", Bronze Horseman

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    "But my new longings are unaccompanied by hope; and my sorrow — how I miss the sorrow I used to know! My dreams, my dreams! What has become of their sweetness? What indeed has become of my youth?"
    ―from "Eugene Onegin" by Alexander Pushkin
    Eugene Onegin is the master work of the poet whom Russians regard as the fountainhead of their literature. Set in imperial Russia during the 1820s, Pushkin's novel in verse follows the emotions and destiny of three men - Onegin the bored fop, Lensky the minor elegiast, and a stylized Pushkin himself - and the fates and affections of three women - Tatyana the provincial beauty, her sister Olga, and Pushkin's mercurial Muse. Engaging, full of suspense, and varied in tone, it also portrays a large cast of other characters and offers the reader many literary, philosophical, and autobiographical digressions, often in a highly satirical vein. Eugene Onegin was Pushkin's own favourite work, and it shows him attempting to transform himself from romantic poet into realistic novelist.



    -----
    The grand opening of the Monument to Peter the Great in Senate Square (known as the Bronze Horseman thanks to the namesake poem by Alexander Pushkin) took place on this day in 1782. The first monument in Petersburg, it was commissioned by Catherine the Great and executed upon the project by French sculptor Étienne Maurice Falconet.
    А.К. Мельников (по рисунку А.П.Давыдова) | Открытие памятника Петру I на Сенатской площади в Санкт-Петербурге | Бумага, гравюра резцом | Середина XIX в.
    А.К Melnikov (drawing by A.P.Davydov) | Opening of the Monument to Peter the Great in Senate Square, St Petersburg | Line engraving | Mid - 19th century


    Государственный Эрмитаж. The State Hermitage museum. Official page. 的相片。





    Alexander Pushkin

    Product Details

    • Pub. Date: December 1992
    • Publisher: Cengage Gale
    • Format: Hardcover, 179pp

    Synopsis

    Alexander Pushkin (1799-1837) is to Russia what Shakespeare is to England and Goethe is to Germany: a founding figure of a national literature. Modern Russian masters from Leo Tolstoy to Anna Akhmatova have drawn significant inspiration from his poetry, prose, drama, and criticism, particularly his famous play Boris Godunov, and his masterpiece, Eugene Onegin, a novel in verse. For well over a century Russian readers have cherished Pushkin's humor, wisdom, and depth. Yet the very quality that most distinguishes Pushkin also presents a major obstacle to Western readers: his extraordinary use of language. Pushkin's carefully crafted sounds, meanings, associations, and rhythms cannot be rendered faithfully in any language but Russian. Walter N. Vickery elegantly rectifies this dilemma in this thorough revision of his classic introduction to Pushkin. Recasting each chapter with new ideas and discoveries gathered during the past two decades, and illustrating his discussion with a wealth of transliterated and translated excerpts, Vickery engenders a deep appreciation of Pushkin in all his subtlety. He also explains the phenomenon of Pushkin, placing him at the dawn of Russia's involvement in the European literary scene and tracing the young writer's exploration of the rich movements of his era, including Classicism, Sentimentalism, and the new Romanticism, as epitomized by Byron. Vickery moves chronologically through Pushkin's best known works, providing expert readings of the 1820 six-canto comic epic Ruslan and Lyudmila, the "Little Tragedies" of 1830, the 1833 "Fairy Tales in Verse," lyric poetry written as late as 1836, and other pieces. In several short poems he reveals the wit, irony, irreverence, and bawdiness made popular by Voltaire; in the "Southern" poems, he finds disillusion, nostalgia, and the torments of love, as well as deep patriotism; in The Bronze Horseman he uncovers Pushkin's terrible weariness and preoccupation with death; and in Eugene Onegin h

    Richard P. Feynman’s blackboard and a poem

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    5月11日是又帥又風趣又天賦異稟的物理學家理查.費曼的生日。他總是保有對事物的好奇心、挑戰權威、而且不怕質疑,不僅在高等的物理研究領域有卓越貢獻,也擅長以淺顯生動的方式講解科學原理。
    費曼用他精彩的一生提醒我們,永遠要保持熱情、用好玩的心態認真做有趣的事,我們會永遠記得這位頑皮的科學家!



    Richard Feynman - Wikipedia, the free encyclopedia

    https://en.wikipedia.org/wiki/Richard_Feynman
    Richard Phillips Feynman was an American theoretical physicist known for his work in the path integral formulation of quantum mechanics, the theory of ...


    Richard Feynman: Physics is fun to imagine | TED Talk | TED.com
    Video for richard feynman▶ 1:05:55
    https://www.ted.com/talks/richard_feynman
    In this archival footage from BBC TV, celebrated physicist Richard Feynman explains what fire, magnets ...

    California Institute of Technology - Caltech
    Richard P. Feynman’s reputation as a terrific teacher inspired the creation of a teaching prize at Caltech in his name. In honor of‪#‎TeachWeekCaltech‬, read more about it and its recipients on E&S+.



    In 2011, E&S published a story highlighting the recipients of the Richard P. Feynman Prize for Excellence in Teaching, named for the late Richard Feynman, one of the most brilliant theoretical ...
    EANDS.CALTECH.EDU





    "這首費曼大師的詩作,是這樣開頭的:我獨自站在大海邊,開始思索……"誤解

    Optimnem Blog: The Blog of Daniel Tammet: Gullfoss (A Poem)

    This poem reminds me of one written by the great scientist Richard Feynman, in that both were written by intelligent men who, although writers, may not focus on poetry specifically. And yet they stand up to the poems of those who do, and both manage to be enlightening in their own way. Life affirming is a good description, but human affirming might be even better:

    There are the rushing waves
    mountains of molecules
    each stupidly minding its own business
    trillions apart
    yet forming white surf in unison.

    Ages on ages
    before any eyes could see
    year after year
    thunderously pounding the shore as now.
    For whom, for what?
    On a dead planet
    with no life to entertain.

    Never at rest
    tortured by energy
    wasted prodigiously by the sun
    poured into space.
    A mite makes the sea roar.

    Deep in the sea
    all molecules repeat
    the patterns of another
    till complex new ones are formed.
    They make others like themselves
    and a new dance starts.

    Growing in size and complexity
    living things
    masses of atoms
    DNA, protein
    dancing a pattern ever more intricate.

    Out of the cradle
    onto dry land
    here it is
    standing:
    atoms with consciousness;
    matter with curiosity.

    Stands at the sea, wondering: I
    a universe of atoms
    an atom in the universe.

