Quantcast
Channel: 人和書 ( Men and Books)
Viewing all 6916 articles
Browse latest View live

儒家三部曲:《中國歷史人物論集》 Confucian Personalities, Confucian Personalities/Confucianism in Action

$
0
0
《中國歷史人物論集》由”中研院中美學人社科合作委員會” 台北:正中 1973
翻譯自Arthur F. Wright and. Denis Twitchett, eds., Confucian Personalities (StanfordUniversity Press) ,1962


《中國歷史人物論集 耶律楚材(1189-1243):佛家的理想主義和儒家的政治》台北:正中1973,頁257-97 (翻譯自Arthur F. Wright and. Denis Twitchett, eds., Confucian Personalities (Stanford University Press) ,1962)

Confucian Personalities. Ed. Arthur F. Wright and Denis Twitchett [Stanford Studies in the Civilization of Eastern Asia; Stanford University Press, 1962]. Pp.x, 411. US$8.75.


《中國歷史人物論集》
目次
前言
譯者小序
價值角色人物 Arthur F. Wright, "Values, Roles, Personalities" 1-27
中國傳記的幾個問題 28-45
顏之推 (531-591): 一個崇佛的儒者 46-78
唐代文人集傳 79-103
陸贄(754-805):皇帝的顧問和朝廷的官吏 104-61
王庚武“馮道—論儒家的忠君思想”頁162-98
岳飛傳:一個傳奇人物的傳奇故事 199-218
朱熹的政治生涯一項內心衝突 219-56
耶律楚材(1189-1243):佛家的理想主義和儒家的政 257-97
賈似道(1213-75) 一個邪惡的亡國承相298-324
淡於政治而熱衷藝術的董其昌(1555-1636) 355-408 Nelson Wu, “Tung Chí-cháng: Apathy in Government and Fervor on Art”
康有為(1859-1927)—他的知識背景和早期思想 409-40
廖平及其與儒家歷史的脫節441-52


-----

耶魯中國史教授芮瑪麗(Mary C. Wright)指點迷津,她勸他研究中國史。以《中國保守主義的最後據點:同治中興,一八六二─一八七四》一書揚名學界的芮瑪麗和她的丈夫芮沃壽(Arthur F. Wright),同為耶魯中國研究的兩張王牌,與哈佛的費正清鼎足而立。芮氏夫婦俱已於七十年代辭世。

Confucianism in Action - Google 圖書結果

David S. Nivison, Arthur F. Wright - 1959 - History - 390 頁
AN ANALYSIS OF CHINESE CLAN RULES: CONFUCIAN THEORIES IN ACTION The purpose of this paper is to examine the clan rules in Chinese genealogies from the ... 

The Confucian persuasion - Google 圖書結果

Arthur F. Wright - 1960 - History - 390 頁
Arthur 7. Wright SUI YANG-TI: PERSONALITY AND STEREOTYPE Yang Kuang (569-618), who ruled as Yang-ti of the Sui, is of interest to the student of Chinese ...


中國哲學資料中心外文系列
一、作者姓名與著作名稱:
NIVISON, David and Arthur Wright, eds. Confucianism in Action. Stanford: Stanford University Press, 1959. (尼米森與賴特 (),《儒家思想之實踐》)
二、篇幅:共390 (序言2頁,目錄1頁,正文331頁,註釋39頁,索引16)
三、主題:儒家思想之考察,儒家思想於社會、制度層面影響之分析,儒家思想於日本德川、明治時代發展之考察
四、關鍵辭:儒家思想、日本德川時期、日本明治時期、范氏義莊、中國監察制度、和珅、元田永孚
五、年代:先秦至民國,日本德川、明治時期
六、主要論點:請見尼米森之〈導論〉。
七、目次:
第一篇尼米森,〈導論〉(David S. Nivison, “Introduction.”)
第二篇狄百瑞,〈新儒家思想之一些共同傾向〉(Wm. Theodore De Bary, “Some Common Tendencies in Neo-Confucianism.”)
第三篇施華慈,〈儒家思想之諸極〉(Benjamin Schwartz, “Some Polarities in Confucian Thought.”)
第四篇劉王惠箴,〈中國族規分析:儒家理論之實踐〉(Hui-Chen Wang Liu, “An Analysis of Chinese Clan Rules: Confucian Theories in Action.”)
第五篇推傑,〈范氏義莊:公元1050年至1760年〉(Denis Twitchett, “The Fan Clan’s Charitable Estate, 1050-1760.”)
第六篇楊慶堃,〈中國官僚行為之特徵〉(C. K. Yang, “Some Characteristics of Chinese Bureaucratic Behavior.”)
第七篇劉子健,〈中國史料編纂中之官僚分類〉(James T. C. Liu, “Some Classifications of Bureaucrats in Chinese Historiography.”)
第八篇賀凱,〈儒家思想與中國監察制度〉(Charles O. Hucker, “Confucianism and the Chinese Censorial System.”)
第九篇尼米森,〈和珅及其控訴者:十八世紀之意識型態與政治行為〉(David S. Nivison, “Ho-shen and His Accusers: Ideology and Political Behavior in the Eighteenth Century.”)
第十篇列文森,〈遺跡之暗示性:儒家思想與末代君主政體〉(Joseph R. Levenson, “The Suggestiveness of Vestiges: Confucianism and Monarchy at the Last.”)
第十一篇 霍爾,〈日本德川時代之儒師〉(John Whitney Hall, “The Confucian
Teacher in Tokugawa Japan.”)
第十二篇 史佛利,〈元田永孚:明治天皇之儒家國師〉(Donald H. Shively,
“Motoda Eifu: Confucian Lecturer to the Meiji Emperor.”)
八、內容摘要:
第一篇為尼米森所撰之〈導論〉(David S. Nivison, “Introduction.”)
「儒家」究竟為何?這是作者首先提出的問題。作者表示,若要能針對此問題回應,就必須先指出何者為「非儒家」。首先,尼米森做出「儒家的」與「中國的」這 兩者的分別,他認為,道家、法家、某些佛教派別等都可以稱為「中國的」,可是絕非儒家。再者,尼米森強調「新儒家」和「儒家」的思想,都包含了多種互相衝 突之詞,而此多樣性多是由社會、政治現實所引起,並且是為了適應人類不同問題和活動而生。尼米森表示,這些多樣性的探究,正是此論文集所包括的文章所探討 的主題。
第二篇為狄百瑞所撰之〈新儒家思想之一些共同傾向〉(Wm. Theodore De Bary, “Some Common Tendencies in Neo-Confucianism.”)
本文旨在試圖對「新儒家」作一定義與描述。作者提出,在中國和日本,儒家思想與政治力量間,是有緊密之關係。然而儒家思想之角色卻絕不僅作為「政府之官方 工具」而已。作者在舉出一些例子後表示,事實上中國統治者多半在意儒家思想是否「危及統治的態度」,而較不在意的是與政治態度無關、純粹思想上的不同立 場,並且於日本,情況亦類於此。由此可見,於傳播、維繫、構作儒家思想上,中國或日本皇室所扮演之角色,可以說並不重要。舉例來說,新儒家思想於士大夫階 層興起之時,恰為朝廷不悅其發展之時:於南宋,朝廷並未支持程朱哲學,然而程朱哲學卻發展快速。由此可見:新儒家思想之內部實自有改造、自我維繫之力量與 內在生命,以致於可與國家控制力量相抗衡。
然而新儒家思想生生不息力量之底層又為何?作者認為「基礎論」乃為新儒家思想之根本,此外,新儒家思想亦有復興面臨衰亡命運之信念體系之傾向,亦即有復古 傾向。除此之外,「具歷史傾向」、理性主義以及人本主義亦為新儒家思想之特徵。不過,在中國和日本,雖然儒家具有理性主義以及經驗主義之特徵,然而此二特 徵卻未獲進一步發展。究其原因,概是因為儒家思想中的理性特質,事實上比較傾向於道德秩序,並且與其說「格物」乃是指與自然科學相關之實驗或探究,不如說 「格物」實為對道德問題之探究。
第三篇為施華慈所撰之〈儒家思想之諸極〉(Benjamin Schwartz, “Some Polarities in Confucian Thought.”)
本文主旨在於以「極點」此一隱喻處理儒家思想之許多重要主題。作者認為理解儒家思想時,不能以二分法對儒家思想進行處理,因為對大部分的儒家思想家而言,思想中的概念並非相對,而是互補且不可分離的概念。然而,隨著時代演進,思想家亦開始體認此等概念間所存在之緊張關係。
舉例來說,於《大學》與《論語》中,我們雖可見「修身」、「治國平天下」乃一個不可分割之整體的兩個構成部份,但是後期學者卻開始質疑「修身」是否即可以 達到「治國平天下」?而此即是北宋時期王安石與政敵爭論之焦點。然而無論是王安石或是其政敵,皆未拒棄「修身」、「治國平天下」的任何一極,而僅是指控另 一方的偏於一極。
除此之外,作者還舉出「內」與「外」、「知」與「行」兩組在儒家思想中的兩極概念。但是作者認為,這些概念雖然兩極,之間卻仍然不是互相對立的關係。
第四篇為劉王惠箴所撰之〈中國族規分析:儒家理論之實踐〉(Hui-Chen Wang Liu, “An Analysis of Chinese Clan Rules: Confucian Theories in Action.”)
本文主旨在於由儒家思想之實踐層面探討中國族譜中之族規。首先,作者認為族規的目的在於,讚揚有德行為與譴責偏差行為,且強調的重點為:一、強調親族有序、和諧之理想,二、強調親族間恰當身分關係之遵守。
作者繼而探討族規所含之價值架構。作者首先指出:族規中之價值架構乃教義與實際經驗調和後之產物,至於其調和過程則可分下列四面相:一、族規之意識型態構 成成分。作者認為在此等意識型態之構成成分中,儒家教義並非唯一構成成分。二、國家之影響。三、士大夫之影響。四、族規對社會習俗之反應。
然而族規中之儒家教義又為何?作者指出,於族規所引用之古籍中,最重要者,非《禮記》莫屬,至於其他諸如《儀禮》、《周禮》、《爾雅》等論「禮」之古籍,以及《孝經》、《論語》等,亦屬重要。
作者繼而提出,清廷對宗族所採取的態度為:希望宗族於既有架構下促進道德教育,卻不樂見宗族具有太大影響力。因此對宗族大體來說是為接受。
至於士大夫於族規中對儒家價值之詮釋,則乃結合理論與實際層面之結果。對此,吾人可考量下列五個領域中士大夫對儒家價值之詮釋:父母與子女之關係、兄弟間 之關係、婚姻關係、宗族關係、社群關係與朋友關係。值得一提,作者提出對「孝」此一價值,族規另有現實主義之考量:父母之權威雖至高無上,然卻非絕對之權 威。
作者的結論為:以族規為起點,吾人可見一端為族規對儒家理論之修正,至於另一端則為族規對一般人民之影響。此處,作者舉出Redfield所主張之「大傳統」與「小傳統」來說明。
第五篇為推傑所撰之〈范氏義莊:公元1050年至1760年〉(Denis Twitchett, “The Fan Clan’s Charitable Estate, 1050-1760.”)
本文係以中國「宗族共有財產」為探討焦點。於近代,宗族共有財產乃維繫宗族統一以及宗族成員社會地位之重要手段。然而值得注意者,則為「緊密宗族」實為宋代之產物,而儒家家族主義之極端展現,亦始自新儒家學者之主張。
在文章中段,作者指出「義田」或「義莊」是宗族共有財產中最重意的制度,並且也針對此一部分的歷史進行詳盡的說明。於結語的部分,作者指出由范氏宗族之歷 史,吾人即可見諸如「宗族穩定性」與「宗族延續性」等傳統中國社會之特色。但是因為中國繼承制度,以及宗族要透過官職維繫社會地位日趨困難,因此宗族開始 分裂,並且其統一性也慢慢被破壞。但是即使如此,作者認為義莊實有將宗族意識制度化之作用。
第六篇為楊慶堃所撰之〈中國官僚行為之特徵〉(C. K. Yang, “Some Characteristics of Chinese Bureaucratic Behavior.”)
本文主旨在於探究中國官僚制度之主要特徵。
作者首先指出:中國官僚制度係於一社會體系下發展,該社會體系係以分佈之社會模式、地方自給自足、地方同質而國家異質、對基本團體與密切人際關係之強調, 以及對非正式之道德秩序之強調等為主要特色,且儒家意識型態之形成,亦與此等主要特色息息相關。就此意義下,作者認為傳統中國係由兩種主要成分所構成,一 為強調中央化、標準化、形式化之國家官僚上層結構,另一則為以道德指向之社會秩序以及非正式基本團體為基礎之下層、異質性地方社群。為對官僚行為產生影 響,此等下層、異質性地方社群常試圖修改官僚結構之運作。作者認為,官僚制度係以「形式主義之無私」為強調重點,然而中國官僚行為卻受到一般社會體系之壓 力,其結果,則為非形式、私人之行為模式於形式主義之架構中發展。
第七篇為劉子健所撰之〈中國史料編纂中之官僚分類〉(James T. C. Liu, “Some Classifications of Bureaucrats in Chinese Historiography.”)
作者首先指出:近代學者多習以社會源流、地域、經濟地位、階級利益或思想學派以為中國官吏作分類,然而中國歷史學家卻習以官吏之政治行為為分類標準。本文 主旨即在於由儒家經典中之理想人物、歷史作品以及「政書」、「類書」中之官吏行為為探究焦點,並將焦點集中於宋朝之官吏,以分析中國史學中之官僚分類。
作者透過對上述類型的作品探究,發現不同的作品對官吏的分類標準也有所不同。以《隨/隋?書》和「類書」來論,「類書」的分類標準較傾向現實主義,而《隨書》則傾向儒家的思想。
此外,作者繼而探討文官則例中之官員考績於各朝代之變遷情形。總而言之,就「功能品質」與「道德品質」二者而論,中國歷代對官員之評價,乃較強調官員之功能品質,至於道德品質則僅為行為最低限度之標準。
第八篇為賀凱所撰之〈儒家思想與中國監察制度〉(Charles O. Hucker, “Confucianism and the Chinese Censorial System.”)
本文主旨在於探究中國之監察制度,並特以明代之監察制度為探究焦點。作者指出:中國監察制度之目的不在於控制私人出版、娛樂,而乃政府對自身之有組織、有 系統之自律行為,並以規勸、責問為其職責。對此,作者認為監察制度之存在,實展現了法家思想中對國家組織之看法,而監察制度之功能實為法家思想之展現。然 而另一方面,監察制度亦使君王意志之不可侵犯性產生動搖,就此而論,此實顯現出儒家思想之影響。另一方面,就概念層面上,相較於與法家思想間之關係,進諫 之監察功能實與儒家思想有較為密切之關係。總之,中國的監察制度融合了儒家以及法家的色彩,也可以說是以互不協調之意識型態前提為基礎之產物。
第九篇為尼米森所撰之〈和珅及其控訴者:十八世紀之意識型態與政治行為〉(David S. Nivison, “Ho-shen and His Accusers: Ideology and Political Behavior in the Eighteenth Century.”)
本文主旨在以清代和珅為探究起點,以進一步探究清代時統御君臣關係之意識型態。自古以來,人們皆認為臣子必須直言君王所犯之過錯;若君王不採納,則臣子即 須面對、接受死亡。就統治者方面觀之,良好的統治者則須吸引良臣為之服務,並允許良臣直言。但是作者認為,儒家思想的吊詭之處,在於對「忠」的概念認知, 很少以行為有效性的考量相伴而生,所以從儒家的思想來看,他們的對敵,往往都會與名、利的卑鄙鬥爭脫不了關係。同樣的,清廷對黨派之看法也是如此。此外, 十八世紀清朝皇帝發現:高舉帝王威嚴、限制臣子角色,乃有利於統治之舉措;因此儒家之君、臣理想,實無立足之地。就此觀之,作者認為:官員實不可能起而舉 發和珅之結黨貪污,蓋此等指控實無異於暗示皇帝之無能,且亦暗示皇帝之統治已為「黨派」所侵蝕。
第十篇為列文森所撰之〈遺跡之暗示性:儒家思想與末代君主政體〉(Joseph R. Levenson, “The Suggestiveness of Vestiges: Confucianism and Monarchy at the Last.”)
本文旨在探究民國以來儒家思想與帝制之演變。於清末,儒家思想已儼然成為現代思想之敵。現代化即意味對傳統中國行事方式之廢棄,其結果,則為終止其統治中 國之合法性。兩相權衡之下,清廷只得試圖以足夠之現代化以保護其傳統地位,而另一方面又強化儒家思想,以達燈盡油枯之境。最後儒家思想即成為反革命之符 號。民國既起,儒家思想即一變而以稀薄化之形式出現,亦毫不偏差的倒向任何有成功希望之帝制運動,袁世凱之稱帝即是一例。
第十一篇為霍爾所撰之〈日本德川時代之儒師〉(John Whitney Hall, “The Confucian Teacher in Tokugawa Japan.”)
本文主旨在於由日本德川時代儒師之生平、思想、行動與政治、社會現象間之關聯為緯,以便進而探究儒師與武士間之關係。作者認為儒家思想之所以能於德川時代 成為官方顯學,乃是由於十六世紀日本社會政治與思想轉變之結果:十六世紀日本之社會秩序,實類似於中國周代之情況,而周代即為儒家出現之時代。為此,藤原 惺窩實為日本此一時代由佛轉儒之過渡人物,而此一轉變最後則由林羅山所完成。至十七世紀中葉,儒者已大獲肯定,並於新的政治、社會秩序中提供必要的服務。 大體而言,儒者所提供的服務計有下列四項:一、作為儀禮家、哲學家與道德家,二、作為儒家文獻之權威,並於政府事務上提供意見,三、作為基本教育文獻之掌 門人,並承擔教育發展之重任,四、作為學者與作者,並成為文化活動中受人尊敬的領導者。
此外,作者繼而探究儒者與武士之關係。對此,作者指出兩點:一、儒者並不希望日本之完全中國化,而僅希望利用中國之智慧而使德川社會變得更好。二、由於儒 家並無如佛教般具有制度上之獨立性,因此儒者實有賴於其所服務社會之贊助與支持。因此在武士心中,較之於職業儒者,儒家思想更受尊崇;儒家思想必須受尊 崇,至於儒者則為可以利用之人。至於就武士之政府與儒者之關係而論,作者指出:甚少儒者能於政府中佔有穩定、安全之職位,蓋儒者於政府中職位之保有,多賴 封建政府之私人恩惠)
最後,作者則探究德川末期儒者之特徵。拜儒者之賜,經德川時代漫長之歲月洗禮,日本領導人已成為受良好教育、理性之人,亦成為深受儒家思想影響之人。但是,於德川末期,中國學問之優越性亦遭質疑,其結果,則為武士對儒家思想之開始懷疑。公元1853年後於日本所發生之國家危機,則使儒者力量之大部份轉為其弱點:儒者之世界觀為民族主義之「國家體」所取代,其「科學」為西方科學所取代,至於儒者之教育體系,則亦遭侵蝕。儒者所剩者,則僅為社會倫理此一領域,而社會倫理此一領域即為儒者為明治新時代所帶來之古老殘餘。
第十二篇為史佛利所撰之〈元田永孚:明治天皇之儒家國師〉(Donald H. Shively, “Motoda Eifu: Confucian Lecturer to the Meiji Emperor.”)
公元1868年 日本皇室政治權力之恢復,使日本投入了現代化、西方化之進程。此後二十年內,日本即由封建國家轉變為一具歐洲模式之現代國家。這樣的結果,造成對儒家世界 觀、經典之全盤拒斥;儒學一變而成為封建時代野蠻習慣、鎖國無知之標誌。然而於日本現代化發展中,儒家思想與神道教等傳統觀念仍扮演重要角色,對此,作為 明治天皇國師與私人顧問之元田永孚,實為其中之靈魂人物。
作者繼而以元田永孚之思想為探究焦點。元田永孚認為天地之初之唯一和諧原理即為「誠」,此後則衍生出陰陽五行,因此所有人類性質皆由自然法則而來。人性本 善,然而後世私欲覺醒,因此吾人即須受道德教訓,以便發展本性中之內在良善;而為了闡明倫理,吾人即須對「道」有所闡明。為此,吾人僅能於孔子之著述中探 求,因此孔子之著述即須為天皇、大臣與所有人民之教育基礎。於學習上,學習之方法必須具「實學」色彩,至於學習之目的則為「致良知、去私欲、明人倫、存天 理」。然而日本之「道」究竟與孔子之「道」由何不同?對此,元田永孚認為於堯舜之世,父子關係乃五倫之首,然而由於日本之天皇乃由女始祖所出,因此日本之 「道」遂由君臣關係開始。由此可見元田永孚調和日本本土傳統與儒家思想之痕跡。
以此等信念出發,元田永孚遂以「培養天皇之德」為其主要關注焦點,並且主張宮廷必須與政府合而為一。除此之外,作者也進一步的論述了元田永孚在國事上對君主的建議,並且也都是以儒家的思想作為建議的出發點。
最後作者表示,元田永孚逝世之時,深信其於強化天皇制度與重建儒家倫理此兩方面,皆已獲得成功。然而元田永孚心目中之儒家思想早已名存實亡;繼之而起者,則為日本之漸成為一現代帝國主義國家,而天皇制度亦逐漸成為此一現代帝國主義國家之意識型態基礎。
九、附註:本書另有中譯本,詳見《儒家思想的實踐》,尼微遜等著,孫隆基譯,台北:台灣商務印書館,民國六十九年初版。

狄百瑞(William Theodore de Bary) The Trouble with Confucianism

$
0
0

Wm Theodore de Bary - Wikipedia, the free encyclopedia

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

William Theodore "Ted" de Bary (born August 9, 1919), is an American sinologist and East Asian literature scholar who serves as John Mitchell Mason Professor ...


