Kuohsun Shih 分享了中文馬克思主義文庫的相片。

#英國工人階級狀況”一書是弗·恩格斯1844年9月-1845年3月在巴門寫成的。恩格斯在英國居住期間（1842年11月-1844年8月）研究了英國無產階級的生活條件，他本來打算在他計劃寫的英國社會史中分出一章來說明這個問題，但是恩格斯為了要說明無產階級在資產階級社會中的特殊作用，便決定專門寫一本書來研究英國工人階級狀況。
　　本書的德文第一版在1845年在萊比錫出版，德文第二版在1892年出版。那時經作者同意的本書英譯本已出過兩版（1887年紐約版和1892年倫敦版）。恩格斯在準備出本書的新版時，並沒有做任何重大的修改。但是在1887年“美國版附錄”（這篇附錄的內容後來幾乎完全包括在1892年的英文版和德文版的序言中）中，恩格斯認為必須告訴讀者：不應當把“英國工人階級狀況”這本書當做一本成熟的馬克思主義的著作。他這樣寫道：“……在本書中到處都可以發現現代社會主義從它的祖先之一即德國古典哲學起源的痕跡。例如本書（特別是在末尾）大力強調：共產主義不純粹是工人階級的黨的學說，而且是一種理論，其最終目的就是把連同資本家在內的整個社會從現存關係的狹窄的範圍中解放出來。這個論斷在抽象的意義下是正確的，然而在實踐中卻是無益的，甚至多半是有害的。既然有產階級不但自己不感到有任何解放的需要，而且以全力反對工人階級的自我解放，那末工人階級就應當單獨地準備和進行社會革命。”接著，恩格斯就解釋，為什麼他在1845年所做的“英國將在最近發生社會革命”的預言沒有證實。他認為，1848年以後憲章運動的低潮和英國工人運動中機會主義的暫時勝利是與英國工業壟斷世界市場有直接聯繫的，並且他確信，一旦英國喪失了壟斷地位，“社會主義將重新在英國出現”。——編者註

中文馬克思主義文庫

6小時

【報導一則：恩格斯回到了曼徹斯特市！】

馬克思一生摯友和革命夥伴恩格斯，回到了英國曼徹斯特！2017年7月17日，曼徹斯特市國際節的活動高潮，為市中心特托尼威爾遜廣場（Tony Wilson Place）豎立的恩格斯雕像進行揭幕儀式。

這座雕像原本是在烏克蘭，因為後來右派政府上台而被拆除。英國藝術家菲爾·柯林斯（Phil Collins），在烏克蘭東北部的哈爾科夫（Kharkiv）市發現了這座被遺棄的雕像，經過繁瑣的法律程序，終於成功將雕像帶離烏克蘭，安放在一架平板大卡車穿越歐洲最後回到了曼徹斯特。

恩格斯在曼市住了20年，目睹了新興資本主義生產的巨大發展，但同時也目睹資本主義的種種罪惡及剝削的一面，而寫下了名著《英國工人階級狀況》。

《英國工人階級狀況》全書連結：
https://www.marxists.org/chinese/engels/1844-1845/index.htm

#恩格斯 #恩格斯雕像 #英國工人階級狀況

照片來源：美國《雅各賓雜誌》（Jacobin magazine）臉書

David McLellan 1977恩格斯傳北京：中國人民大學，2017

Friedrich Engels was a German philosopher, social scientist, journalist, and businessman. He founded Marxist theory together with Karl Marx. Wikipedia

Born: November 28, 1820, Barmen, Germany

Died: August 5, 1895, London, United Kingdom

Influenced: Vladimir Lenin, Leon Trotsky, Mao Zedong, MORE

Movies: Too Early/Too Late

Quotes

The state is nothing but an instrument of opression of one class by another - no less so in a democratic republic than in a monarchy.

All history has been a history of class struggles between dominated classes at various stages of social development.

An ounce of action is worth a ton of theory.

烏克蘭的恩格斯雕像，胡不魂歸曼徹斯特。
https://www.ft.com/content/205105fc-67c3-11e7-9a66-93fb352ba1fe

Back on his pedestal: the return of Friedrich Engels A socialist resurgence has revived the radicalism of the German Marxist thinker. Now the artist Phil Collins is bringing his statue back to the British city he called home Share on Twitter (opens new window) Share on Facebook (opens new window) Share on LinkedIn (opens new window) 6 Save 15 HOURS AGO by: John Lloyd The artist Phil Collins wanted to bring Friedrich Engels back to Manchester where, in the mid-19th century, he had lived for two decades. The German Marxist thinker established the first great industrial city in the annals of communist history with his excoriating 1845 polemic The Condition of the Working Class in England. But in the 171 years since his death, Manchester forgot about him. Collins told me his search for Engels was a “dream”. And it came true: he found him lying face down in the earth, long neglected, behind a creamery in Mala Pereshchepina, a few hours from the north-eastern Ukrainian city of Kharkiv. He was a man of two halves, sawn through at the waist, mouldy, unlovely, cast in concrete. His sorry condition told a wider story. After the Soviet Union emerged from the terror-driven idealism of the Stalinist era, party leader Leonid Brezhnev sought to hold up the USSR as a “developed” socialist state. Other gods were put into place: Lenin statuary was displayed everywhere, as were busts of Karl Marx and, less frequently, his friend and funder Engels. All gazed purposefully into the future. This one had been erected in 1970 and stood stonily in the village for several decades, a gentleman of the Victorian era in frock coat and long beard. Phil Collins in Zaporizhia, Ukraine with a statue of Vladimir Lenin that he was ultimately unable to bring back to the UK © Nikiforov Yevgen The collapse of Soviet communism two decades later saw many come off their pedestals — a culling that was more or less total in the satellite states. Some remained in the Russified areas of eastern Ukraine; but in 2015, as the conflict between Russia and Ukraine continued, an increasingly anti-Russian government decreed that Soviet symbols must be removed, pro-Soviet speech banned and even the singing of Soviet-era songs forbidden. So Collins, previously nominated for the Turner Prize for a video about people whose lives had been ruined by appearing on reality TV, came upon the object of his search when it was at a literal low point in its concrete existence. He and two Russian-speaking aides, Anya Harrison and Olga Borissova, had begun their search in August last year, sensibly enough, in the city of Engels, on the Volga. There they found a statue, also concrete, still standing amid the ruin of the meatpacking plant that had commissioned it. But the local authority, at first helpful, later proved fearful of giving the icon to foreigners at a time of east-west tension. It referred the decision to a court: a decision is still pending. With time running against them, the searchers moved on to the Belarusian city of Vitebsk, where they found a triptych statue — an Asian woman, an African man, with a white young man between them, embracing both, expressing the theme of brotherhood (and less overtly, Soviet leadership). Collins was tempted but it, too, was denied a visa. Collins with a statue of Engels that did not come back to the UK © Nikiforov Yevgen Finally they came to Mala Pereshchepina, where the local authorities were only too glad to get rid of what was by now a legally toxic artefact. In mid-May this year, the two-tonne, near-four-metre-high cement behemoth was loaded on to a flatbed truck to be trundled across Europe, to the city of Engels’ epiphany. This Sunday evening, when it is unveiled outside Home, a big modern arts building in Manchester largely funded by the city council, Collins’ quest will finally be at an end. The artist’s timing is impeccable. June’s UK general election saw a surge of support for the Labour party led by the far-left Jeremy Corbyn. Like Bernie Sanders in last year’s US Democratic primaries, this ageing socialist appealed first of all to the young. Marxism, which had been read the last rites by many, has found new life, reuniting its long-lonely intellectuals and academic advocates with the masses. The French economist Thomas Piketty’s 2013 book Capital in the Twenty-First Century, a self-conscious echo of Marx, was a huge seller. Commentators on the left are making connections between what Engels wrote and contemporary society. Writing in the Guardian after the fire at the Grenfell Tower block of flats in London, Aditya Chakrabortty explicitly linked the tragedy with The Condition of the Working Class, stating Britain “remains a country that murders its poor”. In such narratives, modern despair and marginalisation are laid at the feet of capitalism. The brutality of regimes working under Marxist rules — dramatised this week by the death of China’s most prominent dissident Liu Xiaobo, a few days after his release from long imprisonment — fades to the background. Collins believes that Engels is a writer “with whom we can engage today, with the questions he raises. He isn’t to be confined to his time and forgotten.” Engels’ writing shocked the Victorians. In The Condition of the Working Class he stressed that Britain’s wealth and imperial power (which impressed him), was built on the degradation and endless labour of hundreds of thousands of men, women and children, living in “half or wholly ruined buildings . . . rarely a wooden or stone floor to be seen in the houses, almost uniformly broken, ill-fitting windows and doors, and a state of filth!” Karl Marx, whom Engels had known slightly before he left Germany, was said to have been bewitched by the book. A villager in Mala Pereshchepina, Ukraine, with the statue of Engels that eventually came to Manchester © Shady Lane Productions The brutal world Engels described became a backdrop to some of the era’s best-known literature. The future prime minister, Benjamin Disraeli, published Sybil in 1845; Charles Dickens brought out Hard Times in 1854 and Mrs Gaskell North and South in 1855. All expressed horror at the human cost of industrialism, though with much more sentimentality and much less detail. Even now, when — for all the excesses of capitalism — the stark exploitation Engels evoked has disappeared in the western world, The Condition of the Working Class is an uncomfortable read. The homelessness of the rising generation; the precariousness of freelance work; the feared mass unemployment once artificial replaces human intelligence; the long, spiky tail of the banking collapse of 2008; the end of the postwar expectation that children will ascend further and richer than their parents — these are plausibly presented by the left as a 21st-century equivalent of the Condition of the Working, and even Middle Class of England, and the rest of the capitalist world. Looking out from Home’s café on to the space where Engels will finally rest — and remain — Sarah Perks, the centre’s artistic director for visual arts, tells me that discussion points will be created around the statue’s base to encourage viewers to become participants: “We want to try to understand what the equivalent hardships to those described by Engels would be for today’s working class.” *** Collins intersects with Engels in two ways. Born in the Cheshire port of Runcorn, he works mainly in Manchester. He also has a home in the North Rhine-Westphalia city of Wuppertal, where Engels was born to a pious and wealthy manufacturing family, mainly in the dyestuffs trade (he was already a fledgling socialist when sent by his despairing father to Manchester to work at one of his part-owned subsidiaries in the city). Moving the statue © Shady Lane Productions More than most contemporary artists on the left, Collins shows a strong sympathy for the communist era: one of his films, Marxism Today, is composed of tender interviews with former teachers of Marxism-Leninism in East Germany who were rendered unemployable by its collapse. “When the wall fell, there was also a collapse of something which had been solidarity, co-operative working: individualism flourished,” he says. First and foremost, though, he is engaged in an ironic, post-modernist project. He has taken an icon rejected by a recently socialist state as a sign of imperialist oppression to give it an honoured place in Manchester, the birthplace of industrial capitalism and of free trade. He sees Manchester as a city imbued with a kind of generic leftism: “There’s a Mancunian spirit of radicalism, an interest in politics and what it can do for people if properly managed.” He is most interested in “those who have been occluded from society or history” as Engels was in Manchester, where there is no statue to commemorate him. He thought it necessary to place him back in the city which he had described so graphically, to provide a contrast to the statues of local figures, some of whom — like Richard Cobden and John Bright, the proponents of free trade — were major national figures. On the long trip back from Ukraine to Manchester, he found that the huge, grubby, sundered statue “became a revelation: I felt more connected with him, he became suddenly real. It’s very alive — its physiognomy changed, depending on how it was placed, on the ground, or on the truck, or in the old train depot (its temporary home in Manchester).” The trip, which Collins filmed, featured a number of organised setpieces. In Kharkiv, a reception was arranged. “There were schoolchildren, and a teacher gave a lesson about Marx and Engels, Manchester and its importance, the Soviet Union, and the process of de-communisation. Then a girls’ choir, all in white, stood up on the truck and sang a Soviet-era song called ‘The Jolly Wind’ (presumably in defiance of the law), as they waved goodbye.” A choir of schoolchildren in Kharkiv, where a reception was arranged for the statue © Shady Lane Productions At Rosa Luxemburg Platz in Berlin (named after the communist activist murdered in the city in 1919) actors and others — many from the Volksbühne, or People’s Theatre — put on a show. There were speeches by academics belonging to the “accelerationist” school — a protean thought system with left and right branches, whose basis is the desire to speed up technological change to accelerate social transformation. The trip and the project display the artist’s ability to draw in myriad influences and strands, from kitsch through social realism and Soviet sentimentality for the loss of an authoritarianism they had experienced as security. Collins believes that, in the collapse of communism, “Something had been lost. The usual prism through which we saw, say, the East German society, was so strong that we didn’t see the ordinary; it frustrated our ability to see the day-to-day life.” He believes his Engels project “points to the fact we can have different kinds of statues here. It’s a found object, not something specially made. It’s transformative. It’s one kind of history coming back into the forge that created it.” *** The indifference of Manchester to Engels was noted by the former Labour MP Tristram Hunt in his fine biography, The Frock-Coated Communist. He found an Engels House on a council estate, where the residents complain of damp. In 2014, when the university in neighbouring Salford had the Engine Arts Theatre Company build a five-metre-high fibreglass Engels bust in which his vast beard was a climbing frame, one reviewer described it “as having all the intelligence and subtlety of making a see-saw shaped like Marx’s bum boils”. Things are changing, according to Jonathan Schofield, who writes about the city and conducts tours. Schofield thinks Manchester, along with other Midlands and northern cities, is shaking off its subaltern deference to London. “The provincial cities in the 19th century were more important than London. Now you’re finding a reawakening of civic pride: coming into their own again,” he says. He does a Marx and Engels tour that takes in Chetham’s Library, the oldest free library in the UK, opened in the mid-17th century through the bequest of Humphrey Chetham, a local merchant. “It’s the only building left where Engels definitely was. He worked with Marx at a table, still there, with the books they both used. When I take Chinese visitors to see it, some of them cry.” Vinnie Gavin (right) and his son Scott Gavin of 'Stone Central' work on restoring the statue of Friedrich Engels in Manchester in July © Greg Funnell For all the mass murders committed in their name, Marx and Engels continue to loom large today, not just in the consciousness of lachrymose visitors from China — where they remain on their pedestals. Their ideas are being revived beyond the lecture room. They represent a way not taken, a revolution betrayed. And on Sunday evening, Manchester’s first communist will be unveiled on a capitalist pedestal at last. John Lloyd is an FT contributing editor Photographs: Greg Funnell; Yevgen Nikiforov

Günter Grass 1927-2015《給不讀詩的人：我的非小說：詩與畫》，
這本詩畫集通常1頁1首。

例外是第168頁，竟然收3首。

第1首：一整天

第2首標題1914.
寫3位畫家誠船駛往突尼斯。
Paul Klee, August Macke, Louis Moilliet
August Macke 8月8日從軍去，9月26日陣亡。

August Macke, Louis Moilliet Google 翻譯：奧古斯特·馬克，路易斯·莫伊利特

雨云《克利日記選》翻譯 (149頁)：馬格；莫利葉 (瑞士伯爵)

(p. 193 翻譯者不知道Grey Hound翻誠譯"灰狗"令人不知所云：......在電車後頭跑了好一程，他是一隻真正的灰狗。"

第3首： (譯註)：
Joseph Mallord William Turner
The Thames from Richmond Hill
c.1815
其實，Turner畫此Hill有好幾張，待確認

10月03 2015 六 Mr. Turner

傍晚，拿著{周作人俞平伯往來通信集}，從公館搭捷運往關渡，參加臺北藝術大學的第7屆關渡電影節的第2部Mr. Turner (2014年影片。主角為英國畫家J.M.W. Turner (1775-1851)，當時已有火車，照相館.....) 。第一次完全利用公共運輸 (轉公車)去台藝大，有機會看到該校校長及一級主管及電影系師生。電影院和它的所有類別硬體設施之先進，讓我印象深刻。1977-78年，我參訪過劉森堯學長的倫敦電影學校，同樣熱情搭火車到外地去看一場電影......現在的台灣學子真是天之驕子，資源豐富，各專門老師都有，校園美麗.....。

這部電影是通俗之作。近年已發現Turner先生晚期的一系列很不一樣的"驚人作品"，請往YouTube 去觀賞。

Yale University 的影片。
2015年7月28日 8:48 ·

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Hanching Chung

2016年7月28日

鈞特．葛拉斯Günter Grass作《給不讀詩的人：我的非小說：詩與畫》. 張善穎譯，台北：原點出版社，2007

27日的聚會，Hans 特別端出一盤櫻桃--美國的吧？
所以這本書57頁的畫：一盤櫻桃：盤內13棵，盤外3棵，上頭用葡萄酒色調寫詩
Mitten im Leben ，中文(第56頁，在生命之中)⋯⋯

Mendelssohn - Mitten wir in Leben sind, Op.23 No.3

Gloriae Dei Cantores conducted by Elisabeth C. Patterson _____________________ In the midst of earthly life Snares of death surround us; Who shall help us in...

YOUTUBE.COM

1999年諾貝爾文學獎得主，德國小說家Günter Grass逝世，享年87歲。
著名的作品：《鐵皮鼓》、《貓與鼠》和《狗年月》合為「但澤三部曲」，2002年出版最後一本長篇小說《蟹行》，2006年出版三冊的自傳《剝洋蔥》。

鈞特葛拉斯《我的世紀》蔡鴻君譯，時報，2000。

Günter Grass, Nobel-winning German novelist, dies aged 87

Author of The Tin Drum and figure of enduring controversy

Richard Lea in London and Ben Knight in Berlin

The writer Günter Grass, who broke the silences of the past for a generation of Germans, has died in hospital in Lübeck at the age of 87.

German president Joachim Gauck led the tributes, offering his condolences to the writer’s widow Ute Grass. “Günter Grass moved, enthralled, and made the people of our country think with his literature and his art,” he said in a statement. “His literary work won him recognition early across the world, as witnessed not least by his Nobel prize.”

“His novels, short stories, and his poetry reflect the great hopes and fallacies, the fears and desires of whole generations,” the statement continued.

Tributes began to appear within minutes of the announcement of Grass’ death on Twitter by his publisher, Steidl.

In the UK, Salman Rushdie was one of the first authors to respond, tweeting:

The Turkish Nobel laureate Orhan Pamuk had warm personal memories: “Grass learned a lot from Rabelais and Celine and was influential in development of ‘magic realism’ and Marquez. He taught us to base the story on the inventiveness of the writer no matter how cruel, harsh and political the story is,” he said.

He added: “In April 2010 when there was a mushroom cloud over Europe he was in Istanbul and stayed more than he planned. We went to restaurants and drank and drank and talked and talked ... A generous, curious and a very warm friend who also wanted to be a painter at first!”

Grass found success in every artistic form he explored – from poetry to drama and from sculpture to graphic art – but it wasn’t until publication of his first novel, The Tin Drum, in 1959 that he found the international reputation which brought him the Nobel prize for literature40 years later. A speechwriter for the German chancellor Willy Brandt, Grass was never afraid to use the platform his fame afforded, campaigning for peace and the environment and speaking out against German reunification, which he compared to Hitler’s “annexation” of Austria.

Grass was born in the Free City of Danzig – now Gdansk – in 1927, “almost late enough”, as he said, to avoid involvement with the Nazi regime. Conscripted into the army in 1944 at the age of 16, he served as a tank gunner in the Waffen SS,bringing accusations of betrayal, hypocrisy and opportunism when he wrote about it in his 2006 autobiography, Peeling the Onion.

The writer was surprised by the strength of the reaction, arguing that he thought at the time that the SS was merely “an elite unit”, that he had spoken openly about his wartime record in the 1960s, and that he had spent a lifetime “working through” the unquestioning beliefs of his youth in his writing. His war came to an end six months later having “never fired a shot”, when he was wounded in Cottbus and captured in a military hospital by the US army. That he avoided committing war crimes was “not by merit”, he insisted. “If I had been born three or four years earlier I would, surely, have seen myself caught up in those crimes.”

Instead he trained as a stonemason, studied art in Düsseldorf and Berlin, and joined Hans Werner Richter’s Group 47 alongside writers such as Ingeborg Bachmann and Heinrich Böll. After moving to Paris in 1956 he began working on a novel which told the story of Germany in the first half of the 20th century through the life of a boy who refuses to grow.

A sprawling mixture of fantasy, family saga, bildungsroman and political fable,The Tin Drum was attacked by critics, denied the Bremen literature prize by outraged senators, burned in Düsseldorf and became a global bestseller.

Speaking to the Swedish Academy in 1999, Grass explained that the reaction taught him “that books can cause offence, stir up fury, even hatred, that what is undertaken out of love for one’s country can be taken as soiling one’s nest. From then on I have been controversial.”

A steady stream of provocative interventions in debates around social justice, peace and the environment followed, alongside poetry, drama, drawings and novels. In 1977 Grass tackled sexual politics, hunger and the rise of civilisation with a 500-page version of the Grimm brothers’ fairytale The Fisherman and His Wife. The Rat (1986) explored the apocalpyse, as a man dreams of a talking rat who tells him of the end of the human race, while 1995’s Too Far Afield explored reunification through east German eyes – prompting Germany’s foremost literary critic, Marcel Reich-Ranicki, to brand the novel a “complete and utter failure” and to appear on the cover of Der Spiegel ripping a copy in half.

His last novel, 2002’s Crabwalk, dived into the sinking of the German liner Wilhelm Gustloff in 1945, while three volumes of memoir – Peeling the Onion, The Box and Grimms’ Words – boldly ventured into troubled waters.

Germany’s political establishment responded immediately to the news of Grass’s death. The head of the German Green party, Katrin Göring-Eckardt, called Grass a “great author, a critical spirit. A contemporary who had the ambition to put himself against the Zeitgeist.”

“Günter Grass was a contentious intellectual - his literary work remains formidable,” tweeted the head of the opposition Free Democratic party, Christian Lindner.

The foreign minister Frank-Walter Steinmeier was “deeply dismayed” at the news of the author’s death, a tweet from his ministry said.

Steinmeier is a member of the Social Democratic party, which Grass had a fraught relationship with - after campaigning for the party in 1960s and 70s, he became a member in 1982, only to leave ten years later in protest at its asylum policies.

“Günter Grass was a contentious intellectual who interfered. We sometimes miss that today,” SPD chairwoman Andrea Nahles said.

Speaking to the Paris Review in 1991, Grass made no apology for his abiding focus on Germany’s difficult past. “If I had been a Swedish or a Swiss author I might have played around much more, told a few jokes and all that,” he said. “That hasn’t been possible; given my background, I have had no other choice.”While there were plenty of tributes recognising Grass as one of Germany’s most important post-war writers, social media users swiftly revived many of the controversies of his divisive career, bringing up his membership of the SS and his alleged anti-Semitism.

The controversy flared up again following by publication of his 2012 poem What Must be Said, in which he criticised Israeli policy. Published simultaneously in the Süddeutsche Zeitung, the Italian La Repubblica and Spanish El País, the poem brought an angry response from the Israeli ambassador to Germany, Shimon Stein, who saw in it “a disturbed relationship to his own past, the Jews, and Israel”.

Despite his advanced age, Grass still led an active public life, and was due to appear at a reading in Hamburg in two weeks.