    - Feynman

    源氏物語The tale of Genji 及日本文學專家Edward Seidensticker

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    約2005

    「凡是對東京歷史有興趣的人,非看美籍日本文學專家Edward Seidensticker寫的《東京.下町.山手》和《東京起來》兩本書不可。但是,書中一句話,叫我這個老東京非常吃驚。老日本通寫道:東京新宿以西是文化沙漠,既看不到傳統日本文化又找不到西方高級文化,除了酒和色以外,就是一無所有。….. Seidensticker的兩本書在一九八三年以及九二年問世。後來,新宿以西建設了西方高級文化之府幾所:例如,新國立劇場、TOKYO OPERA CITY、府中森藝術劇場等。然而,即使在二十年以前,恐怕大部分東京人不肯同意美國日本通的說法,因為自從二十世紀初,東京的文化前衛始終在新宿以西。 ……」 

    如果你是<Simon University> 的Seidensticker的忠實讀者,而且記性很好,或許知道此「美國人日本通」是日本文學的名翻譯家,尤其以川端康成作品和<源氏物語>(The Tale of Genji )馳名。我們舉過大江先生的諾貝爾獎演講中對於川端康成標題的歧義之處理

    最近google scholar很方便,你想列舉他的作品,彈指間就完成了(希望再幾年也收入「萬國學者作品總匯」,完成全球化大業)。我這回拜此工具之賜才知道他近年還有一本回憶錄 Tokyo Central: A Memoir (Seattle, Wash.: University of Washington Press, 2002 ) 和論「翻譯技巧」之文收入J Biguenet, R Schulte 主編的The Craft of Translation (Chicago, The University of Chicago Press, 1989); 論文Chiefly on translating the genji (The Journal of Japanese Studies)。 
    前google scholar前兩頁標題大要。

    日本:
    Tokyo Rising: The City Since the Great Earthquake - E Seidensticker , Charles E. Tuttle, 1991 《東京起來》【hc:《東京新興起:1923年大地震之後再興記》】

    Low City, High City: Tokyo From Edo to the Earthquake, 1867-1923 - 
    E Seidensticke Middlesex, New York: Knopf, 1983 /UK: Penguin, 1985 《東京.下町.山手》

    Japan EG Seidensticker Time-Life, 1968 這本不是台灣翻譯的『早期日本』

    Tradition and Modernization in Japanese Culture -DH Shively, C Blacker - Princeton University Press, 1971 

    This Country Japan EG Seidensticker Kodansha, 1984 
    Showa: The Japan of Hirohito -C Gluck, SR Graubard Norton, 1992 
    ----
    日本古典文學:【Key Words 

    源氏物語    The tale of Genji 
    平安時代    Heian Period 
    日本文化    The culture of Japan 
    光源氏    Genji The Shining Prince 
    紫式部    Lady Murasaki Shikibu 
    源氏物語の概略   Summary of the tale of Genji
    http://mcel.pacificu.edu/as/students/genji/homepage.html 
    The Tale of Genji (Everyman's Library, No.108) Murasaki Shikibu (著), Edward G. Seidensticker (著), Murasaki Shikibu (著) The Tale of Genji (Everyman's Library, No.108)

    Genji Days - E Seidensticker New York: Kodansha International, 1983 (翻譯 <源氏物語>日紀感言整理。) 
    【舉個例,第97頁10月7日周六 整天早上和前午都在翻譯Hotaru…..Yes, the treatment of Genji is distinctly ambiguous, ironical, one might wish to say; and there is an interesting foretaste of Niou. …(foretaste noun [S] 1. 【事】 先嚐,試食;預嚐到的滋味;預示,前兆,徵象)】 

    The Gossamer Years: A Diary by a Noblewoman of Heian Japan EG Seidensticker -Tuttle, 1964 


    “There are as many sorts of women as there are women.”
    ―from "The Tale of Genji" by Murasaki Shikibu
    In the early eleventh century Murasaki Shikibu, a lady in the Heian court of Japan, wrote what many consider to be the world’s first novel, more than three centuries before Chaucer. The Heian era (794—1185) is recognized as one of the very greatest periods in Japanese literature, and The Tale of Genji is not only the unquestioned prose masterpiece of that period but also the most lively and absorbing account we have of the intricate, exquisite, highly ordered court culture that made such a masterpiece possible. Genji is the favorite son of the emperor but also a man of dangerously passionate impulses. In his highly refined world, where every dalliance is an act of political consequence, his shifting alliances and secret love affairs create great turmoil and very nearly destroy him. Edward Seidensticker’s translation of Lady Murasaki’s splendid romance has been honored throughout the English-speaking world for its fluency, scholarly depth, and deep literary tact and sensitivity.

    Katherine Mansfield :徐志摩:《曼殊裴兒小說集》;《哀曼殊裴兒》。曼斯菲爾德《園會》

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    "I believe that people are like portmanteaux - packed with certain things, started going, thrown about, tossed away, dumped down, lost and found, half emptied suddenly, or squeezed fatter than ever, until finally the Ultimate Porter swings them on to the Ultimate Train and away they rattle..."
    — Katherine Mansfield, "Je ne parle pas français," from STORIES
    Although Katherine Mansfield was closely associated with D.H. Lawrence and something of a rival of Virginia Woolf, her stories suggest someone writing in a different era and in a vastly different English. Her language is as transparent as clean glass, yet hovers on the edge of poetry. Her characters are passionate men and women swaddled in English reserve -- and sometimes briefly breaking through. And her genius is to pinpoint those unacknowledged and almost imperceptible moments in which those people's relationships -- with one another and themselves -- change forever. This collection includes such masterpieces as "Prelude,""At the Bay""Bliss,""The Man Without a Temperament" and "The Garden Party" and has a new introduction by Jeffrey Meyers.