(中央社記者陳至中台北20日電)第二屆唐獎「漢學獎」今天頒給美國學者狄百瑞,他將中國儒學介紹到西方,帶領學者翻譯大量經典,並主張東西文化互相借鏡,儒學精神可彌補西方主流價值的不足。

唐獎基金會公布的得獎理由是,「表彰他為儒家思想的研究所作的貢獻。狄百瑞(William Theodore de Bary)將近70年的學術生涯中,編寫過將近30冊書,其中有許多部具有突破性的貢獻和影響。對儒家思想每有同情的理解與闡揚,也不乏誠懇的批評,功在國際儒學的研究,可謂一代漢學巨擘。」1050620

唐獎漢學獎 國際儒學先驅狄百瑞

唐獎漢學系列報導1

(中央社記者陳至中台北20日電)第二屆唐獎漢學獎頒給美國哥倫比亞大學退休教授狄百瑞,他是國際儒學先驅,關注中國傳統思想中的自由、民主觀念,對儒學有闡揚之功,也不乏誠懇的批評。


唐獎評選委員會總召集人李遠哲(中)20日公布第二屆 唐獎漢學獎得主,美國學者狄百瑞(William Theodore de Bary),他將中國儒學介紹到西方,帶領學者翻譯 大量經典,並主張東西文化互相借鏡,儒學精神可彌補 西方主流價值的不足。 中央社記者鄭傑文攝 105年6月20日

現年97歲的狄百瑞(William Theodore de Bary),於1953年開始在美國哥倫比亞大學教授中國思想,一生出版30多本專書,他參與編撰的教材,至今仍是歐美大專生認識儒家文化所必讀。

20世紀,華人社會在五四運動、文化大革命的浪潮下,努力擁抱西方價值,摒棄儒學文化的守舊、保守。狄百瑞卻獨排眾議,主張儒學絕非現代化的阻礙,反而是東亞地區珍貴的文化資本。
















在「中國的自由傳統」著作中,狄百瑞指出,中國缺乏西方意義下的「自由主義」,但並非不重視自由,尤其在明代理學中,保存了許多自由傾向(liberal tendencies)的價值。

狄百瑞指出,儒學傳統使許多知識份子以「君子」自居,並以「先知的聲音(prophetic voice)」反抗濫用政治力量。

除了自由,中國也曾燃起民主的火苗。狄百瑞特別關注理學家黃宗羲的「明夷待訪錄」,其中主張提高宰相權力以制衡君主,並廣設學校作為公論的管道,具備現代民主元素。

然而狄百瑞也批判,儒學傳統並未將自由等概念轉化為法律制度,保護基本的公民權益。儒家君子不像西方的先知,沒有上帝賦予的感召力,儒學也未具備西方教會般的權力。除此之外,最關鍵的還是「君子」與人民脫節,著重與君王傳達先知的訊息,社會影響有限。

另外,狄百瑞也指出,儒家思想中的民主元素,和西方代議制度仍有根本的不同。黃宗羲提倡「相權」,宰相卻是由君王選派;「公論」也非人民的聲音,而僅是士大夫之見。在儒家觀念中,人民的角色有限,各項作法並沒具備民主的契約特性。

狄百瑞的漢學研究,是西方學子認識儒學的窗口,他所出版的「Sources of Chinese Tradition」影響久遠,陸續增訂數次。狄百瑞還主持了哥倫比亞大學東方經典翻譯計畫,翻譯了150本以上的典籍。

狄百瑞主張透過不同文明的對話,解決世界的各種危機和亂局。唐獎基金會肯定他「對儒學思想每有同情的理解與闡揚,也不乏誠懇的批評,功在國際儒學研究,可謂一代漢學巨擘。」20160620



2009.2(美)狄百瑞 (Wm Theodore de Bary) 著《儒家的困境》(The Trouble with Confucianism, 2nd edition, 1991) 北京大學出版社 2009年1月出版



“儒家的困境”這一書名就足以構成人們注意的話題。當今社會困擾我們的,是歷史上的儒學嗎?
“五四”運動成功地埋葬了儒學。而今,它正 在社會學研究的重大課題———如人文倫理或道德哲學中悄悄復活。作者甚至認為,儒學在歷史發展過程中消失的一些東西,實際上也是現代社會自工業時代以來崩 潰的情感和被破壞的環境所同樣短缺的。儒家思想的困境或許正是現代世介面臨的困境。

近日,北京大学出版社推出译著《儒家的困境》。作者狄百瑞是前哥伦比亚大学校长、东亚语言和文化系教授,也是海外研究中国思想的著名学者。
随着东亚的复兴,儒家思想重新成为全世界学术领域的重要课题,比如,东亚的崛起与儒家思想有什么关系?儒家的人格在现代社会中能起到何种作 用?作者用旧约传统中的“先知”同中国儒家传统中的“君子”进行比较,认为真正的君子就是要对朝廷的不义进行谴责和匡正。君子和帝王的关系是中国古代政治 重要的主题。君子的力量源于替百姓和上天代言的社会角色,但是君子却没有有效地得到百姓的托付,也没有从上天那里获得宗教性的支撑,而是一直陷入黎民苍生 和专制皇权的裂缝之中,这成了历史上儒家最大的困境。(却咏梅)

Harvard University Press



The Trouble with Confucianism

Wm. Theodore de Bary

Amazon.com Review
As Confucian thinking makes a comeback in contemporary China, people are wondering if it will merely serve as a conservative tool for a despotic government as in imperial times, or if it could act instead as a liberalizing force. Wm. Theodore de Bary, depicting Confucius and certain later Confucians as Old Testament prophetlike figures, suggests that the true Confucian spirit is one of protesting and rectifying governmental injustices. This model of Confucianism, de Bary illustrates, is not a backward dogmatist intent on maintaining the status quo at all costs, but a whistle-blower, a moralizing evangelist responsible to the people and to heaven for speaking out against existing evils and abuses. Throughout, de Bary sympathizes with the scholar-official who feels trapped between the needs of the people and the will of an autocratic government, which reflects a parallel dilemma in today's China.

Review
It is a pleasure to read a book by a fine scholar who is not distracted from his discussion of the evolution of Confucianism from the time of Confucius himself (who drew on earlier traditions) by the trouble Confucianists had, and created, over the millennia. Gu Jiegang, who said we should study one Confucius at a time--he changed from a historical figure to a mythological one (even a magician) and a sage--would have liked this book. (Asian Studies Review )

{原野長宵} My Ántonia

$
0
0

On April 24, 1947, Cather died of a cerebral hemorrhage at the age of 73 in her home at 570 Park Avenue in Manhattan.[2]:504[49]
Cather was buried in the Old Burying Ground, behind the Jaffrey Center Meeting House in Jaffrey, New Hampshire. Her grave site, which she shares with Edith Lewis, is at the southwest corner of the graveyard. She had first visited Jaffrey in 1917 with Isabelle McClung, staying at the Shattuck Inn, where she came late in life for the seclusion necessary for her writing.[50] The inscription on her tombstone reads:
WILLA CATHER
December 7, 1873–April 24, 1947
THE TRUTH AND CHARITY OF HER GREAT
SPIRIT WILL LIVE ON IN THE WORK
WHICH IS HER ENDURING GIFT TO HER
COUNTRY AND ALL ITS PEOPLE.
". . . that is happiness; to be dissolved
into something complete and great."
From My Antonia





http://hctranslations.blogspot.tw/2016/06/optima-diesprima-fugit-my-antonia.html

My Ántonia, by Willa Cather

Table of Contents

Introduction

Book I— The Shimerdas

Book II— The Hired Girls

Book III— Lena Lingard

Book IV— The Pioneer Woman’s Story

Book V— Cuzak’s Boys




查此段,才發現今日世界出版的 {原野長宵} (湯新楣譯,1964再版)是個約1/2的摘譯本。實在有點離譜。






"Men are all right for friends, but as soon as you marry them they turn into cranky old fathers, even the wild ones. They begin to tell you what's sensible and what's foolish, and want you to stick at home all the time. I prefer to be foolish when I feel like it, and be accountable to nobody."
--from MY ANTONIA by Willa Cather
In this powerful and astonishing novel, Willa Cather created one of the most winning yet thoroughly convincing heroines in American fiction. Antonia Shimerda, the daughter of Bohemian immigrants, not only survives her father's suicide, poverty, and a failed romance, she triumphs with high spirits.READ an excerpt here:http://knopfdoubleday.com/book/25296/my-antonia/


Vintage Books & Anchor Books 的相片。

林毓生:政治秩序與多元社會、 唐獎 漢學 2016;Spring Reading for a Changing Business Landscape

$
0
0

Book Report: Spring Reading for a Changing Business Landscape

Published: April 04, 2012 in Knowledge@Wharton
Article Image
Spring cleaning offers an opportunity to go through our bookshelves -- virtual and otherwise -- to find old favorites and make room for new ones. In our latest book report, we offer reviews, interviews and excerpts that touch on strategic, cultural and industry-specific trends that are changing the way we do business.
Wharton professor Adam Grant talks with Susan Cain about her bestselling book, Quiet: The Power of Introverts in a World That Can't Stop Talking, in which she challenges the "Extrovert Ideal" and encourages companies to rethink their cultures in order to draw on the valuable contributions of the quieter set.
Two interviews provide insights into the defining changes that technology has brought to very different industries. Joseph Turow, author of The Daily You: How the Advertising Industry Is Defining Your Identity and Your Worth talks with Knowledge@Wharton about "one of history's most massive stealth efforts in social profiling." C. William Hanson, III, director of surgical intensive care at the Hospital of the University of Pennsylvania, interviews Eric Topol about his new book, The Creative Destruction of Medicine: How the Digital Revolution Will Create Better Health Care.
Additional features dissect the DNA of three very different companies: Adam Lashinsky, author of Inside Apple, shares some of the company's most closely guarded secrets; The Bloomberg Way, a writing guide for reporters and editors, offers a window into how editorial decisions are made at Bloomberg News; and Richard Branson's autobiography, Losing My Virginity, paints an irreverent picture of how the founder and CEO of Virgin Atlantic Airways created an unusual and highly successful group of companies.
Finally, we offer excerpts from two recently published books. Phil McKinney's Beyond the Obvious argues that we need to ask more questions to generate new ideas and unlock breakthrough innovations.But in Repeatability, Chris Zook and James Allen remind us that we shouldn't favor broad changes over continuing to repeat what is working. We hope you enjoy this special section.
***
法治是法律主治rule of law,並不是法家思想所謂的依法而治rule by law政治的制衡是為了防止權力的腐化等。
林毓生紀念五四六十五周年(1984), 收入政治秩序與多元社會台北聯經1989,頁 202。





政治秩序與多元社會 (新版)

作者 / 林毓生
出版社 / 聯經出版事業股份有限公司
出版日期 / 1989/2001本書直接或間接討論到建立法治、字由、民主、與理性的政治秩序與多元社會的種種。從政治秩序的觀念,討論容忍與自由,深而探究臺灣是否為為一個多元社會的思考,再從五四時期做為切入,探討新儒家在中國推展民主的理論面臨的困境。

美国之音中文网新增了 1 張相片。

美国之音中文网的相片。

John Adams; 1776 ; Jefferson Lecture ( All By David McCullough)、蔡英文 Tsai Ing-wen

$
0
0
「"I hear all the notes, but I hear no music," is the old -piano teacher's complaint. There has to be music. History at best has to be literature or it will go to dust.
(這和:「言而無文,行之不遠。」意思相近。歷史著作要有好的文采,才能傳之久遠。
The work of history -- writing history, teaching history -- calls for mind and heart. Empathy is essential. The late J. H. Plumb, the eminent British historian, said that what is needed is more "heart-wise" historians.
What happened? And why? Who were those people? What was it like to have been alive then, in their shoes, in their skins? Of what were they afraid? What didn't they know?」
"We are what we read more than we know. And it was true no less in that distant founding time. Working on the life of John Adams, I tried to read not only what he and others of his day wrote, but what they read. And to take up and read again works of literature of the kind we all remember from high school or college English classes was not only a different kind of research, but pure delight."
以上是2003年
David McCullough 做Jefferson Lecture說的話。
他和史景遷、狄百瑞---,都得過美國的國家人文獎。
Jefferson Lecture 則是人文類的最高榮譽。
AWARDS & HONORS: 2003 JEFFERSON LECTURER
David McCullough Lecture
《THE COURSE OF HUMAN EVENTS》
很多話,擲地有聲。





Dr. Cole, ladies and gentlemen, to be honored as I am tonight in the Capital of our country, in the presence of my family and many old friends, is for me almost an out-of-body experience. Had someon
WWW.NEH.GOV







蔡英文 Tsai Ing-wen 的相片。


在美國首府華盛頓D.C.,對於這個國家兩百多年來實行、推動民主的歷程,格外有感受。

這裡是在美國第二任總統約翰・亞當斯(John Adams)任內成為首都。在那個年代,亞當斯一生都反對蓄奴,自己也以從未蓄奴為傲;波士頓大屠殺後、反英殖民民氣沸騰之際,他堅決捍衛英國士兵受到公正審判的權利,並為他們辯護,奠定了往後審判中的人權基本原則。這些點點滴滴的堅持,逐漸累積成美國民主的基礎。


我也推崇亞當斯的願景與勇氣。在白宮還未建完,也無足夠預算支應修繕與維護時,亞當斯便先行進駐簡陋的白宮。在整個國家百廢待興的時候,他已經看見並著手規劃國家的未來。

他曾寫道:「我必須修習政治學與戰爭學,我們的後代才能在民主之上修習數學、哲學;我們的後代必須修習數學、哲學、地理學、博物學、航海學等,他們的後代才能在科學之上學習繪畫、詩歌、音樂、建築、雕刻等。」
從學者轉為政務官,再成為一個政治人物,時常有人問我,為什麼做這樣子的生涯抉擇?我想,亞當斯的這一段話,就是我的答案。





2011.8.7 在胡思台大店買的兩本二手書
David Gaub McCullough (pronounced /məˈkʌlə/; born July 7, 1933 in Pittsburgh, Pennsylvania)[2] is an Americanauthor, narrator, historian, and lecturer.[3] He is a two-time winner of the Pulitzer Prize and the National Book Award and a recipient of the Presidential Medal of Freedom, the United States' highest civilian award.[3][4]

http://www.blogger.com/post-create.g?blogID=4135332786969926082

John Adams
-500px
The Cover of John Adams


This book displays all the craft and intelligence of David McCullough. That is no surprise, but I was not prepared to like President Adams. The majesty of John Adams is how McCullough slowly draws you into the pace, cadence, and daily grind of our most excitable president. We were trained in grade school that our 2nd president was, shall we say, intense. By the end of the book, it is unforgivable that Adams has the audacity to die, and on the same day as Thomas Jefferson, at that.

Author(s)David McCullough
CountryU.S.
LanguageEnglish
Subject(s)History/U.S. History/American Revolution
Genre(s)Non-fiction
PublisherSimon & Schuster
Publication dateMay 22, 2001
Pages751 pages
ISBN9781416575887 (paperback) 0684813637 (hardcover)
OCLC Number191069913
Followed by1776
The Cover of 1776
The cover's artwork is The Capture of the Hessians at Trenton by John Trumbull.
Author(s)David McCullough
Translator23414TT555TEFF5
CountryUnited States
LanguageEnglish
Subject(s)History/U.S. History/American Revolution/Military History
Genre(s)Non-fiction
PublisherSimon & Schuster, Inc.
Publication dateMay 24, 2005
Pages386
ISBNISBN 0-7432-2671-2 (hardcover)
ISBN 0-7432-2672-0 (paperback)
ISBN 1-4165-4210-8 (Illustrated Edition)
OCLC Number57557578
Dewey Decimal973.3 22
LC ClassificationE208 .M396 2005
Preceded by'John Adams'
約翰·亞當斯求助編輯百科名片
[約翰·亞當斯]約翰·亞當斯約翰·亞當斯(John Adams,1735年10月30日-1826年7月4日)是美國第一任副總統(1789年-1797年),其後接替喬治·華盛頓成為美國第二任總統(1797年-1801年)。亞當斯亦是《獨立宣言》簽署者之一,被美國人視為最重要的開國元勳之一,同華盛頓、杰斐遜和富蘭克林齊名。他的長子約翰·昆西·亞當斯後當選為美國第六任總統。目錄