臺灣人眼中的君特·格拉斯

德國作家君特·格拉斯不久前因發表批評以色列的詩作引起爭議。但這位諾貝爾文學獎得主在臺灣的聲譽沒有因此受到動搖。對許多人來說，他仍然是榜樣和老師。

（德國之聲中文網）即便是在格拉斯過85歲生日的時候，對他的批評聲都沒有完全停止。在德國，有關他發表批評以色列的詩作的爭論還遠遠沒有結束。但在世界其他地方，人們對格拉斯是否毀了自己聲譽的問題並不感興趣。在臺北，人們感到興奮和自豪的是格拉斯給他在臺灣的讀者發來的一段視頻。格拉斯說："女士們先生們，我很高興我的繪畫和雕塑作品在臺灣展出。"一個格拉斯藝術作品展剛剛在國立臺灣文學館開幕。本來格拉斯是想親自前來參加開幕式的，但因為身體原因他最終還是放棄了乘坐12小時飛機的打算。

向格拉斯學歷史

在臺灣，德國文學其實是一個小眾話題。連國立文學館的館長也承認，他自己也並不熟悉格拉斯的作品，因此得抓緊時間在展覽開幕前補補課。不過林劉惠安女士可以提供幫助，她是臺北輔仁大學德語文學教授，也是臺灣受到公認的格拉斯專家。正是她把格拉斯的文學、版畫和雕塑作品介紹到了臺灣。

不過，一個從來沒有聽說過君特·格拉斯這個名字的人，來參觀他的藝術作品展，有意義嗎？"當然有啦"，林劉惠安連珠炮般地反駁道，"那麼他不僅可以瞭解格拉斯，還可以瞭解德國歷史、世界歷史。展覽中甚至還有與亞洲歷史有關的內容。"

義和團起義

Buchcover: Günter Grass - Mein Jahrhundert 《我的世紀》德文版封面

君特·格拉斯成了歷史老師。這次展覽的重頭戲是100多幅水彩畫，是格拉斯為自己的小說《我的世紀》創作的插圖。他在這部作品中從不同視角回顧了20世紀的歷史。對臺灣讀者尤其不同尋常的是，其中有一章的故事發生在中國，背景是1900年八國聯軍血腥鎮壓義和團起義的歷史。"書中有一個來自巴伐利亞的士兵"，林劉惠安介紹說，"他敍述了自己經歷的這場侵略戰爭，他看到了什麼，隱瞞了什麼，他向自己的未婚妻講述了什麼事，又沒有講述什麼。"

格拉斯的特點是：大聲說出那些別人別人試圖抹去的記憶；揭開這個社會的瘡疤。正是憑著這樣的勇氣，格拉斯在過去數十年在德國、在全世界贏得了尊重。他是一個不招人喜歡的知識份子，一個樂於參與意見表達，包括政治意見表達的作家。臺北歌德學院院長威恩哈德（Markus Wernhard）指出，這是一種西方人的處世哲學，"格拉斯這種主動參與政治，表明立場的態度，在東亞社會不是很典型的。在臺灣也缺少一點這種精神。因此（認識格拉斯）或許是此間作家反思自己的社會責任的一個機會。"

臺灣在清理歷史

林劉惠安說："或許來參觀展覽的人也能反思一下自己國家的歷史。"她認為像格拉斯這樣一個作家在臺灣也會發現許多值得書寫的議題。臺灣今天雖然是亞洲為數不多的真正意義上的民主國家之一，但仍然沒有完全擺脫持續數十年的獨裁統治的陰影。直到上世紀80年代後期，臺灣才解除了戰時的戒嚴令。直到今天，臺灣社會的裂痕猶在，而對歷史的反思還剛剛開始。與此同時，臺灣的民主受到中國的威脅。林劉惠安說，她定期到德國拜訪格拉斯時，談到過這樣的話題。"他問了我很多關於臺灣，關於中國的問題。他非常好奇，直到今天都是如此。"

格拉斯特展"鼓動的世紀"記者會

有關格拉斯對以色列立場的爭論，林劉惠安在《中國時報》的文藝副刊上發表過介紹文章。她表示，格拉斯在批評面前不退縮的作法一點也不讓她感到意外。"我只能說，格拉斯就是格拉斯。如果你讀過他的書，就知道，他從來不會保持沉默，他有意見就會大聲說出來。這是人們不得不認可的一點。我覺得這是他的一個優點。"

作者：Klaus Bardenhagen 編譯：葉宣

責編：雨涵

台湾人眼中的君特·格拉斯

德国作家君特·格拉斯不久前因发表批评以色列的诗作引起争议。但这位诺贝尔文学奖得主在台湾的声誉没有因此受到动摇。对许多人来说，他仍然是榜样和老师。

（德国之声中文网）即便是在格拉斯过85岁生日的时候，对他的批评声都没有完全停止。在德国，有关他发表批评以色列的诗作的争论还远远没有结束。但在世界其他地方，人们对格拉斯是否毁了自己声誉的问题并不感兴趣。在台北，人们感到兴奋和自豪的是格拉斯给他在台湾的读者发来的一段视频。格拉斯说："女士们先生们，我很高兴我的绘画和雕塑作品在台湾展出。"一个格拉斯艺术作品展刚刚在国立台湾文学馆开幕。本来格拉斯是想亲自前来参加开幕式的，但因为身体原因他最终还是放弃了乘坐12小时飞机的打算。
向格拉斯学历史
在台湾，德国文学其实是一个小众话题。连国立文学馆的馆长也承认，他自己也并不熟悉格拉斯的作品，因此得抓紧时间在展览开幕前补补课。不过林刘惠安女士可以提供帮助，她是台北辅仁大学德语文学教授，也是台湾受到公认的格拉斯专家。正是她把格拉斯的文学、版画和雕塑作品介绍到了台湾。
不过，一个从来没有听说过君特·格拉斯这个名字的人，来参观他的艺术作品展，有意义吗？"当然有啦"，林刘惠安连珠炮般地反驳道，"那么他不仅可以了解格拉斯，还可以了解德国历史、世界历史。展览中甚至还有与亚洲历史有关的内容。"
义和团起义

Buchcover: Günter Grass - Mein Jahrhundert

《我的世纪》德文版封面

君特·格拉斯成了历史老师。这次展览的重头戏是100多幅水彩画，是格拉斯为自己的小说《我的世纪》创作的插图。他在这部作品中从不同视角回顾了 20世纪的历史。对台湾读者尤其不同寻常的是，其中有一章的故事发生在中国，背景是1900年八国联军血腥镇压义和团起义的历史。"书中有一个来自巴伐利亚的士兵"，林刘惠安介绍说，"他叙述了自己经历的这场侵略战争，他看到了什么，隐瞒了什么，他向自己的未婚妻讲述了什么事，又没有讲述什么。"
格拉斯的特点是：大声说出那些别人别人试图抹去的记忆；揭开这个社会的疮疤。正是凭着这样的勇气，格拉斯在过去数十年在德国、在全世界赢得了尊重。他是一个不招人喜欢的知识分子，一个乐于参与意见表达，包括政治意见表达的作家。台北歌德学院院长维恩哈德（Markus Wernhard）指出，这是一种西方人的处世哲学，"格拉斯这种主动参与政治，表明立场的态度，在东亚社会不是很典型的。在台湾也缺少一点这种精神。因此（认识格拉斯）或许是此间作家反思自己的社会责任的一个机会。"
台湾在清理历史
林刘惠安说："或许来参观展览的人也能反思一下自己国家的历史。"她认为像格拉斯这样一个作家在台湾也会发现许多值得书写的议题。台湾今天虽然是亚洲为数不多的真正意义上的民主国家之一，但仍然没有完全摆脱持续数十年的独裁统治的阴影。直到上世纪80年代后期，台湾才解除了战时的戒严令。直到今天，台湾社会的裂痕犹在，而对历史的反思还刚刚开始。与此同时，台湾的民主受到中国的威胁。林刘惠安说，她定期到德国拜访格拉斯时，谈到过这样的话题。"他问了我很多关于台湾，关于中国的问题。他非常好奇，直到今天都是如此。"

格拉斯特展"鼓动的世纪"记者会

有关格拉斯对以色列立场的争论，林刘惠安在《中国时报》的文艺副刊上发表过介绍文章。她表示，格拉斯在批评面前不退缩的作法一点也不让她感到意外。"我只能说，格拉斯就是格拉斯。如果你读过他的书，就知道，他从来不会保持沉默，他有意见就会大声说出来。这是人们不得不认可的一点。我觉得这是他的一个优点。"
作者：Klaus Bardenhagen 编译：叶宣
责编：雨涵

2008.12這本書中葛拉斯說要求出版商將各國翻譯者聚會討論是其創舉

(這種作法為米蘭昆德拉等大作家所彷效)

對於西班牙流浪漢文體的溯源等相當可參考
讀前十頁

啟蒙的冒險：與諾貝爾文學獎得主葛拉斯對談浙江人民出版社 2001

啟蒙的冒險：與諾貝爾文學獎得主葛拉斯對談 Vom Abenteuer der Aufclarung

作者：鈞特‧葛拉斯、哈羅．齊默爾曼/著
原文作者：Gu nter Grass、Harro Zimmermann
譯者：周惠
出版社：先覺
出版日期：2004年

深入剖析諾貝爾文學獎巨匠葛拉斯的作品與思維
　　本書是德國不萊梅廣播電臺文學部主管哈羅�齊默爾曼，自1998年6 月至8月對諾貝爾文學獎得主葛拉斯進行的訪談錄。這些訪談沒有導演的事先安排，而是大膽地共同進行一場觀點的遊戲，是一場「啟蒙的冒險」。在坦誠的交談中，葛拉斯對其作品《錫鼓》、《狗年月》、《局部麻醉》、《蝸牛日記》、《比目魚》、《母鼠》、《遼闊的原野》的寫作背景、創作的過程、敘述手法等等一一作了介紹。他除了談到他的作品，還談到作為畫家、雕塑家、「公民」及「公開政治化」的葛拉斯。
　　一九九九年諾貝爾文學獎得主鈞特�葛拉斯透過寫作逝去的歷史，引領讀者回憶過去，同時預視未來。葛拉斯以「但澤三部曲」為首的所有小說、詩歌、文集，都在亦真亦幻、似夢非夢、荒誕的描寫中，引導讀者發現真實，以文學的形式對讀者進行啟蒙。本書是葛拉斯本人對所有重要作品的寫作背景、創作過程、敘述手法的解說，是深入了解葛拉斯的最重要著作。
作者簡介
　　鈞特‧葛拉斯（Gu nter Grass）
　　德國著名文學作家、畫家、雕塑家。1927年生於但澤，1999年獲頒諾貝爾文學獎，其小說深受十七世紀流浪漢小說（La Novela picarsca）的影響。
　　葛拉斯的主要作品有「但澤三部曲」：《錫鼓》（1959）、《貓與鼠》（1961）、《狗年月》（1963）。繼「但澤三部曲」之後，他幾乎每十年便有一部大作品問世：《比目魚》（1977）、《母鼠》（1986）、《遼闊的原野》（1995）。在世紀之交，葛拉斯又推出新作《我的世紀》（1999）。
　　哈羅‧齊默爾曼（Harro Zimmermann）
　　德國著名記者。1949年生於德爾曼荷斯特，曾在基爾與哥廷根學習日爾曼文學、哲學、政治學與教育學。自1988年起主管不萊梅廣播電臺文學部。

Susan Cheever was born in New York City on this day in 1943.

"During the last years of his life E. E. Cummings made a modest living on the high-school lecture circuit. In the winter of 1960 his schedule brought him to read his adventurous poems at an uptight girls’ school in Westchester where I was a miserable seventeen-year-old junior with failing grades."
--from E. E. CUMMINGS: A LIFE

Cummings, in his radical experimentation with form, punctuation, spelling, and syntax, created a new kind of poetic expression. Because of his powerful work, he became a generation’s beloved heretic—at the time of his death he was one of the most widely read poets in the United States. Now, in this rich, illuminating biography, Susan Cheever traces the development of the poet and his work. She takes us from Cummings’s seemingly idyllic childhood in Cambridge, Massachusetts, through his years at Harvard (rooming with Dos Passos, befriending Malcolm Cowley and Lincoln Kirstein). There, he devoured the poetry of Ezra Pound, whose radical verses lured the young writer away from the politeness of the traditional nature poem towards a more adventurous, sexually conscious form. We follow Cummings to Paris in 1917, and, finally, to Greenwich Village to be among other modernist poets of the day—Marianne Moore and Hart Crane, among them. E. E. Cummings is a revelation of the man and the poet, and a brilliant reassessment of the freighted path of his legacy. READ an excerpt here: http://www.penguinrandomhouse.com/…/e-e-cummings-by-susan-…/

“Taxis toot whirl people moving” by E. E. Cummings included in POEMS OF NEW YORK

taxis toot whirl people moving perhaps laugh into the slowly
millions and finally O it is spring since at all windows
microscopic birds sing fiercely two ragged men and a
filthiest woman busily are mending three wholly broken somehow
bowls or somethings by the web curb and carefully spring is
somehow skilfully everywhere mending smashed minds
O
the massacred gigantic world
again, into keen sunlight who lifts
glittering selfish new
limbs
and my heart stirs in his rags shaking from his armpits the
abundant lice of dreams laughing
rising sweetly out of the alive new mud my old
man heart striding shouts whimpers screams breathing into
his folded belly acres of sticky sunlight chatters bellows
swallowing globs of big life pricks wickedly his
mangled ears blinks into worlds of color shrieking
O begins
the mutilated huge earth
again, up through darkness leaping
who sprints weirdly from its deep prison
groaning with perception and suddenly in all filthy alert things
which jumps mightily out of death
muscular, stinking, erect, entirely born.

*

E.E. Cummings reads Anyone Lived in a Pretty How Town

E.E. Cummings reads his poem Anyone Lived in a Pretty How Town

YOUTUBE.COM

FULCRUM: an annual of poetry and aesthetics

/This FULCRUM page is for true lovers of poetry and literature./

末節姊姊Rose結婚時Magi 念這首

[i carry your heart with me(i carry it in] By E. E. Cummings

i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

i carry your heart(i carry it in my heart)

聽聽妙人錄音多妙. 即使翻譯也很可讀.
中華民國最有點研究e e cummings 的人是葉公超先生---參考朱自清日記....
E.E. Cummings, i: six nonlectures, 1952-53.

The author begins his "nonlectures" with the warning "I haven't the remotest intention of posing as a lecturer." Then, at intervals, he proceeds to deliver the following:
1. i & my parents
2. i & their son
3. i & self discovery
關於"濟慈"的資料英文相當完備幾乎可以論月-日追蹤John Keats的發展 --哈佛大學出的Keats傳最值得參考:

John Keats— Walter Jackson Bate | Harvard University Press
www.hup.harvard.edu/catalog.php?isbn=9780674478251‎
Since most of Keats's early poetry has survived, his artistic development can be observed more closely than is possible with most writers; and there are times ...

精彩論文: 有漢譯
The Poet as Hero: Keats in His Letters (1951) , 收入The Moral Obligation to Be Intelligent: Selected Essays By Lionel Trilling,pp.224-

E.E. Cummings,Norton Lectures 1952-53, i: six nonlectures, Harvard University Press, 1981,至少提2次Keats. 第3講說他在哈佛大學讀書時收到的印象最深刻的禮物是: Keats的詩信合集

於世間一切中我唯明了愛之神聖與幻想之真

讓他沉浸於那些精神的高空---一隻未知和不可知的鳥兒開始歌唱.......
4. i & you & is
5. i & now & him
6. i & am & santa claus
These talks contain selections from the poetry of Wordsworth, Donne, Shakespeare, Dante, and others, including e.e. cummings. Together, it forms a good introduction to the work of e.e. cummings.
錄音

https://soundcloud.com/harvard/e-e-cummings-1952

《我：六次非演講》
試讀：第一次非演講：我&我的父母內容簡介· · · · · ·這是一本別出心裁、充滿詩意的小書，卡明斯用令人耳目一新的形式，通過六次“非演講”講述了作者的家庭，他的成長，他的詩歌理念與奇思妙想，以及對影響他創作的詩人們的評價，輔以大量經典的詩歌賞析。書中處處閃耀著奇思妙想的火花，在奇特的形式外殼之下，卡明斯顯示出卓越的抒情才能和藝術敏感。作者簡介 · · · · · ·ee卡明斯（1894—1962），美國著名實驗派詩人、畫家、評論家、作家和劇作家。深受達達主義和立體主義的影響，對詩歌進行徹底改造，創造出一種全新的卡明斯式詩歌模式。目錄 · · · · · ·第一次非演講：我&我的父母第二次非演講：我&他們的兒子第三次非演講：我&自我發現第四次非演講：我&你&是第五次非演講：我&現在&他第六次非演講：我&是&聖誕老人"我：六次非演講"試讀 · · · · · ·在這所謂系列講座的開場，我得好意提醒你們，我絲毫沒有打算扮成一個演講者。演講，或許是教學工作的一種形式；或許，教師就是一個類似智者之類的人。而我從來，至今也仍然，只是一個無知者。我所沉迷的不是傳道授業，而是學習。我向你們保證，如果一次查爾斯·艾略特·諾頓講座的提名邀請不是立即意味著將從中得以學到大量東西，我現在應該會在別的什麼地方。我還向你們保證，我站在...

****
康明思的詩 Fourteen Poems by E. E. Cummings (Comprehensive Study Guide) 台北:新亞 1975

E. E. Cummings in 1953
Born	Edward Estlin Cummings October 14, 1894 Cambridge, Massachusetts
Died	September 3, 1962 (aged 67) Joy Farm in North Conway, New Hampshire
Cause of death	Hemorrhage
Resting place	Forest Hills Cemetery
Known for	Poems, plays and other works of art
Influenced by	Amy Lowell, Gertrude Stein
Influenced	Richard Brautigan Brian P. Cleary
Religion	Unitarian
Spouse	Elaine Orr Anne Minnerly Barton Marion Morehouse
Children	Nancy, daughter with Elaine Orr
Parents	Edward Cummings Rebecca Haswell Clarke
Relatives	Elizabeth Cummings, sister

Poetry

Despite Cummings' consanguinity with avant-garde styles, much of his work is quite traditional. Many of his poems are sonnets, albeit often with a modern twist, and he occasionally made use of the blues form and acrostics. Cummings' poetry often deals with themes of love and nature, as well as the relationship of the individual to the masses and to the world. His poems are also often rife with satire.
While his poetic forms and themes share an affinity with the romantic tradition, Cummings' work universally shows a particular idiosyncrasy of syntax, or way of arranging individual words into larger phrases and sentences. Many of his most striking poems do not involve any typographical or punctuation innovations at all, but purely syntactic ones.
As well as being influenced by notable modernists including Gertrude Stein and Ezra Pound, Cummings' early work drew upon the imagist experiments of Amy Lowell. Later, his visits to Paris exposed him to Dada and surrealism, which in turn permeated his work. Cummings also liked to incorporate imagery of nature and death into much of his poetry.
While some of his poetry is free verse (with no concern for rhyme or meter), many have a recognizable sonnet structure of 14 lines, with an intricate rhyme scheme. A number of his poems feature a typographically exuberant style, with words, parts of words, or punctuation symbols scattered across the page, often making little sense until read aloud, at which point the meaning and emotion become clear. Cummings, who was also a painter, understood the importance of presentation, and used typography to "paint a picture" with some of his poems.^[13]
The seeds of Cummings' unconventional style appear well established even in his earliest work. At age six, he wrote to his father:^{[citation needed]}

FATHER DEAR. BE, YOUR FATHER-GOOD AND GOOD,
HE IS GOOD NOW, IT IS NOT GOOD TO SEE IT RAIN,
FATHER DEAR IS, IT, DEAR, NO FATHER DEAR,
LOVE, YOU DEAR,
ESTLIN.

Following his novel The Enormous Room, Cummings' first published work was a collection of poems entitled Tulips and Chimneys (1923). This work was the public's first encounter with his characteristic eccentric use of grammar and punctuation.

Some of Cummings' most famous poems do not involve much, if any, odd typography or punctuation, but still carry his unmistakable style, particularly in unusual and impressionistic word order. For example, "anyone lived in a pretty how town" begins:

anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did

Women and men (both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain

"why must itself up every of a park" begins as follows:

why must itself up every of a park
anus stick some quote statue unquote to
prove that a hero equals any jerk
who was afraid to dare to answer "no"?

Cummings' unusual style can be seen in his poem "Buffalo Bill's/ defunct" from the January 1920 issue of The Dial.

Readers sometimes experience a jarring, incomprehensible effect with Cummings' work, as the poems do not act in accordance with the conventional combinatorial rules that generate typical English sentences (for example, "why must itself..." or "they sowed their isn't..."). His readings of Stein in the early part of the century probably served as a springboard to this aspect of his artistic development (in the same way that Robert Walser's work acted as a springboard for Franz Kafka). In some respects, Cummings' work is more stylistically continuous with Stein's than with any other poet or writer.

In addition, a number of Cummings' poems feature, in part or in whole, intentional misspellings, and several incorporate phonetic spellings intended to represent particular dialects. Cummings also made use of inventive formations of compound words, as in "in Just"^[14] which features words such as "mud-luscious", "puddle-wonderful", and "eddieandbill." This poem is part of a sequence of poems entitled Chansons Innocentes; it has many references comparing the "balloonman" to Pan, the mythical creature that is half-goat and half-man.

Many of Cummings' poems are satirical and address social issues (see "why must itself up every of a park", above), but have an equal or even stronger bias toward romanticism: time and again his poems celebrate love, sex, and the season of rebirth (see "anyone lived in a pretty how town" in its entirety).
Cummings' talent extended to children's books, novels, and painting. A notable example of his versatility is an introduction he wrote for a collection of the comic stripKrazy Kat.
Examples of Cummings' unorthodox typographical style can be seen in his poem "The sky was candy luminous".^[15]

Mr. Cummings’s eccentric punctuation is, also, I believe, a symptom of his immaturity as an artist. It is not merely a question of an unconventional usage: unconventional punctuation may very well gain its effect…the really serious case against Mr. Cummings’s punctuation is that the results which it yields are ugly. His poems on the page are hideous.^[16]
— Edmund Wilson, from an essay entitled, Wallace Stevens and E.E. Cummings (1924)

Biography of e.e. cummings
e.e. cummings (1894 - 1962) Cummings was born in Cambridge, Massachusetts, to liberal, indulgent parents who from early on encouraged him to develop his creative gifts. While at Harvard, where his father had taught before becoming a Unitarian minister, he delivered a daring commencement address on modernist artistic innovations, thus announcing the direction his own work would take. In 1917, after working briefly for a mail-order publishing company, the only regular employment in his career, Cummings volunteered to serve in the Norton-Harjes Ambulance group in France. Here he and a friend were imprisoned (on false grounds) for three months in a French detention camp. The Enormous Room (1922), his witty and absorbing account of the experience, was also the first of his literary attacks on authoritarianism. Eimi (1933), a later travel journal, focused with much less successful results on the collectivized Soviet Union. At the end of the First World War Cummings went to Paris to study art. On his return to New York in 1924 he found himself a celebrity, both for The Enormous Room and for Tulips and Chimneys (1923), his first collection of poetry (for which his old classmate John Dos Passos had finally found a publisher). Clearly influenced by Gertrude Stein's syntactical and Amy Lowell's imagistic experiments, Cummings's early poems had nevertheless discovered an original way of describing the chaotic immediacy of sensuous experience. The games they play with language (adverbs functioning as nouns, for instance) and lyric form combine with their deliberately simplistic view of the world (the individual and spontaneity versus collectivism and rational thought) to give them the gleeful and precocious tone which became, a hallmark of his work. Love poems, satirical squibs, and descriptive nature poems would always be his favoured forms. A roving assignment from Vanity Fair in 1926 allowed Cummings to travel again and to establish his lifelong routine: painting in the afternoons and writing at night. In 1931 he published a collection of drawings and paintings, CIOPW (its title an acronym for the materials used: charcoal, ink, oil, pencil, watercolour), and over the next three decades had many individual shows in New York. He enjoyed a long and happy third marriage to the photographer Marion Morehouse, with whom he collaborated on Adventures in Value (1962), and in later life divided his time between their apartment in New York and his family's farm in New Hampshire. His many later books of poetry, from VV (1931) and No Thanks (1935) to Xaipe (1950) and 95 Poems (1958), took his formal experiments and his war on the scientific attitude to new extremes, but showed little substantial development. Cummings's critical reputation has never matched his popularity. The left-wing critics of the 1930s were only the first to dismiss his work as sentimental and politically naïve. His supporters, however, find value not only in its verbal and visual inventiveness but also in its mystical and anarchistic beliefs. The two-volume Complete Poems, ed. George James Firmage (New York and London, 1981) is the standard edition of his poetry, and Dreams in a Mirror, by Richard S. Kennedy (New York, 1980) the standard biography. e. e. cummings: The Art of His Poetry, by Norman Friedman (Baltimore and London, 1960) is still among the best critical studies of his poetic techniques. https://en.wikipedia.org/wiki/Buffalo_Bill [Buffalo Bill 's] by E. E. Cummings Buffalo Bill ’s defunct who used to ride a watersmooth-silver stallion and break onetwothreefourfive pigeonsjustlikethat Jesus he was a handsome man and what i want to know is how do you like your blue-eyed boy Mister Death ---- Please join us in wishing Susan Cheever a happy birthday today. She was born in New York City on this day in 1943. "Cummings's (book) sales are a barometer of the national mood. In confident times his poems are beloved. Their questioning, their humor, and their rule-breaking formalism seem to gibe with a democracy ready to ask hard questions and make fun of itself. In precarious times, readers seem to want an older, more assured poet, someone who speaks with authority rather than scoffs at it." --from E. E. CUMMINGS: A Life Cummings, in his radical experimentation with form, punctuation, spelling, and syntax, created a new kind of poetic expression. Because of his powerful work, he became a generation’s beloved heretic—at the time of his death he was one of the most widely read poets in the United States. Now, in this rich, illuminating biography, Susan Cheever traces the development of the poet and his work. She takes us from Cummings’s seemingly idyllic childhood in Cambridge, Massachusetts, through his years at Harvard (rooming with Dos Passos, befriending Malcolm Cowley and Lincoln Kirstein). There, he devoured the poetry of Ezra Pound, whose radical verses lured the young writer away from the politeness of the traditional nature poem towards a more adventurous, sexually conscious form. We follow Cummings to Paris in 1917, and, finally, to Greenwich Village to be among other modernist poets of the day—Marianne Moore and Hart Crane, among them. E. E. Cummings is a revelation of the man and the poet, and a brilliant reassessment of the freighted path of his legacy. READ an excerpt here:http://knopfdoubleday.com/book/212479/e-e-cummings/

Jesuits ：耶穌會士。詳見 Society of Jesus 。

Society of Jesus：耶穌會：由聖納爵．羅耀拉St. Ignatius de Loyola 于 1540 年所創立，從事教育文化、外方傳教、大眾傳播、社會… 等工作。俗稱 Jesuits 。

'Father Jorge' Rose From Modest Roots 豪爾赫神父今日羅馬教皇...

Jesuits Had Past Struggles With Popes

By JOSE DE CORDOBA and BEN KESLING
Jorge Mario Bergoglio's election as Pope Francis brings new attention to his religious order, the powerful and controversial Society of Jesus, better know as the Jesuits.

Dr. Terrence Tilley of Fordham University discusses the issues that Cardinal Jorge Bergoglio and the Catholic Church face as he becomes Pope Francis. Photo: Getty Images.

Bergoglio: A Man for the Church

Review key events in his life and career.

View Interactive

If one thing defines the Jesuits, it is their reputation for rigorous intellectual discussion and their lack of dogmatism. "They are very innovative and tied to reality," says Elio Masferrer, an anthropologist and expert on religion at Mexico's National Institute of Anthropology and History.

An Argentine Pope

When Pope Francis was 'Father Jorge'

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[SB10001424127887324077704578358630745046140]

Reuters

The new pontiff, second from left in back row, in an undated photo with his family.