    Vintage Books & Anchor Books 的相片。

    英德感情

    英德兩國人民之間的感情糾葛,真是一團理不清的帳。現在只說兩作家:
    Katherine Mansfield  (1888-1923,徐志摩:曼殊裴兒)第一本書是1911年的In a German Pension....之後歐戰,英國屢勸她再版該書,抗德。他不答應,推說那本是不成熟之作 (she later described as "immature".)
    ----
    "......1943年,她嫁給德國共產黨人戈特弗里德·安東·尼克萊·萊辛(Gottfried Anton Nicolai Lessing),因為在對德國人充滿敵意的戰爭環境中,保護他是她的「革命任務」,二人計劃戰爭一結束就離婚。他們有個兒子,名叫彼得。"----多麗絲·萊辛 (Doris May Lessing1919-2013)去世,她指引一代人
    http://cn.nytstyle.com/people/20131118/t18lessing-obit/zh-hant/







    徐志摩の有名な詩には「ケンブリッジをまた去るに当たって」(《再別康橋》)があり、2008年にはケンブリッジを流れるカム川(River Cam)のほとりにこの詩の最初の2行を記した大理石の石碑が建てられた。

      Katherine Mansfield
      Short story writer
      Kathleen Mansfield Murry was a prominent New Zealand modernist short story writer who was born and brought up in colonial New Zealand and wrote under the pen name of Katherine Mansfield. Wikipedia
      BornOctober 14, 1888, Wellington, New Zealand
      DiedJanuary 9, 1923, Fontainebleau, France


    Works by Katherine Mansfield at Project Gutenberg
    Works by Katherine Mansfield at Project Gutenberg Australia
    Works by or about Katherine Mansfield at Internet Archive


      紐西蘭裔英國短篇小說家。童年在紐西蘭自然美景與維多利亞式的文化薰陶下度過,15歲時離家至倫敦,學習法語、德語和音樂課程。她在那裡愛上了文學,並開始創作,寫一些短篇的散文和詩歌。三年後回到故鄉紐西蘭,卻對英國念念不忘。1908年7月,她終於說服父親同意讓她前往英國生活,從此走上文學道路,離開故鄉,一去不返。

      這段期間她大量閱讀易卜生、俄國作家托爾斯泰、杜斯妥也夫斯基、契訶夫等人的作品,並極度崇拜王爾德。後來她在倫敦結識了勞倫斯和吳爾芙,成為文學上彼此扶持、相互討論的摯友,其著名的中短篇小說〈序曲〉(Prelude)也由吳爾芙夫婦的霍佳出版社印行出版。

      她創作的年代飽受孤寂無助和病痛折磨,不僅長期受肺結核所苦,感情關係也時常遭遇挫折,諸如愛慕同性友人、未婚懷孕、為腹中的孩子找一個毫無感情基礎的父親、之後又選擇墮胎等等,也因此作品常圍繞在家庭事件和婚姻的不幸等主題上。她刻畫人物細膩入微,時常在細節上精雕細刻,流露出靜謐的詩意。死亡與不幸對她來說,是靜穆和安逸,甚至是美麗的。這份對美的崇敬的心情,也表現在1923年1月,她因常年罹患肺結核終於熬不過死亡,臨終前最後說的一句話:「我喜愛雨,我想要感受它們落到臉上的感覺。」(I love the rain. I want the feeling of it on my face.)

      短暫的三十五年生命中,曼斯菲爾德一直專注於短篇小說創作,共留下五部短篇小說集共七十六則故事,和十五個未完成的短篇。即使生命短暫,生活不盡順遂,曼斯菲爾德對文學的熱愛仍永遠不變,一如她曾在日記中如此寫道:「沒有任何情感可以和寫完小說的喜悅相比。」
    -------

    徐志摩和她見過一面。此後徐志摩寫下了那首有名的詩歌《哀曼殊斐兒》。[8] 
    1920年徐志摩離開美國,橫渡大西洋抵達英國,在英國學習和旅行期間,他結識了不少英國作家和詩人朋友,徐志摩首先認識了曼斯菲爾德的丈夫——倫敦《雅典娜》雜誌的主編、詩人、文藝評論家麥雷。1922年7月的一天,徐志摩和麥雷在倫敦一家嘈雜的茶店裡
    徐志摩徐志摩
    討論英法文壇的狀況。徐志摩說到中國小說受俄國文學影響極大。麥雷深有同感,他們夫婦最崇拜俄國契訶夫等大師。於是,徐志摩答應星期四去看望體弱多病的曼斯菲爾德。[8] 
    當時曼斯菲爾德正患肺結核,說話時聲音稍高,肺管里便如吹荻管似地呼呼作響。每句話語收頓時,總有些氣促,雙頰間便多添了一層紅潤。徐志摩看著她說話困難的情形,心裡很難受,便將自己的聲音放低,希冀她也跟著放低,這一招果然有效,她聲音也降低了不少。他們之間交談的內容大部分是對英國文壇現狀的評論,曼斯菲爾德批評了當時最風行的幾個小說家,接著又談到她對中國的景仰與愛慕,說最愛讀中國詩詞,盛讚中國詩藝是一個奇蹟。她還勸徐自己翻譯中國詩詞,因為中國詩只有中國人才能譯得好。曼斯菲爾德還問徐志摩喜歡哪些作家,徐答說有契訶夫哈代康拉德。最後曼斯菲爾德問起徐志摩回國後打算做什麼,希望徐不要過問政治,說現代政治的世界,不論哪一國,只是一亂堆的殘暴和罪惡。談起她的著作,徐志摩說她的作品是純粹的藝術,恐怕一般人很難理解。曼斯菲爾德說:“正是如此,通俗流行絕不是我所追求的。”徐志摩又說了願意以後有機會翻譯她的小說,希望得到作者的同意。曼斯菲爾德說她當然願意,並謙虛地說自己的著作不值得翻譯。末了,曼斯菲爾德邀請徐志摩到瑞士去找她,說自己非常喜歡瑞士的風景,日內瓦湖的嫵媚,鄉間牧場的寧靜。徐答應將來回歐洲時,一定去瑞士拜訪她。短短20分鐘的會面,徐志摩受到了一次心靈洗禮,後來為此發表《曼殊斐兒》一文。[8]  [9] 
    1923年1月9日,曼斯菲爾德在法國楓丹白露逝世,3月11日,徐志摩寫下了《哀曼殊斐兒》一詩,寄託自己對曼斯菲爾德的一片哀思。[10]  1923年10月29日,徐志摩翻譯了曼斯菲爾德小說《園會》中玖思小姐的一段唱詞,刊於12月1日《晨報五週年紀念增刊》,後收入1927年4月上海北新書局版《英國曼殊斐兒小說集》。[8]  [11] 
    徐志摩還接受了翻譯曼斯菲爾德小說的重托。1924年11月,他和陳源合譯的《曼殊斐兒小說集》由商務印書館出版,列為《小說月報叢刊》第三種。徐志摩寫了《曼殊斐兒》,同時翻譯了《一個理想的家庭》。1925年,徐志摩又寫了《再說一說曼殊斐兒》一文,刊於《小說月報》第16卷第3號,稱曼斯菲爾德是20世紀最重要的作家之一。[8]  [12] 
           1927年,他又自行翻譯成《英國曼殊斐兒小說集》,由北新書局出版,除保留《曼殊斐兒》和《一個理想的家庭》外,增加了《園會》、《毒藥》、《巴克媽媽的行狀》、《一杯茶》、《夜深時》、《幸福》、《刮風》和《金絲雀》。1930年,徐志摩又翻譯了曼斯菲爾德的三首詩《會面》、《深淵》、《在一起睡》,以《曼殊斐兒詩三首》為題名,發表在8月15日《長風》半月刊上。在這三首譯詩的前面,徐志摩寫有一篇小記。[8]  [13] 
    再看徐志摩紀念曼斯菲爾德的文章頗感覺像個受寵若驚的少年,他對曼斯菲爾德的美貌極盡描摹之能事:“我看了曼殊斐兒像印度最純澈的碧玉似的容貌,受著她充滿了靈魂的電流的凝視,感著她最和軟的春風似神態,所得的總量我只能稱之為一整個的美感。” [8] 
    徐志摩多少是個有些浮誇的浪漫主義者,他的驚艷和修辭上造作實在無法和曼斯菲爾德的簡潔的文體相容,而中國早期留洋的作家多少都有些浮誇的毛病。但無論如何,這次見面留給了徐志摩一個非常美好的印象。雖然曾經有好事者竟然以為她們之間有一段隱秘的愛情,大概也是看了徐志摩的那篇寫《曼殊斐兒》的文章的緣故。曼斯菲爾德的絕望和厭世是沉浸在驚豔之中的徐志摩所無論如何想不到的。[8]  [14] 
    ------
    曼斯菲爾德《園會》文潔若等多人合譯,北京:人民文學出版社,2006
    英國小說一向以長篇為主。二十世紀初,一位以寫短篇小說聞名于世的女作家彗星般出現在英國文壇上。在短短十四年的創作生涯中,她寫下了八十八篇短篇小說、大量的文學評論、日記、書信、札記以及別具一格的詩。她在短篇小說的創作上做了大膽的探索,贏得“英語世界的契訶夫”之稱,曾經產生過並且繼續產生著深遠的影響。她就是凱瑟琳‧曼斯菲爾德。 
    英國女作家、短篇小說大師曼斯菲爾德的小說就像她本人一樣輕靈飄逸,美麗動人。曼斯菲爾德在20世紀初彗星般出現在英國文壇上,在短暫的創作生涯中寫下許多優秀作品,贏得“英國的契訶夫”美譽。 
    本書選取了作家不同創作時期的代表作26篇,它們或寫人生命運(如《園會》、《帕克媽媽的一輩子》),或寫愛情婚姻(《幸福》、《稚氣卻很自然》),敏銳的觀察和卓越的藝術才華使這些小說成為真正的世界名篇。
    ----