美國總統
2008年保羅·吉亞瑪提主演電視劇
全集在線觀看展開編輯本段美國總統基本信息(John Adams)(1735年10月30日--1826年7月4日) 第一位由總檢察長帶領宣誓的美國總統(總檢察長名叫奧尼佛·埃斯沃斯)。綽號:圓胖先生、"美國獨立的巨人"、布倫特里爵士生卒年月:1735年10月30日生於馬薩諸塞州昆西(Quincy, Massachusetts);1826年7月4日卒於同地。總統任期:1797年3月4日——1801年3月4日  出身:農場主
[約翰·亞當斯]約翰·亞當斯學歷:大學(哈佛大學,文學)(1755)  職業:律師  身高:168cm  黨派:聯邦黨,聯邦主義者宗教:基督-性論派,唯一神教派教徒  職務:駐外大使、副總統夫人:阿比蓋爾·史密斯(1744-1818),於1764年10月25日結婚  父親:迪亞孔.約翰·亞當斯  母親:蘇珊娜·Boylston亞當斯  子女:3子2女孩子:阿比蓋爾·阿米莉亞·亞當斯(1765-1813);約翰·昆西·亞當斯(1767-1848) [第6任美國總統];  蘇珊娜·亞當斯(1768-1770);  查爾斯·亞當斯(1770-1800);  托馬斯·Boylston亞當斯(1772-1832)政黨:著作:《論教規和封建法律》人物簡​​介1756-1758年在伍斯特市普特南的法律事務所中學習法律,教過初級中學,175
[約翰·亞當斯]約翰·亞當斯8年由波士頓律師會授予律師資格。 1765年亞當斯在《波士頓公報》上發表文章抨擊《印花稅法》,自此他便積極參與殖民地的政治。儘管亞當斯批評英國的政策,但他還是為那些被控在1770年波士頓大屠殺中殺死五個殖民地居民的英國士兵辯護;結果指揮官和幾個士兵都被宣判無罪。他這樣心甘情願地站在令人討厭的一邊辯護並沒有妨礙他的政治生涯。 1774年,他當上第一次大陸議會的代表。其後又參加了第二屆大陸會議,他也是由托馬斯·杰斐遜組成的《獨立宣言》起草委員會的成員。被譽為“美國獨立的巨人”。亞當斯是美國第一任副總統,後來又當選為總統(1797-1801)。由於他任職期間在內政、外交方面均無明顯成就,1800年競選總統時被托馬斯·杰斐遜擊敗。他和杰斐遜都是在美國獨立五十週年紀念日──1826年7月4日去世的。其子約翰​​·昆西·亞當斯是美國第六任總統。人物生平老亞當斯於1735年10月30日出生在靠北邊的一幢房子裡,因為這幢房子裡誕生了美國第一任副總統暨第二任總統,所以美國人稱其為“美國獨立的搖籃”,現在房中的陳設仍和當年一模一樣。 1784年,老亞當斯代表獨立前的美國出任駐英國大使,四年後任期屆滿回國。在此期間他買下了位於如今的昆西市亞當斯街135號的豪宅,並為其命名“和平田地”。這座大宅子擁有20多個房間,周圍是大片的綠地和典型的18世紀風格的花園。亞當斯家族曾有四代人在此生活。 1846年,亞當斯的後人將這幢房子捐獻給了國家,從此,這裡成為了“亞當斯國家歷史公園”的一部分,以紀念亞當斯父子對國家的貢獻。老亞當斯的父親是一位英格蘭清教徒的後裔,他既是製鞋匠,又是牧師、農夫,還兼任著民意代表等職。他一生生活簡樸,勤儉持家,把所有的積蓄都用來購置土地,從來不追求享樂。如果單從外表上看,沒人會相信他是擁有數百公頃土地的大農場主。他這種腳踏實地、勤勞樸素的生活理念,深深地影響了兒子約翰·亞當斯,可以說,在他全部的政治生涯中,亞當斯都在努力踐行著這一準則。約翰·亞當斯從小聰慧過人,享有“神童”的美譽。他20歲時就獲得了哈佛大學法學院的碩士學位,並成了一名受人尊敬的律師。約翰·亞當斯素來熱衷政治,他是美國獨立運動的主要領導人之一,與華盛頓和杰斐遜一起,被譽為美國獨立運動的“三傑”。在美國獨立戰爭期間,他臨危受命,出使法國和荷蘭,參與締結和平協定,使這兩個當時主要的歐洲大國站在了正為獨立而苦苦拼爭的美國一邊,打破了英國殖民主義者將這個新生的國家扼殺在搖籃裡的企圖,為不被當時絕大多數國家所承認的初生的美國爭得了極其寶貴的物質和道義援助。為此,英國人將其視為僅次於美國開國元勳華盛頓的第二號“邪惡人物”,必欲除之而後快。在他出使歐陸期間,英國人派出的刺客對他窮追不捨,多次鎖定了他那桀驁不馴的身影,但都被機警過人的他一一設法擺脫了。他出色地完成了自己的使命,為新生的美利堅合眾國打開了外交局面。
[約翰·昆西·亞當斯]約翰·昆西·亞當斯作為美國獨立運動最重要的領導人之一,老亞當斯在獨立戰爭後被選為第一和第二屆國會議員。 1789年至1797年,老亞當斯在開國元勳華盛頓的班底中連任兩屆副總統。 1797年3月,他在大選中以微弱優勢擊敗了自己在獨立戰爭中的老戰友托馬斯·杰斐遜,成為第二屆美國總統。老亞當斯回憶華盛頓把總統大權交給他的一瞬間時,有這樣一段話:“我想我知道他的真實想法:'噢!你接任了,我解脫了!看我們誰更開心!'”老亞當斯很快就知道了答案,他面對的是比華盛頓更多的困擾。美國開國元勳之一的本傑明·富蘭克林因與老亞當斯政見不合,指責他是“該死的美國暴君”,“一個全人類都應該詛咒的惡棍”。他嘲笑身軀肥胖的老亞當斯是“圓球”,說他長了個“一英尺半高的肚子”。在老亞當斯的任期內,因為兩個重要因素的影響,美國開國元勳們最初的夢想——建立一個超然於政黨之外的純潔的政治體系——徹底破滅了。原因之一,多數原則;原因之二,法國大革命。多數原則要求聯合,越穩定越好,因而政黨是不可或缺的。法國大革命則在意識形態上分化了這種聯合。以老亞當斯為首的聯邦黨人,面對以杰弗遜為首的共和黨人的挑戰,牢牢地把持著權力。 1798年,老亞當斯提​​出了移民和言論法案,試圖在法律上阻止共和黨人在新移民中招募支持者。和預料中的一樣,這些措施引起了軒然大波。紐瓦克市一個小酒館的老闆(共和黨人)踉踉蹌蹌地走上街頭,剛好看到軍隊鳴槍十六響向老亞當斯總統致意,他便大聲“祝愿”說:希望早晚有一槍能打到老亞當斯胖乎乎的屁股上。
[約翰·亞當斯]約翰·亞當斯但老亞當斯最嚴重的危機不是來源於共和黨人的崛起。他與自己的密友和政治上堅定的支持者、美國開國元勳之一的漢密爾頓鬧僵了,他輕蔑地稱漢密爾頓為“蘇格蘭小販的乳臭未乾的私生子”,漢密爾頓則寫了本小冊子指責老亞當斯的不足。漢密爾頓的倒戈令共和黨人大喜過望,把他的小冊子稱為“天上掉下來的餡餅”,杰弗遜高興地意識到,共和黨人很可能取得絕對的勝利。他猜對了。聯邦黨人的內部分裂給了共和黨和杰弗遜可乘之機,從而使杰弗遜在1800年的總統選舉中獲得了勝利。1800年11月,在新一屆總統大選前夕,老亞當斯完成了一件在美國歷史上影響深遠的大事——把首都從費城遷到華盛頓,使自己成為首位入主白宮的總統。但天有不測風雲,在幾天后舉行的大選中,老亞當斯以幾乎同樣的劣勢敗給了杰弗遜。形勢的逆轉來得太快、太猝不及防了,老亞當斯還沒把白宮橢圓形辦公室的椅子焐熱呢。大選失敗的老亞當斯表現出了君子風度,他真誠地向杰弗遜道賀,毫不“戀棧”地離開了自己一手打造的白宮,回到了老家昆西市,並在此度過了他的餘生。 1826年7月4日,是老亞當斯參與起草的美國獨立宣言誕生50週年紀念日,也是美國的國慶日,這一天,90歲高齡的老亞當斯在昆西與世長辭。他臨終前的最後一句話是:“好在杰斐遜依然活著”。他哪裡知道,曾在大選中輸給過他也擊敗過他的杰斐遜,已在數小時前先他而去。
[約翰·昆西·亞當斯]約翰·昆西·亞當斯後人總認為美國開國之初最有名的總統是華盛頓和杰斐遜,老亞當斯夾在他們中間有些黯然失色。殊不知,老亞當斯是美國歷史上最正直聰慧的總統之一,與他同時代的人對此感受最深,他們當時就尊稱他為“政治哲學家”而非搖唇鼓舌的“政客”,對他給予了很高的評價。老亞當斯除了為國家的獨立做出了傑出貢獻之外,他的另一傲視群倫的成就,是為美國培養了另一位總統。在有生之年,他親眼看到兒子成為了第六任美國總統,把亞當斯家族的足跡又一次延伸到了他親手創建的白宮之中。講述老亞當斯的故事,不能不提到他的夫人阿碧格爾。早年,老亞當斯熱心於社會活動,經常外出。當時交通十分不便,往往一走就是數月,這期間家裡的農場全靠夫人阿碧格爾經營。有一段時間老亞當斯為美國的獨立而奔走,沒有收入,全家的生活均靠夫人經營農場支撐著。她不僅相夫教子,而且還積極參與當時的政治活動。當年老亞當斯在費城出席新大陸會議時,阿碧格爾寫信給丈夫,提醒他在開會時注意婦女社會地位和權益的保護,否則可能引髮美國的第二次革命。這件事在美國歷史上被傳為佳話。生平事件亞當斯本職是位律師,因追求自由平等而加入美國獨立戰爭,宣言由托馬斯·杰斐遜獨力起草後對本傑明·富蘭克林與約翰·亞當斯展示。'XYZ事件'1797年發生在美國與法國之間的外交事件,法國外交部長塔列朗的三位代理人(在最初公佈的保密外交文件中被分別稱為X、Y和Z)向前來進行和平談判的美國總統約翰·亞當斯的外交使節索取巨額賄賂,作為繼續談判的條件。這一事件被披露後引發了美國的反法浪潮,進一步惡化了美國與法國的關係,並導致了1798年美國對法國的不宣而戰。亞當斯是美國第一位入駐華盛頓特區白宮的總統。逝世1826年7月4日,即獨立宣言獲正式採用的五十週年紀念,約翰·亞當斯逝於昆西市的安寧莊園,其著名之遺言為'托馬斯·杰斐遜還活著。 '實際上,他的早年政敵,晚年老友托馬斯·杰斐遜早他數小時已然撒手人寰,但約翰·亞當斯直至逝世前並不知情。名言對美國的性質和期待,約翰·亞當斯有如下名言:1.'“美利堅合眾國的政府在任何意義上都不是建立在基督教的基礎上。”'(The government of the United States is not, in any sense , founded on the Christian religion.)
[約翰·亞當斯]約翰·亞當斯2.'“在最理想的世界,那裡沒有宗教。”'(This would be the best of all possible worlds, if there were no religion in it.)3.'“如果沒有潘恩的這支筆,喬治·華盛頓所舉起的劍將是徒然無功。”'(Without the pen of Paine, the sword of Washington would have been wielded in vain.)4.'“歷史將會把美國的革命歸因於托馬斯·潘恩。”'(History would ascribe the American Revolution to Thomas Paine.)5.著名之遺言:'“托馬斯·杰斐遜比我長命。”'(Thomas Jefferson's longevity than I.)6.對於各門科學在建立國家進程中的時序性及其重要性:'“國家政治學,相較於其他科學,是我應該潛心修習的;立法學、行政學與談判學,就某種程度而言,應被置於眾學門之上。我必須修習政治學與戰爭學,我們的後代才能在民主之上修習數學、哲學;我們的後代必須修習數學、哲學、地理學、博物學、造船學、航海學、商學及農學,以讓他們的後代得以在科學之上學習繪畫、詩歌、音樂、建築、雕刻、繡織和瓷藝。”'(The science of government it is my duty to study, more than all other sciences; the arts of legislation and administration and negotiation ought to take the place of, indeed exclude, in a manner, all other arts. I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.)7.人類因偷吃禁果而失去天堂,這是幾千年來的一個教訓,​​但並未受到多大的重視。道德的反思、賢明的格言和宗教的恐怖與時下的愛好、偏見、想像、熱情或異想天開的念頭相抵觸時,對國家並無多大影響。  8。吾輩需研習謀與戰,則子可專攻數、理、史、地、工、商、農,則孫可醉心書畫、詩詞、禮樂、雕刻、針織、陶瓷。 (I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain )編輯本段2008年保羅·吉亞瑪提主演電視劇  外文名稱 John Adams(2008)
[海報]海報更多外文片名:Untitled John Adams Miniseries...... USA (working title)  首播日期:2008年3月 美國  國家/地區: 美國  類型: 歷史/傳記/劇情  對白語言: 英語  發行公司: Home Box Office (HBO)  導演: 湯姆·霍伯 Tom Hooper  編劇:Kirk Ellis ....(written by) (part 1)/(written by) (part 7)/(written by) (part 6)/(written by) (part 5)/(written by) (part 4) &/(written by) (part 3)/(written by) (part 2)大衛·麥庫盧David McCullough ....(book)  Michelle Ashford ....(written by) (part 4)  主演:保羅·吉亞瑪提Paul Giamatti ....John Adams勞拉·琳妮Laura Linney ....Abigail Adams大衛·摩斯David Morse ....George Washington  製作人 Produced by:大 衛·寇茲沃斯David Coatsworth ....producerKirk Ellis ....co-executive producer加里·高茲曼Gary Goetzman ....executive producer湯姆·漢克斯Tom Hanks ....co-executive producerAmy McKenzie ....associate producerRichard Sharkey ....line producerGreg Spence ....associate producer原創音樂Original Music:  Robert Lane  Joseph Vitarelli  攝影 Cinematography:  藤本 Tak Fujimoto  Danny Cohen  剪輯 Film Editing:Melanie Oliver  選角導演 Casting:  Kathleen Chopin  Nina Gold  Tracy Kilpatrick藝術指導Production Designer:Gemma Jackson  美術設計 Art Direction by:  David Crank  John P. Goldsmith  Steve SummersgillChristina Moore ....(supervising art director)  佈景師 Set Decoration by:  Sarah Whittle  Lynalise Woodlief  Kathy Lucas服裝設計Costume Design by:唐娜·莎庫卡Donna Zakowska  視覺特效 Visual Effects Supervisor:  Erik Henry  Robert Stromberg  Jeff Goldman ....CafeFX  Paul Graff ....Digital Backlot  George Loucas ....Baked Goods副導演/助理導演Assistant Director:  Joe Barlow ....third assistant director: UKTom Browne ....additional third assistant director: UK  Ben Dixon ....second assistant director: UK  Gábor Gajdos ....first assistant directorToby Hefferman ....first assistant director: UK  Tamas Lukacs ....third assistant directorBlake Perkinson ....second assistant director: second unit  Branko Racki ....second unit directorRuben Flores Rios II ....additional second assistant directorPaul Sacks ....additional third assistant director: UKJames Sbardellati ....first assistant directorJack Steinberg ....first assistant director: second unitThomas Tobin ....second second assistant directorZoltán Áprily ....trainee assistant directorJai James ....second second assistant directorDeanna Stadler ....second assistant director  內容介紹HBO的歷史迷你劇John Adams,根據美國第二任總統John Adams的生平以及美國初期歷史改編,Paul Giamatti主演,演員陣容強大,由於約翰·亞當斯在任恰值英美戰爭時期,所以同時還有大量英國演員加盟,大量服裝道具都由BBC支持,所以場面上將是一部向羅馬看齊的鉅作。約翰·亞當斯是托馬斯·杰斐遜組成的《獨立宣言》起草委員會的成員,是美國第一任副總統,後來又當選為總統(1797-1801),曾被譽為"美國獨立的巨人"。由於他體型較為矮胖,因此有"圓胖先生"的稱號。約翰·亞當斯任職期間在內政、外交方面均無明顯成就,1800年競選總統時被托馬斯·杰斐遜擊敗。他和杰斐遜都是在美國獨立五十週年紀念日──1826年7月4日去世的。其子約翰​​·昆西·亞當斯是美國第六任總統。HBO推出的這部7集長的《約翰·亞當斯》,根據獲得普利策大獎的同名暢銷書改編,此書也是美國歷史上最受歡迎的傳記文學之一。該劇描繪了約翰·亞當斯波瀾壯闊的一生(相對於美國人而言),特別是約翰·亞當斯對美國的立國之道及社會基礎的貢獻。美國所奉行的所謂"自由"、"民主"、"人權"等基本政治理念,均萌芽於約翰·亞當斯執政時期。此外,該劇還集中介紹了約翰·亞當斯和他的妻子艾比蓋爾的愛情故事。艾比蓋爾不僅是約翰·亞當斯的愛人,也是他堅定的政治盟友和支撐亞當斯家族的主心骨,她和丈夫的愛情曾被美國人認為是"美國歷史上最感人的愛情故事之一"。該劇由奧斯卡獲獎演員Paul Giamatti和Laura Linney主演,著名導演Tom Hooper執導,Tom Hanks(湯姆·漢克斯)擔任執行製片人。編劇Kirk Ellis曾撰寫過《Into the West》的劇本,因此對歷史題材的改編駕輕就熟。

编辑本段2008年保罗·吉亚玛提主演电视剧

外文名称 John Adams(2008)

海报
更多外文片名:Untitled John Adams Miniseries...... USA (working title)   首播日期:2008年3月 美国   国家/地区: 美国   类型: 历史/传记/剧情   对白语言: 英语   发行公司: Home Box Office (HBO)   导演: 汤姆·霍伯 Tom Hooper   编剧:   Kirk Ellis ....(written by) (part 1)/(written by) (part 7)/(written by) (part 6)/(written by) (part 5)/(written by) (part 4) &/(written by) (part 3)/(written by) (part 2)   大卫·麦库卢 David McCullough ....(book)   Michelle Ashford ....(written by) (part 4)   主演:   保罗·吉亚玛提 Paul Giamatti ....John Adams   劳拉·琳妮 Laura Linney ....Abigail Adams   大卫·摩斯 David Morse ....George Washington   制作人 Produced by:   大卫·寇兹沃斯 David Coatsworth ....producerKirk Ellis ....co-executive producer加里·高兹曼 Gary Goetzman ....executive producer汤姆·汉克斯Tom Hanks ....co-executive producerAmy McKenzie ....associate producerRichard Sharkey ....line producerGreg Spence ....associate producer原创音乐 Original Music:   Robert Lane   Joseph Vitarelli   摄影 Cinematography:   藤本 Tak Fujimoto   Danny Cohen   剪辑 Film Editing:Melanie Oliver   选角导演 Casting:   Kathleen Chopin   Nina Gold   Tracy Kilpatrick   艺术指导 Production Designer:Gemma Jackson   美术设计 Art Direction by:   David Crank   John P. Goldsmith   Steve Summersgill   Christina Moore ....(supervising art director)   布景师 Set Decoration by:   Sarah Whittle   Lynalise Woodlief   Kathy Lucas   服装设计 Costume Design by:唐娜·莎库卡 Donna Zakowska   视觉特效 Visual Effects Supervisor:   Erik Henry   Robert Stromberg   Jeff Goldman ....CafeFX   Paul Graff ....Digital Backlot   George Loucas ....Baked Goods   副导演/助理导演 Assistant Director:   Joe Barlow ....third assistant director: UK   Tom Browne ....additional third assistant director: UK   Ben Dixon ....second assistant director: UK   Gábor Gajdos ....first assistant director   Toby Hefferman ....first assistant director: UK   Tamas Lukacs ....third assistant director   Blake Perkinson ....second assistant director: second unit   Branko Racki ....second unit director   Ruben Flores Rios II ....additional second assistant director   Paul Sacks ....additional third assistant director: UK   James Sbardellati ....first assistant director   Jack Steinberg ....first assistant director: second unit   Thomas Tobin ....second second assistant director   Zoltán Áprily ....trainee assistant director   Jai James ....second second assistant director   Deanna Stadler ....second assistant director   内容介绍  HBO的历史迷你剧John Adams,根据美国第二任总统John Adams的生平以及美国初期历史改编,Paul Giamatti主演,演员阵容强大,由于约翰·亚当斯在任恰值英美战争时期,所以同时还有大量英国演员加盟,大量服装道具都由BBC支持,所以场面上将是一部向罗马看齐的巨作。   约翰·亚当斯是托马斯·杰斐逊组 成的《独立宣言》起草委员会的成员,是美国第一任副总统,后来又当选为总统(1797-1801),曾被誉为"美国独立的巨人"。由于他体型较为矮胖,因 此有 "圆胖先生"的称号。约翰·亚当斯任职期间在内政、外交方面均无明显成就,1800年竞选总统时被托马斯·杰斐逊击败。他和杰斐逊都是在美国独立五十周年纪念日 ──1826年7月4日去世的。其子约翰·昆西·亚当斯是美国第六任总统。   HBO推出的这部7集长的《约翰·亚当斯》,根据获得普利策大奖的同名畅销书改编,此书也是美国历史上最受欢迎的传记文学之一。该剧描绘了约翰·亚当斯波澜壮阔的一生(相对于美国人而 言),特别是约翰·亚当斯对美国的立国之道及社会基础的贡献。美国所奉行的所谓 "自由"、"民主"、"人权"等基本政治理念,均萌芽于约翰·亚当斯执政时期。此外,该剧还集中介绍了约翰·亚当斯和他的妻子艾比盖尔的爱情故事。艾比盖尔不仅是约翰·亚当斯的爱人, 也是他坚定的政治盟友和支撑亚当斯家族的主心骨,她和丈夫的爱情曾被美国人认为是 "美国历史上最感人的爱情故事之一"。   该剧由奥斯卡获奖演员Paul Giamatti和Laura Linney主演,著名导演Tom Hooper执导,Tom Hanks(汤姆·汉克斯)担任执行制片人。编剧Kirk Ellis曾撰写过《Into the West》的剧本,因此对历史题材的改编驾轻就熟。
John Adams2001Pulitzer Prize – 2002
17762005American Compass Best Book – 2005

居魯士的教育( Cyropaedia);遠征記( Anabasis )

$
0
0


《長征記》的題材應該很適合以流浪漢和無賴為題材的故事,或是模仿英雄氣概的故事:經過偽裝的一萬名希臘傭兵受僱於波斯王子小居魯士(Cyrus the Younger),長征至小亞細亞的內陸,其真正目的是要驅逐居魯士的哥哥,阿爾泰薛西斯二世(Artaxerxes II);不過他們在克納科薩(Cunaxa)的戰場被擊敗了,如今他們群龍無首,而且離鄉背井,必須在充滿敵意的人當中,找到歸鄉的路。他們只想歸鄉,可 是他們所做的一切都造成了公共威脅:他們一共是一萬人,全身武裝,可是卻缺乏糧食,所以他們像是蝗蟲過境般地肆虐、摧毀所到之處,並且擄走大批婦女。



現在要列出所謂各行(包括經營管理)的百本書,並非難事。許多名家出書量近數十本。如果加上我們談過的「從經典學 MBA」等等,更是汗牛充棟。



我舉個有趣的例, Peter Drucker 曾說過,他認為領導學的最佳「教科書」,莫過於古希臘色諾分著的「歷史小說」『居魯士的教育』( Cyropaedia)。

( hc讀過摘要本;台大等有英文本)不過,我懷疑果真如此。這意見也可見之於名歷史學者吉朋,他說『居魯士的教育』既含糊又萎靡,倒不如讀色諾分另本『遠征記』( Anabasis ,這本書我門介紹過),既詳實又生動。他認為,這就是小說描寫與事實之間的「永恆的差別」。


The Cyrus Cylinder is one of the most famous objects to have survived from the ancient world. It was inscribed in Babylonian cuneiform on the orders of Persian King Cyrus the Great after he captured Babylon in 539 BC. Introduced by former Director of the British Museum Neil MacGregor, discover the story of this incredible object and its enduring legacy in this video.