The Jesuits are the largest single order in the Catholic Church. Throughout their history, they have wielded power as advisors to monarch and prince alike. They have also produced notable scientists, educators, and missionaries and have also been at the forefront of social movements.
They were founded by Saint Ignatius Loyola, a wounded Basque soldier who had a vision in 1521 as he was recuperating after his leg was shattered by a French cannonball. The order was organized on military lines of soldier-priests uniquely at the Pope's orders. Throughout their history, the Jesuits have enjoyed a reputation for their intellectual acuity and have played a leading role in Catholic education. Today, they run more than 100 colleges around the world.
The Jesuits also have a reputation for bold missionary activities. They evangelized much of Asia in the 16th century, acting as emissaries to the Emperor of China, among other kingdoms.
In that sense, Francis, the name taken by Cardinal Bergoglio, is symbolic. It could refer either to Saint Francis of Assisi or the well-known Jesuit, Saint Francis Xavier, both missionaries, said Terrence Tilley, chair of the Department of Theology at Fordham University in New York.
But Mr. Tilley said the new pope is not known for radical theology. "Expect no significant changes in attitude and no change in doctrine," he said.
Through their almost five hundred years of history, the Jesuits have at times had difficult relations with the papacy, which saw them as rivals.
The Society of Jesus was even dissolved by the Papacy in 1773. But the Jesuits managed to survive in Russia and Prussia, whose rulers refused to obey the papal bull which was eventually rescinded in 1814.

The Changing Church

The population of Catholics around the world has grown dramatically and shifted southward, while the cardinals who elect the pope remain mostly European.

More recently, the Jesuits had a particularly strained relationship with the late Pope John Paul II during the turbulent decades when some in the Church took a leftward turn and Latin America was a front in the Cold War between the U.S. and the Soviet Union.
In some parts of the region, some Jesuits took up arms on the side of leftist guerrillas. In places like El Salvador, wracked by bloody civil war, they were seen by the local establishment as the enemy. For instance, six Jesuits, including the rector of the Catholic University of El Salvador, and two house maids were gunned down by Salvadoran troops in one of the worst atrocities of the Salvadoran civil war in 1989.
Earlier in Mexico, Jesuits were expelled from the conservative business capital of Monterrey by the local bishop who thought they were too close to leftist students. In Mexico at the time, the Jesuits who had traditionally educated the sons of Latin America's elite, closed down their leading school in the capital to devote their energies to teaching the poor.
The Jesuits derive their tough intellectual standards from the experience of their founder. Convalescing from his wound, Saint Ignatius read the only thing available to him, religious books, and wrote down his experiences in a famous spiritual treatise known as the Spiritual Exercises.
Saint Ignatius studied at the University of Paris. It was there, with a half-dozen friends, he founded the Society of Jesus. The Jesuits dedicated themselves to the service of the Pope and were officially recognized by Pope Paul III in 1540.

Theologian and founder the religious order called the Society of Jesus (Jesuits) St. Ignatius of Loyola died in Rome, Papal States on this day in 1556 (aged 64).

"The safest and most suitable form of penance seems to be that which causes pain in the flesh but does not penetrate to the bones, that is, which causes suffering but not sickness. So the best way seems to be to scourge oneself with thin cords which hurt superficially, rather than to use some other means which might produce serious internal injury."
-- St. Ignatius of Loyola

The Spiritual Exercises of St. Ignatius of Loyola is the core work of religious formation for members of the Society of Jesus, the single largest religious order within the Roman Catholic Church. For four and a half centuries in many thousands of editions in all languages, The Exercises have embodied fundamental spiritual principles essential to authentic Christian living. The mystical insight informing Ignatius’s own relationship with God—which he distilled in The Exercises—is that the divine love of God is providentially present in all the details of our existence. Here Ignatius shows how the faithful can be joined to God in all things, according to the Jesuit motto, Ad majorem Dei gloriam, “For the greater glory of God.”

"聖依納爵神操"(The Spiritual Excercises of St. Ignatitus)台北:光啟文化事業 1978/2003 三版 (熊維強先生贈書)

神修三階段
煉路明路合路
始修者進修者成全者

如此 "戴明修煉"似乎應改成"戴明煉修全"

聖依納爵書信選集 (聖依納爵專輯) Selected Letters of St. Ignatius Loyola

作者：依納爵
原文作者：Ignatius of Loyola
譯者：侯景文
出版社：光啟文化
出版日期：1989年

　　聖依納爵雖然誕生在公元一四九一年，但堪當稱得上是一位現代聖人。他創立的耶穌會至今仍站在教會的最前線，做她的前鋒與哨兵；他的靈修方法透過著名的「神操」至今在全教會仍有深刻廣遠的影響。他為耶穌會士所寫的會憲對後期的修會發展奠下了重要的基石。可以說即使在今天，他還很活躍地生活在教會中。一般人都曉得聖依納爵出身軍人，文學根柢有限，晚年體弱多病，對會務又異常忙碌，講的道理固然不少，著作料想不會很多。殊不知他寫的東西實在不少；除了「神操」、「會憲」以及呈遞教宗請求批准耶穌會的「會典綱要」等重要文獻外；尚有留傳至今的書信六千八百一十三封之多，失落者尚不知凡幾。
　　那麼，這些信都是他親筆寫的嗎？有些是他親筆寫的，大部分則是假手祕書寫的。不過讀者不要誤會，所謂由祕書寫，也是經聖祖口授；或者至少授以大意，寫後又必須交他審閱，仔細修改，然後才請人繕寫寄出。十分慎重，絕不馬虎，每封信幾乎都由他親筆簽字，所以真正都算是他寫的信。
　　至於書信往還的對象，可說各階層的人都有；上至教宗、國王、樞機、主教，下至修士、修女以及普通教友，不過大多數則是耶穌會會士。自一五二四至一五四 0 年只有三十來封信。但自耶穌會奠定之後，發展極速，事務自然日繁，來往的書信也就更多了；這裡建立會院，那邊辦學校，或要求派遣會士去印度等地傳教等事宜，幾乎每日有書信來往，可說是應接不暇。此外，最使他關心的是選擇適當的會士擔任省長、院長、初學神師及學校教職員，用心栽培熱心而堅強的會士，因此大部分書信旨在解決困難，指示方針、安慰憂苦、責備怠惰者、節制狂熱者；總之一句，答覆問題的信佔大多數。
　　耶穌會初興，好似剛栽種的小樹，需要常灌溉施肥或剪削駢枝，因此每日都有書信寄出，而且所談之事皆甚重要，絕非空泛應酬的辭令；每封信他必細心閱覽修改，字斟句酌，甚至有時修改膳本數次方始寄出。
　　這些書信無論是指引正途、解釋問題、糾正錯誤、鼓勵精神 ...... 都是為天主的「愈大光榮」。天主首先是「我們的造主和救主」，全能全知，至公至義 ...... 這都是公教傳統的信條；但在依納爵的筆下，卻按所談問題的不同，常顯示不同的意味和反響。對氣餒的傳教士，他便強調天主是「萬善的根源」；對患病者，他便稱天主是「健康和生命，富於仁慈，緩於發怒」；總之一句：他堅固弱者，安慰憂者，開敢愚蒙，隨機應變，一切都是為了使人更加愛慕侍奉天主。所以書信雖然是針對個人、各個不同問題而寫，雖然已事過境遷，但為現在的讀者仍具有同樣的益處。
　　從本書所選的這六十一封書信中，我們可以感覺到依納爵榮主救靈的熾熱心火。他的明智灼見，他對屬下的愛護，他對人的熱誠等等，在本書中流露無遺；他的諄諄訓誨，值得我們玩味再三。
作者簡介
聖依納爵（St. Ignatius of Loyola）
　　1491年生於西班牙羅耀拉，出身貴族，先後充當朝臣，然後從軍。1521年在邦布羅納對抗法國軍隊戰役中受傷，臥床療養期間，經歷了深度的皈依，熱切期望追隨基督芳表，退隱茫萊撒，生活於神修體驗中，感受靈性與神秘的恩寵，並將其中精華部分加以記錄，就是《神操》的初稿。前往聖地朝聖，及先後在西班牙及巴黎潛心讀書時，召集初期同伴，特別在巴黎研讀神學，奠定耶穌會的第一塊基石。1537年在威尼斯晉鐸；同年前往羅馬，1540年與同伴創立耶穌會，1541年被選為第一任總會長。為重整十六世紀的天主教會，為革新教會福傳活動，在各種使徒工作中，提供了大力的援助，1556年在羅馬逝世。 1622年與聖方濟?沙勿略(薩威)同被列入聖人行列。依納爵以他對教會的忠誠與革新，福傳工作的推動，對社會邊緣者的牧民關懷，教育上的投入，及獻身於「愈顯主榮」，受人景仰。

聖依納爵畫傳
Ignace De Loyola

光啟編輯部 (Miguel Berzosa ) 編譯

1991 年 6 月初版

書號 20765

定價 90 元 / 48 頁 / 平裝 / 16 開 / ISBN:957-546-029-4

本書簡介

此畫冊介紹依納爵從被召選、建立修會的生平事蹟。以輕鬆易讀的方式向讀者介紹耶穌會的始祖。

2017.8.1 溫故，知過去文人的語言和思想、今人書法等之遊戲......

2011：明朝呂坤的呻吟語有句話說：「大其心，容天下之物；虛其心，受天下之善。」

國立故宮博物院 National Palace Museum 在書法—筆墨見真章(2017)、于右任書法、十七帖… 相簿中新增了 1 張相片。

2 小時前

于右任76歲時抄錄晚明呂坤的《呻吟語》，整件作品以行楷為主，有時夾雜草字，雖然字體不同，卻無衝突感，反而顯得自然融合，充分反映出大師對於字體的統整能力。
釋文：「大其心。容天下之物。虛其心。受天下之善。平其心。論天下之事。潛其心。觀天下之理。定其心。應天下之變。」
#這個世界唯一不會變的事情就是變
****************************************
自然生姿態—于右任書法特展（北部院區）⋯⋯

(呂坤的)呻吟語

　明代呂坤著，分性命、存心、倫理、談道、修身、問學、應務、養生、天地、世運、聖賢、品藻、治道、人情、物理、廣喻、詞章等類，探討人之良心倫理與處世智慧，包含了全部的道德規範，人們只有共同遵守約定俗成的規範，才能活得瀟灑自在。
　　欲得自由，先受約束，約束就是對自我的超越，從而享受那種倫理學家所擁有的人生概念和存在邏輯。

生平

據《呂李姓源碑》載，呂坤的先祖是元末菜農，因向明軍報信而立功，得到朱元璋獎賞，並詔其回鄉安居，然而朱元璋在手詔中誤將「呂」姓寫作「李」。至呂坤時，方上奏將「李」姓改回「呂」姓。嘉靖十年（1561年），呂坤中河南鄉試第三，萬曆二年（1574年）殿試中三甲第50名，同賜進士出身，出任山西省襄垣知縣，1576年-1577年任大同知縣。1578年-1588年任山東省右參政，1589年-1592年任山西按察使、巡撫、陝西省右布政使、山西巡撫。1593年-1594年任都察院左、右僉都御史，1595年-1597年任刑部左、右侍郎。1597年上《憂危疏》勸明神宗勵精圖治，隨後稱病退休。1618年病逝於家，之前將其未刊行的手稿焚燒。死後葬寧陵縣東南。1621年追贈為刑部尚書。
他提倡獨立思考，對於傳統聖人之論多有懷疑。理學、佛教、道教都有偏頗之處。

哲學觀點

他在哲學上堅持氣一元論，認為：「天地萬物只是一氣聚散，更無別個。」（《呻吟語·天地》）「道器非兩物，理氣非兩件，成象成形者器，所以然者道；生物成物者氣，所以然者理。」（《呻吟語·談道》）批判了理學家把道與器、理與氣分割開來和「理在氣先」等說法。

著作

《呻吟語》，成書於1593年的筆記體哲學著作
《去偽齋文集》
《實政錄》
《交泰韻》，音韻學著作
《陰符經注》
《小兒語》

外在連結

《呻吟語》全文

The William Morris Internet Archive : Works

https://www.marxists.org/archive/morris/works/

Works

Nicholas Salmon

The William Morris Internet Archive is dedicated to Nick Salmon in appreciation for all the work he did in transcribing and providing all the documents marked with a *.

There is an obituary for Nick, written by Peter Faulkner for the Independant.

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The Ideal Book: Essays and Lectures on the Arts of the Book

William Morris

Publisher: University of California Press, 1982
Long introduction followed by reprints of most of Morris's important essays on the book. Contains 33 illustrations. Printed in black and red. Slipcase faded. xlii,134 pages.

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William Morris

The Ideal Book

By the ideal book, I suppose we are to understand a book not limited by commercial exigencies of price: we can do what we like with it, according to what its nature, as a book, demands of Art. But we may conclude, I think, that its maker will limit us somewhat; a work on differential calculus, a medical work, a dictionary, a collection of statesmen's speeches, of a treatise on manures, such books, though they might be handsomely and well printed, would scarcely receive ornament with the same exuberance as a volume of lyrical poems, or a standard classic, or such like. A work on Art, I think, bears less of ornament than any other kind of book (NON BIS IN IDEM is a good motto); again, a book that must have illustrations, more or less utilitarian, should, I think, have no actual ornament at all, because the ornament and the illustration must almost certainly fight. Still, whatever the subject-matter of the book may be, and however bare it may be of decoration, it can still be a work of art, if the type be good and attention be paid to its general arrangement. All here present, I should suppose, will agree in thinking an opening of Schoeffer's 1462 Bible beautiful, even when it has neither been illuminated nor rubricated; the same may be said of Schüssler, or Jenson, or, in short, of any of the good old printers; their works, without any further ornament than they derived from the design and arrangement of the letters were definite works of art. In fact a book, printed or written, has a tendency to be a beautiful object, and that we of this age should generally produce ugly books, shows, I fear, something like malice prepense - a determination to put our eyes in our pockets wherever we can.

Well, I lay it down, first, that a book quite un-ornamented can look actually and positively beautiful, and not merely un-ugly, if it be, so to say, architecturally good, which by the by, need not add much to its price, since it costs no more to pick up pretty stamps than ugly ones, and the taste and forethought that goes to the proper setting, position, and so on, will soon grow into a habit, if cultivated, and will not take up much of the master-printer's time when taken with his other necessary business.

Now, then, let us see what this architectural arrangement claims of us.

First, the pages must be clear and easy to read; which they can hardly be unless.

Secondly, the type is well designed; and

Thirdly, whether the margins be small or big, they must be in due proportion to the page of letter.

For clearness of reading, the things necessary to be heeded are, first, that the letters should be properly put on their bodies, and, I think, especially that there should be small whites between them. It is curious, but to me certain, that the irregularity of some early type, notably the roman letter of the early printers of Rome, which is, of all roman type, the rudest, does not tend towards illegibility: what does do so, is the lateral compression of the letter, which necessarily involves the over-thinning out of its shape. Of course I do not mean to say that the above-mentioned irregularity is other than a fault to be corrected. One thing should never be done in ideal printing, the spacing out of letters, that is, putting an extra white between them; except in such hurried and unimportant work as newspaper printing, it is inexcusable.

This leads us to the second matter on this head, the lateral spacing of words (the whites between them). To make a beautiful page great attention should be paid to this, which, I fear, is not often done. No more white should be used between the words than just clearly cuts them of from one another; if the whites are bigger than this it both tends to illegibility and makes the page ugly. I remember once buying a handsome fifteenth-century Venetian book, and I could not tell at first why some of its pages were so worrying to read, and so commonplace and vulgar to look at, for there was no fault to find with the type. But presently it was accounted for by the spacing; for the said pages were spaced like a modern book, i.e., the black and white nearly equal. Next, if you want a legible book, the white should be white and the black black. When that excellent journal the Westminster Gazette, first came out, there was a discussion on the advantages of its green paper, in which a good deal of nonsense was talked. My friend, Mr. Jacobi, being a practical printer, set these wise men right, if they noticed his letter, which I fear they did not, by pointing out that what they had done was to lower the tone (not the moral tone) of the paper, and that, therefore, in order to make it legible as ordinary black and white, they should make their black blacker - which of course they do not do. You may depend upon it that a grey page is very trying to the eyes.

As above said, legibility depends also much on the design of the letter; and again I take up the cudgels against compressed type, and that especially in Roman letters: the full-sized lower-case letters a, b, d, & c, should be designed on something like a square to get good results: otherwise one may fairly say that there is no room for the design. Furthermore, each letter should have its due characteristic drawing; e.g., the thickening out for a b, should not be of the same kind as that for a d; a u should not merely be an n turned upside down; the dot of the i should not be a circle drawn with compasses, but a delicately drawn diamond, and so on. To be short, the letters should be designed by an artist, and not an engineer. As to the forms of letters in England (I mean Great Britain), there has been much progress within the last forty years. The sweltering hideousness of the Bodoni letter, the most illegible type that was ever cut, with its preposterous thicks and thins, has been mostly relegated to works that do not profess anything but the baldest utilitarianism (though why even utilitarianism should use illegible types, I fail to see), and Caslon's letter, and the somewhat wiry, but in its way, elegant old-faced type cut in our own days, has largely taken its place. It is rather unlucky, however, that a somewhat low standard of excellence has been accepted for the design of modern roman type at its best, the comparatively poor and wiry letter of Plantin, and the Elzeviers, having served for the model, rather than the generous and logical designs of the fifteenth-century Venetian printers, at the head of whom stands Nicholas Jenson. When it is so obvious that this is the best and clearest roman type yet struck, it seems a pity that we should make our starting point for a possible new departure at any period worse than the best. If any of you doubt the superiority of this type over that of the seventeenth century, the study of a specimen enlarged about five times will convince him, I should think. I must admit, however, that a commercial consideration comes in here, to wit, that the Jenson letters take up more room than the imitations of the seventeenth century; and that touches on another commercial difficulty; to wit, that you cannot have a book either handsome or clear to read which is printed in small characters. For my part, except where books smaller than an ordinary octavo are wanted, I would fight against anything smaller than pica; but at any rate small pica seems to me the smallest type that should be used in the body of any book. I might suggest to printers that if they want to get more in they can reduce the size of the leads, or leave them out altogether. Of course this is more desirable in some types than others; e.g., Caslon's letter, which has long ascenders and descenders, never needs leading, except for special purposes.

I have hitherto had a fine and generous roman type in my mind, but after all, a certain amount of variety is desirable, and when you have once got your roman letter as good as the best that has been, I do not think you will find much scope for development of it. I would, therefore, put in a word for some form of gothic letter for use in our improved printed book. This may startle some of you, but you must remember that except for a very remarkable type used very seldom by Berthelette (I have only seen two books in this type, Bartholomew the Englishman, and the Gower of 1532), English black-letter, since the days of Wynkyn de Worde, has been always the letter which was introduced from Holland about that time (I except again, of course, the modern imitations of Caxton). Now this, though a handsome and stately letter, is not very easy reading, it is too much compressed, too spiky, and, so too say, too prepensely Gothic. But there are many types which are of a transitional character and of all degrees of transition; from those which do little more than take in just a little of the crisp floweriness of the gothic, like some of the Mentelin or quasi-Mentelin ones (which, indeed, are models of beautiful simplicity), or, say, like the letter of the Ulm Ptolemy, of which it is difficult to say whether it is gothic or roman, to the splendid Mainz type, of which, I suppose, the finest example is the Schoeffer Bible of 1462, and which is almost wholly gothic. This gives us a wide field for variety, I think, so I make the suggestion to you, and leave this part of the subject with two remarks: first, that a good deal of the difficulty of reading gothic books is caused by the numerous contractions in them, which were a survival of the practice of the scribes; and in a lesser degree by the over abundance of tied letters, both of which drawbacks I take if for granted would be absent in modern types founded on these semi-gothic letters. And, secondly, that in my opinion the capitals are the strong side of roman, and the lower-case of gothic letter, which is but natural, since the roman was originally an alphabet of capitals, and the lower-case a deduction from them.

We now come to the position of the page of print on the paper, which is a most important point, and one that till quite lately has been wholly misunderstood by modern, and seldom done wrong by ancient printers, or indeed by producers of books of any kind. On this head, I must begin by reminding you that we only occasionally see one page of a book at a time; the two pages making an opening are really the unit of the book, and this was thoroughly understood by the old book producers. I think you will seldom find a book, produced before the eighteenth century, and which has not been cut down by that enemy of books (and of the human race), the binder, in which this rule is not adhered to: that the hinder edge (that which is bound in) must be the smallest member of the margins, the head margin must be larger than this, the fore larger still, and the tail largest of all. I assert that, to the eye of any man who knows what proportion is, this looks satisfactory, and that no other does so look. But the modern printer, as a rule, dumps down his page in what he calls the middle of the paper, which is often not even really the middle, as he measures his page from the headline, if he has one, though it is not really part of the page, but a spray of type only faintly staining the head of the paper. Now I go so far as to say that any book in which the page is properly put on the paper, is tolerable to look at, however poor the type may be - always so long as there is no `ornament' which may spoil the whole thing. Whereas any book in which the page is wrongly set on the paper is intolerable to look at, however good the type and ornaments may be. I have got on my shelves now a Jenson's Latin Pliny, which, in spite of its beautiful type and handsome painted ornaments, I dare scarcely look at, because the binder (adjectives fail me here) has chopped off two-thirds of the tail margin. Such stupidities are like a man with his coat buttoned up behind, or a lady with her bonnet put on hindside foremost.

Before I finish this section I should like to say a word concerning large paper copies. I am clean against them, though I have sinned a good deal in that way myself, but that was in the days of ignorance, and I petition for pardon on that ground only. If you want to publish a handsome edition of a book as well as a cheap one, do so; but let them be two books, and if you (or the public) cannot afford this, spend your ingenuity and your money in making the cheap book as sightly as you can. Your making a large paper copy out of the small one lands you in a dilemma even if you reimpose the pages for the larger paper, which is not often done I think. If the margins are right for the smaller book, they must be wrong for the larger, and you have to offer the public the worse book at the bigger price. If they are right for the large paper they are wrong for the small, and thus spoil it, as we have seen above that they must do; and that seems scarcely fair to the general public - from the point of view of artistic morality - who might have had a book that was sightly, though not high priced.

As to the paper of our ideal book we are at a great disadvantage compared with past times. Up to the end of the fifteenth, or, indeed, the first quarter of the sixteenth centuries, no bad paper was made, and the greater part was very good indeed. At present there is very little good paper made, and most of it is very bad. Our ideal book must, I think, be printed on hand-made paper as good as it can be made; penury here will make a poor book of it. Yet if machine-made paper must be used, it should not profess fineness or luxury; but should show itself for what it is. For my part I decidedly prefer the cheaper papers that are used for the journals, so far as appearance is concerned, to the thick, smooth, sham-fine papers on which respectable books are printed, and the worst of these are those which imitate the structure of hand-made papers.

But granted your hand-made paper, there is something to be said about its substance. A small book should not be printed on thick paper, however good it may be. You want a book to turn over easily, and to lie quiet while you are reading it, which is impossible, unless you keep heavy paper for big books.

And, by the way, I wish to make a protest against the superstition that only small books are comfortable to read. Some small books are tolerably comfortable, but the best of them are not so comfortable as a fairly big folio, the size, say, of an uncut Polyphilus, or somewhat bigger. The fact is, a small book seldom does lie quiet, and you have either to cramp you hand by holding it, or else to put it on the table with a paraphernalia of matters to keep it down, a table-spoon on one side, a knife on another, and so on, which things always tumble off at a critical moment, and fidget you out of the repose which is absolutely necessary to reading. Whereas, a big folio lies quiet and majestic on the table, waiting kindly till you please to come to it, with its leaves flat and peaceful, giving you no trouble of body, so that your mind is free to enjoy the literature which its beauty enshrines.

So far, then, I have been speaking of books whose only ornament is the necessary and essential beauty which arises out of the fitness of a piece of craftsmanship for the use which it is made. But if we get as far as that, no doubt from such craftsmanship definite ornament will arise, and will be used, sometimes with wise forbearance, sometimes with prodigality equally wise. Meantime, if we really feel impelled to ornament our books, no doubt we ought to try what we can do; but in this attempt we must remember one thing, that if we think the ornament is ornamentally a part of the book merely because it is printed with it, and bound up with it, we shall be much mistaken. The ornament must form as much a part of the page as the type itself, or it will miss its mark, and in order to succeed, and to be ornament, it must submit to certain limitations, and become architectural; a mere black and white picture, however interesting it may be as a picture, may be far from an ornament in a book; while on the other hand, a book ornamented with pictures that are suitable for that, and that only, may become a work of art second to none, save a fine building duly decorated, or a fine piece of literature.

These two latter things are, indeed, the only absolutely necessary gift that we should claim of art. The picture-book is not, perhaps, absolutely necessary to man's life, but it gives us such endless pleasure, and is so intimately connected with the other absolutely necessary art of imaginative literature that it must remain one of the very worthiest things towards the production of which reasonable men should strive.