    目錄

    新版譯序
    導讀

    第一部    少女的故事
    娃娃屋
    少女
    她的第一次舞會
    花園宴會

    第二部    女男衝突
    新洋裝
    時髦的婚姻
    陌生人
    一杯茶
    白鴿先生和白鴿太太

    第三部    神經質的人物
    毒藥
    一條酸黃瓜
    瑞基‧皮考克先生的一天

    啟示
    喜悅

    第四部    寂寞的人物
    已故上校的女兒
    貝麗兒小姐
    帕克婆的一生
    店舖裡的女人
    理想家庭
    蒼蠅
    凱瑟琳‧曼斯菲爾德年表

    -----

    曼殊裴兒小說集   徐志摩 著/譯 (1927)

    園會
    毒藥
    巴克媽媽的行狀
    一杯茶
    夜深時
    幸福
    一個理想的家庭
    刮風
    曼殊裴兒 (此篇記訪曼殊裴兒20分鐘)

    哀曼殊裴兒——徐志摩


    我昨夜夢入幽谷,

    聽子規在百合叢中泣血,

    我昨夜夢登高峰,

    見一顆光明淚自天墜落。



    古羅馬的郊外有座墓園,

    靜偃著百年前客殤的詩骸;

    百年后海岱士黑輦的車輪,

    又喧響在芳丹薄羅的青林邊。



    說宇宙是無情的機械,

    為甚明燈似的理想閃耀在前?

    說造化是真善美之表現,

    為甚五彩虹不長住天邊?



    我與你雖僅一度相見——

    但那二十分不死的時間!

    誰能信你那仙姿靈態,竟已朝露似的永別人間?



    非也!生命只是個實體的幻夢:

    美麗的靈魂,永承上帝的愛寵;

    三十年小住,只似曇花之偶現,

    淚花里我想見你笑歸仙宮。



    你記否倫敦約言,曼殊裴兒!

    今夏再見於琴妮湖之邊;

    琴妮湖永抱著白朗磯的雪影,

    此日我悵望雲天,淚下點點!



    我當年初臨生命的消息,

    夢覺似的驟感戀愛之莊嚴;

    生命的覺悟是愛之成年,

    我今又因死而感生與戀之涯沿!



    因情是摜不破的純晶,

    愛是實現生命之唯一途徑;

    死是座偉秘的洪爐,此中

    凝練萬象所從來之神明。



    我哀思焉能電花似的飛騁,

    感動你在天日遙遠的靈魂?

    我洒淚向風中遙送,

    問何時能戡破生死之門?

    Edward Lear: 諧趣詩 Book of Nonsense 、鳥類畫、『未晚齋』

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    Everyman's Library
    Edward Lear was born in Holloway, Middlesex, England on this day in 1812.
    "There Was An Old Person Of Nice"
    There was an old person of Nice, 
    Whose associates were usually Geese.
    They walked out together, in all sorts of weather.
    That affable person of Nice!
    *
    The owls, hen, larks, and their nests in his beard, are among the fey fauna and peculiar persons inhabiting the uniquely inspired nonsense rhymes and drawings of Lear (20th child of a London stockbroker), whose Book of Nonsense, first published in 1846, stands alone as the ultimate and most loved expression in English of freewheeling, benign, and unconstricted merriment.