這影片告訴我們Cyropaedia 對於Jefferson 與美國建國有大影響。
------



How a German Archaeologist Rediscovered in Iran the Tomb of Cyrus

Lost for centuries, the royal capital of the Achaemenid Empire was finally confirmed by Ernst Herzfeld

image: http://thumbs.media.smithsonianmag.com//filer/35/04/35042f04-5617-4407-acc2-16dc8de9ce83/fsaa604gn1543c1024x791web.jpg__800x600_q85_crop.jpg
Mausoleum of Cyrus
The mausoleum of Cyrus in a cyanotype from a glass plate negative from the papers of Ernst Herzfeld. (Sackler Gallery of Art)
SMITHSONIAN.COM 

Alexander the Great rode into the city of Pasargadae with his most elite cavalry in their bronze, muscle-sculpted body armor, carrying long spears. Some of his infantry and archers followed. The small city, in what is today Iran, was lush and green. Alexander had recently conquered India. Greece, Macedonia, Asia Minor and parts of Egypt were all part of his new empire. The people of Pasargadae likely expected the worst—when the world's most dangerous cavalry shows up on your street, you are probably going to have a bad day. But he hadn't come to fight (the city was already his).
The world's most powerful ruler had come to pay tribute to someone else.
The young conqueror was looking for a tomb containing the remains of Cyrus the Great. But it had recently been ransacked (probably for political reasons). Alexander the Great was furious. An investigation was launched, trials were held.
Alexander ordered the tomb's contents replaced and restored. According to one Greek historian, this included “a great divan with feet of hammered gold, spread with covers of some thick, brightly colored material, with a Babylonian rug on top. Tunics and a Median jacket of Babylonian workmanship were laid out on the divan, and Median trousers, various robes dyed in amethyst, purple, and many other colors, necklaces, scimitars, and inlaid earrings of gold and precious stones. A table stood by it, and in the middle of it lay the coffin which held Cyrus' body.”
Cyrus had been dead for about two hundred years. Alexander idolized him. In the year 559 BCE, Cyrus ordered the construction of Pasargadae.



image: http://thumbs.media.smithsonianmag.com//filer/95/48/954811e8-09b8-40a4-9995-6962dd4ef6ba/fsaa604gn0975dtlweb.jpg__800x450_q85_crop_upscale.jpg
Ernst Herzfeld arrived in 1928 to begin mapping and photographing the city. He was the world's first professor of middle east archaeology.
Ernst Herzfeld arrived in 1928 to begin mapping and photographing the city. He was the world's first professor of middle east archaeology. (Sackler Gallery of Art)

This city became the first capital of the Achaemenid empire that Cyrus built. “It was the super power of its day,” says Massumeh Farhad, chief curator of the Smithsonian's Freer and Sackler Galleries of Art. “This is the first super power ever. It was Cyrus who captured Babylon. His empire reached from what is now Afghanistan, included much of Egypt and went as far as the Mediterranean.”
Cyrus' Persian-dominated empire would come to serve as both inspiration and eventual rival to Alexander. Cyrus created a template for not only military conquest but also the political infrastructure to manage and maintain an empire. A postal system, roads, taxation and irrigation systems; all begun years before the Roman Republic even existed.
Pasargadae was the capital of an empire known as well for its mercy and relatively liberal government as for its ability to invade and dominate. Cyrus made a point of allowing freedom of religion, language and culture within his empire.
Both the Christian and Jewish bibles laud him for issuing the Edict of Restoration. After years during which many Jews were kept as captives in Babylon, Cyrus captured Babylon, gave them their freedom and allowed them to return home. For this act, he is the only non-Jew in Jewish scripture who is referred to as 'messiah' or 'His anointed one' (Cyrus is presumed by many scholars to have been a Zoroastrian but it isn't clear that he followed any particular religion).
Yet somehow, both the city and the tomb were essentially misplaced. The buildings and gardens fell into disrepair and crumbled. The mausoleum remained standing but locals eventually became confused about who was buried in it. “The tomb was known as that of the mother of Solomon,” says Farhad.



image: http://thumbs.media.smithsonianmag.com//filer/77/bf/77bf51da-535f-4f68-9042-953f2f6ab046/fsa_a6.jpg__800x450_q85_crop_upscale.jpg
Herzfeld was meticulous, scientific and careful. He soon produced maps of the site that showed how Pasargadae had been more than just an administrative capital. It was a miracle of design.
Herzfeld was meticulous, scientific and careful. He soon produced maps of the site that showed how Pasargadae had been more than just an administrative capital. It was a miracle of design. (Sackler Gallery of Art)

“It's one of the most iconic buildings of the ancient world. But its function was forgotten.”
By the early 20th century, nobody was sure exactly where Cyrus had been buried and it wasn't clear where the former capital of his empire was.
Thousands of years after Alexander paid his respects, Pasargadae was visited by another foreign adventurer looking for the same tomb as Alexander.
This time it was a German rather than a Macedonian. Ernst Herzfeld arrived in 1928 to begin mapping and photographing the city. He was the world's first professor of middle east archeaology. Herzfeld determined that the tomb was that of Cyrus, who had become a historical icon and a part of Iran's national identity.
Modern archeology was still a new replacement for the haphazard looting that had passed for exploration before. Herzfeld was meticulous, scientific and careful. He soon produced maps of the site that showed how Pasargadae had been more than just an administrative capital. It was a miracle of design. Herzfeld's journals, photographs and other materials are now found in the collections of Smithsonian's Arthur M. Sackler Gallery, where an exhibition of his drawings, notes and photographs is now on view.
“It was an effort to create a palace city with gardens,” says Farhad. “The gardens play a critical role. The buildings were built around these gardens. There were pavilions... But they had integrated the landscape into the architecture, which was a novel and new idea. That's why the plans for Pasargadae are so important. It was a type of palace that didn't exist before.”



image: http://thumbs.media.smithsonianmag.com//filer/79/14/7914169b-0af5-490a-bb3c-3bfa3313c9ea/herzfeldpersepolisweb.jpg__800x450_q85_crop_upscale.jpg
Herzfeld was no Indiana Jones. He was known for being dry, down-to-Earth and serious (although he did travel to Iran with a pet boar named Bulbul).
Herzfeld was no Indiana Jones. He was known for being dry, down-to-Earth and serious (although he did travel to Iran with a pet boar named Bulbul). (Sackler Gallery of Art)

“He was right in the middle of empire building,” says David Hogge, head of the Freer and Sackler Archives. “But the architecture that is there very much indicates the international character of the empire; Persian, Greek and even Egyptian elements in the architecture.”
Pasargadae was never a huge city, even by the standards of the time it was founded. But it was Cyrus' personal vision and probably a very pleasant place to visit. “There was a complex system of irrigation canals which Herzfeld discovered,” Hogge says. “It really was very novel when it was built.” The gardens may have contained almond, pomegranate and cherry trees. Clover, roses and poppies probably flowered. It would have been a fragrant place (the Persians also happened to be the first people known to use perfume).
Herzfeld methodically probed for the outlines of foundations and canals. He sketched reconstructions of shattered statues. And in his drawings and maps he brought Cyrus' city back to life for us, just a little bit. “He really made the foundation,” says Farhad. “You cannot do any research on the ancient world without going back to his work. He's not as well known as he should be.”
After Cyrus' death in 530 BCE, the empire's capital was moved to the nearby city of Persepolis (which was also probably founded by Cyrus). Some of the buildings that were still under construction at the time of his passing were never completed. The region gradually became less politically important. “What happened, clearly it was no longer the center of the empire,” says Farhad, “and then with the coming of Islam, the center of importance sort of shifted. . .  Persepolis and Pasargadae represented the pre-Islamic period.”
In spite of his pre-war international archeological expeditions, Herzfeld was no Indiana Jones. He was known for being dry, down-to-Earth and serious (although he did travel to Iran with a pet boar named Bulbul). He was also Jewish. In 1935 he lost his support from the German government. The rise of the Nazi party forced him to seek employment and backing elsewhere. Ironically, the Jewish man who discovered the tomb of the emperor responsible for the Edict of Restoration was himself forced away from his home because of his religion.
Herzfeld ended up in the United States teaching at Princeton at the same time as Albert Einstein. He died in Switzerland in 1948 at the age of 68. Cyrus may have lived to be as old as 70 (his exact birth date is unclear) and is thought to have died in battle.
By the time Herzfeld found his tomb, it had been looted again and Cyrus' bones were gone.
Alexander's empire exceeded that of his hero but he died of a sudden illness believed by some to be the result of poisoning. He was only 32. Modern archaeologists are still searching for his tomb.
“Heart of an Empire: Herzfeld’s Discovery of Pasargadae” is on view at the Smithsonian’s Arthur M. Sackler Gallery in Washington, D.C. through July 31, 2016.

Thomas Mann《歌德與托爾斯泰》 BUDDENBROOKS: The Decline of a Family

$
0
0
小說 BUDDENBROOKS: The Decline of a Family,台灣的新潮文庫有翻譯。
Peter Gay 有很不錯的評論,有譯本。


Regarded as a whole, Mann's career is a striking example of the "repeated puberty" which Goethe thought characteristic of the genius. In technique as well as in thought, he experienced far more daringly than is generally realized. In Buddenbrooks he wrote one of the last of the great "old-fashioned" novels, a patient, thorough tracing of the fortunes of a family.

—Henry Hatfield in Thomas Mann, 1962.



(fortunes) The success or failure of a person or enterprise over a period of time:he is credited with turning round the company’s fortunes

the fortunes of war


The unpredictable events of war:from then on, the fortunes of war favoured the Scots
puberty noun [U] ━━ n. 性的成熟(期), 思春期, 年ごろ.



Paul Thomas Mann was born in Lübeck, German Empire on this day in 1875.
“Death was a blessing, so great, so deep that we can fathom it only at those moments, like this one now, when we are reprieved from it. It was the return home from long, unspeakably painful wanderings, the correction of a great error, the loosening of tormenting chains, the removal of barriers---it set a horrible accident to rights again.”
―from BUDDENBROOKS: The Decline of a Family by Thomas Mann
BUDDENBROOKS, first published in Germany in 1901, when Mann was only twenty-six, has become a classic of modern literature. It is the story of four generations of a wealthy bourgeois family in northern Germany facing the advent of modernity; in an uncertain new world, the family’s bonds and traditions begin to disintegrate. As Mann charts the Buddenbrooks’ decline from prosperity to bankruptcy, from moral and psychic soundness to sickly piety, artistic decadence, and madness, he ushers the reader into a world of stunning vitality, pieced together from births and funerals, weddings and divorces, recipes, gossip, and earthy humor. In its immensity of scope, richness of detail, and fullness of humanity, BUDDENBROOKS surpasses all other modern family chronicles. With remarkable fidelity to the original German text, this superb translation emphasizes the magnificent scale of Mann’s achievement in this riveting, tragic novel. With an introduction by T. J. Reed, and translated by John E. Woods.

******

The Economist


Novelist, short story writer and essayist Thomas Mann was born on June 6th 1875. After fleeing Germany in 1933, Mann became a well-known writer of Exilliteratur ("exile literature"), broadcasting monthly anti-Nazi speeches in German on the BBC


























我介紹這兩本書要指出:翻譯界的共譯是很重要的因素。中國因為在俄、德的翻譯很普遍,所以有其標準翻譯名詞,反之台灣的必須自創自己的譯名,別人難懂。舉一例:

水牛版72頁和浙大版64~65頁:
托爾斯泰到倫敦訪問的赫爾岑 (Alexander Herzen - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Alexander_Herzen

Aleksandr Ivanovich Herzen (Russian: Алекса́ндр Ива́нович Ге́рцен; April 6 [O.S. 25 March] 1812 – January 21 [O.S. 9 January] 1870) was a Russian writer ...)
水牛版為"歌爾琴"。赫爾岑女兒讀的托爾斯泰《童年、少年和青年》,水牛版為《幼年時代與少年時代》。以上只是名詞翻譯,我們再比較:

浙大:"在我在場的這唯一一次的會晤中,我自始至終沒有聽到他發自內心的一句話,沒有聽到我期待聽到的一句話。"

水牛版:"在僅有的一次見面當中,我沒有聽過一句出自他內腑的話。"


----
Thomas Mann 著
歌德與托爾斯泰     李永熾譯,台北:水牛,1971/80
單篇,169頁,25開

歌德與托爾斯泰      朱匯冰譯,杭州:浙江大學,2013
文集,477頁,16開

  · · · · · ·

Still Vital, ‘On the Road’ Turns 50 (2007) Jack Kerouac , Centre PompidouBeat Generation

$
0
0
2016.6

JOUR DE FERMETURE | Assistez à l'arrivée du tapuscrit de Jack Kerouac : l'exposition Beat Generation est en route !

Centre Pompidou 的相片。
Centre Pompidou 的相片。
Centre Pompidou 的相片。
Centre Pompidou 的相片。





2007大概四五年前
台灣商務出版梁永安先生的新譯本
我們Simon University 談它一陣子
如果有機會
你可以一讀這位靈感一到
一揮而就的作者之文采
紐約時報還可以聽第一章....
2007-2016 我們有幾次翻譯的討論---中文翻譯本可能超過十本。

Still Vital, ‘On the Road’ Turns 50


Carolyn Cassady
Jack Kerouac (right) with his friend and road companion Neal Cassady in 1952.


Published: August 15, 2007

The best-selling novels of 1957 included “Peyton Place” by Grace Metalious and “On the Road” by Jack Kerouac.
Skip to next paragraph

Related

On the Road (August 14, 2007)

The First Chapter from "On the Road" read by Will Patton
Audio"On the Road"
Times Topics: Jack Kerouac
Share Your Thoughts
What do you think are the lessons of ‘On the Road’?

Stanley Twardowicz/Associated Press
Jack Kerouac in 1967.

Both were cultural touchstones: “Peyton Place” as a precursor of the modern soap opera and “On the Road” as a clarion call for the Beat generation and, later, as an underground bible of the 1960s and ’70s. Today “Peyton Place” is mostly regarded as a historical curiosity, but “On the Road,” celebrating the 50th anniversary of its publication, still has a vibrant life on college English course syllabuses and high school summer reading lists, and in young travelers’ backpacks.
“It’s a book that has aged well,” said Martin Sorensen, floor manager at Kepler’s Books and Magazines in Menlo Park, Calif. A “noticeable” number of copies are sold each year at the store, he said, “certainly more than the average 50-year-old book.”
The autobiographical, stream-of-consciousness “On the Road” follows Sal Paradise (a character based on Kerouac) and Dean Moriarty (based on Kerouac’s friend Neal Cassady) as they ramble back and forth across the country, drinking, listening to jazz and having affairs.
Viking is releasing a 50th-anniversary edition on Thursday (the original came out Sept. 5, 1957), and is also publishing, for the first time in book form, the original version that Kerouac typed on a 120-foot-long scroll and a new analysis by John Leland, a reporter at The New York Times, titled “Why Kerouac Matters: The Lessons of ‘On the Road’ (They’re Not What You Think).” The Library of America will include “On the Road” in a collection of Kerouac’s “road novels” to be published next month. And the New York Public Library will pay homage in November with an exhibition of the original scroll and other materials from the Kerouac archives.
Although much of this will primarily appeal to Beat aficionados, “On the Road” continues to have a wider cultural significance, particularly for the young. Fueled in part by school assignments, it sells about 100,000 copies a year in various paperback editions, according to Viking. And while its era as a counterculture standard-bearer may have passed (it’s hard to remain counterculture while being featured in Gap ads, as Kerouac was in the 1990s), it has far outlasted many other cult classics.
Part of the reason for the novel’s staying power is that popular artists keep referencing it. (A new movie version, directed by Walter Salles, who made “The Motorcycle Diaries,” is scheduled to go into production early next year.) Everyone from Bob Dylan to the Beastie Boys has been inspired by Kerouac. More recently the Hold Steady, an indie rock group, quoted “On the Road” on its album “Boys and Girls in America.”
With his bad-boy image and untethered work ethic, Kerouac “is like the rock ’n’ roll version of a writer,” said Joe Landry, 31, the lead singer for the Antecedents, a Portland, Ore., band. Like many other groups, the Antecedents list him as an influence on their MySpace page.
Erik Barnum, sales floor manager at Northshire Bookstore in Manchester Center, Vt., says he always keeps six copies on hand, a much higher number than for most older books. “It’s a book that a bookstore has to have on the shelf or somebody’s going to say, ‘What do you mean you don’t have Kerouac’s ‘On the Road?’ ” he said.
But keeping it on hand can be difficult: among book-world insiders, “On the Road” is known to be a heavily shoplifted work, said Robert Contant, an owner of St. Mark’s Bookshop in Manhattan. Mr. Contant, who said he had sold 36 copies of the book since March — a number “most contemporary writers would envy” — keeps his copies in a case near the information desk, so they can be monitored by employees. “It has a high street value because of the outlaw image,” he said, “and for young people who come to New York, there’s a romantic notion about the beatnik era.”
Penny Vlagopoulos, a graduate student at Columbia University (Kerouac’s alma mater) who teaches the book there and at New York University, said: “I still think it’s a rite-of-passage novel. The whole idea of the freedom of the open road is still very much alive for young people.”
Michael Heslop, 30, says he first read “On the Road” as a senior in high school and rereads it every other year. In 2004, he opened Kafe Kerouac, a coffee shop, record store, bookstore and performance space in Columbus, Ohio. “I wanted to name it after an American writer I admired,” Mr. Heslop said. “Jack Kerouac felt like the essence of the underground independent coffee shop more than a Hemingway or a Mark Twain.” (He also offers an unlikely Kerouac drink, a hazelnut mint latte. “It’s hard to name plain black coffee after somebody,” Mr. Heslop said.)
In true beat fashion, Kafe Kerouac plays host to poetry readings and open mikes and draws a college crowd. Nina Hernandez, 23, an employee at the cafe, first read “On the Road” a year ago. “I like that he wasn’t about the rules, he just stripped that away and wrote what he was thinking,” she said.
But Ms. Hernandez, an industrial engineering student, also said she hadn’t heard of Kerouac until she began working at the cafe. And, she noted, the book was not without its flaws: “Sometimes I found it a little wordy.”
In the academy, “On the Road” gets a mixed reputation. “I don’t think the book is taken seriously by most scholars and literary critics,” said Bill Savage, a senior lecturer in the English department at Northwestern University, where he has been teaching “On the Road” for two decades.
Still, Mr. Savage said, his students connect with the book quite personally. “Undergraduates can really relate to it because they live in such a mediated world with the Internet, the cellphone and the iPod,” he said. “There are so many ways in which you’re not where you are and Kerouac is about being where you are.”
Some students, though, reject the book as dated. Ann Douglas, a Beat scholar who has been teaching it for more than 25 years at Columbia, acknowledges that students don’t accept it as “gospel.” They criticize it from all different angles, she said — finding it, for example, condescending toward Mexicans or women.
But Ms. Douglas says that her seminar on the Beats regularly has six times as many applicants as there are spaces, and that the novel still resonates strongly, partly because she gives her students an assignment to write an autobiographical essay in the spontaneous style made famous by Kerouac.
“Again and again students do the best writing of their careers,” she said. “It’s a summons to put aside fear of what people will say or what your family expects and to find a voice that is really their own.”
At City Lights Books, the San Francisco literary landmark (it sells 1,000 copies of “On the Road” every year), Lawrence Ferlinghetti, the Beat poet and publisher and co-founder of the store, mused on the continuing success of the book.
Mr. Ferlinghetti, 88, contrasted Kerouac’s work with Thomas Wolfe’s “Look Homeward, Angel,” which he said was “the kind of book that you read when you are 18 and it’s just wonderful but if you read it when you are 35 or 50 you are embarrassed by its over-romantic tone and its flowery exuberance.” But having read “On the Road” when it first came out and he was in his 30s, and just last month, Mr. Ferlinghetti said, “It is really still ‘with it,’ you might say.”

遠藤譽《卡子──沒有出口的大地》《毛澤東勾結日軍的真相》

$
0
0

卡(ㄑ一ㄚˇ)子:沒有出口的大地

  1948年,國共內戰期間,中共用雙層鐵絲網封鎖長春,這個地帶稱為「卡子」,全市遭圍困,斷水、斷電、斷糧,許多人因而餓死,屍骨遍地……

  被夾在中日間的7歲小女孩
  對中共長春圍城的傷痛回憶
  至今未被公開的歷史!
  死亡人數估計數十萬!

  「爸爸,那個門不開嗎?」
  「不會開門的。」

  第二天早上,太陽一出來我們就上路了。
  腹中空空,腳底也輕飄飄。
  昨天早上,一出卡子,吃了高粱粥,
  然而,後來卻再也沒吃過像樣的東西。

  當全市遭困,電力、瓦斯、自來水甚至糧食全被斷絕,這時只有極少的日本人,其餘全都是中國人……

  「我,被捲入了這場戰爭中,直至今日,內心充滿矛盾與糾葛。」

  那段被封印在腦海裡的中國記憶,一次次地浮現在作者面前

  1948年間,中共用雙重鐵絲網,將長春市的國民黨軍團團圍住,「卡子」是用鐵絲網釘在木樁上的木柵欄,意即指被這兩層鐵絲網圈住的地帶。

  本書作者遠藤譽女士,以文學小說筆法動人呈現這段史實,並深入分析為什麼發生這樁悲劇。

  作者小時候親身經歷圍城事件,甚至她的哥哥和弟弟皆餓死於城內;而今,她年事已高,已是一位研究物理的博士,並不斷照顧許多從大陸到日本讀書的大學生,讓他們能順利地完成學業。

  但她一心希望,能在有生之年出版這部作品,不讓這段歷史被沖淡,為困死城內的民眾發聲,且懇請大眾記取歷史帶給我們的寶貴教訓。

作者介紹

作者簡介

遠藤譽


  1941年,生於中國吉林省長春市,1953年回歸日本,物理學博士。

  現任東京福祉大學國際交流中心主任、筑波大學名譽教授。

  從1983年開始,從事照顧中國留學生在日本讀書的工作,並曾兼任中國科學院社會學研究所客座研究員、教授,上海交通大學客座教授等。

  著有《卡子──中國建國的殘火》(日文版)、《中國和矽谷聯接時》《東北大振興──長春崛起》《茉莉花》《中國大學全覽》《日本大學總覽》《台灣地區大學總覽》《韓國大學總覽》等書。

目錄

序言
第1部 長春
緋色彈珠
絕望的城市──長春

第2部 延吉
自由的大地
解放區延吉
重生
去往何方──朝鮮戰爭爆發

第3部 天津
燈火搖曳的天津
後記

序言

  二○一二年十月一日,為中華人民共和國建國六十三週年,在這值得紀念的日子裡,中國國營中央電視台(CCTV)為全國人民轉播慶祝的畫面;這一天,也是國家主席胡錦濤,最後一次以中國最高領導人的身分主持此等盛宴。

  一九四五年八月十五日,隨著日本戰敗,侵華戰爭雖已結束,但在中國大陸,卻還是烽火連天。由毛澤東為首的中國共產黨軍和蔣介石率領的國民黨軍,為了爭奪天下,再次引發內戰;此次內戰,被稱為第二次國共內戰(國民黨和共產黨的內戰)。

  侵華戰爭期間(一九三七~一九四五年),國共兩軍合作共同對抗日本,但日本戰敗後,失去共同敵人的雙方完全決裂,並於翌年一九四六年再次爆發內戰。

  這個時期中國的國名為「中華民國」,蔣介石為國民政府主席。對於共產黨而言,這是一場推翻國民政府的「革命」。現在,中國大陸大部分的人,都將國共內戰稱為「革命戰爭」。共產黨在革命戰爭中獲勝,並將一九四九年十月一日訂為建國紀念日。從這天起,「中華人民共和國」誕生。

  我,被捲入了這場革命戰爭中,直至今日,內心對中國還是愛恨交加,充滿矛盾與糾葛。

  只要一聽到「義勇軍進行曲」(現在中國的國歌),便會反射性地停下所有動作,馬上起立,一邊起立一邊落淚,很可悲的,這已是從小被刻進骨子裡的習慣。

  一九五一年我上小學,每天被罵作:「小日本!」「日本鬼子!」「日本狗!」是家常便飯,甚至還會被扔石頭、吐口水。人們將憤怒與悲傷發洩在一個普通的十歲少女身上,簡直就像在說,日本之所以會侵略中國,都是你這個日本人造成的。而我,無能為力,彷彿這一切都是我的過錯一樣,呆呆佇立,默默承受。

  可是,「我,並不是那些來自日本的侵略者的孩子」。至少,為了證明這一點,那時,我不顧一切撕聲高唱義勇軍進行曲,高唱革命歌。在內心深處,還是懷著某種熱情,讓自己對新中國抱有些微期許,因為她或許真會帶來光明的未來。

  從那之後歷經數十年,我背負著沉重的過往,在哭泣中歌唱,因悲傷而顫抖,從絕望中振作。

  然而,現在卻不一様。

  這冷漠而又近乎憤怒的情緒,無法壓抑地從我心底湧起。

  特別是二○一二年九月,日本電視播放的中國青年反日遊行。電視中,他們的身影呼之欲出,在我和中國之間撕開了一條深深的鴻溝。

  遊行者的臉龐因憎恨而扭曲,破口大罵著:「小日本!」「日本鬼子!」「日本狗!」目睹這一幕的我,不由自主地想起十歲時種種的不堪與痛苦,心如刀割,痛不欲生。如今,已過去六十年,那些年輕人明明沒有被日本「侵略」的體驗和記憶,反而高舉著反日大旗,用日益激烈的手段表示不滿。日本犯了侵華戰爭的殘忍錯誤,這確實是不應該的。不過,到底這歷史的連瑣要何時才能結束?