Bibliographical Note

Title

The Ideal Book

Delivery

19th June 1893, at the Bibliographical Society, London

Publication

Transactions of the Bibliographical Society, 1893

{縱目傳聲}這本書內容充實。許多故事不勝感慨！譬如說，顧肇森病逝；"他在香港一直是"紙上談兵""："十一、"包浩斯"、張肇康、台灣建築" (參見：一九九七年香港在海峽兩岸間的文化中介，頁227-54)

這本書內容充實。許多故事不勝感慨！

{縱目傳聲}

Title	縱目傳聲: 鄭樹森自選集
Author	鄭樹森
Publisher	天地圖書有限公司, 2004

至今台灣的報人依然懷念鄭樹森，因為在台灣社會尚未解禁時，他給台灣的報紙尤其是副刊，開了一扇窗，帶進了一點新鮮空氣。

鄭樹森現在在香港，依然扮演著為社會培育人文知性土壤的角色。香港每年出版物汗牛充棟，但他的散文集出來，立即脫穎而出，成為華文文學界關注的對象。《縱目傳聲──鄭樹森自選集》以華文文壇到世界文壇為關注對象，寫人寫事，都有獨到一面。縱然是老話題，讀來也有別番滋味。

全書分為十一部分，從諾貝爾文學獎到台灣作家到張愛玲，皆被他點到了──說是一點，力度且不輕。

~~~
我對於"十大"排行沒興趣。不過，兩位對黑澤明的30部電影都能朗朗上口，真專家。

鄭樹森、舒明《日本電影十大》

出版社 :	印刻文學生活雜誌出版有限公司
書系編號 :	香港：天地圖書，2008；台北：印刻文學2009

日本電影十大

舊情綿綿日本老電影| 蘋果日報| 果籽| 名采| 20081005

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當你拍一部電影，你和主角同樣處於電影中，一起笑、一起哭、一起遭受苦難……那就是電影。　－－黑澤明

十大電影片單：
黑澤明《七武士》、小津安二郎《晚春》、溝口健二《元祿忠臣藏》、木下惠介《卡門還鄉》、市川崑《細雪》、成瀨巳喜男《女人踏上樓梯時》、今村昌平《日本昆蟲記》、小林正樹《切腹》、山田洋次《兒子》、新藤兼人《午後的遺書》（十大導演代表作）

＊

進入二十一世紀，電影可說是「太多」了。今天我們可以重溫不少世界名片，新舊蝟聚，有時卻反而幸福得無從下手，不知道如何選擇才好。通過再次的整理過程，或可根據日本這些「排名」的名單，作一簡單的篩選，日後大家在選片上更容易，不至於沒有參考的基礎和指南，書後的附表也具參考價值，希望提供日本十大導演與十大電影的排名順序。暫且擱下個人的心境和喜愛不談，日本老電影之迷人如陳年佳釀，而新片佳作在質與量上始終難以比得過老電影，其實跟日本電影業的盛衰歷史有關。從二次大戰後到整個六○年代是日本電影的全盛時期，今日所公認的經典名片幾乎全出自那二十多年；而影史上地位屹立不可動搖的大師們的頂尖作品也全出現在那段時光。其後就氣勢遞減，佳片寥寥可數了；而且奇怪的是這個現象跟經濟成長無關──甚至可以說是反其道而行：反而是日本成了經濟超強大國之後電影業變得乏善可陳了。也難怪影迷們總覺得日本電影是越老越可愛。

影迷們從前的苦惱是失諸交臂的遺憾，如今的煩惱卻是人生苦短時間有限，鋪天蓋地而來的各國各類型的名片老片新片，何從下手？無所適從之際，可能又形成另一種難以取捨的遺憾了──所以參照信得過的影評人的指點，是沙裡淘金的好方法。

鄭樹森和舒明在這本書裡採用了一個很「日本」的形式──對談（日本話叫「二人談」），來討論日本電影（限於劇情長片）的「十大」：十大導演（其實有二十名）和他們的代表性佳作；從導演的代表作推選十大名片，加上「另十位」和「遺珠」；以及《電影旬報》和《文藝春秋》在不同年代票選出的「十大」、「百大」等等排名榜，和導演片目、年度入選片目等等。這些完整的名單非常有助於選片時的查尋參考；最後一頁還有「延伸閱讀」書單，意猶未盡的影迷大可以繼續鑽研。

兩位作者一個是專攻日本電影的行家，一個是比較文學和文化現象的學者，對談擦出的火花既有英雄所見之同，也有彼此互補之處。他們參照日本多年來《電影旬報》《文藝春秋》等刊物舉辦的大型票選而出的各種排名榜，同時也考慮到日本內部並不統一的意見，以及國際欣賞口味和看法的出入；加上兩人對重要的世界導演和電影作品都有足夠的認識，便可以從自己的「非日本觀點」和國際性的角度，再參照日本的排名來重作評估。兩人固然有很好的默契和共識，但到底是兩個頭腦而不是一個，所以對談討論便成了不同於一般影評的、極有特色的書寫方式。

並無例外也毫不出人意外的，排在榜上前頭遙遙領先的還是那幾位已經走進歷史的名字，伴隨著他們那些部多半會召喚鄉愁的黑白片，和看到片名便升起綿綿舊情的老電影。那真是一個特別的年代：戰爭的創痛猶鉅傷痕猶新，經濟尚在掙扎起步，然而一個絢麗的電影時代開始了，那樣千般剛烈又萬般溫柔的光芒持續了四分之一個世紀，消逝之後偶現的閃爍光點只令人更加懷念那個永遠不再的銀幕上的年代。

面對這些名單這些片目，只覺影海茫茫，竟還有那麼多尚未看過的、時日久遠淡忘了需要重看的、以及看過但還想再看的電影……唉，影迷們甜蜜的苦惱啊！摘自李黎序〈舊情綿綿──日本老電影〉

＊

關於作者：舒明、鄭樹森

舒明，本名李浩昌，一九四五年生於澳門，香港影評人、日本電影專家；出版有《日本電影風貌》（台北，一九九五）、《小津安二郎百年紀念展》（與李焯桃合編，香港，二○○三）、《平成年代的日本電影》（香港，二○○七）等；另有中、日電影英文專論，及華語電影英文研究書目五種。

鄭樹森，一九四八年生，祖籍福建廈門，美國加州大學聖地牙哥校區比較文學博士；出版有文藝論評《文學理論與比較文學》《電影類型與類型電影》等十多種，外國文學選本《當代世界極短篇》《遠方好像有歌聲》等二十多種；另與黃繼持、盧瑋鑾合編有《香港新文學年表》等香港文學史料十多種。鄭樹森在印刻的作品：《小說地圖》《從諾貝爾到張愛玲》

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https://www.douban.com/note/631401115/

我們是同質或異質？伯格曼對談今村昌平| 十年祭

深焦DeepFocus 2017-08-01 17:37:07

我們是同質或異質？伯格曼vs今村昌平對談
翻譯、校對丨沈念（東京）
編輯丨Joy（重慶）
寫在前面：
十年前的7月30日大概是電影史上最讓人悲慟的時刻之一了。瑞典導演英格瑪·伯格曼和意大利導演米開朗基羅·安東尼奧尼都在這一天選擇離開了世界。斯人已逝，但紀念依舊。今日深焦特將關於兩位電影大師的文稿整理集結，藉此達成紀念。
而關於頭條這篇英格瑪·伯格曼與今村昌平的對談，二人的同框可謂是相當新奇的。為了獲悉此次對談的背景，譯者特意查閱了1965年的新聞，得知伯格曼的《小丑之夜》1965年6月25日起於日本公映，由此推測伯格曼或許是為了電影上映而受邀來日進行宣傳，《映畫藝術》則藉機促成了這次大師間的激烈碰撞。
更為確切、具體的信息由於年代久遠無法考察，故不敢貿然斷言，若有知曉詳情的讀者，歡迎留言告知我們！
原文載於《映畫藝術》1965年12月號
主持人：石堂淑朗
石堂：聽說伯格曼先生非常討厭與人會面。我記得以前play boy雜誌因為獨家發布了您的採訪而非常囂張呢。
伯格曼：嗯，確有其事。我討厭美國人，他們是西方文化的破壞者。好萊塢想叫我去拍片子，把人當白癡也得有個限度吧。
石堂：好像歐洲人一般去了美國就會失敗呢，Arturo Toscanini只是一個例外。啊，今村昌平先生來了。
今村：失禮了。不能去壽司店啊，吃了一個又一個，不知不覺就忘記時間了。
石堂：胃病已經好了嗎？
今村：嘿～嘿～嘿～
伯格曼：今天我和今村先生的對談到底是要討論什麼呢？
石堂：有各種各樣的話題。總之，首先我們試著整理了一下今村先生和伯格曼先生的相似點，感覺可以就此討論一下。今村先生從《豬與軍艦》到《日本昆蟲記》的變化過程大到已經可以用轉向來形容了，是吧？
《豬與軍艦》
伯格曼：喔～今村先生，是那樣嗎？
今村：嘛，是的。
伯格曼：怎樣的轉變？
今村：唔，拍完《豬與軍艦》後，我的直覺告訴我人類並不存在，並不存在只有我才能創造的形象……
石堂：非常概念化呢，重喜劇[1]真的是很厲害啊，但概念化的部分比起《無窮的慾望》格調就低了呢。
今村不高興地瞥了一眼石堂，被人說了壞話還會高興的傢伙果然不存在呢。
今村：反正我覺得所謂電影本來就不過是這樣的東西，雖然想反駁石堂，嘛，要說概念化的話可能也有吧。我必須描寫那些，能夠斷言並自我評價道“電影的主角就是我啊”的人物。
石堂：“無盡的慾望”是今村昌平的自我評價。
今村：讓主觀和客觀不斷搏鬥，其結果就是《日本昆蟲記》中松木這一角色的完成。
《日本昆蟲記》
石堂：與此同時氣歪了三觀端正的左派分子的鼻子呢。就是說，今村先生已經對近代人的乏味絕望了，而強制自己主要通過性來透視前近代人心中隱藏著的、獨屬於日本人的思考。我覺得對非近代人的追求，是今村先生和伯格曼先生的共同點。而且，那種手法和木下順二之類的不同，也不是泛泛的民俗傳承，而是邏輯性的詳盡說明。
伯格曼：但是我好像和民俗學和那個什麼學都不一樣啊。
石堂：不，我不是在說實際相同，而是變相的相同。就是說，把《不良少女莫妮卡》和之前的《小丑之夜》與《沉默》相比較的話，戲劇手法變得大相徑庭起來了。以前強調故事的敘述，現在則像是注意敘事方法本身的思想。感覺在主人公形像中，伯格曼先生獨有的內心的諸多問題也開始直接顯露了。
《不良少女莫妮卡》
伯格曼：我的最新作，要說的話那是對於絕對的探究，是尋找著絕對無法發現的絕對的人們的故事，但是主人公們一無所獲，看到蜘蛛之類的，受“精神”這個詞的啟示之類的，然後就結束了。
今村：石堂說我和伯格曼先生的共通點什麼的，怎麼也明白不了。伯格曼先生也好我也好，只是從中期開始就各自轉向自我世界的話，稱不上共通點啊。
伯格曼：就是說，今村先生的世界裡完全沒有所謂絕對的觀念，因此你在戛納呀，威尼斯之類的電影節上，即使投了《紅色殺機》，也僅限於帶給西歐人不快而已。
今村：那不是我的光榮嗎？（說著眼睛發亮）那正是我比拍了《紅鬍子》的黑澤明和拍了《怪談》的小林正樹更偉大的地方啊。
不要相信影像！
伯格曼：呵呵，《紅色殺機》給西歐人帶來不快的並不是因為有通姦情節，而是過於詳實地描寫了通姦女人的不知反省。罪人在絕對者面前如果不害怕得瑟瑟發抖，我們就不會滿足。
《紅色殺機》
今村：你剛才的話不會是認真的吧，你說的理論，非常遺憾，在我們國家是難以寬恕的保守理論。在日本，通姦並反省的女​​人是不會在絕對者面前受苦的。
伯格曼：那不是人，是蟲子。
今村：正是如此，我的電影就是，即使是蟲子也有三分靈魂。因此，雖然很遺憾，和石堂的意圖相反，我對你的電影根本就……
伯格曼：我的電影可不像你的那樣一味地強調合理呢，看你的電影，非常遺憾、除了人類之外從沒讓我想到過別的物體。
今村：當然如此啦，我從沒想過要那樣拍，我所持的一個理論是，影像什麼的、千萬別相信！就是這麼回事。在日本電影中，被稱為影像派的導演大部分是完全不懂理論知識的傢伙，只要時機好就能轉著攝影機，切換著鏡頭的傢伙們－－不，雖然並不是要把你和那群傢伙相提並論，但你真的是很會虛張聲勢的人吶－－《野草莓》開頭的場景也好，《處女泉》一顆白樺的拂曉的風景也好，我都完全不想拍呢，拍了那種東西，電影就在理論上污濁起來了。
《處女泉》
伯格曼：我明白你不喜歡了，然而電影不能沒有有趣的意象，照你這麼說的話費里尼之類的也完全不行了。
今村：我根本就不認同費里尼之類的，我討厭類似懺悔精神的東西。
伯格曼：呵呵。
今村：《大路》也好，《甜蜜的生活》也好，這次的《八部半》也好，都太天真散漫了。現在舉例的三部電影的共同點是都在最後半途而廢了，這種鬆懈是因為，認為在後台有絕對者在候場，就可以得救的天真認知吧。雖然跟你的電影無關，但我還是想說，費里尼電影的登場人物都是只要在精神世界小聲呻吟，就可以得救的傢伙。
伯格曼：但是，至少費里尼的電影有趣啊。藝術一定要有玩樂或者說曖昧的部分，好的電影都會在某處有所鬆懈，這一點上，你的電影有生氣，但是不能把那鬆懈之處漏掉啊。莫扎特也有《一個音樂玩笑》這樣有趣的作品，你也有必要稍微考慮下電影的玩笑喲。嘛，藝術家有所謂氣質這種東西，所以反正怎麼也改變不了吧。
《大路》
石堂：藝術世界好的地方是，意見不同也是好事，所以那個問題就暫時擱置，我稍微打聽了下，二位好像在生活上也有些相似呢，都是電影和戲劇都有涉足。
伯格曼：冬天是戲劇，夏天是電影，我的一年由此分為兩部分。
石堂：您好像一直在國內。
伯格曼：我並不需要以別國為素材。
石堂：非常理解，我也同感。日本的導演們，國外一有什麼事，立刻就被吸引過去了。美其名曰“國際化”的同時，掩飾自己問題意識的稀薄，因此是非常嚴重的問題。嘛，並不僅僅是電影導演，電視裡的先驅者和輕薄的左翼市民主義者也在電視裡搞了愚蠢的越南集會。
今村：雖然不很清楚詳細情況，但那樣的事情不說漏嘴才是生活的學問吧。
石堂：多謝提醒－－但是說出想說的話頓時爽快了，也是人情世故的一種呀。話說回來，絕對者存在與否是天差地別的，總之二位都大膽地描寫了性，為什麼要描寫性呢？
今村：我是因為喜歡。所謂喜歡，是有些東西不會讓我厭倦。叫長部的評論家認為我的作品是母性崇拜，我想說，喜歡把人安進心理模式的傢伙怎麼可能明白藝術家的疾苦啊。
石堂：我認為《日本昆蟲記》也好，《紅色殺機》也好，都是將性的狀態原原本本表現為政治狀態的出色作品。但伯格曼先生的性，果然是通向絕對者的一途吧。
《沉默》
伯格曼：我描寫的是，與絕對不可能的絕對者性交的替代品，因此果然是不可能的，《沉默》中自慰的部分請照那樣理解。普通來說，自慰是性交的替代，但我的電影中，性交本身就是替代，因此自慰和性交是一視同仁的，多少是因為交流溝通的缺失。在那方面，今村先生好像比我幸福啊，性交存在於蟲子進化的過程中。
今村：（間不容髮地）所謂絕對的觀念，在日本的文化中，幾乎與感傷同義。我並沒有特別覺得自己幸福，但是我認為，宣揚“偉大藝術的存在、建立於絕對之類與神相當的東西”的人們，總是想挑起戰爭宣言。
都會並非人類的家（伯格曼）
石堂：想詢問下在座的二位，伯格曼先生和今村先生也都固守著自己的領地，一方是通過神，另一方是通過性和政治經濟風俗的連結點，考慮著人類的救贖。然而，二位都是以過去為時代，以邊境為場所，好像離現在的都會人敬而遠之啊。
伯格曼：我認為現在的大都會不該是人類居住的地方，在那樣的地方無法思索人類性問題的存在啊。
伯格曼工作照（左1）
今村：我認為人類的居住地總是存在問題的，雖然我不是文化主義者，（也不是很清楚）……
石堂：最近到處都盡是近親亂倫，今村先生怎麼看待性亂交呢。
今村：唔……近親亂倫主要是人類關係縱向部分的糾纏，亂交是與橫向相關。
石堂：亂交是人類自由的確認嗎？還是單純的讓人疲乏的東西呢？想向您詢問一下。
伯格曼：我認為性交終究是一對一的變化，亂交難道不是交流喪失者的自暴自棄麼？
石堂：那薩德又如何呢？薩德何止是亂交啊，把性交作為並非一定要有性器才能進行的事情，展示給我們，所有洞和所有突起物的結合都是性交。
今村昌平工作照（左1）
今村：那樣的東西不是不讓拍麼（笑），我因為還未涉入亂交的大都會，所以不好說，但是托馬斯・曼發表過一部兄妹亂倫的短篇，在瓦格納之類的音樂中，兩個衰弱的人在做愛，不論歐洲的近親亂倫是源於衰弱，還是源於神的試煉，雙方都不是被動的，與之相對，我（片中）的亂倫是更有血有肉的東西，因此也一度用那樣的視角去捕捉性愛。
伯格曼：如果你老是說那種話，不管過多久都得不到歐洲電影節的獎呀。
今村：我從來沒想過要贏得衰弱的歐洲老頭老太們的歡心吶，然而拘泥於“絕對的”這種詞語的你們歐洲人才是很愛掩飾呢。
伯格曼：你說掩飾是什麼意思？
今村：最近你的兩部電影，開始變成言語不通甚麼的，精神病患什麼的，結局唐突的異樣類型了，讓人不得不感覺你是在掩飾什麼。
伯格曼：（臭臉）那是源自陀思妥耶夫斯基的手法啦，是啟示。
今村：然而，在那點上，我的電影可不會去掩飾。尤其是《紅色殺機》的結局，應該有著你怎麼也拍不出的巧妙韻味，你也好，費里尼也好，在結局絕對會有像是矛盾的自我同一性般的戲法，我不喜歡。
伯格曼：你不明白影像的飛躍。
今村：沒有媒介的變化不是飛躍是掩飾。
今村昌平（1926-2006）
石堂：好像變成像是[2]埴谷雄高和[3]花田清輝的爭論的感覺了，因此請讓我轉變話題。在北歐別說是婚前性交了，聽說安全套像口香糖一樣在街邊小賣部賣。
今村：好像是那樣，羨慕得不得了呢。
伯格曼：就如性慾被稱為肉慾，是肉體的問題，但同時也是觀念的問題，因此最允許自由性交的土地，一定是性最開放的地方嗎？這自然另成問題。
今村：然而，能像在街邊握手一樣性交，難道不是性觀念思索前階段的必要條件嗎？正如，只有當薩德能將所有洞視作女人的性器時，他才能與所有男人或女人性交。
伯格曼：那日本的年輕男女又怎樣呢？北歐的年輕人不管乾了多少次，還是一臉不停在夢中小便的表情，就這而言，關於性，物理上不自由比較好吧。
今村：並非如此。日本的，特別是都會的工薪階層的性神經失調相當嚴重。尤其是，他們感到和妻子性交是一件百分百空虛的事兒，這與當下流行的家庭理念背道而馳啊。那些有家室的人，有名有利有子嗣，換言之，所謂家庭理念就是以前的私有觀念，只不過被藏在社會進步這一假象之下。在那樣的貨色看來，妻子是私有財產的共有者，所以沒有什麼通過性來溝通的必要。然而，對於一無所有的工薪階層和勞動者來說情況就不是這樣了，以我所見，他們的家庭有一半都瀕臨瓦解了​​，如果妻子不適合的話，換一個就行了吧，年輕人都這樣想，這是一種家庭理念的放棄，我想幫助那樣的年輕人們。
伯格曼：這樣看的話，你好像和我一樣是市民主義者啊。
英格瑪·伯格曼（1918-2007）
今村：當然！在日本大家不信任左翼，因此流行市民主義。在左翼中有精明的貨色，假裝自己是市民主義者，例如越南問題之類的都露個面插一手。然而，所謂市民，是生活於私有秩序中的人類。那樣的傢伙們有必要考慮越南問題嗎？那就如同，深陷於與妻子性生活不合的年輕人，在家中閉著眼睛大聲嚷嚷著偽國際性一般（毫無意義）。
石堂：非常感謝！毋庸置疑兩位都很有才華！嗯！
註釋：
[1] 今村昌平為了諷刺“輕喜劇”創造的詞彙。因風格是自然主義、現實主義，所以動筆寫劇本前都會實行徹查。
[2] （1910-1997）日本小說家，評論家。本命般若豐。生於中國台灣。日本大學預科中途退學。作品以宏大的構思展開特異的形而上主題。著有小說《亡靈》等。
[3] （1909－1974）日本文藝評論家。生於福岡市。京都大學畢業。致力於將馬克思主義與先鋒派藝術綜合起來的研究。著有評論《復興期的精神》，小說集《鳥獸戲語》等。

Jiayan Mi

47 分鐘前美國 New Jersey North Princeton

Prof. Longxi Zhang's intriguing speech on Chinese culture and translation:张隆溪：中国文学和文化的翻译与传播：问题与挑战
https://mp.weixin.qq.com/s/Kr0Rd8FWFF8gtZoVvkcMqQ

張隆溪作品系列：同工異曲‧跨文化閱讀的啟示　叢書名稱：張隆溪作品系列　作　　者：張隆溪　出版單位：江蘇教育　出版日期： 2006.10　

這本小書的目的不僅在於展示東西方在觀念和主題表現上的契合，而且還要提出一個更強的觀點，即只有從東西方比較研究跨文化的視角，才可能獲得某些批評的洞見。如果不超越單一文學傳統有限的視野，我們就不可能有開闊的眼光，來縱覽人類創造力的各種表現和無窮的可能性；而我們一旦跨越文化差異的鴻溝，有了開闊的眼光，再回過頭去反觀許多文學作品，就會發現有些東西我們過去竟然沒有留意到，也毫無批評的意識。
　　——張隆溪

　張隆溪，生於四川成都，北京大學西語系碩士，美國哈佛大學比較文學博士。曾受聘於美國加州大學河濱校區，任比較文學教授。
現任香港城市大學中文、翻譯及語言學系講座教授。研究範圍包括英國文學、中國古典文學、中西文學和文化的比較研究。主要著作有:《20世紀西方文論述評》，《道與羅各斯:東西方文學闡釋學》，《走出文化的封閉圈》，《中西文化研究十論》，《同工異曲: 跨文化閱讀的啟示》，Mighty Opposites: From Dichotomies To Difference In The Comparative Study of China，Unexpected Affinities: Reading Across Cultures (AlexanderLectures )等。

"...Mr Qian Zhongshu's exemplary scholarship..."Zhang Longxi

■內容簡介：

這本小書的目的不僅在於展示東西方在觀念和主題表現上的契合，而且還要提出一個更強的觀點，即只有從東西方比較研究跨文化的視角，才可能獲得某些批評的洞見。如果不超越單一文學傳統有限的視野，我們就不可能有開闊的眼光，來縱覽人類創造力的各種表現和無窮的可能性；而我們一日|跨越文化差異的鴻溝，有了開闊的眼光，再回過頭去反觀許多文學作品，就會發現有些東西我們過去竟然沒有留意到，也毫無批評的意識。

目錄
文化對立批判
“滄海月明珠有淚”:跨文化閱讀的啟示
“這柔弱的一朵小花細皮嬌嫩”:藥與毒的變化之理
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Amazon.com: Unexpected Affinities: Reading Across Cultures...

- [ 翻譯此頁 ]East-West comparative literature is a field of study that has seen tremendous growth in recent years. In this pioneering study, renowned scholar Zhang ...

The Brothers Karamazov
By Fyodor Dostoevsky
This is possibly the hardest to place of Murakami’s choices. The second book to break away from his American obsession, at first glance it is hard to see how, if at all, it influenced his style. There is a multitude of characters in Dostoevsky’s novel with the bulk of the book relating to the four brothers and their own families. It is a deeply personal and philosophical book and this, perhaps, is where the connection lies. There is a great deal of thought in this novel – the moral kind, the spiritual kind, the desires of man, the responsibilities and ethics of man – and all of these themes feature throughout Murakami’s novels in little bite-sized pieces.

Fyodor Dostoevsky

“I love humanity, but I wonder at myself, because the more I love humanity in general, the less I love man in particular."
--from "The Brothers Karamazov" (1879–1880)

The Brothers Karamazov, Dostoevsky’s last novel, published just before his death in 1881, chronicles the bitter love-hate struggle between the outsized Fyodor Karamazov and his three very different sons. It is above all the story of a murder, told with hair-raising intellectual clarity and a feeling for the human condition unsurpassed in world literature. Dostoevsky’s towering reputation as one of the handful of thinkers who forged the modern sensibility has sometimes obscured the purely novelistic virtues–brilliant characterizations, flair for suspense and melodrama, instinctive theatricality–that made his work so immensely popular in nineteenth-century Russia. READ an excerpt here: http://knopfdoubleday.com/bo…/241840/the-brothers-karamazov/

“Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to a point that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love.”
―from THE BROTHERS KARAMAZOV by Fyodor Dostoevsky

Today is the 195th anniversary of the birth of Fyodor Dostoevsky.

"But it has always happened that the more I detest men individually the more ardent becomes my love for humanity."

―from THE BROTHERS KARAMAZOV

“In the end they will lay their freedom at our feet and say to us, Make us your slaves, but feed us.”

― from "The Grand Inquisitor" in The Brothers Karamazov by Fyodor Dostoevsky

初2 (1966)買讀過《罪與罰》、大一讀狄濟之？翻譯的The Brothers Karamazov....後來這些書都找不到.....

"Taking a new step, uttering a new word, is what people fear most."
― from CRIME AND PUNISHMENT(1866)

Everyman's Library

The first part of Fyodor Dostoevsky's CRIME AND PUNISHMENT appeared in the January 1866 issue of "The Russian Messenger." It was published in twelve monthly installments (the last in December 1866), and later published as a novel.

"All is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most."

--from Crime and Punishment

Raskolnikov, an impoverished student living in the St. Petersburg of the tsars, is determined to overreach his humanity and assert his untrammeled individual will. When he commits an act of murder and theft, he sets into motion a story that, for its excruciating suspense, its atmospheric vividness, and its depth of characterization and vision is almost unequaled in the literatures of the world. The best known of Dostoevsky’s masterpieces, Crime and Punishment can bear any amount of rereading without losing a drop of its power over our imaginations. Dostoevsky’s drama of sin, guilt, and redemption transforms the sordid story of an old woman’s murder into the nineteenth century’s profoundest and most compelling philosophical novel. Award-winning translators Richard Pevear and Larissa Volokhonsky render this elusive and wildly innovative novel with an energy, suppleness, and range of voice that do full justice to the genius of its creator. Pevear & Volokhonsky Translation. READ an excerpt here: http://knopfdoubleday.com/…/crime-and-punish…/9780679420293/

讀書共和國新增了 4 張相片。

「我殺了一隻可惡的、有害的蝨子，一個放高利貸的老太婆，她對誰也沒有益處，她吸窮人的血，殺了她可以贖四十樁罪，這算犯罪嗎？

我可不認為這是犯罪，也沒有想去贖罪，為什麼大家都指著我說：『犯罪，犯罪！』現在我才明白，我的膽怯是愚蠢的，現在我已經下了決心要去受這種不該受的恥辱！

只是由於自己的卑鄙和無能，也許只是為了自己的利益，我才下了這個決心，就像這個……波爾菲里所建議的！……」

「哥哥，哥哥，你說什麼啊！要知道你殺了人？」

「大家都殺人，現在世界上正在流血，從前也常常血流成河，他們殺人如麻，鮮血像香檳酒一樣流淌，這些人因殺人如麻竟然在卡庇托林舉行加冕，以後又被稱做人類的恩人。

你只要較為用心地觀察一下，就能看清楚！我想為大眾造福，往後做成百成千件好事來彌補這樣一樁傻事，這甚至不是傻事，而只是一種笨拙的行為，因為這個主意根本不是像現在失敗了的時候看起來那麼傻……」

－摘自《罪與罰》

關注窮人的卑微處境，對被傷害與侮辱的小人物滿懷憐憫之情的俄羅斯作家杜斯妥也夫斯基（Фёдор Михайлович Достоевский, 1821－1881），本身也出生於貧困家庭，25歲時以處女作《窮人》出道，在雜誌《當代人》上連載並廣受好評。

他的代表作《罪與罰》，敘述窮大學生為生計所迫而殺死放高利貸的房東老太婆後，經歷漫長的內在省思，深入刻畫主角的精神狀態變化，並寫實地剖析了俄羅斯社會，和《戰爭與和平》並稱為最重要的俄羅斯小說。

杜斯妥也夫斯基影響福克納、卡繆、卡夫卡等作家，他和托爾斯泰、屠格涅夫並稱為俄羅斯文學「三巨頭」。

他在《罪與罰》中塑造的超人形象，十多年後尼采在出版的《查拉圖斯特拉如是說》中也有系統性地闡述期超人哲學。

1821年11月11日，杜斯妥也夫斯基生於莫斯科。

Notes from Underground (Second Edition) (Norton Critical Editions) Paperback

by Fyodor Dostoevsky (Author), Michael R. Katz (Editor)