    British Museum
    Artist and author Edward Lear died ‪#‎onthisday‬ in 1888. Although he was a painter by profession, he is better known as the author of nonsense verse and limericks. Can you devise a limerick in his honour? http://ow.ly/I90ta


    Artist and author Edward Lear died #onthisday in 1888. Although he was a painter by profession, he is better known as the author of nonsense verse and limericks. Can you devise a limerick in his honour? http://ow.ly/I90ta





    讀"愛德華.李爾:隱藏在自然史後的狂野面"《知識通訊評論》116期目錄
    (今年是 Edward Lear 200周年慶  上文登在科學雜誌 因他也是著名的鳥類插畫家 Edward Lear - Wikipedia, the free encyclopedia    奧杜邦(John James Audubon)創作的《美國鳥類》(The Birds of America此書中國有翻譯)齊名。)

    想起一段友情

    2005年我介紹 Edward Lear 的諧趣詩 Edward Lear, Book of Nonsense 1-10
    並贈『未晚齋』給文友瑞麟
    他很有毅力  將該書以"每日一詩"方式翻譯出來



    可惜的是。  瑞麟兄給我回信說 , 他已將BLOGs中英美文學部分都刪除了。


    ----2005 Simon University 一瞥
    rl 留言(re: 李叔湘先生的『未晚齋』(文集)--
    為了這篇作業不想作晚飯的rl ):「
    吕叔湘:《未晚斋杂览》为32开本,全书不到百页,收录七篇文章:

    霭理士论塔布及其它
    赫胥黎和救世军
    葛德文其人
    李尔和他的谐趣诗
    《第二梦》
    《书太多了》
    买书‧卖书‧搬书

    其中的李尔和他的谐趣诗就是日前我每日一诗的诗人Edward Lear;校长所提的J.M. Barrie作品指的是Dear Brutus,则是在《第二梦》这篇文章里,我个人因为并未阅读过这部作品,所以对此无动于衷。文中大致介绍这是三幕剧剧本,剧名取自第三幕,剧中人引用莎翁的两行诗:
    Casius The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings.
    (以上英文无误地抄自该书,显然版面需要加以订正)
    书中提到朱生豪的译文,并对朱译underlings作「受制于人」有意见。
    文章取名《第二梦》是作者曾在协和医学院看过燕大毕业演出的一个话剧,剧名就叫《第二梦》,作者觉得情节与Dear Brutus十分相似,认为是译本或改编本。文章其余部分开始介绍第二梦的故事和一些对白。
    文末始介绍J.M. Barrie一生写了38个剧本,其中以《可敬的克莱登》和《彼得潘》最有名。」
    *****
    由於讓RL晚餐誤點,準備介紹 Sir J.M. Barrie。發現電影之原作:
    參考:
    http://www.newyorker.com/critics/atlarge/?041122crat_atlarge

    LOST BOYS
    by ANTHONY LANE
    Why J. M. Barrie created Peter Pan.
    ----
    J.M. Barrie 的介紹和電子檔,英國和日文都很豐富。

    我們可以從更寬的視野看Sir J.M. Barrie在英國/蘇格蘭/世界文化的主要業績,參考下書所特別介紹的這些作家(這本書hc還沒讀過):
    Jackie Wullschlager, Inventing Wonderland: The Lives and Fantasies of Lewis Carroll,
    Edward Lear, JM Barrie, Kenneth Grahame, and A A Milne, 1996. 日本翻譯:『不思議の国をつくる:キャロル、リア、バリー、グレアム、ミルンの作品と生涯』
    「…..文末始介绍J.M. Barrie一生写了38个剧本,其中以《可敬的克莱登》和《彼得潘》最有名。」


    這兩本/齣劇本的書名都成為英國(文)的常用名詞。
    《可 敬的克莱登》就是The Admirable Crichton, J. M. Barrie在 1902的作品。(日本翻譯: 「天晴れクライトン」 (1902年初演)【天晴れ(あっぱれ) 意思: Bravo!/ Well done!・~な splendid; admirable; glorious.】 http://www.answers.com/topic/the-admirable-crichton-1?hl=crichton
    要了解The Admirable Crichton作為類型人物,先要了解劇情/歷史。
    The Admirable Crichton指「無所不能、面面俱到/俱佳的人」。

    Peter Pan 為長不大的小孩。這成為商標。1960年代,美國流行一種通俗心理學TA,說法是人人的人格中都還有一CHILD要照顧……

    The Birth (and Death) of Edward Lear

    May 12, 2014 | by 
    1862ca-a-book-of-nonsense--edward-lear-001
    You’d think it would be easy to invent nonsense words. After all, the real lexical bummer usually rests in the burden of definition: your average neologism has to mean something. Nonsense words, on the other hand, are not merely devoid of but entirely divorced from meaning—creating them should just be a matter of aesthetics. Throw a couple consonants together, make sure there’s a vowel in there someplace: voilà. And yet—
    Hlerkjer—not a very good nonsense word.
    Grimblurp—better, but still aesthetically lacking…
    Runcible—now, that’s quality nonsense.
    Lear_Runcible_spoonRuncible is a creation of Edward Lear’s, arguably his pièce de résistance—though it faces stiff competition from the likes oftilly-looYonghy-Bonghy-Bòtiniskoop,cheeriousmeloobiousgromboolian,mumbianbruffleddolomphiousborascible,fizzgiggioushimmeltanioustumble-dum-downspongetaneous, and blatter-platter. Lear, born today in 1812, was a prolific painter and illustrator, but the poem—especially the limerick—is where he really left his mark. In such volumes as The Book of Nonsense;More Nonsense Songs, Pictures, Etc.Nonsense BotanyThe Quangle-Wangle’s Hat; andScroobious Pip, he cultivated an ear for twaddle, malarkey, and piffle that remains largely unrivaled in letters to this day. His nonsense words have a certain authority to them, so much so that one feels compelled to define them—and on the tongue they have an inimitable springiness, an Anglo-Saxon lilt. When Lear’s characters aren’t named after nonsense or spouting it, they tend to be pursuing it in some form or another, as they do here, in the first stanza of “The Jumblies”:
    They went to sea in a Sieve, they did,
    In a Sieve they went to sea:
    In spite of all their friends could say,
    On a winter’s morn, on a stormy day,
    In a Sieve they went to sea!
    And when the Sieve turned round and round,
    And everyone cried, “You’ll all be drowned!”
    They cried aloud, “Our Sieve ain’t big,
    But we don’t care a button, we don’t care a fig!
    In a Sieve we’ll go to sea!”
    Far and few, far and few,
    Are the lands where the Jumblies live;
    Their heads are green, and their hands are blue,
    And they went to sea in a Sieve.
    Edward_Lear_More_Nonsense_07Those idiotic Jumblies!
    If Aesop had written his fables on a steady regimen of opiates, they might have turned out like Lear’s poems.
    I came to Lear not through runcible—which remains, especially when paired with spoon, a vital part of the popular imagination—but by way of “The Death of Edward Lear,” a 1971 short story by Donald Barthelme in which Lear invites his friends and associates to join him at his deathbed. (He puts on quite a show, in one sense, and not much of a show at all, in another.) Barthelme, of course, was a purveyor of his own grade-A nonsense; you can read “The Death of Edward Lear” as a sort of winking memorial, even if it lacks for limericks. As is often the case with a Barthelme story, its humor begins to accrue a sense of sadness, an existential weight, as it goes on:
    People who attended the death of Edward Lear agreed that, all in all, it had been a somewhat tedious performance. Why had he seen fit to read the same old verses, sing again the familiar songs, show the well-known pictures, run through his repertoire once more? Why invitations? Then something was understood: that Mr. Lear had been doing what he had always done and therefore, not doing anything extraordinary. Mr. Lear had transformed the extraordinary into its opposite. He had, in point of fact, created a gentle, genial misunderstanding.
    Edward_Lear_A_Book_of_Nonsense_01Thus the guests began, as time passed, to regard the affair in an historical light. They told their friends about it, reenacted parts of it for their children and grandchildren. They would reproduce the way the old man had piped "I've no money!" in a comical voice, and quote his odd remarks about marrying. The death of Edward Lear became so popular, as the time passed, that revivals were staged in every part of the country, with considerable success. The death of Edward Lear can still be seen, in the smaller cities, in versions enriched by learned interpretation, textual emendation, and changing fashion. One modification is curious; no one knows how it came about. The supporting company plays in the traditional way, but Lear himself appears shouting, shaking, vibrant with rage.