  但是一到十月,中國就像換了個人似的,開始播放由CCTV製作的特別節目,向人民提問:「你,幸福嗎?」每天,只要一打開電視,便會聽到這句話。

  「嗯,我覺得幸福嗎?這個嘛,孩子和孫子不用為三餐煩惱,還能念好學校,能生活在如此繁榮、進步的國家,當然是幸福得不得了。」

  雖然很清楚中國政府在節目中專挑好聽的話,但只要看到那些微笑著回答:「幸福,當然幸福……」並感到自豪的臉孔時,我還是會不解與困惑。

  然後,節目中取材的記者,很突然地對著攝影機、對著觀眾提問:「你,幸福嗎?」

  我當時不自覺地站了起來,對著電視機用中文,以帶有挑釁的語氣回答道:「不幸福!怎麼可能幸福!」

  這是我有生以來第一次有這樣的反應,連自己都感到意外的反射動作。

  被夾在中國和日本間一路走來,飽受折磨的我已受不了了。

  一九四一年,我出生在中國吉林省長春市(當時偽「滿州國」的首都「新京」)。

  一九四六年,應美國特使馬歇爾要求,中國暫時停止越演越烈的內戰,並將留在國內的日本人遣送回國,此行動被稱為「百萬日僑大遣返(百萬人遣送)」。據說,這是因為美國害怕長期居留在中國的日本人,有被共產黨洗腦「赤化」的風險所採取的預防措施。

  當時的長春,是國民黨軍在東北的重鎮。翌年一九四七年,國民政府決定最低限度留用部分日本技術人員,並將剩下的日本人全部遣返。我的父親就是遭到留用、沒有被允許返鄉回國的技術人員之一。

  這時的長春只有相當少的日本人,其餘全都是中國人。

  當第二次遣返結束時,突然,長春市遭到八路軍(中國共產黨軍,也就是之後的人民解放軍)圍困,電力、瓦斯、自來水甚至糧食全被斷絕。

  這便是長春圍困戰的開始。

  一九八三年,我出版了日文版《不合理的彼方》(不条理のかなた)這本報告文學,詳細描寫長春被圍困時的親身體驗。此書獲得讀賣新聞女性人類紀錄大獎(読売女性Human Documentary大賞)的優秀獎。花了一週時間,在百張稿紙(一張可寫四百字)上,整理腦海中湧現的思緒編寫而成,這也是我頭一次向世人發表文章。

  翌年一九八四年,應讀賣新聞社要求,出版了單行本《卡子──沒有出口的大地》(卡子──出口なき大地)。圍困時,中國共產黨軍用雙重鐵絲網,將長春市的國民黨軍團團圍住,卡子指的是,被這兩層鐵絲網所夾著的中間地帶。

  長春市被完全斷糧後,因飢餓而死的人紛紛出現。餓死者全都是無辜的老百姓,其中就有我的哥哥和弟弟,反倒是國民黨軍連一個人都沒被餓死。

  當時的包圍網有可供出去的門,一九四八年九月,父親為了不再讓家裡有人餓死,決定嘗試逃離長春。但鑽過內層的門後,外層鐵絲網的門(共產黨側)卻緊閉著。市民奮力從被餓死的命運逃離,卻因共軍不願開門,最後,還是被困在鐵絲網間活活餓死,數十萬具的屍體綿延數里,覆蓋著大地。

  那時,僅有七歲的我,就被困在這中間地帶,露宿於成堆的屍體上。甚至目睹難民之中的中國人,去吃剛殞命的屍體。在這道德淪喪的恐怖環境中,我,喪失了記憶。

  而共產黨軍呢?他們透過鐵絲網看著眼前展開的地獄浮世繪,對一般民眾見死不救。

  九○年代,《卡子──沒有出口的大地》被翻譯成中文,雖然試圖在中國出版,但不管哪一家出版社,都以「過於敏感」為由拒絕發行。

  事實上,中國人民解放軍文藝部張正隆,其著作《雪白血紅》(一九八九年八月出版),也在九○年代被江澤民禁止發行,張正隆本人遭到逮捕。雖然《雪白血紅》同樣赤裸裸描寫我所經歷的長春圍困戰,但無可否認的,內容還是有點偏袒林彪的味道。林彪是在文化大革命期間,企圖對毛澤東發動軍事政變的人物。

  將《雪白血紅》被禁止發行當作前車之鑑,我盡量刪除《卡子──沒有出口的大地》中文版裡,「關於八路軍非人道的描寫」,但中國的出版社,還是害怕遭到政府當局「告誡」,沒有勇氣點頭。

  二○一一年,我跟中國的老朋友商量過關於在中國出版《卡子》一事。他是早就退休的中國政府老幹部。那時我才知道,他有個親戚也經歷過「卡子」事件。然而連他這個當事人都只能說:「還是再等段時間吧……估計不會太久……」

  再等段時間……

  不過,是為了公開一件真相,到底要等上幾個十年?

  我所出生、長大的那片大地,不是提倡、教導人民要「實事求是」(以事實為基礎,追求真實)嗎?而卡子的歷史事實,就是倖存者都承認的「真實」。「前事不忘,後世之師」,難道中國連將此事公諸於世、供後人作為借鑒都不允許嗎?

  一九四六年,中國共產黨在革命戰爭中向人民承諾,要拯救人民於水深火熱之中,要帶領大家走向自由民主、充滿光明的未來。為了實現這個目標,需要拋頭顱、灑熱血,人民正是在這樣的號召下走向沙場。

  人民相信共產黨,即使被共軍的流彈所傷,變成殘障、苟延殘喘活下來的我,還是不斷告訴自己,「這是為了革命、為了拯救人民所付出的犧牲。」即使露宿於死屍累累的長春郊外、在極度恐懼中喪失記憶,還是不斷說服自己,「這是為了自由民主的未來。」即使在痛苦中掙扎、翻滾,還是相信著共產黨、相信著他們承諾的一切。

  但是現在又如何呢?

  確實,中國變得繁榮、進步了,經濟上也有大幅成長,這並不是什麼壞事,是好事。可是您(中共)現在還站在受苦受難的人民這邊嗎?將人民的血汗結晶拿來鞏固權力,放任黨的幹部利益集團化。制定憲法時,雖主張「人民乃國家主人公(當家做主)」,但所謂「人民中國」早已不見蹤影。

  即使如此,您還是自稱「社會主義國家」,並用「中國特色社會主義國家」這唬人的名稱企圖掩蓋、逃避潛藏的矛盾,造成官員濫用特權的結果。然後為了防民之口,又更進一步限制「言論自由」,禁止批評。

  您的所做所為,和革命戰爭前,「中華民國」的官僚資本主義有什麼不同?

  當然,我並不是指改革開放盡是壞處。

  只是,中國共產黨為了維持絕對的權威、為了保持社會表面的和諧,難道沒有背棄革命戰爭時,對人民的承諾嗎?

  那時承諾的「自由」跑哪兒去了?言論自由又在哪兒?

  您,到底在害怕什麼?

  將犯下的過錯封印在歷史陰影中,藉此獲得保障的權力又算得上什麼?

  不用再等另一個十年,揭開封印的時機就是現在。

  畢竟我已七十三歲,剩下的時間不多了。

  「你,幸福嗎?」

  對於CCTV的提問,我想再一次地回應。

  ──不,我不幸福。

  在共產黨承認卡子的事實、承認歷史的事實以前,我會拚盡全力戰鬥。在所剩無幾的時間到達盡頭前,拿出成果。

  中國之於我有養育之恩,對於她,我充滿矛盾的情感,在愛恨交加(有時愛勝恨的情感),我一路奮鬥過來,想在這裡撒下真相的種子。畢竟等不到中國自己坦白,我已撒手人寰了吧!

  因此,我要建造一座墓碑紀念卡子。

  包括我的家族,一九四八年,在長春被餓死的人們,被當成垃圾般丟棄、死得毫無價值、從歷史上被抹去痕跡的人們。他們的事在中國只能被偷偷談起,就像對待罪犯一般。為了打破這樣的現實,我要把一切的一切都寫下來,而這就是我將靈魂當成墨水,一個字一個字堆砌出來的墓碑。

  時間所剩無幾,因為知道實情的人、歷經慘劇的人,正一天天減少、一天天老去。

  了解真相對中國人民來說,也是「記取教訓的權利」。

  當然,我很清楚這些事要付諸實行,必要搭上性命。

  懷抱著無以名狀的悲痛,我將目光投向窗外。夕陽西下。

美国之音中文网

8 小時
【VOA连线:日本学者披露中共在抗战中与日本暗通款曲】
中共在抗战中的领导作用史上一直存有争议,中国官方观点认为,中國共產黨在抗日戰爭中發揮了中流砥柱的關鍵作用,中共始終堅持抗戰、反對投降;中共是取得抗戰勝利的決定性力量。但一本由日本的一位大學教授撰寫的新書卻指出,抗戰中毛澤東為削弱國民黨軍隊的力量,派遣間諜潛伏日本外務省,把從國共合作中獲得的國民黨軍事情報賣給日本。該書認為,中共非但不是抗日的中流砥柱,還與敵人互通款曲,利用抗戰壯大中共力量,為日後打敗國民黨軍隊做準備。這本新書的作者、东京福祉大学国际交流中心主任、遠藤譽教授为您介绍这本书的相关内容。
Youtube视频链接:https://goo.gl/l9pBXI



從日諜回憶和檔案挖出《毛澤東勾結日軍的真相》

作者 

從日諜回憶和檔案挖出《毛澤東勾結日軍的真相》在中共的共產主義意識形態破滅之後,毛澤東的繼承人們便高舉愛國主義旗幟作為替代品,自詡中共是抗日戰爭中的中流砥柱。但是,一位日本女教授所寫的《毛澤東勾結日軍的真相》中文版日前在明鏡出版社出版,卻揭穿了謊言。這次“明鏡書刊”節目,我們請明鏡集團總主筆高伐林先生來介紹這本書。

在中共的共產主義意識形態破滅之後,毛澤東的繼承人們便高舉愛國主義旗幟作為替代品,自詡中共是抗日戰爭中的中流砥柱。但是,一位日本女教授所寫的《毛澤東勾結日軍的真相》中文版日前在明鏡出版社出版,卻揭穿了謊言。這次“明鏡書刊”節目,我們請明鏡集團總主筆高伐林先生來介紹這本書。法廣:《毛澤東勾結日軍的真相》這本書的作者,是位日本學者?據說此書在日本還頗有影響?
高伐林:是的,這位中國問題專家名叫遠藤譽,已經75歲了,是東京福祉大學國際交流中心主任,筑波大學名譽教授,理學博士,她還曾擔任過中國社會科學院客座研究員、教授。遠藤的父親發明了一種藥物,為治療中國的鴉片中毒患者來到中國,她1941年出生在東北的長春,小小年紀,就經歷過慘烈的國共內戰,手上還中了一顆來自共軍的流彈。解放軍圍困長春,她經歷了地獄般的日子,多位家人死去,記憶刻骨銘心,後來寫了一本書《卡子——沒有出口的大地》,不僅出了日文版,還出了中文版。遠藤於1953年返回日本。但她關注的重點,還是中國,著有《掌控中國的九位男人》、《“紅色皇帝”習近平》等專著。《毛澤東勾結日軍的真相》日文版上市後,一個月內增印5次,日本《每日新聞》、《富士晚報》、富士電視台、朝日電視台,以及英國BBC等媒體都做了報導。 法廣:關於毛澤東和中共消極對日作戰、積極壯大自身實力的說法並不陌生,這位日本教授的書提出了什麼樣的新論點和新論據呢?高伐林:遠藤是從一個叫岩井英一的日本駐華外交官的回憶錄中發現了追查線索的。這本《回想的上海》出版於1983年,但影響不太大。書中詳細講述了中共特工人員潘漢年、袁殊等人,如何被毛澤東派遣,與屬於日本外務省的間諜機構“岩井公館”建立聯繫。袁殊甚至反客為主,成了“岩井公館”的主人。
法廣:這一段公案,中共媒體上也有所披露,但官方強調,潘漢年、袁殊等人是打入日本特務機構內部,利用日方的矛盾,獲取情報,以利抗戰。遠藤教授不是這麼看嗎?
高伐林:她認為,中共的這套說詞站不住腳。她舉出多條論據:潘漢年從岩井手裡每月得到相當於2000港幣的津貼,這筆錢在1939年不是個小數,相當於一個香港華人警官五年的工資。遠藤指出,這就是日方高價收買情報——如果對日方沒有貢獻、沒有提供關於中國方面的各種機密資訊,日方為什麼會這麼大方地掏錢?這說不通。潘漢年向岩井英一提供的,很多是關於國民黨軍隊的軍事情報。因為當時國共合作,中共能夠比較容易地獲得國民黨的軍事情報。這些情報當然是日本非常需要的。遠藤認為,毛澤東心目中真正的敵人,並不是侵略中國的日本軍隊,而是抗擊日本侵略的國民黨政府。他派出特工與日本人聯絡,甚至不惜私下一再議和,目的都是為了壯大中共軍隊,削弱蔣介石的力量。
法廣:潘漢年等人向日方提供的都是自己的盟友國民黨方面的情報嗎?
高伐林:也不盡然。1939年,岩井向潘漢年提出希望提供“關於中共內部情況和今後動向的報告書”,潘漢年一口答應,沒多久岩井就收到了。為了了解這份情報到底寫了什麼,遠藤教授到日本外務省外交史料館翻找,幾經週折,最後找到了一份《關於新四軍的作戰經過和建軍工作》,從長度、時間、內容、地點等條件來看,她斷定就是潘漢年交給岩井的情報。情報的主要內容之一,是新四軍副軍長項英在江南指揮部會議上講話,分析形勢,布置任務,提出策略。為什麼潘漢年會把關於中共內部的情報交給岩井?遠藤教授的解釋是:是為了獲得岩井的信任,而項英一貫和毛澤東的方針唱反調,是毛的黨內政敵,將這樣的情報交給日本間諜機構,毛澤東可以一舉多得。 法廣:潘漢年、袁殊的行動都是接受毛澤東的指示嗎?
高伐林:遠藤再三強調,如果沒有毛澤東的批准,潘漢年他們是不會擅自行動的。遠藤從岩井的書中還有一個重大發現:岩井回憶,潘漢年通過袁殊,“向我提出共產黨軍希望和在華北的日軍停戰”。岩井不屬軍方,做不了主,但他還是儘力而為,讓袁殊帶潘漢年去見了汪精衛政權的最高軍事顧問影佐禎昭,又經過影佐介紹,和汪精衛見了面,最終此事沒有成功。遠藤斷言,這件事更不可能是潘漢年自作主張了,一定是毛澤東授意。遠藤教授還寫道,潘漢年所接觸的不僅僅是日本外務省的人和影佐禎昭,他和汪精衛政權的特務機關“76號”負責人李士群也暗通款曲,還聯絡了日軍的都甲大佐……正是因為潘漢年等人在毛澤東授意下幹了這麼多不可告人的勾當,毛澤東才要兔死狗烹,將之滅口。潘漢年、袁殊等都在1955年被毛澤東下令秘密逮捕,文革終結後,潘漢年卻遲遲沒有得到平反,1977年病死,死後5年才恢複名譽。 
法廣:遠藤在書中還提供了其它哪些情況呢?
高伐林:遠藤在書中還披露,毛澤東一直很想與回到日本的侵華司令岡村寧次大將聯絡上,中共建國之後,邀請他訪華,但被已經與蔣介石建立了友誼的岡村寧次拒絕,毛澤東才轉而邀請前侵華日軍陸軍中將遠藤三郎訪華,當面“感謝日本皇軍”——遠藤說,這確實是毛澤東的“肺腑之言”。遠藤教授提醒讀者:毛澤東在世的時候,絕口不談“南京大屠殺”,一次也沒有紀念過“抗日戰爭勝利紀念日”。其實,他不在乎國,更不在乎民,只在乎黨。 

The Adventures of Huckleberry Finn; 《馬克‧吐溫 自傳》Mark Twain Himself A Pictorial Biography Milton Meltzer

$
0
0
“But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she's going to adopt me and sivilize me, and I can't stand it. I been there before.” 
― from "The Adventures of Huck Finn" by Mark Twain

LIGHT OUT
North American informal Depart hurriedly:he lit out for California to ‘find’ himself

"Tom appeared on the sidewalk with a bucket of whitewash and a long-handled brush. He surveyed the fence, and all gladness left him and a deep melancholy settled down upon his spirit. Thirty yards of board fence nine feet high. Life to him seemed hollow, and existence but a burden."
--from "The Adventures of Tom Sawyer" (1876) by Mark Twain
Along with Blake and Dickens, Mark Twain was one of the nineteenth century’s greatest chroniclers of childhood. These two novels reveal different aspects of his genius: Tom Sawyer is a much-loved story about the sheer pleasure of being a boy; Huckleberry Finn, the book Hemingway said was the source of all the American fiction that followed it, is both a hilarious account of an incorrigible truant and a tremendous parable of innocence in conflict with the fallen adult world.


(224) 生或死
看到Peter Drucker (1909 - 2005) ,想到的不是"百年紀念",而是2005年"我們"跟他有關的回憶。

----Mark Twain
  • Born: 30 November 1835
  • Birthplace: Florida, Missouri
  • Died: 21 April 1910 (heart failure)
  • Best Known As: The author of Tom Sawyer and Huckleberry Finn


讀書共和國
海倫•凱勒:「誰會不喜歡他呢?即使是上帝,亦會鍾愛他,賦予其智慧,並於其心靈裡繪畫出一道愛與信仰的彩虹。」
哪一位作家擁有如此廣大魅力?
山繆.朗霍.克列門斯,筆名馬克.吐溫(Mark Twain, 1835-1910),美國十九世紀著名的幽默文學作家,「馬克吐溫」(mark twain)原是行船的專用術語,意為「水深兩噚」,是輪船安全航行的必要條件。
他的代表作之一《湯姆歷險記》,就是以他的童年的玩伴和真實經歷所寫下的作品。其中,湯姆是他三位兒時夥伴的集合體,哈克則是真有其人。吐溫希望孩子能從這本書中得到樂趣,也鼓勵成年人可以藉由這本書回憶兒時。
「《湯姆歷險記》雖然是少年小說,風格和內容卻都不同於當代著重教化勵志的其他少年讀物,例如《小婦人》和較晚的《小公主》。
湯姆不是什麼模範學生或孝悌楷模,卻也因此更貼近一般讀者,而這本書的幽默也來自他的調皮機靈。例如他為了引起大人和女生的注意,花招百出卻往往弄巧成拙;呼朋引伴跑到無人島去當海盜,驚動全村搜索救援,最後居然在自己的喪禮上現身。這些都是讓師長又好氣又好笑,讓同儕躍躍欲試的典型孩童行為。至於最有名的粉刷圍籬的故事,湯姆洞悉人性矛盾,把工作變成玩樂,成年讀者的感受又會比年輕讀者深刻,這也是人生不同階段閱讀吐溫的樂趣。」
-摘自《經典圖像小說:湯姆歷險記》
1835年11月30日,馬克吐溫生於美國密蘇裡州佛羅裡達。

「《湯姆歷險記》雖然是少年小說,風格和內容卻都不同於當代著重教化勵志的其他少年讀物,例如《小婦人》和較晚的《小公主》。 湯姆不是什麼模範學生或孝悌楷模,卻也因此更貼近一般讀者,而這本書的幽默也來自他的調皮機靈。例如他為了引起大人和女生的注意,花招百出卻往往弄巧成拙;呼朋引伴跑到無人島去當海盜,驚動全村搜索救援,最後居然在自己的喪禮上現身。這些都是讓師長又好氣又好笑,讓同儕躍躍欲試的典型孩童行為。至於最有名的粉刷圍籬的故事,湯姆洞悉人性矛盾,把工作變成玩樂,成年讀者的感受又會比年輕讀者深刻,這也是人生不同階段閱讀吐溫的樂趣。」 -摘自《經典圖像小說:湯姆歷險記》http://ppt.cc/56fS

山繆. 朗霍. 克列門斯,筆名馬克.吐溫(Mark Twain, 1835-1910),美國十九世紀著名的幽默文學作家,「馬克吐溫」(mark twain)原是行船的專用術語,意為「水深兩噚」,是輪船安全航行的必要條件。 1835年11月30日,馬克吐溫生於美國密蘇裡州佛羅裡達。 圖片出處:http://zh.wikipedia.org/wiki/%E9%A9%AC%E5%85%8B%C2%B7%E5%90%90%E6%B8%A9

1876​​​​年出版第一版的《湯姆歷險記》 圖片出處:http://zh.wikipedia.org/wiki/File:Tom_Sawyer_1876_frontispiece.jpg

「《湯姆歷險記》雖然是少年小說,風格和內容卻都不同於當代著重教化勵志的其他少年讀物,例如《小婦人》和較晚的《小公主》。 湯姆不是什麼模範學生或孝悌楷模,卻也因此更貼近一般讀者,而這本書的幽默也來自他的調皮機靈。例如他為了引起大人和女生的注意,花招百出卻往往弄巧成拙;呼朋引伴跑到無人島去當海盜,驚動全村搜索救援,最後居然在自己的喪禮上現身。這些都是讓師長又好氣又好笑,讓同儕躍躍欲試的典型孩童行為。至於最有名的粉刷圍籬的故事,湯姆洞悉人性矛盾,把工作變成玩樂,成年讀者的感受又會比年輕讀者深刻,這也是人生不同階段閱讀吐溫的樂趣。」 -摘自《經典圖像小說:湯姆歷險記》http://ppt.cc/56fS


Twain was born and died in years in which Halley's Comet passed by Earth: 1835 and 1910... His pseudonym, Mark Twain, was taken from Mississippi riverboat terminology; it's a measure of depth... Twain married the former Olivia Langdon in 1870 ; she died in 1904, and the melancholy tone of Twain's later writings is often attributed to his depression over her death.