The text for this edition of Notes from Underground is Michael Katz’s acclaimed translation of the 1863 novel, which is introduced and annotated specifically for English-speaking readers.

"Backgrounds and Sources" includes relevant writings by Dostoevsky, among them "Winter Notes on Summer Impressions," the author’s account of a formative trip to the West.

New to the Second Edition are excerpts from V. F. Odoevksy’s "Russian Nights" and I. S. Turgenev’s "Hamlet of Shchigrovsk District." In "Responses", Michael Katz links this seminal novel to the theme of the underground man in six famous works, two of them new to the Second Edition: an excerpt from M. E. Saltykov-Shchedrin’s The Swallows, Woody Allen’s Notes from the Overfed, Robert Walser’s The Child, an excerpt from Ralph Ellison’s The Invisible Man, an excerpt from Yevgeny Zamyatin’s We, and an excerpt from Jean-Paul Sartre’s Erostratus.

"Criticism" brings together eleven interpretations by both Russian and Western critics from the nineteenth and twentieth centuries, two of them new to the Second Edition. Included are essays by Nikolai K. Mikhailovsky, Vasily Rozanov, Lev Shestov, M. M. Bakhtin, Ralph E. Matlaw, Victor Erlich, Robert Louis Jackson, Gary Saul Morson, Richard H. Weisberg, Joseph Frank, and Tzvetan Todorov.

A Chronology and Selected Bibliography are also included.

About the author (2001)

One of the most powerful and significant authors in all modern fiction, Fyodor Dostoevsky was the son of a harsh and domineering army surgeon who was murdered by his own serfs (slaves), an event that was extremely important in shaping Dostoevsky's view of social and economic issues. He studied to be an engineer and began work as a draftsman. However, his first novel, Poor Folk (1846), was so well received that he abandoned engineering for writing. In 1849, Dostoevsky was arrested for being a part of a revolutionary group that owned an illegal printing press. He was sentenced to be executed, but the sentence was changed at the last minute, and he was sent to a prison camp in Siberia instead. By the time he was released in 1854, he had become a devout believer in both Christianity and Russia - although not in its ruler, the Czar. During the 1860's, Dostoevsky's personal life was in constant turmoil as the result of financial problems, a gambling addiction, and the deaths of his wife and brother. His second marriage in 1887 provided him with a stable home life and personal contentment, and during the years that followed he produced his great novels: Crime and Punishment (1886), the story of Rodya Raskolnikov, who kills two old women in the belief that he is beyond the bounds of good and evil; The Idiots (1868), the story of an epileptic who tragically affects the lives of those around him; The Possessed (1872), the story of the effect of revolutionary thought on the members of one Russian community; A Raw Youth (1875), which focuses on the disintegration and decay of family relationships and life; and The Brothers Karamazov (1880), which centers on the murder of Fyodor Karamazov and the effect the murder has on each of his four sons. These works have placed Dostoevsky in the front rank of the world's great novelists. Dostoevsky was an innovator, bringing new depth and meaning to the psychological novel and combining realism and philosophical speculation in his complex studies of the human condition.

Michael R. Katz , is C. V. Starr Professor of Russian and East European Studies at Middlebury College. He is the author of The Literary Ballad in Early Nineteenth-Century Russian Literature and Dreams and the Unconscious in Nineteenth-Century Russian Fiction . He has translated and edited the Norton Critical Editions of Fyodor Dostoevskyrsquo;s Notes from Underground and Ivan Turgenevrsquo;s Fathers and Children . He has also translated Alexander Herzenrsquo;s Who Is to Blame? , N. G. Chernyshevskyrsquo;s What Is to Be Done? , Dostoevskyrsquo;s Devils , Druzhininrsquo;s Polinka Saks , Artsybashevrsquo;s Sanin , and Jabotinskyrsquo;s The Five .

舊書

某生奮鬥過查了2 頁單字

Notes From Underground by Fyodor Dostoevsky
A Norton Critical Edition,1989

Preface
Backgrounds and Sources
Responses*
Criticism
A Chronology of Dostoevsky's Life and Work
Selected Bibiography

*包括

Nowhere Man Lyrics
Artist(Band):The Beatles

He's a real nowhere man,
Sitting in his Nowhere Land,
Making all his nowhere plans
for nobody.

Doesn't have a point of view,
Knows not where he's going to,
Isn't he a bit like you and me?

Nowhere Man please listen,
You don't know what you're missing,
Nowhere Man,the world is at your command!

(lead guitar)

He's as blind as he can be,
Just sees what he wants to see,
Nowhere Man can you see me at all?

Nowhere Man, don't worry,
Take your time, don't hurry,
Leave it all till somebody else
lends you a hand!

Doesn't have a point of view,
Knows not where he's going to,
Isn't he a bit like you and me?

Nowhere Man please listen,
you don't know what you're missing
Nowhere Man, the world is at your command!

He's a real Nowhere Man,
Sitting in his Nowhere Land,
Making all his nowhere plans
for nobody.
Making all his nowhere plans
for nobody.
Making all his nowhere plans
for nobody!

Title

Notes from Underground: An Authoritative Translation, Backgrounds and Sources, Responses, Criticism

Norton Critical Editions

Author

Fyodor M. Dostoevsky
Editor

Michael R. Katz

Edition

2, illustrated, annotated

Publisher

W W Norton & Company Incorporated, 2001

ISBN

0393976122, 9780393976120

Length

258 pages

http://vs-press.blogspot.tw/2014/05/CL004-newsletter.html
2014年5月8日星期四

櫻桃園文化推出新譯本紀念杜斯妥也夫斯基《地下室手記》出版150年

文／櫻桃園文化總編輯　丘光

為什麼讀杜斯妥也夫斯基？

櫻桃園文化出版第四本俄國經典文學新譯，這次輪到了杜斯妥也夫斯基的《地下室手記》，從前次萊蒙托夫的《當代英雄》跳過了果戈里到這本，簡單的理由是這兩部作品有著極為相似的脈絡，都試圖要描繪出一個負面形象的時代之子，藉此映出社會樣貌，而且針砭時代病症，也可以說，都是給社會一面鏡子，同時給自己辯證一條自由生活之路。今年恰逢本作出版150週年，新譯本期待以現代閱讀的觀點來向大師致敬。

對台灣讀者而言，杜斯妥也夫斯基似乎很深沉，但我們想像的往往比我們認知的還要多、還要複雜，如果實際翻閱杜斯妥也夫斯基的作品，會發現他一生大概只寫一件事情，那就是研究人的心裡在想什麼，以及藉由這些想法人怎麼過生活，這是永恆的問題，也是他之所以到現今仍讓我們感興趣讀的最主要理由（因為我們許多人到現在還一直不了解週遭人在想什麼不是嗎？）。當然，小說中難免遇到困惑不解，這正是我們喜歡杜斯妥也夫斯基的原因，他試著看透時代、提出疑問，他向我們展示的人心並非一清二楚的科學觀察結果，而是要讓我們去思索不清不楚的部分，讓我們自己在內心思索後與文本對話，這裡面有無比的現代性，使我們每次重讀都會得到更多東西，因為我們學會去獨立思考，學會去感受自己真正要的是什麼，而非大家（或說自然規律）給我們什麼就照單全收──在「開創新局」這個層面上，他可以說是一個心靈的革命家。

如何進入杜斯妥也夫斯基的世界？

杜斯妥也夫斯基不僅在創作生涯極具戲劇性，在生活上也萬分精彩。他雙親早逝，青春期被丟到軍校生活，年輕時即發現罹患癲癇症，文壇成名後在文化沙龍中交際的挫折與初戀（其實是單戀）的失敗，與屠格涅夫一生始終維持著亦敵亦友的交情，被逮捕入獄成為政治犯，近十年的西伯利亞流放，包括苦役中與極惡罪犯共同生活的經歷，兩段婚姻與一段婚外情，沉迷賭博近十年……種種這些「真實生活」大多反應在他的小說創作裡，如果我們進一步認識作家的生活，那麼對作品中的細節或許會有更多共鳴。

小說文本的詮釋上，新譯本除了將譯注增加至八十餘則，其中有許多是本版獨有的，也邀請台大外文系助理教授熊宗慧專文導讀杜斯妥也夫斯基創作的現代精神，期待閱讀時能更全面地走進杜斯妥也夫斯基的作品世界觀中。另外，還試著重現作家的生活與創作的關聯，在書末編寫了全新的圖文作家年表，挑選杜斯妥也夫斯基一生各時期的重要圖片，文字中收有關鍵的書信片段，輔助我們理解作家當時的生活風貌與思想心境的串連。

杜斯妥也夫斯基一輩子探索人的心靈，其實早在他十八歲的時候，便已經在信中向哥哥吐露這樣的心聲：「人是一個謎，需要解開它……我在研究這個謎，因為我想成為一個人。」

怎麼看《地下室手記》？

從櫻桃園文化一開始，就有不少人提議我們新譯《卡拉馬助夫兄弟》，當然這樣的大部頭作品不是一時間能夠好好處理的，而最主要的是，閱讀杜斯妥也夫斯基，或許從《地下室手記》起步較為合適。

一位杜斯妥也夫斯基的崇拜者、作家羅贊諾夫（他甚至娶了杜斯妥也夫斯基的前女友蘇斯洛娃）這麼說：《地下室手記》與《罪與罰》一樣，都是杜斯妥也夫斯基的巨著，在前者中你看得到思想，後者則是藝術。沒有讀過《地下室手記》，就不可能理解《罪與罰》，而沒有讀過這兩本，則無法讀懂《群魔》和《卡拉馬助夫兄弟》。

《手記》看似個人的懺悔錄，實則是整個時代的雜症診斷，作家虛構出「地下室人」這麼一個封閉自我的人物，藉他的形象點出時代的問題（也包括作家自身的毛病），我們看看這個角色集合了什麼樣的時代性格：自認比任何人聰明，但又矛盾於自貶與自傲中，以個人對抗全體，卻不敢正眼看他人，疏離了真實生活，跛行於生活，自滿於講漂亮話，用幻想緩和現實的挫折與傷痛，生活上的一切不順都可避往美與崇高之中──再看看我們現在的生活週遭，有種多麼奇妙的似曾相似！

沒錯，也許可以直接讀後期的長篇小說，只不過會少了些理解和樂趣，少了這系列作品中一個個叛逆者一路添加的懷疑之火。如果我們從《地下室手記》這個源頭開始讀，則會更清楚杜斯妥也夫斯基的思想脈絡，更明白他在生前最後一本筆記簿寫下的這幾句話：

「我並不是像小孩子那樣信仰基督的，而是透過懷疑的大熔爐試煉之後，我的『和散那』（即讚美主之意，語出福音書）才傳揚出去，就像我小說裡的『鬼』所說的那樣（指《卡拉馬助夫兄弟》中伊凡與鬼對談的那章）……」

《地下室手記》正是這座「懷疑的大熔爐」中有計劃的、最初的那把懷疑之火。儘管杜斯妥也夫斯基的作品中常見懷疑人性、著迷描寫人性中的惡，但作家總會有心靈上、精神上或宗教上的觀點來與作品中的種種懷疑相抗衡，最終將朝著他所謂的「美拯救世界」而去。

現在不妨來細細重讀杜斯妥也夫斯基在《地下室手記》裡是怎麼翻動我們的靈魂，開始來走一趟懷疑的大熔爐試煉吧！

※相關連結：

《地下室手記：杜斯妥也夫斯基經典小說新譯》新書介紹 http://vs-press.blogspot.tw/2014/04/CL004.html
關於《地下室手記》的評價 http://vs-press.blogspot.tw/2014/05/CL004-review.html
《地下室手記》作家年表裡的小故事 http://vs-press.blogspot.tw/2014/05/CL004-chronicle.html
地下室人的現代精神 http://vs-press.blogspot.tw/2014/05/CL004-introduction.html

"Our prison stood at the edge of the fortress, right by the fortress rampart. You could look at God’s world through the chinks in the fence: wouldn’t you see at least something?"

--from NOTES FROM A DEAD HOUSE (1862) by Fyodor Dostoevsky

In 1849, Dostoevsky was sentenced to four years at hard labor in a Siberian prison camp for participating in a socialist discussion group. The novel he wrote after his release, based on notes he smuggled out, not only brought him fame, but also founded the tradition of Russian prison writing. Notes from a Dead House (sometimes translated as The House of the Dead) depicts brutal punishments, feuds, betrayals, and the psychological effects of confinement, but it also reveals the moments of comedy and acts of kindness that Dostoevsky witnessed among his fellow prisoners. To get past government censors, Dostoevsky made his narrator a common-law criminal rather than a political prisoner, but the perspective is unmistakably his own. His incarceration was a transformative experience that nourished all his later works, particularly Crime and Punishment. Dostoevsky’s narrator discovers that even among the most debased criminals there are strong and beautiful souls. His story is, finally, a profound meditation on freedom: “The prisoner himself knows that he is a prisoner; but no brands, no fetters will make him forget that he is a human being.” READ an excerpt here: http://www.penguinrandomhouse.com/…/notes-from-a-dead-hous…/

杜斯妥也夫斯基 by N.A. Berdyaev 孟祥森譯台北:時報 1986

杜斯妥也夫斯基的一生. 外語原名, ドストエフスキイの生活. 原作者, 小林秀雄. 作品國別, 日本. 原出版日期, 2003. 原出版社, 萬象文庫 1993杜斯妥也夫斯基小說論. 原作者, 小林秀雄. 作品國別, 日本. 原出版日期, 2003. 原出版社, 同上

● 杜思妥也夫斯基 杜斯妥也夫斯基/ 紀德演講國立編譯館

The New York Times Chinese -Traditional 紐約時報中文網

11小時

中國領導人比川普更清楚，全球面臨的「氣候變化」有三種：天氣、全球化與科技。他們每天早晨醒來問自己，我們怎樣才能繼續掌權？答案是：用科技壓迫人民。但他們也問：我們需要哪種國家戰略，緩解這三種變化最糟糕的衝擊？相比之下，川普把錢花在修建對抗墨西哥的一道牆上。還有比這更蠢的嗎？

（本文發表於時報觀點與評論版面，作者是托馬斯·弗裏德曼。）

迎接三種「氣候變化」，中國有準備美國卻沒有

中國領導人深知他們面臨的全球挑戰，他們的對策是用科技手段壓迫人民，但也包括增加關鍵領域的投入，謀求長期繁榮。美國卻毫無計劃。

CN.NYTIMES.COM

0803 2017 在 French 24 臺看到 Thomas 打書
0224 2017
Thomas L. Friedman: "Thank You for Being Late" | Talks at Google
https://www.youtube.com/watch?v=nuF2JKeM2CY
應該有翻譯義工團將如此精采的演說配中文字幕：細數2007年是人類科技群星燦爛年 (這只是百分之一內容)：

2007年，亞馬遜推出電子書閱讀器Kindle，質疑紙本書末日將至的聲浪日漸高漲。當時亞馬遜創辦人貝佐斯（Jeff Bezos）硬是唱反調，咬定紙本書有其存在必要，「非常難以取代。」

10年後回頭看，貝佐斯說得沒錯！

That Used to Be Us: How America Fell Behind in the World and How We Can Come Back
by Thomas L. Friedman (Author), Michael Mandelbaum (Author) 2011

翻譯評論：
第四部　政府當機 / 第11章： "兩個恐怖元素 (The Terrible Twos)"：

章名： "兩個恐怖元素 (The Terrible Twos)"錯誤，內文都譯為"恐怖的兩歲"。

A child development stage which normally occurs around the age of two (but can start earlier) and consists of toddlers often saying no and throwing temper tantrums

Page 283 ... From Wall Street to Main Street, far too many America…

Page 284 …far too many Americans, from Wall Street to Main Street, …

中文版

301頁的緬因Maine街，乃是main street (市鎮的主要商業街)的誤譯。

324頁的2處"destructive creation"有誤

被全球化的浪潮逼到邊緣，政治對立加劇，眼看中國經濟起飛，想要追趕卻有心無力… 這是一本談論美國的困境與希望的書，但處處與台灣的現況似曾相識，如果先民的拓荒精神是美國困境的解答，我們不妨也重新擦亮自己對國家的想像。

　　選後台灣，我們最需要什麼？
　　我們需要冷靜、需要沉澱、需要思考，
　　我們曾經輝煌，輝煌於對未來的企圖心、對未來的想像力，要在世界發聲與立足的勇敢。

　　台灣有自己的成功方程式：優秀的國民教育、現代化基礎設施、廣納五湖四海「新台灣人」的開放精神，加上鼓勵產業發展升級的良好政策。此時，該是我們回看歷史、重新檢驗每一項成功方程式的的關鍵時刻了。

　　如果你關心台灣未來，如果你關心在「扁平2.0」新世界裡，如何維持個人的競爭優勢，佛里曼的《我們曾經輝煌》，提供你新視角，只要你將書中談的「美國」代換成「台灣」，「美國人」代換成「台灣人」，因為，在這個超連結新世界，台灣的挑戰比起美國更艱巨。

　　這本書由佛里曼與外交思想家曼德鮑姆合著，探討美國政府當前所面臨的四大危機：全球化、資訊科技革命、債台高築，及能源過度使用。但美蘇冷戰結束後，美國政府對這些議題視若無睹。而當今中國大陸無論在教育、工業、科技的崛起，都一再提醒美國「也曾擁有如此光榮」（That Used to Be US），並顯示美國當今政治體系及核心價值的崩壞。

　　儘管如此，佛里曼深信，只要深入了解美國歷史，就會找到讓美國克服當前危機的方式，讓美國重返輝煌時代。本書提出許多成功企業家的例子，指出他們並未放棄美國夢的願景及勇往直前的態度及行動，佛里曼更進一步針對美國已陷入的困境提出建言，包括振興傳統核心價值，及建立新的第三方運動復興國家經濟。

< 目錄章名>

　　在全球化時代，站在全球高度上，從龐雜紛歧的全球事務中理出頭緒，為全世界人類帶來全球觀點的第一人，非佛里曼莫屬。

　　從報導中東地區複雜的局勢，到盱衡全球的國際事務，佛里曼一直用敏銳的記者直覺，強烈的個人文字風格，運用許多小故事，夾議夾敘，把治絲益棼的國際政治、金融市場、科技環保、宗教文化等種種議題，寫得十分淺顯易懂，引人入勝，讓每個人都可以對國際事務侃侃而談，對於全球化的過程如臨其境。
　　佛里曼在《紐約時報》的專欄文章，同步在全球超過七百多個媒體上刊登。他的《從貝魯特到耶路撒冷》，被翻譯成27國文字，並成為暢銷書，甚至成為許多中學及大學了解中東議題的教科書。1999年出版《了解全球化》（The Lexus and the Olive Tree）被翻譯成20國文字，2005年出版《世界是平的》（The World Is Flat），成為全球各地討論的熱烈話題，也讓他被《美國新聞與世界報導》選為美國最佳領導人之一。　　他因為傑出的新聞報導及評論成就，拿過三座普立茲獎，如今已是普立茲獎的終身評審。他精通希伯來語和阿拉伯語，有五所美國大學的榮譽博士學位。新聞工作之餘，他也曾任教哈佛大學，與哈佛校長桑默斯與本書13章出現的桑德爾共同開一門「全球化」的課。

　　曼德鮑是約翰霍浦金斯大學高級國際研究學院教授，專攻美國外交政策，並主持該院的美國外交政策計畫。他也曾任教於哈佛大學、哥倫比亞大學，及美國海軍學院。他擔任華盛頓近東政策研究所顧問，該所贊助中東政策研究和相關議題的公共討論。曼德鮑畢業於耶魯大學，獲劍橋大學國王學院碩士，並在哈佛大學完成博士學位。他著有13本書，並編輯了12本書，除了本書之外，他的寫作主題遍及美國政策、體育生態、歐洲政治、全球競爭，及核能議題。

導　　讀美國重建輝煌之路高希均
前　　言生於斯土

第一部　為美國看看病
　　　　1 見可疑，立通報
　　　　2 我們始終忽視問題
　　　　3 美國人已忘卻歷史

第二部　教育面臨艱巨挑戰
　　　　4 誰吃掉我的工作
　　　　5 創意，生存的必要條件
　　　　6 用雙倍的家庭作業復興美國夢
　　　　7 無業世代來臨？

第三部　對數學與物理學開戰
　　　　8 欠債總要還
　　　　9 與數學（及未來）開戰
　　　　10 物理之戰

第四部　政府當機
　　　　11 兩個恐怖元素
　　　　12 不管是什麼，我都反對到底
　　　　13 貶值

第五部　重新發現美國
　　　　14 從不放棄的民間力量
　　　　15 震撼療法
　　　　16 重啟美國光榮

誌謝

　生於斯土

　　讀者或許會問起，我們兩個本以寫作外交事務為職志，一個是紐約時報的海外特派兼專欄作家，一個是約翰霍浦金斯大學高等國際研究所（The Johns Hopkins University School of Advanced International Studies）教授，為什麼這回卻合力著書探討美國國內現況。答案很簡單。我們是交情超過二十年的老朋友，在這段漫長歲月裡，我們幾乎每星期都會一起討論不同層面的國際關係問題，還有美國的外交政策。但近幾年來，我們開始注意到：儘管每次話題始於外交政策，但最後都會歸結到國內政策。我們會討論美國發生了什麼事，或是哪些事情該發生卻沒發生。有時我們會試著轉移話題，但是談著談著，總是又轉回美國，談到我們如今似乎沒有能力起而應付當前最大的挑戰。

　　當然，此一情況具有極大的外交政策意涵。置身今日世界，美國多半還是扮演巨大且富建設性的角色，但這必須仰賴美國社會、政治和經濟的健全。今天的美國生病了，無論在經濟或政治上。我們想藉由這本書解釋美國何以落入今天的境況，以及應該如何脫身。

　　至於我們的寫作風格，也希望讀者能理解。我們在書中所引用的故事、軼聞與訪談，經常只有我們其中一人在場或聽聞。一本擁有兩位作者且引述諸多報導的書，並不能只寫「我說」或「我看到」。為了清楚陳述，我們在引述的時候必須寫上自己的名字，如：「湯姆回憶……」、「邁可寫道……」（編注：中文版為方便閱讀，佛里曼的感想以第一人稱「我說」或「我看到」呈現，曼德鮑的觀察則加註原名「邁可寫道……」。）

　　讀者對於我們的認識，大多經由我們的工作角色，所以知道我們是作家與評論家，但是，我們也是美國國民。這一點非常重要，因為撰寫此書的動力不只來自於我們對政策的興趣，也在於我們的身份認同。所以謹在此簡單地自我介紹—不是以專家，而是以美國公民的身份。

佛里曼的童年

　　湯姆：我出生於明尼蘇達州明尼亞波里斯市，在郊區的聖路易公園（St. Louis Park）長大。這個小地方後來因為柯恩兄弟伊森（Ethan Coen）與喬伊（Joel Coen）一部以此為背景的電影「正經好人」（A Serious Man）而聞名。參議員富蘭肯（Al Franken）、柯恩兄弟、哈佛大學政治哲學教授桑德爾（Michael J. Sandel）、政治學家奧恩斯坦（Norman Ornstein）、長期擔任國家足球聯盟（NFL）足球教練的崔斯特曼（Marc Trestman）和我前後一起在這個小社區住過幾年，這對我們每一個人產生極大的影響。在這裡的成長經驗，孕育出我對美國的高度樂觀主義，並相信我們真的可以群策群力、共謀公共利益。