    The Long Search was a 1977 BBC documentary television series spanning 13 episodes. Presented by theatre director Ronald Eyre,

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    From Wikipedia, the free encyclopedia
    The Long Search
    GenreDocumentary series
    Created byBBC
    Directed byJonathan Stedall
    Presented byRonald Eyre
    Country of originUnited Kingdom
    Originallanguage(s)English
    No. of seasons1
    No. of episodes13
    Production
    Producer(s)Peter Montagnon
    Camera setupJohn Else, et al.
    Running time52 minutes per episode
    Release
    First shown inBBC Two
    Original release19 September – 12 December 1977
    External links
    Website
    The Long Search was a 1977 BBC documentary television series spanning 13 episodes. Presented by theatre director Ronald Eyre, the series surveyed several major worldreligions, including ProtestantOrthodox, and Catholic Christianity. Other episodes surveyedTheraveda and Zen BuddhismIslamJudaismHinduism, and the New Age movement. Location filming took place in IndiaEnglandItalyJapanIsraelRomaniaSri Lanka,Taiwan, the United StatesEgyptIndonesia, and South Africa.

    Scholar of religion Ninian Smart acted as editorial consultant to the show, and also authored a companion book by the same name. The series was re-issued on DVD, and is currently distributed by Ambrose Video.

    Episode listing[edit]

    1. Protestant Spirit USA (Indiana)
    2. Hinduism: 330 Million Gods
    3. Buddhism: Footprint of the Buddha (Sri Lanka)
    4. CatholicismRomeLeeds and the Desert
    5. Islam: There is no God but God (Egypt)
    6. Orthodox Christianity: The Romanian Solution
    7. Judaism: The Chosen People
    8. Religion In Indonesia: The Way of the Ancestors (Toraja)
    9. Buddhism: The Land of the Disappearing Buddha (Japan)
    10. African Religions: Zulu Zion (South Africa)
    11. Taoism: A Question of Balance (Taiwan) :1977 台灣人口約1700萬;

    歲月漢聲
    《漢聲》雜誌 創辦人/總編輯吳美雲昨日清晨遠行了
    老朋友一位一位離去 .....
    Linda, 一路好走.
    紀念她的方式就是好好再看這一部紀錄片
    "Taoism: A Question of Balance "
    這是BBC 紀錄片系列"The Long Search"其中一集
    主持人Ronald Eyre於70年代到台北拜會「漢聲」
    由吳美雲.黃永松.姚孟嘉引路走訪台灣民間生活的道教文化
    吳美雲是主要的譯介人
    表現親和.睿智而動人
    https://www.youtube.com/watch?v=URC4RoLdNJ8

    12. Alternative Lifestyles in California: West Meets East
    13. Reflections on the Long Search

    Daphne Du Maurier《蝴蝶夢》(Rebecca).....

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    Daphne du Maurier—author of "Rebecca"—was born on May 13th 1907. Often dismissed as a sentimental 'romantic novelist', her forgotten short stories reveal darker and more shocking tales; "The Doll", for example, explores a young woman's obsession with a mechanical male sex doll

    The Economist 的相片。



    林海音莫里哀的靈感源泉》1953.4.4
    介紹 My Cousin Rachel (1951),說大家認為它比1938年的《蝴蝶夢》更好,靈感來自修屋時某鉛管上的刻名。另外介紹短篇小說集:《再吻我,陌生人》 The Apple Tree (1952) (short story collection, AKA Kiss Me Again, Stranger)。
    可見當時台北的文人消息尚靈通。





    達夫妮·杜穆里埃女爵士,布朗寧爵士夫人DBEDame Daphne du Maurier, Lady Browning,1907年5月13日-1989年4月19日),一譯達夫妮·杜莫里哀,英國小說家、劇作家。
    杜穆里埃的小說多以故鄉康沃爾郡的海岸為地點,情節曲折,扣人心弦,代表作品有《蝴蝶夢》和《牙買加客棧》[1]。她的多部作品都被改編為電影,當中包括《蝴蝶夢》、《牙買加客棧》兩部小說和《》、《威尼斯癡魂》兩個短篇故事。前三部電影都由亞佛烈德·希區考克執導,而最後一部電影則由尼古拉斯·羅伊格執導。
    http://en.wikipedia.org/wiki/Daphne_du_Maurier



    大部分人認為她的最佳作品是多次改編為戲劇和電影的小說《蝴蝶夢》(Rebecca)或譯作《麗貝卡》。1938年她憑藉這部小說贏得了美國國家圖書獎[3]   http://en.wikipedia.org/wiki/Rebecca_%28novel%29

    《蝴蝶夢》的改編電影獲得了巨大成功,獲得了1941年的奧斯卡最佳影片獎。

    Rebecca (1940) - Full movie

    • 2 years ago
    • 949,451 views
    When a naive young woman marries a rich widower and settles in his gigantic mansion, she finds the memory of the first wife ...


    Daphne Du Maurier, author of ”Rebecca,” was born on this day in 1907.