Mark Twain and His Circle Series

Mark Twain Himself

A Pictorial Biography

Milton Meltzer

ISBN 978-0-8262-1412-6
320 pages
8 1/4 x 10 7/8
index, 600 illustrations, 2002
$39.95t paper





"This book would have delighted Mark Twain. He never shrank from the limelight, and here is a sumptuous 300-page quarto devoted to picture and letter-press covering almost every highlight of his long and varied career."— New York Times

"There can be no doubt that this is a book no lover of Mark Twain will wish to be without."— Chicago Tribune
"[Readers] will find here much they have not seen before. . . . Mr. Meltzer's ingenuity in finding materials is particularly striking in his illustrations for the difficult early period, before the camera was in general use and before anyone considered the image of Sam Clemens worth preserving for posterity. . . . Meltzer has done his work well."— New York Herald Tribune
"This book is for leisure hours and quiet meditation. It brings back the life and times of Mark Twain, our greatest humorist, and it holds up as a mirror the early days of our country. It should inspire and help us preserve our priceless heritage of freedom."— Hartford Courant
"Mark Twain Himself ranks as one of the most entertaining works ever produced about one of America's most influential writers. . . . Milton Meltzer has assembled an impressive number of previously unpublished photographs of Mark Twain, his family, the people he knew or wrote about , and the places he saw."— San Francisco Sunday Chronicle

Mark Twain's life—one of the richest and raciest America has known—is delightfully portrayed in this mosaic of words and more than 600 pictures that capture the career of one of America's most colorful personalities. The words are Twain's own, taken from his writings— not only the autobiography but also his letters, notebooks, newspaper reporting, sketches, travel pieces, and fiction. The illustrations provide the perfect counterpoint to Twain's text. Presented in the hundreds of photos, prints, drawings, cartoons, and paintings is Twain himself , from the apprentice in his printer's cap to the dying world-famous figure finishing his last voyage in a wheelchair. Mark Twain Himself: A Pictorial Biography will not only inform and entertain the casual reader but will provide a valuable resource to scholars and teachers of Twain as well.

About the Author


Milton Meltzer has written a great many books for both children and adults, including Dorothea Lange: A Photographer's Life and Carl Sandburg: A Biography. He now resides in New York City.





《馬克‧吐溫 自傳》 Autobiography of Mark Twain,杭州:浙江文藝 2011
1924 Autobiography . Employing a self-described "methodless method," Twain had begun dictating his memoir to Albert Bigelow Paine in 1906 from a set of notes, recording whatever came to his mind at the moment. The result is an  unsystematic , though entertaining and often instructive, collection of anecdotes, with the degree of invention the source of subsequent critical debate.



Autobiography of Mark Twain or  Mark Twain's Autobiography refers to a lengthy set of reminiscences, dictated, for the most part, in the last few years of  American author  Mark Twain's life and left in typescript and manuscript at his death. The  Autobiography comprises a rambling collection of anecdotes and ruminations rather than a conventional  autobiography .
Contents

Volume 1

The first volume of a three-volume edition of the complete text was published in November 2010, the 100th anniversary year of Twain's death, edited by the The Mark Twain Project of The Bancroft Library at  University of California, Berkeley and published by  University of California Press . [1] [2] [3]

Twain-scripted Contents

  • The Tennessee Land (1870) [4]
  • Chapter 1 --Early Years in Florida. Missouri (1877) [5]
  • Grant Dictations (1885)  [6]
  • Vienna Sketches (1898) [7]
  • Scraps from my Autobiography (1900)
  • Introductions for previous attempts at autobiography [11]
  • Preface. As from the grave (for Florence attempt) [12]
  • Florence Dictations (1904) [13]
  • New York Dictations (1906; January--March) [14]
Vol.1 also contains an introduction [15] and copious  Explanatory Notes [16]

Previous publication


1924 edition
Twain himself had published 'Chapters from My Autobiography' in twenty-five installments in the  North American Review in 1906-7. [17] Since Twain's death in 1910, a number of different editors have made ​​​​attempts to impose some order on the whole of the material by selection and reorganization, producing several decidedly different published versions of  The Autobiography . The first of these was published in 1924 by  Harper & Brothers Publishers.

Twain's own attempt

Twain first started to compose an autobiography in 1870, but proceeded fitfully, abandoning the work and returning to it as the mood took him. In a 1904 letter to William Dean Howells, he wrote: “I've struck it! And I will give it away—to you. You will never know how much enjoyment you have lost until you get to dictating your autobiography.”  [18] By 1904 Twain had embarked on what he called his “Final (and Right) Plan” for telling the story of his life. However, after 1907 he again seems to have let the book languish; in 1908-9 he hardly added to it at all, and he declared the project concluded in 1909, after the death of his youngest daughter Jean. His innovative notion — to “talk only about the thing which interests you for the moment” — meant that his thoughts could range freely. Twain thought his autobiography would be most entertaining if he went off on whims and tangents in non-sequential order.
Twain outlined a plan in 1899 for an autobiographical work which was to be published (according to different accounts of the episode) either "100 years from now" or "100 years after his death." A manuscript note in the Mark Twain Papers (UC Berkeley) indicates a 100-year ban was what he was contemplating. Twain did produce a preface 'From the Grave' claiming that the book would not be published until after his death, which allowed him to speak with his "whole frank mind."
The manuscript and typescript materials of the Autobiography are in the Mark Twain Papers at The Bancroft Library, University of California, Berkeley.

Early editions

The first edition of the  Autobiography was published by Twain's personal friend and literary executor  Albert Bigelow Paine , and consisted of twenty-two fragments presented in the order Twain composed them, including the first four months (January-April 1906) of the Autobiographical Dictations. The edition received rather poor reviews. In 1940, editor and historian  Bernard DeVoto published another selection in  Mark Twain in Eruption , arranged by topic and heavily edited. Charles Neider rejected both Paine's and DeVoto's approaches and rearranged the material to match the chronology of a standard autobiography. In spite of these previous efforts, around half of the Mark Twain Project text will be seeing publication for the first time.

References

  1. ^ Churchwell, Sarah (2010-11-01)  "Mark Twain: Not an American but  the American"The Guardian . Retrieved 2010-11-01.
  2. ^  "Mark Twain's Autobiography, Finally Released"CBS News . May 24, 2010 . Retrieved August 13, 2010 .
  3. ^ Mark Twain Project Online (2010-11-01)  "Mark Twain Papers & Project: A Brief History"
  4. ^ Vol.I, p.85
  5. ^ Vol.I, p.89
  6. ^ Vol.I, p.94
  7. ^ Vol.I, p.158
  8. ^ Vol.I, p.213
  9. ^ Vol.I, p.227
  10. ^ Vol.I, p.245
  11. ^ Vol. I, p.280
  12. ^ Vol. I, p.310
  13. ^ Vol. I, p.312
  14. ^ Vol. I, p.352
  15. ^ Vol.I, p.22
  16. ^ Vol. I, p.649
  17. ^ "Mark Twain's own autobiography: the chapters from the North American review"Google Books . Retrieved 2010-05-27.
  18. ^  Cox, James M. (November 2002).  Mark Twain:The Fate of Humor (Mark Twain & His Circle) . University of Missouri Press. pp. 295.  ISBN  978-0826214287 .

External links


馬克·吐溫A Tramp Abroad
文化人生| 2010.04.24

馬克·吐溫的德國遊記

4月21日是著名美國作​​家馬克·吐溫逝世100週年。馬克·吐溫曾當過印刷工人、密西西比河上的導航員、士兵、淘金者、記者。1869年,他的一本關於歐洲之行的書問世並成為暢銷書。之後,他完成了《湯姆·索亞歷險記》等小說,揚名於世。他再次前往歐洲旅行,並將經歷寫成《浪跡海外》(A Tramp Abroad)一書。其中大部分內容是關於德國的。

浪跡海德堡
馬克·吐溫的第二次歐洲之行歷時一年半,他的大部分時間在德國度過。從漢堡出發,他前往德國南部。在這裡他停留的時間最長,僅在海德堡就有三個月之久。他與家人住在地勢頗高的一家旅館,可以俯視內卡河與萊茵河的交匯處。每天,他都從旅館出發,去一處地勢更高的地點寫作。他的遊記《浪跡海外》中,大部分內容都與海德堡及周邊地區有關。Bildunterschrift:  Großansicht des Bildes mit der Bildunterschrift: 風景如畫的海德堡風景如畫的海德堡
克里斯蒂娜·凱默(Christina Kemmer)是海德堡"追隨馬克·吐溫的足跡"這個旅行線路的四位導遊之一。她介紹說:"他滿懷愛意地描繪這座城市。他當時住在宮殿旅館裡,入住首夜, 他聽到水聲,以為是雨聲。原來是內卡河。他看到鐵路沿線的燈光,把它形容為降落於塵世的銀河。"
“有天賦的人需30年方能掌握德語”
這一旅行線路尤其受到美國遊客的青睞。馬克·吐溫的《浪跡海外》一書充滿詼諧與諷刺。他描述大學生的慵懶,報紙的空洞,萊茵河岸所產葡萄酒的乏味,還有曼海姆歌劇院的嘶喊。而他對德語這一語言的諷刺則廣泛流傳。導遊凱默對此瞭如指掌:
"馬克·吐溫說,這個民族自稱是詩人與思想家的民族,可是連自己的語言都沒打理好。比如,'我的好朋友',就有多種人稱格式的變化。而同樣是女性, 如果說eine Frau,是陰性,而如果是das Weib,又成了中性。所以,馬克·吐溫說,一天夜裡,有一個人牙痛難忍,無法入眠。於是,那個晚上他就創造出德語這門語言。"
馬克·吐溫的諷刺當然不僅僅針對德國人,他也常常拿自己的國人開玩笑。無論如何,馬克·吐溫是一位非常專注、細緻的觀察者。他發現德國當時的教育水平較高,也描述孩童在河中赤身嬉戲的圖景。他還將許多傳說從德語翻譯成英語。儘管他曾斷言,有天賦的人也需30年時光方能掌握德語,因此德語急須修改。但無論如何對馬克·吐溫本人而言,德語並沒有那麼令人畏懼。他在亡妻的墓碑上用德語寫道:“願上帝憐憫你,我摯愛的人。"
作者:Martina Senghas/李魚
責編:石濤


2011
   
The Adventures of Huckleberry Finn
Why has 'Huckleberry Finn' been on so many banned books lists? The Adventures of Huckleberry Finn has made ​​it to many lists of books that should be banned because readers (and many people who never bothered to read it) deemed it indecent and racist. Yet, even with its frequent place on the lists of America's most challenged books, it has become a classic. Written by Mark Twain , Huckleberry Finn was published on December 10, 1884, in Canada and England and on this date in 1885, in the US. Although many thought that Twain's depiction of the runaway slave, Jim , was demeaning and racist, the story was meant to show the hypocrisy of American society in its views of slaves and African Americans. The story follows Huck and Jim — both runaways — as they travel down the Mississippi River , with Huck slowly changing his views about blacks and working to help Jim to freedom.
Quote:

"All modern American literature comes from one book by Mark Twain called Huckleberry Finn ... All American writing comes from that. There was nothing before. There has been nothing as good since."— Ernest Hemingway

卜正民《塞爾登先生的中國地圖》

$
0
0


博客來-塞爾登先生的中國地圖:香料貿易、佚失的海圖與南中國海

www.books.com.tw › 中文書 › 人文史地 › 世界史地 › 文化史
Sep 4, 2015 - 1659年,一份巨大且不同尋常的禮物送到牛津大學鮑德里氏圖書館,這是倫敦的商業律師、政治活動家及前國會議員約翰‧塞爾登(John Seldon)的 ...






閱讀地圖裡的全球史秘密 ──評卜正民《塞爾登先生的中國地圖》(上)|說書 Speaking of Books
地圖之謎 近來史學界最紅的一張地圖當屬《塞爾登中國地圖》(The Selden Map of China,以下簡稱塞爾登地圖)。從2008年在英國牛津大學博德利圖書館 (Bodleian Library) 地下室發現以來,學者專家已經投入許多經費修復此圖,而且辦過活動討論內容,也引發許多學者寫過論文,當然還誕生了兩本與此地圖有關的著作,一本就是這篇書評的主要討論對象——卜正民 (Timothy...

GUSHI.TW|作者:台灣歷史評論




【行旅者的世界史】閱讀地圖裡的全球史秘密 ──評卜正民《塞爾登先生的中國地圖》(下)


Translating Myth (Legenda, 2016)

$
0
0
今天才知道Essex 大學有Center for Myth Study...

Translating Myth (Legenda, 2016)

TM_CoverTranslating Myth, edited by Ben Pestell, Pietra Palazzolo, and Leon Burnett (Legenda, 2016)
Links: LegendaAmazon
Ever since Odysseus heard tales of his own exploits being retold among strangers, audiences and readers have been alive to the complications and questions arising from the translation of myth. How are myths taken and carried over into new languages, new civilizations, or new media? An international group of scholars is gathered in this volume to present diverse but connected case studies which address the artistic and political implications of the changing condition of myth – this most primal and malleable of forms. ‘Translation’ is treated broadly to encompass not only literary translation, but also the transfer of myth across cultures and epochs. In an age when the spiritual world is in crisis, Translating Myth constitutes a timely exploration of myth’s endurance, and represents a consolidation of the status of myth studies as a discipline in its own right.
Contents:
Introduction — Ben Pestell and Pietra Palazzolo
Part I: Translation and Myth: Across Languages, Media, and Cultures
1 Indian Myth: Postcolonial Transmissions — Harish Trivedi
2 Accommodating the Primordial: Myths as Pictorial Storytellings — Leon Burnett
3 The Anima at the Gate of Hell: Middle Eastern Imagery in Milton’s Paradise Lost — Sharihan Al-Akhras
Part II: William Blake’s Myth
4 The Evolution of Blake’s Myth: Urizen’s Multiple Identities — Sheila A. Spector
5 Unweaving the National Strand of the ‘Golden String’ of Jerusalem: Blake’s British Myth and its (Polish) Translation — Eliza Borkowska
Part III: Myth in Early United States Literature
6 America — No Second Troy: A Study of Early American Epic — Christina Dokou
7 The Power of Narrative: Hawthorne’s A Wonder-Book for Girls and Boys — Jessica Allen Hanssen
8 Of Marble Women and Sleeping Nymphs: Louisa May Alcott’s A Modern Mephistopheles — Michaela Keck
Part IV: Myth in Modern and Contemporary Poetry
9 ‘I have no speech but symbol’: Nationality and History in Yeats’s Poetics of Myth and Myth-making — Rached Khalifa
10 The Faust Myth: Fernando Pessoa’s Fausto and C. G. Jung’s The Red Book — Terence Dawson
11 ‘Pius Seamus’: Heaney’s Appropriation of Aeneas’s Descent to the Underworld — Emanuela Zirzotti
Part V: Myth in New Political and Cultural Environments
12 Another Oedipus: Leloup’s Guéidô — Barbara Goff
13 Translating Myths, from Sita to Sati — Suman Sigroha
14 (Re)writing and (Re)translating the Myth: Analysing Derek Walcott’s Italian Odyssey — Giuseppe Sofo

THE MOON AND SIXPENCE (1919)

$
0
0
"I don't think of the past. The only thing that matters is the everlasting present."
--from THE MOON AND SIXPENCE (1919)

W. Somerset Maugham 的相片。
W. Somerset Maugham
4 小時
"Impropriety is the soul of wit."
--from THE MOON AND SIXPENCE (1919)
Based on the life of Paul Gauguin, The Moon and Sixpence is W. Somerset Maugham's ode to the powerful forces behind creative genius. Charles Strickland is a staid banker, a man of wealth and privilege. He is also a man possessed of an unquenchable desire to create art. As Strickland pursues his artistic vision, he leaves London for Paris and Tahiti, and in his quest makes sacrifices that leave the lives of those closest to him in tatters. Through Maugham's sympathetic eye Strickland's tortured and cruel soul becomes a symbol of the blessing and the curse of transcendent artistic genius, and the cost in human lives it sometimes demands. READ an excerpt here:http://knopfdoubleday.com/book/109391/the-moon-and-sixpence/

Stefan Zweig in exile: A European in Brazil; The Unhurried World of Pre-War Vienna

$
0
0



The Unhurried World of Pre-War Vienna
Author Stefan Zweig, who inspired Wes Anderson's The Grand Budapest Hotel, recalls Austria at the dawn of the 20th century

Smithsonian Journeys Quarterly
May 18, 2016



The Unhurried World of Pre-War Vienna
Author Stefan Zweig, who inspired Wes Anderson's The Grand Budapest Hotel, recalls Austria at the dawn of the 20th century



SMITHSONIAN JOURNEYS QUARTERLY
MAY 18, 2016
627 8 0 1 1 2 666
6278110666





Excerpted from Chapter 1: “The World of Security” from "The World of Yesterday" by Stefan Zweig, 1942.

One lived well and easily and without cares in that old Vienna, and the Germans in the North looked with some annoyance and scorn upon their neighbors on the Danube who, instead of being “proficient” and maintaining rigid order, permitted themselves to enjoy life, ate well, took pleasure in feasts and theaters and, besides, made excellent music. Instead of German “proficiency,” which after all has embittered and disturbed the existence of all other peoples, and the forward chase and the greedy desire to get ahead of all others, in Vienna one loved to chat, cultivated a harmonious association, and lightheartedly and perhaps with lax conciliation permitted each one his share without envy. “Live and let live” was the famous Viennese motto, which today still seems to me to be more humane than all the categorical imperatives, and it maintained itself throughout all classes. Rich and poor, Czechs and Germans, Jews and Christians, lived peaceably together in spite of occasional chafing, and even the political and social movements were free of the terrible hatred which has penetrated the arteries of our time as a poisonous residue of the First World War. In the old Austria they still strove chivalrously, they abused each other in the news and in the parliament, but at the conclusion of their Ciceronian tirades, the selfsame representatives sat down together in friendship with a glass of beer or a cup of coffee and called each other [the familar] Du. Even when [Karl] Lueger, the leader of the anti-Semitic party, became mayor of the city, no change occurred in private affairs, and I personally must confess that neither in school nor at the university, nor in the world of literature, have I ever experienced the slightest suppression or indignity as a Jew. The hatred of country for country, of nation for nation, of one table for another, did not yet jump at one daily from the newspaper, it did not divide people from people and nations from nations; not yet had every herd and mass feeling become so disgustingly powerful in public life as today. Freedom in one’s private affairs, which is no longer considered comprehensible, was taken for granted. One did not look down upon tolerance as one does today as weakness and softness, but rather praised it as an ethical force.

For it was not a century of suffering in which I was born and educated. It was an ordered world with definite classes and calm transitions, a world without haste. The rhythm of the new speed had not yet carried over from the machines, the automobile, the telephone, the radio, and the airplane, to mankind; time and age had another measure. One lived more comfortably, and when I try to recall to mind the figures of the grown-ups who stood about my childhood, I am struck with the fact that many of them were corpulent at an early age. My father, my uncle, my teacher, the salesmen in the shops, the members of the Philharmonic at their music stands were already, at forty, portly and “worthy” men. They walked slowly, they spoke with measured accent, and, in their conversation, stroked their well-kept beards, which often had already turned gray. But gray hair was merely a new sign of dignity, and a “sedate” man consciously avoided the gestures and high spirits of youth as being unseemly. Even in my earliest childhood, when my father was not yet 40, I cannot recall ever having seen him run up or down stairs, or even doing anything in a visibly hasty fashion. Speed was not only thought to be unrefined, but indeed was considered unnecessary, for in that stabilized bourgeois world with its countless little securities, well palisaded on all sides, nothing unexpected ever occurred. Such catastrophes as took place outside on the world’s periphery never made their way through the well-padded walls of “secure” living. The Boer War, the Russo-Japanese War, the Balkan War itself did not penetrate the existence of my parents. They passed over all reports of war in the newspapers just as they did the sporting page. And truly, what did it matter to them what took place outside of Austria...? In their Austria in that tranquil epoch, there were no state revolutions, no crass destruction of values; if stocks sank four or five points on the exchange, it was called a “crash” and they talked earnestly, with furrowed brows, about the “catastrophe.” One complained more as a habit than because of actual conviction about the “high” taxes, which de facto, in comparison with those of the postwar period, were nothing other than small tips to the state. Exact stipulations were set down in testaments, to guard grandchildren and great-grandchildren against the loss of their fortunes, as if security were guaranteed by some invisible promissory note by the eternal powers. Meanwhile one lived comfortably and stroked one’s petty cares as if they were faithful, obedient pets of whom one was not in the least afraid. That is why, when chance places an old newspaper of those days in my hands and I read the excited articles about some little community election, when I try to recall the plays in the Burgtheater with their tiny problems, or the disproportionate excitement of our youthful discussions about things that were so terribly unimportant, I am forced to smile. How Lilliputian were all these cares, how wind-still the time! It had better luck, the generation of my parents and my grandparents, it lived quietly, straight and clearly from one end of its life to the other. But even so, I do not know if I envy them. How they remained blissfully unaware of all the bitter realities, of the tricks and forces of fate, how they lived apart from all those crises and problems that crush the heart but at the same time marvelously uplift it! How little they knew, as they muddled through in security and comfort and possessions, that life can also be tension and profusion, a continuous state of being surprised, and being lifted up from all sides; little did they think in their touching liberalism and optimism that each succeeding day that dawns outside our window can smash our life. Not even in their darkest nights was it possible for them to dream how dangerous man can be, or how much power he has to withstand dangers and overcome trials. We, who have been hounded through all the rapids of life, we who have been torn loose from all roots that held us, we, always beginning anew when we have been driven to the end, we, victims and yet willing servants of unknown, mystic forces, we, for whom comfort has become a saga and security a childhood dream, we have felt the tension from pole to pole and the eternal dread of the eternal new in every fiber of our being. Every hour of our years was bound up with “the world’s destiny.” Suffering and joyful, we have lived time and history far beyond our own little existence, while they, the older generation, were confined within themselves. Therefore each one of us, even the smallest of our generation, today knows a thousand times more about reality than the wisest of our ancestors. But nothing was given to us: we paid the price, fully and validly, for everything.