　　1971年，我高中畢業那年，《時代》雜誌的封面是明尼蘇達州州長安德森（Wendell Anderson）高舉一條他剛捕獲的魚，標題是〈明尼蘇達的美好生活〉。通篇報導談的是「這個州有所作為」。如果打從孩提時期開始，本州出身的參議員是民主黨的韓福瑞（Hubert Humphrey），孟岱爾（Walter Mondale），麥卡錫（Eugene McCarthy），眾議員是溫和的共和黨籍的麥克奎格（Clark MacGregor）和法蘭澤（Bill Frenzel），而州內的頂尖企業，如戴頓百貨（Dayton’s）、標靶百貨（Target）、通用磨坊（General Mills）和3M，都是倡導企業社會責任的先驅，深信協助興建諸如「古斯里劇院」（Tyrone Guthrie Theater）這樣的建設是企業使命的一部分，你必然堅信政治確實有所作為，而且美國人生活中確實有可行的政治核心。

　　我和同一群孩子一起進入公立學校就讀，從幼稚園一直到高中。在當年的明尼蘇達，私立學校是給惹麻煩的孩子唸的。對於聖路易公園的中產階級家庭小孩，私立學校簡直聞所未聞，住在那裡的每一戶人家都是中產階級。我媽媽在第二次世界大戰時期加入美國海軍，拜「美國軍人權利法案」（GI Bill）之賜，他們才能貸款買到房子。我爸爸沒唸過大學，是一家銷售滾珠承軸公司的副總裁。內人安妮（Ann Bucksbaum）出生於愛荷華州的馬歇爾鎮，然後在第蒙長大。直到今天，我最好的朋友還是和我一起在聖路易公園長大的同伴，而我對明尼蘇達州的印象──當然是經過理想化的印象—仍是當年那個主宰且提供我許多政治判斷的明尼蘇達。不論我人在何方—倫敦、貝魯特、耶路撒冷、華盛頓、北京，或是班加羅爾（Bangalore）—我總是期望再次發現明尼蘇達，在那個萬湖之地，政治確實曾發生作為，讓人民生活得更好，而不是撕裂離間人民。那就是以前的我們。事實上，那就是我的街坊。

曼德鮑的期待

　　邁可：湯姆和他的妻子都來自美國中部，而我的妻子安恩（Anne Mandelbaum）和我則成長於美國東西兩岸。她在紐約曼哈頓長大，而我是在加州柏克萊。我父親是加州大學人類學教授，我的母親在三個孩子進中學之後，到公立學校任教，然後進入我們簡稱為「加大」（Cal）的加州州立大學工作。

　　雖然柏克萊以政治激進主義聞名，但在我1950年代的童年時期，那裡比較像湯姆的明尼蘇達，而不像後來外界熟悉的柏克萊，說它是革命的溫床，其實更帶有美國中部的影子。如今可能令人不敢置信，但在我童年時期，柏克萊曾出現共和黨籍的市長與共和黨籍的國會議員。

　　那個年代有一個事件和本書息息相關：1957年蘇聯發射了第一顆環繞地球的人造衛星史普尼克（Sputnik），所引發的餘波蕩漾。此一事件在美國引起極大震撼，震波甚至傳到了加菲德中學（後來更名為馬丁．路德．金恩中學），當時我讀七年級。學校召開全體學生大會，校長嚴正的告誡我們，未來每一個人必須更加努力學習，而且數學和科學最重要。

　　我父母獻身教育，因此我比旁人更清楚學校與學習的重要性。但是那一刻的嚴肅凝重讓我印象深刻，我了解，美國正面臨一個全國性的挑戰，每個人都必須奉獻心力去面對。我毫不懷疑美國，以及美國人必會勇敢承擔。我們不可能再回到1950年代，同時也有很多理由慶幸時光不會倒流，但當時全國上下那種嚴肅以待的態度，在今日卻一樣必要。

　　我們目前在華府生活工作，親眼目睹政府無法應付國家所面對的重大挑戰。儘管本書對當前局勢的看法悲觀，然而對未來的希望與期盼卻極高。我們相信美國必能迎接挑戰，畢竟，這就是我們在其中成長的美國。

湯瑪斯．佛里曼（Thomas L. Friedman）

邁可．曼德鮑（Michael Mandelbaum）

2011年6月於馬里蘭州貝瑟斯達

-----
美國未來所面臨的第三項重大挑戰，是國家負債與年度赤字的不斷增加。負債與赤字自從冷戰以來已經擴增到危險程度，原因是我們習於不透過稅收去籌足經費支應聯邦政府的開支，所以靠借貸彌補差額。美國政府之所以能借到好幾兆美元——其中相當大的部份是向中國和其他國家借的——-是因為對於美國經濟的信心，以及美元從美國擁有全球經濟霸權時代就已扮演的特殊國際角色。

　　結果，美國擁有了美國版的石油財富：美元財富（dollar wealth）。因為美元從二次大戰以後就已成為通用貨幣，所以美國能大肆印鈔票與發行債務，讓其他國家都只能瞠乎其後。因石油而致富而的國家很容易在財政上變得毫無節制，而可以自行印製美元面額財富的國家也容易掉入相同的陷阱。當然，自從冷戰結束以來，特別是自從2001年以來，美國在財政上遭遇史無前例的重大損失。而發生的時機又極為不巧：正當戰後嬰兒潮世代準備退休，並要開始支領社會福利與醫療保險所允諾給付的津貼。

　　年度財政赤字的累積就成了國家負債，而普遍引用的數據雖然令人怵目驚心，但事實上卻還是低估了美國納稅人的負擔程度。這些數據並未包括州與市龐大甚至（在部份案例中）很可能無法償還的債務。據估計，州級政府背負著三兆美元與退休金相關且未設基金的債務負擔。特別是紐約州、伊利諾州與加州，未來幾年的負債與政府可望收到的稅金收入之間有著非常大的落差。

　　加州的瓦雷荷市（Vallejo）擁有人口大約十一萬七千，在2008年5月宣布破產。瓦雷歐市耗費約百分之八十的預算去支付組織工會的警察、消防員，以及其他公共安全人員的薪資與福利。加州的崔西市（Tracy）登上新聞版面，因為該市在2010年宣布，市民今後必須支付九一一緊急服務的費用——每戶每年48美元，低收入戶每年36美元。如果居民打九一一電話，且首先趕赴現場的人員實施了醫療救治，那麼費用將自動跳升到300美元。當然會有人呼籲聯邦政府對部份義務負起責任。而聯邦政府也面臨壓力，要對某些實質上已經破產的私人退休金計畫伸出援手。大部份的估算都認為，為資助預算赤字而借貸的項款，政府只須支付合理的利息。然而，對於美國政府信用價值的疑慮，可能會導致財政部提高利率，以找到足夠的公債買主。而這又將大幅增加債務總額——須視未來的利率會有多高而定。簡言之，我們整體財政情況的惡化程度超乎想像。有個專門追蹤「美國未償付公共債務」的網站顯示，2011年6月15日的全國債務是14,344,566,636,826.26美元（或許中國願意少算我們26美分？）

　　至於第四項挑戰，也就是礦物燃料對地球生物圈所造成的威脅，是能源消耗激增所直接導致的結果，所以也就是透過全球化與採用自由市場經濟（特別是在亞洲）而實現的經濟成長直接帶來的結果。如果我們無法發現豐富、廉價、清潔、可靠的新能源，供所謂的「新美國人」未來之用，那麼我們就承擔了燃燒、窒息、暖化、煙化我們地球的風險，而且速度將遠比美國前副總統高爾所預測的更快。

然而，這也意味著能提供豐富、廉價、清潔、可靠新能源的科技將是下一個嶄新的全球產業。能源科技（Energy technology）——ET——將會是新的資訊科技（IT）。ET產業蓬勃發展的國家，將享有能源安全，提升自身的國家安全，進而對全球環境安全作出貢獻。而這也將是創新企業的重要基礎，如果不能發明更聰明的材料、更聰明的軟體、更聰明的設計，企業也就無法製造更綠能（greener）的產品。如果不能在下一個全球大產業中擁有領導角色，實在很難想像美國人如何能維持日益提高的生活水準。

　　這四項挑戰的共同之處是都需要集體反應。這些挑戰太過龐大，單一的政黨或大眾之中的一小部份人都無力因應。每一項都是全國性的挑戰；只有傾全國之力才能應付。當然，成功的反應也有賴於個人去做正確的事情。勞工必須讓自己具備獲取高薪工作的技能，而企業家必須創造這樣的工作。美國人必須減少消費增加儲蓄，並接受更高的賦稅。個人、公司、企業必須減少使用礦物燃料。可是為了在每一個範疇產生合宜的個人作為，我們必須提供誘因、規範和制度去加以鼓勵，而這都是集體的任務。

　　因為這些挑戰必須全國團結一致去應付，因為應付這些挑戰需要努力與犧牲，更因為這些挑戰全都涉及國際層次，所以用借用國際競爭與衝突的論述來討論似乎也是很自然的。肯楠在他的「長電報」中感受到的挑戰是一場大戰。但是今天我們國家所面對的四大挑戰則必須用不同的架構來理解。在我們看來，自然界演變的大動力——進化——似乎為我們提供了適當的架構。進化的驅動力量是適應環境。當年肯楠力勸美國人去對抗新敵人，而我們則呼籲美國人要去適應新的環境。

　　數億年來，數以萬計的物種（植物與動物，包括人類）存活了下來，原因是他們的生物特性容許他們去適應環境——也就是讓他們能成功繁殖，從而讓基因永久留存。如果灰色蒼鷺比白色蒼鷺更容易偽裝，躲過掠食者的捕獵，那麼存活下來的灰色蒼鷺就會越來越多，白色蒼鷺越來越少，然後經過一代又一代的繁殖，直到最後所有的蒼鷺都是灰色的。（「適者生存」這個詞彙常被用來描述進化（evolution），意思是生存下來的都是最能適應的。）

　　物種生存的環境發生變化時，適應力就格外迫切需要。鳥類可能會遠離原先的棲息地，飛到另一個島嶼，至於能否存活下來則取決於能否適應新家園。而整個物種能否存活下來，則端視其適應力是否能成功地遺傳給其後的世代。

　　科學家相信，六千五百萬年前，一顆巨大隕石或一連串的隕石衝擊地球，引發大火風暴，使地球覆蓋在煙塵裡，造成四分之三的物種滅絕，包括當時主宰地球的恐龍。

　　冷戰的結束與接續而來的挑戰為我們的環境帶來根本的改變。只有個人、企業與國家適應新的全球環境，我們才能在未來的數十年裡繁榮發展。冷戰結束所帶來的不應該是鬆卸與志得意滿，而應該是集合眾人力量去適應我們所創造出來的新世界。

　　我們要把自己當成獅子，剛剛征服熱帶大草原上的所有獅群，成為所到之處無不披靡的萬獸之王。結果我們這一向以來直到現在，都還是讓自己冒著變成恐龍的風險。

　　不過，拿進化對於某些物種的影響來和主權國家遭遇的社會、經濟與政治變遷衝擊作類比，可能在某些關鍵面向並不見得可行。舉例來說，生物學上的適應可能必須跨越幾百個世代，然而我們此刻所談及的適應卻必須在幾年內完成。而且物種能否適應環境，取決於不可控制的基因碼，但相對的，個人、團體與國家卻可以瞭解環境，並審慎進行必要的調整，以求在新環境中繁榮發展。恐龍對於避免滅絕無能為力，但是美國卻可以選擇迎接自己所面對的挑戰，採取適當的政策來避免滅絕。

　　我們國家面臨的並不是滅絕問題，但賭注確實非常之高。

------

Butterball by Guy de Maupassant

I’ve been on a roll lately with Maupassant, and when I saw this Hesperus edition of Butterball, a collection of Maupassant stories sitting on my shelf, well I just couldn’t resist. This edition is translated by Andrew Brown and includes a foreword by Germaine Greer. There are six Maupassant stories here:

Butterball (sometimes known as Boule de Soif), The Confession, First Snow, Rose, The Dowry and Bed 29. For me, the best stories were Butterball and Bed 29. While all 6 stories show tremendous empathy for the lot of women (from the high-born to the lowly peasant girl), both Butterball and Bed 29 are stories that take place during the Franco-Prussian war and very specifically examine the fate of prostitutes.

When Butterball begins, the French army has beaten an ignoble retreat and the civilian population is left to face the invading Prussians. The civilians, for the most part, have more or less minded their own business while war waged around them. Now the “debris” of the French army is gone, and the citizens of Rouen wonder–with some trepidation–just what their fate will be when the Prussians arrive. In one passage, Maupassant compares the invading army to some natural disaster:

“Commands, shouted out in an unknown guttural tongue, rose along the houses which seemed dead and deserted, while from behind the closed shutters, eyes peeped out at these victorious men, masters of the city, of the fortunes and lives in it, by ‘right of conquest’. The inhabitants in their darkened rooms were struck by the panic induced by natural cataclysms, by those murderous upheavals of the earth, against which all wisdom and all strength are useless. For the same sensation reappears each time that the established order of things is overturned, when security no longer exists and all that was protected by the laws of men or those of nature finds itself at the mercy of a fierce and mindless brutality. The earthquake that crushes an entire populace beneath their collapsing houses; the overflowing river which rolls along in its torrent drowned peasants with the carcasses of cattle and the beams torn from rooftops; or the glorious army massacring those who put up any resistance, leading the others away as prisoners, pillaging in the name of the sabre and giving thanks to a god with the sound of the cannon – all are so many terrible scourges which confound any belief in eternal justice, any trust that we have learnt to place in Heaven’s protection and man’s reason.”

A handful of Rouen residents are granted permission to leave the city, and so early one morning a stagecoach prepares for departure. Most of the passengers are leaving for business reasons but they are fully prepared to flee to England if necessary. The passengers are people who would normally not socialize: wine merchants M. and Mme Loiseau, an extremely affluent mill owner and his wife M. and Mme Carre-Lamadon, the aristocratic Count and Countess Hubert, two nuns, a rather odd character called Cornudet and a prostitute whose “precocious corpulence … earned her the nickname of Butterball.”

“She was small, round all over, as fat as lard, with puffed-up fingers congested at the joints so they looked like strings of short sausages; with a glossy, taut skin, and a huge and prominent bosom straining out from beneath her dress.”

The so-called respectable passengers are of course disgusted to find themselves sharing the same coach with such a creature. At first, their collective outrage at being forced to share the same air as Butterball causes the passengers to attempt to be friendly with one another while pointedly cutting Butterball out of the social loop. But then the trip winds on, it’s freezing cold and no one has thought to bring any food along for the trip–no one except Butterball. Obviously a woman who loves food, Butterball is very well prepared and her picnic basket breaks down the social barriers that seemed unbreachable.

The coach stops at an inn, and there a young Prussian officer refuses to let the travellers continue on their journey until Butterball grants him her favours. While Butterball, a committed Bonapartist declines, claiming her patriotism to France, the passengers become increasingly annoyed with her. Their logic is that after all, she wouldn’t be doing anything she hasn’t done thousands of times before….

https://swiftlytiltingplanet.wordpress.com/2010/04/08/butterball-by-guy-de-maupassant/

羊脂球（法語：Boule de Suif，英語：Butterball），或譯為脂肪球，世界文學名著，法國文學家莫泊桑的短篇小說代表作，福樓拜稱之為「可以流傳於世的傑作」。

Boule de Suif

Maupassant’s early story “Boule de Suif,” from 1880, remains a hallmark and a natural starting point.

THEPARISREVIEW.ORG

The Paris Review 和 James Joyce 都分享了 1 條連結。

Revisited: Sloane Crosley Rereads Maupassant’s “The Necklace”

In our new series, writers revisit a work of art they first encountered long ago.

THEPARISREVIEW.ORG|由 SLOANE CROSLEY 上傳

Short Stories: The Necklace by Guy de Maupassant - East of the Web

www.eastoftheweb.com/short-stories/UBooks/Neck.shtml

She was one of those pretty and charming girls born, as though fate had blundered over her, into a family of artisans. ... She suffered endlessly, feeling herself born for every delicacy and luxury. She suffered from the poorness of her house, from its mean walls, worn chairs, and ugly ...

亨利-侯內-亞伯特-居伊·德·莫泊桑（法語：Henry-René-Albert-Guy de Maupassant，法語：[ɡid(ə) mopasɑ̃]，1850年8月5日－1893年7月6日），法國作家，作品以短篇小說為主，被譽為「短篇小說之王」，作品有《羊脂球》等。

主要作品[編輯]

短篇小說[編輯]

《月光》
《米龍老爹》
《兩個朋友》
《女瘋子》
《菲菲小姐》
《瓦爾特·施納夫斯奇遇記》
《一場決鬥》
《羊脂球》（莫泊桑最優秀的作品之一）
《隆多利姊妹》
《項鍊》
《我的叔叔于勒》（莫泊桑最優秀的作品之一）
一個農場女傭的故事
《一家子 (小說)》
《西蒙的爸爸》
《修軟椅的女人》
《一個諾曼底人》
《一個兒子》
《珠寶》
《一封信》

長篇小說[編輯]

《一生》（1883年）
《漂亮朋友》（1885年）
《溫泉》（1886年）
《皮埃爾與若望》（1888年）
《如死一般強》（1889年）
《我們的心》（1890年）

都德是我国知名度最高的法国作家之一，其《最后一课》和《磨坊文札》在我国可谓是脍炙人口 ...
磨坊文札

安部公房的砂の女
台灣都翻成沙丘之女
先後有鍾肇政、吳憶帆 (台北：志文，2007)、吳季倫 (台北：聯經出版公司，2016)。

上週，曹永洋學長送我們夫婦一本志文版。

我買本東京新潮文庫版。又在YouTUBE看有英文字幕的電影。

我是日文外行，不過，砂の女的日文有"押韻"。英文電影翻譯Woman in the Dunes (1964) ，其中的 the Dunes 也比"沙丘"清楚點"。

另外有許多有趣的細節，譬如說第2章的

"以8mm為中心，呈現出近似高斯誤差曲線那樣的曲線分布著。" (台北：志文，2007，頁16)
這是科學/統計學的陳述，也許日本或台灣的高中生學歷以上的讀者都懂得，不過，我沒把握。有趣的是，志文版的譯文有兩次用"曲線"，後者是冗文。

我自己去查"錫石是一種礦物名，集合體呈不規則粒狀。主產於錫石石英脈和錫石硫化物礦床中，當原生錫礦床經風化破壞後，常形成砂礦。錫石是煉錫的主要原料。"，其英文為Cassiterite is a tin oxide mineral, SnO₂.

從對話看，安部公房的【砂の女】很有點成人版的Alice漫遊"砂之奇境"汁味道，譬如說，初入斯境男女對答砂知"腐蝕力"。

深入了解必須讀讀Wikipedia 砂の女的日文版：
https://ja.wikipedia.org/wiki/%E7%A0%82%E3%81%AE%E5%A5%B3

刊行本[編集]

『砂の女』（新潮社、1962年6月8日）
- 装幀：香月泰男。函表文：安部公房。函裏文：三島由紀夫、武田泰淳。
文庫版『砂の女』（新潮文庫、1981年2月25日。2001年、2003年改版）　ISBN 4-10-112115-X
- カバー装画：安部真知。付録・解説：ドナルド・キーン）
- ※ 2003年改版より、カバー装画：近藤一弥（フォト：安部公房）。

Three Plays by Kobo Abe Paperback – April 15, 1997

by Kobo Abe (Author), Donald Keene (Translator)

Three plays by one of contemporary Japan's most prominent writers―Involuntary Homicide, The Green Stockings, The Ghost is Here―translated for this volume reveal Kobo Abe's deep love of absurdity in the face of universal concerns.

The Woman in the Dunes

Kobo Abe

1962

Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Further Reading

Introduction

Kobo Abe, one of Japan’s most celebrated and frequently translated authors and playwrights, is often compared to the Czech writer, Franz Kafka, because both writers created novels that were built upon nightmarish allegories. Abe’s The Woman in the Dunes is a prime example. With this novel, one of Abe’s more popular works, Abe takes the reader into a very strange and isolated world in order to make a statement about the condition of modern civilization. His statement is fascinating, but not very glorifying, as the protagonist becomes trapped in a world of ceaseless and mindless labor.

The Woman in the Dunes and the subsequent movie based on the novel catapulted Abe into the international realm. After the popular success of this novel, Abe’s works became the most often translated fiction of Japanese literature. And long since its publication, The Woman in the Dunes, which in 1960 won the Yomiuri Prize for literature, continues to retain its classification of being not only the best of Abe’s extensive life work, but also one of the classic examples of modern Japanese fiction.

The story begins with a character, Niki Jumpei, who seems all but totally unaware of who he really is. He often describes himself and his actions as if he were a detached observer of his own actions. His imprisonment in a hole in the sand dunes tempers his psyche, however, and in the end he comes to an awakening in which he grasps a better understanding of his basic psychological makeup. As Wimal Dissanayake, writing for Literary Relations, East and West: Selected Essays put it: “What Kobo Abe has sought to do is to remove his protagonist from his cultural environment and to probe deeper and deeper into his own psyche as a way of attaining his authentic selfhood.” The story of a journey of inner discovery during which the protagonist remembers what it means to be human in a modern society that sometimes seems to have forgotten.

Author Biography

Kobo Abe, one of Japan’s greatest writers, was born on March 7, 1924, in Tokyo. He followed in his father’s footsteps to a certain extent, gaining a degree in medicine but quickly decided that he did not want to become a doctor. He much preferred storytelling. During his childhood, most of which was spent in the Manchurian city of Mukden, Abe entertained himself and his friends by reciting stories. Many of these tales came from the writings of Edgar Allan Poe; but Abe, even at an early age, created stories of his own. Having been raised outside of the main Japanese culture, Abe’s writings and interests differed from those of many of his compatriots. He studied abstract painting instead of the traditional Japanese arts, and like his character in The Woman in the Dunes, Abe also studied insects.