    From Alfred Hitchcock’s film adaptation of Rebecca, 1940. The moment of crisis had come, and I must face it. My old fears, my diffidence, my shyness, my hopeless sense of inferiority, must be conquered now and...
    THEPARISREVIEW.ORG|由 SADIE STEIN 上傳

    文革五十週年:李振盛 影像系列;唯一的民間博物館「全都遮」;「文化大革命」藏語成了「人類殺劫」

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    ※ 2016.05.14 中國—《泰晤士報》Calum MacLeod ※
    文革發動五十週年,唯一的民間博物館「全都遮」
    毛澤東於 1966 年發動文化大革命,到下週一(5 月 16 日)剛好滿五十週年。但是中國唯一的文革博物館,所有指稱文革往事的東西,全都被巨型的看板、鐵皮、貼紙、海報遮起來。
    北京政府也不允許民眾公開對五十年前、死了大約兩百萬人的政治運動致哀。雖然官方文獻形容它是「十年浩刼」,這個話題依然是禁忌,因為始作俑者目前仍然還在執政。
    在官方的不滿之中,唯一還在公開紀念文革的,是汕頭市澄海區蓮上鎮的塔山森林公園,此座森林公園中的文革紀念館在 2005 年開放。
    博物館主要的特色之一,是數百個石雕,銘刻著當年的場景、口號、紅衛兵折磨人的方法。這裡也有二十幾座墳塋,埋葬著文革的死者。
    現在,這些石碑、紀念門、佛塔,全部都用大紅大黃的新口號遮起來了,吠叫著「社會主義核心價值觀」、「中國夢」等等習近平過去三年推動的政治運動。
    目前,整座公園在無數的監視錄影機以及公安嚴密監視之中。在我進入園區時,公安訊問我一個小時,我遊覽的期間,五名官員跟在我後面全程盯人。
    附近村裡一個店家告訴我:「黨的臉丟大了,文革跟這個博物館讓他們很尷尬。」
    1968 年 7 月各個造反派鬥爭的高潮時,各派人馬都自稱自己最遵循毛主席的教條,塗城村遭到鄰村攻擊,中國軍隊不得不介入進行「軍事管理」,至少有 24 人死亡。
    塔山文革博物館的展覽品,現在被特意掩蓋,顯示當前執政者想要永遠埋葬痛苦的歷史真相。這座民間的博物館呼籲「反思」,並且寫著「要以史為鑑,不要讓文化大革命的悲劇重演」,現在這些字句全都被巨型文宣看板遮住。
    博物館的發起人是彭啟安,他本人在文革中差點被槍決;他的哥哥是一位老師,在文革中被暴民殺死。
    在汕頭的博物館中,一位二十歲的地理系學生,Atlas Wu,表示,中國年輕人對文化大革命所知有限,卻很想知道:「我們只被告知那是內部動亂,電影跟其他媒體中這個話題也是禁忌,其實應該開放,讓大家可以反省。」
    觀念座標的相片。
    觀念座標的相片。
    Fifty years ago the Great Proletarian Cultural Revolution, as it was officially known, plunged China into Maoist madness. It left well over 1m people dead and wrecked the lives of millions of others




    How Mao’s call for “disorder under heaven” tore China asunder
    ECON.ST


    DW (中文) 分享了 1 條連結


    文化大革命主要是为了什么?这场革命和文化有多大关系?它是怎么进行的…
    DW.COM|由 DEUTSCHE WELLE (WWW.DW.COM) 上傳





    文革五十週年李振盛:48年前,他在地板裏藏下兩萬張文革底片
    文革中,黨報記者鋸開斗室地板藏下可致命的秘密,生死受託的同事守口37年,顛覆的年代,倖存一點真實。https://theinitium.com/…/20160513-mainland-LiZhenshengCult…/

    Initium Media 端傳媒的相片。
    Initium Media 端傳媒
    【每日instagram: 文革50週年影像系列】http://bit.ly/1T2sEtj
    1966年8月25日,哈爾濱黑龍江日報的工作人員批鬥駱子程,就他走資本主義道路,反對群眾運動,他頭戴的高帽上寫著他的罪行。
    關注小端instagram,留住每個重要瞬間:instagram.com/initiumphoto
    攝:李振盛 Li Zhen Sheng
    【文革50年系列文章】http://bit.ly/1Tat4TI

    西藏自治区一位副主席在一次记者招待会上公开承认,对西藏破坏行为的90%发生在文革之前。文革只是对西藏的致命一击。


    五十年前,毛泽东的红卫兵小将也在西藏掀起了极具破坏性的革命。今天北…
    DW.COM|由 DEUTSCHE WELLE (WWW.DW.COM) 上傳

    作者:唯色 / 澤仁多吉‧攝影
    譯者:
    出版社:大塊文化出版股份有限公司
    出版日期:2016-01-21
    官方網址:

    不可碰觸的記憶禁區,鏡頭下的西藏文革,第一次披露
    Forbidden Memory: Tibet During the Cultural Revolution

    文革五十週年紀念新版
    文革依然是禁區,《殺劫》依然是禁書
    傳統藏語並無「革命」一辭。半個多世紀前,中共解放軍進駐西藏,刻意結合原先藏文的「新」與「更換」才造出這一個全新的辭彙。藏語「革命」的漢語發音近似「殺劫」,
    不可碰觸的記憶禁區,鏡頭下的西藏文革,第一次披露
    Forbidden Memory: Tibet During the Cultural Revolution
    文革五十週年紀念新版
    文革依然是禁區,《殺劫》依然是禁書
    傳統藏語並無「革命」一辭。半個多世紀前,中共解放軍進駐西藏,刻意結合原先藏文的「新」與「更換」才造出這一個全新的辭彙。藏語「革命」的漢語發音近似「殺劫」,恰恰表明二十世紀五○年代以來,「革命」為西藏帶來的種種劫難。一九六六年,「文化大革命」席捲西藏。「殺劫」之前於是再被加上「文化」一辭。藏語的「文化」與漢語的「人類」發音近似。對西藏民族而言,這場「文化大革命」無疑成了「人類殺劫」。
    一九六六年,文化大革命的烈火開始燎原,作家唯色出生於西藏軍區總醫院。當時她的父親是中國駐藏解放軍的一名軍官,也是一位熱心的攝影愛好者。透過鏡頭,這位軍官記錄了迄今為止關於西藏文革最全面的一批影像。「與強權的鬥爭就是與遺忘的鬥爭」,在世界面前,文革是中共的一個尷尬,西藏則是另一個尷尬,因而西藏的文革就成了雙重禁區,愈加不可觸碰。
    這本書的原版,因藏語「革命」的諧音而得名《殺劫》,十年前的二○○六年由大塊文化出版。那時恰逢文化大革命四十週年,儘管已經過了四十年,但文革在中國仍被列為不可碰觸的禁區,而發生在西藏的文革更是禁區中的禁區。也因此,在文化大革命五十週年的今天,在霧霾日益濃重卻堪稱強大的中國,《殺劫》依然是禁書,文革依然是禁區。
    這期間,唯色嘗試使用他父親在文革當年拍照片的蔡司伊康相機,站在他父親當年同一角度,拍攝今日拉薩圖景,兩個時代照片的對比,顯示出歷史的無常……《殺劫》文革五十週年紀念新版,除了全書修訂外,還追加了更多文字與影像的記錄。透過唯色父親的照片,讀者可以進入歷史中的拉薩,去認識曾經有過卻已消失的風景,曾歷盡滄桑卻已輪迴的人們,傾聽曾經發生的故事以及故事中的悲歡離合…..當然也可以跟著唯色,一起追索著他父親當年行蹤,透過他們的文字與影像記錄,見證著更多西藏的生與死。