----
Some writers’ lives prove to be more enduring than their works. One of them is Stefan Zweig, born to Jewish parents in Vienna in 1881, whose short stories and historical biographies made him a literary celebrity. As the biopic "Vor der Morgenröte" shows, the rise of the Nazis drove him away from Europe, his "spiritual homeland"




A tender film chronicling a true Central European's tragic final years
ECON.ST



Biopics
Stefan Zweig in exile: A European in Brazil

Jun 22nd 2016, 15:39 BY A.B.C.

SOME writers’ lives—and deaths—prove to be more enduring than their works. One of them is Stefan Zweig, born to Jewish parents in Vienna in 1881, whose short stories and historical biographies made him a literary celebrity in Europe and beyond before the second world war. The rise of the Nazis, who banned his books, drove him into exile. Crushed by the destruction of Europe, his “spiritual homeland”, he eventually settled in Brazil, where he and his young wife committed suicide together in February 1942 by swallowing poison. These final years have inspired books such as French novelist Laurent Seksik’s "The Last Days" and German literary critic Volker Weidermann’s "Summer before the Dark", set in Ostend in 1936. Now they are revisited in a new film, "Vor der Morgenröte" ("Before the Dawn"), an Austrian-German-French production directed by Maria Schrader. Rather than a linear biopic, it is a nuanced meditation on exile.

Set entirely in the Americas, the film assumes a bit of knowledge of Zweig, jumping past the celebrity years and the horrors of Nazism, and focusing on couple’s final months in Petropolis, some 70km outside Rio de Janeiro. The Europe that Zweig eternalised in his memoirs, "The World of Yesterday: Memories of a European", is gone. In its place is Brazil, which Zweig calls “land of the future”. He marvels at how its diverse inhabitants live peacefully side by side; “it seems like a miracle to us, coming from Europe,” says his wife Lotte, played with a quiet dignity by Aenne Schwarz. Though primarily in German, the film flits between languages with the ease of a Central European intellectual. Rather than a practical afterthought, language documents the Zweigs’ exile; at first, they chat to locals in rudimentary Spanish, only gradually picking up the Portuguese phrases of their adopted homeland.

Where other directors might have fallen into stuffiness or despair, Ms Schrader’s film retains a lightness. This owes something to the casting of Josef Hader, an Austrian comedian known for his cabaret acts, as Zweig. Yet even the funny moments bear the imprint of exile. In a key scene, a mayor deep in the state of Bahia hosts a reception in Zweig’s honour. After the mayor’s speech, a brass band in uniform launches into a shaky rendition of “The Blue Danube” waltz. Zweig listens stunned, caught between laughter and tears. The pulsing Brazilian landscape, with its bright greens and men in linen suits, only accentuates the darkness left behind. The contrast can be seen during a quick trip to snowy New York in early 1941, shot in cold blues and whites. “For today my life is black enough,” says Zweig when offered coffee there, his mounting anguish compounded by his inability to respond to all the requests to help other Jews get out of Europe.

In these snapshots of life and death in exile, some things are deliberately left unsaid. There are no shots of burning books, marching soldiers or camp inmates, yet these cast a shadow throughout the film. Just as the Zweigs follow the horror in Europe from across the Atlantic, the director keeps her distance from her characters. This subtlety continues to the final scene, reflected in a bedroom mirror. In his suicide note, Zweig hoped that his friends would “live to see the dawn” (giving the film its title). Amid new uncertainty about the future of Europe, of which the Brexit referendum has been just one aspect, "Vor der Morgenröte" is a timely homage to a man who believed in it to the very end.







《番石榴飄香》Apuleyo Mendoza, Plinio; García Márquez,

$
0
0

馬奎斯作品集10/16:番石榴飄香

The Fragrance of the Guava: Conversations with Gabriel Garcia Maarquez 
Plinio Apuleyo Mendoza 
  • Series: Faber Caribbean
  • Paperback: 128 pages
  • Publisher: Faber & Faber (April 20, 1998)
  • Language: English

Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava, London: Verso



In these conversations Gabriel Garcia Marquez, who won the Nobel Prize for Literature in 1982, speaks about his Colombian family background, his early travels and struggles as writer, his literary antecedents, and his personal artistic concerns. Marquez conveys, as he does in his work through the power of language, the heat and colour of the Spanish Caribbean, the mythological world of its inhabitants, and the exotic mentality of its leaders. Plinio Apuleyo Mendoza, the journalist and novelist who shares these conversations, is a friend and contemporary of Marques, and also of Colombian extraction.

打開馬爾克斯世界的鑰匙是什麽?是《番石榴飄香》。當馬爾克斯談馬爾克斯時,他會說些什麽?一切都在《番石榴飄香》里。

《番石榴飄香》被譽為同馬爾克斯一樣經典的解讀馬爾克斯的書。中文版為首次授權出版

馬爾克斯說:在我的小說里,沒有一行字不是建立在現實的基礎上的,包括糾纏著馬烏里肖的黃蝴蝶和飛上天空的雷梅黛絲。

馬爾克斯說:我只是想藝術地再現我童年時代的世界。我的童年是在一個大家庭里度過的。我有一個妹妹,她整天啃吃泥巴;一個外祖母,酷愛占卜算命;還有許許多多名字完全相同的親戚,他們向來搞不太清楚幸福和瘋癲的區別。

馬爾克斯說:我有好幾次參加活動或儀式時都提出一個條件,就是不穿燕尾服。沒辦法,不這樣會倒霉的嘛。我有一份預示倒霉事兒的物品和事情的清單。我知道有一位作家,走到哪兒就把晦氣帶到哪兒。我不能說他是哪位,要是說了,我們這本書就該完蛋了。

加西亞•馬爾克斯(Gabriel Garc a M rquez)1927年出生於哥倫比亞馬格達萊納海濱小鎮阿拉卡塔卡。童年與外祖父母一起生活。1936年隨父母遷居蘇克雷。1947年考入波哥大國立大學。1948年因內戰輟學,進入報界。五十年代開始出版文學作品。六十年代初移居墨西哥。1967年出版《百年孤獨》。1982年《番石榴飄香》問世。同年獲諾貝爾文學獎。2014年4月17日於墨西哥病逝。

普利尼奧‧門多薩(P. A. Mendoza)加西亞•馬爾克斯好友,作家、記者,曾任哥倫比亞駐意大利和葡萄牙大使。

譯者簡介
林一安,中國西班牙葡萄牙拉丁美洲文學研究會常務副會長,《世界文學》副主編,《外國文學評論》編委。
 

目錄

1 淵源
13 家人和親友
27 談寫作
45 修養
57 讀物及影響
67 作品
81 等待 :這篇有幾次都牽涉到西班牙語的特色:博來羅 (舞曲,音樂術語)....只有我們拉丁美洲人才能領略它確切的含義,就跟領會博爾赫斯所使用的形容詞ㄧ樣。 (頁90。" (《百年孤獨》) 全書通篇如此,處於優美或造作的邊緣,它像一隻博來羅 舞曲。); 拉丁美洲的資產階級分不清動詞 ser 和 tener。 (頁88 根據譯注:"是" vs "有"。 或者HC: being vs having) ;
93 《百年孤獨》
105 《族長的秋天》
119 今日
129 政治
141 婦女
151 迷信 怪癖 愛好
161 聲譽和盛名


Apuleyo Mendoza, Plinio; García Márquez, Gabriel (1983), The Fragrance of Guava, London: Verso, p.35
García Márquez and his friend Plinio Apuleyo Mendoza discuss his work in a similar way,
"The way you treat reality in your books ... has been called magical realism. I have the feeling your European readers are usually aware of the magic of your stories but fail to see the reality behind it ... .""This is surely because their rationalism prevents them seeing that reality isn't limited to the price of tomatoes and eggs."[109]  





Anna Akhmatova (1889–1966)

$
0
0
Poet Anna Akhmatova was born in the Russian Empire (now Odesa, Ukraine) on this day in 1889.
"I Taught Myself To Live Simply" by Anna Akhmatova
I taught myself to live simply and wisely,
to look at the sky and pray to God,
and to wander long before evening
to tire my superfluous worries.
When the burdocks rustle in the ravine
and the yellow-red rowanberry cluster droops
I compose happy verses
about life's decay, decay and beauty.
I come back. The fluffy cat
licks my palm, purrs so sweetly
and the fire flares bright
on the saw-mill turret by the lake.
Only the cry of a stork landing on the roof
occasionally breaks the silence.
If you knock on my door
I may not even hear.
*
In this biography of the legendary poet, Elaine Feinstein draws on a wealth of newly available material–including memoirs, letters, journals, and interviews with surviving friends and family–to produce a revelatory portrait of both the artist and the woman.Anna Akhmatova rose to fame in the years before World War I, but she would pay a heavy price for the political and personal passions that informed her brilliant poetry. In Anna of All the Russias we see Akhmatova's work banned from 1925 until 1940 and again after World War II. We see her steadfast opposition to Stalin, even while her son was held in the Gulag. We see her abiding loyalty to such friends as Mandelstam, Shostakovich, and Pasternak as they faced Stalinist oppression. And we see how, through everything, Akhmatova continued to write, her poetry giving voice to the Russian people by whom she was, and still is, deeply loved. READ an excerpt here: http://knopfdoubleday.com/bo…/48657/anna-of-all-the-russias/

Everyman's Library

"Solitude" by Anna Akhmatova

So many stones have been thrown at me,
That I'm not frightened of them anymore,
And the pit has become a solid tower,
Tall among tall towers.
I thank the builders,
May care and sadness pass them by.
From here I'll see the sunrise earlier,
Here the sun's last ray rejoices.
And into the windows of my room
The northern breezes often fly.
And from my hand a dove eats grains of wheat...
As for my unfinished page,
The Muse's tawny hand, divinely calm
And delicate, will finish it.


*
"Everything" by Anna Akhmatova
Everything’s looted, betrayed and traded,
black death’s wing’s overhead.
Everything’s eaten by hunger, unsated,
so why does a light shine ahead?
By day, a mysterious wood, near the town,
breathes out cherry, a cherry perfume.
By night, on July’s sky, deep, and transparent,
new constellations are thrown.
And something miraculous will come
close to the darkness and ruin,
something no-one, no-one, has known,
though we’ve longed for it since we were children.
*
A legend in her own time both for her brilliant poetry and for her resistance to oppression, Anna Akhmatova—denounced by the Soviet regime for her “eroticism, mysticism, and political indifference”—is one of the greatest Russian poets of the twentieth century. Before the revolution, Akhmatova was a wildly popular young poet who lived a bohemian life. She was one of the leaders of a movement of poets whose ideal was “beautiful clarity”—in her deeply personal work, themes of love and mourning are conveyed with passionate intensity and economy, her voice by turns tender and fierce. A vocal critic of Stalinism, she saw her work banned for many years and was expelled from the Writers’ Union—condemned as “half nun, half harlot.” Despite this censorship, her reputation continued to flourish underground, and she is still among Russia’s most beloved poets. Here are poems from all her major works—including the magnificent “Requiem” commemorating the victims of Stalin’s terror—and some that have been newly translated for this edition.




今天是俄國女詩人安娜‧阿赫瑪托娃(1889-1966)的125歲誕辰。
阿赫瑪托娃極愛普希金與杜斯妥也夫斯基,並在筆記裡說過:杜斯妥也夫斯基解開了普希金的謎。
而阿赫瑪托娃自己呢,彷彿也試圖用詩歌創作來解開杜斯妥也夫斯基的小說世界──這就是俄羅斯的心靈世界。


В этот день 125 лет назад родилась одна из известнейших русских поэтесс XX века Анна Ахматова. Уже к 1920-м годам она стала признанным классиком отечественной п⋯⋯更多
這一天,125 年前出生在二十世紀,安娜 · 阿赫瑪最著名的俄羅斯詩人之一。早在 1920 年她成為了公認的經典的愛國詩歌,但即使他死後,阿赫瑪遭受了嚴重的審查制度。她的許多作品不超過二十年,在她死後發表。 (翻譯由 Bing 提供)



Robin與我談他對於文字翻譯的高標準要求,我心有戚戚。比較有趣的是,他雖然中學就懂得「荷、德、法、英、希臘文、拉丁文」等,不過,最喜愛俄國詩。Anna Akhmatova (1889–1966安娜·阿赫玛托娃А́нна Ахма́това俄罗斯"白银时代"的代表性诗人)、Joseph Brodsky (1940–1996)。可他不懂俄文,只好花功夫選好譯本。
安娜·安德烈耶芙娜·艾哈邁托娃А́нна Ахма́това,1889年6月23日-1966年3月5日),俄羅斯白銀時代」的代表性詩人。阿赫瑪托娃為筆名,原名是「安娜·安德烈耶芙娜·戈連科」(А́нна Андре́евна Гóренко)。在百姓心中,她被譽為「俄羅斯詩歌的月亮」(普希金曾被譽為「俄羅斯詩歌的太陽」);在蘇聯政府的嘴裡,她卻被污衊為「蕩婦兼修女」。

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


The Anna Akhmatova File (1989)- English Subtitles


Portrait by Nathan Altman of Anna Akhmatova, 1914 © below
The poet Anna Akhmatova was born Anna Gorenko  in Odessa, in the Ukraine, in 1889; she later changed her name to Akhmtova.  In 1910 she married  the important Russian poet and theorist Nikolai Gumilyov.  Shortly afterwards Akhmatova began publishing her own poetry; together with Gumilyov, she became a central figure in the Acmeist movement.  Acmeism -- which had its parallels in the writings of T. E. Hulme in England and the development of Imagism -- stressed clarity and craft as antidotes to the overly loose style and vague language of late nineteenth century poetry in Russia.
The Russian Revolution was to dramatically affect their lives.  Although they had recently divorced, Akhmatova was was nevertheless stunned by the execution of her friend and former partner Gumilyev in 1921 by the Bolsheviks, who claimed that he had betrayed the Revolution.   In large measure to drive her into silence, their son Lev Gumilyov was imprisoned in 1938, and he remained in prison and prison camps until the death of Stalin and the thaw in the Cold War made his release possible in 1956.  Meanwhile, Akhmatova had a second marraige and then a third; her third husband, Nikolai Punin, was imprisoned in 1949 and thereafter died in 1953 in a Siberian prison camp.   Her writing was banned, unofficially, from 1925 to 1940, and then was banned again after World War Two was concluded.  Unlike many of her literary contemporaries, though, she never considered flight into exile.
    Persecuted by the Stalinist government, prevented from publishing, regarded as a dangerous enemy , but at the same time so popular on the basis of her early poetry that even Stalin would not risk attacking her directly, Akhmatova's life was hard.   Her greatest poem, "Requiem," recounts the suffering of the Russian people under Stalinism -- specifically, the tribulations of those women with whom Akhmatova stood in line outside the prison walls, women who like her waited patiently, but with a sense of great grief and powerlessness,  for the chance to send a loaf of bread or a small message to their husbands, sons, lovers.    It was not published in in Russia in its entirety until 1987, though the poem itself was begun about the time of her son's arrest.  It was his arrest and imprisonment, and the later arrest of her husband Punin, that provided the occasion for the specific content of the poem, which is sequence of lyric poems about imprisonment and  its affect on those whose loveed ones are arrested, sentenced, and incarcerated behing prison walls..
      The poet was awarded and honorary doctorate by Oxford University in 1965.   Akhmatova died in 1966 in Leningrad.

Akhmatova Links:

  • If you'd like to hear Anna Akhmatova read a brief Russian poem IN RUSSIAN, go to Russian Poem and click on the .wav file format 935K, and shortly you will her her read!  This page also has many links to other Akhmatova sites, and a brief anthology of her poetry.
  • For a brief biography of the poet, go to Biography.
  • For another brief biography, and a list of her works translated into English, go to the Academy of American Poets' page on Akhmatova at AAP page.
  • Translations of a number of Akhmatova's poems can be found at  Translations
  • Several translations by one of the two best translators (D.M. Thomas -- tthe other great translation is the collaborative work of U.S. Poet Laureate Stanley Kunitz and Max Haward) and annotated links can be found at  Thomas translations
  • A page with almost twenty translations and a brief essay.  What is notable about this page is that it is part of a series -- which can easily be accessed from the right column of this page -- on a multitude of Russian writers, inclduing Akhmatova's friends/contemporaries Gumilev, Pasternak, Mandelshtam, and Tsvetaeva. Click on Akhmatova, and her Russian contemporaries


Anna Akhmatova's Other Poems


Requiem


Not under foreign skies
Nor under foreign wings protected -
I shared all this with my own people
There, where misfortune had abandoned us.
[1961]

INSTEAD OF A PREFACE

During the frightening years of the Yezhov terror, I
spent seventeen months waiting in prison queues in
Leningrad. One day, somehow, someone 'picked me out'.
On that occasion there was a woman standing behind me,
her lips blue with cold, who, of course, had never in
her life heard my name. Jolted out of the torpor
characteristic of all of us, she said into my ear
(everyone whispered there) - 'Could one ever describe
this?' And I answered - 'I can.' It was then that
something like a smile slid across what had previously
been just a face.
[The 1st of April in the year 1957. Leningrad]

DEDICATION

Mountains fall before this grief,
A mighty river stops its flow,
But prison doors stay firmly bolted
Shutting off the convict burrows
And an anguish close to death.
Fresh winds softly blow for someone,
Gentle sunsets warm them through; we don't know this,
We are everywhere the same, listening
To the scrape and turn of hateful keys
And the heavy tread of marching soldiers.
Waking early, as if for early mass,
Walking through the capital run wild, gone to seed,
We'd meet - the dead, lifeless; the sun,
Lower every day; the Neva, mistier:
But hope still sings forever in the distance.
The verdict. Immediately a flood of tears,
Followed by a total isolation,
As if a beating heart is painfully ripped out, or,
Thumped, she lies there brutally laid out,
But she still manages to walk, hesitantly, alone.
Where are you, my unwilling friends,
Captives of my two satanic years?
What miracle do you see in a Siberian blizzard?
What shimmering mirage around the circle of the moon?
I send each one of you my salutation, and farewell.
[March 1940]

INTRODUCTION
[PRELUDE]

It happened like this when only the dead
Were smiling, glad of their release,
That Leningrad hung around its prisons
Like a worthless emblem, flapping its piece.
Shrill and sharp, the steam-whistles sang
Short songs of farewell
To the ranks of convicted, demented by suffering,
As they, in regiments, walked along -
Stars of death stood over us
As innocent Russia squirmed
Under the blood-spattered boots and tyres
Of the black marias.

I

You were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God. . .
The cold of an icon was on your lips, a death-cold
sweat
On your brow - I will never forget this; I will gather

To wail with the wives of the murdered streltsy (1)
Inconsolably, beneath the Kremlin towers.
[1935. Autumn. Moscow]

II

Silent flows the river Don
A yellow moon looks quietly on
Swanking about, with cap askew
It sees through the window a shadow of you
Gravely ill, all alone
The moon sees a woman lying at home
Her son is in jail, her husband is dead
Say a prayer for her instead.

III

It isn't me, someone else is suffering. I couldn't.
Not like this. Everything that has happened,
Cover it with a black cloth,
Then let the torches be removed. . .
Night.

IV

Giggling, poking fun, everyone's darling,
The carefree sinner of Tsarskoye Selo (2)
If only you could have foreseen
What life would do with you -
That you would stand, parcel in hand,
Beneath the Crosses (3), three hundredth in
line,
Burning the new year's ice
With your hot tears.
Back and forth the prison poplar sways
With not a sound - how many innocent
Blameless lives are being taken away. . .
[1938]

V

For seventeen months I have been screaming,
Calling you home.
I've thrown myself at the feet of butchers
For you, my son and my horror.
Everything has become muddled forever -
I can no longer distinguish
Who is an animal, who a person, and how long
The wait can be for an execution.
There are now only dusty flowers,
The chinking of the thurible,
Tracks from somewhere into nowhere
And, staring me in the face
And threatening me with swift annihilation,
An enormous star.
[1939]

VI

Weeks fly lightly by. Even so,
I cannot understand what has arisen,
How, my son, into your prison
White nights stare so brilliantly.
Now once more they burn,
Eyes that focus like a hawk,
And, upon your cross, the talk
Is again of death.
[1939. Spring]

VII
THE VERDICT

The word landed with a stony thud
Onto my still-beating breast.
Nevermind, I was prepared,
I will manage with the rest.

I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again. . .