Abe witnessed the atrocities and consequences of war, both in Mukden, and later, when he returned to Tokyo and read such Western writers as the German philosopher Martin Heidegger (1889–1976) and Czech novelist Franz Kafka (1883–1924) to find support for his own ideas against the militaristic Japanese government at that time, according to Raymond Lamont-Brown in his article in the Contemporary Review. But as Lamont- Brown states, “Abe’s searches did not produce what he needed.” When his father died, Abe felt released from his father’s wishes that he become a doctor and decided to concentrate even harder on creating his own path. He dropped all efforts to pursue a medical profession and delved deeply into literature. If he could not find what he was looking for in the writings of others, he became determined to create what he was looking for on his own.

In 1951, Abe was awarded the Akutagawa literary prize for The Crime of Mr. S. Karuma and from this point, there was no turning back. His career was set, and his theme—that of alienation and loss of identity in modern society—was established and would be repeated throughout his life’s work.

Some of Abe’s most important novels include: Suna no Onna (1962) (The Woman in the Dunes, 1964); Tanin no Kao (1964) (The Face of Another, 1966); Moetsukita Chizu (1967) (The Ruined Map, 1969); Hako Otoko (1973) (The Box Man, 1975); and his last novel, Kangaru Noto (1991) (The Kangaroo Notebook, 1960).

“One could not do without repetition in life, like the beating of the heart, but it was also true that the beating of the heart was not all there was to life.”
- from THE WOMAN IN THE DUNES by Kōbō Abe

After missing the last bus home following a day trip to the seashore, an amateur entomologist is offered lodging for the night at the bottom of a vast sand pit. But when he attempts to leave the next morning, he quickly discovers that the locals have other plans. Held captive w⋯⋯

內容簡介
若非猝逝，他必定獲得諾貝爾文學獎。
── 諾貝爾文學獎評審委員會主席佩爾・韋斯特伯格（Per Wästberg）
　　1962年讀賣文學獎得獎作品
　　1964年坎城影展評審團獎得獎電影原著小說
　　1967年法國最佳外語文學獎得獎作品

　　‧讓日本已故知名作家大佛次郎、小說家三島由紀夫為之讚嘆驚豔
　　‧舉世公認日本前衛文學代表作家、芥川獎得主──安部公房經典作品全新翻譯
　　‧作家／著名翻譯家邱振瑞專文導讀

　　「沒有懲罰，逃亡也就沒有樂趣了。」
　　直指人際的疏離、人性的異化
　　當流竄的慾望如永無止息的沙塵鋪天蓋地席捲而來
　　當所有的反抗與不服從都被沙粒掩埋在地底最深處
　　最終該是棄械投降抑或奮力一搏？

　　一名男子趁著假日到遠處的沙地裡採集昆蟲，於荒漠中遇見了一位老翁，在老翁的殷勤勸說下，男子跟著來到村落裡一幢深埋在沙丘中的破敗房舍借宿，而在那裡等著他的，正是神祕莫測的沙丘之女。

　　原以為只是鄉下人家一晚的好心收留，未料竟隱藏著一樁心懷不軌的預謀犯案，當真相揭曉，加害者與被害者的角色遽然翻轉──他淪為不得不日日勞動的囚徒，她則成為照看他起居的守衛。村民們為了生存而出此下策，女人則默許如此荒唐的勾當發生，男子無法理解這些人為何竟安於每日剷沙的生活，日復一日、年復一年，一如希臘神話中的薛西佛斯，徒勞無功且永無止盡。

　　從最初的憤憤不平，試圖說之以理、動之以情，到後來的假意應付，打算伺機而動、逃出生天，儘管男子三番兩次試圖脫逃，最後卻都功敗垂成，只得屈服在「渴望」之下，接受豢養苟活……。

　　《沙丘之女》是日本前衛文學代表作家安部公房的經典作品，無垠的荒漠隱隱帶有詭譎科幻的色彩，也鋪陳出荒誕懸疑的氣氛。小說中鉅細靡遺描寫沙子的構造與動態，以及昆蟲的生態與習性，以沙粒的無機對照生物的有機，似乎暗示著適者生存的定律，而如液體般流動的沙粒充塞毛細孔，幾乎教人喘不過氣，也成功營造出疏離隔絕的空間感。隨著情節的進展而緊繃到極致的張力以及虛脫的無力，直指現代都市生活的空虛與匱乏，心靈上得不到滿足，於是墜入肉體與物質上的歡愉，抽菸、性交、犯罪交織成一幅心靈荒漠的圖像。

　　同樣張力十足的性愛場面，則以意識流的手法穿插男人的呢喃囈語，以史前地球的畫面凸顯蒙太奇的效果，沙子反覆的乾燥與潮濕映襯著人體皴裂的皮膚與黏膩的汗水，在一望無際的沙丘中，人的慾望、希望與絕望都無所遁形，終將面對赤裸裸的人性，正視人類的孤獨與疏離，一如這場空虛的性愛。

　　小說中著力描寫男子心理的轉變與女人溫馴的姿態，前者從激動憤慨到妥協，後者則始終畢恭畢敬、逆來順受，一方面象徵抗爭的力不從心，另一方面則隱喻「愛家愛鄉」的烏托邦假象堅不可摧，或許最後人人都將成為共犯結構中的一份子。由此而言，《沙丘之女》不僅是一部精采的心理分析之作，也是一則警世的當代政治寓言，值得讀者深入咀嚼。

名人推薦

　　《沙丘之女》堪稱詭奇之作，不同於世上那些疊床架屋的小說，就算再次提筆恐怕也無法複製，對我來說非常新奇。……我將其視為新一代的《伊索寓言》，耽讀不已。── 小說家大佛次郎

　　充滿詩意且懸疑跌宕的出色開場、三番兩次脫逃的驚險場面、急轉直下如沙子般簡潔而平淡的收尾……在在顯露出劇作家的才華與小說家的天分在安部公房身上幸福地結合。── 小說家三島由紀夫

　　不得不說《沙丘之女》確實極其出色，從開頭到結尾，通篇儼然如希臘悲劇般，無可避免的情節推進讓讀者被迫深陷其中。── 日籍美裔日本文化與文學研究家唐納德‧基恩

作者介紹
作者簡介

安部公房

　　日本知名小說家、劇作家。1924年出生於東京，幼時舉家搬遷至滿洲國的奉天（今中國東北瀋陽市），1940年進入東京成城高中就讀，該年被診斷出肺結核，休學返回奉天療養。

　　後進入東京帝國大學醫學系就讀，二次大戰末期一度偽造診斷書返回奉天，直到1946年底方被遣返回日本。1948年自醫學系畢業，但最終放棄實習。

　　少年時期喜讀愛倫‧坡、杜思妥也夫斯基的作品，亦曾受德國詩人里爾克吸引。思想上則逐漸傾向馬克思主義，曾加入日本共產黨，之後又被開除黨籍。

　　1951年以小說《牆壁──S‧卡爾瑪的犯行》獲得第25屆芥川獎，1962年以《沙丘之女》獲得讀賣文學獎，後者於1964年改編成電影，獲得坎城影展評審團獎，享譽國際。

　　其作品往往著眼架空的背景與虛構的人物，著重人性的疏離與異化，呈現強烈的前衛色彩，近似卡夫卡等存在主義作家。

　　諾貝爾文學獎評審委員會主席韋斯特伯格（Per Wästberg）在2012年受訪時曾提到：「若非猝逝，安部必定獲得諾貝爾文學獎。他距離得獎非常非常地近。」

　　除了小說創作，他也是位才華洋溢的劇作家。曾以劇作《幽靈在此》獲得1958年的岸田演劇獎，1967年以《朋友》一劇獲得谷崎潤一郎獎，1974年則以《綠色絲襪》獲得讀賣文學獎。

　　此外，在《沙丘之女》、《別人的臉》、《燃盡的地圖》等作品改編電影時，亦親自擔綱撰寫劇本。

　　1992年年底，他在寫作時因腦溢血緊急送醫，於隔年1月22日病逝。

譯者簡介

吳季倫

　　曾任出版社編輯，目前任教於文化大學中日筆譯班

　　譯有三島由紀夫《小說家的休日時光》、太宰治《津輕》（以上馬可孛羅）、太宰治《奇想與微笑》、夏目漱石《少爺》、森茉莉《父親的帽子》及《奢侈貧窮》、小路幸也《東京下町古書店》系列（以上野人文化）等書。

序
導讀

那高貴的異端／作家．著名翻譯家邱振瑞

　　安部公房（一九二四～一九九三）的小說向來以前衛、晦澀、深奧和抽象概念的構思著稱。在他的作品中，事件發生的時間和地點幾乎是架空出來的，人物多半沒有具體姓名，乍看下情節有些怪誕突兀，當你鼓起勇氣試圖往下讀，他卻倏然在你面前撒落漫天的迷霧和沙塵，這似乎給他的讀者和研究者帶來困難。然而，對某些人而言，這種晦澀卻是不可思議的，又充滿奇妙的魅力，它可以激發研究和工作，亦可增加閱讀的趣味。雖然有些晦澀需要歷經艱苦努力才能揭示出來，但破譯出其精神特有的複雜性即是最大的回饋。從這個意義上說，為了充分探析安部公房的文學底蘊，或許有必要把他與同世代的作家三島由紀夫的生涯稍加對照，因為從他們迥然而異的文學風格，我們可以更理解二戰前後日本知識人的精神危機和內在生活。他們在小說呈現出來的愛憎與惶惑不安，都與那個翻天覆地的時代緊密相連著。

　　以世界文壇的知名度而言，在日本作家中，以三島由紀夫與安部公房的作品（《沙丘之女》、《別人的臉》、《燃盡的地圖》、《第四冰河時期》、《朋友》、《幽靈在此》，有俄語版、捷克語版、羅馬尼亞語版、丹麥語版、比利時語版、芬蘭語版、英語版、墨西哥語版、法語版、德語版、義大利語版、葡萄牙語版等）獲得最多國外讀者的閱讀。他們兩人都曾經獲得諾貝爾文學獎的提名。二戰前，三島進入了學習院的初、高等科就讀，之後考上東京帝國大學法律系；安部的生活道路卻轉折得多，父親奔赴當時日本的殖民地「滿洲國」的奉天（今中國東北瀋陽市）當執業醫師，基於這個家庭因素，安部就讀該地的小、中學，高中時期才回到東京。是年冬天，他患了肺結核休學，一九四○年回到奉天的自家休養。一九四二年四月，他的病情已恢復過來，因此返回東京。一九四三年十月，他考上了東京帝國大學醫學系，這時日本可能戰敗的消息甚囂塵上，他出於某種莫名的情感召喚，偽造了「重度肺結核」的診斷書，以此病由返回奉天的家裡。一九四五年，日本和滿洲兩地爆發了嚴重的傷寒。翌年，蘇聯軍隊入侵了中國東北，並接管所有的醫院，其父親遵從命令製作傷寒的疫苗，不幸受到感染而過世。之後，來了國民黨政府，整個體制改弦易張，但旋即又被八路軍擊退，短短兩三個月內，政策和市容為之改變。這些無疑給安部造成巨大的衝擊。同樣地，三島在入伍前的體檢，由於軍醫的誤診，認為他疑似患有肺結核，得以免除兵役。同年十月，三島的妹妹美津子罹染傷寒死亡。簡單地說，這兩個同世代的作家，三島在「內地」接受傳統教育，安部在「外地」度過青少年時期，但是他們有個共同點：兩人都經歷過「日本帝國的崩解」與時代疾病的威脅，遭遇到前所未有的震盪。而在文學道路上，三島於日本傳統文學中大放異彩，安部則堅決地站在「異端」（反傳統）立場上，持續思索故鄉存在的定義和被荒漠化的靈魂。可以看出，在安部的生命裡，他自始至終直視「做為場所的悲哀」（Realms of Memory）的困境。順便一提，阿爾及利亞出身的法國作家卡謬的《異鄉人》、前總統李登輝在司馬遼太郎《台灣紀行》的篇末對談，皆為絕佳的例證。換言之，滿洲這個空間上的場域，既是真切的實在，同時還包含場所、位置和身分的認同，卻由於政權的更替，又把它丟入流變的漩渦中，致使日本移民者不知何去何從。而這個二律背反的問題，又成為安部的精神原鄉，從文學上的啟蒙，到小說的場景描繪，都圍繞著滿洲的經驗。

　　正如他在創作經驗談中提及的：「……滿洲的冬天嚴寒，儘管到了午休時間，同學們仍很少到教室外面走動。我讀完數天前剛買的《愛倫．坡短篇小說集》，把故事內容口述給同學聽，他們大為讚賞。坦白說，我不但擅自加料，還編造了許多情節，而這卻意外地催生出我向壁虛構的才能……。」此外，他在《道路盡頭的路標》描寫的就是「我」與「故鄉」的關係的反思。他這樣寫道：「我的確存在於這個世界。我在忍耐周遭的圍逼，又像物體般存在著。可是故鄉的存在，以及這種存在之間到底有多大的距離呢？」這個投給讀者的詰問，其背景即是他深切生活過的滿洲。而出現在《道路盡頭的路標》的「我」，以及長篇小說《野獸們尋找故鄉》中，通曉各國語言的中國籍高姓通訊口譯員（當時標榜五族共和），同樣被關入了土牢，這正道出日本戰敗、滿洲國解體後的混亂局面：日本移民不但沒有國籍，也無法通過立法保障自身財產與安全，連生活在滿洲的中國人也不例外。或許如同安部自述的那樣：「從本質上來說，我是個沒有故鄉的人，或許正是因為這樣，使得我本能地憎惡故鄉的存在，總是不敢輕易對它做出定義。」的確，當滿洲國皇帝退位的同時，整個滿洲就土崩瓦解了。安部居住的城鎮每次遇到沙塵暴的侵襲，便陷入一片灰濛境地。他的隨筆集《沙漠般的思想》，經常提及「荒涼的土地」和「沙漠」，感嘆與日本的田園風景無緣，正是源於這樣的地理環境。他似乎在展示一種基本立場：所有界限都是人劃定出來的。縱然是在半沙漠和沒有界線的地方，終究只是人在自我設限而已。

　　隨著戰局的結束，安部這個清醒的漫遊者，於一九四六年十一月，被遣返回祖國日本。在那之後的三年間，他發表了幾部小說。此外，他久別的祖國和自己的文學生涯以及文壇亦出現重大的變化：日本國憲法正式實施。東京大審判做出了判決。椎名麟三《深夜的酒宴》、太宰治《斜陽》、田村泰次郎《肉體之門》、原民喜《夏之花》、大岡昇平《俘虜記》、島尾敏雄《在島嶼盡頭》、木下順二《夕鶴》等，都是這個時期的文學成果。翌年二月，安部在《近代文學》雜誌上，發表了小說《牆壁──Ｓ．卡爾瑪的犯行》，他就是以此作品獲頒第二十五屆芥川文學獎。同年六月，他加入了日本共產黨；十一月，在《新潮》文學月刊刊載中篇小說《闖入者》。從其文學思想來看，這時期確實較沒有出現早期以滿洲的沙漠為背景的描繪，而視域慢慢朝都市的「被封閉的空間」移動，這看似修辭學上的變化，其實仍是這種思想的延續。畢竟，這個曾經給予多達二十餘萬日本僑民希望又使之幻滅的城市──滿洲經驗，早已長驅直入到他的靈魂深處了。而《箱裡的男子》和《密會》以及《櫻花號方舟》所設置的場所與情節，幾乎全是在被封閉在某個空間裡，任憑故事的主角如何尋求脫困，最終只能回到茫然的原點。

　　沿著這個思想，我們就可更明白，在《沙丘之女》中，那名為了採集日本虎甲標本的學校教師，不慎跌陷在沙丘的圍困中，歷經多次的挫敗，終於逃出了生天，但最後他卻出於某種入魅（enchanted）的回音，選擇了留在把他重重圍困的沙丘，像被封堵出路那樣，繼續日常的生活。然而，這裡有個弔詭的插曲，就在安部發表這部作品的同時，他被日本共產黨開除了黨籍。理由是他與所屬該黨的「新日本文學會」的作家意見對立，尤其在小說《飢餓同盟》裡，顯露個人主義的傾向，並語帶嘲諷似地要與所屬的共同體訣別。事實上，安部的筆尖批判的不只共同體與個人衝突的問題，還包括了日本的政治體制。這部看似帶有推理色彩的《沙丘之女》，又多了些社會批判與政治寓意的縱深，經過這個轉折，我們或許可更真切看到其桀驁不馴的思想的姿態了。如果說，這些充滿前衛性的作品和劇本反映出安部的思想光芒，那麼《燃盡的地圖》就是其集大成之作了。在這部作品的場景中，同樣出現廣漠無垠的地理空間，同樣使人難以辨認方向，但其宏旨更具普遍性，他呈現的場域已超出滿洲國和日本國界，進而深刻指出人類在現代化社會裡的共同困境。當我們生活在自己不能成為自己的指路明燈的地方，你依靠的地圖又被燒毀，大概沒有比這惶惑不安更沉重的吧？現在，我們有機會走進安部的小說世界，只要你有足夠的勇氣和慧識，必定能找到輕安妙樂的出路。

André Breton was a French writer, poet, and anti-fascist. He is known best as the founder of Surrealism. His writings include the first Surrealist Manifesto of 1924, in which he defined surrealism as "pure psychic automatism". Wikipedia

Born: February 19, 1896, Tinchebray, Tinchebray-Bocage, France

Died: September 28, 1966, Paris, France

Periods: Dada, Surrealism

Spouse: Elisa Breton (m. 1945–1966), Simone Collinet (m. 1921–1931), Jacqueline Lamba (m. ?–1943)

Influenced by: Tristan Tzara, Sigmund Freud, MORE

Quotes

Beauty will be convulsive or will not be at all.

It is living and ceasing to live that are imaginary solutions. Existence is elsewhere.

All my life, my heart has yearned for a thing I cannot name.

MoMA The Museum of Modern Art

"Dada pretended to be all about anti-art, but its artists knew perfectly well that in the process they were engaged in making great art, in the same lineage as Leonardo and Rembrandt."—Artnet

Discover a lost Dada anthology, reunited for the first time and on view now in "Dadaglobe Reconstructed."

Andre Breton, Dada's Taciturn Target | artnet News

Read THE DAILY PIC on MoMA's Dadaglobe show, and the silent strength at the core of Dada's outcry.

NEWS.ARTNET.COM|作者：BLAKE GOPNIK

FROM THE ARCHIVE
The Verb to Be
February 19, 2015 | by Dan Piepenbring

André Breton in 1924.

André Breton’s poem “The Verb to Be” originally appeared in our Spring 1985 issue.

I know the general outline of despair. Despair has no wings, it doesn’t necessarily sit at a cleared table in the evening on a terrace by the sea. It’s despair and not the return of a quantity of insignificant facts like seeds that leave one furrow for another at nightfall. It’s not the moss that forms on a rock or the foam that rocks in a glass. It’s a boat riddled with snow, if you will, like birds that fall and their blood doesn’t have the slightest thickness. I know the general outline of despair. A very small shape, defined by jewels worn in the hair. That’s despair. A pearl necklace for which no clasp can be found and whose existence can’t even hang by a thread. That’s despair for you. Let’s not go into the rest. Once we begin to despair we don’t stop. I myself despair of the lampshade around four o’clock, I despair of the fan towards midnight, I despair of the cigarette smoked by men on death row. I know the general outline of despair. Despair has no heart, my hand always touches breathless despair, the despair whose mirrors never tell us if it’s dead. I live on that despair which enchants me. I love that blue fly which hovers in the sky at the hour when the stars hum. I know the general outline of the despair with long slender surprises, the despair of pride, the despair of anger. I get up every day like everyone else and I stretch my arms against a floral wallpaper. I don’t remember anything and it’s always in despair that I discover the beautiful uprooted trees of night. The air in the room is as beautiful as drumsticks. What weathery weather. I know the general outline of despair. It’s like the curtain’s wind that holds out a helping hand. Can you imagine such a despair? Fire! Ah they’re on their way … Help! Here they come falling down the stairs … And the ads in the newspaper, and the illuminated signs along the canal. Sandpile, beat it, you dirty sandpile! In its general outline despair has no importance. It’s a squad of trees that will eventually make a forest, it’s a squad of stars that will eventually make one less day, it’s a squad of one-less-days that will eventually make up my life.

Translated from the French by Bill Zavatsky and Zack Rogow.

Andre Breton《超現實主義宣言》袁俊生翻譯重慶大學出版社2010

Nadja by André Breton,

最近也偶讀安德烈．布賀東（Andre Breton）的詩。你是否可以想像讀到這樣的句子，會引發怎麼樣的遐思嗎？
我們是在崗哨的頂處常為了你而入迷的鳥／而且每夜變成一枝自你的肩伸向你喜愛的獨輪車的花枝／自你的腕處我們比火花更生動地躍去／我們是當那男人入睡時便支身坐起的玻璃雕像的歎息（注）*
注：詩人秀陶譯布賀東詩〈郵差喜發〉，刊於《新大陸詩雙月刊》第六十期，2000年10月。
*版主hc按:超現實的詩之翻譯竟然差許多這首的部分在《布勒東傳》Andre Breton: Le Grand Indesirable by Henri Behar頁266 這是"為那奇特的宮殿譜一首詩:

你那觀景亭高處總讓我們這些小鳥陶醉
每晚我們只將你心愛的獨輪車柄
變成掛滿鮮花的樹枝......

......

我只能把這些美好記憶，藏在斜雨中，屬於黃昏記憶。這些記憶，對我來說，可能會像扎下的想思，衍生它的長度。像布賀東，早在上個世紀初，1919年，已完成了第一部超現實的詩集《當舖》，那個時候，中國新文學剛誕生呢。1924年，布賀東全面宣揚超現實主義美學理論綱領，像政治者草擬政綱，完成了闡明其主義的〈第一宣言〉。他宣稱將自動寫作的體驗和主張做為詩歌和藝術的創作的最根本信條，且認為擺脫舊束縛，通過潛意識的創作超越界限的詩美境是一種比現實更高的現實。這個主義擬好藍圖，在法國，於是，扎下了文藝思潮的起點。

----學院之雨◎方路

http://www.libertytimes.com.tw/2013/new/jul/31/today-article1.htm

2007嫌此書無一字母無索引沒買它.....

布勒東傳
Andre Breton: Le Grand Indesirable

作者／亨利．貝阿爾 Behar, Henri

譯者／袁俊生

出版社／上海人民

出版日期／ 2007/01/01 中文/簡體裝訂／平裝

內容簡介 · · · · · ·

布勒東一生追求自由，與一切自由的絆腳石為敵。創作上他揮灑才情，追隨達達運動，建立超現實主義流派，首創自動寫作法，終成一代宗師。情感生活中布勒東多愁善感，超現實主義內部的矛盾紛爭，友情的決裂，愛人的離去，都讓他傷懷。本書用客觀公正的文字塑造了一個真實感人的布勒東，是一部布勒東的鬥爭史、創作史和情感史。
布勒東一直在為爭取自由而奮起反抗：“正是反抗，也惟有反抗才是光明的創造者。”只有三個途徑可以讓人們認識這個光明，那就是“詩歌、自由和愛……”他是20世紀上半葉對文學及繪畫產生極大影響的超現實主義運動的創始人，對超現實主義運動的發展起到十分重要的作用，堪稱“超現實主義教皇”本書用客觀公正的文字塑造了一個真實感人的布勒東，是一部布勒東的鬥爭史、創作史和情感史。

作者簡介 · · · · · ·

亨利·貝阿爾（Henri Béhar）是巴黎大學法國文學系教授，同時擔任法國超現實主義研究所主任之職。他是研究達達運動、超現實主義運動、先鋒派運動的著名專家，曾撰寫過多篇有關超現實主義運動的專著。
袁俊生，1955年3月生於北京。1978年畢業於北京第二外國語學院並留校任教。1979-1984年曾在聯合國教科文組織總部（巴黎）工作，現任副譯審。主要譯著有《約翰·克利斯朵夫》（羅曼·羅蘭）、《磨坊信劄》（都德）、《一彈解千愁》（尤瑟納爾）、《卡薩諾瓦傳奇》（弗蘭姆）、《莫斯科日記》（羅曼·羅蘭）、《永遠的小王子》（米諾）、《齊達內傳》（菲利浦）以及《上升的徵兆》、《前世今生》、《永別》等多部法國近代作家的詩歌及散文。

《布勒東傳》中譯本序

文/袁俊生　來源：易文網

作為詩人，布勒東在法國乃至世界文壇上並不是最著名的人物，但作為在半個世紀內對西方文學及繪畫產生極大影響的理論家，他卻是數一數二的重量級人物。現在人們只要一提起超現實主義運動，便必然會聯想到這位在超現實主義運動中呼風喚雨的理論家和鬥士。那麼究竟什麼是超現實主義呢?布勒東為什麼那麼熱衷於超現實主義運動呢?在給出這兩個問題的答案之前，還是先讓我們簡要回顧一下布勒東的成長過程。

布勒東出生在一個工人家庭，父親寬厚仁慈，送他到學校裏念書，只希望他長大後能當個工程師，而母親對他的管教極為嚴格。他在道德方面所形成的觀念與母親潛移默化的影響密不可分。他從小喜歡詩歌，而且在少年時代便開始寫詩，後來之所以選擇醫生職業，就是因為他覺得當醫生能給他許多詩意般的想像空間。在第一次世界大戰中，他應徵入伍，雖然沒有上前線，但戰爭的慘景還是給他的心靈留下深深的傷痛。

青少年時期，布勒東非常喜歡閱讀波德賴爾、馬拉美以及於斯曼的詩。

16歲時他與當時著名詩人瓦萊裏建立了通信聯繫。在完成醫學學業後，1915 年他被派遣到軍隊精神病學科任軍醫。這期間他開始研究佛洛德的理論，並在精神分析的過程中發現了認識精神生活的工具。在部隊任軍醫時他結識了雅克·瓦謝，後者的黑色幽默及後來自殺身亡的悲劇對超現實主義的問世產生了極大的影響。

1917年，他結識了阿波利奈爾，他雖然十分敬佩這位詩人，但並不認可詩人那好戰的愛國主義情緒。1919年他與路易。阿拉貢及菲利浦·蘇波一起創辦了《文學》雜誌。第一篇採用自動寫作法創作的作品《磁場》就發表在這份刊物上，後來發表的還有《地光》等詩篇。

1921年，他前往奧地利拜訪佛洛德。這位精神分析大師似乎給他打開了一條通往新型寫作方式的道路，儘管佛洛德對他冷淡的態度一直讓他耿耿於懷。

1924年在與達達運動決裂之後，他推出了自己第一篇《超現實主義宣言》，1929年又發表了《超現實主義第二宣言》。宣言以及《迷失的腳步》中所闡述的觀點為20世紀上半葉最重要的文學運動奠定了理論基礎。1926年，他創作散文詩《娜佳》。這是一種全新的文學形式，既有濃郁的自傳色彩，又頗富詩意。後來他沿用此形式陸續發表了《連通器》(1932)、《瘋狂的愛》(1937)、《秘術17》(1944)等。

現在讓我們來看看超現實主義。超現實主義運動就是由像他這樣參加過一次大戰的青年發起的。他們目睹了戰爭的荒謬及破壞性，對以理性為核心的傳統理想、文化及道德觀念產生了懷疑，需要用一種全新的理想來代替傳統理想。在探索革命的征途上，他找到了超現實主義，超現實主義鬥爭也因此而成為他的重要活動。他創作出多篇很有深度的檄文，其中包括《超現實主義與繪畫》(1928)和《黎明》(1934)。與此同時，他並未放棄詩歌的創作，那時他所創作的著名詩篇有：《可溶化的魚》(1924)、《白髮手槍》(1932)、《水之歌》(1934)等。由於維希政府在審查《黑色幽默文選》(1940)及詩集《法塔·莫爾加娜》(1940)時，作出了禁止這兩部書出版的決定，布勒東覺得在法國已失去言論自由，於是便到美國過起了流亡生活。1946年，他返回法國，只創作出一部有分量的作品《夏爾·傅立葉頌》。此後，他再也沒有拿出更優秀的作品。

如同他的作品一樣，布勒東所採取的種種立場均與超現實主義密切相關。他是超現實主義運動的創始人及最重要的理論家。作為一種革命的思潮，超現實主義要求對社會進行深刻的變革，粉碎資產階級對無產階級所實施的奴役政策，以便讓詩歌也能由“萬眾去創作”。而他本人始終在追隨這個革命目標，正如他自己所說：“我們在那囚籠裏苦苦地掙扎著。有一樣東西可讓我們至少在短暫的時間內擺脫這可怕的囚籠，這就是革命，是任意形式的革命，是極為血腥的革命。我依然要用盡全力來呼喚這場革命。”為此，他開始接近共產黨，並與其他超現實主義運動成員一起加入了共產黨。蘇聯革命的成功讓他仿佛看到世界的光明，他對蘇聯革命表示了敬意，並希望這場革命也能喚起“必要的精神革命，如果沒有那場社會革命，精神革命也就無從談起了”。