    Willa Cather

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    Everyman's Library
    "The Hawthorn Tree" by Willa Cather
    Across the shimmering meadows--
    Ah, when he came to me!
    In the spring-time,
    In the night-time,
    In the starlight,
    Beneath the hawthorn tree.
    Up from the misty marsh-land--
    Ah, when he climbed to me!
    To my white bower,
    To my sweet rest,
    To my warm breast,
    Beneath the hawthorn tree.
    Ask of me what the birds sang,
    High in the hawthorn tree;
    What the breeze tells,
    What the rose smells,
    What the stars shine--
    Not what he said to me!
    *
    Before Willa Cather went on to write the novels that would make her famous, she was known as a poet, the most popular of her poems reprinted many times in national magazines and anthologies. Her first book of poetry, April Twilights, was published in 1903, but Cather significantly revised and expanded it in a 1923 edition entitled April Twilights and Other Poems. This Everyman’s Library edition reproduces for the first time all the poems from both versions of April Twilights, along with a number of uncollected and previously unpublished poems by Cather, as well as an illuminating selection of her newly released letters. In such lyrical poems as “The Hawthorn Tree,” “Winter at Delphi,” “Prairie Spring,” “Poor Marty,” and “Going Home,” Cather exhibits both a finely tuned sensitivity to the beauties of the physical world and a richly symbolic use of the landscapes of myth. The themes that were to animate her later masterpieces found their first expression in these haunting, elegiac ballads and sonnets.

    Everyman's Library 的相片。





    Vintage Books & Anchor Books
    "He came to be very glad that he had known her, and that she had had a hand in breaking him in to life. He has known pretty women and clever ones since then,—but never one like her, as she was in her best days. Her eyes, when they laughed for a moment into one's own, seemed to promise a wild delight that he has not found in life. 'I know where it is,' they seemed to say, 'I could show you!'"
    Willa Cather, A LOST LADY
    A portrait of a woman who reflects the conventions of her age even as she defies them and whose transformations embody the decline and coarsening of the American frontier.


    Vintage Books & Anchor Books 的相片。



    1940.12.18 胡適50歲生日後一天給Roberta (Robby) Lowitz*一封信.
    說昨天杜威博士給他一封很好的短箋.....兩個晚上前胡適讀 Willa Cather (1873 - 1947) Double Birthday,( set in Pittsburgh, is part of a group referred to as the Pittsburgh stories.) ,說它是其生平讀過的最佳小說之一......."我喜Willa Cather的書. 妳知道她嗎?"......


    "Even in American cities, which seem so much alike, where people seem all to be living the same lives, striving for the same things, thinking the same thoughts, there are still individuals a little out of tune with the times - there are still survivals of a past more loosely woven, there are disconcerting beginnings of a future yet unforeseen."
     *
     胡適之先生的世界The World of Dr. Hu Shih: 胡適的愛情神話: 《星星 ...
    hushihhc.blogspot.com/.../blog-post_4967.ht...Translate this page
    Aug 2, 2012 - 胡適與Roberta (Robby) Lowitz (後來為杜威夫人/師母胡適晚年說Robby是富家女將杜威照顧得很好......)的情緣不過我們看杜威的傳記中怎說她倆的 ...
    *****
    'The Selected Letters of Willa Cather'
    Edited by ANDREW JEWELL and JANIS STOUT
    Reviewed by TOM PERROTTA


    In her letters, the novelist Willa Cather emerges as a strong and vivid presence, a woman at once surprisingly modern and touchingly - if not always sweetly - old-fashioned.
    O Pioneers! is a 1913 novel by American author Willa Cather. It was written in part when Cather was living in Cherry Valley, New York, with Isabelle McClung[1] and was completed at the McClungs' home in Pittsburgh.[2]

    啊,拓荒者!資中筠 譯(《閑情記美》內收入1988/1997 二版的介紹----
    The Project Gutenberg EBook of O Pioneers!, by Willa Cather ,沒收入文中說的題詞。
      
       http://cather.unl.edu/0017.html  






    Willa Cather was born on this day in 1873 in Virginia, though she lived in Nebraska from age ten.


    "The great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness."
    --from "O Pioneers!" (1913)



    No other work of fiction so vividly evokes the harsh beauty and epic sweep of the Nebraska prairies that Cather knew and loved. The heroine of O Pioneers!, Alexandra Bergson, is a young Swedish immigrant at the turn of the twentieth century who inherits her father’s wind-blasted land and, through years of hard work, turns it into a prosperous farm. Fiercely independent, Alexandra sacrifices love and companionship in her passionate devotion to the land, until tragedy strikes and brings with it the chance for a new life.



















    Everyman's Library 的相片。








    PRAIRIE SPRING EVENING and the flat land, Rich and sombre and always silent; The miles of fresh-plowed soil, Heavy and black, full of strength and harshness; The growing wheat, the growing weeds, The toiling horses, the tired men; The long empty roads, Sullen fires of sunset, fading, The eternal, unresponsive sky. Against all this, Youth, Flaming like the wild roses, Singing like the larks over the plowed fields, Flashing like a star out of the twilight; Youth with its insupportable sweetness, Its fierce necessity, Its sharp desire, Singing and singing, Out of the lips of silence, Out of the earthy dusk.


    Willa Sibert Cather was born in Gore, Virginia on this day in 1873.
    "That is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep."
    — from 'My Ántonia' by Willa Cather
    Often considered her first masterpiece, with 'My Ántonia' Willa Cather created one of the most winning yet thoroughly convincing heroines in American fiction. Ántonia Shimerda, the daughter of Bohemian immigrants, not only survives her father's suicide, poverty, and a failed romance, she triumphs with high spirits. 'My Ántonia' was enthusiastically received in 1918 when it was first published, and placed Cather in the forefront of women novelists.


    Vintage Books & Anchor Books 的相片。



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