But how. The hot summer rustles
Like a carnival outside my window;
I have long had this premonition
Of a bright day and a deserted house.
[22 June 1939. Summer. Fontannyi Dom (4)]

VIII
TO DEATH

You will come anyway - so why not now?
I wait for you; things have become too hard.
I have turned out the lights and opened the door
For you, so simple and so wonderful.
Assume whatever shape you wish. Burst in
Like a shell of noxious gas. Creep up on me
Like a practised bandit with a heavy weapon.
Poison me, if you want, with a typhoid exhalation,
Or, with a simple tale prepared by you
(And known by all to the point of nausea), take me
Before the commander of the blue caps and let me
glimpse
The house administrator's terrified white face.
I don't care anymore. The river Yenisey
Swirls on. The Pole star blazes.
The blue sparks of those much-loved eyes
Close over and cover the final horror.
[19 August 1939. Fontannyi Dom]

IX

Madness with its wings
Has covered half my soul
It feeds me fiery wine
And lures me into the abyss.

That's when I understood
While listening to my alien delirium
That I must hand the victory
To it.

However much I nag
However much I beg
It will not let me take
One single thing away:

Not my son's frightening eyes -
A suffering set in stone,
Or prison visiting hours
Or days that end in storms

Nor the sweet coolness of a hand
The anxious shade of lime trees
Nor the light distant sound
Of final comforting words.
[14 May 1940. Fontannyi Dom]

X
CRUCIFIXION

Weep not for me, mother.
I am alive in my grave.

1.
A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, 'Why hast thou forsaken me!'
But to his mother, 'Weep not for me. . .'
[1940. Fontannyi Dom]

2.
Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]

EPILOGUE

1.
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I've learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That's why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.

2.
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,

'I arrive here as if I've come home!'
I'd like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That's how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition - do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar's Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]

FOOTNOTES

1 An elite guard which rose up in rebellion
against Peter the Great in 1698. Most were either
executed or exiled.
2 The imperial summer residence outside St
Petersburg where Ahmatova spent her early years.
3 A prison complex in central Leningrad near the
Finland Station, called The Crosses because of the
shape of two of the buildings.
4 The Leningrad house in which Ahmatova lived. 
Submitted: Friday, January 03, 2003


‘Don Quixote’ then and now《堂吉訶德》《吉訶德》When Cervantes was captured by pirates

$
0
0
"The pen is the tongue of the soul; as are the thoughts engendered there, so will be the things written."
--from DON QUIXOTE by Miguel de Cervantes


2016.5.26

昨天聽說楊絳先生過世了。
英詩的流傳中土,很容易變質。此墓誌銘無題、標點也與中國流傳的不一樣:
"I Strove With None"/ Life and Death By Walter Savage Landor 1849
過眼近10則這類消息。
翻翻她譯的《堂吉訶德》下冊第32章,聯經版288頁,文字是很楊先生的。

......前幾天我去吻她的手,指望她讚許我這第三次出門,並未我祝福。我發現她完全換了個人兒了。她著了魔,公主變成了村姑,美人變成了醜女,天使變成了魔鬼,香噴噴變成了臭烘烘,談吐文雅變成了出口鄙俗,斯文莊重變成了清佻粗野,光明變成了黑暗....
「1958年冬,開始自習西班牙文;1966年“文革”開始,被迫交出《堂吉訶德》全部翻譯稿,直到1970年才索回這些譯稿,因中斷多年,1972年不得不從頭翻譯;1978年,《堂吉訶德》出版。1984年,楊絳重新審校已出版3次的《堂吉訶德》,1987年出版校訂本。人民文學出版社策劃部主任宋強介紹,2000年以來楊絳翻譯的《堂吉訶德》已出版75萬冊。」


2004 年
三成與四分之三:讀兩本《堂吉訶德》翻譯的一些感想

去年無意間在網路上看到某人指出,楊絳先生翻譯《堂吉訶德》。
有一西班牙俗語錯了。由於不懂西班牙文,所以沒保留該文。今年台灣市面開始有屠孟超翻譯的版本,我開始不為所動,沒買。近日覺得這種知名古典,或許可比較,就買了。

《堂吉訶德》楊絳譯 台北:聯經,1988
《堂吉訶德》屠孟超譯 南京:譯林,1995

我只看第一章的第一段。
起先兩本無大差別,不過楊先生注解比較好/多。下文接下去談吃的,楊先生的更親近(我懶得打字,略)。
「不久以前,有位紳士住在拉‧曼卻的一個村上,村名我不想提了,他那類紳士,一般都有一隻長槍插在槍架上,有一面古老的盾牌、一匹瘦馬和一隻獵狗。」(楊絳本)
「不久前,在拉‧曼卻的一個村莊(村名我不想提了),住著一個紳士。他和同類的紳士一樣,矛架上常插著一根長矛有一面古舊的盾牌,還有一匹瘦馬和一只獵犬。」(屠孟超本)
然後碰到:
屠孟超本「…..這樣,花去了一年三成的收入。」
楊絳本「…..這就花了他一年四分之三的收入。」

嚇一跳,急忙想找我的企鵝板英文翻譯本比對,卻找不到。
於是上網查對

http://csdl.tamu.edu/cervantes/english/ctxt/DQ_Ormsby/part1_DQ_Ormsby.html

IN a village of La Mancha, the name of which I have no desire to
call to mind, there lived not long since one of those gentlemen that
keep a lance in the lance-rack, an old buckler, a lean hack, and a
greyhound for coursing. An olla of rather more beef than mutton, a
salad on most nights, scraps on Saturdays, lentils on Fridays, and a
pigeon or so extra on Sundays, made away with three-quarters of his
income.

似乎屠孟超先生的翻譯有誤(或版本不同)。
不過,此英文本用greyhound(我們以前有專文討論它),而這兩本都沒細緻處理。
總之楊絳本應該是第一優先。


這回讀屠孟超譯本前的陳凱先之『前言』,發現他引著錢鍾書翻譯的海涅論文,卻不說明譯者。可見似有忌諱? 不過這不重要,對我比較重要的是:
我 之前讀Rudolf Arnheim, Parables of Sun Light: Observations on Psychology, the Arts, and the Rest (Berkeley: University of California Press, 1989,他提醒應該注意《堂吉訶德》中堂吉訶德的「抓狂的不同認知模式」。我把他這筆記當做課題,興趣頗高重讀。不料,這回陳凱先之『前言』將解答說出,讓我覺得有點「掃興」。

可見許多教育過程,解答其實沒什麼意思。

*****

"吉訶德" 轉引 { 吉訶德} 是透過大江健三郎的。
"桑丘"在書末說,"書不言處(之妙),請取{ 吉訶德}一覽便知......"

偶爾讀到另外一引句,特別博兩位一粲:

"`Dime; no ves aquel caballero que hacia nosotros viene sobre un caballo rucio rodado que trae puesto en la cabeza un yelmo de oro?' `Lo que veo y columbro,' respondio Sancho, `no es sino un hombre sobre un as no pardo como el mio, que trae sobre la cabeza una cosa que relumbra.' `Pues ese es el yelmo de Mambrino,' dijo Don Quijote."--CERVANTES.



"`Seest thou not yon cavalier who cometh toward us on a dapple-gray steed, and weareth a golden helmet?' `What I see,' answered Sancho, `is nothing but a man on a gray ass like my own, who carries something shiny on his head.' `Just so,' answered Don Quixote: `and that resplendent object is the helmet of Mambrino.'"

--Middlemarch by George Eliot Chapter 2

*****
張淑英教授臺大的"國際長",近日消息:http://host.cc.ntu.edu.tw/sec/schinfo/epaper/article.asp?num=1262&sn=14235

外文系張淑英教授榮膺西班牙皇家學院對等院士
西班牙皇家學院 (RAE- Real Academia Española / Royal Spanish Academy)在4 月 23 日,塞萬提斯和莎士比亞兩大文豪逝世四百週年紀念日前夕,連續兩週於院士全會中選出「外籍院士」17 名。這是繼 2009 年之後,再度從全球西班牙語學者中遴選,外文系張淑英教授膺選這 17 名「皇家學院外籍對等院士」,共五位女性學者的殊榮。

《中外文學》月刊2005.11號有張淑英專題編輯的《吉訶德》專輯,
收集的文章是當時的旅居台灣的專家之作品,闢如
陳南妤 《吉訶德》書中詩歌的探討



How did the trauma shape his greatest works? The Hay Festival


Miguel de Cervantes was held captive in Algiers for five years. Ahead of the 400th anniversary of his death, Fiona Macdonald finds out how trauma shaped his greatest works.
BBC.COM|由 FIONA MACDONALD 上傳



‘Don Quixote’ then and now

Four centuries after Cervantes’ death, we can see the novel as a response to a media revolution that in some ways mirrors our own


Honoré Daumier’s ‘Don Quixote’ (c1865-70)
Honoré Daumier’s ‘Don Quixote’ (c1865-70) © Neue Pinakothek, Munich

In January 1605, an ageing veteran of Spain’s wars against the Ottoman Empire published the strangest of books. Unlike the bestsellers of the day, it was not a chivalric romance, a pastoral drama or the fictional confession of an outlaw. Instead, it told the story of a gentleman so besotted with reading those kinds of books, especially the ones about knights errant and their magical adventures, that he loses his mind and begins to believe they are real.
The Ingenious Gentleman Don Quixote of La Mancha was an immediate and roaring success. Demand for copies was so high that within a few months its author, Miguel de Cervantes, was having the book distributed throughout the Iberian peninsula while his publishers began work on a second edition. Two pirated versions appeared in London, along with two others in Valencia and Zaragoza; stacks of copies were loaded on to the galleons embarking for the New World. By June the book’s two central characters had become iconic figures, their effigies carried in parades and imitators popping up in celebrations both royal and plebeian.
Don Quixote would become perhaps the most published work of literature in history. Its influence on writers has been unparalleled. When the Nor­wegian Nobel Institute polled 100 leading authors in 2002 to name the single most important literary work,Don Quixote was a handsome winner; no other book came close.
While Cervantes may have been surprised by his novel’s success, he was certainly not innocent of the fact that his style was something new. In the preface he penned for the publication of his collection Exemplary Novellas eight years after the success of Don Quixote, he took pride in his originality, pointing out that while “the many novellas that are in print in [Castilian] are all translated from foreign languages … these are my own, neither imitated nor stolen; engendered by my wit, born of my pen, and now being raised by the printing press”.
Here we can appreciate something of the disruption that Cervantes wrought to the old Aristotelian categories of poetry and history into which literary texts were supposed to fall. Fantastical in the sense that they were born exclusively of his own imagination, and thus a vehicle for universal, philosophical truths, his stories were also intended to have real pertinence to his readers’ lives: they aspired to the condition of the highest literature even as they laid claim to the territory of the most popular.
“I have given them the name exemplary,” Cervantes wrote of the 12 novellas, “and if you look at it well, there is not one from which you cannot take some profitable example.” To understand that example, to unearth the “mystery hidden in them that raises them up”, his public would have to approach these stories in a new way, not merely as external judges of an entertaining and false image of the world, but as “attentive readers” attuned to how their own prejudices helped create that image.
Today, 400 years after his death, we rightly fête Cervantes as the creator of the modern novel. What is less appreciated is the extent to which his innovations were a response to a media revolution that in some respects mirrors our own. Don Quixotewas published at a time when the print industry was booming. Literacy had exploded during the previous century, and now extended beyond the clergy and nobility to many commoners and townspeople, merchants and farmers.
We see the presence and influence of books in the very first pages of Cervantes’ novel: not only are they the ostensible cause of Quixote’s madness, they also quickly become the subject of commentary from almost every character encountered, no matter what his or her station in life. As Quixote is escorted home after his first ill-fated outing, his housekeeper cries at the top of her voice: “Woe is me! Now I know, and it’s true as the death I owe God, that those accursed books of chivalry he’s always reading have driven him crazy.”
Then there was the theatre, which in Renaissance Europe had an impact comparable to that of television and film today. In the continent’s fast-growing urban centres, up to 90 per cent of the populace had some experience of the stage by the early 17th century, with tickets priced for all social demographics.
Cervantes’ disillusionment with his society led him to create not just a picture of the world, but a picture of how people pictured the world and got it wrong
These books and theatrical productions, heavily controlled and often sponsored by the monarchy and its thought police, the Inquisition, tended to paint a very specific picture of what was right and desirable for a citizen of the Spanish state. Honour was available to all men as long as they were free of even the slightest stain of suspicion concerning the religious purity of their ancestry or the sexual purity of their women. This insidious ideology metastasised throughout Spanish society almost in inverse proportion to the control the Spanish crown was able to exert over its diverse subjects, its economy and its foreign policy conflicts.
Cervantes obsesses over this world in his fiction. His entire literary creation is bent on exploring the ramifications of a media age in which everyone has access to multiple, often conflicting portrayals of reality. More than that, though, he was highly sceptical about the reality readers and theatregoers were being led to believe in — a scepticism that had much to do with the peculiar circumstances of his life.
Born in the middle of the 16th century in a university town at the heart of what was then the world’s most powerful empire, Cervantes was always on the move: first as the son of an itinerant father whose efforts to support a growing family led him further and further into debt; later as a fugitive, soldier, captive and tax collector. On the run from Spain after wounding another man in a duel, the young Cervantes made his way to Italy, where he joined the Papal forces and sailed against the Ottoman fleet in the Battle of Lepanto off the Greek coast. Gravely injured there, he recovered in Sicily and Naples before attempting a return home by ship several years later, when misfortune struck again and he was captured by Barbary pirates.
For the next five years Cervantes suffered in the squalor of Algiers’ dungeons, attempting escape no fewer than four times — each one a failure that could have led to his death. Finally ransomed and returned to Spain, the former PoW might have expected a hero’s welcome. Instead, a bankrupt monarchy repeatedly rebuffed his attempts to secure a pension or a post worthy of his sacrifices, and he ultimately stooped to becoming a requisition and tax collector for a deeply unpopular government.
In his fifties by the time he published Don Quixote, Cervantes had become deeply disillusioned with the ideals his society trumpeted but failed to live up to. This more than any other single factor accounts for the extraordinary success and innovation ofDon Quixote. For in it, Cervantes created not just a picture of the world but a picture of how people pictured the world and got it wrong. This approach to fiction continues today and extends far beyond the novel: characters in plays, television and movies all need to be constructed in a way that allows us to experience the limits of their point of view, and this convinces us of their “reality”. And of course, we ourselves are split in similar ways, since we demand that sense of reality while remaining perfectly aware that what we are reading or viewing is invented.

A drawing of Miguel de Cervantes, probably by José del Castillo (date unknown)
A drawing of Miguel de Cervantes, probably by José del Castillo (date unknown) © Hulton Archive

The point to grasp is that Cervantes’ innovation was a reaction — a brilliant, once-in-a-millennium reaction — to a world in which media had blurred the boundaries between fiction and reality. The state-controlled theatre industry and the monarchy’s censors and official historians kept a sharp eye on the content of plays and books, and actively propagated a vision of the nation that helped sustain the monarchy’s fragile alliance with the landed aristocracy while co-opting a complacent bourgeoisie and peasantry with fantasies of honour and blood purity. Such fantasies in turn depended on an extended and multi-pronged media campaign demonising both Jews, most of whom had been expelled or converted at the end of the 15th century, and Moriscos, the former Muslims who were now living as Christians but still retained some Moorish cultural practices.
Cervantes, clearly unable to reconcile his own experiences with this picture of the world, did something different: he made dissonance the subject of his writing. This is why so many people today who finally decide to return to that great classic are stunned to find in Don Quixote so much that they consider “modern”: a preface in which the author appears as a character; an obviously fictional frame story that insists that what is being recounted is utterly real; characters making mention of the author as if he were another character in the book; and, finally, in the second half of the novel, published 10 years after the first, Don Quixote and Sancho Panza reflecting on their own fame as literary characters and the miserable attempt of a plagiarist to replace them during the years separating the first and second publication of their adventures.
In a short play published towards the end of his life, Cervantes depicts a small town whose leaders decide to hire a team of puppeteers to put on a magical puppet show. The conman who convinces them to invest in his phoney scheme tells them that they will see marvels beyond their wildest dreams on the makeshift stage, but also warns them that the magic of the performance is denied to anyone “who has any trace of that other faith, or who was not born and procreated by parents bound in legitimate matrimony”.
The men of the town naturally begin to bluster and protest. As the town elder says: “I can tell you that, for my part, I can go safely to the test, because my father was the mayor of this town; and I’ve got rancid old Christian meat four inches thick on the four flanks of my lineage; you tell me if I’ll have any problems seeing the show!” And see it they do, earning nothing but a fleecing for their efforts, and the broadside of a soldier’s sword when they try to use their old Christian privilege to avoid billeting the King’s troops.
What Cervantes realised, and what we should perhaps remind ourselves today, is that precisely because media are immersive, they are capable not only of persuading us, but of making us take them for reality itself. When media threaten to blur that border, fiction is on call. Its job is to jog our awareness, shake our complacency, and show us how we’ve taken the bait.
William Egginton is a professor in the humanities and of German and Romance languages and literatures at the Johns Hopkins University. His book ‘The Man Who Invented Fiction: How Cervantes Ushered in the Modern World’ is published in the UK by Bloomsbury on June 16
Photographs: Neue Pinakothek, Munich; Hulton Archive



CITIZENS: A Chronicle of the French Revolution ; DEAD CERTAINTIES: Unwarranted Speculations (1991)

$
0
0

Vintage Books &Anchor Books






“Historians are left forever chasing shadows, painfully aware of their inability ever to reconstruct a dead world in its completeness however thorough or revealing their documentation. We are doomed to be forever hailing someone who has just gone around the corner and out of earshot.”
―from DEAD CERTAINTIES: Unwarranted Speculations (1991) bySimon Schama

Like his The Embarrassment of Riches and the bestselling Citizens, Simon Schama's latest book is both history and literature of immense stylishness and ambition. But Dead Certainties goes beyond these more conventional histories to address the deeper enigmas that confront a student of the past. In order to do so, Schama reconstructs -- and at times reinvents -- two ambiguous deaths: the first, that of General James Wolfe at the battle of Quebec in 1759; the second, in 1849, that of George Parkman, an eccentric Boston brahmin whose murder by an impecunious Harvard professor in 1849 was a grisly reproach to the moral sanctity of his society. Out of these stories -- with all of their bizarre coincidences and contradictions -- Schama creates a dazzling and supremely vital work of historical imagination.






“Asked what he thought was the significance of the French Revolution, the Chinese Premier Zhou En-lai is reported to have answered, 'It’s too soon to tell.'”
--from CITIZENS: A Chronicle of the French Revolution by Simon Schama
Instead of the dying Old Regime, Schama presents an ebullient country, vital and inventive, infatuated with novelty and technology--a strikingly fresh view of Louis XVI's France.

"Lafcadio's Adventures" , Paul Valéry, André Gide : correspondances/ André Gide : a life in the present

$
0
0

"He let Julius go. There was beginning to rise in him a feeling of profound disgust--a kind of hatred almost, of himself, of Julius, of everything."
―from "Lafcadio's Adventures" by Nobel Laureate André Gide
André Gide 的相片。
André Gide
“This is my thesis: Do you know what is needful to turn an honest man into a rogue! A change of scene--a moment's forgetfulness suffice.”
―from "Lafcadio's Adventures" by André Gide
Passing with cinematographic speed across the capitals of Europe, Nobel laureate André Gide’s Lafcadio’s Adventures is a brilliantly sly satire and one of the clearest articulations of his greatest theme: the unmotivated crime. When Lafcadio Wluiki, a street-smart nineteen-year-old in 1890s Paris, learns that he’s heir to an ailing French nobleman’s fortune, he’s seized by wanderlust. Traveling through Rome in expensive new threads, he becomes entangled in a Church extortion scandal involving an imprisoned Pope, a skittish purveyor of graveyard statuary, an atheist-turned-believer on the edge of insolvency, and all manner of wastrels, swindlers, aristocrats, adventurers, and pickpockets. With characteristic irony, Gide contrives a hilarious detective farce whereby the wrong man is apprehended, while the charmingly perverse Lafcadio—one of the most original creations in all modern fiction—goes free. READ an excerpt here:http://knopfdoubleday.com/book/59700/lafcadios-adventures/





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

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




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



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

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

這本中國有選譯本

總圖2F人社資料區 PQ2643.A26 Z82 2003

胡華玲《一萬多個日子裡的笑和淚》《金陵永生》《緣非緣》

$
0
0

一萬多個日子裡的笑和淚


本書所收錄的篇章,皆是胡華玲在美國生活幾十年的所見所聞及自身的感懷。她以輕鬆、流暢的文筆刻劃出留學生婚姻中的酸甜,女性高級知識份子不能兼顧事業與家庭的愧疚,美國社會上的偏見,以及學術界人士的嘴臉。

書中的〈我家老爺〉看後令人噴飯;〈媽咪的泡泡糖〉令人抹淚;〈傑米爹地〉令人感嘆……篇篇精采,章章動人。

作者簡介:
胡華玲,原姓王,從夫姓。 安徽合肥人。東海大學歷史系畢業,美國科羅拉多大學歷史學博士。曾在科羅拉多大學、丹佛大學以及國內的交通大學、東海大學等校任教;在交大任期內主持該校人文科學講座;在美國《日本侵華研究》季刊擔任編輯歷時六年,致力研讀日本侵華史一、二手史料,並發表中英專文論述日本軍國主義者塗炭中華民族的史實真相。其小傳被列入2002年美國《當代作家》。一九八五年以英文〈難忘的教授〉一文,獲南伊利諾州區域性寫作協會徵文比賽「非小說」(Non-Fiction)獎。曾發表過九十篇歷史中英專文及文藝方面的作品。著有小說集《緣非緣》與歷史傳記《金陵永生》。一九九八年獲中國文藝協會傳記文學類獎章。
Viewing all 6916 articles
Browse latest View live