然而，不久以後，出於美學及政治原因，他脫離了共產黨，並對蘇聯所推行的文化政策頗為反感，公開批評蘇聯的“社會主義現實主義”理論。他堅持奉行自己的道德標準，堅持自己的政治主張，因而與許多共同投身於超現實主義運動的摯友分道揚鑣，甚至反目成仇。為了維護超現實主義運動的純潔性，他甚至不惜放棄波德賴爾及蘭波的詩歌，而他一直視這兩位詩人為超現實主義的先驅。失去朋友讓他感到痛苦萬分，但為了自己的理想，他也只能合棄友誼。在談到自己的朋友們時，他說：“他們當中有些人是我最珍重的朋友，但我不得不離開他們。有些人離我而去，另外一些人給我留下長久的回憶。有時，這種回憶真的難以忘懷，這是不爭的事實。毫不隱瞞地說，每次回憶起來，都像傷口再次裂開了似的。”

讀到阿拉貢在獲悉布勒東去世時所寫的文字時，我們不禁為他們的決裂而感到惋惜：“在此我本想就青年時代的朋友說些什麼，就我一直敬愛的這位偉大詩人說些什麼，但我不能。歷歷在目的往事讓言語變得空洞乏味，讓我打消了興致，懶得去回擊那些報刊上的蠢話。除了一句話之外，我什麼也說不出，那一句話讓我失去了理智：安德列。布勒東剛剛離開人世。”

在這部傳記中我們不難看出，布勒東一直在為爭取自由而奮起反抗：“正是反抗，也惟有反抗才是光明的創造者。”只有三個途徑可以讓人們認識這個光明，那就是“詩歌、自由和愛……”說到愛，布勒東曾這樣闡述：“首先要去愛，接著再捫心自問究竟愛什麼也不遲，直愛到對一切瞭若指掌的地步。”無論是向身處困境的朋友伸出援助之手，還是提攜那些有潛力的作家或畫家，他都是出於愛意。

從1935-1940年，他撰寫了一系列檄文，號召人們從事超現實主義革命。這場革命不但要推行藝術自由，還要讓社會及經濟關係發生徹底的變革。

變革建立在對人性深刻認識的基礎之上，雖然遭受種種挫折，但布勒東並未喪失信心，“因為超現實主義正在國際上發揚光大。這顆種子在發芽，預示著會有好收成”。

在這部書中，我們還看到一些著名人物對他的評價。法國近代詩人塞澤爾寫道：“我見到了他，他真的把我迷住了。他的文化修養真是太出色了，他對詩歌的感受令人吃驚。他在感受詩歌，像呼吸空氣中的花粉那樣嗅著詩歌。他是一個不可思議的發掘者，就像‘滿腦子都在琢磨研究’的那種人……”美國戰爭情報部的德尼·德魯熱蒙對布勒東在戰爭情報部的獨特風格作過鮮明的描述：“安德列·布勒東顯得十分謙恭，也很有耐心，就像被關在籠中的雄獅決意要忘掉那籠子似的……他讓我們分享他那伴著輕輕哨聲的典雅的嗓音，但他總保持著儀錶堂堂的樣子。他的機智之中總露出不易察覺的諷刺感。那機智既威嚴又令人欽佩。人們真應交給他一個王國讓他去統治!不，確切地說，應該交給他一個教會讓他去管理，要他在風暴中去恢復神聖使命的美名!”

本書作者亨利·貝阿爾先生是巴黎大學法國文學系的教授，是研究達達運動、超現實主義運動、先鋒派運動的著名專家，曾撰寫過多篇有關超現實主義運動的專著，同時還兼任法國超現實主義研究所主任一職。

本書所有注釋以及“布勒東生平和創作年表”均為譯者所加。

*****他們會面都不來電的.....

Three Letters from Sigmund Freud to André Breton

Frederick B. Davis, M.D.Frederick B. Davis, M.D.

Frederick B. Davis, M.D.

Division of Child Psychiatry Univ. of Wash. School of Medicine

Seattle, Washington 98105

', 'type', 'velcro', 'delay', '1000', 'maxWidth', '300', 'direction', 'southwest');"> Author Information

PSYCHOANALYSIS, ORIGINATING IN VIENNA and in the mind of a single brilliant man, has come to have worldwide recognition (if not acceptance) and has influenced the development of concepts in such diverse fields as anthropology, art, history, sociology, literary criticism, and law. One of the clearest examples of such an effect may be found in the work of André Breton, the founder of Surrealism.

In 1916 Breton served as a medical aide in the psychiatric center at Saint-Dizier where he came in contact with mental patients evacuated from the front. It was here that he first heard of psychoanalysis and began to read Freud's works. He recorded patients' hallucinations and delusional experiences and subsequently tried to "interpret" them, relying on psychoanalytic principles. After the war, Breton along with other Dadaists experimented with what came to be known as automatic writing. This consisted of writing rapidly without pausing to reread or correct, or writing while i

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Hanching Chung 康老師:".......在她的回憶錄《走出白色恐怖》中，康宜有專章敘及她與Gram相處的往事，並譯介了Gram的詩作。......"，章名是"紅豆的啟示"，"紅豆"是Paul Sun(孫裕光，孫康宜之父，在綠島監獄撿到的，並手織袋子珍藏之 (正面用藍字寫著：1952，V23，孫裕光；反面則有"綠島紀念"四字。"1952，V23" (1952年5月23，是Paul 結婚9周年紀念。)
"據媽媽說，爸爸是那天在綠島的一個水池邊撿到那顆紅豆的。爸爸當初很難適應牢獄的生活，有一天想不開，曾跳到水池裡自殺，幸而沒淹死......."
這顆紅豆，从王維的《相思》，到陳寅恪的《柳如是別傳緣起》，到 Paul 在1978年在普林斯頓交給小紅 (康宜)，到Gram將紅豆"翻譯為Ivy(常春藤有常青豆)，從綠島到種是通才教育的普林斯頓的"高等研究院"之群英。.....
這次讓我有機會再次翻《走出白色恐怖》 (因書無索引，卻有許多意外之喜)。讀完相關部分之後，才想起初讀時對"對岸湖中倒影"印象深。.....

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重(略)讀孫康宜的《走出白色恐怖》，有許多相關的教育議題，如她最感激有機會到高雄讀書；她讀的女中，在高三，班上就演Romeo and Juliet，她演她最喜歡的腳色：Friar Laurence (你不會料到，全劇，他的話最長.....)；東海大學畢業論文Moby Dick中的宗教 (姑且這樣說)，當時有人到校開【宗教與文學】(書中說美國八零年代才開這種課).....

在德國之聲看"Arno Schmidt (18 January 1914 – 3 June 1979) "的紀錄影片，真是奇人。

也沒想到其短篇小說等的英文翻譯見多。"Arno Schmidt 基金會"說要出版其"全集"。

我看了，覺得德國的煙草公司很有意思：不只支持華德福學校；也給Arno Schmidt 資金，叫他安心寫(最後一本)小說。

不懂：Zettels Traum，英文翻譯成Zettel's Dream；日文翻譯成 (巨著)【紙片の夢】(影片說作者用百萬張卡片當參考，學James Joyce寫一天24小時的事/思緒。)--此書採原稿影印出版，第1板很快售罄。幾年後，得"歌德獎"。......

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

Arno Schmidt (18 January 1914 – 3 June 1979) was a German author and translator. He is little known outside of German-speaking areas, in part because his works present a formidable challenge to translators. Although he is not one of the popular favourites within Germany,[1] critics and writers often consider him to be one of the most important German-language writers of the 20th century.[2]
Contents  [hide] 
1Biography
2Writing style and personal philosophy
3Zettel's Dream
4Other, minor works
5The final years
6Posthumous legacy6.1Arno Schmidt Prize
6.2Arno Schmidt scholarship winners
7Bibliography7.1German7.1.1Fiction
7.1.2Non-Fiction
7.2English Translations
8Further reading
9See also
10References

孫教授，謝謝。請問您父親《一例麥子》書影中十字架上的"字"是？ (三聯版144頁)，先謝。

若望福音:Chapter 12
²⁴我實實在在告訴你們：一粒麥子如果不落在地裡死了，仍只是一粒；如果死了，纔結出許多子粒來。

◄ John 12:24 ►

Truly, truly, I say to you, Except a corn of wheat fall into the ground and die, it stays alone: but if it die, it brings forth much fruit.

Image result for john 12:24

元龍百尺樓
《三國志·魏志·陳登傳》：“﹝劉備﹞曰：‘君( 許汜 )求田問舍，言無可采，是元龍所諱也，何緣當與君語？如小人，欲臥百尺樓上，臥君於地，何但上下牀之間邪？’”後借指抒發壯懷的登臨處。宋陸遊《秋思》詩：“欲舒老眼無高處，安得元龍百尺樓。”亦省稱“元龍樓”。沉礪《狂歌行》：“時而一憑高，直上元龍樓。”參見“元龍豪氣”。

（元龍豪氣）　東漢陳登，字元龍。許汜曾見之。登以汜求田問舍，言無可采，久不與語。後許汜謂劉備曰：“陳元龍湖海之士，豪氣不除。”見《三國志·魏志·陳登傳》。宋黃機《永遇樂·章史君席上》詞：“史君自有，元龍豪氣，喚客且休辭醉。
”
參見“元龍高臥”。
東漢陳登，字元龍。《三國志·魏志·陳登傳》載，許汜與劉備論陳元龍，汜曰：“昔遭亂過邳，見元龍。元龍無客主之意，久不相與語，自上大牀臥，使客臥下牀。”後以“元龍高臥”為怠慢客人之典實。


		胸蟠子美千間厦.氣壓元龍百尺樓

****

2008/9/17 約11點在圖書館碰到柯慶明老師
跟他請教高友工先生的"美典".......
台灣大學出版社在2003年只三人
不過"質與量"還很可觀..
我趁開學打7折買
臺靜農先生的中國文學史等數冊---它是暢銷書似乎每年一刷
何寄澎老師和助理整理3年之功夫了不起
他說這部書是詩人之作

中國文學史 (上)(下)<不分售> - Google 圖書結果

由臺靜農著作 - 2004 - Chinese literature - 736 頁
秋感︶二首其塵壁蒼茫有舊題，十年重見一傷悲。野僧欲與論前事，自說年多不復知。 ...
books.google.com.tw/books?isbn=9570196114...

《劍橋中國文學史》全譯本將由台北聯經出版社出版. 目前出版的中國三聯版之下卷只談到1949年

内容简介 · · · · · ·

作者简介 · · · · · ·

目录 · · · · · ·

本卷目次
第一章早期中国文学：开端至西汉柯马丁
第二章东汉至西晋(25—317) 康达维
第三章从东晋到初唐（317-649）田晓菲
第四章文化唐朝（650-1020）宇文所安
第五章北宋（1020——1126）艾朗诺
第六章北与南：十二与十三世纪傅君劢林顺夫
第七章金末至明初文学：约1230—约1375 奚如谷

內容簡介 · · · · · ·

《劍橋中國文學史》是劍橋大學出版社的系列國別文學史之一，該系列由相關領域頂尖專家主持編撰，因定位的讀者目標為普通大眾，故力求以敘事的方式寫成一本整體連貫、可通讀的文化史，而非僅供專家參考的研究性論著；同時又能深入淺出地把相關領域最前沿的觀點和學術成果呈現出來。

《劍橋中國文學史》以1375年為界分為上、下兩卷，各五十萬字，分別由宇文所安、孫康宜主編，作者涵括十幾位美國漢學界的著名學者，如柯馬丁、康達維、田曉菲、宇文所安、艾朗諾、傅君勱、林順夫、奚如穀（上卷）；孫康宜、呂立亭、李惠儀、商偉、伊維德、王德威、奚密（下卷）等等。全書以編年而非文體的結構方式介紹了從上古的口頭文學、金石銘文一直到1949年中華人民共和國建國前夕中國文學三千年的發展歷程，和中國文化中關於寫作的故事——寫作不僅是國家統治的工具，同時也是外在於國家的文化媒介。各章因作者各異其趣的...

(展開全部)

作者簡介 · · · · · ·

目錄 · · · · · ·

本卷目次
第一章明代前中期文學（1375—1572）孫康宜
第二章晚明文學文化(1573—1644 )呂立亭
第三章清初文學（1644—1723）李惠儀
第四章文人的時代及其終結（1723-1840）商偉
第五章說唱文學伊維德
第六章1841至1937年間的中國文學王德威
第七章1937—1949年的中國文學奚密

2017.8.9 原來北京生活‧讀書‧新知三聯書店的中簡版所刪剪的（第七章及結語），終於重見天日！

第七章　從一九三七年迄今的中國文學／奚密
一　引言
（一）抗戰文藝
（二）統一戰線：重慶
（三）日趨成熟的現代主義：昆明與桂林
（四）淪陷北京的文壇
（五）上海孤島
（六）香港避難所
（七）延安與整風運動
（八）殖民地台灣
二　內戰結束及新時代的開始（一九四九─一九七七）
（一）中華人民共和國
（二）台灣
（三）香港
三　互動與抗爭（一九七八年迄今）
（一）中國大陸
（二）台灣
（三）香港
四　印刷文化的近期轉變與新媒體的興起／賀麥曉
（一）中國大陸國內出版體系的轉變
（二）海峽兩岸出版及國際版權貿易
（三）全球文學市場
（四）新媒體
（五）論壇
（六）審查
（七）網路文學與印刷文學的關係
結語　華語語系書寫與華人離散／石靜遠

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中國文學史 (上)(下)~~臺靜農

ISBN957-01-9

臺靜農先生來臺不久即應國立編譯館之約撰寫《中國文學史》，臺先生亦全力以赴，頗能表達其個人性情學養所及，對歷代文學精神之深切體悟，與其間顯現之文化歷史流變，作真知灼見之詮釋，可謂：「通古今之變，成一家之言」。撰述期間幾近二十餘年，且不斷增補修訂，以完成先秦以至金元部份。後以政治考量乃於民國六十年前後與編譯館解約，遂不續成。其稿本與抄本雖長期在弟子間傳閱，始終未得出版。先生身後因遺稿由家屬捐贈臺大圖書館，臺大出版中心乃敦請中文系何寄澎教授主持整編加以出版，一代學人平生所蓄的心血結晶終能公諸於世。關心中國文學與歷史文化傳統的人士，必當一睹為快，且將有得於貫串其中俯拾皆是的慧心與卓識。

出版前言柯慶明

編序何寄澎

第一篇先秦篇

第一章中國文學的起源

第二章殷商時代文學的片斷

第三章周代的詩歌──三百篇

第四章楚辭

第五章春秋戰國諸子散文

第二篇秦漢篇

秦代篇

漢代篇

第一章漢初政體與文學

第二章辭賦的發展

第三章漢賦作家

第四章樂府與樂府辭

第五章五言詩

第六章兩漢散文的演變

第七章漢代方士、儒生合流後所形成之神異故事

第三篇魏晉篇

第一章魏晉文學的時代思潮

第二章魏晉文學的發展

第三章魏晉作家

第四篇南北朝隋篇

第一章緒說

第二章文學技巧的發展

第三章詩賦的新體

第四章文學理論的發達

第五章南北朝及隋的作家

第六章南北朝的民間文學

第七章六朝小說的淵源與發展

第八章佛典翻譯文學

第五篇唐代篇

第一章唐代士風與文學

第二章唐代古文與傳奇的發展

第三章唐代詩歌的發達

第四章唐詩極盛時期的各派別

第六篇宋代篇

第一章宋代的散文

第二章宋詩

第三章宋詞

第七篇金元篇

第一章女真族統治下的漢語文學──諸宮調

第二章南戲

第三章元雜劇

附錄：中國文學史方法論

【2005/03/13 聯合報】

臺靜農中國文學史出版
【【2005/03/13 聯合報】記者陳宛茜／台北報導】
「我一直不敢翻開『中國文學史』，怕太多與臺老師有關的回憶會跟著掀開。」國學大師臺靜農近40年前完成的「中國文學史」，遲至昨天才由台大出版中心出版，台大中文系教授方瑜談到這本書，忍不住哽咽了起來。
1950 年代臺靜農來台不久後，便應國立編譯館之約撰寫「中國文學史」。然而立約近20年後，臺老已完成先秦到元代的部分，卻又於1971年突然解約，並退還所有訂金。臺老弟子解釋，認為台大發生殷海光與哲學系事件後，曾與左派文人魯迅結為莫逆之交的臺靜農，擔心編譯館受他波及，慨然解約。
當年代表國立編譯館與臺靜農解約的台大名譽教授齊邦媛則有不同看法。她表示，解約與白色恐怖無關，純粹是臺靜農認為自己撰書過久，對國立編譯館不好意思而自動解約。
臺靜農撰寫「中國文學史」，可溯源自1940年他於重慶白沙女師講授文學史之時，期間不斷增訂修補，咸信到1966年後便不再整理，迄今近40年。
翻開當年的講義「中國文學史」，今已為人師的汪其楣、何寄澎、方瑜彷彿看見臺老的身影。汪其楣說，當時擔任台大中文系主任的臺老經常要開會。某次他到教室告訴學生：「今天不上課，因為我要開會！」學生高興得大叫大笑。汪其楣透過窗口，發現含著煙斗的臺老看到學生快樂的樣子，竟然笑到「煙斗都掉了下來」！
臺靜農是台灣第一個在中文系開設現代文學課程的系主任，王文興自美回台大任教，便是臺靜農出的主意。王文興說，他一直到幾十年後才知道此事，臺靜農從未透露對他的知遇之恩，可見其人風骨。
方瑜表示，臺靜農最常掛在的嘴邊的一句話是「你拿去吧！」，臺老家裡連廁所都堆滿了書，學生來訪，他總說「你拿去看吧！」，送的都是圖書館才有的厚重套書。她形容臺老「一生清貧」卻「精神富裕」，因為他深諳「分享」之樂。
方瑜指出，臺老在本書充分表現「對弱勢族群的關懷」，比如對南北朝民間文學「吳歌」、「西曲」的重視。她認為，臺老品評人物，往往一句道破且入木三分。如隋朝楊素為人奸詐，其文卻「詩格清遠」如出世高人，後世評論者對「文不如其人」感到「不可解」。臺老卻認為，人性複雜多變，再奸險的人與朋友以詩敘心時，也會吐出他真實的情感。何寄澎則說，本書是中外同類著作中，最具「見識」與「性情」的作品，是一本真正的「詩人之作」。

【2005/03/13 聯合報】

"Pour toujours, je serai étranger à moi-même".
---- Albert Camus, Le Mythe de Sisyphe (1942)

"For ever, I will be a stranger to myself."

“It is better for the intellectual not to talk all the time. To begin with, it would exhaust him, and, above all, it would keep him from thinking. He must create if he can, first and foremost, especially if his creation does not side-step the problems of his time.”
― Albert Camus, Resistance, Rebellion and Death: Essays

Orlando Patterson, John Cowles Professor of Sociology

“Albert Camus’ ‘The Myth of Sisyphus’: I first came across that book in the year between high school and college. I pulled it from the library shelf thinking it was going to be a book on mythology and discovered, of course, that it is a philosophical treatise, which I immediately felt a strong affinity to. Of course I didn’t understand most of it when I first read it. I took it with me to college and basically read it over and over again right through college until I felt I understood it, through the process of absorption. It greatly influenced me.

“My very first book was a novel, called ‘The Children of Sisyphus,’ and it was about the poverty and utter despair of the people who live in the shantytowns of Kingston. I had decided that what I was learning, what I was experiencing, was best expressed in terms of a novel. All through that time, what strikes you most living in or visiting this extreme poverty is the whole question of what makes life meaningful for these people, which in a way is the central question that motivated Camus. The shades of not just despair but the kinds of existential angst that he is going through. What makes life meaningful? How can one survive? People living on the dung heap, who live off the trash and the refuse of the rest of the city, where do they find meaning?

“That theme of meaning and meaningless resonated with me, and it carried through to higher levels as I moved from Jamaica to Britain and also to other works by Camus. In many ways, his ideas remained with me not in the sense that I return to him any more, but in the sense that he formed the initial foundation of my thinking. I think I moved on, but he was the right philosopher and the right novelist for me at the time.”

"Travailler et créer 'pour rien', sculpter dans l'argile, savoir que sa création n'a pas d'avenir, voir son oeuvre détruite en un jour en étant conscient que, profondément, cela n'a pas plus d'importance que de bâtir pour des siècles, c'est la sagesse difficile que la pensée absurde autorise. Mener de front ces deux tâches, nier d'un côté et exalter de l'autre, c'est la voie qui s'ouvre au créateur absurde. Il doit donner au vide ses couleurs".

Albert Camus, "Le Mythe de Sisyphe", 1942

"Working and creating for nothing ', sculpt in clay, that his creation has no future, see his work destroyed in a day being aware that deeply, it has no more importance that to build for centuries, it is the difficult wisdom that absurd thought permits. Conduct front both tasks, deny one side and exalt the other, this is the path that opens to the absurd creator . It must give the void its colors ".
Albert Camus, "The Myth of Sisyphus", 1942

Ben Chen 從今誰復補蒼天？
獨來獨往困刑天！
http://www.storm.mg/article/93532

陳健邦觀點：寫詩如作案─讀邵燕祥打油詩-風傳媒

STORM.MG

「干戚如今舞已難，獨來獨往困刑天；
頭顱已斫何須好，肝膽猶存未忍捐。
垂垂老矣吳剛斧，西緒弗斯上下山。
上帝已死諸神渴，滄海橫流剩一灣。」

這是有如離騷的傷時代之作，豈是“打油詩“三字所能當？
Ben Chen 說是打油詩，到時候可以不認帳，免得被抓去關起來

Ben Chen 新增了 2 張相片。

5月29日 6:44

「落花時節又逢君」，杜甫的《江南逢李龜年》，馬英九也寫過，不知他會想起什麼人？

邵燕祥的打油詩《從今》，結尾冒出：「茴香豆饗李龜年」，又是指何而言？

在讀邵燕祥的舊詩集，碰上幾個謎團。"滄海橫流剩一灣"、"萬里兵符出四川"到底是在說什麼？雖然我有卲燕祥的email,但不想冒然寫信去打擾老作家，於是想將這些疑問發表在刊物上。

明報月刊六月號，刊出了我這一篇《茴香豆饗李龜年---邵燕祥詠八O年代》，在中港矛盾日益突出、又到了六四敏感的時刻，香港學生的紀念活動正蓄勢待發，此文可以說是搭上香港人六四情結的便車才刊登的。從邵燕祥的舊體詩，一窺大陸代表性的知識分子如何評價趙紫陽的歷史地位和六四事件。

邵燕祥涉及六四的幾首詩的分析，可Google:風傳媒、邵燕祥、陳健邦。

當初，考慮這個題目，現在台灣可能很少人會感興趣，這篇稿子，在今年三月先寄給明報月刊，等了十天沒有回應，我又多加入一段錢鍾書「作詩作賊事相等」的説法，才寄去風傳媒登出。四月底，明報月刊的編輯才知會，準備發表這篇文章，但他們原則上不刊登已發表過的文章，希望我能撒下已發表過的網頁，這令我陷入尷尬。好在後來取得諒解，我略為修飾文句，明報月刊接受之。

邵燕祥有一本書《別了，毛澤東》，書名如此敏感，只能在香港出版。
「邵燕祥的存在，至少提示我們，中國文人的苦路正長，奮鬥正長，信念正長。」魯迅博物館館長孫郁如是說。
明報月刊，現在在台灣好像只有誠品書店找得到。

邵燕祥有詩：
不求甚解不求深，但願知音知我心；
辜負錦囊好句多，偏于痛史費沈吟。

「文章久重春秋筆」，在關鍵時刻，卲燕祥沒有令人失望。《六里橋》、《從今》、《書憤》這幾首詩都是他對「痛史」的春秋筆，在大陸知識分子之中有許多知音。一百年後，會成為歷史名篇，得到後世的肯定。

Kuohsun Shih 分享了中文馬克思主義文庫的相片。

台湾人眼中的君特·格拉斯

啟蒙的冒險：與諾貝爾文學獎得主葛拉斯對談 Vom Abenteuer der Aufclarung

Poetry

e.e. cummings (1894 - 1962)

Bergoglio: A Man for the Church

An Argentine Pope

聖依納爵書信選集 (聖依納爵專輯) Selected Letters of St. Ignatius Loyola

國立故宮博物院 National Palace Museum 在書法—筆墨見真章(2017)、于右任書法、十七帖… 相簿中新增了 1 張相片。

目錄

目錄

生平

哲學觀點

著作

外在連結

The William Morris Internet Archive : Works

Works

The Ideal Book: Essays and Lectures on the Arts of the Book

William Morris

The Ideal Book

Bibliographical Note

Title

Delivery

Publication

我們是同質或異質？伯格曼對談今村昌平| 十年祭

The Paris Review 和 James Joyce 都分享了 1 條連結。

主要作品[編輯]

短篇小說[編輯]

長篇小說[編輯]

刊行本[編集]

Three Plays by Kobo Abe Paperback – April 15, 1997

The Woman in the Dunes

布勒東傳Andre Breton: Le Grand Indesirable

作者 ／ 亨利．貝阿爾Behar, Henri

譯者 ／ 袁俊生

出版社 ／ 上海人民

出版日期 ／ 2007/01/01 中文/簡體裝訂 ／ 平裝

作者簡介 · · · · · ·

Contents

内容简介 · · · · · ·

作者简介 · · · · · ·

目录 · · · · · ·

內容簡介 · · · · · ·

作者簡介 · · · · · ·

目錄 · · · · · ·

Ben Chen 新增了 2 張相片。

此書 "Of Human Bondage",中文本至少6種，沒人評論。

布勒東傳
Andre Breton: Le Grand Indesirable

作者／亨利．貝阿爾 Behar, Henri

譯者／袁俊生

出版社／上海人民

出版日期／ 2007/01/01 中文/簡體裝訂／平裝